The Continental Monthly, Vol. 2, No. 1, July, 1862

Shrewd and unprincipled, devoting himself earnestly and without the least scruple of conscience to two objects—the acquisition of money and the success of treason—he yet concealed the true character of his designs under an apparently ingenuous and fervent delivery, and in the garb of sentiments worthy a Milton or a Washington. His voice, deeply musical, and uncommonly sweet, enhanced the admiration with which one viewed his matchless delivery, in which was perfect grace, and entire harmony with the expressions which fell from his lips. How mournful a sight, to see one so nobly gifted, leading a life of baseness and vice, devoting his immortal qualities to the vilest selfishness, and to the betrayal of his country and of liberty! Should the descendant of an oppressed and persecuted race take part with oppressors? Senator Benjamin is a renegade to the spirit of freedom which animated his ancestors.

He who, among the Southern Senators, ranked as an orator next to Benjamin, now leads the rebellious hosts against the flag under which he was reared, and lends his unquestioned powers to the demolition of the great Republic of which he was once a brilliant ornament. Certainly endowed with more forethought and practical wisdom than any of his Democratic colleagues, well qualified by his calm survey of every question and every political movement, to lead a large party, and forcible and ironical in debate, Jefferson Davis stood at the head of the disaffected in the Senate, as he now does in the field. Cautious and deliberate in speech, he yet never failed to launch out in strong invective, and to make effective use of irony in his attacks. He is in personal appearance, rather small and thin, with a refined and decidedly intellectual countenance, and a not unamiable expression. His health alone prevented his rising to the first rank of American orators; and what of his statesmanship was not directed to the accomplishment of partisan purposes, gave him much consideration. He was incapable, from a weak constitution, of sustaining, at great length, the vivacity and energy with which he commenced his speeches; and therefore, their sharp sarcasm and great power, made them appear more considerable in print than in the delivery. Even after he had enlisted all his energies in the detestable scheme which he is now trying to fulfill, his prudence halted at the rash idea he had embraced; and he attempted for a moment to stem the torrent, by voting for the Crittenden propositions. His delivery was graceful and dignified, his manner sometimes courteous, often contemptuous, and always impressive. His eloquence consisted rather in the lucid logic and deliberate thought evinced than for rhetorical beauty or range of imagination; occasionally, however, he would diverge from the plain thread of argument, and rise to declamation of striking brilliancy and power. Over-quick, with all his natural phlegm, to discern and to resent personal affronts—oftentimes when there was no occasion therefor—he was a favorable exemplar of that peculiar, and to our mind, somewhat incomprehensible quality, which the Southern people glory in, and which they dignify by the stately epithet of 'chivalry.' On the whole, he must be regarded as the ablest, and therefore the most culpable and dangerous of the insurgent leaders; and he may, perhaps, be considered the first of Southern statesmen since the time of Calhoun.

Another Senator who occupied a high rank as a partisan and statesman among the Southern Democracy, was Hunter, of Virginia. He is a thickly-built person, with a countenance possessing but little expression, and far from intellectual; and would rather be noticed by one sitting in the gallery for the negligence of his dress, utter want of dignity, and exceedingly unsenatorial bearing, than for any other external qualities. But when he had spoken a few moments, a decided soundness of head, and shrewdness, appeared to enter into the composition of his mind. No man in the Senate had a juster idea of financial philosophy; and his services on the Committee devoted to that department, were highly appreciated by every one. He was, however, little trusted by loyal Senators, and his frequent professions of devotion to the Union, failed to conceal the bent of his mind toward those with whom he is now in intimate concert. Sincerity had least place of all the virtues in his breast; and his hypocrisy, somewhat hidden by the apparent ingenuousness and conciliatory address of his manner, became manifest in actions and votes, rather than in words. He was, so far as can now be ascertained, one of the prime movers of the Senatorial cabal, or caucus, which was devoted either to the complete dominance of the Southern element in the Union, or to their forcible secession from the Union; and was probably as active and earnest a traitor, long before the doctrine of secession was ventured upon, as the most fiery of South-Carolina fire-eaters. Mr. Hunter is, in private, courteous and affable, and, indeed, in the debates in which he took part, he never transgressed the rules of respect due to his colleagues, or violated the dicta of parliamentary etiquette.

His colleague, Mason, is an irritable, petulant, arrogant man, not without a certain ability in debate, but censorious, and unconfined by the restraints of decency in his tirades against the North. He was 'one of the finest-looking men,' if we speak phrenologically, in the last Senate; and would always be noticed for his dignified manner and fine head, by a stranger visiting the Chamber for the first time. We have briefly noticed him, rather on account of the notoriety recently attached to his name by the 'Trent' affair, than from his prominence among Southern orators and statesmen—his talent, being, in fact, of a decidedly mediocre description.

While speaking of Mason, it will be apropos to allude to his late companion in trouble, John Slidell, who was certainly the shrewdest politician and party tactician among his friends on the north side of the chamber; he is indeed the Nestor of intriguers. From the time when, early in life, he aspired to, and in a degree succeeded in controlling the politics of the Empire City, up to this hour, when he is with snake-like subtleness attempting to poison French honor, his career has been a series of successful intrigues. Utterly devoid of moral principle, he resembles his late colleague, Benjamin, in the immorality of his life, and the baseness of his ends, attained by as base means. He is rather a good-looking man, short, with snowy-white hair and red face, his countenance indicative of the secretiveness and cunning of his character. He was rather the caucus adviser and manager than one of the orators of his party; seldom speaking, and never except briefly and to the point. Imagination in him has been warped and made torpid by a life of dissipation, as well as by his practical tendencies. He is, like many other Southern statesmen, courteous and pleasing in social conversation; but is heartless, selfish, and malignant in his enmities.

Robert Toombs stood deservedly high in the traitorous cabal in the Senate; for, to a bold and energetic spirit, great arrogance of manner, and activity, he added a powerful mind and a clear head. In the street, he would strike you as a self-conceited, bullying, contemptuous person, with brains in the inverse proportion to his body, which was large and apparently strong. His manner, when addressing the Senators, had indeed much of an overbearing and insolent spirit; but the impression, in regard to his character, after hearing him speak, was much better than before. There was an indication of strength behind the bullying, blustering air which he put on, which raised one's respect for his attainments. One of the most rabid and uncompromising of secession leaders, and bigoted in his hatred of the North, he was yet, in private, a courteous and hospitable gentleman, and, apparently at least, frank in the expression of opinion. Probably he had as little principle in political and social life as most of his associates in treason; while his great self-reliance, activity, and mental ability gave him a very high position in their confidence. He was tall and stout, though not corpulent; and was very negligent of his toilet and dress. Self-conceit was written on his countenance, and displayed itself in his arrogant assumptions of superiority. But his method of dealing with his Northern opponents was open and bold, although insolent and overbearing, and not like Hunter, Davis, and Benjamin, using ingenious sophistry and hidden sarcasm, cautiously smoothing over their real purpose, by rhetoric and elegant sentiment. Mr. Toombs became early an object of peculiar dislike to Northern men, by the rude ingenuousness with which he announced the last conclusions of his political creed, and the intolerable insolence with which, not heeding the admonitions of his more cautious confederates, he thundered out his anathemas of hatred and vengeance on what he was pleased to call 'Northern tyranny.' It was only when the crisis came, that others unfolded together their base character and their hypocrisy. Davis, who had been fondled by New-Englanders but a year or two since, and Hunter, who had cried for peace and compromise, standing forth at last in the true light of traitors, and thereby proclaiming their past life a game of hypocrisy. Toombs, therefore, who was an original fire-eater, and hence could not be called a hypocrite, has become less an object of hatred to us of the loyal States, than those who, while they sat at the cabinet councils, or were admitted to the confidence of the Executive, or were sent to foreign courts, or presided over the Upper House, were using the power of such high trusts for the consummation of a conspiracy against their country, yet retaining the cant of patriotism and feigning a devotion to the Union. We have dwelt almost exclusively, in the present chapter, upon Senators whose highest honors have been tarnished or obliterated by the gravest of crimes, that of treason toward a vast community. But it has been with the idea that the least should be presented first, and that the greater should close the scene; as in royal processions, the monarch always brings up the rear. We conceive that the great talents which we have acknowledged, and which doubtless all will agree with us in acknowledging, the leaders of the Southern rebellion to possess, only enhance the magnitude of their offense, and serve to illustrate with greater force the enormity of their purposes. That a brainless fanatic like Lord George Gordon, or the Neapolitan fisherman, Massaniello, should stir up tremendous agitation, may be matter for critical study, but is hardly a subject of wonder. But that men gifted with exalted ability, undoubted caution, well-balanced intellect, and apparently refined reason, all of which have been appreciated and acknowledged, should propound an erroneous doctrine of a chaotic system, and proceed to the violence of civil war, on what they must know to be a false and heretical plea, can only remind us of those devils who have been pictured by the matchless art of Milton, of Dante, and of Goethe, as possessing stately intellects with perfectly vicious hearts. We propose, in a future number, if these remarks on public characters are acceptable, to continue our remarks, by introducing the loyal Senators of the last Congress, a band of men who will be found to equal in talent, and immeasurably to surpass in moral rectitude and earnest patriotism, the bad company from whom we now part.

MACCARONI AND CANVAS. V

THE GRECO

The Café Greco, like the belle of many seasons, lights up best at night. In morning, in deshabille, not all the venerability of its age can make it respectable. Caper declares that on a fresh, sparkling day, in the merry spring-time, he once really enjoyed a very early breakfast there; and that, with the windows of the Omnibus-room open, the fresh air blowing in, and the sight of a pretty girl at the fourth-story window of a neighboring house, feeding a bird and tending a rose-bush, the old café was rose-colored.

This may be so; but seven o'clock in the evening was the time when the Greco was in its prime. Then the front-room was filled with Germans, the second room with Russians and English, the third room—the Omnibus—with Americans, English, and French, and the fourth, or back-room, was brown with Spaniards. The Italians were there, in one or two rooms, but in a minority; only those who affected the English showed themselves, and aired their knowledge of the Anglo-Saxon tongue and habits.

'I habituate myself,' said a red-haired Italian of the Greco to Caper, 'to the English customs. I myself lave with hot water from foot to head, one time in three weeks, like the English. It is an idea of the most superb, and they tell me I am truly English for so performing. I have not yet arrive to perfection in the lessons of box, but I have a smart cove of a bool-dog.'

Caper told him that his resemblance to an English 'gent' was perfect, at which the Italian, ignorant of the meaning of that fearful word, smiled assent.

The waiter has hardly brought you your small cup of caffe nero, and you are preparing to light a cigar, to smoke while you drink your coffee, when there comes before you a wandering bouquet-seller. It is, perhaps, the dead of winter; long icicles are hanging from fountains, over which hang frosted oranges, frozen myrtles, and frost-nipped olives, Alas! such things are seen in Rome; and yet, for a dime you are offered a bouquet of camellia japonicas. By the way, the name camellia is derived from Camellas, a learned Jesuit; probably La Dame aux Camélias had not a similar origin. You don't want the flowers.

'Signore,' says the man, 'behold a ruined flower-merchant!'

You are unmoved. Have you not seen or heard of, many a time, the heaviest kind of flour-merchants ruined by too heavy speculations, burst up so high the crows couldn't fly to them; and heard this without changing a muscle of your face?

'But, signore, do buy a bouquet to please your lady?'

'Haven't one.'

'Altro!' answers the man, triumphantly, 'whom did I see the other day, with these eyes, (pointing at his own,) in a magnificent carriage, beside the most beautiful Donna Inglesa in Rome? Iddio giusto!'.... At this period, he sees he has made a ten strike, and at once follows it up by knocking down the ten-pin boy, so as to clear the alley, thus: 'For her sake, signore.'

You pay a paul, (and give the bouquet to—your landlady's daughter,) while the departing mercante di fiori assures you that he never, no, never expects to make a fortune at flowers; but if he gains enough to pay for his wine, he will be very tipsy as long as he lives!

Then comes an old man, with a chessboard of inlaid stone, which he hasn't an idea of selling; but finds it excellent to 'move on,' without being checkmated as a beggar without visible means of s'port. The first time he brought it round, and held it out square to Caper, that cool young man, taking a handful of coppers from his pocket, arranged them as checkers on the board, without taking any notice of the man; and after he had placed them, began playing deliberately. He rested his chin on his hand, and with knitted brows, studied several intricate moves; he finally jumped the men, so as to leave a copper or two on the board; and bidding the old man good-night, continued a conversation with Rocjean, commenced previous to his game of draughts.

Next approaches a hardware—merchant, for, in Imperial Rome, the peddler of a colder clime is a merchant, the shoemaker an artist, the artist a professor. The hardware-man looks as if he might be 'touter' to a broken-down brigand. All the razors in his box couldn't keep the small part of his face that is shaved from wearing a look as if it had been blown up with gunpowder, while the grains had remained embedded there. He tempts you with a wicked-looking knife, the pattern for which must have come from the litreus of Etruria, the land called the mother of superstitions, and have been wielded for auguries amid the howls and groans of lucomones and priests. He tells you it is a Campagna-knife, and that you must have one if you go into that benighted region; he says this with a mysterious shake of his head, as if he had known Fra Diavolo in his childhood and Fra 'Tonelli in his riper years. The crescent-shaped handle is of black bone; the pointed blade long and tapering; the three notches in its back catch into the spring with a noise like the alarum of a rattle-snake. You conclude to buy one—for a curiosity. You ask why the blade at the point finishes off in a circle? He tells you the government forbids the sale of sharp-pointed knives; but, signore, if you wish to use it, break off the circle under your heel, and you have a point sharp enough to make any man have an accidente di freddo, (death from cold—steel.)

Victor Hugo might have taken his character of Quasimodo from the wild figure who now enters the Greco, with a pair of horns for sale; each horn is nearly a yard in length, black and white in color; they have been polished by the hunchback until they shine like glass. Now he approaches you, and with deep, rough voice, reminding you of the lowing of the large grey oxen they once belonged to, begs you to buy them. Then he facetiously raises one to each side of his head, and you have a figure that Jerome Bosch would have rejoiced to transfer to canvas. His portrait has been painted by more than one artist.

Caper, sitting in the Omnibus one evening with Rocjean, was accosted by a very seedy-looking man, with a very peculiar expression of face, wherein an awful struggle of humor to crowd down pinching poverty gleamed brightly. He offered for sale an odd volume of one of the early fathers of the Church. Its probable value was a dime, whereas he wanted two dollars for it.

'Why do you ask such a price?' asked Rocjean, 'you never can expect to sell it for a twentieth part of that.'

'The moral of which,' said the seedy man, no longer containing the struggling humor, but letting it out with a hearty laugh; 'the moral of which is—give me half a baioccho!'

Ever after that, Caper never saw the man, who henceforth went by the name of La Morale é un Mezzo Baioccho! without pointing the moral with a copper coin. Not content with this, he once took him round to the Lepre restaurant, and ordered a right good supper for him. Several other artists were with him, and all declared that no one could do better justice to food and wine. After he had eaten all he could hold, and drank a little more than he could carry, he arose from table, having during the entire meal sensibly kept silence, and wiping his mouth on his coat-sleeve, spoke:

'The moral this evening, signori, I shall carry home in my stomach.'

As he was going out of the restaurant, one of the artists asked him why he left two rolls of bread on the table; saying they were paid for, and belonged to him.

'I left them,' said he, 'out of regard for the correct usages of society; but, having shown this, I return to pocket them.'

This he did at once, and Caper stood astonished at the seedy-beggar's phraseology.

In addition to these characters, wandering musicians find their way into the café, jugglers, peddlers of Roman mosaics and jewelry, plaster-casts and sponges, perfumery and paint-brushes. Or a peripatetic shoemaker, with one pair of shoes, which he recklessly offers for sale to giant or dwarf. One morning he found a purchaser—a French artist—who put them on, and threw away his old shoes. Fatal mistake. Two hours afterward, the buyer was back in the Greco, with both big toes sticking out of the ends of his new shoes, looking for that cochon of a shoemaker.

To those who read men like books, the Greco offers a valuable circulating library. The advantage, too, of these artistical works is, that one needs not be a Mezzofanti to read the Russian, Spanish, German, French, Italian, English, and other faces that pass before one panoramically. There sits a relation of a hospodar, drinking Russian tea; he pours into a large cup a small glass of brandy, throws in a slice of lemon, fills up with hot tea. Do you think of the miles he has traveled, in a telega, over snow-covered steppes, and the smoking samovar of tea that awaited him, his journey for the day ended? Had he lived when painting and sculpture were in their ripe prime, what a fiery life he would have thrown into his works! As it is, he drinks cognac, hunts wild-boars in the Pontine marshes—and paints Samson and Delilah, after models.

The Spanish artist, over a cup of chocolate, has lovely dreams, of burnt umber hue, and despises the neglected treasures left him by the Moors, while he seeks gold in—castles in the air.

The German, with feet in Italy and head far away in the Fatherland, frequents the German-club in preference to the Greco; for at the club is there not lager beer?.... In imperial Rome, there are lager beer breweries! He has the profundities of the esthetical in art at his finger-ends; it is deep-sea fishing, and he occasionally lands a whale, as Kaulbach has done; or very nearly catches a mermaid with Cornelius. Let us respect the man—he works.

The French artist, over a cup of black coffee, with perhaps a small glass of cognac, is the lightning to the German thunder. If he were asked to paint the portrait of a potato, he would make eyes about it, and then give you a little picture fit to adorn a boudoir. He does every thing with a flourish. If he has never painted Nero performing that celebrated violin-solo over Rome, it is because he despaired of conveying an idea of the tremulous flourish of the fiddle-bow. He reads nature, and translates her, without understanding her. He will prove to you that the cattle of Rosa Bonheur are those of the fields, while he will object to Landseer that his beasts are those of the guinea cattle-show. He blows up grand facts in the science of art with gunpowder, while the English dig them out with a shovel, and the Germans bore for them. He finds Raphael, king of pastel artists, and never mentions his discovery to the English. He is more dangerous with the fleurette than many a trooper with broadsword. Every thing that he appropriates, he stamps with the character of his own nationality. The English race-horse at Chantilly has an air of curl-papers about his mane and tail.

The Italian artist—the night-season is for sleep.

The English artist—hearken to Ruskin on Turner! When one has hit the bull's-eye, there is nothing left but to lay down the gun, and go and have—a whitebait dinner.

The American artist—there is danger of the youthful giant kicking out the end of the Cradle of Art, and 'scatterlophisticating rampageously' over all the nursery.

'I'd jest give a hun-dred dol-lars t'morrow, ef I could find out a way to cut stat-tures by steam,' said Chapin, the sculptor.

'I can't see why a country with great rivers, great mountains, and great institutions generally, can not produce great sculptors and painters,' said Caper sharply, one day to Rocjean.

'It is this very greatness,' answered Rocjean, 'that prevents it. The aim of the people runs not in the narrow channel of mountain-stream, but with the broad tide of the ocean. In the hands of Providence, other lands in other times have taken up painting and sculpture with their whole might, and have wielded them to advance civilization. They have played—are playing their part, these civilizers; but they are no longer chief actors, least of all in America. Painting and sculpture may take the character of subjects there; but their rôle as king is—played out.'

'Much as you know about it,' answered Caper, 'you are all theory!'

'That maybe,' quoth Rocjean; 'you know what ΘΕΟΣ means in Greek, don't you?'

AMONG THE WILD BEASTS

There came to Rome, in the autumn, along with the other travelers, a caravan of wild beasts, ostensibly under charge of Monsieur Charles, the celebrated Tamer, rendered illustrious and illustrated by Nadar and Gustave Doré, in the Journal pour Rire. They were exhibited under a canvas tent in the Piazza Popolo, and a very cold time they had of it during the winter. Evidently, Monsieur Charles believed the climate of Italy belonged to the temperance society of climates. He erred, and suffered with his 'superbe et manufique ÉLLLLLÉPHANT!' 'and when we reflec', ladies and gentlemen, that there are persons, forty and even fifty years old, who have never seen the Ellllephant!!!… and who DARE TO SAY so!!!…' Monsieur Charles made his explanations with teeth chattering.

Caper, anxious to make a sketch of a very fine Bengal tiger in the collection, easily purchased permission to make studies of the animals during the hours when the exhibition was closed to the public; and as he went at every thing vigorously, he was before long in possession of several fine sketches of the tiger and other beasts, besides several secrets only known to the initiated, who act as keepers.

The royal Bengal tiger was one of the finest beasts Caper had ever seen, and what he particularly admired was the jet-black lustre of the stripes on his tawny sides and the vivid lustre of his eyes. The lion curiously seemed laboring under a heavy sleep at the very time when he should have been awake; but then his mane was kept in admirable order. The hair round his face stood out like the bristles of a shoe-brush, and there was a curl in the knob of hair at the end of his tail that amply compensated for his inactivity. The hyenas looked sleek and happy, and their teeth were remarkably white; but the elephant was the constant wonder of all beholders. Instead of the tawny, blue-gray color of most of his species, he was black, and glistened like a patent-leather boot; while his tusks were as white as—ivory; yea, more so.

'I don't understand what makes your animals look so bright,' said Caper one day to one of the keepers.

'Come here to-morrow morning early, when we make their toilettes, and you'll see,' replied the man, laughing. 'Why, there's that old hog of a lion, he's as savage and snaptious before he has his medicine as a corporal; and looks as old as Methusaleh, until we arrange his beard and get him up for the day. As for the ellllephant … ugh!'

Caper's curiosity was aroused, and the next morning, early, he was in the menagerie. The first sight that struck his eye was the elephant, keeled over on one side, and weaving his trunk about, evidently as a signal of distress; while his keeper and another man were—blacking-pot and shoe-brushes in hand—going all over him from stem to stern.