Donatello, while it was still a doubtful question betwixt afternoon and morning, set forth to keep the appointment which Miriam had carelessly tendered him in the grounds of the Villa Borghese. The entrance to these grounds (as all my readers know, for everybody nowadays has been in Rome)is just outside of the Porta del Popolo. Passing beneath that not very impressive specimen of Michael Angelo's architecture, a minute's walk will transport the visitor from the small, uneasy, lava stones of the Roman pavement into broad, gravelled carriage-drives, whence a little farther stroll brings him to the soft turf of a beautiful seclusion. A seclusion, but seldom a solitude; for priest, noble, and populace, stranger and native, all who breathe Roman air, find free admission, and come hither to taste the languid enjoyment of the day-dream that they call life.
But Donatello's enjoyment was of a livelier kind. He soon began to draw long and delightful breaths among those shadowy walks. Judging by the pleasure which the sylvan character of the scene excited in him, it might be no merely fanciful theory to set him down as the kinsman, not far remote, of that wild, sweet, playful, rustic creature, to whose marble image he bore so striking a resemblance. How mirthful a discovery would it be (and yet with a touch of pathos in it), if the breeze which sported fondly with his clustering locks were to waft them suddenly aside, and show a pair of leaf-shaped, furry ears! What an honest strain of wildness would it indicate! and into what regions of rich mystery would it extend Donatello's sympathies, to be thus linked (and by no monstrous chain) with what we call the inferior trioes of being, whose simplicity, mingled with his human intelligence, might partly restore what man has lost of the divine!
The scenery amid which the youth now strayed was such as arrays itself in the imagination when we read the beautiful old myths, and fancy a brighter sky, a softer turf, a more picturesque arrangement of venerable trees, than we find in the rude and untrained landscapes of the Western world.
The ilex-trees, so ancient and time-honored were they, seemed to have lived for ages undisturbed, and to feel no dread of profanation by the axe any more than overthrow by the thunder-stroke. It had already passed out of their dreamy old memories that only a few years ago they were grievously imperilled by the Gaul's last assault upon the walls of Rome.
As if confident in the long peace of their lifetime, they assumed attitudes of indolent repose. They leaned over the green turf in ponderous grace, throwing abroad their great branches without danger of interfering with other trees, though other majestic trees grew near enough for dignified society, but too distant for constraint. Never was there a more venerable quietude than that which slept among their sheltering boughs; never a sweeter sunshine than that now gladdening the gentle gloom which these leafy patriarchs strove to diffuse over the swelling and subsiding lawns.
In other portions of the grounds the stone-pines lifted their dense clump of branches upon a slender length of stem, so high that they looked like green islands in the air, flinging down a shadow upon the turf so far off that you hardly knew which tree had made it. Again, there were avenues of cypress, resembling dark flames of huge funeral candles, which spread dusk and twilight round about them instead of cheerful radiance. The more open spots were all abloom, even so early in the season, with anemones of wondrous size, both white and rose-colored, and violets that betrayed themselves by their rich fragrance, even if their blue eyes failed to meet your own. Daisies, too, were abundant, but larger than the modest little English flower, and therefore of small account.
These wooded and flowery lawns are more beautiful than the finest of English park scenery, more touching, more impressive, through the neglect that leaves Nature so much to her own ways and methods. Since man seldom interferes with her, she sets to work in her quiet way and makes herself at home. There is enough of human care, it is true, bestowed, long ago and still bestowed, to prevent wildness from growing into deformity; and the result is an ideal landscape, a woodland scene that seems to have been projected out of the poet's mind. If the ancient Faun were other than a mere creation of old poetry, and could have reappeared anywhere, it must have been in such a scene as this.
In the openings of the wood there are fountains plashing into marble basins, the depths of which are shaggy with water-weeds; or they tumble like natural cascades from rock to rock, sending their murmur afar, to make the quiet and silence more appreciable. Scattered here and there with careless artifice, stand old altars bearing Roman inscriptions.
Statues, gray with the long corrosion of even that soft atmosphere, half hide and half reveal themselves, high on pedestals, or perhaps fallen and broken on the turf. Terminal figures, columns of marble or granite porticos, arches, are seen in the vistas of the wood-paths, either veritable relics of antiquity, or with so exquisite a touch of artful ruin on them that they are better than if really antique. At all events, grass grows on the tops of the shattered pillars, and weeds and flowers root themselves in the chinks of the massive arches and fronts of temples, and clamber at large over their pediments, as if this were the thousandth summer since their winged seeds alighted there.
