Bergamo
WHEN October comes in its yearly round and the autumn afternoons close in, it is sometimes good to sit idly outside a caffè with the pernicious cigarette and ruminate on the glories of a past summer—better this than to hustle up the street a sight-seeing. A hot day was ending and the Bergamo of mediæval times towered above the haze of a sun-baked land and the smoke that curled upwards in thin wreaths from the city below. “La Città Alta” thus raised its head proudly against the copper-coloured sky, thrusting its bulwarks to the edge of one of the last spurs of the Alps that here creep down on to the plain. What a grand prospect from the shady boulevard on those ramparts which encircle the old fortress! The sun has not yet set; beneath lies the Borgo S. Leonardo, the lower city, a busy place with factory chimneys on its outskirts; beyond, a sea of verdure, cut by lines of tall poplars and here and there a slender campanile, stretches away over Lombardy until lost in the haze past the towers and domes of Monza, Cremona, and distant Milan.
There is something very fascinating in the quiet and exclusive old city. Its streets are steep and narrow, its houses seem to rake the sky, the rattle of wheels does not often disturb the aristocratic silence, a silence accentuated tenfold when one has left behind its busy plebeian partner on the plain below, and whisked upwards by the funicular, found oneself suddenly amidst high walls. Great spaces of faced stone are these walls, pierced by tiny windows, almost forbidding in their austerity; and though glimpses of foliage and flowering creepers break through, the pervading air is one of mystery and intrigue.
In the wars with Austria, Bergamo was a great rallying-point for patriots and a continual thorn in the side of that polyglot empire. The names of heroic Bergamasque who died for their country are inscribed on sundry tablets on the walls under the old Brotello. This interesting building stands at one end of the little Piazza Garibaldi, and is somewhat similar to the one which forms the illustration to Como, with the difference that here a fine open stairway leads up to the first floor. The great hall is now occupied as a library. In a corner at the head of the stairs rises a massive quadrangular belfry, one of the prominent features in the outline of “La Città Alta.”
Beyond the Brotello lies the Cathedral, a well-proportioned Renaissance building, which, by its juxtaposition to the much more ancient church of Sta Maria Maggiore, looks comparatively of recent date. It is constructed entirely of white marble and has a good dome. A Madonna by G. Bellini behind the high altar is its great treasure, and the only thing in it worthy of notice.
Sta Maria is an early Lombard pile of buildings, with a very lofty tower and an octagon over the crossing, which rises in four galleried storeys surmounted by a low spire. Good galleries extend round the exterior of the apse, and side chapels are thrust out at odd places with no particular plan. The east porch is by far the most interesting feature, and is an elaborate piece of work in breccia and white marble. The supporting pillars rest on the backs of two lions, the old ecclesiastical symbol of strength, the columns of the portal are beautifully sculptured, and one of them, encircled with admirable figures, is very fine. Above is a canopy under which, on his horse, sits King Lupus with two attendants, while beneath a second canopy on top are statuettes of the Virgin and Child, and the two Marys. The west porch is almost similar to this, but of not so intricate a design. It has also no canopies, but is surmounted by a turret niche, let into the wall of the main building, in which is the figure of the patroness. The doors of these two portals are of superbly grained rosewood. They open into the transepts, which are the finest portions of the interior, the carved choir stalls and screen by Stefano da Bergamo are considered the best in Italy.
Adjoining the east porch is the Capella Colleoni, the mausoleum of Bartolommeo Colleoni the celebrated condottiere of the fifteenth century, whose equestrian statue in front of the church of SS. Giovanni e Paolo in Venice is remarkable, not only as a work of art, but as exemplifying the power and rugged strength of a great man.
The façade is terribly ornate, with chequer work in white and black marble, red and yellow busts and medallions, twisted pillars and strange arabesques. The interior contains the tomb of Bartolommeo who sits astride his horse. It is rather too elaborate to be entirely pleasing. At the south end is one of the finest examples of intarsia, or inlaid wood-work, in Italy. The subjects of the three panels represent the entry into Jerusalem, and scenes from the stirring times in which the great condottiere played so prominent a part. The backgrounds are evidently of landscape in the neighbourhood. Not only is the spirit and execution of this fine work extremely good, but the colour surpasses anything of the sort I have seen. It is kept under lock and key, enclosed in three rosewood panels of well-selected grain. Not far from the chapel is the house in which Donizetti died. The Borgo S. Leonardo is of older date than “La Città Alta,” although it is the more modern of the two. On the base of a damaged Corinthian column standing in the small piazza of Sta Maria d’Oleono is an old Latin inscription which tells that the column was erected where once stood a heathen temple, and that S. Alessandro, standard-bearer to the Theban Legion, overthrew the heathen pillar by a miracle, the column being erected by members of the municipality with the alms of the faithful. It is doubtful whether the Pergamus of ancient writers is the city on the hill or its sister on the plain; this relic rather points to the latter as the site. In the Borgo a fair, held for a month from the middle of August, and known as the Fiera di Sant’ Alessandro, has taken place without intermission since the tenth century—surely a record; and there is no doubt that in the ancient Italian drama, harlequin, personifying the manners and jargon of the neighbouring Val Brembana, was a Bergamasque, and originated at this ancient festival.