In the Pantheon (to-day) it was pleasant looking up to the circular opening, to see the clouds flitting across it, sometimes covering it quite over, then permitting a glimpse of sky, then showing all the circle of sunny blue. Then would come the ragged edge of a cloud, brightened throughout with sunshine, passing and changing quickly, – not that the divine smile was not always the same, but continually variable through the medium of earthly influences. The great slanting beam of sunshine was visible all the way down to the pavement, falling upon motes of dust, or a thin smoke of incense imperceptible in the shadow. Insects were playing to and fro in the beam, high up toward the opening. There is a wonderful charm in the naturalness of all this, and one might fancy a swarm of cherubs coming down through the opening and sporting in the broad ray, to gladden the faith of worshippers on the pavement beneath; or angels bearing prayers upward, or bringing down responses to them, visible with dim brightness as they pass through the pathway of heaven's radiance, even the many hues of their wings discernible by a trusting eye; though, as they pass into the shadow, they vanish like the motes. So the sunbeam would represent those rays of divine intelligence which enable us to see wonders and to know that they are natural things.
Consider the effect of light and shade in a church where the windows are open and darkened with curtains that are occasionally lifted by a breeze, letting in the sunshine, which whitens a carved tombstone on the pavement of the church, disclosing, perhaps, the letters of the name and inscription, a death's-head, a crosier, or other emblem; then the curtain falls and the bright spot vanishes.
May 8th. – This morning my wife and I went to breakfast with Mrs. William Story at the Barberini Palace, expecting to meet Mrs. Jameson, who has been in Rome for a month or two. We had a very pleasant breakfast, but Mrs. Jameson was not present on account of indisposition, and the only other guests were Mrs. A – and Mrs. H – , two sensible American ladies. Mrs. Story, however, received a note from Mrs. Jameson, asking her to bring us to see her at her lodgings; so in the course of the afternoon she called on us, and took us thither in her carriage. Mrs. Jameson lives on the first piano of an old palazzo on the Via di Ripetta, nearly opposite the ferry-way across the Tiber, and affording a pleasant view of the yellow river and the green bank and fields on the other side. I had expected to see an elderly lady, but not quite so venerable a one as Mrs. Jameson proved to be; a rather short, round, and massive personage, of benign and agreeable aspect, with a sort of black skullcap on her head, beneath which appeared her hair, which seemed once to have been fair, and was now almost white. I should take her to be about seventy years old. She began to talk to us with affectionate familiarity, and was particularly kind in her manifestations towards myself, who, on my part, was equally gracious towards her. In truth, I have found great pleasure and profit in her works, and was glad to hear her say that she liked mine. We talked about art, and she showed us a picture leaning up against the wall of the room; a quaint old Byzantine painting, with a gilded background, and two stiff figures (our Saviour and St. Catherine) standing shyly at a sacred distance from one another, and going through the marriage ceremony. There was a great deal of expression in their faces and figures; and the spectator feels, moreover, that the artist must have been a devout man, – an impression which we seldom receive from modern pictures, however awfully holy the subject, or however consecrated the place they hang in. Mrs. Jameson seems to be familiar with Italy, its people and life, as well as with its picture-galleries. She is said to be rather irascible in her temper; but nothing could be sweeter than her voice, her look, and all her manifestations to-day. When we were coming away she clasped my hand in both of hers, and again expressed the pleasure of having seen me, and her gratitude to me for calling on her; nor did I refrain from responding Amen to these effusions…
Taking leave of Mrs. Jameson, we drove through the city, and out of the Lateran Gate; first, however, waiting a long while at Monaldini's bookstore in the Piazza de' Spagna for Mr. Story, whom we finally took up in the street, after losing nearly an hour.
Just two miles beyond the gate is a space on the green campagna where, for some time past, excavations have been in progress, which thus far have resulted in the discovery of several tombs, and the old, buried, and almost forgotten church or basilica of San Stefano. It is a beautiful spot, that of the excavations, with the Alban hills in the distance, and some heavy, sunlighted clouds hanging above, or recumbent at length upon them, and behind the city and its mighty dome. The excavations are an object of great interest both to the Romans and to strangers, and there were many carriages and a great many visitors viewing the progress of the works, which are carried forward with greater energy than anything else I have seen attempted at Rome. A short time ago the ground in the vicinity was a green surface, level, except here and there a little hillock, or scarcely perceptible swell; the tomb of Cecilia Metella showing itself a mile or two distant, and other rugged ruins of great tombs rising on the plain. Now the whole site of the basilica is uncovered, and they have dug into the depths of several tombs, bringing to light precious marbles, pillars, a statue, and elaborately wrought sarcophagi; and if they were to dig into almost every other inequality that frets the surface of the campagna, I suppose the result might be the same. You cannot dig six feet downward anywhere into the soil, deep enough to hollow out a grave, without finding some precious relic of the past; only they lose somewhat of their value when you think that you can almost spurn them out of the ground with your foot. It is a very wonderful arrangement of Providence that these things should have been preserved for a long series of coming generations by that accumulation of dust and soil and grass and trees and houses over them, which will keep them safe, and cause their reappearance above ground to be gradual, so that the rest of the world's lifetime may have for one of its enjoyments the uncovering of old Rome.
The tombs were accessible by long flights of steps going steeply downward, and they were thronged with so many visitors that we had to wait some little time for our own turn. In the first into which we descended we found two tombs side by side, with only a partition wall between; the outer tomb being, as is supposed, a burial-place constructed by the early Christians, while the adjoined and minor one was a work of pagan Rome about the second century after Christ. The former was much less interesting than the latter. It contained some large sarcophagi, with sculpture upon them of rather heathenish aspect; and in the centre of the front of each sarcophagus was a bust in bas-relief, the features of which had never been wrought, but were left almost blank, with only the faintest indications of a nose, for instance. It is supposed that sarcophagi were kept on hand by the sculptors, and were bought ready made, and that it was customary to work out the portrait of the deceased upon the blank face in the centre; but when there was a necessity for sudden burial, as may have been the case in the present instance, this was dispensed with.
The inner tomb was found without any earth in it, just as it had been left when the last old Roman was buried there; and it being only a week or two since it was opened, there was very little intervention of persons, though much of time, between the departure of the friends of the dead and our own visit. It is a square room, with a mosaic pavement, and is six or seven paces in length and breadth, and as much in height to the vaulted roof. The roof and upper walls are beautifully ornamented with frescos, which were very bright when first discovered, but have rapidly faded since the admission of the air, though the graceful and joyous designs, flowers and fruits and trees, are still perfectly discernible. The room must have been anything but sad and funereal; on the contrary, as cheerful a saloon, and as brilliant, if lighted up, as one could desire to feast in. It contained several marble sarcophagi, covering indeed almost the whole floor, and each of them as much as three or four feet in length, and two much longer. The longer ones I did not particularly examine, and they seemed comparatively plainer; but the smaller sarcophagi were covered with the most delicately wrought and beautiful bas-reliefs that I ever beheld; a throng of glad and lovely shapes in marble clustering thickly and chasing one another round the sides of these old stone coffins. The work was as perfect as when the sculptor gave it his last touch; and if he had wrought it to be placed in a frequented hall, to be seen and admired by continual crowds as long as the marble should endure, he could not have chiselled with better skill and care, though his work was to be shut up in the depths of a tomb forever. This seems to me the strangest thing in the world, the most alien from modern sympathies. If they had built their tombs above ground, one could understand the arrangement better; but no sooner had they adorned them so richly, and furnished them with such exquisite productions of art, than they annihilated them with darkness. It was an attempt, no doubt, to render the physical aspect of death cheerful, but there was no good sense in it.
We went down also into another tomb close by, the walls of which were ornamented with medallions in stucco. These works presented a numerous series of graceful designs, wrought by the hand in the short space of (Mr. Story said it could not have been more than) five or ten minutes, while the wet plaster remained capable of being moulded; and it was marvellous to think of the fertility of the artist's fancy, and the rapidity and accuracy with which he must have given substantial existence to his ideas. These too – all of them such adornments as would have suited a festal hall – were made to be buried forthwith in eternal darkness. I saw and handled in this tomb a great thigh-bone, and measured it with my own; it was one of many such relics of the guests who were laid to sleep in these rich chambers. The sarcophagi that served them for coffins could not now be put to a more appropriate use than as wine-coolers in a modern dining-room; and it would heighten the enjoyment of a festival to look at them.
We would gladly have stayed much longer; but it was drawing towards sunset, and the evening, though bright, was unusually cool, so we drove home; and on the way, Mr. Story told us of the horrible practices of the modern Romans with their dead, – how they place them in the church, where, at midnight, they are stripped of their last rag of funeral attire, put into the rudest wooden coffins, and thrown into a trench, – a half-mile, for instance, of promiscuous corpses. This is the fate of all, except those whose friends choose to pay an exorbitant sum to have them buried under the pavement of a church. The Italians have an excessive dread of corpses, and never meddle with those of their nearest and dearest relatives. They have a horror of death, too, especially of sudden death, and most particularly of apoplexy; and no wonder, as it gives no time for the last rites of the Church, and so exposes them to a fearful risk of perdition forever. On the whole, the ancient practice was, perhaps, the preferable one; but Nature has made it very difficult for us to do anything pleasant and satisfactory with a dead body. God knows best; but I wish he had so ordered it that our mortal bodies, when we have done with them, might vanish out of sight and sense, like bubbles. A person of delicacy hates to think of leaving such a burden as his decaying mortality to the disposal of his friends; but, I say again, how delightful it would be, and how helpful towards our faith in a blessed futurity, if the dying could disappear like vanishing bubbles, leaving, perhaps, a sweet fragrance diffused for a minute or two throughout the death-chamber. This would be the odor of sanctity! And if sometimes the evaporation of a sinful soul should leave an odor not so delightful, a breeze through the open windows would soon waft it quite away.
Apropos of the various methods of disposing of dead bodies, William Story recalled a newspaper paragraph respecting a ring, with a stone of a new species in it, which a widower was observed to wear upon his finger. Being questioned as to what the gem was, he answered, "It is my wife." He had procured her body to be chemically resolved into this stone. I think I could make a story on this idea: the ring should be one of the widower's bridal gifts to a second wife; and, of course, it should have wondrous and terrible qualities, symbolizing all that disturbs the quiet of a second marriage, – on the husband's part, remorse for his inconstancy, and the constant comparison between the dead wife of his youth, now idealized, and the grosser reality which he had now adopted into her place; while on the new wife's finger it should give pressures, shooting pangs into her heart, jealousies of the past, and all such miserable emotions.
By the by, the tombs which we looked at and entered may have been originally above ground, like that of Cecilia Metella, and a hundred others along the Appian Way; though, even in this case, the beautiful chambers must have been shut up in darkness. Had there been windows, letting in the light upon the rich frescos and exquisite sculptures, there would have been a satisfaction in thinking of the existence of so much visual beauty, though no eye had the privilege to see it. But darkness, to objects of sight, is annihilation, as long as the darkness lasts.
May 9th. – Mrs. Jameson called this forenoon to ask us to go and see her this evening;.. so that I had to receive her alone, devolving part of the burden on Miss Shepard and the three children, all of whom I introduced to her notice. Finding that I had not been farther beyond the walls of Rome than the tomb of Cecilia Metella, she invited me to take a drive of a few miles with her this afternoon… The poor lady seems to be very lame; and I am sure I was grateful to her for having taken the trouble to climb up the seventy steps of our staircase, and felt pain at seeing her go down them again. It looks fearfully like the gout, the affection being apparently in one foot. The hands, by the way, are white, and must once have been, perhaps now are, beautiful. She must have been a perfectly pretty woman in her day, – a blue or gray eyed, fair-haired beauty. I think that her hair is not white, but only flaxen in the extreme.
At half past four, according to appointment, I arrived at her lodgings, and had not long to wait before her little one-horse carriage drove up to the door, and we set out, rumbling along the Via Scrofa, and through the densest part of the city, past the theatre of Marcellus, and thence along beneath the Palatine Hill, and by the Baths of Caracalla, through the gate of San Sebastiano. After emerging from the gate, we soon came to the little Church of "Domine, quo vadis?" Standing on the spot where St. Peter is said to have seen a vision of our Saviour bearing his cross, Mrs. Jameson proposed to alight; and, going in, we saw a cast from Michael Angelo's statue of the Saviour; and not far from the threshold of the church, yet perhaps in the centre of the edifice, which is extremely small, a circular stone is placed, a little raised above the pavement, and surrounded by a low wooden railing. Pointing to this stone, Mrs. Jameson showed me the prints of two feet side by side, impressed into its surface, as if a person had stopped short while pursuing his way to Rome. These, she informed me, were supposed to be the miraculous prints of the Saviour's feet; but on looking into Murray, I am mortified to find that they are merely facsimiles of the original impressions, which are treasured up among the relics of the neighboring Basilica of San Sebastiano. The marks of sculpture seemed to me, indeed, very evident in these prints, nor did they indicate such beautiful feet as should have belonged to the hearer of the best of glad tidings.
Hence we drove on a little way farther, and came to the Basilica of San Sebastiano, where also we alighted, and, leaning on my arm, Mrs. Jameson went in. It is a stately and noble interior, with a spacious unencumbered nave, and a flat ceiling frescoed and gilded. In a chapel at the left of the entrance is the tomb of St. Sebastian, – a sarcophagus containing his remains, raised on high before the altar, and beneath it a recumbent statue of the saint pierced with gilded arrows. The sculpture is of the school of Bernini, – done after the design of Bernini himself, Mrs. Jameson said, and is more agreeable and in better taste than most of his works. We walked round the basilica, glancing at the pictures in the various chapels, none of which seemed to be of remarkable merit, although Mrs. Jameson pronounced rather a favorable verdict on one of St. Francis. She says that she can read a picture like the page of a book; in fact, without perhaps assuming more taste and judgment than really belong to her, it was impossible not to perceive that she gave her companion no credit for knowing one single simplest thing about art. Nor, on the whole, do I think she underrated me; the only mystery is, how she came to be so well aware of my ignorance on artistical points.
In the basilica the Franciscan monks were arranging benches on the floor of the nave, and some peasant children and grown people besides were assembling, probably to undergo an examination in the catechism, and we hastened to depart, lest our presence should interfere with their arrangements. At the door a monk met us, and asked for a contribution in aid of his church, or some other religious purpose. Boys, as we drove on, ran stoutly along by the side of the chaise, begging as often as they could find breath, but were constrained finally to give up the pursuit. The great ragged bulks of the tombs along the Appian Way now hove in sight, one with a farm-house on its summit, and all of them preposterously huge and massive. At a distance, across the green campagna on our left, the Claudian aqueduct strode away over miles of space, and doubtless reached even to that circumference of blue hills which stand afar off, girdling Rome about. The tomb of Cecilia Metella came in sight a long while before we reached it, with the warm buff hue of its travertine, and the gray battlemented wall which the Caetanis erected on the top of its circular summit six hundred years ago. After passing it, we saw an interminable line of tombs on both sides of the way, each of which might, for aught I know, have been as massive as that of Cecilia Metella, and some perhaps still more monstrously gigantic, though now dilapidated and much reduced in size. Mrs. Jameson had an engagement to dinner at half past six, so that we could go but a little farther along this most interesting road, the borders of which are strewn with broken marbles; fragments of capitals, and nameless rubbish that once was beautiful. Methinks the Appian Way should be the only entrance to Rome, – through an avenue of tombs.
The day had been cloudy, chill, and windy, but was now grown calmer and more genial, and brightened by a very pleasant sunshine, though great dark clouds were still lumbering up the sky. We drove homeward, looking at the distant dome of St. Peter's and talking of many things, – painting, sculpture, America, England, spiritualism, and whatever else came up. She is a very sensible old lady, and sees a great deal of truth; a good woman, too, taking elevated views of matters; but I doubt whether she has the highest and finest perceptions in the world. At any rate, she pronounced a good judgment on the American sculptors now in Rome, condemning them in the mass as men with no high aims, no worthy conception of the purposes of their art, and desecrating marble by the things they wrought in it. William Story, I presume, is not to be included in this censure, as she had spoken highly of his sculpturesque faculty in our previous conversation. On my part, I suggested that the English sculptors were little or nothing better than our own, to which she acceded generally, but said that Gibson had produced works equal to the antique, – which I did not dispute, but still questioned whether the world needed Gibson, or was any the better for him. We had a great dispute about the propriety of adopting the costume of the day in modern sculpture, and I contended that either the art ought to be given up (which possibly would be the best course), or else should be used for idealizing the man of the day to himself; and that, as Nature makes us sensible of the fact when men and women are graceful, beautiful, and noble, through whatever costume they wear, so it ought to be the test of the sculptor's genius that he should do the same. Mrs. Jameson decidedly objected to buttons, breeches, and all other items of modern costume; and, indeed, they do degrade the marble, and make high sculpture utterly impossible. Then let the art perish as one that the world has done with, as it has done with many other beautiful things that belonged to an earlier time.
It was long past the hour of Mrs. Jameson's dinner engagement when we drove up to her door in the Via Ripetta. I bade her farewell with much good-feeling on my own side, and, I hope, on hers, excusing myself, however, from keeping the previous engagement to spend the evening with her, for, in point of fact, we had mutually had enough of one another for the time being. I am glad to record that she expressed a very favorable opinion of our friend Mr. Thompson's pictures.
May 12th. – To-day we have been to the Villa Albani, to which we had a ticket of admission through the agency of Mr. Cass (the American Minister). We set out between ten and eleven o'clock, and walked through the Via Felice, the Piazza Barberini, and a long, heavy, dusty range of streets beyond, to the Porta Salara, whence the road extends, white and sunny, between two high blank walls to the gate of the villa, which is at no great distance. We were admitted by a girl, and went first to the casino, along an aisle of overshadowing trees, the branches of which met above our heads. In the portico of the casino, which extends along its whole front, there are many busts and statues, and, among them, one of Julius Caesar, representing him at an earlier period of life than others which I have seen. His aspect is not particularly impressive; there is a lack of chin, though not so much as in the older statues and busts. Within the edifice there is a large hall, not so brilliant, perhaps, with frescos and gilding as those at the Villa Borghese, but lined with the most beautiful variety of marbles. But, in fact, each new splendor of this sort outshines the last, and unless we could pass from one to another all in the same suite, we cannot remember them well enough to compare the Borghese with the Albani, the effect being more on the fancy than on the intellect. I do not recall any of the sculpture, except a colossal bas-relief of Antinous, crowned with flowers, and holding flowers in his hand, which was found in the ruins of Hadrian's Villa. This is said to be the finest relic of antiquity next to the Apollo and the Laocoon; but I could not feel it to be so, partly, I suppose, because the features of Autinous do not seem to me beautiful in themselves; and that heavy, downward look is repeated till I am more weary of it than of anything else in sculpture. We went up stairs and down stairs, and saw a good many beautiful things, but none, perhaps, of the very best and beautifullest; and second-rate statues, with the corroded surface of old marble that has been dozens of centuries under the ground, depress the spirits of the beholder. The bas-relief of Antinous has at least the merit of being almost as white and fresh, and quite as smooth, as if it had never been buried and dug up again. The real treasures of this villa, to the number of nearly three hundred, were removed to Paris by Napoleon, and, except the Antinous, not one of them ever came back.
There are some pictures in one or two of the rooms, and among them I recollect one by Perugino, in which is a St. Michael, very devout and very beautiful; indeed, the whole picture (which is in compartments, representing the three principal points of the Saviour's history) impresses the beholder as being painted devoutly and earnestly by a religious man. In one of the rooms there is a small bronze Apollo, supposed by Winckelmann to be an original of Praxiteles; but I could not make myself in the least sensible of its merit.
The rest of the things in the casino I shall pass over, as also those in the coffee-house, – an edifice which stands a hundred yards or more from the casino, with an ornamental garden, laid out in walks and flower-plats between. The coffee-house has a semicircular sweep of porch with a good many statues and busts beneath it, chiefly of distinguished Romans. In this building, as in the casino, there are curious mosaics, large vases of rare marble, and many other things worth long pauses of admiration; but I think that we were all happier when we had done with the works of art, and were at leisure to ramble about the grounds. The Villa Albani itself is an edifice separate from both the coffee-house and casino, and is not opened to strangers. It rises, palace-like, in the midst of the garden, and, it is to be hoped, has some possibility of comfort amidst its splendors. – Comfort, however, would be thrown away upon it; for besides that the site shares the curse that has fallen upon every pleasant place in the vicinity of Rome… it really has no occupant except the servants who take care of it. The Count of Castelbarco, its present proprietor, resides at Milan. The grounds are laid out in the old fashion of straight paths, with borders of box, which form hedges of great height and density, and as even as a brick wall at the top and sides. There are also alleys forming long vistas between the trunks and beneath the boughs of oaks, ilexes, and olives; and there are shrubberies and tangled wildernesses of palm, cactus, rhododendron, and I know not what; and a profusion of roses that bloom and wither with nobody to pluck and few to look at them. They climb about the sculpture of fountains, rear themselves against pillars and porticos, run brimming over the walls, and strew the path with their falling leaves. We stole a few, and feel that we have wronged our consciences in not stealing more. In one part of the grounds we saw a field actually ablaze with scarlet poppies. There are great lagunas; fountains presided over by naiads, who squirt their little jets into basins; sunny lawns; a temple, so artificially ruined that we half believed it a veritable antique; and at its base a reservoir of water, in which stone swans seemed positively to float; groves of cypress; balustrades and broad flights of stone stairs, descending to lower levels of the garden; beauty, peace, sunshine, and antique repose on every side; and far in the distance the blue hills that encircle the campagna of Rome. The day was very fine for our purpose; cheerful, but not too bright, and tempered by a breeze that seemed even a little too cool when we sat long in the shade. We enjoyed it till three o'clock…
At the Capitol there is a sarcophagus with a most beautiful bas-relief of the discovery of Achilles by Ulysses, in which there is even an expression of mirth on the faces of many of the spectators. And to-day at the Albani a sarcophagus was ornamented with the nuptials of Peleus and Thetis.
Death strides behind every man, to be sure, at more or less distance, and, sooner or later, enters upon any event of his life; so that, in this point of view, they might each and all serve for bas-reliefs on a sarcophagus; but the Romans seem to have treated Death as lightly and playfully as they could, and tried to cover his dart with flowers, because they hated it so much.
May 15th. – My wife and I went yesterday to the Sistine Chapel, it being my first visit. It is a room of noble proportions, lofty and long, though divided in the midst by a screen or partition of white marble, which rises high enough to break the effect of spacious unity. There are six arched windows on each side of the chapel, throwing down their light from the height of the walls, with as much as twenty feet of space (more I should think) between them and the floor. The entire walls and ceiling of this stately chapel are covered with paintings in fresco, except the space about ten feet in height from the floor, and that portion was intended to be adorned by tapestries from pictures by Raphael, but, the design being prevented by his premature death, the projected tapestries have no better substitute than paper-hangings. The roof, which is flat at top, and coved or vaulted at the sides, is painted in compartments by Michael Angelo, with frescos representing the whole progress of the world and of mankind from its first formation by the Almighty.. till after the flood. On one of the sides of the chapel are pictures by Perugino, and other old masters, of subsequent events in sacred history; and the entire wall behind the altar, a vast expanse from the ceiling to the floor, is taken up with Michael Angelo's summing up of the world's history and destinies in his "Last Judgment."
There can be no doubt that while these frescos continued in their perfection, there was nothing else to be compared with the magnificent and solemn beauty of this chapel. Enough of ruined splendor still remains to convince the spectator of all that has departed; but methinks I have seen hardly anything else so forlorn and depressing as it is now, all dusky and dim, even the very lights having passed into shadows, and the shadows into utter blackness; so that it needs a sunshiny day, under the bright Italian heavens, to make the designs perceptible at all. As we sat in the chapel there were clouds flitting across the sky; when the clouds came the pictures vanished; when the sunshine broke forth the figures sadly glimmered into something like visibility, – the Almighty moving in chaos, – the noble shape of Adam, the beautiful Eve; and, beneath where the roof curves, the mighty figures of sibyls and prophets, looking as if they were necessarily so gigantic because the thought within them was so massive. In the "Last Judgment" the scene of the greater part of the picture lies in the upper sky, the blue of which glows through betwixt the groups of naked figures; and above sits Jesus, not looking in the least like the Saviour of the world, but, with uplifted arm, denouncing eternal misery on those whom he came to save. I fear I am myself among the wicked, for I found myself inevitably taking their part, and asking for at least a little pity, some few regrets, and not such a stern denunciatory spirit on the part of Him who had thought us worth dying for. Around him stand grim saints, and, far beneath, people are getting up sleepily out of their graves, not well knowing what is about to happen; many of them, however, finding themselves clutched by demons before they are half awake. It would be a very terrible picture to one who should really see Jesus, the Saviour, in that inexorable judge; but it seems to me very undesirable that he should ever be represented in that aspect, when it is so essential to our religion to believe him infinitely kinder and better towards us than we deserve. At the last day – I presume, that is, in all future days, when we see ourselves as we are – man's only inexorable judge will be himself, and the punishment of his sins will be the perception of them.