SIMOND compares the Tower to the usual pictorial representations in
children’s books of the Tower of Babel. It is a happy simile, and
conveys a better idea of the building than chapters of laboured
description. Nothing can exceed the grace and lightness of the
structure; nothing can be more remarkable than its general
appearance. In the course of the ascent to the top (which is by an
easy staircase), the inclination is not very apparent; but, at the
summit, it becomes so, and gives one the sensation of being in a
ship that has heeled over, through the action of an ebb-tide. The
effect UPON THE LOW SIDE, so to speak – looking over from the
gallery, and seeing the shaft recede to its base – is very
startling; and I saw a nervous traveller hold on to the Tower
involuntarily, after glancing down, as if he had some idea of
propping it up. The view within, from the ground – looking up, as
through a slanted tube – is also very curious. It certainly
inclines as much as the most sanguine tourist could desire. The
natural impulse of ninety-nine people out of a hundred, who were
about to recline upon the grass below it, to rest, and contemplate
the adjacent buildings, would probably be, not to take up their
position under the leaning side; it is so very much aslant.
The manifold beauties of the Cathedral and Baptistery need no
recapitulation from me; though in this case, as in a hundred
others, I find it difficult to separate my own delight in recalling
them, from your weariness in having them recalled. There is a
picture of St. Agnes, by Andrea del Sarto, in the former, and there
are a variety of rich columns in the latter, that tempt me
strongly.
It is, I hope, no breach of my resolution not to be tempted into
elaborate descriptions, to remember the Campo Santo; where grassgrown
graves are dug in earth brought more than six hundred years
ago, from the Holy Land; and where there are, surrounding them,
such cloisters, with such playing lights and shadows falling
through their delicate tracery on the stone pavement, as surely the
dullest memory could never forget. On the walls of this solemn and
lovely place, are ancient frescoes, very much obliterated and
decayed, but very curious. As usually happens in almost any
collection of paintings, of any sort, in Italy, where there are
many heads, there is, in one of them, a striking accidental
likeness of Napoleon. At one time, I used to please my fancy with
the speculation whether these old painters, at their work, had a
foreboding knowledge of the man who would one day arise to wreak
such destruction upon art: whose soldiers would make targets of
great pictures, and stable their horses among triumphs of
architecture. But the same Corsican face is so plentiful in some
parts of Italy at this day, that a more commonplace solution of the
coincidence is unavoidable.
Page 68
Dickens, Charles – Pictures From Italy
If Pisa be the seventh wonder of the world in right of its Tower,
it may claim to be, at least, the second or third in right of its
beggars. They waylay the unhappy visitor at every turn, escort him
to every door he enters at, and lie in wait for him, with strong
reinforcements, at every door by which they know he must come out.
The grating of the portal on its hinges is the signal for a general
shout, and the moment he appears, he is hemmed in, and fallen on,
by heaps of rags and personal distortions. The beggars seem to
embody all the trade and enterprise of Pisa. Nothing else is
stirring, but warm air. Going through the streets, the fronts of
the sleepy houses look like backs. They are all so still and
quiet, and unlike houses with people in them, that the greater part
of the city has the appearance of a city at daybreak, or during a
general siesta of the population. Or it is yet more like those
backgrounds of houses in common prints, or old engravings, where
windows and doors are squarely indicated, and one figure (a beggar