Storieta
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About this book

Italy, the Magic Land is a lyrical travelogue that strings together the author’s fragmentary memories of Italy’s artistic heartlands rather than a conventional guidebook. The opening pages explain why Florence, the “Flower City,” is only allusively mentioned, its beauty having been exhaustively treated in Whiting’s earlier volume on Walter Savage Landor. Instead, the narrative drifts through Rome’s vaulted basilicas, the sun‑kissed cliffs of Capri, the violet seas of Ischia, and the solemn sanctuaries of Assisi, each scene filtered through the prism of recollection. The author’s aim is to let the traveler’s inconveniences fade, leaving behind the “resplendent sunset skies, poetic association, [and] artistic beauty” that linger in memory.

Written in the early twentieth‑century prose of an American expatriate deeply enamoured of European art, the book blends ornate description with a reflective, almost poetic tone. Its style will appeal to readers who relish richly detailed cultural essays, art historians interested in the period’s American artists in Rome, and anyone who enjoys immersive, impressionistic travel writing that captures the spirit of Italy’s historic cities rather than a straightforward itinerary.

Who appears in Italy, the Magic Land

  • Walter Savage LandorElderly English gentleman, silver hair, full beard, high-collared frock coat, cravat, dignified expression

The opening · free to read

That Florence, the "Flower City," receives only a passing allusion in this record of various impressions that gleam and glow through the days after several visits to the Magic Land, is due to the fact that in a previous volume by the writer--one entitled "The Florence of Landor"--the lovely Tuscan town with its art, its ineffable beauty, and its choice social life, formed the subject matter of that volume. Any attempt to portray Florence in the present book would savor only of the repetition of loves and enthusiasms already recorded in the previous work in which Walter Savage Landor formed the central figure. For that reason no mention of Florence, beyond some mere allusion, is attempted in these pages, which only aim to present certain fragmentary impressions of various sojourns in Italy, refracted through the prism of memory. Whatever inconveniences or discomfort attend the traveller swiftly fade, and leave to him only the precious heritage of resplendent sunset skies, of poetic association, of artistic beauty. In spirit he is again lingering through long afternoons in St. Peter's till the golden light through the far windows of the tribune is merged into the dusk of twilight in which the vast monumental groups gleam wraith-like. Again he is ascending the magnificent Scala Regia, and lingering in the Raphael Stanze, or in the wonderful sculpture galleries of the Vatican, or sauntering in the sunshine on the Palatine. In memory he is again spellbound by ancient and mediaeval art. In the line of modern sculpture the work of Franklin Simmons in Rome is a feature of Italy that haunts the imagination. No lover of beauty would willingly miss his great studios in the Via San Nicolo da Tolentino, with their wealth of ideal creations that contribute new interest to the most divine of all the arts.

"The world of art is an ideal world,-- The world I love, and that I fain would live in; So speak to me of artists and of art, Of all the painters, sculptors, and musicians That now illustrate Rome."

The mystic charm of the pilgrimage to Assisi; the romance that reflects itself in the violet seas and flaming splendors of the sky on the shores of Ischia and Capri; the buried treasures of Amalfi; the magnetic impressiveness of the Eternal City,--all these enter into life as new forces to build and shape the future into undreamed-of destinies.

L. W.

THE BRUNSWICK, BOSTON, October Days, 1907.

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