The Autobiography of Mark Twain by Mark Twain (good book recommendations .TXT) 📕

at no particular time of your life; wander at your free will all over your life; talk only about the thing which interests you for the moment; drop it the moment its interest threatens to pale, and turn your talk upon the new and more interesting thing that has intruded itself into your mind meantime.

Also, make the narrative a combined Diary and Autobiography. In this way you have the vivid thing of the present to make a contrast with memories of like things in the past, and these contrasts have a charm which is all their own. No talent is required to make a Combined Diary and Autobiography interesting.

And so, I have found the right plan. It makes my labor amusement⁠—mere amusement, play, pastime, and wholly effortless.16

Villa Quarto

Florence, January, 1904

This villa is situated three or four miles from Florence, and has several names. Some call it the Villa Reale di Quarto, some call it the Villa Principessa, some call it the Villa Granduchessa; this multiplicity of names was an inconvenience to me for the first two or three weeks, for as I had heard the place called by only one name, when letters came for the servants directed to the care of one or the other of the other names, I supposed a mistake had been made and remailed them. It has been explained to me that there is reason for these several names. Its name Quarto it gets from the district which it is in, it being in the four-mile radius from the center of Florence. It is called Reale because the King of Würtemberg occupied it at one time; Principessa and Granduchessa because a Russian daughter of the Imperial house occupied it at another. There is a history of the house somewhere, and some time or other I shall get it and see if there are any details in it which could be of use in this chapter. I should like to see that book, for as an evolutionist I should like to know the beginning of this dwelling and the several stages of its evolution. Baedeker says it was built by Cosimo I, assisted by an architect. I have learned this within the past three minutes, and it wrecks my development scheme. I was surmising that the house began in a small and humble way, and was the production of a poor farmer whose idea of home and comfort it was; that following him a generation or two later came a successor of better rank and larger means who built an addition; that successor after successor added more bricks and more bulk as time dragged on, each in his turn leaving a detail behind him of paint or wallpaper to distinguish his reign from the others; that finally in the last century came the three that precede me, and added their specialties. The King of Würtemberg broke out room enough in the center of the building⁠—about a hundred feet from each end of it⁠—to put in the great staircase, a cheap and showy affair, almost the only wooden thing in the whole edifice, and as comfortable and sane and satisfactory as it is out of character with the rest of the asylum. The Russian princess, who came with native superstitions about cold weather, added the hot-air furnaces in the cellar and the vast green majolica stove in the great hall where the king’s staircase is⁠—a stove which I thought might possibly be a church⁠—a nursery church for children, so imposing is it for size and so richly adorned with basso relievos of an ultra-pious sort. It is loaded and fired from a secret place behind the partition against which it is backed. Last of all came Satan also, the present owner of the house, an American product, who added a cheap and stingy arrangement of electric bells, inadequate acetylene gas plant, obsolete waterclosets, perhaps a dozen pieces of machine-made boardinghouse furniture, and some fire-auction carpets which blaspheme the standards of color and art all day long, and never quiet down until the darkness comes and pacifies them.

However, if the house was built for Cosimo four hundred years ago and with an architect on deck, I suppose I must dismiss those notions about the gradual growth of the house in bulk. Cosimo would want a large house, he would want to build it himself so that he could have it just the way he wanted it. I think he had his will. In the architecture of this barrack there has been no development. There was no architecture in the first place and none has been added, except the king’s meretricious staircase, the princess’s ecclesiastical stove, and the obsolete water-closets. I am speaking of art-architecture; there is none.

There is no more architecture of that breed discoverable in this long stretch of ugly and ornamentless three-storied house front than there is about a rope walk or a bowling alley. The shape and proportions of the house suggest those things, it being two hundred feet long by sixty wide. There is no art-architecture inside the house, there is none outside.

We arrive now at practical architecture⁠—the useful, the indispensable, which plans the inside of a house and by wisely placing and distributing the rooms, or by studiedly and ineffectually distributing them, makes the house a convenient and comfortable and satisfactory abiding place or the reverse. The inside of the house is evidence that Cosimo’s architect was not in his right mind. And it seems to me that it is not fair and not kind in Baedeker to keep on exposing him and his crime down to this late date. I am nobler than Baedeker, and more humane, and I suppress it. I don’t remember what it was, anyway.

I shall go into the details of this house, not because I imagine it differs much from any other old-time palace or new-time palace on the continent of Europe, but because every one of its crazy details interests me,