THE CHARM OF VENICE

The charm of Venice: that subtle dreamy charm ... which no artist or poet ever can resist.

OUIDA.

I do not know how this should be, but Venice seems made to prove that ‘La Vita è un sogno.’ What the Venice dream is all the world knows. Motion that is almost imperceptible, colour too deep and gorgeous to strike the eye, gilding so massive and ancient as to wear a mist of amber brown upon its brightness, white cupolas that time has turned to pearls, marble that no longer looks like stone, but like blocks cut from summer clouds, a smooth sea that is brighter and more infinite than the sky it reflects—these are some of the ingredients of the dream which are too familiar for description. Nothing can describe the elemental warmth of the days, the sea-kisses of the wind at evening, the atmosphere of breathless tepid moonlight in the night.

JOHN ADDINGTON SYMONDS.

Venice is among cities what Shakespeare is among men.

WALTER SAVAGE LANDOR.

I may speak of thee as the traveller doth of Venice:

In this enchanted Venice, it seems to you, no one is ever sad, or cross, or weary. You think that here, at least, you could be reconciled to an earthly immortality.

LOUISE CHANDLER MOULTON.

This enchanting city of Venice has always the same charm and the same glamour.... Sun, moon, and stars shed all they have of glory and of glamour over the romantic city, painting the smooth lagoons with a rare splendour of colouring which changes city and sea into something supernal, unimaginable, dreamlike.

M. E. BRADDON.

SALVE VENETIA!

Venice is the most personal of all cities in the world, the most feminine, the most comparable to a woman, the least dependent, for her individuality, upon her inhabitants, ancient or modern. What would Rome be without the memory of the Cæsars? What would Paris be without the Parisians? What was Constantinople like before it was Turkish? The imagination can hardly picture a Venice different from her present self at any time in her history. Where all is colour, the more brilliant costumes of earlier times could add but little; a general exodus of her inhabitants to-day would leave almost as much of it behind. In the still canals the gorgeous palaces continually gaze down upon their own reflected images with placid satisfaction, and look with calm indifference upon the changing generations of men and women that glide upon the waters. The mists gather upon the mysterious lagoons and sink away again before the devouring light, day after day, year after year, century after century; and Venice is always there herself, sleeping or waking, laughing, weeping, dreaming, singing or sighing, living her own life through ages, with an intensely vital personality which time has hardly modified, and is altogether powerless to destroy. Somehow, it would not surprise those who know her, to come suddenly upon her and find that all human life was extinct within her, while her own went on, strong as ever; nor yet, in the other extreme, would it seem astonishing if all that has been should begin again, as though it had never ceased to be, if the Bucentaur swept down the Grand Canal to the beat of its two hundred oars, bearing the Doge out to wed the sea with gorgeous train; if the Great Council began to sit again in all its splendour; if the Piazza were thronged once more with men and women from the pictures of Paris Bordone, Tintoretto, Paolo Veronese, and Titian; if Eastern shipping crowded the entrance to the Giudecca, and Eastern merchants filled the shady ways of the Merceria. What miracle could seem miraculous in Venice, the city of wonders?...

Venice was Venice from the first, and is Venice still, a person in our imagination, almost more than a place.... ‘Venice’ calls up a dream of colour, of rich palaces and of still water, and at the name there are more men who will think of Shylock and Othello than of Enrico Dandolo, or Titian, or Carlo Zeno, or Vittor Pisani....

Who seeks true poetry, said Rossi, writing on Venice, will find it most abundantly in the early memories of a Christian nation; and indeed the old chronicles are full of it, of idyls, of legends, and of heroic tales. Only dream a while over the yellow pages of Muratori, and presently you will scent the spring flowers of a thousand years ago, and hear the ripple of the blue waves that lent young Venice their purity, their brilliancy, and their fresh young music. You may even enjoy a pagan vision of maiden Aphrodite rising suddenly out of the sea into the sunshine, but the dream dissolves only too soon; grace turns into strength, the lovely smile of the girl-goddess fades from the commanding features of the reigning queen, and heavenly Venus is already earthly Cleopatra.

It is better to open our arms gladly to the beautiful when she comes to us, than to prepare our dissecting instruments as soon as we are aware of her presence.... And so with Venice; she is a form of beauty, and must be looked upon as that and nothing else; not critically, for criticism means comparison, and Venice is too personal and individual, and too unlike other cities to be fairly compared with them; not coldly, for she appeals to the senses and to the human heart, and craves a little warmth of sympathy; above all, not in a spirit of righteous severity, for he who would follow her story must learn to forgive her almost at every step.

She has paid for her mistakes with all save her inextinguishable life; she has expiated her sins of ill-faith, of injustice and ingratitude, by the loss of everything but her imperishable charm.

FRANCIS MARION CRAWFORD.

WRITTEN AT VENICE

VENICE THE ENCHANTRESS

Venice has long borne in the imagination of the world a distinctive position, something of the character of a great enchantress, a magician of the seas. Her growth between the water and the sky; her great palaces, solid and splendid, built, so to speak, on nothing; the wonderful glory of light and reflection about her; the glimmer of incessant brightness and movement; the absence of all those harsh, artificial sounds which vex the air in other towns, but which in her are replaced by harmonies of human voices, and by the liquid tinkle of the waves—all these unusual characteristics combine to make her a wonder and a prodigy. While there are scarcely any who are unmoved by her special charm, there are some who are entirely subdued by it, to whom the sight of her is a continual enchantment, and who never get beyond the sense of something miraculous, the rapture of the first vision. Not only does she ‘shine where she stands,’ which even the poorest cluster of human habitations will do in the light of love: but all those walls, with the mist of ages like a bloom of eternal youth upon them—all those delicate pinnacles and carven-stones, the arches and the pillars and the balconies, the fretted outlines that strike against the sky—shine too as with a light within that radiates into the clear sea-air; and every ripple on the great water-way, and every wave on the lagoon, and each little rivulet of a canal, like a line of light between the piles of masonry, which are themselves built of pearl and tints of ocean shells, shines too with an ever-varied, fantastic, enchanting glimmer of responsive brightness. In the light of summer mornings, in the glow of winter sunsets, Venice stands out upon the blue background, the sea that brims upwards to her very doors, the sky that sweeps in widening circles all around, radiant with an answering tone of light. She is all wonder, enchantment, the brightness and the glory of a dream. Her own children cannot enough paint her, praise her, celebrate her splendours; and to outdo if possible that patriotic enthusiasm has been the effort of many a stranger from afar....

Where is the poet, where the prophet, the princes, the scholars, the men whom, could we see, we should recognize wherever we met them, with whom the whole world is acquainted? They are not here. In the sunshine of the Piazza, in the glorious gloom of San Marco, in the great council-chambers and offices of State, once so full of busy statesmen, and great interests, there is scarcely a figure recognizable of all, to be met with in spirit—no one whom we look for as we walk, whose individual footsteps are traceable wherever we turn. Instead of the men who made her what she is, who ruled her with so high a hand, who filled her archives with the most detailed narratives, and gleaned throughout the world every particular of universal history which could enlighten and guide her, we find everywhere the great image—an idealisation more wonderful than any in poetry—of Venice herself, the crowned and reigning city, the centre of all their aspirations, the mistress of their affections, for whom those haughty patricians of an older day, with a proud self-abnegation which has no humility or sacrifice in it, effaced themselves, thinking of nothing but her glory....

Though there is no record of that time when Dante stood within the red walls of the arsenal, and saw the galleys making and mending, and the pitch fuming up to heaven—as all the world may still see them through his eyes—yet a milder scholarly image, a round smooth face, with cowl and garland, looks down upon us from the gallery, all blazing with crimson and gold, between the horses of San Marco, a friendly visitor, the best we could have, since Dante left no sign behind him, and probably was never heard of by the magnificent Signoria. Petrarch stands there, to be seen by the side of the historian-doge, as long as Venice lasts: but not much of him, only a glimpse, as in the Venetian way, lest in contemplation of the poet we should for a moment forget the Republic, his hostess and protector—Venice, the all-glorious mistress of the seas, the first object, the unrivalled sovereign of her children’s thoughts and hearts.

MRS. OLIPHANT.

VENICE

VENETIAN ENCHANTMENT

Can you fancy a city without a horse in it, or a carriage, where not even a van or a truck disturbs the stillness, where your household possessions are moved on the witching first of May in boats, and you drift along in a gondola to your merry-makings or your funerals? Such a city is Venice, where, as Browning wrote, ‘the sea the street is.’ I went out of the railroad-station into a gondola, and the enchantment began. I felt the spell, at once, of this unique city,—this one only Venice in all the world. Everywhere were gondolas,—gondolas moored at the quay, waiting for passengers; gondolas drawn up in front of palaces, waiting for their freight of dark-eyed Venetian girls; gondolas threading the mazes of the little canals, or sweeping down the Grand Canal, and drawing near each other now and then for a chat between the occupants.

All these gondolas are painted black. This is in accordance with an ancient law of the Republic, passed once upon a time when the decorations of the fascinating water-carriages were becoming too sumptuous for Republican morals. But even now many of the gondolas are very elegant. They are long and slender in shape, with a high beak pointed with steel; they are often superb in carving. Inside the little house in which you sit are soft cushions, and gilt-framed mirrors in which the piquant, dark-eyed faces of the Italian girls behold themselves in fascinating reflection....

Venice is a city of palaces. Three-quarters of them are unoccupied now, save by the stranger within her gates, who hires them for a season. But they are wonderfully beautiful, with their superb architecture and their great variety of colouring. Nothing could be more delightful than a sail down the Grand Canal at sunset, unless it be one by moonlight.

At sunset, after the warmest day, the air is cool. The sky is crimson above you, and the water which laps around your black keel is crimson also. Everybody has come out to enjoy the delicious coolness and shadow. You meet your friends, and exchange greetings with them as you would in the Casino at Florence or the Central Park in New York. The old palaces catch the sunset glory, and glow in it with a splendour as radiant as their memories. Busy waiters are arranging the out-of-door tables in front of the cafés in the grand piazza of San Marco for their evening custom. You drift on and on, till the sunset glory fades, and a new glory, purer and paler, has arisen,—the glory of the moon.

Everybody raves about moonlight in Venice, and well they may, for there is nothing on earth so enchanting. You forget the far-off world,—that old, hard world, where waggons rattle, and horses stumble and fall, and people are tired, and duns harass you, and time and tide wait for no man. In this enchanted Venice, it seems to you, no one is ever sad, or cross, or weary. You think that here, at least, you could be reconciled to an earthly immortality. The feeling is universal. A rich Englishman, while I was there, leased one of the old palaces for twenty-five years to come, and was busily adorning it with gems of art. He put into it old Venetian glasses, strange mirrors with nymphs and roses painted on them, such as were the glory of Venice long ago. His silver was wrought by the men of Benvenuto Cellini’s time. In his hall were marble statues sculptured by long-forgotten hands. His chairs and tables were carved by cunning workmen who had turned to dust. Everything was of the past, except the flowers, which everywhere ran riot. Marble vases, rifled from tombs, were full of glowing crimson roses. Bright-hued blossoms filled the windows, vines trailed over the walls, fragrance as of a thousand gardens flooded the rooms.

‘Twenty-five years!’ cried a friend, who was looking on at the lavish adornment of the old palace. ‘Are you sure you will be contented here so long?’

‘If not, it is hopeless,’ was the answer, ‘for I’ve tried the rest of the world, and found it wanting. Year after year Venice has drawn me back again with her charm, always new, though so old. If she fails to content me, there is nothing left but to go to heaven.’

And there are those who think, having reached Venice, that they have gone very nigh to heaven. At least, let us fancy it is that Island of the Blest which the old voyageurs used to seek....

There are few places more prolific of temptations to the purse than this city by the sea. You could spend a small fortune in photographs; and no photographs are so beautiful as those of Venice, with her water-ways, her sumptuous architecture, and her picturesque gondolas. You go a few steps from the photographer’s, and pause before the window of a shop for the sale of antiquities. If you have any imagination at all, you are fascinated at once. You find here quaint rings, as old as the days of the Doges; lace which generations of by-gone marquises have worn, and which time has turned to the hue of amber; fans behind which the dear, dead women, with their red-gold hair that Titian painted, blushed and bloomed and sighed and flirted. Here are shoe-buckles glittering with diamonds; here, in short, are a thousand relics of a beauty-loving and luxurious past; and you cannot turn away from them until you have bought something by way of talisman, wherewith to conjure back the shades of dead days and faded glories.

You see long lines of shops, full of the Venetian mosaic, and of the Venetian gold-work, which is the daintiest that you can imagine. Here is Salviati’s priceless glass. It is Salviati who has rediscovered the secrets of the old glass-makers. He will tell you that there can be no such thing as a lost art, while the human brain retains its former power; and in this matter of glass-making, at least, he has proved his own theories. Such wonderful colours, such wonderful shapes, such exquisite designs, can be found nowhere else. It almost converts one to Spiritualism, this exceptional success of Salviati’s, and makes you think that the ghosts of some of the old glass-makers have been whispering their long-forgotten secrets into his ears. You have fingered all the morning round this captivating piazza of San Marco, with its shops full of temptations, and now the bronze Vulcans of the clock-tower march out and strike the hour of two, and retire again; and just as they beat their retreat you see one of the prettiest sights in Venice. Long ago—at the beginning of the thirteenth century, so the story runs,—Admiral Dandolo, while besieging Candia, received intelligence by means of carrier-pigeons which greatly aided him. He then sent the birds to Venice with the news of his success; and since that period their descendants have been carefully cherished and greatly prized by the Venetians. Every day, at two o’clock the doves are fed at the expense of the city.... Venice! You can pass your dreamy days there in the luxury of an absolute repose. No other place is like it for beauty, and certainly no other is like it for restfulness.... Gay belles, who have tired themselves out by a busy winter in Rome or Florence, betake themselves to this City of the Sea, and win back their roses in its quiet. Its spell is on you from the first moment you arrive. It seems to me no one could ever leave it willingly; and if only the post could be abolished, and no letters would come to call you back to the world outside, you might stay there for ever without knowing it,—like the monk who laid his ear so close to heaven that he heard in his dream the songs of Paradise, and awoke to find that he had been listening to them for a thousand years.

LOUISE CHANDLER MOULTON.

A VISION OF VENICE

SPECTRAL VENICE

‘I know another sight,’ said the Moon, ‘the spectre of a city. Whenever the jetty fountains splash into the marble basins, they seem to me to be telling the story of the floating city. Yes, the spouting water may tell of her, the waves of the sea may sing of her fame! On the surface of the ocean a mist often rests, and this is her widow’s veil. The Bridegroom of the Sea is dead; his palace and his city are his mausoleum. Dost thou know this city? She has never heard the rolling of wheels or the hoof-tread of horses in her streets, through which the fish swim, while the black gondola glides spectrally over the green water. I will show you the place,’ continued the Moon, ‘the largest square in it, and you will fancy yourself transported into the city of a fairy-tale. The grass grows rank among the broad flag-stones, and in the morning twilight thousands of tame pigeons flutter around the solitary lofty tower. On three sides you find yourself surrounded by cloistered walks. In these the silent Turk sits smoking his long pipe; the handsome Greek leans against the pillar, and gazes at the upraised trophies and lofty masts, memorials of power that is gone. The flags hang down like mourning scarves. A girl rests there; she has put down her heavy pails filled with water, the yoke with which she has carried them rests on one of her shoulders, and she leans against the mast of victory. This is not a fairy-palace you see before you yonder, but a church; the gilded domes and shining orbs flash back my beams; the glorious bronze horses up yonder have made journeys, like the bronze horse in the fairy-tale; they have come hither, and gone hence, and have returned again. Do you notice the variegated splendour of the walls and windows? It looks as if Genius had followed the caprices of a child, in the adornment of these singular temples. Do you see the winged lion on the pillar? The gold glitters still, but his wings are tied; the lion is dead, for the King of the Sea is dead; the great halls stand desolate, and where gorgeous painting hung of yore, the naked wall now peers through. The lazzaroni sleeps under the arcade, whose pavement in old times was to be trodden only by the feet of the high nobility. From the deep wells, and perhaps from the prisons by the Bridge of Sighs, rise the accents of woe, as at the time when the mandolino was heard in gay gondolas, and the golden ring was cast from the Bucentaur to Adria, the Queen of the Seas. Adria! shroud thyself in mists; let the veil of thy widowhood shroud thy form, and clothe in the weeds of woe the mausoleum of thy bridegroom—the marble, spectral Venice!’

HANS ANDERSEN.

A REVERIE IN VENICE

IN PRAISE OF VENICE

Though the incomparable and most decantated majestie of this citie doth deserve a farre more elegant and curious pensill to paint her out in her colours then mine. For I ingenuously confess mine owne insufficiency and unworthiness, as being the unworthiest of ten thousand to describe so beautiful, so renowned, so glorious a Virgin (for by that title doth the world most deservedly stile her), because my rude and unpolished pen may rather staine and eclipse the resplendent rays of her unparalleled beauty, then adde any lustre unto it; yet since I have hitherto contrived this slender and naked narration of my observations of five moneths travels in forraine countries, this noble citie doth in a manner chalenge this at my hands, that I should describe her also as well as the other cities I saw in my journey, partly because shee gave me most loving and kinde entertainment for the space of sixe weeks, which was the sweetest time (I must needes confesse) for so much that ever I spent in my life; and partly for that she ministered unto me more variety of remarkable and delicious objects then mine eyes ever survayed in any citie before, or ever shall, if I should with famous Sir John Mandevil our English Ulysses spend thirty whole yeares together in travelling over most places of the Christian and Ethnicke world. Therefore omitting tedious introductions, I will descend to the description of this thrise worthie citie: the fairest Lady, yea the richest Paragon and Queene of Christendome. (I call her not thus in respect of any soveraignty that she hath over other nations, in which sense Rome was in former times called Queene of the world, but in regard of her incomparable situation, surpassing wealth, and most magnificent buildings.) Such is the rareness of the situation of Venice, that it doth even amaze and drive into admiration all strangers that upon their first arrivall behold the same. For it is built altogether upon the water in the innermost gulfe of the Adriatique Sea which is commonly called Gulfo di Venetia, and is distant from the maine sea about the space of three miles.... The city is divided in the middest by a goodly faire channel, which they call Canal il Grande. The same is crooked, and made in the form of a Roman S. It is in length a thousand and three hundred paces, and in breadth at least forty, in some places more. The sixe parts of the City whereof Venice consisteth, are situate on both sides of this Canal il Grande. The names of them are these, St. Marco, Castello, Canareio, that lie on one side of it, and those on the other side are called St. Polo, St. Croce, Dorso Duro. Also both sides of this channel are adorned with many sumptuous and magnificent Palaces that stand very neare to the water, and make a very glorious and beautifull shew. For many of them are of a great height, three or foure stories high, most being built with bricke, and some few with faire free stone. Besides, they are adorned with a great multitude of stately pillars made partly of white stone, and partly of Istrian marble.... There is only one bridge to go over the great channell, which is the same that leadeth from St. Marks to the Rialto, and joyneth together both the banks of the channell. This bridge is commonly called Ponte de Rialto, and is the fairest bridge by many degrees for one arch that ever I saw, read, or heard of. For it is reported that it cost about fourescore thousand crownes, which doe make foure and twenty thousand pounds sterling. Truely, the exact view hereof ministered unto me no small matter of admiration to see a bridge of that length (for it is two hundred foote long, the channell being at the least forty paces broade as I have before written) so curiously compacted together with only one arch; and it made me presently call to minde that most famous bridge of the Emperour Trajan, so celebrated by the auncient historians, especially that worthy Greeke Authour Dion Cassius, which he built over the river Danubius, to enter the country of Dacia.... But this incomparable one-arched bridge of the Rialto doth farre excell the fairest arch of Trajans both in length and breadth. For this is both forty foote longer than the arch of his bridge was, and a hundred foote brooder, as I will anon declare in the more particular description thereof. But in height I believe it is a little inferiour to the other. I will proceede with the description of this peereless bridge of Venice. It was first built but with timber (as I heard divers Venetian gentlemen report), but because that was not correspondent to the magnificence of the other parts of the City, they defaced that, and built this most sumptuous bridge with squared white stone, having two faire rowes of pretty little houses for artificers, which are only shops, not dwelling houses. Of these shops there are two rowes in each side of the bridge till you come to the toppe. On that side of this bridge which is towards St. Marks, there are ten severall ascents of staires to the toppe, on the other side towards the Rialto twelve ascents. Likewise, behind these shops there are very faire staires to the toppe, which doe reach in length from the back of them to the farthest edge of the bridge.... At the toppe of the bridge directly above these rowes of buildings that I have spoken of, wherein the artificers shops are, there are advanced two faire arches to a prety convenient height which doe greatly adorne the bridge. In these arches I saw the portraiture of the heads of two Hunnicall Gyants that came into Italy with King Attila, very exactly made in the inside of the toppe. There are in Venice thirteen ferries or passages, which they commonly call Traghetti, where passengers may be transported in a Gondola to what place of the City they will.... Certaine little boates which they call Gondolas [are] the fayrest that ever I saw in any place. For none of them are open above, but fairly covered, first with some fifteene or sixteen little round peeces of timber that reach from one end to the other, and make a pretty kinde of Arch or vault in the Gondola; then with faire blacke cloth which is turned up at both ends of the boate, to the end that if the passenger meaneth to be private, he may draw downe the same, and after row so secretly that no man can see him: in the inside the benches are finely covered with blacke leather, and the bottomes of many of them together with the sides under the benches are very neatly garnished with fine linnen cloth, the edge whereof is laced with bonelace: the ends are beautified with two pretty and ingenious devices. For each end hath a crooked thing made in the forme of a Dolphins tayle, with the fins very artifically represented, and it seemeth to be tinned over. The water-men that row these never sit as ours do in London, but alwaies stand, and that at the further end of the Gondola, sometimes one, but most commonly two; and in my opinion they are altogether as swift as our rowers about London.... The fairest place of all the citie (which is indeed of that admirable and incomparable beauty, that I thinke no place whatsoever eyther in Christendome or Paganisme may compare with it) is the Piazza, that is, the Market place of St. Marke, or (as our English merchants commorant in Venice, doe call it) the place of S. Marke, in Latin Forum, or Platea Di Marci. Truely such is the stupendious (to use a strange Epitheton for so strange and rare a place as this) glory of it, that at my first entrance thereof it did even amaze or rather ravish my senses. For here is the greatest magnificence of architecture to be seene, that any place under the sunne doth yeelde. Here you may both see all manner of fashions of attire, and heare all the languages of Christendome, besides those that are spoken by the barbarous Ethnickes; the frequencie of people being so great twise a day, betwixt sixe of the clocke in the morning and eleven, and againe betwixt five in the afternoon and eight, that (as an elegant writer saith of it) a man may very properly call it rather Orbis then Urbis forum, that is, a market place of the world, not of the citie.... But I will descend to the particular description of this peerelesse place, wherein if I seeme too tedious, I crave pardon of thee (gentle Reader) seeing the variety of curious objects which it exhibiteth to the spectator is such, that a man shall much wrong it to speake a little of it. The like tediousenesse thou art like to finde also in my description of the Duke’s Palace, and St. Markes Church, which are such glorious workes, that I endeavoured to observe as much of them as I might, because I knew it was uncertaine whether I should ever see them againe, though I hoped for it. This street of St. Marke seemeth to be but one, but if the beholder doth exactly view it, he will finde that it containeth foure distinct and severall streetes in it, which I will thus divide: The first is that which reacheth from the front of St. Markes Church to the opposite front of St. Geminians Church. The second from that notable clocke at the cumming into St. Markes from the Merceria to the two lofty marble pillars neare to the shore of the Adriatique Gulfe. These two streetes doe seeme to contend for the superiority, but the first (in my opinion) is the fairest of them. The third reacheth from the bridge neare to the prison, along by the South side of the Dukes Palace, and so by the Sea shore, to the end of that stately building a little beyond the foresaid pillars. The fourth and the last from one side of St. Markes Church to the Canons houses. The first of these is beyond all comparison the fairest of all Europe. For it hath two such magnificent fronts or rowes of buildings on the North and South sides opposite each other, especially that on the North side, that they drove me into great admiration, and so I thinke they doe all other strangers that behold the same.... The fairest streete of all Venice saving Sainte Markes, which I have already described, is that adjoyning to St. Markes place which is called the Merceria, which name it hath because many Mercers dwell there, as also many Stationers, and sundry other artificers. This streete reacheth from almost the hither side of the Rialto bridge to Saint Markes, being of goodly length, but not altogether of the broadest, yet of breadth convenient enough in some places for five or sixe persons to walke together side by side; it is paved with bricke, and adorned with many faire buildings of a competent height on both sides; there is a very faire gate at one end of this street even as you enter into St. Markes place when you come from the Rialto bridge, which is decked with a great deale of faire marble, in which gate are two pretty conceits to be observed, the one at the very top, which is a clocke with the images of two wilde men by it made in brasse, a witty device and very exactly done.... The other conceit that is to be observed in this gate is the picture of the Virgin Mary made in a certaine dore above a faire Dial, neare to whom on both sides of her are painted two Angels on two little dores more. These dores upon any principall holiday doe open themselves, and immediately there come forth two Kings to present themselves to our Lady, unto whom, after they have done their obeysance by uncovering of their heads, they returne, againe into their places: in the front of this sumptuous gate are presented the twelve celestial signes, with the Sunne, Moone, and Starres, most excellently handled.

THOMAS CORYAT (1611).

BEAUTIFUL VENICE

THAT GLORIOUS CITY IN THE SEA

THE FAIRY DAYS OF VENICE

The absence of horses and carriages and the resonance of the canal make Venice the most delightful city for unceasing songs and serenading. One must be an enthusiast indeed to fancy that the gondolier choruses are better than those of the opera at Paris, as I have heard asserted by some individuals of a particularly happy temperament, but it is quite certain that one of those choruses, heard from afar under the arcades of these Moorish palaces, looking so white in the moon’s rays, gives more pleasure even than better music executed under a colonnade formed of painted canvas. These rough uncultivated dilettanti shout in tune and time; and the calm marble echoes prolong these rude and grave harmonies, like the winds over the sea. The magic of acoustic effect, and the desire to hear some sort of harmony in the silence of these enchanted nights, make one listen with indulgence, and almost I may say with gratitude, to the humblest melody which floats by, and is lost in the distance.... Fairy days of Venice.... No one has ever said enough of the beauty of the heavens, and the delights of the night at Venice. The lagoon is so calm, that in fine evenings, the stars do not even tremble on its surface. When you are in the midst, it is so blue, so quiet that the outline of the horizon cannot be distinguished, and the waves and the heavens form an azure veil, where reverie loses itself and sleeps. The atmosphere is so transparent, so pure that thousands more stars may be seen, than in our North of France. I have seen here, nights, when the silvery lustre of the stars occupied more space in the firmament than the blue of the atmosphere. It was a galaxy of diamonds giving almost as good a light as the moon at Paris.... Here Nature, more powerful in her influence, perhaps, imposes too much silence on the mind; she sends all thought to sleep, but agitates the heart, and dominates the senses. One must not even dream, unless one is a man of genius, of writing poems during these voluptuous nights: one must love or sleep.

As for sleeping, there is a most delicious spot: the platform of white marble which descends from the Viceroy’s gardens to the canal. When the ornamented gate is shut on the garden-side, one can go in a gondola to these steps, still warm from the rays of the setting sun, and remain without being interrupted by any inopportune stroller, unless he be endowed with the faith so much needed by St. Peter. Many hours have I passed there alone, thinking of nothing, whilst Catullo and his gondola slumbered in the midst of the waters, within call.

When the breath of midnight passes over the linden-trees, and scatters their blossoms over the waters, when the perfume of wallflowers and geraniums rises in gusts, as though the earth gave forth her sighs of fragrance to the moon; when the cupolas of St. Mary raise towards heaven their alabaster hemispheres and their turban-crowned minarets; when all is white, the water, the sky, the marble, the three elements of Venice, and when from the tower of St. Mark a giant sound hovers over my head, then I begin to feel life through every pore, and evil be to him who should then come to make an appeal to my soul! I vegetate, I repose, I forget. Who would not do the same in my place?... I defy anyone, no matter who, to prevent me from sleeping happily when I see Venice, so impoverished, so oppressed, so miserable, still so beautiful, so calm, in spite of men and of time. Behold her, round me, admiring herself in the lagoons with the air of a sultana; and this populace of fishermen, sleeping on the pavement, winter as well as summer, with no other pillow than one of granite, no other mattress than a tattered cloak; is not such a populace a great example of philosophy? When it has no longer wherewithal to purchase a pound of rice, it sings a chorus to drive away the pangs of hunger; thus braving masters and misery, as it used to brave cold, heat, and the sudden tempest. It would require many years of slavery to imbrute entirely this careless frivolous character, so accustomed for many years to be nourished with fêtes and diversions. Existence is still so easy at Venice!

GEORGE SAND.

VENICE THE PROUD

THIS LOVELY VENICE!

St. Mark’s Place, after all I had read and all I had heard of it, exceeded expectation; such a cluster of excellence, such a constellation of artificial beauties, my mind had never ventured to excite the idea of within herself.... Whoever sees St. Mark’s Place lighted up of an evening, adorned with every excellence of human art and pleasure, expressed by intelligent countenances sparkling with every grace of nature; the sea washing its walls, the moonbeams dancing on its subjugated waves, sport and laughter resounding from the cafés, girls with guitars skipping about the square, masks and merry-makers singing as they pass you, unless a barge with a band of music is heard at some distance upon the water, and calls attention to sounds made sweeter by the element over which they are brought—whoever is led suddenly, I say, to this scene of seemingly perennial gaiety, will be apt to cry out of Venice, ...

For it is sure there are in this town many astonishing privations of all that are used to make other places delightful; and as poor Omai, the savage, said, when about to return to Otaheite: ‘No horse there, no ass, no cow, no golden pippins, no dish of tea.... I am always so content there, though.’ It is really just so one lives at this lovely Venice. One has heard of a horse being exhibited there, and yesterday I watched the poor people paying a penny a-piece for the sight of a stuffed one.... The view of Venice from the Zuecca would invite one never more to stray from it, farther, at least, than to St. George’s Church, on another little opposite island, whence the prospect is surely wonderful.... On Saturday next I am to forsake—but I hope not for ever—this gay, this gallant city, so often described, so certainly admired—seen with rapture, quitted with regret. Seat of enchantment! head-quarters of pleasure, farewell!

MRS. PIOZZI (1785).

TO VENICE

‘Questi palazzi, e queste logge or colte.’

VENICE: THAT RARE CITY

I have now a good while since taken footing in Venice, this admired maiden city, so called because she was never deflowered by any enemy since she had a being, nor since her Rialto was first erected, which is now above twelve ages ago.

I protest unto you at my first landing I was for some days ravished with the high beauty of this maid, with her lovely countenance. I admired her magnificent buildings, her marvellous situation, her dainty smooth neat streets, whereon you may walk most days in the year in a silk stocking and satin slippers, without soiling them, nor can the streets of Paris be so foul, as these are fair....

Give me leave to salute you first in these sapphics.

These wishes come to you from Venice, a place where there is nothing wanting that heart can wish; renowned Venice, the admiredst city in the world, a city that all Europe is bound unto, for she is her greatest rampart against that huge eastern tyrant the Turk by sea, else I believe he had overrun all Christendom by this time. Against him this city hath performed notable exploits, and not only against him, but divers other. She hath restored emperors to their throne, and popes to their chairs, and with her galleys often preserved Saint Peter’s barque from sinking: for which, by way of reward, one of his successors espoused her to the sea, which marriage is solemnly renewed every year in solemn profession by the Doge and all the Clarissimos, and a gold ring cast into the sea out of the great galleasse, called the Bucentoro, wherein the first ceremony was performed by the Pope himself, above three hundred years since, and they say it is the self-same vessel still, though often put upon the careen and trimmed. This made me think on that famous ship at Athens; nay, I fell upon an abstracted notion in philosophy, and a speculation touching the body of man, which being in perpetual flux, and a kind of succession of decays, and consequently requiring ever and anon a restoration of what it loseth of the virtue of the former ailment, and what was converted after the third concoction into blood and fleshly substance, which, as in all other sublunary bodies that have internal principles of heart, uses to transpire, breathe out, and waste away through invisible pores by exercise, motion, and sleep to make room still for a supply of new nourriture. I fell, I say, to consider whether our bodies may be said to be of like condition with this Bucentoro, which, though it be reputed still the same vessel, yet I believe there’s not a foot of that timber remaining which it had upon the first dock, having been, as they tell me, so often planked and ribbed, caulked and pierced. In like manner our bodies may be said to be daily repaired by new sustenance, which begets new blood, and consequently new spirits, new humours, and I may say new flesh, the old by continual deperdition and insensible transpirations evaporating still out of us, and giving way to stress; so that I make a question, whether by reason of these perpetual preparations and accretions the body of man may be said to be the same numerical body in his old age that he had in his manhood, or the same in his manhood that he had in his youth, the same in his youth that he carried about him in his childhood, or the same in his childhood which he wore first in the womb. I make a doubt whether I had the same identical individually numerical body when I carried a calf-leather satchel to school in Hereford, as when I wore a lambskin hood in Oxford, or whether I have the same mass of blood in my veins, and the same flesh now in Venice which I carried about me three years since up and down London streets, having in lieu of beer and ale drunk wine all this while, and fed upon different viands; now the stomach is like a crucible, for it hath a chemical kind of virtue to transmute one body into another, to transubstantiate fish and fruits into flesh within, and about us; but though it be questionable whether I wear the same flesh which is fluxible, I am sure my hair is not the same, for you may remember I went flaxen-haired out of England, but you shall find me returned with a very dark brown, which I impute not only to the heat and air of those hot countries I have ate my bread in, but to the quality and difference of food; but you will say that hair is but an excrementitious thing, and makes not to this purpose; moreover, methinks I hear you say that this may be true, only in the blood and spirits, or such fluid parts, not in the solid and heterogeneal parts; but I will press no further at this time this philosophical notion which the sight of Bucentoro infused into me, for it hath already made me exceed the bounds of a letter, and I fear me to trespass too much upon your patience. I leave the further disquisition of this point to your own contemplations, who are a far riper philosopher than I, and have waded deeper into, and drunk more of Aristotle’s Well; but ... though it be doubtful whether I carry about me the same body or no, in all points that I had in England, I am well assured I bear still the same mind, and therein I verify the old verse—

She [Venice] was built of the ruins of Aquileia and Padua, for when those swarms of tough northern people overran Italy under the conduct of that scourge of heaven Attila, with others, and that this soft voluptuous nation, after so long a desuetude from arms, could not repel their fury, many of the ancient nobility and gentry fled into these lakes and little islands, amongst the fishermen for their security, and finding the air good and commodious for habitation, they began to build upon those small islands, whereof there are in all three-score; and in tract of time, they conjoined and leagued them together by bridges, whereof there are now above eight hundred, and this makes up the city of Venice, who is now above twelve ages old, and was contemporary with the monarchy of France; but the signiory glorieth in one thing above the monarchy, that she was born a Christian, but the monarchy not. Though this city be thus hemmed in with the sea, yet she spreads her wings far wide upon the shore; she hath in Lombardy six considerable towns—Padua, Verona, Vicenza, Brescia, Crema, and Bergamo; she hath in the Marquisat, Bassan and Castlefranco; she hath all Friuli and Istria; she commands the shores of Dalmatia and Slavonia; she keeps under the power of Saint Mark, the islands of Corfu (anciently Corcyria), Cephalonia, Zant, Cerigo, Lucerigo, and Candy (Jove’s Cradle); she had a long time the kingdom of Cyprus, but it was quite rent from her by the Turk, which made that high-spirited Bassa, being taken prisoner at the Battle of Lepanto, where the grand signior lost above 200 galleys, to say, ‘That that defeat to his great master was but like the shaving of his beard or the paring of his nails; but the taking of Cyprus was like the cutting off of a limb, which will never grow again.’ This mighty potentate being so near a neighbour to her, she is forced to comply with him and give him an annual present in gold: she hath about thirty galleys most part of the year in course to scour and secure the gulf; she entertains by land in Lombardy and other parts 25,000 foot, besides some of the cantons of Suisses whom she gives pay unto; she hath also in constant pay 600 men of arms, and every one of these must keep two horses a-piece, for which they are allowed 120 ducats a year, and they are for the most part gentlemen of Lombardy. When they have any great expedition to make, they have always a stranger for their general, but he is supervised by two proveditors, without whom he cannot attempt anything.

Her great Council consists of above 2,000 gentlemen, and some of them meet every Sunday and holiday to choose officers and magistrates, and every gentleman being past twenty-five years of age is capable to sit in this Council. The Doge or Duke (their sovereign magistrate) is chosen by lots, which would be too tedious here to demonstrate, and commonly he is an aged man who is created, like that course they hold in the popedom. When he is dead there be inquisitors that examine his actions, and his misdemeanours are punishable in his heirs. There is a superintendent council of ten, and six of them may dispatch business without the Doge, but the Doge never without some of them, not as much as open a letter from any foreign state, though addressed to himself, which makes him to be called by other princes, Testa di legno, a head of wood.

The wealth of this republic hath been at a stand, or rather declining, since the Portugal found a road to the East Indies by the Cape of Good Hope; for this city was used to fetch all those spices and other Indian commodities from the grand Cairo down the Nile, being formerly carried to Cairo from the Red Sea upon camels’ and dromedaries’ backs, three score days’ journey; and so Venice used to dispense those commodities through all Christendom, which not only the Portugal, but the English and Hollander, now transport, and are masters of the trade. Yet there is no outward appearance at all of poverty, or any decay in this city, but she is still gay, flourishing, and fresh, and flowing with all kind of bravery and delight, which may be had at cheap rates....

I have now enough of the maiden city, and this week I am to go further into Italy; for though I have been a good while in Venice, yet I cannot say I have been hitherto upon the continent of Italy: for this city is nought else but a knot of islands in the Adriatic Sea, joined in one body by bridges, and a good way distant from the firm land. I have lighted upon very choice company, your cousin Brown and Master Web, and we all take the road of Lombardy, but we made an order amongst ourselves that our discourse be always in the language of the country, under penalty of a forfeiture, which is to be indispensably paid. Randal Symns made us a curious feast lately, where in a cup of the richest Greek we had your health, and I could not tell whether the wine or the remembrance of you was sweeter; for it was naturally a kind of aromatic wine, which left a fragrant perfuming kind of farewell behind it. I have sent you a runlet of it in the ship Lion, and if it come safe, and unpricked, I pray bestow some bottles upon the lady (you know) with my humble service.... Before I conclude I will acquaint you with a common saying that is used of this dainty city of Venice:

Englished and rhymed thus (though I know you need no translation, you understand so much of Italian):

I will conclude with that famous hexastic which Sannazaro made of this rare city, which pleaseth me much better:

Sannazaro had given him by Saint Mark a hundred zecchins, for every one of these verses, which amounts to about 300 pounds. It would be long before the city of London would do the like. Witness that cold reward, or rather those cold drops of water which were cast upon my countryman, Sir Hugh Middleton, for bringing Ware River through her streets, the most serviceable and wholesomest benefit that ever she received.

JAMES HOWELL (1621).

VENISE

A PEERLESS CITY

Safe at Venice. A place whose strange and passing beauty is well known to thee by report of our mariners. Dost mind too how Peter would oft fill our ears withal, we handed beneath the table, and he still discoursing of this sea-enthroned and peerless city, in shape a bow, and its great canal and palaces on piles, and its watery ways plied by scores of gilded boats; and that market-place of nations, orbis, non urbis, forum, St. Mark his place? And his statue with the peerless jewels in his eyes, and the lion at his gate? But I, lying at my window in pain, may see none of these beauties as yet, but only a street, fairly paved, which is dull, and houses with oiled paper and linen, in lieu of glass, which is rude; and the passers-by, their habits and their gestures, wherein they are superfluous. Therefore, not to miss my daily comfort of whispering to thee, I will e’en turn mine eyes inward, and bind my sheaves of wisdom reaped by travel. For I love thee so, that no treasure pleases me not shared with thee; and what treasure so good and enduring as knowledge? This then have I, Sir Footsore, learned, that each nation hath its proper wisdom, and its proper folly; and methinks, could a great king, or duke, tramp like me, and see with his own eyes, he might pick the flowers, and eschew the weeds of nations, and go home and set his own folk on Wisdom’s hill....

The Italians are a polished and subtle people. They judge a man, not by his habits, but his speech and gesture. Here Sir Chough may by no means pass for falcon gentle, as did I in Germany, pranked in my noble servant’s feathers. Wisest of all nations in their singular temperance of food and drink. Most foolish of all to search strangers coming into their borders, and stay them from bringing much money in. They should rather invite it, and like other nations, let the traveller from taking of it out. Also here in Venice the dames turn their black hair yellow by the sun and art, to be wiser than Him who made them. Ye enter no Italian town without a bill of health, though now is no plague in Europe. This peevishness is for extortion’s sake. The innkeepers cringe and fawn, and cheat, and in country places, murder you. Yet will they give you clean sheets by paying therefor. Delicate in eating, and abhor from putting their hand in the plate; sooner they will apply a crust or what not. They do even tell of a cardinal at Rome, which armeth his guest’s left hand with a little bifurcal dagger to hold the meat, while his knife cutteth it. But methinks this, too, is to be wiser than Him, who made the hand so supple and prehensile....

Their bread is lovely white. Their meats they spoil with sprinkling cheese over them; O, perversity! Their salt is black; without a lie. In commerce these Venetians are masters of the earth and sea; and govern their territories wisely.... Also, in religion, they hang their cloth according to the wind, siding now with the Pope, now with the Turk; but aye with the god of traders, mammon hight. Shall flower so cankered bloom to the world’s end? But since I speak of flowers, this none may deny them, that they are most cunning in making roses and gilliflowers to blow unseasonably. In summer they nip certain of the budding roses and water them not. Then in winter they dig round these discouraged plants, and put in cloves; and so with great art rear sweet-scented roses, and bring them to market in January....

Sweetheart, I must be brief, and tell thee but a part of that I have seen, for this day my journal ends. To-night it sails for thee, and I, unhappy, not with it, but to-morrow, in another ship, to Rome.

Dear Margaret, I took a hand litter, and was carried to St. Mark his church. Outside it, towards the market-place, is a noble gallery, and above it four famous horses, cut in brass by the ancient Romans, and seem all moving, and at the very next step must needs leap down on the beholder. About the church are six hundred pillars of marble, porphyry, and ophites. Inside is a treasure greater than either at St. Denys, or Loretto, or Toledo. Here a jewelled pitcher given the seigniory by a Persian king, also the ducal cap blazing with jewels, and on its crown a diamond and a chrysolite, each as big as an almond; two golden crowns and twelve golden stomachers studded with jewels, from Constantinople; item, a monstrous sapphire; item, a great diamond given by a French king; item, a prodigious carbuncle; item, three unicorns’ horns. But what are these compared with the sacred relics?

Dear Margaret, I stood and saw the brazen chest that holds the body of St. Mark the Evangelist. I saw with these eyes and handled his ring, and his gospel written with his own hand, and all my travels seemed light; for who am I that I should see such things? Dear Margaret, his sacred body was first brought from Alexandria by merchants in 810, and then not prized as now; for between 829, when this church was builded, and 1094, the very place where it lay was forgotten. Then holy priests fasted and prayed many days seeking for light, and lo! the Evangelist’s body brake at midnight through the marble and stood before them. They fell to the earth; but in the morning found the crevice the sacred body had burst through, and peering through it saw him lie. Then they took and laid him in his chest beneath the altar, and carefully put back the stone with its miraculous crevice, which crevice I saw, and shall gape for a monument while the world lasts. After that they showed me the Virgin’s chair, it is of stone; also her picture, painted by St. Luke, very dark, and the features now scarce visible. This picture, in time of drought, they carry in procession, and brings the rain. I wish I had not seen it. Item, two pieces of marble spotted with John the Baptist’s blood; item, a piece of the true cross, and of the pillar to which Christ was tied; item, the rock struck by Moses, and wet to this hour; also a stone Christ sat on, preaching at Tyre; but some say it is the one the patriarch Jacob laid his head on, and I hold with them, by reason our Lord never preached at Tyre. Going hence, they showed me the state nursery for the children of those aphrodisian dames, their favourites. Here in the outer wall was a broad niche, and if they bring them so little as they can squeeze them through it alive, the bairn falls into a net inside, and the state takes charge of it, but if too big, their mothers must even take them home again, with whom abiding ’tis like to be mali corvi mali ovum. Coming out of the church we met them carrying in a corpse, with the feet and face bare. This I then first learned is Venetian custom, and sure no other town will ever rob them of it.... But what I most admired was to see over against the Duke’s palace a fair gallows in alabaster, reared express to bring him, and no other, for the least treason to the state; and there it stands in his eye whispering him memento mori. I pondered, and owned these signors my masters, who will let no man, not even their sovereign, be above the common weal.

CHARLES READE.

‘VENICE, WHOSE NAME DID ONCE ADORN THE WORLD’

THE BRIDE OF THE SEA

BROWNING’S VENICE

VENICE

GEORGE ELIOT’S IMPRESSION OF VENICE

From Padua to Venice! It was about ten o’clock on a moonlight night—the 4th of June—that we found ourselves apparently on a railway in the midst of the sea: we were on the bridge across the lagoon. Soon we were in a gondola on the Grand Canal, looking out at the moonlit buildings and water. What stillness! What beauty! Looking out from the high window of our hotel on the Grand Canal, I felt that it was a pity to go to bed. Venice was more beautiful than romances had feigned.

And that was the impression that remained, and even deepened, during our stay of eight days. That quiet which seems the deeper because one hears the delicious dip of the oar (when not disturbed by clamorous church bells), leaves the eye in full liberty and strength to take in the exhaustless loveliness of colour and form.

We were in our gondola by nine o’clock the next morning, and of course the first point we sought was the Piazza di San Marco. I am glad to find Ruskin calling the Palace of the Doges one of the two most perfect buildings in the world.... This spot is a focus of architectural wonders: but the palace is the crown of them all. The double tier of columns and arches, with the rich sombreness of their finely outlined shadows, contrast satisfactorily with the warmth and light and more continuous surface of the upper part. Even landing on the Piazzetta, one has a sense, not only of being in an entirely novel scene, but one where the ideas of a foreign race have poured themselves in without yet mingling indistinguishably with the pre-existent Italian life. But this is felt yet more strongly when one has passed along the Piazzetta and arrived in front of San Marco, with its low arches and domes and minarets. But perhaps the most striking point to take one’s stand on is just in front of the white marble guard-house flanking the great tower—the guard-house with Sansovino’s iron gates before it. On the left is San Marco, with the two square pillars from St. Jean d’Acre, standing as isolated trophies; on the right the Piazzetta extends between the Doge’s palace and the Palazzo Reale to the tall columns from Constantinople; and in front is the elaborate gateway leading to the white marble Scala dei Giganti, in the courtyard of the Doge’s palace. Passing through this gateway and up the staircase, we entered the gallery which surrounds the court on three sides, and looked down at the fine sculptured vase-like wells below. Then into the great Sala, surrounded with the portraits of the Doges: the largest oil-painting here—or perhaps anywhere else—is the ‘Gloria del Paradiso’ by Tintoretto, now dark and unlovely. But on the ceiling is a great Paul Veronese—the ‘Apotheosis of Venice’—which looks as fresh as if it were painted yesterday, and is a miracle of colour and composition—a picture full of glory and joy of an earthly, fleshly kind, but without any touch of coarseness or vulgarity. Below the radiant Venice on her clouds is a balcony filled with upward-looking spectators; and below this gallery is a group of human figures with horses. Next to this Apotheosis, I admire another Coronation of Venice on the ceiling of another Sala, where Venice is sitting enthroned above the globe with her lovely face in half-shadow—a creature born with an imperial attitude. There are other Tintorettos, Veroneses, and Palmas in the great halls of this palace; but they left me quite indifferent, and have become vague in my memory. From the splendours of the palace we crossed the Bridge of Sighs to the prisons, and saw the horrible dark damp cells that would make the saddest life in the free light and air seem bright and desirable.

The interior of St. Mark’s is full of interest, but not of beauty: it is dark and heavy, and ill-suited to the Catholic worship, for the massive piers that obstruct the view everywhere shut out the sight of ceremony and procession, as we witnessed at our leisure on the day of the great procession of Corpus Christi. But everywhere there are relics of gone-by art to be studied, from mosaics of the Greeks to mosaics of later artists than the Zuccati; old marble statues, embrowned like a meerschaum pipe; amazing sculptures in wood; Sansovino doors, ambitious to rival Ghiberti’s; transparent alabaster columns; an ancient Madonna, hung with jewels, transported from St. Sophia, in Constantinople; and everywhere the venerable pavement, once beautiful with its starry patterns in rich marble, now deadened and sunk to unevenness like the mud floor of a cabin.

Then outside, on the archway of the principal door, there are sculptures of a variety that makes one renounce the study of them in despair at the shortness of one’s time—blended fruits and foliage, and human groups and animal forms of all kinds. On our first morning we ascended the great tower, and looked around on the island-city and the distant mountains and the distant Adriatic. And on the same day we went to see the Pisani Palace—one of the grand old palaces that are going to decay.... After this we saw the Church of San Sebastiano, where Paul Veronese is buried, with his own paintings around, mingling their colour with the light that falls on his tombstone. There is one remarkably fine painting of his here: it represents, I think, some Saints going to martyrdom, but apart from that explanation, is a composition full of vigorous, spirited figures....

Santa Maria della Salute, built as an ex voto by the Republic on the cessation of the plague, is one of the most conspicuous churches in Venice, lifting its white cupolas close on the Grand Canal, where it widens out towards the Giudecca. Here there are various Tintorettos, but the only one which is not blackened so as to be unintelligible is the Cena, which is represented as a bustling supper-party, with attendants and sideboard accessories, in thoroughly Dutch fashion!... But of all Tintoretto’s paintings, the best preserved, and perhaps the most complete in execution, is the Miracle of St. Mark at the Accademia. We saw it the oftener because we were attracted to the Accademia again and again by Titian’s Assumption, which we placed next to Peter the Martyr among the pictures at Venice. For a thoroughly rapt expression I never saw anything equal to the Virgin in this picture; and the expression is the more remarkable because it is not assisted by the usual devices to express spiritual ecstasy, such as delicacy of feature and temperament or pale meagreness. Then what cherubs and angelic heads bathed in light! The lower part of the picture has no interest; the attitudes are theatrical; and the Almighty above is as unbeseeming as painted Almighties usually are: but the middle group falls short only of the Sistine Madonna.

Among the Venetian painters Giovanni Bellini shines with a mild, serious light that gives one an affectionate respect towards him. In the Church of the Scalzi there is an exquisite Madonna by him—probably his chef-d’œuvre—comparable to Raphael’s for sweetness.

And Palma Vecchio, too, must be held in grateful reverence for his Santa Barbara, standing in calm, grand beauty above an altar in the Church of Santa Maria Formosa. It is an almost unique presentation of a hero-woman, standing in calm preparation for martyrdom, without the slightest air of pietism, yet with the expression of a mind filled with serious conviction.

We made the journey to Chioggia.... Of all dreamy delights, that of floating in a gondola along the canals and out on the lagoon is surely the greatest. We were out one night on the lagoon when the sun was setting, and the wide waters were flushed with the reddened light. I should have liked it to last for hours: it is the sort of scene in which I could most readily forget my own existence, and feel melted into the general life.

Another charm of evening time was to walk up and down the Piazza of San Marco as the stars were brightening and look at the grand dim buildings, and the flock of pigeons flitting about them; or to walk on to the Bridge of La Paglia and look along the dark canal that runs under the Bridge of Sighs—its blackness lit up by a gaslight here and there, and the plash of the oar of blackest gondola slowly advancing....

Farewell, lovely Venice! and away to Verona, across the green plains of Lombardy, which can hardly look tempting to an eye still filled with the dreamy beauty it has left behind.

GEORGE ELIOT’S LIFE AS RELATED IN HER LETTERS AND JOURNALS.

BEFORE ‘A SURVEY OF THE CITY OF VENICE’

THAT EXQUISITE LARGE PEECE