SECTION III. When the eye falls casually on a map of Europe, there is no feature by which it is more likely to be arrested than the strange sweeping loop formed by the junction of the Alps and the Apennines, and enclosing the great basin of Lombardy. This return of the mountain chain upon itself causes a vast difference in the character of the distribution of its dbris on its opposite sides. The rock fragments and sediment which the torrents on the north side of the Alps bear into the plains are distributed over a vast extent of country, and, though here and there lodged in beds of enormous thickness, soon permit the firm substrata to appear from underneath them; but all the torrents which descend from the southern side of the High Alps, and from the northern slope of the Apennines, meet concentrically in the recess or mountain bay which the two ridges enclose; every fragment which thunder breaks out of their battlements, and every grain of dust which the summer rain washes from their pastures, is at last laid at rest in the blue sweep of the Lombardic plain; and that plain must have risen within its rocky barriers as a cup fills with wine, but for two contrary influences which continually depress, or disperse from its surface, the accumulation of the ruins of ages.

SECTION IV. I will not tax the reader's faith in modern science by insisting on the singular depression of the surface of Lombardy, which appears for many centuries to have taken place steadily and continually; the main fact with which we have to do is the gradual transport, by the Po and its great collateral rivers, of vast masses of the finer sediment to the sea. The character of the Lombardic plains is most strikingly expressed by the ancient walls of its cities, composed for the most part of large rounded Alpine pebbles alternating with narrow courses of brick; and was curiously illustrated in 1848, by the ramparts of these same pebbles thrown up four or five feet high round every field, to check the Austrian cavalry in the battle under the walls of Verona. The finer dust among which these pebbles are dispersed is taken up by the rivers, fed into continual strength by the Alpine snow, so that, however pure their waters may be when they issue from the lakes at the foot of the great chain, they become of the color and opacity of clay before they reach the Adriatic; the sediment which they bear is at once thrown down as they enter the sea, forming a vast belt of low land along the eastern coast of Italy. The powerful stream of the Po of course builds forward the fastest; on each side of it, north and south, there is a tract of marsh, fed by more feeble streams, and less liable to rapid change than the delta of the central river. In one of these tracts is built RAVENNA, and in the other VENICE.

SECTION V. What circumstances directed the peculiar arrangement of this great belt of sediment in the earliest times, it is not here the place to inquire. It is enough for us to know that from the mouths of the Adige to those of the Piave there stretches, at a variable distance of from three to five miles from the actual shore, a bank of sand, divided into long islands by narrow channels of sea. The space between this bank and the true shore consists of the sedimentary deposits from these and other rivers, a great plain of calcareous mud, covered, in the neighborhood of Venice, by the sea at high water, to the depth in most places of a foot or a foot and a half, and nearly everywhere exposed at low tide, but divided by an intricate network of narrow and winding channels, from which the sea never retires. In some places, according to the run of the currents, the land has risen into marshy islets, consolidated, some by art, and some by time, into ground firm enough to be built upon, or fruitful enough to be cultivated: in others, on the contrary, it has not reached the sea-level; so that, at the average low water, shallow lakelets glitter among its irregularly exposed fields of seaweed. In the midst of the largest of these, increased in importance by the confluence of several large river channels towards one of the openings in the sea bank, the city of Venice itself is built, on a clouded cluster of islands; the various plots of higher ground which appear to the north and south of this central cluster, have at different periods been also thickly inhabited, and now bear, according to their size, the remains of cities, villages, or isolated convents and churches, scattered among spaces of open ground, partly waste and encumbered by ruins, partly under cultivation for the supply of the metropolis.

SECTION VI. The average rise and fall of the tide is about three feet (varying considerably with the seasons; [Footnote: Appendix III, "Tides of Venice."]) but this fall, on so flat a shore, is enough to cause continual movement in the waters, and in the main canals to produce a reflux which frequently runs like a mill stream. At high water no land is visible for many miles to the north or south of Venice, except in the form of small islands crowned with towers or gleaming with villages: there is a channel, some three miles wide, between the city and the mainland, and some mile and a half wide between it and the sandy breakwater called the Lido, which divides the lagoon from the Adriatic, but which is so low as hardly to disturb the impression of the city's having been built in the midst of the ocean, although the secret of its true position is partly, yet not painfully, betrayed by the clusters of piles set to mark the deep-water channels, which undulate far away in spotty chains like the studded backs of huge sea-snakes, and by the quick glittering of the crisped and crowded waves that flicker and dance before the strong winds upon the unlifted level of the shallow sea. But the scene is widely different at low tide. A fall of eighteen or twenty inches is enough to show ground over the greater part of the lagoon; and at the complete ebb the city is seen standing in the midst of a dark plain of seaweed, of gloomy green, except only where the larger branches of the Brenta and its associated streams converge towards the port of the Lido. Through this salt and sombre plain the gondola and the fishing-boat advance by tortuous channels, seldom more than four or five feet deep, and often so choked with slime that the heavier keels furrow the bottom till their crossing tracks are seen through the clear sea water like the ruts upon a. wintry road, and the oar leaves blue gashes upon the ground at every stroke, or is entangled among the thick weed that fringes the banks with the weight of its sullen waves, leaning to and fro upon the uncertain sway of the exhausted tide. The scene is often profoundly oppressive, even at this day, when every plot of higher ground bears some fragment of fair building: but, in order to know what it was once, let the traveller follow in his boat at evening the windings of some unfrequented channel far into the midst of the melancholy plain; let him remove, in his imagination, the brightness of the great city that still extends itself in the distance, and the walls and towers from the islands that are near; and so wait, until the bright investiture and, sweet warmth of the sunset are withdrawn from the waters, and the black desert of their shore lies in its nakedness beneath the night, pathless, comfortless, infirm, lost in dark languor and fearful silence, except where the salt runlets plash into the tideless pools, or the seabirds flit from their margins with a questioning cry; and he will be enabled to enter in some sort into the horror of heart with which this solitude was anciently chosen by man for his habitation. They little thought, who first drove the stakes into the sand, and strewed the ocean reeds for their rest, that their children were to be the princes of that ocean, and their palaces its pride; and yet, in the great natural laws that rule that sorrowful wilderness, let it be remembered what strange preparation had been made for the things which no human imagination could have foretold, and how the whole existence and fortune of the Venetian nation were anticipated or compelled, by the setting of those bars and doors to the rivers and the sea. Had deeper currents divided their islands, hostile navies would again and again have reduced the rising city into servitude; had stronger surges beaten their shores, all the richness and refinement of the Venetian architecture must have been exchanged for the walls and bulwarks of an ordinary sea-port. Had there been no tide, as in other parts of the Mediterranean, the narrow canals of the city would have become noisome, and the marsh in which it was built pestiferous. Had the tide been only a foot or eighteen inches higher in its rise, the water-access to the doors of the palaces would have been impossible: even as it is, there is sometimes a little difficulty, at the ebb, in landing without setting foot upon the lower and slippery steps: and the highest tides sometimes enter the courtyards, and overflow the entrance halls. Eighteen inches more of difference between the level of the flood and ebb would have rendered the doorsteps of every palace, at low water, a treacherous mass of weeds and limpets, and the entire system of water-carriage for the higher classes, in their easy and daily intercourse, must have been done away with. The streets of the city would have been widened, its network of canals filled up, and all the peculiar character of the place and the people destroyed.

SECTION VII. The reader may perhaps have felt some pain in the contrast between this faithful view of the site of the Venetian Throne, and the romantic conception of it which we ordinarily form; but this pain, if he have felt it, ought to be more than counterbalanced by the value of the instance thus afforded to us at once of the inscrutableness and the wisdom of the ways of God. If, two thousand years ago, we had been permitted to watch the slow settling of the slime of those turbid rivers into the polluted sea, and the gaining upon its deep and fresh waters of the lifeless, impassable, unvoyageable plain, how little could we have understood the purpose with which those islands were shaped out of the void, and the torpid waters enclosed with their desolate walls of sand! How little could we have known, any more than of what now seems to us most distressful, dark, and objectless, the glorious aim which was then in the mind of Him in whose hand are all the corners of the earth! how little imagined that in the laws which were stretching forth the gloomy margins of those fruitless banks, and feeding the bitter grass among their shallows, there was indeed a preparation, and the only preparation possible, for the founding of a city which was to be set like a golden clasp on the girdle of the earth, to write her history on the white scrolls of the sea-surges, and to word it in their thunder, and to gather and give forth, in world-wide pulsation, the glory of the West and of the East, from the burning heart of her Fortitude and Splendor.



CHAPTER III.

[SECOND OF SECOND VOLUME IN OLD EDITION.]

TORCELLO.

SECTION I. Seven miles to the north of Venice, the banks of sand, which near the city rise little above low-water mark, attain by degrees a higher level, and knit themselves at last into fields of salt morass, raised here and there into shapeless mounds, and intercepted by narrow creeks of sea. One of the feeblest of these inlets, after winding for some time among buried fragments of masonry, and knots of sunburnt weeds whitened with webs of fucus, stays itself in an utterly stagnant pool beside a plot of greener grass covered with ground ivy and violets. On this mound is built a rude brick campanile, of the commonest Lombardic type, which if we ascend towards evening (and there are none to hinder us, the door of its ruinous staircase swinging idly on its hinges), we may command from it one of the most notable scenes in this wide world of ours. Far as the eye can reach, a waste of wild sea moor, of a lurid ashen gray; not like our northern moors with their jet-black pools and purple heath, but lifeless, the color of sackcloth, with the corrupted sea-water soaking through the roots of its acrid weeds, and gleaming hither and thither through its snaky channels. No gathering of fantastic mists, nor coursing of clouds across it; but melancholy clearness of space in the warm sunset, oppressive, reaching to the horizon of its level gloom. To the very horizon, on the north-east; but, to the north and west, there is a blue line of higher land along the border of it, and above this, but farther back, a misty band of mountains, touched with snow. To the east, the paleness and roar of the Adriatic, louder at momentary intervals as the surf breaks on the bars of sand; to the south, the widening branches of the calm lagoon, alternately purple and pale green, as they reflect the evening clouds or twilight sky; and almost beneath our feet, on the same field which sustains the tower we gaze from, a group of four buildings, two of them little larger than cottages (though built of stone, and one adorned by a quaint belfry), the third an octagonal chapel, of which we can see but little more than the flat red roof with its rayed tiling, the fourth, a considerable church with nave and aisles, but of which, in like manner, we can see little but the long central ridge and lateral slopes of roof, which the sunlight separates in one glowing mass from the green field beneath and gray moor beyond. There are no living creatures near the buildings, nor any vestige of village or city round about them. They lie like a little company of ships becalmed on a far-away sea.

SECTION II. Then look farther to the south. Beyond the widening branches of the lagoon, and rising out of the bright lake into which they gather, there are a multitude of towers, dark, and scattered among square-set shapes of clustered palaces, a long and irregular line fretting the southern sky.

Mother and daughter, you behold them both in their widowhood,—TORCELLO and VENICE.

Thirteen hundred years ago, the gray moorland looked as it does this day, and the purple mountains stood as radiantly in the deep distances of evening; but on the line of the horizon, there were strange fires mixed with the light of sunset, and the lament of many human voices mixed with the fretting of the waves on their ridges of sand. The flames rose from the ruins of Altinum; the lament from the multitude of its people, seeking, like Israel of old, a refuge from the sword in the paths of the sea.

The cattle are feeding and resting upon the site of the city that they left; the mower's scythe swept this day at dawn over the chief street of the city that they built, and the swathes of soft grass are now sending up their scent into the night air, the only incense that fills the temple of their ancient worship. Let us go down into that little space of meadow land.

SECTION III. The inlet which runs nearest to the base of the campanile is not that by which Torcello is commonly approached. Another, somewhat broader, and overhung by alder copse, winds out of the main channel of the lagoon up to the very edge of the little meadow which was once the Piazza of the city, and there, stayed by a few grey stones which present some semblance of a quay, forms its boundary at one extremity. Hardly larger than an ordinary English farmyard, and roughly enclosed on each side by broken palings and hedges of honeysuckle and briar, the narrow field retires from the water's edge, traversed by a scarcely traceable footpath, for some forty or fifty paces, and then expanding into the form of a small square, with buildings on three sides of it, the fourth being that which opens to the water. Two of these, that on our left and that in front of us as we approach from the canal, are so small that they might well be taken for the out-houses of the farm, though the first is a conventual building, and the other aspires to the title of the "Palazzo publico," both dating as far back as the beginning of the fourteenth century; the third, the octagonal church of Santa Fosca, is far more ancient than either, yet hardly on a larger scale. Though the pillars of the portico which surrounds it are of pure Greek marble, and their capitals are enriched with delicate sculpture, they, and the arches they sustain, together only raise the roof to the height of a cattle-shed; and the first strong impression which the spectator receives from the whole scene is, that whatever sin it may have been which has on this spot been visited with so utter a desolation, it could not at least have been ambition. Nor will this impression be diminished as we approach, or enter, the larger church to which the whole group of building is subordinate. It has evidently been built by men in flight and distress, [Footnote: Appendix IV, "Date of the Duomo of Torcello."] who sought in the hurried erection of their Island church such a shelter for their earnest and sorrowful worship as, on the one hand, could not attract the eyes of their enemies by its splendor, and yet, on the other, might not awaken too bitter feelings by its contrast with the churches which they had seen destroyed.

There is visible everywhere a simple and tender effort to recover some of the form of the temples which they had loved, and to do honor to God by that which they were erecting, while distress and humiliation prevented the desire, and prudence precluded the admission, either of luxury of ornament or magnificence of plan. The exterior is absolutely devoid of decoration, with the exception only of the western entrance and the lateral door, of which the former has carved sideposts and architrave, and the latter, crosses of rich sculpture; while the massy stone shutters of the windows, turning on huge rings of stone, which answer the double purpose of stanchions and brackets, cause the whole building rather to resemble a refuge from Alpine storm than the cathedral of a populous city; and, internally, the two solemn mosaics of the eastern and western extremities,—one representing the Last Judgment, the other the Madonna, her tears falling as her hands are raised to bless,—and the noble range of pillars which enclose the space between, terminated by the high throne for the pastor and the semicircular raised seats for the superior clergy, are expressive at once of the deep sorrow and the sacred courage of men who had no home left them upon earth, but who looked for one to come, of men "persecuted but not forsaken, cast down but not destroyed."

SECTION IV. For observe this choice of subjects. It is indeed possible that the walls of the nave and aisles, which are now whitewashed, may have been covered with fresco or mosaic, and thus have supplied a series of subjects, on the choice of which we cannot speculate. I do not, however, find record of the destruction of any such works; and I am rather inclined to believe that at any rate the central division of the building was originally, decorated, as it is now, simply by mosaics representing Christ, the Virgin, and the apostles, at one extremity, and Christ coming to judgment at the other. And if so, I repeat, observe the significance of this choice. Most other early churches are covered with imagery sufficiently suggestive of the vivid interest of the builders in the history and occupations of the world. Symbols or representations of political events, portraits of living persons, and sculptures of satirical, grotesque, or trivial subjects are of constant occurrence, mingled with the more strictly appointed representations of scriptural or ecclesiastical history; but at Torcello even these usual, and one should have thought almost necessary, successions of Bible events do not appear. The mind of the worshipper was fixed entirely upon two great facts, to him the most precious of all facts,—the present mercy of Christ to His Church, and His future coming to judge the world. That Christ's mercy was, at this period, supposed chiefly to be attainable through the pleading of the Virgin, and that therefore beneath the figure of the Redeemer is seen that of the weeping Madonna in the act of intercession, may indeed be matter of sorrow to the Protestant beholder, but ought not to blind him to the earnestness and singleness of the faith with which these men sought their sea-solitudes; not in hope of founding new dynasties, or entering upon new epochs of prosperity, but only to humble themselves before God, and to pray that in His infinite mercy He would hasten the time when the sea should give up the dead which were in it, and Death and Hell give up the dead which were in them, and when they might enter into the better kingdom, "where the wicked cease from troubling and the weary are at rest."

SECTION V. Nor were the strength and elasticity of their minds, even in the least matters, diminished by thus looking forward to the close of all things. On the contrary, nothing is more remarkable than the finish and beauty of all the portions of the building, which seem to have been actually executed for the place they occupy in the present structure. The rudest are those which they brought with them from the mainland; the best and most beautiful, those which appear to have been carved for their island church: of these, the new capitals already noticed, and the exquisite panel ornaments of the chancel screen, are the most conspicuous; the latter form a low wall across the church between the six small shafts whose places are seen in the plan, and serve to enclose a space raised two steps above the level of the nave, destined for the singers, and indicated also in the plan by an open line a b c d. The bas-reliefs on this low screen are groups of peacocks and lions, two face to face on each panel, rich and fantastic beyond description, though not expressive of very accurate knowledge either of leonine or pavonine forms. And it is not until we pass to the back of the stair of the pulpit, which is connected with the northern extremity of this screen, that we find evidence of the haste with which the church was constructed.

SECTION VI. The pulpit, however, is not among the least noticeable of its features. It is sustained on the four small detached shafts marked at p in the plan, between the two pillars at the north side of the screen; both pillars and pulpit studiously plain, while the staircase which ascends to it is a compact mass of masonry (shaded in the plan), faced by carved slabs of marble; the parapet of the staircase being also formed of solid blocks like paving-stones, lightened by rich, but not deep, exterior carving. Now these blocks, or at least those which adorn the staircase towards the aisle, have been brought from the mainland; and, being of size and shape not easily to be adjusted to the proportions of the stair, the architect has cut out of them pieces of the size he needed, utterly regardless of the subject or symmetry of the original design. The pulpit is not the only place where this rough procedure has been permitted: at the lateral door of the church are two crosses, cut out of slabs of marble, formerly covered with rich sculpture over their whole surfaces, of which portions are left on the surface of the crosses; the lines of the original design being, of course, just as arbitrarily cut by the incisions between the arms, as the patterns upon a piece of silk which has been shaped anew. The fact is, that in all early Romanesque work, large surfaces are covered with sculpture for the sake of enrichment only; sculpture which indeed had always meaning, because it was easier for the sculptor to work with some chain of thought to guide his chisel, than without any; but it was not always intended, or at least not always hoped, that this chain of thought might be traced by the spectator. All that was proposed appears to have been the enrichment of surface, so as to make it delightful to the eye; and this being once understood, a decorated piece of marble became to the architect just what a piece of lace or embroidery is to a dressmaker, who takes of it such portions as she may require, with little regard to the places where the patterns are divided. And though it may appear, at first sight, that the procedure is indicative of bluntness and rudeness of feeling,—we may perceive, upon reflection, that it may also indicate the redundance of power which sets little price upon its own exertion. When a barbarous nation builds its fortress-walls out of fragments of the refined architecture it has overthrown, we can read nothing but its savageness in the vestiges of art which may thus chance to have been preserved; but when the new work is equal, if not superior, in execution, to the pieces of the older art which are associated with it, we may justly conclude that the rough treatment to which the latter have been subjected is rather a sign of the hope of doing better things, than of want of feeling for those already accomplished. And, in general, this careless fitting of ornament is, in very truth, an evidence of life in the school of builders, and of their making a due distinction between work which is to be used for architectural effect, and work which is to possess an abstract perfection; and it commonly shows also that the exertion of design is so easy to them, and their fertility so inexhaustible, that they feel no remorse in using somewhat injuriously what they can replace with so slight an effort.

SECTION VII. It appears however questionable in the present instance, whether, if the marbles had not been carved to his hand, the architect would have taken the trouble to enrich them. For the execution of the rest of the pulpit is studiously simple, and it is in this respect that its design possesses, it seems to me, an interest to the religious spectator greater than he will take in any other portion of the building. It is supported, as I said, on a group of four slender shafts; itself of a slightly oval form, extending nearly from one pillar of the nave to the next, so as to give the preacher free room for the action of the entire person, which always gives an unaffected impressiveness to the eloquence of the southern nations. In the centre of its curved front, a small bracket and detached shaft sustain the projection of a narrow marble desk (occupying the place of a cushion in a modern pulpit), which is hollowed out into a shallow curve on the upper surface, leaving a ledge at the bottom of the slab, so that a book laid upon it, or rather into it, settles itself there, opening as if by instinct, but without the least chance of slipping to the side, or in any way moving beneath the preacher's hands. Six balls, or rather almonds, of purple marble veined with white are set round the edge of the pulpit, and form its only decoration. Perfectly graceful, but severe and almost cold in its simplicity, built for permanence and service, so that no single member, no stone of it, could be spared, and yet all are firm and uninjured as when they were first set together, it stands in venerable contrast both with the fantastic pulpits of mediaeval cathedrals and with the rich furniture of those of our modern churches. It is worth while pausing for a moment to consider how far the manner of decorating a pulpit may have influence on the efficiency of its service, and whether our modern treatment of this, to us all-important, feature of a church be the best possible. [Footnote: Appendix V., "Modern Pulpits."]

SECTION VIII. When the sermon is good we need not much concern ourselves about the form of the pulpit. But sermons cannot always be good; and I believe that the temper in which the congregation set themselves to listen may be in some degree modified by their perception of fitness or unfitness, impressiveness or vulgarity, in the disposition of the place appointed for the speaker,—not to the same degree, but somewhat in the same way, that they may be influenced by his own gestures or expression, irrespective of the sense of what he says. I believe, therefore, in the first place, that pulpits ought never to be highly decorated; the speaker is apt to look mean or diminutive if the pulpit is either on a very large scale or covered with splendid ornament, and if the interest of the sermon should flag the mind is instantly tempted to wander. I have observed that in almost all cathedrals, when the pulpits are peculiarly magnificent, sermons are not often preached from them; but rather, and especially if for any important purpose, from some temporary erection in other parts of the building:—and though this may often be done because the architect has consulted the effect upon the eye more than the convenience of the ear in the placing of his larger pulpit, I think it also proceeds in some measure from a natural dislike in the preacher to match himself with the magnificence of the rostrum, lest the sermon should not be thought worthy of the place. Yet this will rather hold of the colossal sculptures, and pyramids of fantastic tracery which encumber the pulpits of Flemish and German churches, than of the delicate mosaics and ivory-like carving of the Romanesque basilicas, for when the form is kept simple, much loveliness of color and costliness of work may be introduced, and yet the speaker not be thrown into the shade by them.

SECTION IX. But, in the second place, whatever ornaments we admit ought clearly to be of a chaste, grave, and noble kind; and what furniture we employ, evidently more for the honoring of God's word than for the ease of the preacher. For there are two ways of regarding a sermon, either as a human composition, or a Divine message. If we look upon it entirely as the first, and require our clergymen to finish it with their utmost care and learning, for our better delight whether of ear or intellect, we shall necessarily be led to expect much formality and stateliness in its delivery, and to think that all is not well if the pulpit have not a golden fringe round it, and a goodly cushion in front of it, and if the sermon be not fairly written in a black book, to be smoothed upon the cushion in a majestic manner before beginning; all this we shall duly come to expect: but we shall at the same time consider the treatise thus prepared as something to which it is our duty to listen without restlessness for half an hour or three quarters, but which, when that duty has been decorously performed, we may dismiss from our minds in happy confidence of being provided with another when next it shall be necessary. But if once we begin to regard the preacher, whatever his faults, as a man sent with a message to us, which it is a matter of life or death whether we hear or refuse; if we look upon him as set in charge over many spirits in danger of ruin, and having allowed to him but an hour or two in the seven days to speak to them; if we make some endeavor to conceive how precious these hours ought to be to him, a small vantage on the side of God after his flock have been exposed for six days together to the full weight of the world's temptation, and he has been forced to watch the thorn and the thistle springing in their hearts, and to see what wheat had been scattered there snatched from the wayside by this wild bird and the other, and at last, when breathless and weary with the week's labor they give him this interval of imperfect and languid hearing, he has but thirty minutes to get at the separate hearts of a thousand men, to convince them of all their weaknesses, to shame them for all their sins, to warn them of all their dangers, to try by this way and that to stir the hard fastenings of those doors where the Master himself has stood and knocked yet none opened, and to call at the openings of those dark streets where Wisdom herself hath stretched forth her hands and no man regarded,—thirty minutes to raise the dead in,—let us but once understand and feel this, and we shall look with changed eyes upon that frippery of gay furniture about the place from which the message of judgment must be delivered, which either breathes upon the dry bones that they may live, or, if ineffectual, remains recorded in condemnation, perhaps against the utterer and listener alike, but assuredly against one of them. We shall not so easily bear with the silk and gold upon the seat of judgment, nor with ornament of oratory in the mouth of the messenger: we shall wish that his words may be simple, even when they are sweetest, and the place from which he speaks like a marble rock in the desert, about which the people have gathered in their thirst.

SECTION X. But the severity which is so marked in the pulpit at Torcello is still more striking in the raised seats and episcopal throne which occupy the curve of the apse. The arrangement at first somewhat recalls to the mind that of the Roman amphitheatres; the flight of steps which lead up to the central throne divides the curve of the continuous steps or seats (it appears in the first three ranges questionable which were intended, for they seem too high for the one, and too low and close for the other), exactly as in an amphitheatre the stairs for access intersect the sweeping ranges of seats. But in the very rudeness of this arrangement, and especially in the want of all appliances of comfort (for the whole is of marble, and the arms of the central throne are not for convenience, but for distinction, and to separate it more conspicuously from the undivided seats), there is a dignity which no furniture of stalls nor carving of canopies ever could attain, and well worth the contemplation of the Protestant, both as sternly significative of an episcopal authority which in the early days of the Church was never disputed, and as dependent for all its impressiveness on the utter absence of any expression either of pride or self-indulgence.

SECTION XI. But there is one more circumstance which we ought to remember as giving peculiar significance to the position which the episcopal throne occupies in this island church, namely, that in the minds of all early Christians the Church itself was most frequently symbolized under the image of a ship, of which the bishop was the pilot. Consider the force which this symbol would assume in the imaginations of men to whom the spiritual Church had become an ark of refuge in the midst of a destruction hardly less terrible than that from which the eight souls were saved of old, a destruction in which the wrath of man had become as broad as the earth and as merciless as the sea, and who saw the actual and literal edifice of the Church raked up, itself like an ark in the midst of the waters. No marvel if with the surf of the Adriatic rolling between them and the shores of their birth, from which they were separated for ever, they should have looked upon each other as the disciples did when the storm came down on the Tiberias Lake, and have yielded ready and loving obedience to those who ruled them in His name, who had there rebuked the winds and commanded stillness to the sea. And if the stranger would yet learn in what spirit it was that the dominion of Venice was begun, and in what strength she went forth conquering and to conquer, let him not seek to estimate the wealth of her arsenals or number of her armies, nor look upon the pageantry of her palaces, nor enter into the secrets of her councils; but let him ascend the highest tier of the stern ledges that sweep round the altar of Torcello, and then, looking as the pilot did of old along the marble ribs of the goodly temple-ship, let him repeople its veined deck with the shadows of its dead mariners, and strive to feel in himself the strength of heart that was kindled within them, when first, after the pillars of it had settled in the sand, and the roof of it had been closed against the angry sky that was still reddened by the fires of their homesteads,—first, within the shelter of its knitted walls, amidst the murmur of the waste of waves and the beating of the wings of the sea-birds round the rock that was strange to them,—rose that ancient hymn, in the power of their gathered voices:

THE SEA IS HIS, AND HE MADE IT, AND HIS HANDS PREPARED THE DRY LAND.



CHAPTER IV.

ST. MARK'S.

SECTION I. "And so Barnabas took Mark, and sailed unto Cyprus." If as the shores of Asia lessened upon his sight, the spirit of prophecy had entered into the heart of the weak disciple who had turned back when his hand was on the plough, and who had been judged, by the chiefest of Christ's captains, unworthy thenceforward to go forth with him to the work, [Footnote: Acts, xiii. 13; xv. 38, 39.] how wonderful would he have thought it, that by the lion symbol in future ages he was to be represented among men! how woful, that the war-cry of his name should so often reanimate the rage of the soldier, on those very plains where he himself had failed in the courage of the Christian, and so often dye with fruitless blood that very Cypriot Sea, over whose waves, in repentance and shame, he was following the Son of Consolation!

SECTION II. That the Venetians possessed themselves of his body in the ninth century, there appears no sufficient reason to doubt, nor that it was principally in consequence of their having done so, that they chose him for their patron saint. There exists, however, a tradition that before he went into Egypt he had founded the Church at Aquileia, and was thus, in some sort, the first bishop of the Venetian isles and people. I believe that this tradition stands on nearly as good grounds as that of St. Peter having been the first bishop of Rome; [Footnote: The reader who desires to investigate it may consult Galliciolli, "Delle Memorie Venete" (Venice, 1795), tom. ii. p. 332, and the authorities quoted by him.] but, as usual, it is enriched by various later additions and embellishments, much resembling the stories told respecting the church of Murano. Thus we find it recorded by the Santo Padre who compiled the "Vite de' Santi spettanti alle Chiese di Venezia," [Footnote: Venice, 1761, tom. i. p. 126.] that "St. Mark having seen the people of Aquileia well grounded in religion, and being called to Rome by St. Peter, before setting off took with him the holy bishop Hermagoras, and went in a small boat to the marshes of Venice. There were at that period some houses built upon a certain high bank called Rialto, and the boat being driven by the wind was anchored in a marshy place, when St. Mark, snatched into ecstasy, heard the voice of an angel saying to him: 'Peace be to thee, Mark; here shall thy body rest.'" The angel goes on to foretell the building of "una stupenda, ne pi veduta Citt;" but the fable is hardly ingenious enough to deserve farther relation.

SECTION III. But whether St. Mark was first bishop of Aquileia or not, St. Theodore was the first patron of the city; nor can he yet be considered as having entirely abdicated his early right, as his statue, standing on a crocodile, still companions the winged lion on the opposing pillar of the piazzetta. A church erected to this Saint is said to have occupied, before the ninth century, the site of St. Mark's; and the traveller, dazzled by the brilliancy of the great square, ought not to leave it without endeavoring to imagine its aspect in that early time, when it was a green field cloister-like and quiet, [Footnote: St. Mark's Place, "partly covered by turf, and planted with a few trees; and on account of its pleasant aspect called Brollo or Broglio, that is to say, Garden." The canal passed through it, over which is built the bridge of the Malpassi. Galliciolli, lib. I, cap. viii.] divided by a small canal, with a line of trees on each side; and extending between the two churches of St. Theodore and St. Geminian, as the little piazza, of Torcello lies between its "palazzo" and cathedral.

SECTION IV. But in the year 813, when the seat of government was finally removed to the Rialto, a Ducal Palace, built on the spot where the present one stands, with a Ducal Chapel beside it, [Footnote: My authorities for this statement are given below, in the chapter on the Ducal Palace.] gave a very different character to the Square of St. Mark; and fifteen years later, the acquisition of the body of the Saint, and its deposition in the Ducal Chapel, perhaps not yet completed, occasioned the investiture of that chapel with all possible splendor. St. Theodore was deposed from his patronship, and his church destroyed, to make room for the aggrandizement of the one attached to the Ducal Palace, and thenceforward known as "St. Mark's." [Footnote: In the Chronicles, "Sancti Marci Ducalis Cappella."]

SECTION V. This first church was however destroyed by fire, when the Ducal Palace was burned in the revolt against Candiano, in 976. It was partly rebuilt by his successor, Pietro Orseolo, on a larger scale; and with the assistance of Byzantine architects, the fabric was carried on under successive Doges for nearly a hundred years; the main building being completed in 1071, but its incrustation with marble not till considerably later. It was consecrated on the 8th of October, 1085, [Footnote: "To God the Lord, the glorious Virgin Annunciate, and the Protector St. Mark."—Corner, p. 14. It is needless to trouble the reader with the various authorities for the above statements: I have consulted the best. The previous inscription once existing on the church itself:

"Anno milleno transacto bisque trigeno Desuper undecimo fuit facta primo,"

is no longer to be seen, and is conjectured by Corner, with much probability, to have perished "in qualche ristauro."] according to Sansovino and the author of the "Chiesa Ducale di S. Marco," in 1094 according to Lazari, but certainly between 1084 and 1096, those years being the limits of the reign of Vital Falier; I incline to the supposition that it was soon after his accession to the throne in 1085, though Sansovino writes, by mistake, Ordelafo instead of Vital Falier. But, at all events, before the close of the eleventh century the great consecration of the church took place. It was again injured by fire in 1106, but repaired; and from that time to the fall of Venice there was probably no Doge who did not in some slight degree embellish or alter the fabric, so that few parts of it can be pronounced boldly to be of any given date. Two periods of interference are, however, notable above the rest: the first, that in which the Gothic school had superseded the Byzantine towards the close of the fourteenth century, when the pinnacles, upper archivolts, and window traceries were added to the exterior, and the great screen, with various chapels and tabernacle-work, to the interior; the second, when the Renaissance school superseded the Gothic, and the pupils of Titian and Tintoret substituted, over one half of the church, their own compositions for the Greek mosaics with which it was originally decorated; [Footnote: Signed Bartolomeus Bozza, 1634, 1647, 1656, etc.] happily, though with no good will, having left enough to enable us to imagine and lament what they destroyed. Of this irreparable loss we shall have more to say hereafter; meantime, I wish only to fix in the reader's mind the succession of periods of alteration as firmly and simply as possible.

SECTION VI. We have seen that the main body of the church may be broadly stated to be of the eleventh century, the Gothic additions of the fourteenth, and the restored mosaics of the seventeenth. There is no difficulty in distinguishing at a glance the Gothic portions from the Byzantine; but there is considerable difficulty in ascertaining how long, during the course of the twelfth and thirteenth centuries, additions were made to the Byzantine church, which cannot be easily distinguished from the work of the eleventh century, being purposely executed in the same manner. Two of the most important pieces of evidence on this point are, a mosaic in the south transept, and another over the northern door of the faade; the first representing the interior, the second the exterior, of the ancient church.

SECTION VII. It has just been stated that the existing building was consecrated by the Doge Vital Falier. A peculiar solemnity was given to that of consecration, in the minds of the Venetian people, by what appears to have been one of the best arranged and most successful impostures ever attempted by the clergy of the Romish church. The body of St. Mark had, without doubt, perished in the conflagration of 976; but the revenues of the church depended too much upon the devotion excited by these relics to permit the confession of their loss. The following is the account given by Corner, and believed to this day by the Venetians, of the pretended miracle by which it was concealed.

"After the repairs undertaken by the Doge Orseolo, the place in which the body of the holy Evangelist rested had been altogether forgotten, so that the Doge Vital Falier was entirely ignorant of the place of the venerable deposit. This was no light affliction, not only to the pious Doge, but to all the citizens and people; so that at last, moved by confidence in the Divine mercy, they determined to implore, with prayer and fasting, the manifestation of so great a treasure, which did not now depend upon any human effort. A general fast being therefore proclaimed, and a solemn procession appointed for the 25th day of June, while the people assembled in the church interceded with God in fervent prayers for the desired boon, they beheld, with as much amazement as joy, a slight shaking in the marbles of a pillar (near the place where the altar of the Cross is now), which, presently falling to the earth, exposed to the view of the rejoicing people the chest of bronze in which the body of the Evangelist was laid."

SECTION VIII. Of the main facts of this tale there is no doubt. They were embellished afterwards, as usual, by many fanciful traditions; as, for instance, that, when the sarcophagus was discovered, St. Mark extended his hand out of it, with a gold ring on one of the fingers, which he permitted a noble of the Dolfin family to remove; and a quaint and delightful story was further invented of this ring, which I shall not repeat here, as it is now as well known as any tale of the Arabian Nights. But the fast and the discovery of the coffin, by whatever means effected, are facts; and they are recorded in one of the best-preserved mosaics of the north transept, executed very certainly not long after the event had taken place, closely resembling in its treatment that of the Bayeux tapestry, and showing, in a conventional manner, the interior of the church, as it then was, filled by the people, first in prayer, then in thanksgiving, the pillar standing open before them, and the Doge, in the midst of them, distinguished by his crimson bonnet embroidered with gold, but more unmistakably by the inscription "Dux" over his head, as uniformly is the case in the Bayeux tapestry, and most other pictorial works of the period. The church is, of course, rudely represented, and the two upper stories of it reduced to a small scale in order to form a background to the figures; one of those bold pieces of picture history which we in our pride of perspective, and a thousand things besides, never dare attempt. We should have put in a column or two of the real or perspective size, and subdued it into a vague background: the old workman crushed the church together that he might get it all in, up to the cupolas; and has, therefore, left us some useful notes of its ancient form, though any one who is familiar with the method of drawing employed at the period will not push the evidence too far. The two pulpits are there, however, as they are at this day, and the fringe of mosaic flowerwork which then encompassed the whole church, but which modern restorers have destroyed, all but one fragment still left in the south aisle. There is no attempt to represent the other mosaics on the roof, the scale being too small to admit of their being represented with any success; but some at least of those mosaics had been executed at that period, and their absence in the representation of the entire church is especially to be observed, in order to show that we must not trust to any negative evidence in such works. M. Lazari has rashly concluded that the central archivolt of St. Mark's must be posterior to the year 1205, because it does not appear in the representation of the exterior of the church over the northern door; [Footnote: Guida di Venezia, p. 6. (He is right, however.)] but he justly observes that this mosaic (which is the other piece of evidence we possess respecting the ancient form of the building) cannot itself be earlier than 1205, since it represents the bronze horses which were brought from Constantinople in that year. And this one fact renders it very difficult to speak with confidence respecting the date of any part of the exterior of St. Mark's; for we have above seen that it was consecrated in the eleventh century, and yet here is one of the most important exterior decorations assuredly retouched, if not entirely added, in the thirteenth, although its style would have led us to suppose it had been an original part of the fabric. However, for all our purposes, it will be enough for the reader to remember that the earliest parts of the building belong to the eleventh, twelfth, and first part of the thirteenth century; the Gothic portions to the fourteenth; some of the altars and embellishments to the fifteenth and sixteenth; and the modern portion of the mosaics to the seventeenth.

SECTION IX. This, however, I only wish him to recollect in order that I may speak generally of the Byzantine architecture of St. Mark's, without leading him to suppose the whole church to have been built and decorated by Greek artists. Its later portions, with the single exception of the seventeenth century mosaics, have been so dexterously accommodated to the original fabric that the general effect is still that of a Byzantine building; and I shall not, except when it is absolutely necessary, direct attention to the discordant points, or weary the reader with anatomical criticism. Whatever in St. Mark's arrests the eye, or affects the feelings, is either Byzantine, or has been modified by Byzantine influence; and our inquiry into its architectural merits need not therefore be disturbed by the anxieties of antiquarianism, or arrested by the obscurities of chronology.

SECTION X. And now I wish that the reader, before I bring him into St. Mark's Place, would imagine himself for a little time in a quiet English cathedral town, and walk with me to the west front of its cathedral. Let us go together up the more retired street, at the end of which we can see the pinnacles of one of the towers, and then through the low gray gateway, with its battlemented top and small latticed window in the centre, into the inner private-looking road or close, where nothing goes in but the carts of the tradesmen who supply the bishop and the chapter, and where there are little shaven grass-plots, fenced in by neat rails, before old-fashioned groups of somewhat diminutive and excessively trim houses, with little oriel and bay windows jutting out here and there, and deep wooden cornices and eaves painted cream color and white, and small porches to their doors in the shape of cockle-shells, or little, crooked, thick, indescribable wooden gables warped a little on one side; and so forward till we come to larger houses, also old-fashioned, but of red brick, and with gardens behind them, and fruit walls, which show here and there, among the nectarines, the vestiges of an old cloister arch or shaft, and looking in front on the cathedral square itself, laid out in rigid divisions of smooth grass and gravel walk, yet not uncheerful, especially on the sunny side where the canons' children are walking with their nurserymaids. And so, taking care not to tread on the grass, we will go along the straight walk to the west front, and there stand for a time, looking up at its deep-pointed porches and the dark places between their pillars where there were statues once, and where the fragments, here and there, of a stately figure are still left, which has in it the likeness of a king, perhaps indeed a king on earth, perhaps a saintly king long ago in heaven; and so higher and higher up to the great mouldering wall of rugged sculpture and confused arcades, shattered, and gray, and grisly with heads of dragons and mocking fiends, worn by the rain and swirling winds into yet unseemlier shape, and colored on their stony scales by the deep russet-orange lichen, melancholy gold; and so, higher still, to the bleak towers, so far above that the eye loses itself among the bosses of their traceries, though they are rude and strong, and only sees like a drift of eddying black points, now closing, now scattering, and now settling suddenly into invisible places among the bosses and flowers, the crowd of restless birds that fill the whole square with that strange clangor of theirs, so harsh and yet so soothing, like the cries of birds on a solitary coast between the cliffs and sea.

SECTION XI. Think for a little while of that scene, and the meaning of all its small formalisms, mixed with its serene sublimity. Estimate its secluded, continuous, drowsy felicities, and its evidence of the sense and steady performance of such kind of duties as can be regulated by the cathedral clock; and weigh the influence of those dark towers on all who have passed through the lonely square at their feet for centuries, and on all who have seen them rising far away over the wooded plain, or catching on their square masses the last rays of the sunset, when the city at their feet was indicated only by the mist at the bend of the river. And then let us quickly recollect that we are in Venice, and land at the extremity of the Calle Lunga San Mois, which may be considered as there answering to the secluded street that led us to our English cathedral gateway.

SECTION XII. We find ourselves in a paved alley, some seven feet wide where it is widest, full of people, and resonant with cries of itinerant salesmen,—a shriek in their beginning, and dying away into a kind of brazen ringing, all the worse for its confinement between the high houses of the passage along which we have to make our way. Over head an inextricable confusion of rugged shutters, and iron balconies and chimney flues pushed out on brackets to save room, and arched windows with projecting sills of Istrian stone, and gleams of green leaves here and there where a fig-tree branch escapes over a lower wall from some inner cortile, leading the eye up to the narrow stream of blue sky high over all. On each side, a row of shops, as densely set as may be, occupying, in fact, intervals between the square stone shafts, about eight feet high, which carry the first floors: intervals of which one is narrow and serves as a door; the other is, in the more respectable shops, wainscoted to the height of the counter and glazed above, but in those of the poorer tradesmen left open to the ground, and the wares laid on benches and tables in the open air, the light in all cases entering at the front only,—and fading away in a few feet from the threshold into a gloom which the eye from without cannot penetrate, but which is generally broken by a ray or two from a feeble lamp at the back of the shop, suspended before a print of the Virgin. The less pious shop-keeper sometimes leaves his lamp unlighted, and is contented with a penny print; the more religious one has his print colored and set in a little shrine with a gilded or figured fringe, with perhaps a faded flower or two on each side, and his lamp burning brilliantly. Here at the fruiterer's, where the dark-green watermelons are heaped upon the counter like cannon balls, the Madonna has a tabernacle of fresh laurel leaves; but the pewterer next door has let his lamp out, and there is nothing to be seen in his shop but the dull gleam of the studded patterns on the copper pans, hanging from his roof in the darkness. Next comes a "Vendita Frittole e Liquori," where the Virgin, enthroned in a very humble manner beside a tallow candle on a back shelf, presides over certain ambrosial morsels of a nature too ambiguous to be denned or enumerated. But a few steps farther on, at the regular wineshop of the calle, where we are offered "Vino Nostrani a Soldi 28'32," the Madonna is in great glory, enthroned above ten or a dozen large red casks of three-year-old vintage, and flanked by goodly ranks of bottles of Maraschino, and two crimson lamps; and for the evening, when the gondoliers will come to drink out, under her auspices, the money they have gained during the day, she will have a whole chandelier.

SECTION XIII. A yard or two farther, we pass the hostelry of the Black Eagle, and, glancing as we pass through the square door of marble, deeply moulded, in the outer wall, we see the shadows of its pergola of vines resting on an ancient well, with a pointed shield carved on its side; and so presently emerge on the bridge and Campo San Mois, whence to the entrance into St. Mark's Place, called the Bocca di Piazza, (mouth of the square), the Venetian character is nearly destroyed, first by the frightful faade of San Mois, which we will pause at another time to examine, and then by the modernizing of the shops as they near the piazza, and the mingling with the lower Venetian populace of lounging groups of English and Austrians. We will push fast through them into the shadow of the pillars at the end of the "Bocca di Piazza," and then we forget them all; for between those pillars there opens a great light, and, in the midst of it, as we advance slowly, the vast tower of St. Mark seems to lift itself visibly forth from the level field of chequered stones; and, on each side, the countless arches prolong themselves into ranged symmetry, as if the rugged and irregular houses that pressed together above us in the dark alley had been struck back into sudden obedience and lovely order, and all their rude casements and broken walls had been transformed into arches charged with goodly sculpture, and fluted shafts of delicate stone.

SECTION XIV. And well may they fall back, for beyond those troops of ordered arches there rises a vision out of the earth, and all the great square seems to have opened from it in a kind of awe, that we may see it far away;—a multitude of pillars and white domes, clustered into a long low pyramid of colored light; a treasure-heap, it seems, partly of gold, and partly of opal and mother-of-pearl, hollowed beneath into five great vaulted porches, ceiled with fair mosaic, and beset with sculpture of alabaster, clear as amber and delicate as ivory,—sculpture fantastic and involved, of palm leaves and lilies, and grapes and pomegranates, and birds clinging and fluttering among the branches, all twined together into an endless network of buds and plumes; and, in the midst of it, the solemn forms of angels, sceptred, and robed to the feet, and leaning to each other across the gates, their figures indistinct among the gleaming of the golden ground through the leaves beside them, interrupted and dim, like the morning light as it faded back among the branches of Eden, when first its gates were angel-guarded long ago. And round the walls of the porches there are set pillars of variegated stones, jasper and porphyry, and deep-green serpentine spotted with flakes of snow, and marbles, that half refuse and half yield to the sunshine, Cleopatra-like, "their bluest veins to kiss"—the shadow, as it steals back from them, revealing line after line of azure undulation, as a receding tide leaves the waved sand; their capitals rich with interwoven tracery, rooted knots of herbage, and drifting leaves of acanthus and vine, and mystical signs, all beginning and ending in the Cross; and above them, in the broad archivolts, a continuous chain of language and of life—angels, and the signs of heaven, and the labors of men, each in its appointed season upon the earth; and above these, another range of glittering pinnacles, mixed with white arches edged with scarlet flowers,—a confusion of delight, amidst which the breasts of the Greek horses are seen blazing in their breadth of golden strength, and the St. Mark's Lion, lifted on a blue field covered with stars, until at last, as if in ecstasy, the crests of the arches break into a marble foam, and toss themselves far into the blue sky in flashes and wreaths of sculptured spray, as if the breakers on the Lido shore had been frost-bound before they fell, and the sea-nymphs had inlaid them with coral and amethyst.

Between that grim cathedral of England and this, what an interval! There is a type of it in the very birds that haunt them; for, instead of the restless crowd, hoarse-voiced and sable-winged, drifting on the bleak upper air, the St. Mark's porches are full of doves, that nestle among the marble foliage, and mingle the soft iridescence of their living plumes, changing at every motion, with the tints, hardly less lovely, that have stood unchanged for seven hundred years.

SECTION XV. And what effect has this splendor on those who pass beneath it? You may walk from sunrise to sunset, to and fro, before the gateway of St. Mark's, and you will not see an eye lifted to it, nor a countenance brightened by it. Priest and layman, soldier and civilian, rich and poor, pass by it alike regardlessly. Up to the very recesses of the porches, the meanest tradesmen of the city push their counters; nay, the foundations of its pillars are themselves the seats—not "of them that sell doves" for sacrifice, but of the vendors of toys and caricatures. Round the whole square in front of the church there is almost a continuous line of cafes, where the idle Venetians of the middle classes lounge, and read empty journals; in its centre the Austrian bands play during the time of vespers, their martial music jarring with the organ notes,—the march drowning the miserere, and the sullen crowd thickening round them,—a crowd, which, if it had its will, would stiletto every soldier that pipes to it. And in the recesses of the porches, all day long, knots of men of the lowest classes, unemployed and listless, lie basking in the sun like lizards; and unregarded children,—every heavy glance of their young eyes full of desperation and stony depravity, and their throats hoarse with cursing,—gamble, and fight, and snarl, and sleep, hour after hour, clashing their bruised centesimi upon the marble ledges of the church porch. And the images of Christ and His angels look down upon it continually.

That we may not enter the church out of the midst of the horror of this, let us turn aside under the portico which looks towards the sea, and passing round within the two massive pillars brought from St. Jean d'Acre, we shall find the gate of the Baptistery; let us enter there. The heavy door closes behind us instantly, and the light, and the turbulence of the Piazzetta, are together shut out by it.

SECTION XVI. We are in a low vaulted room; vaulted, not with arches, but with small cupolas starred with gold, and chequered with gloomy figures: in the centre is a bronze font charged with rich bas-reliefs, a small figure of the Baptist standing above it in a single ray of light that glances across the narrow room, dying as it falls from a window high in the wall, and the first thing that it strikes, and the only thing that it strikes brightly, is a tomb. We hardly know if it be a tomb indeed; for it is like a narrow couch set beside the window, low-roofed and curtained, so that it might seem, but that it has some height above the pavement, to have been drawn towards the window, that the sleeper might be wakened early;—only there are two angels who have drawn the curtain back, and are looking down upon him. Let us look also and thank that gentle light that rests upon his forehead for ever, and dies away upon his breast.

The face is of a man in middle life, but there are two deep furrows right across the forehead, dividing it like the foundations of a tower: the height of it above is bound by the fillet of the ducal cap. The rest of the features are singularly small and delicate, the lips sharp, perhaps the sharpness of death being added to that of the natural lines; but there is a sweet smile upon them, and a deep serenity upon the whole countenance. The roof of the canopy above has been blue, filled with stars; beneath, in the centre of the tomb on which the figure rests, is a seated figure of the Virgin, and the border of it all around is of flowers and soft leaves, growing rich and deep, as if in a field in summer.

It is the Doge Andrea Dandolo, a man early great among the great of Venice; and early lost. She chose him for her king in his 36th year; he died ten years later, leaving behind him that history to which we owe half of what we know of her former fortunes.

SECTION XVII. Look round at the room in which he lies. The floor of it is of rich mosaic, encompassed by a low seat of red marble, and its walls are of alabaster, but worn and shattered, and darkly stained with age, almost a ruin,—in places the slabs of marble have fallen away altogether, and the rugged brickwork is seen through the rents, but all beautiful; the ravaging fissures fretting their way among the islands and channelled zones of the alabaster, and the time-stains on its translucent masses darkened into fields of rich golden brown, like the color of seaweed when the sun strikes on it through deep sea. The light fades away into the recess of the chamber towards the altar, and the eye can hardly trace the lines of the bas-relief behind it of the baptism of Christ: but on the vaulting of the roof the figures are distinct, and there are seen upon it two great circles, one surrounded by the "Principalities and powers in heavenly places," of which Milton has expressed the ancient division in the single massy line,

"Thrones, Dominations, Princedoms, Virtues, Powers,"

and around the other, the Apostles; Christ the centre of both; and upon the walls, again and again repeated, the gaunt figure of the Baptist, in every circumstance of his life and death; and the streams of the Jordan running down between their cloven rocks; the axe laid to the root of a fruitless tree that springs upon their shore. "Every tree that bringeth not forth good fruit shall be hewn down, and cast into the fire." Yes, verily: to be baptized with fire, or to be cast therein; it is the choice set before all men. The march-notes still murmur through the grated window, and mingle with the sounding in our ears of the sentence of judgment, which the old Greek has written on that Baptistery wall. Venice has made her choice.

SECTION XVIII. He who lies under that stony canopy would have taught her another choice, in his day, if she would have listened to him; but he and his counsels have long been forgotten by her, the dust lies upon his lips.

Through the heavy door whose bronze network closes the place of his rest, let us enter the church itself. It is lost in still deeper twilight, to which the eye must be accustomed for some moments before the form of the building can be traced; and then there opens before us a vast cave, hewn out into the form of a Cross, and divided into shadowy aisles by many pillars. Round the domes of its roof the light enters only through narrow apertures like large stars; and here and there a ray or two from some far away casement wanders into the darkness, and casts a narrow phosphoric stream upon the waves of marble that heave and fall in a thousand colors along the floor. What else there is of light is from torches, or silver lamps, burning ceaselessly in the recesses of the chapels; the roof sheeted with gold, and the polished walls covered with alabaster, give back at every curve and angle some feeble gleaming to the flames; and the glories round the heads of the sculptured saints flash out upon us as we pass them, and sink again into the gloom. Under foot and over head, a continual succession of crowded imagery, one picture passing into another, as in a dream; forms beautiful and terrible mixed together; dragons and serpents, and ravening beasts of prey, and graceful birds that in the midst of them drink from running fountains and feed from vases of crystal; the passions and the pleasures of human life symbolized together, and the mystery of its redemption; for the mazes of interwoven lines and changeful pictures lead always at last to the Cross, lifted and carved in every place and upon every stonel sometimes with the serpent of eternity wrapt round it, sometimes with doves beneath its arms, and sweet herbage growing forth from its feet; but conspicuous most of all on the great rood that crosses the church before the altar, raised in bright blazonry against the shadow of the apse. And although in the recesses of the aisles and chapels, when the mist of the incense hangs heavily, we may see continually a figure traced in faint lines upon their marble, a woman standing with her eyes raised to heaven, and the inscription above her, "Mother of God," she is not here the presiding deity. It is the Cross that is first seen, and always, burning in the centre of the temple; and every dome and hollow of its roof has the figure of Christ in the utmost height of it, raised in power, or returning in judgment.

SECTION XIX. Nor is this interior without effect on the minds of the people. At every hour of the day there are groups collected before the various shrines, and solitary worshippers scattered through the dark places of the church, evidently in prayer both deep and reverent, and, for the most part, profoundly sorrowful. The devotees at the greater number of the renowned shrines of Romanism may be seen murmuring their appointed prayers with wandering eyes and unengaged gestures; but the step of the stranger does not disturb those who kneel on the pavement of St. Mark's; and hardly a moment passes, from early morning to sunset, in which we may not see some half-veiled figure enter beneath the Arabian porch, cast itself into long abasement on the floor of the temple, and then rising slowly with more confirmed step, and with a passionate kiss and clasp of the arms given to the feet of the crucifix, by which the lamps burn always in the northern aisle, leave the church, as if comforted.

SECTION XX. But we must not hastily conclude from this that the nobler characters of the building have at present any influence in fostering a devotional spirit. There is distress enough in Venice to bring many to their knees, without excitement from external imagery; and whatever there may be in the temper of the worship offered in St. Mark's more than can be accounted for by reference to the unhappy circumstances of the city, is assuredly not owing either to the beauty of its architecture or to the impressiveness of the Scripture histories embodied in its mosaics. That it has a peculiar effect, however slight, on the popular mind, may perhaps be safely conjectured from the number of worshippers which it attracts, while the churches of St. Paul and the Frari, larger in size and more central in position, are left comparatively empty. [Footnote: The mere warmth of St. Mark's in winter, which is much greater than that of the other two churches above named, must, however, be taken into consideration, as one of the most efficient causes of its being then more frequented.] But this effect is altogether to be ascribed to its richer assemblage of those sources of influence which address themselves to the commonest instincts of the human mind, and which, in all ages and countries, have been more or less employed in the support of superstition. Darkness and mystery; confused recesses of building; artificial light employed in small quantity, but maintained with a constancy which seems to give it a kind of sacredness; preciousness of material easily comprehended by the vulgar eye; close air loaded with a sweet and peculiar odor associated only with religious services, solemn music, and tangible idols or images having popular legends attached to them,—these, the stage properties of superstition, which have been from the beginning of the world, and must be to the end of it, employed by all nations, whether openly savage or nominally civilized, to produce a false awe in minds incapable of apprehending the true nature of the Deity, are assembled in St. Mark's to a degree, as far as I know, unexampled in any other European church. The arts of the Magus and the Brahmin are exhausted in the animation of a paralyzed Christianity; and the popular sentiment which these arts excite is to be regarded by us with no more respect than we should have considered ourselves justified in rendering to the devotion of the worshippers at Eleusis, Ellora, or Edfou. [Footnote: I said above that the larger number of the devotees entered by the "Arabian" porch; the porch, that is to say, on the north side of the church, remarkable for its rich Arabian archivolt, and through which access is gained immediately to the northern transept. The reason is, that in that transept is the chapel of the Madonna, which has a greater attraction for the Venetians than all the rest of the church besides. The old builders kept their images of the Virgin subordinate to those of Christ; but modern Romanism has retrograded from theirs, and the most glittering portions of the whole church are the two recesses behind this lateral altar, covered with silver hearts dedicated to the Virgin.]

SECTION XXI. Indeed, these inferior means of exciting religious emotion were employed in the ancient Church as they are at this day, but not employed alone. Torchlight there was, as there is now; but the torchlight illumined Scripture histories on the walls, which every eye traced and every heart comprehended, but which, during my whole residence in Venice, I never saw one Venetian regard for an instant. I never heard from any one the most languid expression of interest in any feature of the church, or perceived the slightest evidence of their understanding the meaning of its architecture; and while, therefore, the English cathedral, though no longer dedicated to the kind of services for which it was intended by its builders, and much at variance in many of its characters with the temper of the people by whom it is now surrounded, retains yet so much of its religious influence that no prominent feature of its architecture can be said to exist altogether in vain, we have in St. Mark's a building apparently still employed in the ceremonies for which it was designed, and yet of which the impressive attributes have altogether ceased to be comprehended by its votaries. The beauty which it possesses is unfelt, the language it uses is forgotten; and in the midst of the city to whose service it has so long been consecrated, and still filled by crowds of the descendants of those to whom it owes its magnificence; it stands, in reality, more desolate than the ruins through which the sheep-walk passes unbroken in our English valleys; and the writing on its marble walls is less regarded and less powerful for the teaching of men, than the letters which the shepherd follows with his finger, where the moss is lightest on the tombs in the desecrated cloister.

SECTION XXII. It must therefore be altogether without reference to its present usefulness, that we pursue our inquiry into the merits and meaning of the architecture of this marvellous building; and it can only be after we have terminated that inquiry, conducting it carefully on abstract grounds, that we can pronounce with any certainty how far the present neglect of St. Mark's is significative of the decline of the Venetian character, or how far this church is to be considered as the relic of a barbarous age, incapable of attracting the admiration, or influencing the feelings of a civilized community.

The inquiry before us is twofold. Throughout the first volume, I carefully kept the study of expression distinct from that of abstract architectural perfection; telling the reader that in every building we should afterwards examine, he would have first to form a judgment of its construction and decorative merit, considering it merely as a work of art; and then to examine farther, in what degree it fulfilled its expressional purposes. Accordingly, we have first to judge of St. Mark's merely as a piece of architecture, not as a church; secondly, to estimate its fitness for its special duty as a place of worship, and the relation in which it stands, as such, to those northern cathedrals that still retain so much of the power over the human heart, which the Byzantine domes appear to have lost for ever.

SECTION XXIII. In the two succeeding sections of this work, devoted respectively to the examination of the Gothic and Renaissance buildings in Venice, I have endeavored to analyze and state, as briefly as possible, the true nature of each school,—first in Spirit, then in Form. I wished to have given a similar analysis, in this section, of the nature of Byzantine architecture; but could not make my statements general, because I have never seen this kind of building on its native soil. Nevertheless, in the following sketch of the principles exemplified in St. Mark's, I believe that most of the leading features and motives of the style will be found clearly enough distinguished to enable the reader to judge of it with tolerable fairness, as compared with the better known systems of European architecture in the middle ages.

SECTION XXIV. Now the first broad characteristic of the building, and the root nearly of every other important peculiarity in it, is its confessed incrustation. It is the purest example in Italy of the great school of architecture in which the ruling principle is the incrustation of brick with more precious materials; and it is necessary before we proceed to criticise any one of its arrangements, that the reader should carefully consider the principles which are likely to have influenced, or might legitimately influence, the architects of such a school, as distinguished from those whose designs are to be executed in massive materials.

It is true, that among different nations, and at different times, we may find examples of every sort and degree of incrustation, from the mere setting of the larger and more compact stones by preference at the outside of the wall, to the miserable construction of that modern brick cornice, with its coating of cement, which, but the other day, in London, killed its unhappy workmen in its fall. [Footnote: Vide "Builder," for October, 1851.] But just as it is perfectly possible to have a clear idea of the opposing characteristics of two different species of plants or animals, though between the two there are varieties which it is difficult to assign either to the one or the other, so the reader may fix decisively in his mind the legitimate characteristics of the incrusted and the massive styles, though between the two there are varieties which confessedly unite the attributes of both. For instance, in many Roman remains, built of blocks of tufa and incrusted with marble, we have a style, which, though truly solid, possesses some of the attributes of incrustation; and in the Cathedral of Florence, built of brick and coated with marble, the marble facing is so firmly and exquisitely set, that the building, though in reality incrusted, assumes the attributes of solidity. But these intermediate examples need not in the least confuse our generally distinct ideas of the two families of buildings: the one in which the substance is alike throughout, and the forms and conditions of the ornament assume or prove that it is so, as in the best Greek buildings, and for the most part in our early Norman and Gothic; and the other, in which the substance is of two kinds, one internal, the other external, and the system of decoration is founded on this duplicity, as pre-eminently in St. Mark's.

SECTION XXV. I have used the word duplicity in no depreciatory sense. In chapter ii. of the "Seven Lamps," Section 18, I especially guarded this incrusted school from the imputation of insincerity, and I must do so now at greater length. It appears insincere at first to a Northern builder, because, accustomed to build with solid blocks of freestone, he is in the habit of supposing the external superficies of a piece of masonry to be some criterion of its thickness. But, as soon as he gets acquainted with the incrusted style, he will find that the Southern builders had no intention to deceive him. He will see that every slab of facial marble is fastened to the next by a confessed rivet, and that the joints of the armor are so visibly and openly accommodated to the contours of the substance within, that he has no more right to complain of treachery than a savage would have, who, for the first time in his life seeing a man in armor, had supposed him to be made of solid steel. Acquaint him with the customs of chivalry, and with the uses of the coat of mail, and he ceases to accuse of dishonesty either the panoply or the knight.

These laws and customs of the St. Mark's architectural chivalry it must be our business to develop.

SECTION XXVI. First, consider the natural circumstances which give rise to such a style. Suppose a nation of builders, placed far from any quarries of available stone, and having precarious access to the mainland where they exist; compelled therefore either to build entirely with brick, or to import whatever stone they use from great distances, in ships of small tonnage, and for the most part dependent for speed on the oar rather than the sail. The labor and cost of carriage are just as great, whether they import common or precious stone, and therefore the natural tendency would always be to make each shipload as valuable as possible. But in proportion to the preciousness of the stone, is the limitation of its possible supply; limitation not determined merely by cost, but by the physical conditions of the material, for of many marbles, pieces above a certain size are not to be had for money. There would also be a tendency in such circumstances to import as much stone as possible ready sculptured, in order to save weight; and therefore, if the traffic of their merchants led them to places where there were ruins of ancient edifices, to ship the available fragments of them home. Out of this supply of marble, partly composed of pieces of so precious a quality that only a few tons of them could be on any terms obtained, and partly of shafts, capitals, and other portions of foreign buildings, the island architect has to fashion, as best he may, the anatomy of his edifice. It is at his choice either to lodge his few blocks of precious marble here and there among his masses of brick, and to cut out of the sculptured fragments such new forms as may be necessary for the observance of fixed proportions in the new building; or else to cut the colored stones into thin pieces, of extent sufficient to face the whole surface of the walls, and to adopt a method of construction irregular enough to admit the insertion of fragmentary sculptures; rather with a view of displaying their intrinsic beauty, than of setting them to any regular service in the support of the building.

An architect who cared only to display his own skill, and had no respect for the works of others, would assuredly have chosen the former alternative, and would have sawn the old marbles into fragments in order to prevent all interference with his own designs. But an architect who cared for the preservation of noble work, whether his own or others', and more regarded the beauty of his building than his own fame, would have done what those old builders of St. Mark's did for us, and saved every relic with which he was entrusted.

SECTION XXVII. But these were not the only motives which influenced the Venetians in the adoption of their method of architecture. It might, under all the circumstances above stated, have been a question with other builders, whether to import one shipload of costly jaspers, or twenty of chalk flints; and whether to build a small church faced with porphyry and paved with agate, or to raise a vast cathedral in freestone. But with the Venetians it could not be a question for an instant; they were exiles from ancient and beautiful cities, and had been accustomed to build with their ruins, not less in affection than in admiration: they had thus not only grown familiar with the practice of inserting older fragments in modern buildings, but they owed to that practice a great part of the splendor of their city, and whatever charm of association might aid its change from a Refuge into a Home. The practice which began in the affections of a fugitive nation, was prolonged in the pride of a conquering one; and beside the memorials of departed happiness, were elevated the trophies of returning victory. The ship of war brought home more marble in triumph than 'the merchant vessel in speculation; and the front of St. Mark's became rather a shrine at which to dedicate the splendor of miscellaneous spoil, than the organized expression of any fixed architectural law, or religious emotion.

SECTION XXVIII. Thus far, however, the justification of the style of this church depends on circumstances peculiar to the time of its erection, and to the spot where it arose. The merit of its method, considered in the abstract, rests on far broader grounds.

In the fifth chapter of the "Seven Lamps," Section 14, the reader will find the opinion of a modern architect of some reputation, Mr. Wood, that the chief thing remarkable in this church "is its extreme ugliness;" and he will find this opinion associated with another, namely, that the works of the Caracci are far preferable to those of the Venetian painters. This second statement of feeling reveals to us one of the principal causes of the first; namely, that Mr. Wood had not any perception of color, or delight in it. The perception of color is a gift just as definitely granted to one person, and denied to another, as an ear for music; and the very first requisite for true judgment of St. Mark's, is the perfection of that color-faculty which few people ever set themselves seriously to find out whether they possess or not. For it is on its value as a piece of perfect and unchangeable coloring, that the claims of this edifice to our respect are finally rested; and a deaf man might as well pretend to pronounce judgment on the merits of a full orchestra, as an architect trained in the composition of form only, to discern the beauty of St. Mark's. It possesses the charm of color in common with the greater part of the architecture, as well as of the manufactures, of the East; but the Venetians deserve especial note as the only European people who appear to have sympathized to the full with the great instinct of the Eastern races. They indeed were compelled to bring artists from Constantinople to design the mosaics of the vaults of St. Mark's, and to group the colors of its porches; but they rapidly took up and developed, under more masculine conditions, the system of which the Greeks had shown them the example: while the burghers and barons of the North were building their dark streets and grisly castles of oak and sandstone, the merchants of Venice were covering their palaces with porphyry and gold; and at last, when her mighty painters had created for her a color more priceless than gold or porphyry, even this, the richest of her treasures, she lavished upon walls whose foundations were beaten by the sea; and the strong tide, as it runs beneath the Rialto, is reddened to this day by the reflection of the frescoes of Giorgione.

SECTION XXIX. If, therefore, the reader does not care for color, I must protest against his endeavor to form any judgment whatever of this church of St. Mark's. But, if he both cares for and loves it, let him remember that the school of incrusted architecture is the only one in which perfect and permanent chromatic decoration is possible; and let him look upon every piece of jasper and alabaster given to the architect as a cake of very hard color, of which a certain portion is to be ground down or cut off, to paint the walls with. Once understand this thoroughly, and accept the condition that the body and availing strength of the edifice are to be in brick, and that this under muscular power of brickwork is to be clothed with the defence and the brightness of the marble, as the body of an animal is protected and adorned by its scales or its skin, and all the consequent fitnesses and laws of the structure will be easily discernible. These I shall state in their natural order.

SECTION XXX. LAW I. That the plinths and cornices used for binding the armor are to be light and delicate. A certain thickness, at least two or three inches, must be required in the covering pieces (even when composed of the strongest stone, and set on the least exposed parts), in order to prevent the chance of fracture, and to allow for the wear of time. And the weight of this armor must not be trusted to cement; the pieces must not be merely glued to the rough brick surface, but connected with the mass which they protect by binding cornices and string courses; and with each other, so as to secure mutual support, aided by the rivetings, but by no means dependent upon them. And, for the full honesty and straightforwardness of the work, it is necessary that these string courses and binding plinths should not be of such proportions as would fit them for taking any important part in the hard work of the inner structure, or render them liable to be mistaken for the great cornices and plinths already explained as essential parts of the best solid building. They must be delicate, slight, and visibly incapable of severer work than that assigned to them.

SECTION XXXI. LAW II. Science of inner structure is to be abandoned. As the body of the structure is confessedly of inferior, and comparatively incoherent materials, it would be absurd to attempt in it any expression of the higher refinements of construction. It will be enough that by its mass we are assured of its sufficiency and strength; and there is the less reason for endeavoring to diminish the extent of its surface by delicacy of adjustment, because on the breadth of that surface we are to depend for the better display of the color, which is to be the chief source of our pleasure in the building. The main body of the work, therefore, will be composed of solid walls and massive piers; and whatever expression of finer structural science we may require, will be thrown either into subordinate portions of it, or entirely directed to the support of the external mail, where in arches or vaults it might otherwise appear dangerously independent of the material within.

SECTION XXXII. LAW III. All shafts are to be solid. Wherever, by the smallness of the parts, we may be driven to abandon the incrusted structure at all, it must be abandoned altogether. The eye must never be left in the least doubt as to what is solid and what is coated. Whatever appears probably solid, must be assuredly so, and therefore it becomes an inviolable law that no shaft shall ever be incrusted. Not only does the whole virtue of a shaft depend on its consolidation, but the labor of cutting and adjusting an incrusted coat to it would be greater than the saving of material is worth. Therefore the shaft, of whatever size, is always to be solid; and because the incrusted character of the rest of the building renders it more difficult for the shafts to clear themselves from suspicion, they must not, in this incrusted style, be in any place jointed. No shaft must ever be used but of one block; and this the more, because the permission given to the builder to have his walls and piers as ponderous as he likes, renders it quite unnecessary for him to use shafts of any fixed size. In our Norman and Gothic, where definite support is required at a definite point, it becomes lawful to build up a tower of small stones in the shape of a shaft. But the Byzantine is allowed to have as much support as he wants from the walls in every direction, and he has no right to ask for further license in the structure of his shafts. Let him, by generosity in the substance of his pillars, repay us for the permission we have given him to be superficial in his walls. The builder in the chalk valleys of France and England may be blameless in kneading his clumsy pier out of broken flint and calcined lime; but the Venetian, who has access to the riches of Asia and the quarries of Egypt, must frame at least his shafts out of flawless stone.