I have said G. was the flower of serving-women; and so at first she seemed, and it was long till we doubted her perfection. We knew ourselves to be very young, and weak, and unworthy. The Parona had the rare gift of learning to speak less and less Italian every day, and fell inevitably into subjection. The Paron in a domestic point of view was naturally nothing. It had been strange indeed if Giovanna, beholding the great contrast we presented to herself in many respects, had forborne to abuse her advantage over us. But we trusted her implicitly, and I hardly know how or when it was that we began to waver in our confidence. It is certain that with the lapse of time we came gradually to have breakfast at twelve o'clock, instead of nine, as we had originally appointed it, and that G. grew to consume the greater part of the day in making our small purchases, and to give us our belated dinners at seven o'clock. We protested, and temporary reforms ensued, only to be succeeded by more hopeless lapses; but it was not till all entreaties and threats failed that we began to think seriously it would be well to have done with Giovanna, as an unprofitable servant. I give the result, not all the nice causes from which it came. But the question was, How to get rid of a poor woman and a civil, and the mother of a family dependent in great part upon her labor? We solemnly resolve a hundred times to dismiss G., and we shrink a hundred times from inflicting the blow. At last, somewhat in the spirit of Charles Lamb's Chinaman who invented roast pig, and discovered that the sole method of roasting it was to burn down a house in order to consume the adjacent pig-sty, and thus cook the roaster in the flames,—we hit upon an artifice by which we could dispense with Giovanna, and keep an easy conscience. We had long ceased to dine at home, in despair; and now we resolved to take another house, in which there were other servants. But even then, it was a sore struggle to part with the flower of serving- women, who was set over the vacated house to put it in order after our flitting, and with whom the imprudent Paron settled the last account in the familiar little dining-room, surrounded by the depressing influences of the empty chambers. The place was peopled after all, though we had left it, and I think the tenants who come after us will be haunted by our spectres, crowding them on the pleasant little balcony, and sitting down with them at table. G. stood there, the genius of the place, and wept six regretful tears, each one of which drew a florin from the purse of the Paron. She had hoped to remain with us always while we lived in Venice; but now that she could no longer look to us for support, the Lord must take care of her. The gush of grief was transient: it relieved her, and she came out sunnily a moment after. The Paron went his way more sorrowfully, taking leave at last with the fine burst of Christian philosophy: "We are none of us masters of ourselves in this world, and cannot do what we wish. Ma! Come si fa? Ci vuol pazienza!" Yet he was undeniably lightened in heart. He had cut adrift from old moorings, and had crossed the Grand Canal. G. did not follow him, nor any of the long line of pensioners who used to come on certain feast-days to levy tribute of eggs at the old house. (The postman was among these, on Christmas and New Year's, and as he received eggs at every house, it was a problem with us, unsolved to this hour, how he carried them all, and what he did with them.) Not the least among the Paron's causes for self- gratulation was the non-appearance at his new abode of two local newspapers, for which in an evil hour he subscribed, which were delivered with unsparing regularity, and which, being never read, formed the keenest reproach of his imprudent outlay and his idle neglect of their contents.



CHAPTER VIII.

THE BALCONY ON THE GRAND CANAL.

The history of Venice reads like a romance; the place seems a fantastic vision at the best, from which the world must at last awake some morning, and find that after all it has only been dreaming, and that there never was any such city. There our race seems to be in earnest in nothing. People sometimes work, but as if without any aim; they suffer, and you fancy them playing at wretchedness. The Church of St. Mark, standing so solidly, with a thousand years under the feet of its innumerable pillars, is not in the least gray with time—no grayer than a Greek lyric.

"All has suffered a sea-change Into something rich and strange,"

in this fantastic city. The prose of earth has risen poetry from its baptism in the sea.

And if, living constantly in Venice, you sometimes for a little while forget how marvelous she is, at any moment you may be startled into vivid remembrance. The cunning city beguiles you street by street, and step by step, into some old court, where a flight of marble stairs leads high up to the pillared gallery of an empty palace, with a climbing vine green and purple on its old decay, and one or two gaunt trees stretching their heads to look into the lofty windows,—blind long ago to their leafy tenderness,—while at their feet is some sumptuously carven well, with the beauty of the sculptor's soul wrought forever into the stone. Or Venice lures you in a gondola into one of her remote canals, where you glide through an avenue as secret and as still as if sea-deep under our work-day world; where the grim heads carven over the water-gates of the palaces stare at you in austere surprise, where the innumerable balconies are full of the Absences of gay cavaliers and gentle dames, gossiping and making love to one another, from their airy perches. Or if the city's mood is one of bolder charm, she fascinates you in the very places where you think her power is the weakest, and as if impatient of your forgetfulness, dares a wilder beauty, and enthralls with a yet more unearthly and incredible enchantment. It is in the Piazza, and the Austrian band is playing, and the promenaders pace solemnly up and down to the music, and the gentle Italian loafers at Florian's brood vacantly over their little cups of coffee, and nothing can be more stupid; when suddenly every thing is changed, and a memorable tournament flashes up in many-glittering action upon the scene, and there upon the gallery of the church, before the horses of bronze, sit the Senators, bright-robed, and in the midst the bonneted Doge with his guest Petrarch at his side. Or the old Carnival, which had six months of every year to riot in, comes back and throngs the place with motley company,—dominoes, harlequins, pantaloni, illustrissimi and illustrissime, and perhaps even the Doge himself, who has the right of incognito when he wears a little mask of wax at his button-hole. Or may be the grander day revisits Venice when Doria has sent word from his fleet of Genoese at Chioggia that he will listen to the Senate when he has bridled the horses of Saint Mark,—and the whole Republic of rich and poor crowds the square, demanding the release of Pisani, who comes forth from his prison to create victory from the dust of the crumbling commonwealth.

But whatever surprise of memorable or beautiful Venice may prepare for your forgetfulness, be sure it will be complete and resistless. Nay, what potenter magic needs my Venice to revivify her past whenever she will, than the serpent cunning of her Grand Canal? Launched upon this great S have I not seen hardened travelers grow sentimental, and has not this prodigious sybillant, in my hearing, inspired white-haired Puritan ministers of the gospel to attempt to quote out of the guide-book "that line from Byron"? Upon my word, I have sat beside wandering editors in their gondolas, and witnessed the expulsion of the newspaper from their nature, while, lulled by the fascination of the place, they were powerless to take their own journals from their pockets, and instead of politics talked some bewildered nonsense about coming back with their families next summer. For myself, I must count as half-lost the year spent in Venice before I took a house upon the Grand Canal. There alone can existence have the perfect local flavor. But by what witchery touched one's being suffers the common sea-change, till life at last seems to ebb and flow with the tide in that wonder-avenue of palaces, it would be idle to attempt to tell. I can only take you to our dear little balcony at Casa Falier, and comment not very coherently on the scene upon the water under us.

And I am sure (since it is either in the spring or the fall) you will not be surprised to see, the first thing, a boat-load of those English, who go by from the station to their hotels, every day, in well-freighted gondolas. These parties of traveling Englishry are all singularly alike, from the "Pa'ty" traveling alone with his opera-glass and satchel, to the party which fills a gondola with well-cushioned English middle age, ruddy English youth, and substantial English baggage. We have learnt to know them all very well: the father and the mother sit upon the back seat, and their comely girls at the sides and front. These girls all have the honest cabbage-roses of English health upon their cheeks; they all wear little rowdy English hats, and invariable waterfalls of hair tumble upon their broad English backs. They are coming from Switzerland and Germany, and they are going south to Rome and to Naples, and they always pause at Venice a few days. To-morrow we shall see them in the Piazza, and at Florian's, and St. Mark's, and the Ducal Palace; and the young ladies will cross the Bridge of Sighs, and will sentimentally feed the vagabond pigeons of St. Mark which loaf about the Piazza and defile the sculptures. But now our travelers are themselves very hungry, and are more anxious than Americans can understand about the table-d'hote of their hotel. It is perfectly certain that if they fall into talk there with any of our nation, the respectable English father will remark that this war in America is a very sad war, and will ask to know when it will all end. The truth is, Americans do not like these people, and I believe there is no love lost on the other side. But, in many things, they are travelers to be honored, if not liked: they voyage through all countries, and without awaking fervent affection in any land through which they pass; but their sterling honesty and truth have made the English tongue a draft upon the unlimited confidence of the continental peoples, and French, Germans, and Italians trust and respect private English faith as cordially as they hate public English perfidy.

They come to Venice chiefly in the autumn, and October is the month of the Sunsets and the English. The former are best seen from the Public Gardens, whence one looks westward, and beholds them glorious behind the domes and towers of San Giorgio Maggiore and the church of the Redentore. Sometimes, when the sky is clear, your sunset on the lagoon is a fine thing; for then the sun goes down into the water with a broad trail of bloody red behind him, as if, wounded far out at sea, he had dragged himself landward across the crimsoning expanses, and fallen and died as he reached the land. But we (upon whom the idleness of Venice grows daily, and from whom the Gardens, therefore, grow farther and farther) are commonly content to take our bit of sunset as we get it from our balcony, through the avenue opened by the narrow canal opposite. We like the earlier afternoon to have been a little rainy, when we have our sunset splendid as the fury of a passionate beauty—all tears and fire. There is a pretty but impertinent little palace on the corner which is formed by this canal as it enters the Canalazzo, and from the palace, high over the smaller channel, hangs an airy balcony. When the sunset sky, under and over the balcony, is of that pathetic and angry red which I have tried to figure, we think ourselves rich in the neighborhood of that part of the "Palace of Art," whereon

"The light aerial gallery, golden railed, Burnt like a fringe of fire."

And so, after all, we do not think we have lost any greater thing in not seeing the sunset from the Gardens, where half a dozen artists are always painting it, or from the quay of the Zattere, where it is splendid over and under the island church of San Giorgio in Alga.

It is only the English and the other tourist strangers who go by upon the Grand Canal during the day. But in the hours just before the summer twilight the gondolas of the citizens appear, and then you may see whatever is left of Venetian gayety and looking down upon the groups in the open gondolas may witness something of the home-life of the Italians, who live out-of-doors.

The groups do not vary a great deal one from another: inevitably the pale- faced papa, the fat mamma, the over-dressed handsome young girls. We learned to look for certain gondolas, and grew to feel a fond interest in a very mild young man who took the air in company and contrast with a ferocious bull-dog—boule-dogue he called him, I suppose. He was always smoking languidly, that mild young man, and I fancied I could read in his countenance a gentle, gentle antagonism to life—the proportionate Byronic misanthropy, which might arise from sugar and water taken instead of gin. But we really knew nothing about him, and our conjecture was conjecture. Officers went by in their brilliant uniforms, and gave the scene an alien splendor. Among these we enjoyed best the spectacle of an old major, or perhaps general, in whom the arrogance of youth had stiffened into a chill hauteur, and who frowned above his gray overwhelming moustache upon the passers, like a citadel grim with battle and age. We used to fancy, with a certain luxurious sense of our own safety, that one broadside from those fortressed eyes could blow from the water the slight pleasure-boats in which the young Venetian idlers were innocently disporting. But again this was merely conjecture. The general's glance may have had no such power. Indeed, the furniture of our apartment sustained no damage from it, even when concentrated through an opera-glass, by which means the brave officer at times perused our humble lodging from the balcony of his own over against us. He may have been no more dangerous in his way than two aged sisters (whom we saw every evening) were in theirs. They represented Beauty in its most implacable and persevering form, and perhaps they had one day been belles and could not forget it. They were very old indeed, but their dresses were new and their paint fresh, and as they glided by in the good-natured twilight, one had no heart to smile at them. We gave our smiles, and now and then our soldi, to the swarthy beggar, who, being short of legs, rowed up and down the canal in a boat, and overhauled Charity in the gondolas. He was a singular compromise, in his vocation and his equipment, between the mendicant and corsair: I fear he would not have hesitated to assume the pirate altogether in lonelier waters; and had I been a heavily laden oyster-boat returning by night through some remote and dark canal, I would have steered clear of that truculent-looking craft, of which the crew must have fought with a desperation proportioned to the lack of legs and the difficulty of running away, in case of defeat.

About nightfall came the market boats on their way to the Rialto market, bringing heaped fruits and vegetables from the main-land; and far into the night the soft dip of the oar, and the gurgling progress of the boats was company and gentlest lullaby. By which time, if we looked out again, we found the moon risen, and the ghost of dead Venice shadowily happy in haunting the lonesome palaces, and the sea, which had so loved Venice, kissing and caressing the tide-worn marble steps where her feet seemed to rest.

At night sometimes we saw from our balcony one of those freschi, which once formed the chief splendor of festive occasions in Venice, and are peculiar to the city, where alone their fine effects are possible. The fresco is a procession of boats with music and lights. Two immense barges, illumined with hundreds of paper lanterns, carry the military bands; the boats of the civil and military dignitaries follow, and then the gondolas of such citizens as choose to take part in the display,—though since 1859 no Italian, unless a government official, has been seen in the procession. No gondola has less than two lanterns, and many have eight or ten, shedding mellow lights of blue, and red, and purple, over uniforms and silken robes. The soldiers of the bands breathe from their instruments music the most perfect and exquisite of its kind in the world; and as the procession takes the width of the Grand Canal in its magnificent course, soft crimson flushes play upon the old, weather-darkened palaces, and die tenderly away, giving to light and then to shadow the opulent sculptures of pillar, and arch, and spandrel, and weirdly illuminating the grim and bearded visages of stone that peer down from doorway and window. It is a sight more gracious and fairy than ever poet dreamed; and I feel that the lights and the music have only got into my description by name, and that you would not know them when you saw and heard them, from any thing I say. In other days, people tell you, the fresco was much more impressive than now. At intervals, rockets used to be sent up, and the Bengal lights, burned during the progress of the boats, threw the gondoliers' spectral shadows, giant-huge, on the palace-walls. But, for my part, I do not care to have the fresco other than I know it: indeed, for my own selfish pleasure, I should be sorry to have Venice in any way less fallen and forlorn than she is.

Without doubt the most picturesque craft ever seen on the Grand Canal are the great boats of the river Po, which, crossing the lagoons from Chioggia, come up to the city with the swelling sea. They are built with a pointed stern and bow rising with the sweep of a short curve from the water high above the cabin roof, which is always covered with a straw matting. Black is not the color of the gondolas alone, but of all boats in Venetia; and these of the Po are like immense funeral barges, and any one of them might be sent to take King Arthur and bear him to Avilon, whither I think most of them are bound. A path runs along either gunwale, on which the men pace as they pole the boat up the canal,—her great sail folded and lying with the prostrate mast upon the deck. The rudder is a prodigious affair, and the man at the helm is commonly kind enough to wear a red cap with a blue tassel, and to smoke. The other persons on board are no less obliging and picturesque, from the dark-eyed young mother who sits with her child in her arms at the cabin-door, to the bronze boy who figures in play at her feet with a small yellow dog of the race already noticed in charge of the fuel-boats from Dalmatia. The father of the family, whom we take to be the commander of the vessel, occupies himself gracefully in sitting down and gazing at the babe and its mother. It is an old habit of mine, formed in childhood from looking at rafts upon the Ohio, to attribute, with a kind of heart-ache, supreme earthly happiness to the navigators of lazy river craft; and as we glance down upon these people from our balcony, I choose to think them immensely contented, and try, in a feeble, tacit way, to make friends with so much bliss. But I am always repelled in these advances by the small yellow dog, who is rendered extremely irascible by my contemplation of the boat under his care, and who, ruffling his hair as a hen ruffles her feathers, never fails to bark furious resentment of my longing.

Far different from the picture presented by this boat's progress—the peacefulness of which even the bad temper of the small yellow dog could not mar—was another scene which we witnessed upon the Grand Canal, when one morning we were roused from our breakfast by a wild and lamentable outcry. Two large boats, attempting to enter the small canal opposite at the same time, had struck together with a violence that shook the boatmen to their inmost souls. One barge was laden with lime, and belonged to a plasterer of the city; the other was full of fuel, and commanded by a virulent rustic. These rival captains advanced toward the bows of their boats, with murderous looks,

"Con la test'alta e con rabbiosa fame, Si che parea che l'aer ne temesse,"

and there stamped furiously, and beat the wind with hands of deathful challenge, while I looked on with that noble interest which the enlightened mind always feels in people about to punch each other's heads.

But the storm burst in words.

"Figure of a pig!" shrieked the Venetian, "you have ruined my boat forever!"

"Thou liest, son of an ugly old dog!" returned the countryman, "and it was my right to enter the canal first."

They then, after this exchange of insult, abandoned the main subject of dispute, and took up the quarrel laterally and in detail. Reciprocally questioning the reputation of all their female relatives to the third and fourth cousins, they defied each other as the offspring of assassins and prostitutes. As the peace-making tide gradually drifted their boats asunder, their anger rose, and they danced back and forth and hurled opprobrium with a foamy volubility that quite left my powers of comprehension behind. At last the townsman, executing a pas seul of uncommon violence, stooped and picked up a bit of lime, while the countryman, taking shelter at the stern of his boat, there attended the shot. To my infinite disappointment it was not fired. The Venetian seemed to have touched the climax of his passion in the mere demonstration of hostility, and gently gathering up his oar gave the countryman the right of way. The courage of the latter rose as the danger passed, and as far as he could be heard, he continued to exult in the wildest excesses of insult: "Ah-heigh! brutal executioner! Ah, hideous headsman!" Da capo. I now know that these people never intended to do more than quarrel, and no doubt they parted as well pleased as if they had actually carried broken heads from the encounter. But at the time I felt affronted and trifled with by the result, for my disappointments arising out of the dramatic manner of the Italians had not yet been frequent enough to teach me to expect nothing from it.

There was some compensation for me—coming, like all compensation, a long while after the loss—in the spectacle of a funeral procession on the Grand Canal, which had a singular and imposing solemnity only possible to the place. It was the funeral of an Austrian general, whose coffin, mounted on a sable catafalco, was borne upon the middle boat of three that moved abreast. The barges on either side bristled with the bayonets of soldiery, but the dead man was alone in his boat, except for one strange figure that stood at the head of the coffin, and rested its glittering hand upon the black fall of the drapery. This was a man clad cap-a-pie in a perfect suit of gleaming mail, with his visor down, and his shoulders swept by the heavy raven plumes of his helm. As at times he moved from side to side, and glanced upward at the old palaces, sad in the yellow morning light, he put out of sight, for me, every thing else upon the Canal, and seemed the ghost of some crusader come back to Venice, in wonder if this city, lying dead under the hoofs of the Croat, were indeed that same haughty Lady of the Sea who had once sent her blind old Doge to beat down the pride of an empire and disdain its crown.



CHAPTER IX.

A DAY-BREAK RAMBLE.

One summer morning the mosquitoes played for me with sleep, and won. It was half-past four, and as it had often been my humor to see Venice at that hour, I got up and sallied forth for a stroll through the city.

This morning walk did not lay the foundation of a habit of early rising in me, but I nevertheless advise people always to get up at half-past four, if they wish to receive the most vivid impressions, and to take the most absorbing interest in every thing in the world. It was with a feeling absolutely novel that I looked about me that morning, and there was a breezy freshness and clearness in my perceptions altogether delightful, and I fraternized so cordially with Nature that I do not think, if I had sat down immediately after to write out the experience, I should have at all patronized her, as I am afraid scribbling people have sometimes the custom to do. I know that my feeling of brotherhood in the case of two sparrows, which obliged me by hopping down from a garden wall at the end of Calle Falier and promenading on the pavement, was quite humble and sincere; and that I resented the ill-nature of a cat,

"Whom love kept wakeful and the muse,"

and who at that hour was spitefully reviling the morn from a window grating. As I went by the gate of the Canonico's little garden, the flowers saluted me with a breath of perfume,—I think the white honey- suckle was first to offer me this politeness,—and the dumpy little statues looked far more engaging than usual.

After passing the bridge, the first thing to do was to drink a cup of coffee at the Caffe Ponte di Ferro, where the eyebrows of the waiter expressed a mild surprise at my early presence. There was no one else in the place but an old gentleman talking thoughtfully to himself on the subject of two florins, while he poured his coffee into a glass of water, before drinking it. As I lingered a moment over my cup, I was reinforced by the appearance of a company of soldiers, marching to parade in the Campo di Marte. Their officers went at their head, laughing and chatting, and one of the lieutenants smoking a long pipe, gave me a feeling of satisfaction only comparable to that which I experienced shortly afterward in beholding a stoutly built small dog on the Ponte di San Moise. The creature was only a few inches high, and it must have been through some mist of dreams yet hanging about me that he impressed me as having something elephantine in his manner. When I stooped down and patted him on the head, I felt colossal.

On my way to the Piazza, I stopped in the church of Saint Mary of the Lily, where, in company with one other sinner, I found a relish in the early sacristan's deliberate manner of lighting the candles on the altar. Saint Mary of the Lily has a facade in the taste of the declining Renaissance. The interior is in perfect keeping, and all is hideous, abominable, and abandoned. My fellow-sinner was kneeling, and repeating his prayers. He now and then tapped himself absent-mindedly on the breast and forehead, and gave a good deal of his attention to me as I stood at the door, hat in hand. The hour and the place invested him with so much interest, that I parted from him with emotion. My feelings were next involved by an abrupt separation from a young English East-Indian, whom I overheard asking the keeper of a caffe his way to the Campo di Marte. He was a claret-colored young fellow, tall, and wearing folds of white muslin around his hat. In another world I trust to know how he liked the parade that morning.

I discovered that Piazza San Marco is every morning swept by troops of ragged facchini, who gossip noisily and quarrelsomely together over their work. Boot-blacks, also, were in attendance, and several followed my progress through the square, in the vague hope that I would relent and have my boots blacked. One peerless waiter stood alone amid the desert elegance of Caffe Florian, which is never shut, day or night, from year to year. At the Caffe of the Greeks, two individuals of the Greek nation were drinking coffee.

I went upon the Molo, passing between the pillars of the Lion and the Saint, and walked freely back and forth, taking in the glory of that prospect of water and of vague islands breaking the silver of the lagoons, like those scenes cunningly wrought in apparent relief on old Venetian mirrors. I walked there freely, for though there were already many gondoliers at the station, not one took me for a foreigner or offered me a boat. At that hour, I was in myself so improbable, that if they saw me at all, I must have appeared to them as a dream. My sense of security was sweet, but it was false, for on going into the church of St. Mark, the keener eye of the sacristan detected me. He instantly offered to show me the Zeno Chapel; but I declined, preferring the church, where I found the space before the high altar filled with market-people come to hear the early mass. As I passed out of the church, I witnessed the partial awaking of a Venetian gentleman who had spent the night in a sitting posture, between the columns of the main entrance. He looked puffy, scornful, and uncomfortable, and at the moment of falling back to slumber, tried to smoke an unlighted cigarette, which he held between his lips. I found none of the shops open as I passed through the Merceria, and but for myself, and here and there a laborer going to work, the busy thoroughfare seemed deserted. In the mere wantonness of power, and the security of solitude, I indulged myself in snapping several door-latches, which gave me a pleasure as keen as that enjoyed in boyhood from passing a stick along the pickets of a fence. I was in nowise abashed to be discovered in this amusement by an old peasant-woman, bearing at either end of a yoke the usual basket with bottles of milk packed in straw.

Entering Campo San Bartolomeo, I found trade already astir in that noisy place; the voice of cheap bargains, which by noonday swells into an intolerable uproar, was beginning to be heard. Having lived in Campo San Bartolomeo, I recognized several familiar faces there, and particularly noted among them that of a certain fruit-vender, who frequently swindled me in my small dealings with him. He now sat before his stand, and for a man of a fat and greasy presence, looked very fresh and brisk, and as if he had passed a pleasant night.

On the other side of the Rialto Bridge, the market was preparing for the purchasers. Butchers were arranging their shops; fruit-stands, and stands for the sale of crockery, and—as I must say for want of a better word, if there is any—notions, were in a state of tasteful readiness. The person on the steps of the bridge who had exposed his stock of cheap clothing and coarse felt hats on the parapet, had so far completed his preparations as to have leisure to be talking himself hot and hoarse with the neighboring barber. He was in a perfectly good humor, and was merely giving a dramatic flavor to some question of six soldi.

At the landings of the market-place squadrons of boats loaded with vegetables were arriving and unloading. Peasants were building cabbages into pyramids; collective squashes and cucumbers were taking a picturesque shape; wreaths of garlic and garlands of onions graced the scene. All the people were clamoring at the tops of their voices; and in the midst of the tumult and confusion, resting on heaps of cabbage-leaves and garbage, men lay on their bellies sweetly sleeping. Numbers of eating-houses were sending forth a savory smell, and everywhere were breakfasters with bowls of sguassetto. In one of the shops, somewhat prouder than the rest, a heated brunette was turning sections of eel on a gridiron, and hurriedly coqueting with the purchasers. Singularly calm amid all this bustle was the countenance of the statue called the Gobbo, as I looked at it in the centre of the market-place. The Gobbo (who is not a hunchback, either) was patiently supporting his burden, and looking with a quiet, thoughtful frown upon the ground, as if pondering some dream of change that had come to him since the statutes of the haughty Republic were read aloud to the people from the stone tribune on his shoulders.

Indeed, it was a morning for thoughtful meditation; and as I sat at the feet of the four granite kings shortly after, waiting for the gate of the ducal palace to be opened, that I might see the girls drawing the water, I studied the group of the Judgment of Solomon, on the corner of the palace, and arrived at an entirely new interpretation of that Bible story, which I have now wholly forgotten.

The gate remained closed too long for my patience, and I turned away from a scene momently losing its interest. The brilliant little shops opened like hollyhocks as I went home; the swelling tide of life filled the streets, and brought Venice back to my day-time remembrance, robbing her of that keen, delightful charm with which she greeted my early morning sense.



CHAPTER X.

THE MOUSE.

Wishing to tell the story of our Mouse, because I think it illustrates some amusing traits of character in a certain class of Italians, I explain at once that he was not a mouse, but a man so called from his wretched, trembling little manner, his fugitive expression, and peaked visage.

He first appeared to us on the driver's seat of that carriage in which we posted so splendidly one spring-time from Padua to Ponte Lagoscuro. But though he mounted to his place just outside the city gate, we did not regard him much, nor, indeed, observe what a mouse he was, until the driver stopped to water his horses near Battaglia, and the Mouse got down to stretch his forlorn little legs. Then I got down too, and bade him good-day, and told him it was a very hot day—for he was a mouse apparently so plunged in wretchedness that I doubted if he knew what kind of day it was.

When I had spoken, he began to praise (in the wary manner of the Venetians when they find themselves in the company of a foreigner who does not look like an Englishman) the Castle of the Obiza near by, which is now the country-seat of the ex-Duke of Modena; and he presently said something to imply that he thought me a German.

"But I am not a German," said I.

"As many excuses," said the Mouse sadly, but with evident relief; and then began to talk more freely, and of the evil times.

"Are you going all the way with us to Florence?" I asked.

"No, signor, to Bologna; from there to Ancona."

"Have you ever been in Venice? We are just coming from there."

"Oh, yes."

"It is a beautiful place. Do you like it?"

"Sufficiently. But one does not enjoy himself very well there."

"But I thought Venice interesting."

"Sufficiently, signor. Ma!" said the Mouse, shrugging his shoulders, and putting on the air of being luxuriously fastidious in his choice of cities, "the water is so bad in Venice."

The Mouse is dressed in a heavy winter overcoat, and has no garment to form a compromise with his shirt-sleeves, if he should wish to render the weather more endurable by throwing off the surtout. In spite of his momentary assumption of consequence, I suspect that his coat is in the Monte di Pieta. It comes out directly that he is a ship-carpenter who has worked in the Arsenal of Venice, and at the ship-yards in Trieste.

But there is no work any more. He went to Trieste lately to get a job on the three frigates which the Sultan had ordered to be built there. Ma! After all, the frigates are to be built in Marseilles instead. There is nothing. And every thing is so dear. In Venetia you spend much and gain little. Perhaps there is work at Ancona.

By this time the horses are watered; the Mouse regains his seat, and we almost forget him, till he jumps from his place, just before we reach the hotel in Rovigo, and disappears—down the first hole in the side of a house, perhaps. He might have done much worse, and spent the night at the hotel, as we did.

The next morning at four o'clock, when we start, he is on the box again, nibbling bread and cheese, and glancing furtively back at us to say good morning. He has little twinkling black eyes, just like a mouse, and a sharp moustache, and sharp tuft on his chin—as like Victor Emanuel's as a mouse's tuft can be.

The cold morning air seems to shrivel him, and he crouches into a little gelid ball on the seat beside the driver, while we wind along the Po on the smooth gray road; while the twilight lifts slowly from the distances of field and vineyard; while the black boats of the Po, with their gaunt white sails, show spectrally through the mists; while the trees and the bushes break into innumerable voice, and the birds are glad of another day in Italy; while the peasant drives his mellow-eyed, dun oxen afield; while his wife comes in her scarlet bodice to the door, and the children's faces peer out from behind her skirts; while the air freshens, the east flushes, and the great miracle is wrought anew.

Once again, before we reach the ferry of the Po, the Mouse leaps down and disappears as mysteriously as at Rovigo. We see him no more till we meet in the station on the other side of the river, where we hear him bargaining long and earnestly with the ticket-seller for a third-class passage to Bologna. He fails to get it, I think, at less than the usual rate, for he retires from the contest more shrunken and forlorn than ever, and walks up and down the station, startled at a word, shocked at any sudden noise.

For curiosity, I ask how much he paid for crossing the river, mentioning the fabulous sum it had cost us.

It appears that he paid sixteen soldi only. "What could they do when a man was in misery? I had nothing else."

Even while thus betraying his poverty, the Mouse did not beg, and we began to respect his poverty. In a little while we pitied it, witnessing the manner in which he sat down on the edge of a chair, with a smile of meek desperation.

It is a more serious case when an artisan is out of work in the Old World than one can understand in the New. There the struggle for bread is so fierce and the competition so great; and, then, a man bred to one trade cannot turn his hand to another as in America. Even the rudest and least skilled labor has more to do it than are wanted. The Italians are very good to the poor, but the tradesman out of work must become a beggar before charity can help him.

We, who are poor enough to be wise, consult foolishly together concerning the Mouse. It blesses him that gives, and him that takes—this business of charity. And then, there is something irresistibly relishing and splendid in the consciousness of being the instrument of a special providence! Have I all my life admired those beneficent characters in novels and comedies who rescue innocence, succor distress, and go about pressing gold into the palm of poverty, and telling it to take it and be happy; and now shall I reject an occasion, made to my hand, for emulating them in real life?

"I think I will give the Mouse five francs," I say.

"Yes, certainly."

"But I will be prudent," I continue. "I will not give him this money. I will tell him it is a loan which he may pay me back again whenever he can. In this way I shall relieve him now, and furnish him an incentive to economy."

I call to the Mouse, and he runs tremulously toward me.

"Have you friends in Ancona?"

"No, signor."

"How much money have you left?"

He shows me three soldi. "Enough for a coffee."

"And then?"

"God knows."

So I give him the five francs, and explain my little scheme of making it a loan, and not a gift; and then I give him my address.

He does not appear to understand the scheme of the loan; but he takes the money, and is quite stunned by his good fortune. He thanks me absently, and goes and shows the piece to the guards, with a smile that illumines and transfigures his whole person. At Bologna, he has come to his senses; he loads me with blessings, he is ready to weep; he reverences me, he wishes me a good voyage, endless prosperity, and innumerable days; and takes the train for Ancona.

"Ah, ah!" I congratulate myself,—"is it not a fine thing to be the instrument of a special providence?"

It is pleasant to think of the Mouse during all that journey, and if we are never so tired, it rests us to say, "I wonder where the Mouse is by this time?" When we get home, and coldly count up our expenses, we rejoice in the five francs lent to the Mouse. "And I know he will pay it back if ever he can," I say. "That was a Mouse of integrity."

Two weeks later comes a comely young woman, with a young child—a child strong on its legs, a child which tries to open every thing in the room, which wants to pull the cloth off the table, to throw itself out of the open window—a child of which I have never seen the peer for restlessness and curiosity. This young woman has been directed to call on me as a person likely to pay her way to Ferrara. "But who sent you? But, in fine, why should I pay your way to Ferrara? I have never seen you before."

"My husband, whom you benefited on his way to Ancona, sent me. Here is his letter and the card you gave him."

I call out to my fellow-victim,—"My dear, here is news of the Mouse!"

"Don't tell me he's sent you that money already!"

"Not at all. He has sent me his wife and child, that I may forward them to him at Ferrara, out of my goodness, and the boundless prosperity which has followed his good wishes—I, who am a great signor in his eyes, and an insatiable giver of five-franc pieces—the instrument of a perpetual special providence. The Mouse has found work at Ferrara, and his wife comes here from Trieste. As for the rest, I am to send her to him, as I said."

"You are deceived," I say solemnly to the Mouse's wife. "I am not a rich man. I lent your husband five francs because he had nothing. I am sorry but I cannot spare twenty florins to send you to Ferrara. If one will help you?"

"Thanks the same," said the young woman, who was well dressed enough; and blessed me, and gathered up her child, and went her way.

But her blessing did not lighten my heart, depressed and troubled by so strange an end to my little scheme of a beneficent loan. After all, perhaps the Mouse may have been as keenly disappointed as myself. With the ineradicable idea of the Italians, that persons who speak English are wealthy by nature, and tutti originali, it was not such an absurd conception of the case to suppose that if I had lent him five francs once, I should like to do it continually. Perhaps he may yet pay back the loan with usury. But I doubt it. In the mean time, I am far from blaming the Mouse. I merely feel that there is a misunderstanding, which I can pardon if he can.



CHAPTER XI.

CHURCHES AND PICTURES.

One day in the gallery of the Venetian Academy a family party of the English, whom we had often seen from our balcony in their gondolas, were kind enough to pause before Titian's John the Baptist. It was attention that the picture could scarcely demand in strict justice, for it hangs at the end of a suite of smaller rooms through which visitors usually return from the great halls, spent with looking at much larger paintings. As these people stood gazing at the sublime figure of the Baptist,—one of the most impressive, if not the most religious, that the master has painted,—and the wild and singular beauty of the landscape made itself felt through the infinite depths of their respectability, the father of the family and the head of the group uttered approval of the painter's conception: "Quite my idea of the party's character," he said; and then silently and awfully led his domestic train away.

I am so far from deriding the criticism of this honest gentleman that I would wish to have equal sincerity and boldness in saying what I thought— if I really thought any thing at all—concerning the art which I spent so great a share of my time at Venice in looking at. But I fear I should fall short of the terseness as well as the candor I applaud, and should presently find myself tediously rehearsing criticisms which I neither respect for their honesty, nor regard for their justice. It is the sad fortune of him who desires to arrive at full perception of the true and beautiful in art, to find that critics have no agreement except upon a few loose general principles; and that among the artists, to whom he turns in his despair, no two think alike concerning the same master, while his own little learning has made him distrust his natural likings and mislikings. Ruskin is undoubtedly the best guide you can have in your study of the Venetian painters; and after reading him, and suffering confusion and ignominy from his theories and egotisms, the exercises by which you are chastised into admission that he has taught you any thing cannot fail to end in a humility very favorable to your future as a Christian. But even in this subdued state you must distrust the methods by which he pretends to relate the aesthetic truths you perceive to certain civil and religious conditions: you scarcely understand how Tintoretto, who genteelly disdains (on one page) to paint well any person baser than a saint or senator, and with whom "exactly in proportion to the dignity of the character is the beauty of the painting,"—comes (on the next page) to paint a very "weak, mean, and painful" figure of Christ; and knowing a little the loose lives of the great Venetian painters, you must reject, with several other humorous postulates, the idea that good colorists are better men than bad colorists. Without any guide, I think, these painters may be studied and understood, up to a certain point, by one who lives in the atmosphere of their art at Venice, and who, insensibly breathing in its influence, acquires a feeling for it which all the critics in the world could not impart where the works themselves are not to be seen. I am sure that no one strange to the profession of artist ever received a just notion of any picture by reading the most accurate and faithful description of it: stated dimensions fail to convey ideas of size; adjectives are not adequate to the ideas of movement; and the names of the colors, however artfully and vividly introduced and repeated, cannot tell the reader of a painter's coloring. I should be glad to hear what Titian's "Assumption" is like from some one who knew it by descriptions. Can any one who has seen it tell its likeness, or forget it? Can any cunning critic describe intelligibly the difference between the styles of Titian, of Tintoretto, and of Paolo Veronese,—that difference which no one with the slightest feeling for art can fail to discern after looking thrice at their works? It results from all this that I must believe special criticisms on art to have their small use only in the presence of the works they discuss. This is my sincere belief, and I could not, in any honesty, lumber my pages with descriptions or speculations which would be idle to most readers, even if I were a far wiser judge of art than I affect to be. As it is, doubting if I be gifted in that way at all, I think I may better devote myself to discussion of such things in Venice as can be understood by comparison with things elsewhere, and so rest happy in the thought that I have thrown no additional darkness on any of the pictures half obscured now by the religious dimness of the Venetian churches.

Doubt, analogous to that expressed, has already made me hesitate to spend the reader's patience upon many well-known wonders of Venice; and, looking back over the preceding chapters, I find that some of the principal edifices of the city have scarcely got into my book even by name. It is possible that the reader, after all, loses nothing by this; but I should regret it, if it seemed ingratitude to that expression of the beautiful which beguiled many dull hours for me, and kept me company in many lonesome ones. For kindnesses of this sort, indeed, I am under obligations to edifices in every part of the city; and there is hardly a bit of sculptured stone in the Ducal Palace to which I do not owe some pleasant thought or harmless fancy. Yet I am shy of endeavoring in my gratitude to transmute the substance of the Ducal Palace into some substance that shall be sensible to the eyes that look on this print; and I forgive myself the reluctance the more readily when I remember how, just after reading Mr. Ruskin's description of St. Mark's Church, I, who had seen it every day for three years, began to have dreadful doubts of its existence.

To be sure, this was only for a moment, and I do not think all the descriptive talent in the world could make me again doubt St. Mark's, which I remember with no less love than veneration. This church indeed has a beauty which touches and wins all hearts, while it appeals profoundly to the religious sentiment. It is as if there were a sheltering friendliness in its low-hovering domes and arches, which lures and caresses while it awes; as if here, where the meekest soul feels welcome and protection, the spirit oppressed with the heaviest load of sin might creep nearest to forgiveness, hiding the anguish of its repentance in the temple's dim cavernous recesses, faintly starred with mosaic, and twilighted by twinkling altar-lamps. Though the temple is enriched with incalculable value of stone and sculpture, I cannot remember at any time to have been struck by its mere opulence Preciousness of material has been sanctified to the highest uses, and there is such unity and justness in the solemn splendor, that wonder is scarcely appealed to. Even the priceless and rarely seen treasures of the church—such as the famous golden altar- piece, whose costly blaze of gems and gold was lighted in Constantinople six hundred years ago—failed to impress me with their pecuniary worth, though I

"Value the giddy pleasure of the eyes,"

and like to marvel at precious things. The jewels of other churches are conspicuous and silly heaps of treasure; but St. Mark's, where every line of space shows delicate labor in rich material, subdues the jewels to their place of subordinate adornment. So, too, the magnificence of the Romish service seems less vainly ostentatious there. In other churches the ceremonies may sometimes impress you with a sense of their grandeur, and even spirituality, but they all need the effect of twilight upon them. You want a foreground of kneeling figures, and faces half visible through heavy bars of shadow; little lamps must tremble before the shrines; and in the background must rise the high altar, all ablaze with candles from vault to pavement, while a hidden choir pours music from behind, and the organ shakes the heart with its heavy tones. But with the daylight on its splendors even the grand function of the Te Deum fails to awe, and wearies by its length, except in St. Mark's alone, which is given grace to spiritualize what elsewhere would be mere theatric pomp. [Footnote: The cardinal-patriarch officiates in the Basilica San Marco with some ceremonies which I believe are peculiar to the patriarchate of Venice, and which consist of an unusual number of robings and disrobings, and putting on and off of shoes. All this is performed with great gravity, and has, I suppose, some peculiar spiritual significance. The shoes are brought by a priest to the foot of the patriarchal throne, when a canon removes the profane, out-of-door chaussure, and places the sacred shoes on the patriarch's feet. A like ceremony replaces the patriarch's every-day gaiters, and the pious rite ends.] The basilica, however, is not in every thing the edifice best adapted to the Romish worship; for the incense, which is a main element of the function, is gathered and held there in choking clouds under the low wagon-roofs of the cross-naves.—Yet I do not know if I would banish incense from the formula of worship even in St. Mark's. There is certainly a poetic if not a religious grace in the swinging censer and its curling fumes; and I think the perfume, as it steals mitigated to your nostrils, out of the open church door, is the reverendest smell in the world.

The music in Venetian churches is not commonly very good: the best is to be heard at St. Mark's, though the director of the choir always contrives to make so odious a slapping with his baton as nearly to spoil your enjoyment. The great musical event of the year is the performance (immediately after the Festa del Redentore) of the Soldini Masses. These are offered for the repose of one Guiseppe Soldini of Verona, who, dying possessed of about a million francs, bequeathed a part (some six thousand francs) annually to the church of St. Mark, on conditions named in his will. The terms are, that during three successive days, every year, there shall be said for the peace of his soul a certain number of masses, —all to be done in the richest and costliest manner. In case of delinquency, the bequest passes to the Philharmonic Society of Milan; but the priesthood of the basilica so strictly regard the wishes of the deceased that they never say less than four masses over and above the prescribed number. [Footnote: After hearing these masses, curiosity led me to visit the Casa di Ricovero, in order to look at Soldini'a will, and there I had the pleasure of recognizing the constantly recurring fact, that beneficent humanity is of all countries and religions. The Casa di Ricovero is an immense edifice dedicated to the shelter and support of the decrepit and helpless of either sex, who are collected there to the number of five hundred. The more modern quarter was erected from a bequest by Soldini; and eternal provision is also made by his will for ninety of the inmates. The Secretary of the Casa went through all the wards and infirmaries with me, and everywhere I saw cleanliness and comfort (and such content as is possible to sickness and old age), without surprise; for I had before seen the Civil Hospital of Venice, and knew something of the perfection of Venetian charities.

At last we came to the wardrobe, where the clothes of the pensioners are made and kept. Here we were attended by a little, slender, pallid young nun, who exhibited the dresses with a simple pride altogether pathetic. She was a woman still, poor thing, though a nun, and she could not help loving new clothes. They called her Madre, who would never be it except in name and motherly tenderness. When we had seen all, she stood a moment before us, and as one of the coarse woolen lappets of her cape had hidden it, she drew out a heavy crucifix of gold, and placed it in sight, with a heavenly little ostentation, over her heart. Sweet and beautiful vanity! An angel could have done it without harm, but she blushed repentance, and glided away with downcast eyes Poor little mother!]

As there is so little in St. Mark's of the paltry or revolting character of modern Romanism, one would form too exalted an idea of the dignity of Catholic worship if he judged it there. The truth is, the sincerity and nobility of a spirit well-nigh unknown to the Romish faith of these times, are the ruling influences in that temple: the past lays its spell upon the present, transfiguring it, and the sublimity of the early faith honors the superstition which has succeeded it. To see this superstition in all its proper grossness and deformity you must go into some of the Renaissance churches,—fit tabernacles for that droning and mumming spirit which has deprived all young and generous men in Italy of religion; which has made the priests a bitter jest and byword; which has rendered the population ignorant, vicious, and hopeless; which gives its friendship to tyranny and its hatred to freedom; which destroys the life of the Church that it may sustain the power of the Pope. The idols of this superstition are the foolish and hideous dolls which people bow to in most of the Venetian temples, and of which the most abominable is in the church of the Carmelites. It represents the Madonna with the Child, elevated breast-high to the worshipers. She is crowned with tinsel and garlanded with paper flowers; she has a blue ribbon about her tightly corseted waist; and she wears an immense spreading hoop. On her painted, silly face of wood, with its staring eyes shadowed by a wig, is figured a pert smile; and people come constantly and kiss the cross that hangs by a chain from her girdle, and utter their prayers to her; while the column near which she sits is hung over with pictures celebrating the miracles she has performed.

These votive pictures, indeed, are to be seen on most altars of the Virgin, and are no less interesting as works of art than as expressions of hopeless superstition. That Virgin who, in all her portraits, is dressed in a churn-shaped gown and who holds a Child similarly habited, is the Madonna most efficacious in cases of dreadful accident and hopeless sickness, if we may trust the pictures which represent her interference. You behold a carriage overturned and dragged along the ground by frantic horses, and the fashionably dressed lady and gentleman in the carriage about to be dashed into millions of pieces, when the havoc is instantly arrested by this Madonna who breaks the clouds, leaving them with jagged and shattered edges, like broken panes of glass, and visibly holds back the fashionable lady and gentleman from destruction. It is the fashionable lady and gentleman who have thus recorded their obligation; and it is the mother, doubtless, of the little boy miraculously preserved from death in his fall from the second-floor balcony, who has gratefully caused the miracle to be painted and hung at the Madonna's shrine. Now and then you also find offerings of corn and fruits before her altar, in acknowledgment of good crops which the Madonna has made to grow; and again you find rows of silver hearts, typical of the sinful hearts which her intercession has caused to be purged. The greatest number of these, at any one shrine, is to be seen in the church of San Nicolo dei Tolentini, where I should think there were three hundred.

Whatever may be the popularity of the Madonna della Salute in pestilent times, I do not take it to be very great when the health of the city is good, if I may judge from the spareness of the worshipers in the church of her name: it is true that on the annual holiday commemorative of her interposition to save Venice from the plague, there is an immense concourse of people there; but at other times I found the masses and vespers slenderly attended, and I did not observe a great number of votive offerings in the temple,—though the great silver lamp placed there by the city, in memory of the Madonna's goodness during the visitation of the cholera in 1849, may be counted, perhaps, as representative of much collective gratitude. It is a cold, superb church, lording it over the noblest breadth of the Grand Canal; and I do not know what it is saves it from being as hateful to the eye as other temples of the Renaissance architecture. But it has certainly a fine effect, with its twin bell- towers and single massive dome, its majestic breadth of steps rising from the water's edge, and the many-statued sculpture of its facade. Strangers go there to see the splendor of its high altar (where the melodramatic Madonna, as the centre of a marble group, responds to the prayer of the operatic Venezia, and drives away the haggard, theatrical Pest), and the excellent Titians and the grand Tintoretto in the sacristy.

The Salute is one of the great show-churches, like that of San Giovanni e Paolo, which the common poverty of imagination has decided to call the Venetian Westminster Abbey, because it contains many famous tombs and monuments. But there is only one Westminster Abbey; and I am so far a believer in the perfectibility of our species as to suppose that vergers are nowhere possible but in England. There would be nothing to say, after Mr. Ruskin, in praise or blame of the great monuments in San Giovanni e Paolo, even if I cared to discuss them; I only wonder that, in speaking of the bad art which produced the tomb of the Venieri, he failed to mention the successful approach to its depraved feeling, made by the single figure sitting on the case of a slender shaft, at the side of the first altar on the right of the main entrance. I suppose this figure typifies Grief, but it really represents a drunken woman, whose drapery has fallen, as if in some vile debauch, to her waist, and who broods, with a horrible, heavy stupor and chopfallen vacancy, on something which she supports with her left hand upon her knee. It is a round of marble, and if you have the daring to peer under the arm of the debauchee, and look at it as she does, you find that it contains the bass-relief of a skull in bronze. Nothing more ghastly and abominable than the whole thing can be conceived, and it seemed to me the fit type of the abandoned Venice which produced it; for one even less Ruskinian than I might have fancied that in the sculptured countenance could be seen the dismay of the pleasure-wasted harlot of the sea when, from time to time, death confronted her amid her revels.

People go into the Chapel of the Rosary here to see the painting of Titian, representing The Death of Peter Martyr. Behind it stands a painting of equal size by John Bellini,—the Madonna, Child, and Saints, of course,—and it is curious to study in the two pictures those points in which Titian excelled and fell short of his master. The treatment of the sky in the landscape is singularly alike in both, but where the greater painter has gained in breadth and freedom, he has lost in that indefinable charm which belonged chiefly to Bellini, and only to that brief age of transition, of which his genius was the fairest flower and ripest fruit. I have looked again and again at nearly every painting of note in Venice, having a foolish shame to miss a single one, and having also a better wish to learn something of the beautiful from them; but at last I must say, that, while I wondered at the greatness of some, and tried to wonder at the greatness of others, the only paintings which gave me genuine and hearty pleasure were those of Bellini, Carpaccio, and a few others of that school and time.

Every day we used to pass through the court of the old Augustinian convent adjoining the church of San Stefano. It is a long time since the monks were driven out of their snug hold; and the convent is now the head- quarters of the Austrian engineer corps, and the colonnade surrounding the court is become a public thoroughfare. On one wall of this court are remains—very shadowy remains indeed—of frescos painted by Pordenone at the period of his fiercest rivalry with Titian; and it is said that Pordenone, while he wrought upon the scenes of scriptural story here represented, wore his sword and buckler, in readiness to repel an attack which he feared from his competitor. The story is very vague, and I hunted it down in divers authorities only to find it grow more and more intangible and uncertain. But it gave a singular relish to our daily walk through the old cloister, and I added, for my own pleasure (and chiefly out of my own fancy, I am afraid, for I can nowhere localize the fable on which I built), that the rivalry between the painters was partly a love- jealousy, and that the disputed object of their passion was that fair Violante, daughter of the elder Palma, who is to be seen in so many pictures painted by her father, and by her lover, Titian. No doubt there are readers will care less for this idleness of mine than for the fact that the hard-headed German monk, Martin Luther, once said mass in the adjoining church of San Stefano, and lodged in the convent, on his way to Rome. The unhappy Francesco Carrara, last Lord of Padua, is buried in this church; but Venetians are chiefly interested there now by the homilies of those fervent preacher-monks, who deliver powerful sermons during Lent. The monks are gifted men, with a most earnest and graceful eloquence, and they attract immense audiences, like popular and eccentric ministers among ourselves. It is a fashion to hear them, and although the atmosphere of the churches in the season of Lent is raw, damp, and most uncomfortable, the Venetians then throng the churches where they preach. After Lent the sermons and church-going cease, and the sanctuaries are once more abandoned to the possession of the priests, droning from the altars to the scattered kneelers on the floor,—the foul old women and the young girls of the poor, the old-fashioned old gentlemen and devout ladies of the better class, and that singular race of poverty-stricken old men proper to Italian churches, who, having dabbled themselves with holy water, wander forlornly and aimlessly about, and seem to consort with the foreigners looking at the objects of interest. Lounging young fellows of low degree appear with their caps in their hands, long enough to tap themselves upon the breast and nod recognition to the high-altar; and lounging young fellows of high degree step in to glance at the faces of the pretty girls, and then vanish. The droning ends, presently, and the devotees disappear, the last to go being that thin old woman, kneeling before a shrine, with a grease-gray shawl falling from her head to the ground. The sacristan, in his perennial enthusiasm about the great picture of the church, almost treads upon her as he brings the strangers to see it, and she gets meekly up and begs of them in a whispering whimper. The sacristan gradually expels her with the visitors, and at one o'clock locks the door and goes home.

By chance I have got a fine effect in churches at the five o'clock mass in the morning, when the worshipers are nearly all peasants who have come to market, and who are pretty sure, each one, to have a bundle or basket. At this hour the sacristan is heavy with sleep; he dodges uncertainly at the tapers as he lights and extinguishes them; and his manner to the congregation, as he passes through it to the altar, is altogether rasped and nervous. I think it is best to be one's self a little sleepy,—when the barefooted friar at the altar (if it is in the church of the Scalzi, say) has a habit of getting several centuries back from you, and of saying mass to the patrician ghosts from the tombs under your feet and there is nothing at all impossible in the Renaissance angels and cherubs in marble, floating and fatly tumbling about on the broken arches of the altars.

I have sometimes been puzzled in Venice to know why churches should keep cats, church-mice being proverbially so poor, and so little capable of sustaining a cat in good condition; yet I have repeatedly found sleek and portly cats in the churches, where they seem to be on terms of perfect understanding with the priests, and to have no quarrel even with the little boys who assist at mass. There is, for instance, a cat in the sacristy of the Frari, which I have often seen in familiar association with the ecclesiastics there, when they came into his room to robe or disrobe, or warm their hands, numb with supplication, at the great brazier in the middle of the floor. I do not think this cat has the slightest interest in the lovely Madonna of Bellini which hangs in the sacristy; but I suspect him of dreadful knowledge concerning the tombs in the church. I have no doubt he has passed through the open door of Canova's monument, and that he sees some coherence and meaning in Titian's; he has been all over the great mausoleum of the Doge Pesaro, and he knows whether the griffins descend from their perches at the midnight hour to bite the naked knees of the ragged black caryatides. This profound and awful animal I take to be a blood relation of the cat in the church of San Giovanni e Paolo, who sleeps like a Christian during divine service, and loves a certain glorious bed on the top of a bench, where the sun strikes upon him through the great painted window, and dapples his tawny coat with lovely purples and crimsons.

The church cats are apparently the friends of the sacristans, with whom their amity is maintained probably by entire cession of the spoils of visitors. In these, therefore, they seldom take any interest, merely opening a lazy eye now and then to wink at the sacristans as they drag the deluded strangers from altar to altar, with intense enjoyment of the absurdity, and a wicked satisfaction in the incredible stories rehearsed. I fancy, being Italian cats, they feel something like a national antipathy toward those troops of German tourists, who always seek the Sehenswuerdigkeiten in companies of ten or twenty,—the men wearing their beards, and the women their hoops and hats, to look as much like English people as possible; while their valet marshals them forward with a stream of guttural information, unbroken by a single punctuation point. These wise cats know the real English by their "Murrays;" and I think they make a shrewd guess at the nationality of us Americans by the speed with which we pass from one thing to another, and by our national ignorance of all languages but English. They must also hear us vaunt the superiority of our own land in unpleasant comparisons, and I do not think they believe us, or like us, for our boastings. I am sure they would say to us, if they could, "Quando finira mai quella guerra? Che sangue! che orrore!" [Footnote: "When will this war ever be ended? what blood! what horror!" I have often heard the question and the comment from many Italians who were not cats.] The French tourist they distinguish by his evident skepticism concerning his own wisdom in quitting Paris for the present purpose; and the traveling Italian, by his attention to his badly dressed, handsome wife, with whom he is now making his wedding trip.

I have found churches undergoing repairs (as most of them always are in Venice) rather interesting. Under these circumstances, the sacristan is obliged to take you into all sorts of secret places and odd corners, to show you the objects of interest; and you may often get glimpses of pictures which, if not removed from their proper places, it would be impossible to see. The carpenters and masons work most deliberately, as if in a place so set against progress that speedy workmanship would be a kind of impiety. Besides the mechanics, there are always idle priests standing about, and vagabond boys clambering over the scaffolding. In San Giovanni e Paolo I remember we one day saw a small boy appear through an opening in the roof, and descend by means of some hundred feet of dangling rope. The spectacle, which made us ache with fear, delighted his companions so much that their applause was scarcely subdued by the sacred character of the place. As soon as he reached the ground in safety, a gentle, good-natured looking priest took him by the arm and cuffed his ears. It was a scene for a painter.



CHAPTER XII.

SOME ISLANDS OF THE LAGOONS.

Nothing can be fairer to the eye than these "summer isles of Eden" lying all about Venice, far and near. The water forever trembles and changes, with every change of light, from one rainbow glory to another, as with the restless hues of an opal; and even when the splendid tides recede, and go down with the sea, they leave a heritage of beauty to the empurpled mud of the shallows, all strewn with green, disheveled sea-weed. The lagoons have almost as wide a bound as your vision. On the east and west you can see their borders of sea-shore and main-land; but looking north and south, there seems no end to the charm of their vast, smooth, all-but melancholy expanses. Beyond their southern limit rise the blue Euganean Hills, where Petrarch died; on the north loom the Alps, white with snow. Dotting the stretches of lagoon in every direction lie the islands—now piles of airy architecture that the water seems to float under and bear upon its breast, now

"Sunny spots of greenery,"

with the bell-towers of demolished cloisters shadowily showing above their trees;—for in the days of the Republic nearly every one of the islands had its monastery and its church. At present the greater number have been fortified by the Austrians, whose sentinel paces the once-peaceful shores, and challenges all passers with his sharp "Halt! Wer da!" and warns them not to approach too closely. Other islands have been devoted to different utilitarian purposes, and few are able to keep their distant promises of loveliness. One of the more faithful is the island of San Clemente, on which the old convent church is yet standing, empty and forlorn within, but without all draped in glossy ivy. After I had learned to row in the gondolier fashion, I voyaged much in the lagoon with my boat, and often stopped at this church. It has a curious feature in the chapel of the Madonna di Loreto, which is built in the middle of the nave, faced with marble, roofed, and isolated from the walls of the main edifice on all sides. On the back of this there is a bass-relief in bronze, representing the Nativity—a work much in the spirit of the bass-reliefs in San Giovanni e Paolo; and one of the chapels has an exquisite little altar, with gleaming columns of porphyry. There has been no service in the church for many years; and this altar had a strangely pathetic effect, won from the black four-cornered cap of a priest that lay before it, like an offering. I wondered who the priest was that wore it, and why he had left it there, as if he had fled away in haste. I might have thought it looked like the signal of the abdication of a system; the gondolier who was with me took it up and reviled it as representative of birbanti matricolati, who fed upon the poor, and in whose expulsion from that island he rejoiced. But he had little reason to do so, since the last use of the place was for the imprisonment of refractory ecclesiastics. Some of the tombs of the Morosini are in San Clemente—villanous monuments, with bronze Deaths popping out of apertures, and holding marble scrolls inscribed with undying deeds. Indeed, nearly all the decorations of the poor old church are horrible, and there is one statue in it meant for an angel, with absolutely the most lascivious face I ever saw in marble.

The islands near Venice are all small, except the Giudecca (which is properly a part of the city), the Lido, and Murano. The Giudecca, from being anciently the bounds in which certain factious nobles were confined, was later laid out in pleasure-gardens, and built up with summer-palaces. The gardens still remain to some extent; but they are now chiefly turned to practical account in raising vegetables and fruits for the Venetian market, and the palaces have been converted into warehouses and factories. This island produces a variety of beggar, the most truculent and tenacious in all Venice, and it has a convent of lazy Capuchin friars, who are likewise beggars. To them belongs the church of the Redentore, which only the Madonnas of Bellini in the sacristy make worthy to be seen,—though the island is hardly less famed for this church than for the difficult etymology of its name.

At the eastern extremity of the Giudecca lies the Island of San Giorgio Maggiore, with Palladio's church of that name. There are some great Tintorettos in the church, and I like the beautiful wood-carvings in the choir. The island has a sad interest from the political prison into which part of the old convent has been perverted; and the next island eastward is the scarcely sadder abode of the mad. Then comes the fair and happy seat of Armenian learning and piety, San Lazzaro, and then the Lido.

The Lido is the sea-shore, and thither in more cheerful days the Venetians used to resort in great numbers on certain holidays, called the Mondays of the Lido, to enjoy the sea-breeze and the country scenery, and to lunch upon the flat tombs of the Hebrews, buried there in exile from the consecrated Christian ground. On a summer's day there the sun glares down upon the sand and flat gravestones, and it seems the most desolate place where one's bones might be laid. The Protestants were once also interred on the Lido, but now they rest (apart from the Catholics, however) in the cemetery of San Michele.

The island is long and narrow: it stretches between the lagoons and the sea, with a village at either end, and with bath-houses on the beach, which is everywhere faced with forts. There are some poor little trees there, and grass,—things which we were thrice a week grateful for, when we went thither to bathe. I do not know whether it will give the place further interest to say, that it was among the tombs of the Hebrews Cooper's ingenious Bravo had the incredible good luck to hide himself from the sbirri of the Republic; or to relate that it was the habit of Lord Byron to gallop up and down the Lido in search of that conspicuous solitude of which the sincere bard was fond.

One day of the first summer I spent in Venice (three years of Venetian life afterward removed it back into times of the remotest antiquity), a friend and I had the now-incredible enterprise to walk from one end of the Lido to the other,—from the port of San Nicolo (through which the Bucintoro passed when the Doges went to espouse the Adriatic) to the port of Malamocco, at the southern extremity.

We began with that delicious bath which you may have in the Adriatic, where the light surf breaks with a pensive cadence on the soft sand, all strewn with brilliant shells. The Adriatic is the bluest water I have ever seen; and it is an ineffable, lazy delight to lie and watch the fishing sails of purple and yellow dotting its surface, and the greater ships dipping down its utmost rim. It was particularly good to do this after coming out of the water; but our American blood could not brook much repose, and we got up presently, and started on our walk to the little village of Malamocco, some three miles away. The double-headed eagle keeps watch and ward from a continuous line of forts along the shore, and the white-coated sentinels never cease to pace the bastions, night or day. Their vision of the sea must not be interrupted by even so much as the form of a stray passer; and as we went by the forts, we had to descend from the sea-wall, and walk under it, until we got beyond the sentry's beat. The crimson poppies grow everywhere on this sandy little isle, and they fringe the edges of the bastions with their bloom, as if the "blood- red blossoms of war" had there sprung from the seeds of battle sown in old forgotten fights. But otherwise the forts were not very engaging in appearance. A sentry-box of yellow and black, a sentry, a row of seaward frowning cannon—there was not much in all this to interest us; and so we walked idly along, and looked either to the city rising from the lagoons on one hand, or the ships going down the sea on the other. In the fields, along the road, were vines and Indian corn; but instead of those effigies of humanity, doubly fearful from their wide unlikeness to any thing human, which we contrive to scare away the birds, the devout peasant-folks had here displayed on poles the instruments of the Passion of the Lord—the hammer, the cords, the nails—which at once protected and blessed the fields. But I doubt if even these would save them from the New-World pigs, and certainly the fences here would not turn pork, for they are made of a matting of reeds, woven together, and feebly secured to tremulous posts. The fields were well cultivated, and the vines and garden vegetables looked flourishing; but the corn was spindling, and had, I thought, a homesick look, as if it dreamed vainly of wide ancestral bottom-lands, on the mighty streams that run through the heart of the Great West. The Italians call our corn gran turco, but I knew that it was for the West that it yearned, and not for the East.

No doubt there were once finer dwellings than the peasants' houses which are now the only habitations on the Lido; and I suspect that a genteel villa must formerly have stood near the farm-gate, which we found surmounted by broken statues of Venus and Diana. The poor goddesses were both headless, and some cruel fortune had struck off their hands, and they looked strangely forlorn in the swaggering attitudes of the absurd period of art to which they belonged: they extended their mutilated arms toward the sea for pity, but it regarded them not; and we passed before them scoffing at their bad taste, for we were hungry, and it was yet some distance to Malamocco.

This dirty little village was the capital of the Venetian islands before King Pepin and his Franks burned it, and the shifting sands of empire gathered solidly about the Rialto in Venice. It is a thousand years since that time, and Malamocco has long been given over to fishermen's families and the soldiers of the forts. We found the latter lounging about the unwholesome streets; and the former seated at their thresholds, engaged in those pursuits of the chase which the use of a fine-tooth comb would undignify to mere slaughter.

There is a church at Malamocco, but it was closed, and we could not find the sacristan; so we went to the little restaurant, as the next best place, and demanded something to eat. What had the padrone? He answered pretty much to the same effect as the innkeeper in "Don Quixote," who told his guests that they could have any thing that walked on the earth, or swam in the sea, or flew in the air. We would take, then, some fish, or a bit of veal, or some mutton chops. The padrone sweetly shrugged the shoulders of apology. There was nothing of all this, but what would we say to some liver or gizzards of chickens, fried upon the instant and ready the next breath? No, we did not want them; so we compromised on some ham fried in a batter of eggs, and reeking with its own fatness. The truth is, it was a very bad little lunch we made, and nothing redeemed it but the amiability of the smiling padrone and the bustling padrona, who served us as kings and princes. It was a clean hostelry, though, and that was a merit in Malamocco, of which the chief modern virtue is that it cannot hold you long. No doubt it was more interesting in other times. In the days when the Venetians chose it for their capital, it was a walled town, and fortified with towers. It has been more than once inundated by the sea, and it might again be washed out with advantage.

In the spring, two years after my visit to Malamocco, we people in Casa Falier made a long-intended expedition to the island of Torcello, which is perhaps the most interesting of the islands of the lagoons. We had talked of it all winter, and had acquired enough property there to put up some light Spanish castles on the desolate site of the ancient city, that, so many years ago, sickened of the swamp air and died. A Count from Torcello is the title which Venetian persiflage gives to improbable noblemen; and thus even the pride of the dead Republic of Torcello has passed into matter of scornful jest, as that of the dead Republic of Venice may likewise in its day.

When we leave the riva of Casa Falier, we pass down the Grand Canal, cross the Basin of St. Mark, and enter one of the narrow canals that intersect the Riva degli Schiavoni, whence we wind and deviate southwestward till we emerge near the church of San Giovanni e Paolo, on the Fondamenta Nuove. On our way we notice that a tree, hanging over the water from a little garden, is in full leaf, and at Murano we see the tender bloom of peaches and the drifted blossom of cherry-trees.

As we go by the Cemetery of San Michele, Piero the gondolier and Giovanna improve us with a little solemn pleasantry.

"It is a small place," says Piero, "but there is room enough for all Venice in it."

"It is true," assents Giovanna, "and here we poor folks become landholders at last."

At Murano we stop a moment to look at the old Duomo, and to enjoy its quaint mosaics within, and the fine and graceful spirit of the apsis without. It is very old, this architecture; but the eternal youth of the beautiful belongs to it, and there is scarce a stone fallen from it that I would replace.

The manufacture of glass at Murano, of which the origin is so remote, may be said to form the only branch of industry which still flourishes in the lagoons. Muranese beads are exported to all quarters in vast quantities, and the process of making them is one of the things that strangers feel they must see when visiting Venice. The famous mirrors are no longer made, and the glass has deteriorated in quality, as well as in the beauty of the thousand curious forms it took. The test of the old glass, which is now imitated a great deal, is its extreme lightness. I suppose the charming notion that glass was once wrought at Murano of such fineness that it burst into fragments if poison were poured into it, must be fabulous. And yet it would have been an excellent thing in the good old toxicological days of Italy; and people of noble family would have found a sensitive goblet of this sort as sovereign against the arts of venomers as an exclusive diet of boiled eggs. The city of Murano has dwindled from thirty to five thousand in population. It is intersected by a system of canals like Venice, and has a Grand Canal of its own, of as stately breadth as that of the capital. The finer houses are built on this canal; but the beautiful palaces, once occupied in villeggiatura by the noble Venetians, are now inhabited by herds of poor, or converted into glass- works. The famous Cardinal Bembo and other literati made the island their retreat, and beautified it with gardens and fountains. Casa Priuli in that day was, according to Venetian ideas, "a terrestrial Paradise," and a proper haunt of "nymphs and demi-gods." But the wealth, the learning, and the elegance of former times, which planted "groves of Academe" at Murano, have passed away, and the fair pleasure-gardens are now weed-grown wastes, or turned into honest cabbage and potato patches. It is a poor, dreary little town, with an inexplicable charm in its decay. The city arms are still displayed upon the public buildings (for Murano was ruled, independently of Venice, by its own council); and the heraldic cock, with a snake in its beak, has yet a lusty and haughty air amid the ruin of the place.

The way in which the spring made itself felt upon the lagoon was full of curious delight. It was not so early in the season that we should know the spring by the first raw warmth in the air, and there was as yet no assurance of her presence in the growth—later so luxuriant—of the coarse grasses of the shallows. But somehow the spring was there, giving us new life with every breath. There were fewer gulls than usual, and those we saw sailed far overhead, debating departure. There was deeper languor in the laziness of the soldiers of finance, as they lounged and slept upon their floating custom houses in every channel of the lagoons; and the hollow voices of the boatmen, yelling to each other as their wont is, had an uncommon tendency to diffuse themselves in echo. Over all, the heavens had put on their summer blue, in promise of that delicious weather which in the lagoons lasts half the year, and which makes every other climate seem niggard of sunshine and azure skies. I know we have beautiful days at home—days of which the sumptuous splendor used to take my memory with unspeakable longing and regret even in Italy;—but we do not have, week after week, month after month, that

"Blue, unclouded weather,"

which, at Venice, contents all your senses, and makes you exult to be alive with the inarticulate gladness of children, or of the swallows that there all day wheel and dart through the air, and shriek out a delight too intense and precipitate for song.

The island of Torcello is some five miles away from Venice, in the northern lagoon. The city was founded far back in the troubled morning of Christian civilization, by refugees from barbarian invasion, and built with stones quarried from the ruins of old Altinum, over which Attila had passed desolating. During the first ages of its existence Torcello enjoyed the doubtful advantage of protection from the Greek emperors, but fell afterward under the domination of Venice. In the thirteenth century the debris of the river that emptied into the lagoon there began to choke up the wholesome salt canals, and to poison the air with swampy malaria; and in the seventeenth century the city had so dwindled that the Venetian podesta removed his residence from the depopulated island to Burano,—though the bishopric established immediately after the settlement of the refugees at Torcello continued there till 1814, to the satisfaction, no doubt, of the frogs and mosquitoes that had long inherited the former citizens.

I confess that I know little more of the history of Torcello than I found in my guide-book. There I read that the city had once stately civic and religious edifices, and that in the tenth century the Emperor Porphorygenitus called it "magnum emporium Torcellanorum." The much-restored cathedral of the seventh century, a little church, a building supposed to have been the public palace, and other edifices so ruinous and so old that their exact use in other days is not now known, are all that remain of the magnum emporium, except some lines of moldering wall that wander along the canals, and through pastures and vineyards, in the last imbecile stages of dilapidation and decay. There is a lofty bell-tower, also, from which, no doubt, the Torcellani used to descry afar off the devouring hordes of the barbarians on the main-land, and prepare for defense. As their city was never actually invaded, I am at a loss to account for the so-called Throne of Attila, which stands in the grass-grown piazza before the cathedral; and I fear that it may really have been after all only the seat which the ancient Tribunes of Torcello occupied on public occasions. It is a stone arm-chair, of a rude stateliness, and though I questioned its authenticity, I went and sat down in it a little while, to give myself the benefit of a doubt in case Attila had really pressed the same seat.