Italian Hours E-Book

Henry James

• Herausgeber: James Press
• Kategorie: Lebensstil
• Sprache: Englisch
• Veröffentlichungsjahr: 2018

Beschreibung

Italian Hours is a book of travel writing by Henry James published in 1909. The book collected essays that James had written over nearly forty years about a country he knew and loved well. James extensively revised and sometimes expanded the essays to create a more consistent whole. He also added two new essays and an introduction. Italian Hours ends with the phrase, "the luxury of loving Italy," and everything in the book indicates that James enjoyed this luxury to the fullest. But he was by no means a blind lover. His opening essay on Venice, for instance, doesn't gloss over the sad conditions of life for the city's people: "Their habitations are decayed; their taxes heavy; their pockets light; their opportunities few." Still, James goes on to sketch enough of the beauty of Venice to make it seem a fair compensation. Throughout the book he constantly comes back to the beauty and amenity of Italian life, despite the all too frequent material shortcomings. Venice and Rome get the most extended treatment, but James doesn't neglect the rest of the country. His Roman essays, though, show the strongest touch of his own experiences, especially his long rides on horseback through the Campagna and his many walks through various neighborhoods in the city. Henry James, OM (15 April 1843 – 28 February 1916) was an American writer who spent most of his writing career in Britain. He is regarded as one of the key figures of 19th-century literary realism. He was the son of Henry James, Sr. and the brother of philosopher and psychologist William James and diarist Alice James. He is best known for a number of novels showing Americans encountering Europe and Europeans. His method of writing from a character's point of view allowed him to explore issues related to consciousness and perception, and his style in later works has been compared to impressionist painting. His imaginative use of point of view, interior monologue and unreliable narrators brought a new depth to narrative fiction. James contributed significantly to literary criticism, particularly in his insistence that writers be allowed the greatest possible freedom in presenting their view of the world. James claimed that a text must first and foremost be realistic and contain a representation of life that is recognizable to its readers. Good novels, to James, show life in action and are, most importantly, interesting. In addition to his voluminous works of fiction he published articles and books of travel, biography, autobiography, and criticism, and wrote plays. James alternated between America and Europe for the first twenty years of his life; eventually he settled in England, becoming a British subject in 1915, one year before his death. James was nominated for the Nobel Prize in Literature in 1911, 1912, and 1916.

Leseprobe

ITALIAN HOURS

………………

Henry James

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TABLE OF CONTENTS

PREFACE

VENICE

I.

II.

III.

IV.

V.

VI.

VII.

VIII.

THE GRAND CANAL

VENICE: AN EARLY IMPRESSION

TWO OLD HOUSES AND THREE YOUNG WOMEN

I.

II.

III.

CASA ALVISI

FROM CHAMBÉRY TO MILAN

THE OLD SAINT-GOTHARD LEAVES FROM A NOTE-BOOK

ITALY REVISITED

I.

II.

III.

IV.

V.

VI.

A ROMAN HOLIDAY

ROMAN RIDES

ROMAN NEIGHBOURHOODS

THE AFTER-SEASON IN ROME

FROM A ROMAN NOTE-BOOK

A FEW OTHER ROMAN NEIGHBOURHOODS

A CHAIN OF CITIES

SIENA EARLY AND LATE

I.

II.

THE AUTUMN IN FLORENCE

FLORENTINE NOTES

I.

II.

III.

IV.

V.

VI.

VII.

VIII.

TUSCAN CITIES

OTHER TUSCAN CITIES

I.

II.

III.

IV.

RAVENNA

THE SAINT’S AFTERNOON AND OTHERS

I.

II.

III.

IV.

V.

VI.

VII.

PREFACE

………………

THE CHAPTERS OF WHICH THIS volume is composed have with few exceptions already been collected, and were then associated with others commemorative of other impressions of (no very extensive) excursions and wanderings. The notes on various visits to Italy are here for the first time exclusively placed together, and as they largely refer to quite other days than these—the date affixed to each paper sufficiently indicating this—I have introduced a few passages that speak for a later and in some cases a frequently repeated vision of the places and scenes in question. I have not hesitated to amend my text, expressively, wherever it seemed urgently to ask for this, though I have not pretended to add the element of information or the weight of curious and critical insistence to a brief record of light inquiries and conclusions. The fond appeal of the observer concerned is all to aspects and appearances—above all to the interesting face of things as it mainly used to be.

………………

VENICE

………………

IT IS A GREAT PLEASURE to write the word; but I am not sure there is not a certain impudence in pretending to add anything to it. Venice has been painted and described many thousands of times, and of all the cities of the world is the easiest to visit without going there. Open the first book and you will find a rhapsody about it; step into the first picture-dealer’s and you will find three or four high-coloured “views” of it. There is notoriously nothing more to be said on the subject. Every one has been there, and every one has brought back a collection of photographs. There is as little mystery about the Grand Canal as about our local thoroughfare, and the name of St. Mark is as familiar as the postman’s ring. It is not forbidden, however, to speak of familiar things, and I hold that for the true Venice-lover Venice is always in order. There is nothing new to be said about her certainly, but the old is better than any novelty. It would be a sad day indeed when there should be something new to say. I write these lines with the full consciousness of having no information whatever to offer. I do not pretend to enlighten the reader; I pretend only to give a fillip to his memory; and I hold any writer sufficiently justified who is himself in love with his theme.

I.

Mr. Ruskin has given it up, that is very true; but only after extracting half a lifetime of pleasure and an immeasurable quantity of fame from it. We all may do the same, after it has served our turn, which it probably will not cease to do for many a year to come. Meantime it is Mr. Ruskin who beyond anyone helps us to enjoy. He has indeed lately produced several aids to depression in the shape of certain little humorous—ill-humorous—pamphlets (the series of St. Mark’s Rest) which embody his latest reflections on the subject of our city and describe the latest atrocities perpetrated there. These latter are numerous and deeply to be deplored; but to admit that they have spoiled Venice would be to admit that Venice may be spoiled—an admission pregnant, as it seems to us, with disloyalty. Fortunately one reacts against the Ruskinian contagion, and one hour of the lagoon is worth a hundred pages of demoralised prose. This queer late-coming prose of Mr. Ruskin (including the revised and condensed issue of the Stones of Venice, only one little volume of which has been published, or perhaps ever will be) is all to be read, though much of it appears addressed to children of tender age. It is pitched in the nursery-key, and might be supposed to emanate from an angry governess. It is, however, all suggestive, and much of it is delightfully just. There is an inconceivable want of form in it, though the author has spent his life in laying down the principles of form and scolding people for departing from them; but it throbs and flashes with the love of his subject—a love disconcerted and abjured, but which has still much of the force of inspiration. Among the many strange things that have befallen Venice, she has had the good fortune to become the object of a passion to a man of splendid genius, who has made her his own and in doing so has made her the world’s. There is no better reading at Venice therefore, as I say, than Ruskin, for every true Venice-lover can separate the wheat from the chaff. The narrow theological spirit, the moralism à tout propos, the queer provincialities and pruderies, are mere wild weeds in a mountain of flowers. One may doubtless be very happy in Venice without reading at all—without criticising or analysing or thinking a strenuous thought. It is a city in which, I suspect, there is very little strenuous thinking, and yet it is a city in which there must be almost as much happiness as misery. The misery of Venice stands there for all the world to see; it is part of the spectacle—a thoroughgoing devotee of local colour might consistently say it is part of the pleasure. The Venetian people have little to call their own—little more than the bare privilege of leading their lives in the most beautiful of towns. Their habitations are decayed; their taxes heavy; their pockets light; their opportunities few. One receives an impression, however, that life presents itself to them with attractions not accounted for in this meagre train of advantages, and that they are on better terms with it than many people who have made a better bargain. They lie in the sunshine; they dabble in the sea; they wear bright rags; they fall into attitudes and harmonies; they assist at an eternal conversazione. It is not easy to say that one would have them other than they are, and it certainly would make an immense difference should they be better fed. The number of persons in Venice who evidently never have enough to eat is painfully large; but it would be more painful if we did not equally perceive that the rich Venetian temperament may bloom upon a dog’s allowance. Nature has been kind to it, and sunshine and leisure and conversation and beautiful views form the greater part of its sustenance. It takes a great deal to make a successful American, but to make a happy Venetian takes only a handful of quick sensibility. The Italian people have at once the good and the evil fortune to be conscious of few wants; so that if the civilisation of a society is measured by the number of its needs, as seems to be the common opinion to-day, it is to be feared that the children of the lagoon would make but a poor figure in a set of comparative tables. Not their misery, doubtless, but the way they elude their misery, is what pleases the sentimental tourist, who is gratified by the sight of a beautiful race that lives by the aid of its imagination. The way to enjoy Venice is to follow the example of these people and make the most of simple pleasures. Almost all the pleasures of the place are simple; this may be maintained even under the imputation of ingenious paradox. There is no simpler pleasure than looking at a fine Titian, unless it be looking at a fine Tintoret or strolling into St. Mark’s,—abominable the way one falls into the habit,—and resting one’s light-wearied eyes upon the windowless gloom; or than floating in a gondola or than hanging over a balcony or than taking one’s coffee at Florian’s. It is of such superficial pastimes that a Venetian day is composed, and the pleasure of the matter is in the emotions to which they minister. These are fortunately of the finest—otherwise Venice would be insufferably dull. Reading Ruskin is good; reading the old records is perhaps better; but the best thing of all is simply staying on. The only way to care for Venice as she deserves it is to give her a chance to touch you often—to linger and remain and return.

II.

The danger is that you will not linger enough—a danger of which the author of these lines had known something. It is possible to dislike Venice, and to entertain the sentiment in a responsible and intelligent manner. There are travellers who think the place odious, and those who are not of this opinion often find themselves wishing that the others were only more numerous. The sentimental tourist’s sole quarrel with his Venice is that he has too many competitors there. He likes to be alone; to be original; to have (to himself, at least) the air of making discoveries. The Venice of to-day is a vast museum where the little wicket that admits you is perpetually turning and creaking, and you march through the institution with a herd of fellow-gazers. There is nothing left to discover or describe, and originality of attitude is completely impossible. This is often very annoying; you can only turn your back on your impertinent playfellow and curse his want of delicacy. But this is not the fault of Venice; it is the fault of the rest of the world. The fault of Venice is that, though she is easy to admire, she is not so easy to live with as you count living in other places. After you have stayed a week and the bloom of novelty has rubbed off you wonder if you can accommodate yourself to the peculiar conditions. Your old habits become impracticable and you find yourself obliged to form new ones of an undesirable and unprofitable character. You are tired of your gondola (or you think you are) and you have seen all the principal pictures and heard the names of the palaces announced a dozen times by your gondolier, who brings them out almost as impressively as if he were an English butler bawling titles into a drawing-room. You have walked several hundred times round the Piazza and bought several bushels of photographs. You have visited the antiquity mongers whose horrible sign-boards dishonour some of the grandest vistas in the Grand Canal; you have tried the opera and found it very bad; you have bathed at the Lido and found the water flat. You have begun to have a shipboard-feeling—to regard the Piazza as an enormous saloon and the Riva degli Schiavoni as a promenade-deck. You are obstructed and encaged; your desire for space is unsatisfied; you miss your usual exercise. You try to take a walk and you fail, and meantime, as I say, you have come to regard your gondola as a sort of magnified baby’s cradle. You have no desire to be rocked to sleep, though you are sufficiently kept awake by the irritation produced, as you gaze across the shallow lagoon, by the attitude of the perpetual gondolier, with his turned-out toes, his protruded chin, his absurdly unscientific stroke. The canals have a horrible smell, and the everlasting Piazza, where you have looked repeatedly at every article in every shop-window and found them all rubbish, where the young Venetians who sell bead bracelets and “panoramas” are perpetually thrusting their wares at you, where the same tightly-buttoned officers are for ever sucking the same black weeds, at the same empty tables, in front of the same cafés—the Piazza, as I say, has resolved itself into a magnificent tread-mill. This is the state of mind of those shallow inquirers who find Venice all very well for a week; and if in such a state of mind you take your departure you act with fatal rashness. The loss is your own, moreover; it is not—with all deference to your personal attractions—that of your companions who remain behind; for though there are some disagreeable things in Venice there is nothing so disagreeable as the visitors. The conditions are peculiar, but your intolerance of them evaporates before it has had time to become a prejudice. When you have called for the bill to go, pay it and remain, and you will find on the morrow that you are deeply attached to Venice. It is by living there from day to day that you feel the fulness of her charm; that you invite her exquisite influence to sink into your spirit. The creature varies like a nervous woman, whom you know only when you know all the aspects of her beauty. She has high spirits or low, she is pale or red, grey or pink, cold or warm, fresh or wan, according to the weather or the hour. She is always interesting and almost always sad; but she has a thousand occasional graces and is always liable to happy accidents. You become extraordinarily fond of these things; you count upon them; they make part of your life. Tenderly fond you become; there is something indefinable in those depths of personal acquaintance that gradually establish themselves. The place seems to personify itself, to become human and sentient and conscious of your affection. You desire to embrace it, to caress it, to possess it; and finally a soft sense of possession grows up and your visit becomes a perpetual love-affair. It is very true that if you go, as the author of these lines on a certain occasion went, about the middle of March, a certain amount of disappointment is possible. He had paid no visit for several years, and in the interval the beautiful and helpless city had suffered an increase of injury. The barbarians are in full possession and you tremble for what they may do. You are reminded from the moment of your arrival that Venice scarcely exists any more as a city at all; that she exists only as a battered peep-show and bazaar. There was a horde of savage Germans encamped in the Piazza, and they filled the Ducal Palace and the Academy with their uproar. The English and Americans came a little later. They came in good time, with a great many French, who were discreet enough to make very long repasts at the Caffè Quadri, during which they were out of the way. The months of April and May of the year 1881 were not, as a general thing, a favourable season for visiting the Ducal Palace and the Academy. The valet-de-place had marked them for his own and held triumphant possession of them. He celebrates his triumphs in a terrible brassy voice, which resounds all over the place, and has, whatever language he be speaking, the accent of some other idiom. During all the spring months in Venice these gentry abound in the great resorts, and they lead their helpless captives through churches and galleries in dense irresponsible groups. They infest the Piazza; they pursue you along the Riva; they hang about the bridges and the doors of the cafés. In saying just now that I was disappointed at first, I had chiefly in mind the impression that assails me to-day in the whole precinct of St. Mark’s. The condition of this ancient sanctuary is surely a great scandal. The pedlars and commissioners ply their trade—often a very unclean one—at the very door of the temple; they follow you across the threshold, into the sacred dusk, and pull your sleeve, and hiss into your ear, scuffling with each other for customers. There is a great deal of dishonour about St. Mark’s altogether, and if Venice, as I say, has become a great bazaar, this exquisite edifice is now the biggest booth.

III.

It is treated as a booth in all ways, and if it had not somehow a great spirit of solemnity within it the traveller would soon have little warrant for regarding it as a religious affair. The restoration of the outer walls, which has lately been so much attacked and defended, is certainly a great shock. Of the necessity of the work only an expert is, I suppose, in a position to judge; but there is no doubt that, if a necessity it be, it is one that is deeply to be regretted. To no more distressing necessity have people of taste lately had to resign themselves. Wherever the hand of the restorer has been laid all semblance of beauty has vanished; which is a sad fact, considering that the external loveliness of St. Mark’s has been for ages less impressive only than that of the still comparatively uninjured interior. I know not what is the measure of necessity in such a case, and it appears indeed to be a very delicate question. To-day, at any rate, that admirable harmony of faded mosaic and marble which, to the eye of the traveller emerging from the narrow streets that lead to the Piazza, filled all the further end of it with a sort of dazzling silver presence—to-day this lovely vision is in a way to be completely reformed and indeed well-nigh abolished. The old softness and mellowness of colour—the work of the quiet centuries and of the breath of the salt sea—is giving way to large crude patches of new material which have the effect of a monstrous malady rather than of a restoration to health. They look like blotches of red and white paint and dishonourable smears of chalk on the cheeks of a noble matron. The face toward the Piazzetta is in especial the newest-looking thing conceivable—as new as a new pair of boots or as the morning’s paper. We do not profess, however, to undertake a scientific quarrel with these changes; we admit that our complaint is a purely sentimental one. The march of industry in united Italy must doubtless be looked at as a whole, and one must endeavour to believe that it is through innumerable lapses of taste that this deeply interesting country is groping her way to her place among the nations. For the present, it is not to be denied, certain odd phases of the process are more visible than the result, to arrive at which it seems necessary that, as she was of old a passionate votary of the beautiful, she should to-day burn everything that she has adored. It is doubtless too soon to judge her, and there are moments when one is willing to forgive her even the restoration of St. Mark’s. Inside as well there has been a considerable attempt to make the place more tidy; but the general effect, as yet, has not seriously suffered. What I chiefly remember is the straightening out of that dark and rugged old pavement—those deep undulations of primitive mosaic in which the fond spectator was thought to perceive an intended resemblance to the waves of the ocean. Whether intended or not the analogy was an image the more in a treasure-house of images; but from a considerable portion of the church it has now disappeared. Throughout the greater part indeed the pavement remains as recent generations have known it—dark, rich, cracked, uneven, spotted with porphyry and time-blackened malachite, polished by the knees of innumerable worshippers; but in other large stretches the idea imitated by the restorers is that of the ocean in a dead calm, and the model they have taken the floor of a London club-house or of a New York hotel. I think no Venetian and scarcely any Italian cares much for such differences; and when, a year ago, people in England were writing to the Times about the whole business and holding meetings to protest against it the dear children of the lagoon—so far as they heard or heeded the rumour—thought them partly busy-bodies and partly asses. Busy-bodies they doubtless were, but they took a good deal of disinterested trouble. It never occurs to the Venetian mind of to-day that such trouble may be worth taking; the Venetian mind vainly endeavours to conceive a state of existence in which personal questions are so insipid that people have to look for grievances in the wrongs of brick and marble. I must not, however, speak of St. Mark’s as if I had the pretension of giving a description of it or as if the reader desired one. The reader has been too well served already. It is surely the best-described building in the world. Open the Stones of Venice, open Théophile Gautier’s Italia, and you will see. These writers take it very seriously, and it is only because there is another way of taking it that I venture to speak of it; the way that offers itself after you have been in Venice a couple of months, and the light is hot in the great Square, and you pass in under the pictured porticoes with a feeling of habit and friendliness and a desire for something cool and dark. There are moments, after all, when the church is comparatively quiet and empty, and when you may sit there with an easy consciousness of its beauty. From the moment, of course, that you go into any Italian church for any purpose but to say your prayers or look at the ladies, you rank yourself among the trooping barbarians I just spoke of; you treat the place as an orifice in the peep-show. Still, it is almost a spiritual function—or, at the worst, an amorous one—to feed one’s eyes on the molten colour that drops from the hollow vaults and thickens the air with its richness. It is all so quiet and sad and faded and yet all so brilliant and living. The strange figures in the mosaic pictures, bending with the curve of niche and vault, stare down through the glowing dimness; the burnished gold that stands behind them catches the light on its little uneven cubes. St. Mark’s owes nothing of its character to the beauty of proportion or perspective; there is nothing grandly balanced or far-arching; there are no long lines nor triumphs of the perpendicular. The church arches indeed, but arches like a dusky cavern. Beauty of surface, of tone, of detail, of things near enough to touch and kneel upon and lean against—it is from this the effect proceeds. In this sort of beauty the place is incredibly rich, and you may go there every day and find afresh some lurking pictorial nook. It is a treasury of bits, as the painters say; and there are usually three or four of the fraternity with their easels set up in uncertain equilibrium on the undulating floor. It is not easy to catch the real complexion of St. Mark’s, and these laudable attempts at portraiture are apt to look either lurid or livid. But if you cannot paint the old loose-looking marble slabs, the great panels of basalt and jasper, the crucifixes of which the lonely anguish looks deeper in the vertical light, the tabernacles whose open doors disclose a dark Byzantine image spotted with dull, crooked gems—if you cannot paint these things you can at least grow fond of them. You grow fond even of the old benches of red marble, partly worn away by the breeches of many generations and attached to the base of those wide pilasters of which the precious plating, delightful in its faded brownness, with a faint grey bloom upon it, bulges and yawns a little with honourable age.

{Illustration: FLAGS AT ST. MARK’S VENICE}

IV.

Even at first, when the vexatious sense of the city of the Doges reduced to earning its living as a curiosity-shop was in its keenness, there was a great deal of entertainment to be got from lodging on Riva Schiavoni and looking out at the far-shimmering lagoon. There was entertainment indeed in simply getting into the place and observing the queer incidents of a Venetian installation. A great many persons contribute indirectly to this undertaking, and it is surprising how they spring out at you during your novitiate to remind you that they are bound up in some mysterious manner with the constitution of your little establishment. It was an interesting problem for instance to trace the subtle connection existing between the niece of the landlady and the occupancy of the fourth floor. Superficially it was none too visible, as the young lady in question was a dancer at the Fenice theatre—or when that was closed at the Rossini—and might have been supposed absorbed by her professional duties. It proved necessary, however, that she should hover about the premises in a velvet jacket and a pair of black kid gloves with one little white button; as also, that she should apply a thick coating of powder to her face, which had a charming oval and a sweet weak expression, like that of most of the Venetian maidens, who, as a general thing—it was not a peculiarity of the land-lady’s niece—are fond of besmearing themselves with flour. You soon recognise that it is not only the many-twinkling lagoon you behold from a habitation on the Riva; you see a little of everything Venetian. Straight across, before my windows, rose the great pink mass of San Giorgio Maggiore, which has for an ugly Palladian church a success beyond all reason. It is a success of position, of colour, of the immense detached Campanile, tipped with a tall gold angel. I know not whether it is because San Giorgio is so grandly conspicuous, with a great deal of worn, faded-looking brickwork; but for many persons the whole place has a kind of suffusion of rosiness. Asked what may be the leading colour in the Venetian concert, we should inveterately say Pink, and yet without remembering after all that this elegant hue occurs very often. It is a faint, shimmering, airy, watery pink; the bright sea-light seems to flush with it and the pale whiteish-green of lagoon and canal to drink it in. There is indeed a great deal of very evident brickwork, which is never fresh or loud in colour, but always burnt out, as it were, always exquisitely mild.

Certain little mental pictures rise before the collector of memories at the simple mention, written or spoken, of the places he has loved. When I hear, when I see, the magical name I have written above these pages, it is not of the great Square that I think, with its strange basilica and its high arcades, nor of the wide mouth of the Grand Canal, with the stately steps and the well-poised dome of the Salute; it is not of the low lagoon, nor the sweet Piazzetta, nor the dark chambers of St. Mark’s. I simply see a narrow canal in the heart of the city—a patch of green water and a surface of pink wall. The gondola moves slowly; it gives a great smooth swerve, passes under a bridge, and the gondolier’s cry, carried over the quiet water, makes a kind of splash in the stillness. A girl crosses the little bridge, which has an arch like a camel’s back, with an old shawl on her head, which makes her characteristic and charming; you see her against the sky as you float beneath. The pink of the old wall seems to fill the whole place; it sinks even into the opaque water. Behind the wall is a garden, out of which the long arm of a white June rose—the roses of Venice are splendid—has flung itself by way of spontaneous ornament. On the other side of this small water-way is a great shabby facade of Gothic windows and balconies—balconies on which dirty clothes are hung and under which a cavernous-looking doorway opens from a low flight of slimy water-steps. It is very hot and still, the canal has a queer smell, and the whole place is enchanting.

{Illustration: A NARROW CANAL, VENICE}

It is poor work, however, talking about the colour of things in Venice. The fond spectator is perpetually looking at it from his window, when he is not floating about with that delightful sense of being for the moment a part of it, which any gentleman in a gondola is free to entertain. Venetian windows and balconies are a dreadful lure, and while you rest your elbows on these cushioned ledges the precious hours fly away. But in truth Venice isn’t in fair weather a place for concentration of mind. The effort required for sitting down to a writing-table is heroic, and the brightest page of MS. looks dull beside the brilliancy of your milieu. All nature beckons you forth and murmurs to you sophistically that such hours should be devoted to collecting impressions. Afterwards, in ugly places, at unprivileged times, you can convert your impressions into prose. Fortunately for the present proser the weather wasn’t always fine; the first month was wet and windy, and it was better to judge of the matter from an open casement than to respond to the advances of persuasive gondoliers. Even then however there was a constant entertainment in the view. It was all cold colour, and the steel-grey floor of the lagoon was stroked the wrong way by the wind. Then there were charming cool intervals, when the churches, the houses, the anchored fishing-boats, the whole gently-curving line of the Riva, seemed to be washed with a pearly white. Later it all turned warm—warm to the eye as well as to other senses. After the middle of May the whole place was in a glow. The sea took on a thousand shades, but they were only infinite variations of blue, and those rosy walls I just spoke of began to flush in the thick sunshine. Every patch of colour, every yard of weather-stained stucco, every glimpse of nestling garden or daub of sky above a calle, began to shine and sparkle—began, as the painters say, to “compose.” The lagoon was streaked with odd currents, which played across it like huge smooth finger-marks. The gondolas multiplied and spotted it allover; every gondola and gondolier looking, at a distance, precisely like every other.

There is something strange and fascinating in this mysterious impersonality of the gondola. It has an identity when you are in it, but, thanks to their all being of the same size, shape and colour, and of the same deportment and gait, it has none, or as little as possible, as you see it pass before you. From my windows on the Riva there was always the same silhouette—the long, black, slender skiff, lifting its head and throwing it back a little, moving yet seeming not to move, with the grotesquely-graceful figure on the poop. This figure inclines, as may be, more to the graceful or to the grotesque—standing in the “second position” of the dancing-master, but indulging from the waist upward in a freedom of movement which that functionary would deprecate. One may say as a general thing that there is something rather awkward in the movement even of the most graceful gondolier, and something graceful in the movement of the most awkward. In the graceful men of course the grace predominates, and nothing can be finer than the large, firm way in which, from their point of vantage, they throw themselves over their tremendous oar. It has the boldness of a plunging bird and the regularity of a pendulum. Sometimes, as you see this movement in profile, in a gondola that passes you—see, as you recline on your own low cushions, the arching body of the gondolier lifted up against the sky—it has a kind of nobleness which suggests an image on a Greek frieze. The gondolier at Venice is your very good friend—if you choose him happily—and on the quality of the personage depends a good deal that of your impressions. He is a part of your daily life, your double, your shadow, your complement. Most people, I think, either like their gondolier or hate him; and if they like him, like him very much. In this case they take an interest in him after his departure; wish him to be sure of employment, speak of him as the gem of gondoliers and tell their friends to be certain to “secure” him. There is usually no difficulty in securing him; there is nothing elusive or reluctant about a gondolier. Nothing would induce me not to believe them for the most part excellent fellows, and the sentimental tourist must always have a kindness for them. More than the rest of the population, of course, they are the children of Venice; they are associated with its idiosyncrasy, with its essence, with its silence, with its melancholy.

When I say they are associated with its silence I should immediately add that they are associated also with its sound. Among themselves they are an extraordinarily talkative company. They chatter at the traghetti, where they always have some sharp point under discussion; they bawl across the canals; they bespeak your commands as you approach; they defy each other from afar. If you happen to have a traghetto under your window, you are well aware that they are a vocal race. I should go even further than I went just now, and say that the voice of the gondolier is in fact for audibility the dominant or rather the only note of Venice. There is scarcely another heard sound, and that indeed is part of the interest of the place. There is no noise there save distinctly human noise; no rumbling, no vague uproar, nor rattle of wheels and hoofs. It is all articulate and vocal and personal. One may say indeed that Venice is emphatically the city of conversation; people talk all over the place because there is nothing to interfere with its being caught by the ear. Among the populace it is a general family party. The still water carries the voice, and good Venetians exchange confidences at a distance of half a mile. It saves a world of trouble, and they don’t like trouble. Their delightful garrulous language helps them to make Venetian life a long conversazione. This language, with its soft elisions, its odd transpositions, its kindly contempt for consonants and other disagreeables, has in it something peculiarly human and accommodating. If your gondolier had no other merit he would have the merit that he speaks Venetian. This may rank as a merit even—some people perhaps would say especially—when you don’t understand what he says. But he adds to it other graces which make him an agreeable feature in your life. The price he sets on his services is touchingly small, and he has a happy art of being obsequious without being, or at least without seeming, abject. For occasional liberalities he evinces an almost lyrical gratitude. In short he has delightfully good manners, a merit which he shares for the most part with the Venetians at large. One grows very fond of these people, and the reason of one’s fondness is the frankness and sweetness of their address. That of the Italian family at large has much to recommend it; but in the Venetian manner there is something peculiarly ingratiating. One feels that the race is old, that it has a long and rich civilisation in its blood, and that if it hasn’t been blessed by fortune it has at least been polished by time. It hasn’t a genius for stiff morality, and indeed makes few pretensions in that direction. It scruples but scantly to represent the false as the true, and has been accused of cultivating the occasion to grasp and to overreach, and of steering a crooked course—not to your and my advantage—amid the sanctities of property. It has been accused further of loving if not too well at least too often, of being in fine as little austere as possible. I am not sure it is very brave, nor struck with its being very industrious. But it has an unfailing sense of the amenities of life; the poorest Venetian is a natural man of the world. He is better company than persons of his class are apt to be among the nations of industry and virtue—where people are also sometimes perceived to lie and steal and otherwise misconduct themselves. He has a great desire to please and to be pleased.

V.

In that matter at least the cold-blooded stranger begins at last to imitate him; begins to lead a life that shall be before all things easy; unless indeed he allow himself, like Mr. Ruskin, to be put out of humour by Titian and Tiepolo. The hours he spends among the pictures are his best hours in Venice, and I am ashamed to have written so much of common things when I might have been making festoons of the names of the masters. Only, when we have covered our page with such festoons what more is left to say? When one has said Carpaccio and Bellini, the Tintoret and the Veronese, one has struck a note that must be left to resound at will. Everything has been said about the mighty painters, and it is of little importance that a pilgrim the more has found them to his taste. “Went this morning to the Academy; was very much pleased with Titian’s ‘Assumption.’” That honest phrase has doubtless been written in many a traveller’s diary, and was not indiscreet on the part of its author. But it appeals little to the general reader, and we must moreover notoriously not expose our deepest feelings. Since I have mentioned Titian’s “Assumption” I must say that there are some people who have been less pleased with it than the observer we have just imagined. It is one of the possible disappointments of Venice, and you may if you like take advantage of your privilege of not caring for it. It imparts a look of great richness to the side of the beautiful room of the Academy on which it hangs; but the same room contains two or three works less known to fame which are equally capable of inspiring a passion. “The ‘Annunciation’ struck me as coarse and superficial”: that note was once made in a simple-minded tourist’s book. At Venice, strange to say, Titian is altogether a disappointment; the city of his adoption is far from containing the best of him. Madrid, Paris, London, Florence, Dresden, Munich—these are the homes of his greatness.

There are other painters who have but a single home, and the greatest of these is the Tintoret. Close beside him sit Carpaccio and Bellini, who make with him the dazzling Venetian trio. The Veronese may be seen and measured in other places; he is most splendid in Venice, but he shines in Paris and in Dresden. You may walk out of the noon-day dusk of Trafalgar Square in November, and in one of the chambers of the National Gallery see the family of Darius rustling and pleading and weeping at the feet of Alexander. Alexander is a beautiful young Venetian in crimson pantaloons, and the picture sends a glow into the cold London twilight. You may sit before it for an hour and dream you are floating to the water-gate of the Ducal Palace, where a certain old beggar who has one of the handsomest heads in the world—he has sat to a hundred painters for Doges and for personages more sacred—has a prescriptive right to pretend to pull your gondola to the steps and to hold out a greasy immemorial cap. But you must go to Venice in very fact to see the other masters, who form part of your life while you are there, who illuminate your view of the universe. It is difficult to express one’s relation to them; the whole Venetian art-world is so near, so familiar, so much an extension and adjunct of the spreading actual, that it seems almost invidious to say one owes more to one of them than to the other. Nowhere, not even in Holland, where the correspondence between the real aspects and the little polished canvases is so constant and so exquisite, do art and life seem so interfused and, as it were, so consanguineous. All the splendour of light and colour, all the Venetian air and the Venetian history are on the walls and ceilings of the palaces; and all the genius of the masters, all the images and visions they have left upon canvas, seem to tremble in the sunbeams and dance upon the waves. That is the perpetual interest of the place—that you live in a certain sort of knowledge as in a rosy cloud. You don’t go into the churches and galleries by way of a change from the streets; you go into them because they offer you an exquisite reproduction of the things that surround you. All Venice was both model and painter, and life was so pictorial that art couldn’t help becoming so. With all diminutions life is pictorial still, and this fact gives an extraordinary freshness to one’s perception of the great Venetian works. You judge of them not as a connoisseur, but as a man of the world, and you enjoy them because they are so social and so true. Perhaps of all works of art that are equally great they demand least reflection on the part of the spectator—they make least of a mystery of being enjoyed. Reflection only confirms your admiration, yet is almost ashamed to show its head. These things speak so frankly and benignantly to the sense that even when they arrive at the highest style—as in the Tintoret’s “Presentation of the little Virgin at the Temple"—they are still more familiar.

But it is hard, as I say, to express all this, and it is painful as well to attempt it—painful because in the memory of vanished hours so filled with beauty the consciousness of present loss oppresses. Exquisite hours, enveloped in light and silence, to have known them once is to have always a terrible standard of enjoyment. Certain lovely mornings of May and June come back with an ineffaceable fairness. Venice isn’t smothered in flowers at this season, in the manner of Florence and Rome; but the sea and sky themselves seem to blossom and rustle. The gondola waits at the wave-washed steps, and if you are wise you will take your place beside a discriminating companion. Such a companion in Venice should of course be of the sex that discriminates most finely. An intelligent woman who knows her Venice seems doubly intelligent, and it makes no woman’s perceptions less keen to be aware that she can’t help looking graceful as she is borne over the waves. The handsome Pasquale, with uplifted oar, awaits your command, knowing, in a general way, from observation of your habits, that your intention is to go to see a picture or two. It perhaps doesn’t immensely matter what picture you choose: the whole affair is so charming. It is charming to wander through the light and shade of intricate canals, with perpetual architecture above you and perpetual fluidity beneath. It is charming to disembark at the polished steps of a little empty campo—a sunny shabby square with an old well in the middle, an old church on one side and tall Venetian windows looking down. Sometimes the windows are tenantless; sometimes a lady in a faded dressing-gown leans vaguely on the sill. There is always an old man holding out his hat for coppers; there are always three or four small boys dodging possible umbrella-pokes while they precede you, in the manner of custodians, to the door of the church.

VI.

The churches of Venice are rich in pictures, and many a masterpiece lurks in the unaccommodating gloom of side-chapels and sacristies. Many a noble work is perched behind the dusty candles and muslin roses of a scantily-visited altar; some of them indeed, hidden behind the altar, suffer in a darkness that can never be explored. The facilities offered you for approaching the picture in such cases are a mockery of your irritated wish. You stand at tip-toe on a three-legged stool, you climb a rickety ladder, you almost mount upon the shoulders of the custode. You do everything but see the picture. You see just enough to be sure it’s beautiful. You catch a glimpse of a divine head, of a fig tree against a mellow sky, but the rest is impenetrable mystery. You renounce all hope, for instance, of approaching the magnificent Cima da Conegliano in San Giovanni in Bragora; and bethinking yourself of the immaculate purity that shines in the spirit of this master, you renounce it with chagrin and pain. Behind the high altar in that church hangs a Baptism of Christ by Cima which I believe has been more or less repainted. You make the thing out in spots, you see it has a fullness of perfection. But you turn away from it with a stiff neck and promise yourself consolation in the Academy and at the Madonna dell’ Orto, where two noble works by the same hand—pictures as clear as a summer twilight—present themselves in better circumstances. It may be said as a general thing that you never see the Tintoret. You admire him, you adore him, you think him the greatest of painters, but in the great majority of cases your eyes fail to deal with him. This is partly his own fault; so many of his works have turned to blackness and are positively rotting in their frames. At the Scuola di San Rocco, where there are acres of him, there is scarcely anything at all adequately visible save the immense “Crucifixion” in the upper story. It is true that in looking at this huge composition you look at many pictures; it has not only a multitude of figures but a wealth of episodes; and you pass from one of these to the other as if you were “doing” a gallery. Surely no single picture in the world contains more of human life; there is everything in it, including the most exquisite beauty. It is one of the greatest things of art; it is always interesting. There are works of the artist which contain touches more exquisite, revelations of beauty more radiant, but there is no other vision of so intense a reality, an execution so splendid. The interest, the impressiveness, of that whole corner of Venice, however melancholy the effect of its gorgeous and ill-lighted chambers, gives a strange importance to a visit to the Scuola. Nothing that all travellers go to see appears to suffer less from the incursions of travellers. It is one of the loneliest booths of the bazaar, and the author of these lines has always had the good fortune, which he wishes to every other traveller, of having it to himself. I think most visitors find the place rather alarming and wicked-looking. They walk about a while among the fitful figures that gleam here and there out of the great tapestry (as it were) with which the painter has hung all the walls, and then, depressed and bewildered by the portentous solemnity of these objects, by strange glimpses of unnatural scenes, by the echo of their lonely footsteps on the vast stone floors, they take a hasty departure, finding themselves again, with a sense of release from danger, a sense that the genius loci was a sort of mad white-washer who worked with a bad mixture, in the bright light of the campo, among the beggars, the orange-vendors and the passing gondolas. Solemn indeed is the place, solemn and strangely suggestive, for the simple reason that we shall scarcely find four walls elsewhere that inclose within a like area an equal quantity of genius. The air is thick with it and dense and difficult to breathe; for it was genius that was not happy, inasmuch as it, lacked the art to fix itself for ever. It is not immortality that we breathe at the Scuola di San Rocco, but conscious, reluctant mortality.

Fortunately, however, we can turn to the Ducal Palace, where everything is so brilliant and splendid that the poor dusky Tintoret is lifted in spite of himself into the concert. This deeply original building is of course the loveliest thing in Venice, and a morning’s stroll there is a wonderful illumination. Cunningly select your hour—half the enjoyment of Venice is a question of dodging—and enter at about one o’clock, when the tourists have flocked off to lunch and the echoes of the charming chambers have gone to sleep among the sunbeams. There is no brighter place in Venice—by which I mean that on the whole there is none half so bright. The reflected sunshine plays up through the great windows from the glittering lagoon and shimmers and twinkles over gilded walls and ceilings. All the history of Venice, all its splendid stately past, glows around you in a strong sealight. Everyone here is magnificent, but the great Veronese is the most magnificent of all. He swims before you in a silver cloud; he thrones in an eternal morning. The deep blue sky burns behind him, streaked across with milky bars; the white colonnades sustain the richest canopies, under which the first gentlemen and ladies in the world both render homage and receive it. Their glorious garments rustle in the air of the sea and their sun-lighted faces are the very complexion of Venice. The mixture of pride and piety, of politics and religion, of art and patriotism, gives a splendid dignity to every scene. Never was a painter more nobly joyous, never did an artist take a greater delight in life, seeing it all as a kind of breezy festival and feeling it through the medium of perpetual success. He revels in the gold-framed ovals of the ceilings, multiplies himself there with the fluttering movement of an embroidered banner that tosses itself into the blue. He was the happiest of painters and produced the happiest picture in the world. “The Rape of Europa” surely deserves this title; it is impossible to look at it without aching with envy. Nowhere else in art is such a temperament revealed; never did inclination and opportunity combine to express such enjoyment. The mixture of flowers and gems and brocade, of blooming flesh and shining sea and waving groves, of youth, health, movement, desire—all this is the brightest vision that ever descended upon the soul of a painter. Happy the artist who could entertain such a vision; happy the artist who could paint it as the masterpiece I here recall is painted.

The Tintoret’s visions were not so bright as that; but he had several that were radiant enough. In the room that contains the work just cited are several smaller canvases by the greatly more complex genius of the Scuola di San Rocco, which are almost simple in their loveliness, almost happy in their simplicity. They have kept their brightness through the centuries, and they shine with their neighbours in those golden rooms. There is a piece of painting in one of them which is one of the sweetest things in Venice and which reminds one afresh of those wild flowers of execution that bloom so profusely and so unheeded in the dark corners of all of the Tintoret’s work. “Pallas chasing away Mars” is, I believe, the name that is given to the picture; and it represents in fact a young woman of noble appearance administering a gentle push to a fine young man in armour, as if to tell him to keep his distance. It is of the gentleness of this push that I speak, the charming way in which she puts out her arm, with a single bracelet on it, and rests her young hand, its rosy fingers parted, on his dark breastplate. She bends her enchanting head with the effort—a head which has all the strange fairness that the Tintoret always sees in women—and the soft, living, flesh-like glow of all these members, over which the brush has scarcely paused in its course, is as pretty an example of genius as all Venice can show. But why speak of the Tintoret when I can say nothing of the great “Paradise,” which unfolds its somewhat smoky splendour and the wonder of its multitudinous circles in one of the other chambers? If it were not one of the first pictures in the world it would be about the biggest, and we must confess that the spectator gets from it at first chiefly an impression of quantity. Then he sees that this quantity is really wealth; that the dim confusion of faces is a magnificent composition, and that some of the details of this composition are extremely beautiful. It is impossible however in a retrospect of Venice to specify one’s happiest hours, though as one looks backward certain ineffaceable moments start here and there into vividness. How is it possible to forget one’s visits to the sacristy of the Frari, however frequent they may have been, and the great work of John Bellini which forms the treasure of that apartment?

VII.

Nothing in Venice is more perfect than this, and we know of no work of art more complete. The picture is in three compartments; the Virgin sits in the central division with her child; two venerable saints, standing close together, occupy each of the others. It is impossible to imagine anything more finished or more ripe. It is one of those things that sum up the genius of a painter, the experience of a life, the teaching of a school. It seems painted with molten gems, which have only been clarified by time, and is as solemn as it is gorgeous and as simple as it is deep. Giovanni Bellini is more or less everywhere in Venice, and, wherever he is, almost certain to be first—first, I mean, in his own line: paints little else than the Madonna and the saints; he has not Carpaccio’s care for human life at large, nor the Tintoret’s nor the of the Veronese. Some of his greater pictures, however, where several figures are clustered together, have a richness of sanctity that is almost profane. There is one of them on the dark side of the room at the Academy that contains Titian’s “Assumption,” which if we could only see it—its position is an inconceivable scandal—would evidently be one of the mightiest of so-called sacred pictures. So too is the Madonna of San Zaccaria, hung in a cold, dim, dreary place, ever so much too high, but so mild and serene, and so grandly disposed and accompanied, that the proper attitude for even the most critical amateur, as he looks at it, strikes one as the bended knee. There is another noble John Bellini, one of the very few in which there is no Virgin, at San Giovanni Crisostomo—a St. Jerome, in a red dress, sitting aloft upon the rocks and with a landscape of extraordinary purity behind him. The absence of the peculiarly erect Madonna makes it an interesting surprise among the works of the painter and gives it a somewhat less strenuous air. But it has brilliant beauty and the St. Jerome is a delightful old personage.

The same church contains another great picture for which the haunter of these places must find a shrine apart in his memory; one of the most interesting things he will have seen, if not the most brilliant. Nothing appeals more to him than three figures of Venetian ladies which occupy the foreground of a smallish canvas of Sebastian del Piombo, placed above the high altar of San Giovanni Crisostomo. Sebastian was a Venetian by birth, but few of his productions are to be seen in his native place; few indeed are to be seen anywhere. The picture represents the patron-saint of the church, accompanied by other saints and by the worldly votaries I have mentioned. These ladies stand together on the left, holding in their hands little white caskets; two of them are in profile, but the foremost turns her face to the spectator. This face and figure are almost unique among the beautiful things of Venice, and they leave the susceptible observer with the impression of having made, or rather having missed, a strange, a dangerous, but a most valuable, acquaintance. The lady, who is superbly handsome, is the typical Venetian of the sixteenth century, and she remains for the mind the perfect flower of that society. Never was there a greater air of breeding, a deeper expression of tranquil superiority. She walks a goddess—as if she trod without sinking the waves of the Adriatic. It is impossible to conceive a more perfect expression of the aristocratic spirit either in its pride or in its benignity. This magnificent creature is so strong and secure that she is gentle, and so quiet that in comparison all minor assumptions of calmness suggest only a vulgar alarm. But for all this there are depths of possible disorder in her light-coloured eye.

I had meant however to say nothing about her, for it’s not right to speak of Sebastian when one hasn’t found room for Carpaccio. These visions come to one, and one can neither hold them nor brush them aside. Memories of Carpaccio, the magnificent, the delightful—it’s not for want of such visitations, but only for want of space, that I haven’t said of him what I would. There is little enough need of it for Carpaccio’s sake, his fame being brighter to-day—thanks to the generous lamp Mr. Ruskin has held up to it—than it has ever been. Yet there is something ridiculous in talking of Venice without making him almost the refrain. He and the Tintoret are the two great realists, and it is hard to say which is the more human, the more various. The Tintoret had the mightier temperament, but Carpaccio, who had the advantage of more newness and more responsibility, sailed nearer to perfection. Here and there he quite touches it, as in the enchanting picture, at the Academy, of St. Ursula asleep in her little white bed, in her high clean room, where the angel visits her at dawn; or in the noble St. Jerome in his study at S. Giorgio Schiavoni. This latter work is a pearl of sentiment, and I may add without being fantastic a ruby of colour. It unites the most masterly finish with a kind of universal largeness of feeling, and he who has it well in his memory will never hear the name of Carpaccio without a throb of almost personal affection. Such indeed is the feeling that descends upon you in that wonderful little chapel of St. George of the Slaves, where this most personal and sociable of artists has expressed all the sweetness of his imagination. The place is small and incommodious, the pictures are out of sight and ill-lighted, the custodian is rapacious, the visitors are mutually intolerable, but the shabby little chapel is a palace of art. Mr. Ruskin has written a pamphlet about it which is a real aid to enjoyment, though I can’t but think the generous artist, with his keen senses and his just feeling, would have suffered to hear his eulogist declare that one of his other productions—in the Museo Civico of Palazzo Correr, a delightful portrait of two Venetian ladies with pet animals—is the “finest picture in the world.” It has no need of that to be thought admirable; and what more can a painter desire?

VIII.