Gutenkarte

CHAPTER XXI. The Pretty Lago di Lecco--A Carriage Drive in the Country--Astonishing Sociability in a Coachman--Sleepy Land--Bloody Shrines--The Heart and Home of Priestcraft--A Thrilling Mediaeval Romance--The Birthplace of Harlequin--Approaching Venice

From Marseilles to Genoa is a run of one night. The excursionists will have an opportunity to look over this, the "magnificent city of palaces," and visit the birthplace of Columbus, twelve miles off, over a beautiful road built by Napoleon I. From this point, excursions may be made to Milan, Lakes Como and Maggiore, or to Milan, Verona (famous for its extraordinary fortifications), Padua, and Venice. Or, if passengers desire to visit Parma (famous for Correggio's frescoes) and Bologna, they can by rail go on to Florence, and rejoin the steamer at Leghorn, thus spending about three weeks amid the cities most famous for art in Italy.

Rested and refreshed, we took the rail happy and contented. I shall not tarry to speak of the handsome Lago di Gardi; its stately castle that holds in its stony bosom the secrets of an age so remote that even tradition goeth not back to it; the imposing mountain scenery that ennobles the landscape thereabouts; nor yet of ancient Padua or haughty Verona; nor of their Montagues and Capulets, their famous balconies and tombs of Juliet and Romeo et al., but hurry straight to the ancient city of the sea, the widowed bride of the Adriatic. It was a long, long ride. But toward evening, as we sat silent and hardly conscious of where we were--subdued into that meditative calm that comes so surely after a conversational storm--some one shouted-- "VENICE!"

This Venice, which was a haughty, invincible, magnificent Republic for nearly fourteen hundred years; whose armies compelled the world's applause whenever and wherever they battled; whose navies well nigh held dominion of the seas, and whose merchant fleets whitened the remotest oceans with their sails and loaded these piers with the products of every clime, is fallen a prey to poverty, neglect and melancholy decay. Six hundred years ago, Venice was the Autocrat of Commerce; her mart was the great commercial centre, the distributing-house from whence the enormous trade of the Orient was spread abroad over the Western world. To-day her piers are deserted, her warehouses are empty, her merchant fleets are vanished, her armies and her navies are but memories. Her glory is departed, and with her crumbling grandeur of wharves and palaces about her she sits among her stagnant lagoons, forlorn and beggared, forgotten of the world. She that in her palmy days commanded the commerce of a hemisphere and made the weal or woe of nations with a beck of her puissant finger, is become the humblest among the peoples of the earth, --a peddler of glass beads for women, and trifling toys and trinkets for school-girls and children.

The bow is ornamented with a steel comb with a battle-ax attachment which threatens to cut passing boats in two occasionally, but never does. The gondola is painted black because in the zenith of Venetian magnificence the gondolas became too gorgeous altogether, and the Senate decreed that all such display must cease, and a solemn, unembellished black be substituted. If the truth were known, it would doubtless appear that rich plebeians grew too prominent in their affectation of patrician show on the Grand Canal, and required a wholesome snubbing. Reverence for the hallowed Past and its traditions keeps the dismal fashion in force now that the compulsion exists no longer. So let it remain. It is the color of mourning. Venice mourns. The stern of the boat is decked over and the gondolier stands there. He uses a single oar--a long blade, of course, for he stands nearly erect. A wooden peg, a foot and a half high, with two slight crooks or curves in one side of it and one in the other, projects above the starboard gunwale. Against that peg the gondolier takes a purchase with his oar, changing it at intervals to the other side of the peg or dropping it into another of the crooks, as the steering of the craft may demand--and how in the world he can back and fill, shoot straight ahead, or flirt suddenly around a corner, and make the oar stay in those insignificant notches, is a problem to me and a never diminishing matter of interest. I am afraid I study the gondolier's marvelous skill more than I do the sculptured palaces we glide among. He cuts a corner so closely, now and then, or misses another gondola by such an imperceptible hair-breadth that I feel myself "scrooching," as the children say, just as one does when a buggy wheel grazes his elbow. But he makes all his calculations with the nicest precision, and goes darting in and out among a Broadway confusion of busy craft with the easy confidence of the educated hackman. He never makes a mistake.

Some of the Quaker City's passengers had arrived in Venice from Switzerland and other lands before we left there, and others were expected every day. We heard of no casualties among them, and no sickness.

Pray glance at some of these churches and their embellishments, and see whether the Government is doing a righteous thing or not. In Venice, today, a city of a hundred thousand inhabitants, there are twelve hundred priests. Heaven only knows how many there were before the Parliament reduced their numbers. There was the great Jesuit Church. Under the old regime it required sixty priests to engineer it--the Government does it with five, now, and the others are discharged from service. All about that church wretchedness and poverty abound. At its door a dozen hats and bonnets were doffed to us, as many heads were humbly bowed, and as many hands extended, appealing for pennies--appealing with foreign words we could not understand, but appealing mutely, with sad eyes, and sunken cheeks, and ragged raiment, that no words were needed to translate. Then we passed within the great doors, and it seemed that the riches of the world were before us! Huge columns carved out of single masses of marble, and inlaid from top to bottom with a hundred intricate figures wrought in costly verde antique; pulpits of the same rich materials, whose draperies hung down in many a pictured fold, the stony fabric counterfeiting the delicate work of the loom; the grand altar brilliant with polished facings and balustrades of oriental agate, jasper, verde antique, and other precious stones, whose names, even, we seldom hear --and slabs of priceless lapis lazuli lavished every where as recklessly as if the church had owned a quarry of it. In the midst of all this magnificence, the solid gold and silver furniture of the altar seemed cheap and trivial. Even the floors and ceilings cost a princely fortune.

In this connection I wish to say one word about Michael Angelo Buonarotti. I used to worship the mighty genius of Michael Angelo--that man who was great in poetry, painting, sculpture, architecture--great in every thing he undertook. But I do not want Michael Angelo for breakfast--for luncheon--for dinner--for tea--for supper--for between meals. I like a change, occasionally. In Genoa, he designed every thing; in Milan he or his pupils designed every thing; he designed the Lake of Como; in Padua, Verona, Venice, Bologna, who did we ever hear of, from guides, but Michael Angelo? In Florence, he painted every thing, designed every thing, nearly, and what he did not design he used to sit on a favorite stone and look at, and they showed us the stone. In Pisa he designed every thing but the old shot-tower, and they would have attributed that to him if it had not been so awfully out of the perpendicular. He designed the piers of Leghorn and the custom house regulations of Civita Vecchia. But, here--here it is frightful. He designed St. Peter's; he designed the Pope; he designed the Pantheon, the uniform of the Pope's soldiers, the Tiber, the Vatican, the Coliseum, the Capitol, the Tarpeian Rock, the Barberini Palace, St. John Lateran, the Campagna, the Appian Way, the Seven Hills, the Baths of Caracalla, the Claudian Aqueduct, the Cloaca Maxima--the eternal bore designed the Eternal City, and unless all men and books do lie, he painted every thing in it! Dan said the other day to the guide, "Enough, enough, enough! Say no more! Lump the whole thing! say that the Creator made Italy from designs by Michael Angelo!"

Well, we were at home in Palestine. It was easy to see that that was the grand feature of the expedition. We had cared nothing much about Europe. We galloped through the Louvre, the Pitti, the Ufizzi, the Vatican--all the galleries--and through the pictured and frescoed churches of Venice, Naples, and the cathedrals of Spain; some of us said that certain of the great works of the old masters were glorious creations of genius, (we found it out in the guide-book, though we got hold of the wrong picture sometimes,) and the others said they were disgraceful old daubs. We examined modern and ancient statuary with a critical eye in Florence, Rome, or any where we found it, and praised it if we saw fit, and if we didn't we said we preferred the wooden Indians in front of the cigar stores of America. But the Holy Land brought out all our enthusiasm. We fell into raptures by the barren shores of Galilee; we pondered at Tabor and at Nazareth; we exploded into poetry over the questionable loveliness of Esdraelon; we meditated at Jezreel and Samaria over the missionary zeal of Jehu; we rioted--fairly rioted among the holy places of Jerusalem; we bathed in Jordan and the Dead Sea, reckless whether our accident-insurance policies were extra-hazardous or not, and brought away so many jugs of precious water from both places that all the country from Jericho to the mountains of Moab will suffer from drouth this year, I think. Yet, the pilgrimage part of the excursion was its pet feature--there is no question about that. After dismal, smileless Palestine, beautiful Egypt had few charms for us. We merely glanced at it and were ready for home.