| Page | |
| I | |
| Introductory | [1] |
| II | |
| Phantoms of the Lagoons | [16] |
| III | |
| The Nuptials of Venice | [54] |
| IV | |
| Venice in Festival | [74] |
| V | |
| A Merchant of Venice | [98] |
| VI | |
| Venice of Crusade and Pilgrimage | [124] |
| VII | |
| Two Venetian Statues | [160] |
| VIII | |
| Venetian Waterways (Part I) | [187] |
| IX | |
| Venetian Waterways (Part II) | [253] |
| X | |
| Artists of the Venetian Renaissance | [275] |
| XI | |
| The Soul that Endures | [317] |
ILLUSTRATIONS
| The Campanile | [Frontispiece] |
| PAGE | |
| View from the Gallery of San Marco | [7] |
| Santa Maria della Salute | [23] |
| The Clock Tower | [37] |
| Riva Degli Schiavoni | [57] |
| The Doorway of San Marco | [71] |
| View from Cà d’Oro | [81] |
| Courtyard of the Palazzo Ducale | [91] |
| San Giorgio | [107] |
| The Dogana | [119] |
| The Shadow of the Campanile | [127] |
| The Clock Tower from Gallery of San Marco | [137] |
| The Horses of San Marco, looking South | [147] |
| The Horses of San Marco, looking North | [155] |
| In the Piazza | [175] |
| View on the Grand Canal from San Angelo | [189] |
| Piazzetta, The Library | [195] |
| Corner of the Palazzo Dario | [201] |
| A Venetian Bridge | [219] |
| Palazzo Sanudo | [231] |
| A Side Canal | [241] |
| The Gondoliers’ Shrine | [247] |
| Entrance of the Grand Canal | [257] |
| View on the Grand Canal | [269] |
| Palazzo Rezzonico | [281] |
| Towards the Rialto San Angelo | [291] |
| Bronze Well-Head by Alberghetti—The Courtyard of Palazzo Ducale | [305] |
| Evening in the Piazzetta | [313] |
| A Palace Door | [323] |
| Zattere | [331] |
VENICE
Chapter One
INTRODUCTORY
“Venice herself is poetry, and creates a poet out of the dullest clay.” It was a poet who spoke, and his clay was instinct with the breath of genius. But it is true that Venice lends wings to duller clay; it has been her fate to make poets of many who were not so before—a responsibility that entails loss on her as well as gain.
She has lived—she has loved and suffered and created; and the echoes of her creation are with us still; the pulse of the life which once she knew continues to throb behind the loud and insistent present. The story of Venice has been often written; the Bride of the Adriatic, in her decay as in her youthful and her mature beauty, has been the beloved of many men. “Wo betide the wretch,” cries Landor through the mouth of Machiavelli, “who desecrates and humiliates her; she may fall, but she shall rise again.” Venice even then had passed her zenith; the path she had entered, though blazing with a glory which had not attended on her dawn of life, was yet a path of decline, the resplendent, dazzling path of the setting sun. And now a second Attilla, as Napoleon vaunted himself, has descended upon her. She has been desecrated, but she has never been dethroned. She could not, if she would, take the ring off her finger. No hand of man, however potent, can destroy that once consummated union, however the stranger and her traitor sons may abase her from within.
It is to her own domain, embraced by her mutable yet eternally faithful ocean-lover, that we must still go to see the relics of her pomp. The old sternness has passed from her face, that compelling sovereignty which gave her rank among the greatest potentates of the Middle Age; her features, portrayed by these latter days, are mellowed; a veil of golden haze softens the bold outlines of that imperious countenance. We are sometimes tempted to forget that the cup held by the enchanter, Venice, was filled once with no dream-inducing liquor, but with a strong potion to fire the nerves of heroes. Viewing Venice in her greater days, it is impossible to make that separation between the artist and the man of action so deadly to action and to art. The portraits of the Venetian masters, supreme among the portraits of the world, could only have been produced by men who beyond the divine perception of form and colour were endowed with a profound understanding and divination of human character. The pictures of Gentile Bellini, of Carpaccio, of Mansueti, are a gallery of portraits of stern, strong, capable, self-confident men; and Giovanni Bellini, who turned from secular themes to concentrate his energy on the portrayal of the Madonna and Child, endowed her with a strength and solemn pathos which only Giotto could rival, combined with a luminous richness of colour in which perhaps he has no rival at all.