A Wanderer in Venice

by E. V. Lucas

In the daytime the population of the Piazza is more foreign than Venetian. In fact the only Venetians to be seen are waiters, photographers, and guides, the knots of errand boys watching the artists, and, I might add, the pigeons. But at night Venice claims it, although the foreigner is there too. It is amusing to sit at a table on the outside edge of Florian's great quadrangle of chairs and watch the nationalities, the Venetians, the Germans, the Austrians, and the Anglo-Saxons, as they move steadily round and round. Venice is, of course, the paradise both of Germans and Austrians. Every day in the spring and summer one or two steamers arrive from Trieste packed with Austrian tourists awfully arrayed. Some hundreds have to return to Trieste at 2 o'clock; other hundreds remain till night. The beautiful word Venezia, which we cheapen but not too cruelly to Venice and the French soften to Venise, is alas! to Teutonic tongues Venedig.

The Venetians reach the Square first, smart, knowing, confident, friendly, and cheerful; then the Germans and Austrians, very obviously trippers; and then, after their hotel dinners, at about quarter past nine, the English: the women with low necks, the men in white shirts, talking a shade too loud, monarchs of all they survey. But the honeymooners are the best—the solicitous young bridegrooms from Surbiton and Chislehurst in their dinner-jackets and black ties; their slender brides, with pretty wraps on their heads, here probably for the last or the first time, and so determined to appear Continental and tolerant, bless their hearts! They walk round and round, or sit over their coffee, and would be so happy and unselfconscious and clinging were it not for the other English here.

The fine republicanism of Venice is nowhere so apparent as on band nights. Such aristocrats as the city holds (and judging from the condition of the palaces to-day, there cannot be many now in residence) either look exactly like the middle classes or abstain from the Piazza. The prevailing type is the well-to-do citizen, very rarely with his women folk, who moves among street urchins at play; cigar-end hunters; soldiers watchful for officers to salute; officers sometimes returning and often ignoring salutes; groups of slim upright Venetian girls in the stately black shawls, moving, as they always do, like queens; little uniformed schoolboys in "crocodiles"; a policeman or two; a party from the country; a workman with his wife and babies (for though the Venetians adore babies they see no incongruity in keeping them up till ten o'clock); epauletted and cockhatted gendarmes; and at intervals, like ghosts, officials from the arsenal, often alone, in their spotless white linen.

Every type of Venetian is seen in the Square, save one—the gondolier. Never have I seen a gondolier there, day or night: not because it is too grand for him, but it is off his beat. When he has done his work he prefers the wine shops of his own sestiere. No thought of any want of welcome would deter him, for Venice is republic to the core. In fact one might go farther and say that it is a city of the poor. Where the poor lived in the great days when the palaces were occupied by the rich, one cannot quite understand, since the palace is the staple building; but there is no doubt as to where they live now: they live everywhere. The number of palaces which are wholly occupied by one family must be infinitesimal; the rest are tenements, anything but model buildings, rookeries. Venice has no aristocratic quarter as other cities have. The poor establish themselves either in a palace or as near it as possible.

I have referred to the girls in their black shawls or scialli. They remain in the memory as one of Venice's most distinguished possessions. A handsome young private gondolier in white linen with a coloured scarf, bending to the oar and thrusting his boat forward with muscular strokes, is a delight to watch; but he is without mystery. These girls have grace and mystery too. They are so foreign, so slender and straight, so sad. Their faces are capable of animation, but their prevailing expression is melancholy. Why is this? Is it because they know how secondary a place woman holds in this city of well-nourished, self-satisfied men? Is it that they know that a girl's life is so brief: one day as supple and active as they are now and the next a crone? For it is one of the tragedies that the Venetian atmosphere so rapidly ages women.

But in their prime the Venetian girls in the black shawls are distinguished indeed, and there was not a little sagacity in the remark to me by an observer who said that, were they wise, all women would adopt a uniform. One has often thought this, in London, when a nurse in blue or grey passes refreshingly along a pavement made bizarre by expensive and foolish fashions; one realizes it even more in Venice.

Most of these girls have dark or black hair. The famous red hair of Venetian women is rarely seen out of pictures.

Round and round goes the chattering contented crowd, while every table at each of the four cafés, Florian's and the Aurora, the Quadri and the Ortes Rosa, swells the noise. Now and then the music, or the ordinary murmur of the Square in the long intervals, is broken by the noisy rattle of a descending shop shutter, or the hour is struck by the Merceria clock's bronze giants; now and then a pigeon crosses the sky and shows luminous where the light strikes its breast; now and then a feather flutters from a window ledge, great bats flit up and down, and the mosquitoes shrill in one's ear. It is an entertainment never failing in interest to the observer, and not the least amusing question that one asks oneself is, Where does every one sleep?

I shall always remember one band night here, for it was then that I saw a girl and her father whose images will never leave me, I know not why. Every now and then, but seldom indeed, a strange face or form will thus suddenly photograph itself on the memory, when it is only with the utmost concentrated effort, or not at all, that we can call up mental pictures of those near and dear to us. I know nothing of these two; I saw them only once again, and then in just the same fugitive way; but if an artist were now to show me a portrait of either, I could point out where his hand was at fault. The band was playing the usual music—Il Trovatore or Aïda or Lohengrin—and the crowd was circulating when an elderly man with a long-pointed grey beard and moustache and the peculiar cast of countenance belonging to them (Don Quixotic) walked past. He wore a straw hat slightly tilted and was smoking a cigar. His arm was passed through that of a tall slender girl of about his own height, and, say, twenty-five, in red. She was leaning towards him and he slightly inclined towards her. They walked faster than Venice, and talked animatedly in English as they passed me, and the world had no one in it but themselves; and so they disappeared, with long strides and a curious ease of combined movement almost like skillful partners in a dance. Two nights later I saw them again. This time she was in black, and again they sailed through the crowd, a little leaning towards each other, he again holding her arm, and again both discussing in English something with such interest that they were conscious of nothing around them. Sitting outside a café on the Piazza every evening for a month, one naturally sees many travellers come and go; but none other in that phantasmagoria left any mark on my mind. Why did these?