"I am going to Rome," said a young Englishman to Miss Harriet Martineau, "oh, just so as to be able to say that I have been there."
"Why don't you say so without going?" was the simple reply.
It is upon Italy particularly that the crowd hurls itself. Wherever you may go in that classic land, you will be surrounded by an ever-rising flood of the natives of every known continent, all seeking under new skies for self-renewal. Silent, tired, their eyes straining at invisible things, they file past with their shawls and veils and parasols, levelling field glasses, marking maps, asking senseless questions, and emitting exclamations expressive of an equal admiration for everything they see. I have always pitied these poor people, dragged from their native land by a force which their simple minds are unable to analyze. They will never express their disappointment, most of them will never realize it. But I feel it for them, and I pity their wasted effort.
It was a consolation to me to find one day that there are people who turn homeward satisfied, with the object of their desires attained, and the happiness secured of having seen and felt what it is granted only to a chosen few to see and feel.
I was quite alone on the platform of the bell tower of Torcello, from which the entire Venetian lagoon is visible at a glance. Sea, air, and sky, all luminous and transparent, melted into one another, building a vast dome of light. In the distance, bluish spots—islands, or perhaps clouds—what cared I for names! Do clouds have names? Boats loaded with fruit and vegetables streaked the bright mirror of the sea, and alone reminded one of the reality of the earth. Not a sound. The desert calm of sky and sea imposes silence. The lagoon has no song.
I stood there, as if transfixed in the crystal of the universe, admiring without reflection, when lo!—a group of Germans arriving, led by the fever-shaken cicerone whose aid I had a little earlier refused. Here was his chance for revenge. Immediately, without preamble, he gathers his audience in a circle, and begins to "exhibit" the horizon. With outstretched arms he throws at every point of the compass names, and names, and then more names. From the top of the peaceful tower fly sonorous sounds to the spots where his imperious gesture firmly fastens them. Mountain, island, tower, village, indentations of the coast line, everything has its turn, visible objects and objects that might be visible. Men, women, and children, all Germany hangs upon the lips of the voluble showman. At each name, as if at a military command, all glances follow the pointing finger and take an anxious plunge into space. For one must be sure to see the designated spot. Otherwise what is the good of coming? But as soon as the eyes are settling down to feed upon the sight just announced, a new command drags them all in another direction. That blue line, that white gleam have a name, a history—this is the name, and here is the history. Now let us go on to the next thing.
These people, marvellously disciplined, listen in admiring attitudes. A student is taking notes, so as to impart his learning when he gets home. But the end is not yet. The cicerone, suddenly silent, one hand shielding his eyes, appears hypnotized by something at the horizon. The attitude, the fixed stare, particularly the silence, keep the spectators in suspense. The man has drawn from his pocket a battered opera glass which, possibly, in the last century, contributed to the delight of some noble dame at the Fenice. Its lenses acquire from being dextrously rubbed with an accurately proportioned mixture of saliva and tobacco, and then dried with a handkerchief reminiscent of fish fried in oil, and of polenta, the unique property of making infinitely small objects at the horizon visible—objects smaller than any other optical instrument could enable one to see. The man brandishes the apparatus.
"To-day Giambolo is visible," he says. "I am going to show you Giambolo."
Everyone exclaims joyously: "What! Is it possible? He is going to show us Giambolo!"
And the man on the bell tower of Torcello is as good as his word. Pushing aside the German field glasses with a scornful gesture, he thrusts his precious instrument upon the group.