Stones of Venice [introductions]

by John Ruskin

SECTION LXV. A large atrium or portico is attached to two sides of the church, a space which was especially reserved for unbaptized persons and new converts. It was thought right that, before their baptism, these persons should be led to contemplate the great facts of the Old Testament history; the history of the Fall of Man, and of the lives of Patriarchs up to the period of the Covenant by Moses: the order of the subjects in this series being very nearly the same as in many Northern churches, but significantly closing with the Fall of the Manna, in order to mark to the catechumen the insufficiency of the Mosaic covenant for salvation,—"Our fathers did eat manna in the wilderness, and are dead,"—and to turn his thoughts to the true Bread of which the manna was the type.

SECTION LXVI. Then, when after his baptism he was permitted to enter the church, over its main entrance he saw, on looking back, a mosaic of Christ enthroned, with the Virgin on one side and St. Mark on the other, in attitudes of adoration. Christ is represented as holding a book open upon his knee, on which is written: "I AM THE DOOR; BY ME IF ANY MAN ENTER IN, HE SHALL BE SAVED." On the red marble moulding which surrounds the mosaic is written: "I AM THE GATE OF LIFE; LET THOSE WHO ARE MINE, ENTER BY ME." Above, on the red marble fillet which forms the cornice of the west end of the church, is written, with reference to the figure of Christ below: "WHO HE WAS, AND FROM WHOM HE CAME, AND AT WHAT PRICE HE REDEEMED THEE, AND WHY HE MADE THEE, AND GAVE THEE ALL THINGS, DO THOU CONSIDER."

Now observe, this was not to be seen and read only by the catechumen when he first entered the church; every one who at any time entered, was supposed to look back and to read this writing; their daily entrance into the church was thus made a daily memorial of their first entrance into the spiritual Church; and we shall find that the rest of the book which was opened for them upon its walls continually led them in the same manner to regard the visible temple as in every part a type of the invisible Church of God.

SECTION LXVII. Therefore the mosaic of the first dome, which is over the head of the spectator as soon as he has entered by the great door (that door being the type of baptism), represents the effusion of the Holy Spirit, as the first consequence and seal of the entrance into the Church of God. In the centre of the cupola is the Dove, enthroned in the Greek manner, as the Lamb is enthroned, when the Divinity of the Second and Third Persons is to be insisted upon together with their peculiar offices. From the central symbol of the Holy Spirit twelve streams of fire descend upon the heads of the twelve apostles, who are represented standing around the dome; and below them, between the windows which are pierced in its walls, are represented, by groups of two figures for each separate people, the various nations who heard the apostles speak, at Pentecost, every man in his own tongue. Finally, on the vaults, at the four angles which support the cupola, are pictured four angels, each bearing a tablet upon the end of a rod in his hand: on each of the tablets of the three first angels is inscribed the word "Holy;" on that of the fourth is written "Lord;" and the beginning of the hymn being thus put into the mouths of the four angels, the words of it are continued around the border of the dome, uniting praise to God for the gift of the Spirit, with welcome to the redeemed soul received into His Church:

"HOLY, HOLY, HOLY, LORD GOD OF SABAOTH:
HEAVEN AND EARTH ARE FULL OF THY GLORY.
HOSANNA IN THE HIGHEST:
BLESSED IS HE THAT COMETH IN THE NAME OF THE LORD."

And observe in this writing that the convert is required to regard the outpouring of the Holy Spirit especially as a work of sanctification. It is the holiness of God manifested in the giving of His Spirit to sanctify those who had become His children, which the four angels celebrate in their ceaseless praise; and it is on account of this holiness that the heaven and earth are said to be full of His glory.

SECTION LXVIII. After thus hearing praise rendered to God by the angels for the salvation of the newly-entered soul, it was thought fittest that the worshipper should be led to contemplate, in the most comprehensive forms possible, the past evidence and the future hopes of Christianity, as summed up in three facts without assurance of which all faith is vain; namely that Christ died, that He rose again, and that He ascended into heaven, there to prepare a place for His elect. On the vault between the first and second cupolas are represented the crucifixion and resurrection of Christ, with the usual series of intermediate scenes,—the treason of Judas, the judgment of Pilate, the crowning with thorns, the descent into Hades, the visit of the women to the sepulchre, and the apparition to Mary Magdalene. The second cupola itself, which is the central and principal one of the church, is entirely occupied by the subject of the Ascension. At the highest point of it Christ is represented as rising into the blue heaven, borne up by four angels, and throned upon a rainbow, the type of reconciliation. Beneath him, the twelve apostles are seen upon the Mount of Olives, with the Madonna, and, in the midst of them, the two men in white apparel who appeared at the moment of the Ascension, above whom, as uttered by them, are inscribed the words, "Ye men of Galilee, why stand ye gazing up into heaven? This Christ, the Son of God, as He is taken from you, shall so come, the arbiter of the earth, trusted to do judgment and justice."

SECTION LXIX. Beneath the circle of the apostles, between the windows of the cupola, are represented the Christian virtues, as sequent upon the crucifixion of the flesh, and the spiritual ascension together with Christ. Beneath them, on the vaults which support the angles of the cupola, are placed the four Evangelists, because on their evidence our assurance of the fact of the ascension rests; and, finally, beneath their feet, as symbols of the sweetness and fulness of the Gospel which they declared, are represented the four rivers of Paradise, Pison, Gihon, Tigris, and Euphrates.

SECTION LXX. The third cupola, that over the altar, represents the witness of the Old Testament to Christ; showing him enthroned in its centre, and surrounded by the patriarchs and prophets. But this dome was little seen by the people; [Footnote: It is also of inferior workmanship, and perhaps later than the rest. Vide Lord Lindsay, vol. i, p. 124, note.] their contemplation was intended to be chiefly drawn to that of the centre of the church, and thus the mind of the worshipper was at once fixed on the main groundwork and hope of Christianity,—"Christ is risen," and "Christ shall come." If he had time to explore the minor lateral chapels and cupolas, he could find in them the whole series of New Testament history, the events of the Life of Christ, and the Apostolic miracles in their order, and finally the scenery of the Book of Revelation; [Footnote: The old mosaics from the Revelation have perished, and have been replaced by miserable work of the seventeenth century.] but if he only entered, as often the common people do to this hour, snatching a few moments before beginning the labor of the day to offer up an ejaculatory prayer, and advanced but from the main entrance as far as the altar screen, all the splendor of the glittering nave and variegated dome, if they smote upon his heart, as they might often, in strange contrast with his reed cabin among the shallows of the lagoon, smote upon it only that they might proclaim the two great messages—"Christ is risen," and "Christ shall come." Daily, as the white cupolas rose like wreaths of sea-foam in the dawn, while the shadowy campanile and frowning palace were still withdrawn into the night, they rose with the Easter Voice of Triumph,—"Christ is risen;" and daily, as they looked down upon the tumult of the people, deepening and eddying in the wide square that opened from their feet to the sea, they uttered above them the sentence of warning,—"Christ shall come."

SECTION LXXI. And this thought may surely dispose the reader to look with some change of temper upon the gorgeous building and wild blazonry of that shrine of St. Mark's. He now perceives that it was in the hearts of the old Venetian people far more than a place of worship. It was at once a type of the Redeemed Church of God, and a scroll for the written word of God. It was to be to them, both an image of the Bride, all glorious within, her clothing of wrought gold; and the actual Table of the Law and the Testimony, written within and without. And whether honored as the Church or as the Bible, was it not fitting that neither the gold nor the crystal should be spared in the adornment of it; that, as the symbol of the Bride, the building of the wall thereof should be of jasper, [Footnote: Rev. xxi. 18.] and the foundations of it garnished with all manner of precious stones; and that, as the channel of the World, that triumphant utterance of the Psalmist should be true of it,—"I have rejoiced in the way of thy testimonies, as much as in all riches"? And shall we not look with changed temper down the long perspective of St. Mark's Place towards the sevenfold gates and glowing domes of its temple, when we know with what solemn purpose the shafts of it were lifted above the pavement of the populous square? Men met there from all countries of the earth, for traffic or for pleasure; but, above the crowd swaying for ever to and fro in the restlessness of avarice or thirst of delight, was seen perpetually the glory of the temple, attesting to them, whether they would hear or whether they would forbear, that there was one treasure which the merchantmen might buy without a price, and one delight better than all others, in the word and the statutes of God. Not in the wantonness of wealth, not in vain ministry to the desire of the eyes or the pride of life, were those marbles hewn into transparent strength, and those arches arrayed in the colors of the iris. There is a message written in the dyes of them, that once was written in blood; and a sound in the echoes of their vaults, that one day shall fill the vault of heaven,—"He shall return, to do judgment and justice." The strength of Venice was given her, so long as she remembered this: her destruction found her when she had forgotten this; and it found her irrevocably, because she forgot it without excuse. Never had city a more glorious Bible. Among the nations of the North, a rude and shadowy sculpture filled their temples with confused and hardly legible imagery; but, for her, the skill and the treasures of the East had gilded every letter, and illumined every page, till the Book-Temple shone from afar off like the star of the Magi. In other cities, the meetings of the people were often in places withdrawn from religious association, subject to violence and to change; and on the grass of the dangerous rampart, and in the dust of the troubled street, there were deeds done and counsels taken, which, if we cannot justify, we may sometimes forgive. But the sins of Venice, whether in her palace or in her piazza, were done with the Bible at her right hand. The walls on which its testimony was written were separated but by a few inches of marble from those which guarded the secrets of her councils, or confined the victims of her policy. And when in her last hours she threw off all shame and all restraint, and the great square of the city became filled with the madness of the whole earth, be it remembered how much her sin was greater, because it was done in the face of the House of God, burning with the letters of His Law. Mountebank and masker laughed their laugh, and went their way; and a silence has followed them, not unforetold; for amidst them all, through century after century of gathering vanity and festering guilt, that white dome of St. Mark's had uttered in the dead ear of Venice, "Know thou, that for all these things God will bring thee into judgment."