They have a curious way of reckoning time in Italy, for I found that the train leaving Milan at eight-thirty was scheduled to arrive at ten minutes past eighteen.
“You could never sit up until then, Miss Van,” I said; “but, on the other hand, if we leave later, to please Salemina, say at ten in the morning, we do not arrive until eight minutes before twenty-one! I haven’t the faintest idea what time that will really be, but it sounds too late for three defenceless women—all of them unmarried—to be prowling about in a strange city.”
It proved on investigation, however, that twenty-one o’clock is only nine in Christian language (that is, one’s mother tongue), so we united in choosing that hour as being the most romantic possible, and there was a full yellow moon as we arrived in the railway station. My heart beat high with joy and excitement, for I succeeded in establishing Miss Van with Salemina in one gondola, while I took all the luggage in another, ridding myself thus cleverly of the disenchanting influence of Miss Van’s company.
“Do come with us, Penelope,” she said, as we issued from the portico of the station and heard, instead of the usual cab-drivers’ pandemonium, only the soft lapping of waves against the marble steps—“Do come with us, Penelope, and let us enter ‘dangerous and sweet-charmed Venice’ together. It does, indeed, look a ‘veritable sea-bird’s nest.’”
She had informed me before, in Milan, that Cassiodorus, Theodoric’s secretary, had thus styled Venice, but somehow her slightest remark is out of key. I can always see it printed in small type in a footnote at the bottom of the page, and I always wish to skip it, as I do other footnotes, and annotations, and marginal notes and addenda. If Miss Van’s mother had only thought of it, Addenda would have been a delightful Christian name for her, and much more appropriate than Celia.
If I should be asked on bended knees, if I should be reminded that every intelligent and sympathetic creature brings a pair of fresh eyes to the study of the beautiful, if it should be affirmed that the new note is as likely to be struck by the ’prentice as by the master hand, if I should be assured that my diary would never be read, I should still refuse to write my first impressions of Venice. My best successes in life have been achieved by knowing what not to do, and I consider it the finest common sense to step modestly along in beaten paths, not stirring up, even there, any more dust than is necessary. If my friends and acquaintances ever go to Venice, let them read their Ruskin, their Goethe, their Byron, Shelley, and Wordsworth, their Rogers, Gautier, Michelet, their Symonds and Howells, not forgetting old “Coryat’s Crudities,” and be thankful I spared them mine.
It was the eve of Ascension Day, and a yellow May moon was hanging in the blue. I wished with all my heart that it were a little matter of seven or eight hundred years earlier in the world’s history, for then the people would have been keeping vigil and making ready for that nuptial ceremony of Ascension-tide when the Doge married Venice to the sea. Why can we not make pictures nowadays, as well as paint them? We are banishing colour as fast as we can, clothing our buildings, our ships, ourselves, in black and white and sober hues, and if it were not for dear, gaudy Mother Nature, who never puts her palette away, but goes on painting her reds and greens and blues and yellows with the same lavish hand, we should have a sad and discreet universe indeed.
But so long as we have more or less stopped making pictures, is it not fortunate that the great ones of the olden time have been eternally fixed on the pages of the world’s history, there to glow and charm and burn for ever and a day? To be able to recall those scenes of marvellous beauty so vividly that one lives through them again in fancy, and reflect, that since we have stopped being picturesque and fascinating, we have learned, on the whole, to behave much better, is as delightful a trend of thought as I can imagine, and it was mine as I floated toward the Piazza of San Marco in my gondola.
I could see the Doge descend the Giant’s Stairs, and issue from the gate of the Ducal Palace. I could picture the great Bucentaur as it reached the open beyond the line of the tide. I could see the white-mitred Patriarch walking from his convent on the now deserted isle of Sant’ Elena to the shore where his barge lay waiting to join the glittering procession.
And then there floated before my entranced vision the princely figure of the Doge taking the Pope-blessed ring, and, advancing to the little gallery behind his throne on the Bucentaur, raising it high, and dropping it into the sea. I could almost hear the faint splash as it sank in the golden waves, and hear, too, the sonorous words of the old wedding ceremony: “Desponsamus te, Mare, in signum veri perpetuique dominii!”