But this lies far beyond the limit of our present subject. It must be again said that we have not to think of "the pleasant place of all festivity," but of a few huts among the sand-banks, inhabited by Roman provincials, who mournfully recall their charred and ruined habitations by the Brenta and the Piave. The sea alone does not constitute their safety. If that were all, the pirate ships of the Vandal Genseric might repeat upon their poor dwellings all the terror of Attila. But it is in their amphibious life, in that strange blending of land and sea which is exhibited by the lagunes, that their safety lies. Only experienced pilots can guide a vessel of any considerable draught through the mazy channels of deep water which intersect these lagoons; and should they seem to be in imminent peril from the approach of an enemy, they will defend themselves not like the Dutch by cutting the dikes which barricade them from the ocean, but by pulling up the poles which even those pilots need to indicate their pathway through the waters. There, then, engaged in their humble, beaver-like labors, we leave for the present the Venetian refugees from the rage of Attila.
But even while protesting, it is impossible not to let into our minds some thought of what those desolate fishing villages will one day become. The dim religious light, half revealing the slowly gathered glories of St. Mark's; the Ducal Palace, that history in stone; the Rialto, with the babble of many languages; the Piazza, with its flock of fearless pigeons; the Brazen Horses, the Winged Lion, the Bucentaur, all that the artists of Venice did to make her beautiful, her ambassadors to make her wise, her secret tribunals to make her terrible; memories of these things must come thronging upon the mind at the mere mention of her spell-like name. Now, with these pictures glowing vividly before you, wrench the mind away with sudden effort to the dreary plains of Pannonia. Think of the moody Tartar, sitting in his log-hut, surrounded by his barbarous guests; of Zercon, gabbling his uncouth mixture of Hunnish and Latin; of the bath-man of Onégesh, and the wool-work of Kreka, and the reed candles in the village of Bleda's widow; and say if cause and effect were ever more strangely meted in history than the rude and brutal might of Attila with the stately and gorgeous and subtle republic of Venice.
One more consideration is suggested to us by that which was the noblest part of the work of Venice, the struggle which she maintained for centuries, really in behalf of all Europe, against the Turk. Attila's power was soon to pass away, but, in the ages that were to come, another Turanian race was to arise, as brutal as the Huns, but with their fierceness sharp-pointed and hardened into a far more fearful weapon of offence by the fanaticism of Islam. These descendants of the kinsfolk of Attila were the Ottomans, and but for the barrier which, like their own murazzi against the waves, the Venetians interposed against the Ottomans, it is scarcely too much to say that half Europe would have undergone the misery of subjection to the organized anarchy of the Turkish pachas. The Tartar Attila, when he gave up Aquileia and her neighbor cities to the tender mercies of his myrmidons, little thought that he was but the instrument in an unseen Hand for hammering out the shield which should one day defend Europe from Tartar robbers such as he was. The Turanian poison secreted the future antidote to itself, and the name of that antidote was Venice.
JOHN RUSKIN
In the olden days of travelling, now to return no more, in which distance could not be vanquished without toil, but in which that toil was rewarded, partly by the power of deliberate survey of the countries through which the journey lay, and partly by the happiness of the evening hours, when, from the top of the last hill he had surmounted, the traveller beheld the quiet village where he was to rest, scattered among the meadows beside its valley stream; or, from the long-hoped-for turn in the dusty perspective of the causeway, saw, for the first time, the towers of some famed city, faint in the rays of sunset—hours of peaceful and thoughtful pleasure, for which the rush of the arrival in the railway station is perhaps not always, or to all men, an equivalent—in those days, I say, when there was something more to be anticipated and remembered in the first aspect of each successive halting-place, than a new arrangement of glass roofing and iron girder, there were few moments of which the recollection was more fondly cherished by the traveller than that which brought him within sight of Venice, as his gondola shot into the open Lagoon from the canal of Mestre.
Not but that the aspect of the city itself was generally the source of some slight disappointment, for, seen in this direction, its buildings are far less characteristic than those of the other great towns of Italy; but this inferiority was partly disguised by distance, and more than atoned for by the strange rising of its walls and towers, out of the midst, as it seemed, of the deep sea, for it was impossible that the mind or the eye could at once comprehend the shallowness of the vast sheet of water which stretched away in leagues of rippling lustre to the north and south, or trace the narrow line of islets bounding it to the east. The salt breeze, the white moaning sea-birds, the masses of black weed separating and disappearing gradually, in knots of heaving shoal, under the advance of the steady tide, all proclaimed it to be indeed the ocean on whose bosom the great city rested so calmly; not such blue, soft, lake-like ocean as bathes the Neapolitan promontories or sleeps beneath the marble rocks of Genoa, but a sea with the bleak power of our own northern waves, yet subdued into a strange spacious rest, and changed from its angry pallor into a field of burnished gold, as the sun declined behind the belfry tower of the lonely island church, fitly named "St. George of the Sea-weed."
As the boat drew nearer to the city, the coast which the traveller had just left sank behind him into one long, low, sad-colored line, tufted irregularly with brushwood and willows: but, at what seemed its northern extremity, the hills of Arqua rose in a dark cluster of purple pyramids, balanced on the bright mirage of the Lagoon; two or three smooth surges of inferior hill extended themselves about their roots, and beyond these, beginning with the craggy peaks above Vicenza, the chain of the Alps girded the whole horizon to the north—a wall of jagged blue, here and there showing through its clefts a wilderness of misty precipices, fading far back into the recesses of Cadore, and itself rising and breaking away eastward, where the sun struck opposite upon its snow, into mighty fragments of peaked light, standing up behind the barred clouds of evening, one after another, countless, the crown of the Adrian Sea, until the eye turned back from pursuing them, to rest upon the nearer burning of the campaniles of Murano, and on the great city, where it magnified itself along the waves, as the quick silent pacing of the gondola drew nearer and nearer. And at last, when its walls were reached, and the outmost of its untrodden streets was entered, not through towered gate or guarded rampart, but as a deep inlet between two rocks of coral in the Indian sea; when first upon the traveller's sight opened the long ranges of columned palaces—each with its black boat moored at the portal—each with its image cast down, beneath its feet, upon that green pavement which every breeze broke into new fantasies of rich tessellation; when first, at the extremity of the bright vista, the shadowy Rialto threw its colossal curve slowly forth from behind the palace of the Camerlenghi; that strange curve, so delicate, so adamantine, strong as a mountain cavern, graceful as a bow just bent; when first, before its moonlike circumference was all risen, the gondolier's cry, "Ah! Stali," struck sharp upon the ear, and the prow turned aside under the mighty cornices that half met over the narrow canal, where the plash of the water followed close and loud, ringing along the marble by the boat's side; and when at last that boat darted forth upon the breadth of silver sea, across which the front of the Ducal Palace, flushed with its sanguine veins, looks to the snowy dome of Our Lady of Salvation, it was no marvel that the mind should be so deeply entranced by the visionary charm of a scene so beautiful and so strange as to forget the darker truths of its history and its being.
Well might it seem that such a city had owed her existence rather to the rod of the enchanter than the fear of the fugitive; that the waters which encircled her had been chosen for the mirror of her state rather than the shelter of her nakedness; and that all which in nature was wild or merciless—Time and Decay, as well as the waves and tempests—had been won to adorn her instead of to destroy, and might still spare, for ages to come, that beauty which seemed to have fixed for its throne the sands of the hour-glass as well as of the sea.
And although the last few eventful years, fraught with change to the face of the whole earth, have been more fatal in their influence on Venice than the five hundred that preceded them; though the noble landscape of approach to her can now be seen no more, or seen only by a glance, as the engine slackens its rushing on the iron line; and though many of her palaces are forever defaced and many in desecrated ruins, there is still so much of magic in her aspect that the hurried traveller, who must leave her before the wonder of that first aspect has been worn away, may still be led to forget the humility of her origin and to shut his eyes to the depth of her desolation. They, at least, are little to be envied in whose hearts the great charities of the imagination lie dead, and for whom the fancy has no power to repress the importunity of painful impressions or to raise what is ignoble and disguise what is discordant in a scene so rich in its remembrances, so surpassing in its beauty. But for this work of the imagination there must be no permission during the task which is before us.
The impotent feelings of romance, so singularly characteristic of this century, may indeed gild, but never save, the remains of those mightier ages to which they are attached like climbing flowers; and they must be torn away from the magnificent fragments, if we would see them as they stood in their own strength. Those feelings, always as fruitless as they are fond, are in Venice not only incapable of protecting, but even of discerning, the objects to which they ought to have been attached. The Venice of modern fiction and drama is a thing of yesterday, a mere efflorescence of decay, a stage dream which the first ray of daylight must dissipate into dust. No prisoner, whose name is worth remembering, or whose sorrow deserved sympathy, ever crossed that "Bridge of Sighs," which is the centre of the Byronic ideal of Venice; no great merchant of Venice ever saw that Rialto under which the traveller now passes with breathless interest: the statue which Byron makes Faliero address as of one of his great ancestors was erected to a soldier of fortune a hundred and fifty years after Faliero's death; and the most conspicuous parts of the city have been so entirely altered in the course of the last three centuries that if Henry Dandolo or Francis Foscari could be summoned from his tomb, and stood each on the deck of his galley at the entrance of the Grand Canal, that renowned entrance, the painter's favorite subject, the novelist's favorite scene, where the water first narrows by the steps of the Church of La Salute—the mighty doges would not know in what spot of the world they stood, would literally not recognize one stone of the great city, for whose sake, and by whose ingratitude, their gray hairs had been brought down with bitterness to the grave.