The Rezzonico palace and one of the Giustiniani palaces which are its neighbours have such interesting artistic a.s.sociations that they demand a chapter to themselves.

Browning is more intimately a.s.sociated with Florence and Asolo than with Venice; but he enjoyed his later Venetian days to the full. His first visit here in 1851, with his wife, was however marred by illness. Mrs.

Browning loved the city, as her letters tell. "I have been," she wrote, "between heaven and earth since our arrival at Venice. The heaven of it is ineffable. Never had I touched the skirts of so celestial a place.

The beauty of the architecture, the silver trails of water up between all that gorgeous colour and carving, the enchanting silence, the moonlight, the music, the gondolas--I mix it all up together, and maintain that nothing is like it, nothing equal to it, not a second Venice in the world."

Browning left Florence for ever after his wife's death, and to Venice he came again in 1878, with his sister, and thereafter for some years they returned regularly. Until 1881 their home was at the Brandolin Rota.

After that they stayed with Mrs. Arthur Bronson, to whom he dedicated _Asolando_, his last book, and who has written a record of his habits in the city of the sea. She tells us that he delighted in walking and was a great frequenter of old curiosity shops. His especial triumph was to discover a calle so narrow that he could not put up an umbrella in it.

Every morning he visited the Giardini Pubblici to feed certain of the animals; and on every disengaged afternoon he went over to the Lido, to walk there, or, as Byron had done, to ride. On being asked by his gondolier where he would like to be rowed, he always said, "Towards the Lido," and after his failure to acquire the Palazzo Manzoni he thought seriously for a while of buying an unfinished Lido villa which had been begun for Victor Emmanuel. Browning's desire was to see sunsets from it.

Mrs. Bronson tells us that the poet delighted in the seagulls, which in stormy weather come into the city waters. He used to wonder that no books referred to them. "They are more interesting," he said, "than the doves of St. Mark." Venice did not inspire the poet to much verse. There is of course that poignant little drama ent.i.tled "In a Gondola," but not much else, and for some reason the collected works omit the sonnet in honour of Goldoni which was written for the ceremonies attaching to the erection of the dramatist's statue near the Rialto. Mrs. Orr tells us that this sonnet, which had been promised for an alb.u.m in praise of Goldoni, was forgotten until the messenger from the editor arrived for the copy. Browning wrote it while the boy waited. The day was November 27, 1883.

Goldoni--good, gay, sunniest of souls-- Gla.s.sing half Venice in that verse of thine-- What though it just reflect the shade and shine Of common life, nor render, as it rolls, Grandeur and gloom? Sufficient for thy shoals Was Carnival: Parini's depths enshrine Secrets unsuited to that opaline Surface of things which laughs along thy scrolls.

There throng the people: how they come and go, Lisp the soft language, flaunt the bright garb,--see,-- On Piazza, Calle, under Portico And over Bridge! Dear king of Comedy, Be honoured! Thou that did'st love Venice so, Venice, and we who love her, all love thee.

The Rezzonico is the house most intimately a.s.sociated with Browning in the public mind, although most of his Venetian life was spent elsewhere.

It was here, on his last visit to his son, that the poet died. He had not been very well for some time, but he insisted on taking his daily walk on the Lido even although it was foggy. The fog struck in--it was November--and the poet gradually grew weaker until on December 12, 1889, the end came. At first he had lain in the left-hand corner room on the ground floor; he died in the corresponding room on the top floor, where there was more light.

[Ill.u.s.tration: VENICE WITH HERCULES AND CERES FROM THE PAINTING BY VERONESE _In the Accademia_]

Browning was buried in Westminster Abbey, but a funeral service was held first in Venice. In his son's words, "a public funeral was offered by the Munic.i.p.ality, which in a modified form was gratefully accepted. A private service, conducted by the British Chaplain, was held in one of the halls of the Rezzonico. It was attended by the Syndic of Venice and the chief City authorities, as well as by officers of the Army and Navy.

Munic.i.p.al Guards lined the entrance of the Palace, and a Guard of Honour, consisting of City firemen in full dress, stood flanking the coffin during the service, which was attended by friends and many residents. The subsequent pa.s.sage to the mortuary island of San Michele was organized by the City, and when the service had been performed the coffin was carried by firemen to the ma.s.sive and highly decorated funeral barge, on which it was guarded during the transit by four 'Uscieri' in gala dress, two sergeants of the Munic.i.p.al Guard, and two firemen bearing torches. The remainder of these followed in their boats.

The funeral barge was slowly towed by a steam launch of the Royal Navy.

The chief officers of the Munic.i.p.ality, the family, and many others in a crowd of gondolas, completed the procession. San Michele was reached as the sun was setting, when the firemen again received their burden and bore it to the princ.i.p.al mortuary chapel."

Later the munic.i.p.ality of Venice fixed the memorial tablet to the wall of the palace. The quotation, from the poet, cut under his name, runs thus:--

Open my heart and you will see Graved inside of it, Italy.

The tablet is a graceful recognition of the devotion of Browning and his wife to their adopted country. Did the authorities, I wonder, know that Browning's love of their city led him always to wear on his watch-chain a coin struck by Manin in 1848 commemorating the overthrow of Austrian power in Venice?

The Rezzonico was built by Longhena, the architect of the Salute. Carlo Rezzonico, afterwards Pope Clement XIII, lived here. The Emperor Joseph II stayed here. So much for fact. I like far more to remember the Christmas dinner eaten here--only, alas, in fancy, yet with all the illusion of fact--by Browning and a Scandinavian dramatist named Ibsen, brought together for the purpose by the a.s.siduous Mr. Gosse, as related with such skill and mischief by Mr. Max Beerbohm.

Next the Rezzonico is the commonplace Nani; then a tiny calle; and then an antiquity store, one of the three adjoining palaces of the great Giustiniani family, in the second of which once lived Richard Wagner.

But first a word as to the Giustiniani's great feat, in the twelfth century, of giving every male member to the Republic. It happened that in 1171 nearly all the Venetians in Constantinople were ma.s.sacred. An expedition was quickly despatched to demand satisfaction for such a deed, but, while anch.o.r.ed at Scio, the plague broke out and practically demolished this too, among those who perished being the Giustiniani to a man. In order that the family might persist, the sole surviving son, a monk named Niccol, was temporarily released from his vows to be espoused to the daughter of the Doge, Vitale Michiel. Sufficient sons having been born to them, the father returned to his monastery and the mother sought a convent for herself.

In the first of the three Giustiniani palaces Mr. Howells, moving from the Casa Falier across the way, wrote his _Venetian Life_. In the next Wagner wrote part of _Tristan and Isolda_.

Needing solitude for this task, the composer came to Venice in the autumn of 1858, and put up first at Danieli's. Needing a more private abode he came here. From his _Autobiography_ I take the story. "I heard that one of the three Giustiniani palaces, situated not far from the Palazzo Foscari, was at present very little patronized by visitors, on account of its situation, which in the winter is somewhat unfavourable.

I found some very s.p.a.cious and imposing apartments there, all of which they told me would remain uninhabited. I here engaged a large stately room with a s.p.a.cious bedroom adjoining. I had my luggage quickly transferred there, and on the evening of the 30th August I said to myself, 'At last I am living in Venice.'

"My leading idea was that I could work here undisturbed. I immediately wrote to Zurich asking for my Erard 'Grand' and my bed to be sent on to me, as, with regard to the latter, I felt that I should find out what cold meant in Venice. In addition to this, the grey-washed walls of my large room soon annoyed me, as they were so little suited to the ceiling, which was covered with a fresco which I thought was rather tasteful. I decided to have the walls of the large room covered with hangings of a dark-red shade, even if they were of quite common quality.

This immediately caused much trouble; but it seemed to me that it was well worth surmounting, when I gazed down from my balcony with growing satisfaction on the wonderful ca.n.a.l, and said to myself that here I would complete _Tristan_."

The composer's life was very simple. "I worked," he says, "till two o'clock, then I got into the gondola that was always in waiting, and was taken along the solemn Grand Ca.n.a.l to the bright Piazzetta, the peculiar charm of which always had a cheerful effect on me. After this I made for my restaurant in the Piazza San Marco, and when I had finished my meal I walked alone or with Karl along the Riva to the Giardini Pubblici, the only pleasure-ground in Venice where there are any trees, and at nightfall I came back in the gondola down the ca.n.a.l, then more sombre and silent, till I reached the spot where I could see my solitary lamp shining from the night-shrouded facade of the old Palazzo Giustiniani.

"After I had worked a little longer Karl, heralded by the swish of the gondola, would come in regularly at eight o'clock for a few hours chat over our tea. Very rarely did I vary this routine by a visit to one of the theatres. When I did, I preferred the performances at the Camploi Theatre, where Goldoni's pieces were very well played; but I seldom went to the opera, and when I did go it was merely out of curiosity. More frequently, when bad weather deprived us of our walk, we patronized the popular drama at the Malibran Theatre, where the performances were given in the daytime. The admission cost us six kreutzers. The audiences were excellent, the majority being in their shirt-sleeves, and the pieces given were generally of the ultra-melodramatic type. However, one day to my great astonishment and intense delight I saw there _Le Baruffe Chioggiote_, the grotesque comedy that had appealed so strongly to Goethe in his days at this very theatre. So true to nature was this performance that it surpa.s.sed anything of the kind I have ever witnessed."

Wagner's impressions of Venice, where, some twenty-four years later, he was to end his anxious and marvellous life, seem to me so interesting that I quote a little more: "There was little else that attracted my attention in the oppressed and degenerate life of the Venetian people, and the only impression I derived from the exquisite ruin of this wonderful city as far as human interest is concerned was that of a watering-place kept up for the benefit of visitors. Strangely enough, it was the thoroughly German element of good military music, to which so much attention is paid in the Austrian army, that brought me into touch with public life in Venice. The conductors in the two Austrian regiments quartered there began playing overtures of mine, _Rienzi_ and _Tannhauser_ for instance, and invited me to attend their practices in their barracks. There I also met the whole staff of officers, and was treated by them with great respect. These bands played on alternate evenings amid brilliant illuminations in the middle of the Piazza San Marco, whose acoustic properties for this cla.s.s of production were really excellent. I was often suddenly startled towards the end of my meal by the sound of my own overtures; then as I sat at the restaurant window giving myself up to impressions of the music, I did not know which dazzled me most, the incomparable Piazza magnificently illuminated and filled with countless numbers of moving people, or the music that seemed to be borne away in rustling glory to the winds. Only one thing was wanting that might certainly have been expected from an Italian audience: the people were gathered round the band in thousands listening most intently, but no two hands ever forgot themselves so far as to applaud, as the least sign of approbation of Austrian military music would have been looked upon as treason to the Italian Fatherland. All public life in Venice also suffered by this extraordinary rift between the general public and the authorities; this was peculiarly apparent in the relations of the population to the Austrian officers, who floated about publicly in Venice like oil on water. The populace, too, behaved with no less reserve, or one might even say hostility, to the clergy, who were for the most part of Italian origin. I saw a procession of clerics in their vestments pa.s.sing along the Piazza San Marco accompanied by the people with unconcealed derision.

"It was very difficult for Ritter to induce me to interrupt my daily arrangements even to visit a gallery or a church, though, whenever we had to pa.s.s through the town, the exceedingly varied architectonic peculiarities and beauties always delighted me afresh. But the frequent gondola trips towards the Lido const.i.tuted my chief enjoyment during practically the whole of my stay in Venice. It was more especially on our homeward journeys at sunset that I was always over-powered by unique impressions. During the first part of our stay in the September of that year we saw on one of these occasions the marvellous apparition of the great comet, which at that time was at its highest brilliancy, and was generally said to portend an imminent catastrophe.

"The singing of a popular choral society, trained by an official of the Venetian a.r.s.enal, seemed like a real lagoon idyll. They generally sang only three-part naturally harmonized folk-songs. It was new to me not to hear the higher voice rise above the compa.s.s of the alto, that is to say, without touching the soprano, thereby imparting to the sound of the chorus a manly youthfulness. .h.i.therto unknown to me. On fine evenings they glided down the Grand Ca.n.a.l in a large illuminated gondola, stopping before a few palaces as if to serenade (when requested and paid for doing so, be it understood), and generally attracted a number of other gondolas in their wake.

"During one sleepless night, when I felt impelled to go out on to my balcony in the small hours, I heard for the first time the famous old folk-song of the _gondolieri_. I seemed to hear the first call, in the stillness of the night, proceeding from the Rialto, about a mile away like a rough lament, and answered in the same tone from a yet further distance in another direction. This melancholy dialogue, which was repeated at longer intervals, affected me so much that I could not fix the very simple musical component parts in my memory. However on a subsequent occasion I was told that this folk-song was of great poetic interest. As I was returning home late one night on the gloomy ca.n.a.l, the moon appeared suddenly and illuminated the marvellous palaces and the tall figure of my gondolier towering above the stern of the gondola, slowly moving his huge sweep. Suddenly he uttered a deep wail, not unlike the cry of an animal; the cry gradually gained in strength, and formed itself, after a long-drawn 'Oh!' into the simple musical exclamation 'Venezia!' This was followed by other sounds of which I have no distinct recollection, as I was so much moved at the time. Such were the impressions that to me appeared the most characteristic of Venice during my stay there, and they remained with me until the completion of the second act of _Tristan_, and possibly even suggested to me the long-drawn wail of the shepherd's horn at the beginning of the third act."

Later we shall see the palace where Wagner died, which also is on the Grand Ca.n.a.l.

Now comes the great and splendid Foscari Palace, once also a Giustiniani home and once also the lodging of a king of France--Henry III, certain of whose sumptuous Venetian experiences we saw depicted on the walls of the Doges' Palace. The Foscari is very splendid with its golden borders to the windows, its rich reliefs and pretty effects of red brickwork, and more than most it brings to mind the lost aristocratic glories of Venice. To-day it is a commercial school, with a courtyard at the back full of weeds. The fine lamp at its corner must give as useful a light as any in Venice.

CHAPTER X

THE GRAND Ca.n.a.l. III: FROM THE RIO FOSCARI TO S. SIMEONE, LOOKING TO THE LEFT

Napoleon _s'amuse_--Paul Veronese--The Layard collection--The Palazzo Papadopoli--The Rialto Bridge--The keystone--Carpaccio--The "Uncle" of Venice--Modern painting--English artists in Venice--The Civic Museum--Pictures and curiosities--Carnival costumes--Carpaccio and Ruskin--Historical scenes--A pleasant garden.

The big palace on the other side of the Rio Foscari, next the shabby brown, deserted house which might be made so desirable with its view down the Ca.n.a.l, is the Balbi, and it has the distinction that Napoleon stood in one of its windows to see a Grand Ca.n.a.l regatta, the races in which ended at this point. Next it is the Angaran, and then a nice little place with lions guarding the terrace gate, at the corner of the Rio della Frescada, one of the prettiest of the side ca.n.a.ls. Next we come to another large and solid but very dull house, the Civran (afterwards Grimani); then the forsaken Dandolo, and we are at the steamboat station of S. Toma, where the pa.s.sengers for the Frari and S.

Rocco land.

Hereabouts the houses are very uninteresting. Two more and a traghetto and the Rio S. Toma; then the Palazzo Giustiniani, a rich Venetian red, with a glimpse of a courtyard; then the ugliest building in the ca.n.a.l, also red, like the back of a block of flats; and after pa.s.sing the pretty little Gothic Tiepolo palace with blue posts with yellow bands, and the larger Palazzo Tiepolo adjoining it, we are at the fine fifteenth-century Pisani Moretta, with a double row of rich Gothic windows. Here once hung Veronese's "Family of Darius," now No. 294 in our National Gallery, and, according to Ruskin, "the most precious" of the painter's works. The story goes that Veronese being driven to make use of the Pisani villa at Este as a temporary home, painted the picture while there and left it behind him with a message that he hoped it would pay for his board and lodging. The Pisani family sold it to the National Gallery in 1857.

The next palace is the hideous Barbarigo della Terrazza, with a better facade on the Rio S. Polo: now a mosaic company's head-quarters, but once famous for its splendours, which included seventeen t.i.tians, now in Russia; and then the Rio S. Polo and the red Capello Palace where the late Sir Henry Layard made his home and gathered about him those pictures which now, like the Darius, belong to our National Gallery.

Next it is the Vendramin, with yellow posts and porphyry enrichment, and then the desolate dirty Querini, and the Bernardo, once a splendid palace but now offices, with its Gothic arches filled with gla.s.s. The Rio della Madonnetta here intervenes; then two Dona palaces, the first dating from the twelfth century. A traghetto is here and a pretty calle, and soon we come to one of the palaces which are shown to visitors, the Papadopoli, once the Coccina-Tiepolo, with blue posts and in the spring a Judas-tree red in the garden.

My advice to those who visit such palaces as are shown to the public is not to go alone. The rigours of ceremonial can be tempered to a party, and the efficient and discreet French major-domo is less formidable to several visitors than to one. The princ.i.p.al attraction of the Papadopoli Palace is two carnival pictures by Tiepolo; but the visitor is also shown room after room, sumptuous and unliveable in, with signed photographs of crowned heads on ormolu tables.

The Rio dei Meloni, where is the Palazzo Albrizzi to which Byron used to resort as a lion, runs by the Papadopoli. At the other corner is the Businello, a nice solid building with two rows of round window-arches.

Then the tall decayed Rampinelli and, followed by a calle, the Ramo Barzizza, and next the Mengaldo, with a very choice doorway and arches, now a statuary store; then the yellow Avogadro, now an antiquity dealer's and tenements, with a fondamenta; then a new building, and we reach the fine red palace adjoining the Casa Petrarca, with its ramping garden.

These two palaces, which have a sottoportico beneath them leading to S.

Silvestro, stand on the site of the palace of the Patriarchs of Grado, who had supreme ecclesiastical power here until the fifteenth century, when the Patriarchate of Venice was founded with a residence near S.

Pietro in Castello.

From this point a fondamenta runs all the way to the Rialto bridge. The buildings are not of any particular interest, until we come to the last one, with the two arches under it and the fine relief of a lion on the facade: once the head-quarters of the t.i.the collectors.

People have come mostly to speak of the Rialto as though it was the bridge only. But it is the district, of which the bridge is the centre.

No longer do wealthy shipowners and merchants foregather hereabouts; for none exist. Venice has ceased to fetch and carry for the world, and all her energies are now confined within her own borders. Enough to live and be as happy as may be!

[Ill.u.s.tration: DOORWAY OF S. MARIA DELLA SALUTE]