[Ill.u.s.tration: MADONNA AND CHILD FROM THE PAINTING BY GIOVANNI BELLINI _In the Accademia_]

In this little precious room of the Accademia are thirteen Bellinis, each in its way a gem: enough to prove that variousness of which I spoke. The "Madonna degli Alberetti," for example, with its unexpected apple-green screen, almost Bougereau carried out to the highest power, would, if hung in any exhibition to-day, be remarkable but not anachronistic. And then one thinks of the Gethsemane picture in our National Gallery, and of the Christ recently acquired by the Louvre, and marvels. For sheer delight of fancy, colour, and design the five scenes of Allegory are the flower of the room; and here again our thoughts leap forward as we look, for is not the second of the series, "Venus the Ruler of the World," sheer Burne-Jones? The pictures run thus: (1) "Bacchus tempting Endeavour," (2) either Venus, with the sporting babies, or as some think, Science (see the reproduction opposite page 158), (3) with its lovely river landscape, "Blind Chance," (4) the Naked Truth, and (5) Slander. Of the other pictures I like best No. 613, reproduced opposite page 260, with the Leonardesque saint on the right; and No. 610, with its fine blues, light and dark, and the very Venetian Madonna; and the Madonna with the Child stretched across her knees, reproduced opposite page 144.

Giovanni Bellini did not often paint anything that can be described as essentially Venetian. He is called the father of Venetian painting, but his child only faintly resembles him, if at all. That curious change of which one is conscious at the National Gallery in pa.s.sing from Rooms I and VI to Room VII, from Tuscany and Umbria to Venice, is due less to the Bellinis in Room VII than to any painter there. The Bellinis could be hung in Rooms I and VI without violence; the Giorgiones and t.i.tians and Tintorettos would conflict. Bellini's simplicity allies him to Giotto traditions; but there was no simplicity about Giorgione, t.i.tian, and Tintoretto. They were sophisticated, and the two last were also the painters of a wealthy and commanding Republic. One can believe that Bellini, wherever he was, even in the Doges' Palace, carried a little enclosed portion of the Kingdom of G.o.d within him: but one does not think of those others in that way. He makes his Madonnas so much more real and protective too. Note the strong large hands which hold the Child in his every picture.

t.i.tian's fine martial challenging John the Baptist is the great picture of the next room, No. XIX. Here also are good but not transcendent portraits by t.i.tian, Tintoretto, and Lotto, and the Battle of Lepanto, with heavenly interference, by Veronese.

Finally, we come to the room set apart for t.i.tian's charming conception of "The Presentation of the Virgin," which fills all one wall of it. I give a reproduction opposite page 36. The radiant figure of the thick-set little brave girl in blue, marching so steadily away from her parents to the awe-inspiring but kindly priests at the head of the steps, is unforgettable. Notice the baby in the arms of a woman among the crowd. The picture as a whole is disappointing in colour, and I cherish the belief that if Tintoretto's beautiful variant at the Madonna dell'Orto (see opposite page 282) could be cleaned and set up in a good light it might conquer.

Before leaving this room one should give the ceiling a little attention, for it is splendid in its lovely blue and gold, and its coloured carvings are amusing. The four Evangelists have each a medallion. All are studious. S. Matthew, on the upper left as one stands with one's back to the t.i.tian, has an open-air study, and he makes notes as he reads. His eagle is in attendance. S. Mark, with his lion at ease under his chair, has also his open-air desk, and as he reads he thinks. S.

John is indoors, reading intently, with a box full of books to fall back on, and a little angel peeping at him from behind his chair. Finally S.

Luke, also indoors, writing at a nice blue desk. He holds his pen very daintily and seems to be working against time, for an hour-gla.s.s is before him. His bull is also present. Among the many good ceilings of Venice, this is at once the most sumptuous and most charming.

CHAPTER XIX

THE Ca.n.a.lE DI S. MARCO AND S. GIORGIO MAGGIORE

Busy water--The lantern concerts--Venice and modern inventions--Fireworks in perfection--S. Giorgio Maggiore--Palladian architecture--Two Tintorettos--The Life of S. Benedict--Realistic wood-carving--A Giudecca garden--The Redentore--A bridge of boats--A regatta--The view from the Giudecca--House-hunting in Venice.

Strictly speaking, the Grand Ca.n.a.l and the Ca.n.a.l of the Guidecca unite in the lagoon; but the stretch of water between the Molo and S. Giorgio is called the Ca.n.a.le di San Marco. It is the busiest water of all. Every little steamer crosses it; motor-boats here are always at full speed; most of the gondolas which are hired start from here; the great mercantile boats cross it on their way in and out of harbours; and the daily invaders from Trieste disembark and embark again in the very middle. Hence it is always a scene of gay and sparkling movement and always more like a Guardi than any other spot in Venice.

It is just off the Custom House point, at night, that in the summer the concert barges are moored, each with its little party of musicians, its cl.u.s.ter of Venetian lanterns, arranged rather like paper travesties of the golden b.a.l.l.s over S. Mark's domes, and its crowded circle of gondolas, each like a dark private box for two. Now what more can honeymooners ask? For it is chiefly for honeymooners that this is done, since Venetians do not spend money to sit in stationary boats. These concerts are popular, but they are too self-conscious. Moreover, the songs are from all countries, even America; whereas purely Venetian, or at any rate Italian, operatic music should, I think, be given. The stray s.n.a.t.c.hes of song which one hears at night from the hotel window; gondoliers trolling out folk choruses; the notes of a distant mandolin, brought down on the water--these make the true music of Venice.

But just as the motor-launch has invaded the lagoon, so has other machinery forced its way into this city--peculiarly the one place in the world which ought to have been meticulously safeguarded against every mechanical invention. When I was living near S. Sebastiano, on my way home at night the gondolier used to take me up the Grand Ca.n.a.l as far as the Foscari lantern and then to the left. In time we came to the campo of S. Pantaleone, where, outside a cafe, a little group was always seated, over its wine and beer, listening raptly to the music of--what?

A gramophone. This means that while the motor is ousting the gondolier, the Venetian minstrel is also under death sentence.

It was the same if I chose to walk part of the way, for then I took the steamer to S. Toma and pa.s.sed through the campo of S. Margherita, which does for the poor of its neighbourhood very much what the Piazza of S.

Mark does for the centre of the city and the elite of the world. This campo is one of the largest in Venice, and at night it is very gay.

There is a church at one end which, having lost its sanct.i.ty, is now a cinema theatre, with luridities pasted on the walls. There is another ancient building converted into a cinema at the opposite end. Between these alluring extremities are various cafes, each with its chairs and tables, and each with a gramophone that pours its notes into the night.

The panting of Caruso mingles with Tetrazzini's shrill exultation.

In summer there are occasional firework displays on the water between S.

Giorgio and the Riva, supplied by the Munic.i.p.ality. The Riva is then crowded, while gondolas put out in great numbers, and myriad overloaded crafts full of poorer sightseers enter the lagoon by all the small ca.n.a.ls. Having seen Venetian pyrotechny, one realizes that all fireworks should be ignited over water. It is the only way. A rocket can climb as fiercely and dazzlingly into any sky, no doubt, but over land the falling stars and sparks have but one existence; over water, like the swan "on St. Mary's lake," they have two. The displays last for nearly an hour, and consist almost entirely of rockets. Every kind of rocket is there: rockets which simply soar with a rush, burst into stars and fall; rockets which when they reach the highest point of their trajectory explode with a report that shakes the city and must make some of the campanili very nervous; rockets which burst into a million sparks; rockets which burst into a thousand streamers; rockets whose stars change colour as they fall; rockets whose stars do not fall at once but hang and hover in the air. All Venice is watching, either from the land or the water, and the band plays to a deserted Piazza, but directly the display is over every one hastens back to hear its strains.

To get to the beautiful island of S. Giorgio it is almost necessary to take a gondola; for although there is the Giudecca steamer every half hour, it is an erratic boat, and you may be left stranded too long waiting to return. The island is military, save for the church, and that is chiefly a show-place to-day. It is large and light, but it has no charm, for that was not Palladio's gift. That he was a great man, every visitor to Vicenza knows; but it is both easy and permissible to dislike the architecture to which he gives his name. Not that any fault can be found with S. Giorgio Maggiore as a detail in the landscape: to me it will always be the perfect disposition of buildings in the perfect place; but then, on the other hand, the campanile was not Palladio's, nor was the facade, while the princ.i.p.al attraction of his dome is its green copper. The church of the Redentore, on the Giudecca, is much more thoroughly Palladian.

Andrea Palladio was born in Vicenza in 1518. In Venice he built S.

Giorgio Maggiore (all but the facade), the facade of S. Francesco della Vigna, the Redentore, Le Zitelle and S. Lucia. Such was Palladio's influence that for centuries he practically governed European architecture. Our own St. Paul's would be very different but for him. He died in 1580 and was buried at Vicenza. By the merest chance, but very fortunately, he was prevented from bedevilling the Ducal Palace after the fire in 1576. He had the plans all ready, but a wiser than he, one Da Ponte, undertook to make the structure good without rebuilding, and carried out his word. Terrible to think of what the Vicenza cla.s.sicist would have done with that gentle, gay, and human facade!

[Ill.u.s.tration: TRAGHETTO OF S. ZOBENIGO, GRAND Ca.n.a.l]

S. Giorgio has a few pictures, chief of which are the two great Tintorettos in the choir. These are, however, very difficult to see. My own efforts once led me myself to open the gates and enter, so that I might be nearer and in better light: a proceeding which turned the sacristan from a servant of G.o.d into an ugly brawler. A gift of money, however, returned him to his rightful status; but he is a churlish fellow. I mention the circ.u.mstance because it is isolated in my Venetian wanderings. No other sacristan ever suggested that the whole church was not equally free or resented any unaccompanied exploration.

The Tintorettos belong to his most s.p.a.cious and dramatic style. One, "The Last Supper," is a busy scene of conviviality. The company is all at one side of the table and the two ends, except the wretched foredoomed Judas. There is plenty to eat. Attendants bustle about bringing more food. A girl, superbly drawn and painted, washes plates, with a cat beside her. A dog steals a bone. The disciples seem restless and the air is filled with angels. Compared with the intensity and single-mindedness of Leonardo, this is a commonplace rendering; but as an ill.u.s.tration to the Venetian Bible, it is fine; and as a work of art by a mighty and original genius glorying in difficulties of light and shade, it is tremendous. Opposite is a quieter representation of the miracle of the manna, which has very charming details of a domestic character in it, the women who wash and sew and carry on other employments being done with splendid ease and naturalness. The manna lies about like little b.u.t.tons; Moses discourses in the foreground; in the distance is the Israelite host. All that the picture lacks is light: a double portion: light to fall on it, and its own light to be allowed to shine through the grime of ages.

Tintoretto also has two altar-pieces here, one an "Entombment," in the Mortuary Chapel--very rich and grave and painful, in which Christ's mother is seen swooning in the background; and the other a death of S.

Stephen, a subject rare with the Old Masters, but one which, were there occasion to paint it, they must have enjoyed. Tintoretto has covered the ground with stones.

The choir is famous for its series of forty-six carved panels, representing scenes in the life of S. Benedict; but some vandal having recently injured one or two, the visitor is no longer allowed to approach near enough to examine them with the thoroughness that they demand and deserve. They are the work of a carver named Albert de Brule, of whose life I have been able to discover nothing. Since before studying them it is well to know something of the Saint's career, I tell the story here, from _The Golden Legend_, but not all the incidents which the artist fixed upon are to be found in that biography.

Benedict as a child was sent to Rome to be educated, but he preferred the desert. Hither his nurse accompanied him, and his first token of signal holiness was his answered prayer that a pitcher which she had broken might be made whole again. Leaving his nurse, he a.s.sociated with a hermit who lived in a pit to which food was lowered by a rope. Near by dwelt a priest, who one day made a great meal for himself, but before he could eat it he received a supernatural intimation that Benedict was hungry in a pit, and he therefore took his dinner to him and they ate it together. A blackbird once a.s.sailing Benedict's face was repelled by the sign of the cross. Being tempted by a woman, Benedict crawled about among briars and nettles to maintain his Spartan spirit. He now became the abbot of a monastery, but the monks were so worldly that he had to correct them. In retaliation they poisoned his wine, but the saint making the sign of the cross over it, the gla.s.s broke in pieces and the wine was innocuously spilt. Thereupon Benedict left the monastery and returned to the desert, where he founded two abbeys and drove the devil out of a monk who could not endure long prayers, his method being to beat the monk. Here also, and in the other abbeys which he founded, he worked many miracles: making iron swim, restoring life to the dead, and so forth. Another attempt to poison him, this time with bread, was made, but the deadly stuff was carried away from him by a pet raven. For the rest of the saint's many wonderful deeds of piety you must seek _The Golden Legend_: an agreeable task. He died in the year 518.

The best or most entertaining panels seem to me the first, in which the little bald baby saint is being washed and his mother is being coaxed to eat something; the fourth, where we see the saint, now a youth, on his knees; the sixth, where he occupies the hermit's cell and the hermit lets down food; the seventh, where the hermit and Benedict occupy the cell together and a huntsman and dog pursue their game above; the tenth, in the monastery; the twelfth, where the whip is being laid on; the fourteenth, with an especially good figure of Benedict; the sixteenth, where the meal is spread; the twentieth, with the devil on the tree trunk; the twenty-first, when the fire is being extinguished; the twenty-fifth, with soldiers in the distance; the twenty-seventh, with a fine cloaked figure; the twenty-eighth, where there is a struggle for a staff; the thirtieth, showing the dormitory and a cat and mouse; the thirty-second, a burial scene; the thirty-third, with its monsters; the thirty-sixth, in which the beggar is very good; the thirty-ninth, where the soldiers kiss the saint's feet; and the forty-fourth, showing the service in the church and the soldiers' arms piled up.

One would like to know more of this Albert de Brule and his work: how long it took; why he did it; how it came to Venice; and so forth. The date, which applies, I suppose, to the installation of the carvings, is 1598.

The other carvings are by other hands: the S. George and dragon on the lectern in the choir, and the little courageous boys driving Behemoths on the stalls.

As one leaves the church by the central aisle the Dogana is seen framed by the doorway. With each step more of Venice comes into view. The Campanile is worth climbing for its lovely prospect.

From the little island of S. Giorgio it is but a stone's throw to the larger island of the Giudecca, with its factories and warehouses and stevedores, and tiny cafes each with a bowling alley at the back. The Giudecca, which looks so populous, is however only skin deep; almost immediately behind the long busy facade of the island are gardens, and then the shallow lagoon stretching for miles, where fishermen are mysteriously employed, day and night. The gardens are restful rather than beautiful--at least that one, open to visitors, on the Rio della Croce, may be thus described, for it is formal in its parallelograms divided by gritty paths, and its flowers are crudely coloured. But it has fine old twisted mulberry trees, and a long walk beside the water, where lizards dart among the stones on the land side and on the other crabs may be seen creeping.

On the way to this garden I stopped to watch a family of gossiping bead-workers. The old woman who sat in the door did not thread the beads as the girl does in one of Whistler's Venetian etchings, but stabbed a basketful with a wire, each time gathering a few more.

The great outstanding buildings of the Giudecca are Palladio's ma.s.sive Redentore and S. Eufemia, and at the west end the modern Gothic polenta mill of Signor or Herr Stucky, beyond which is the lagoon once more. In Turner's picture in the National Gallery ent.i.tled "San Benedetto, looking towards Fusina" there is a ruined tower where Stucky's mill now stands.

The steps of the Redentore are n.o.ble, but within it is vast and cold and inhuman, and the statues in its niches are painted on the flat.

Tintoretto's "Descent from the Cross" in the church proper is very vivid. In the sacristy, however, the chilled visitor will be restored to life by a truly delightful Madonna and Child, with two little celestial musicians playing a lullaby, said to be by Bellini, but more probably by Alvise Vivarini, and two companion pictures of much charm. Like the Salute, the Redentore was a votive offering to heaven for stopping a plague. Every year, on the third Sunday in July, a bridge of boats crosses the Grand Ca.n.a.l at the Campo S. Zobenigo, and then from the Zattere it crosses the Giudecca ca.n.a.l to this church. That day and night the island is _en fete_. Originally these bridges were constructed in order that the Doges might attend a solemn service; but to-day the occasion is chiefly one of high spirits. In the gallery of the Palazzo Pesaro is a painting representing the event at a recent date; in the Querini Stampalia gallery a more ancient procession may be seen.

There, too, are many views of regattas which of old were held on the Grand Ca.n.a.l but now belong to the ca.n.a.l of the Giudecca. The Venetians, who love these races, a.s.semble in great numbers, both on the water, in every variety of craft, and on the quay. The winning-post is off the end of the island of S. Giorgio; the races start from varying points towards the harbour. In April I saw races for six oars, four oars, two oars, and men-of-war's boats. The ordinary rowers were dull, but the powerful bending gondoliers urging their frail craft along with tremendous strokes in unison were a magnificent spectacle. The excitement was intense towards the end, but there was no close finish. Between the races the exchange of chaff among the spectators was continuous.

The question of where to live in Venice must, I think, be a difficult one to solve. I mean by live, to make one's home, as so many English and Americans have done. At the first blush, of course, one would say on the Grand Ca.n.a.l; but there are objections to this. It is noisy with steamboat whistles and motor horns, and will become noisier every day and night, as the motor gains increasing popularity. On the other hand, one must not forget that so fine a Venetian taster as Mr. Howells has written, "for myself I must count as half lost the year spent in Venice before I took a house upon the Grand Ca.n.a.l."

Personally, I think, I should seek my home elsewhere. There is a house on this Giudecca--a little way along from the S. Giorgio end--which should make a charming abode; for it has good windows over the water, immediately facing, first, the little forest of masts by the Custom House, and then the Molo and the Ducal Palace, and upon it in the evening would fall the sinking sun, while behind it is a pleasant garden. The drawbacks are the blasts of the big steamers entering and leaving the harbour, the contiguity of some rather noisy works, and the infrequency of steamboats to the mainland.

Ruskin was fond of this view. Writing to old Samuel Rogers, he said: "There was only one place in Venice which I never lost the feeling of joy in--at least the pleasure which is better than joy; and that was just half way between the end of the Giudecca and St. George of the Seaweed, at sunset. If you tie your boat to one of the posts there you can see the Euganeans where the sun goes down, and all the Alps and Venice behind you by the rosy sunlight: there is no other spot so beautiful. Near the Armenian convent is, however, very good too also; the city is handsomer, but the place is not so simple and lovely. I have got all the right feeling back now, however; and hope to write a word or two about Venice yet, when I have got the mouldings well out of my head--and the mud. For the fact is, with reverence be it spoken, that whereas Rogers says: 'There is a glorious city in the Sea,' a truthful person must say, 'There is a glorious city in the mud'. It is startling at first to say so, but it goes well enough with marble. 'Oh, Queen of Marble and of Mud.'"

Another delectable house is that one, on the island of S. Giorgio Maggiore; which looks right up the Giudecca ca.n.a.l and in the late afternoon flings back the sun's rays. But that is the property of the army. Another is at the corner of the Rio di S. Trovaso and the Fondamenta delle Zaterre, with wistaria on it, looking over to the Redentore; but every one, I find, wants this.

CHAPTER XX

ON FOOT. II: THREE CHURCHES AND CARPACCIO AGAIN

The Ponte di Paglia--A gondolier's shrine--The modern prison--Danieli's--A Ca.n.a.letto--S. Zaccaria--A good Bellini--A funeral service--Alessandro Vittorio--S. Giovanni in Bragora--A good Cima--The best little room--A seamen's inst.i.tute--Carpaccio at his best--The story of the dragon--The saint triumphant--The story of S. George--S. Jerome and the lion--S. Jerome and the dog--S. Tryphonius and the basilisk--S.

Francesco della Vigna--Brother Antonio's picture--The Giustiniani reliefs--Cloisters--A Veronese--Doge Andrea Gritti--Doge Niccol Sagredo.

I propose that we should walk from the Molo to S. Francesco della Vigna.