THE DREAM OF S. URSULA. From the Painting by Carpaccio in the Accademia " 120 From a Photograph by Brogi.

THE BAPTISM OF CHRIST. From the Painting by Cima in the Church of S. Giovanni in Bragora " 136 From a Photograph by Anderson.

MADONNA AND SLEEPING CHILD. From the Painting by Giovanni Bellini in the Accademia " 144 From a Photograph by Naya.

VENUS, RULER OF THE WORLD. From the Painting by Giovanni Bellini in the Accademia " 158 From a Photograph by Anderson.

THE a.s.sUMPTION OF THE VIRGIN. From the Painting by t.i.tian in the Accademia " 164 From a Photograph by Brogi.

THE MIRACLE OF S. MARK. From the Painting by Tintoretto in the Accademia " 170 From a Photograph by Anderson.

THE FEAST IN THE HOUSE OF LEVI. From the Painting by Veronese in the Accademia " 176 From a Photograph by Naya.

THE DEPARTURE OF THE BRIDEGROOM AND HIS MEETING WITH URSULA.

From the Painting by Carpaccio in the Accademia " 182 From a Photograph by Naya.

S. GEORGE. From the Painting by Mantegna in the Accademia " 190 From a Photograph by Brogi.

MADONNA AND CHILD. From the Painting by Giovanni Bellini in the Accademia " 192 From a Photograph by Brogi.

MADONNA AND CHILD WITH SAINTS. From the Painting by Giovanni Bellini in the Church of S. Zaccaria " 208 From a Photograph by Naya.

S. GEORGE AND THE DRAGON. From the Painting by Carpaccio at S. Giorgio degli Schiavoni " 212 From a Photograph by Anderson.

S. CHRISTOPHER, S. JEROME AND S. AUGUSTINE. From the painting by Giovanni Bellini in the Church of S. Giov. Crisostomo " 224 From a Photograph by Naya.

THE CRUCIFIXION (CENTRAL DETAIL). From the Painting by Tintoretto in the Scuola di S. Rocco " 236 From a Photograph by Anderson.

THE MADONNA OF THE PESARO FAMILY. From the Painting by t.i.tian in the Church of the Frari " 246 From a Photograph by Naya.

THE MADONNA TRIPTYCH. By Giovanni Bellini in the Church of the Frari " 252 From a Photograph by Naya.

BARTOLOMMEO COLLEONI. From the Statue by Andrea Verrocchio " 256 From a Photograph by Brogi.

MADONNA WITH THE MAGDALEN AND S. CATHERINE. From the Painting by Giovanni Bellini in the Accademia " 260 From a Photograph by Brogi.

MADONNA AND SAINTS. From the Painting by Boccaccino in the Accademia " 266 From a Photograph.

THE PRESENTATION. From the Painting by Tintoretto in the Church of the Madonna dell'Orto " 282 From a Photograph by Anderson.

THE TEMPEST. From the Painting by Giorgione in the Giovanelli Palace " 288 From a Photograph by Naya.

ALTAR-PIECE. By Giorgione at Castel Franco " 296 From a Photograph by Naya.

A WANDERER IN VENICE

CHAPTER I

THE BRIDE OF THE ADRIATIC

The best approach to Venice--Chioggia--A first view--Another water approach--Padua and Fusina--The railway station--A complete transformation--A Venetian guide-book--A city of a dream.

I have no doubt whatever that, if the diversion can be arranged, the perfect way for the railway traveller to approach Venice for the first time is from Chioggia, in the afternoon.

Chioggia is at the end of a line from Rovigo, and it ought not to be difficult to get there either overnight or in the morning. If overnight, one would spend some very delightful hours in drifting about Chioggia itself, which is a kind of foretaste of Venice, although not like enough to her to impair the surprise. (But nothing can do that. Not all the books or photographs in the world, not Turner, nor Whistler, nor Clara Montalba, can so familiarize the stranger with the idea of Venice that the reality of Venice fails to be sudden and arresting. Venice is so peculiarly herself, so exotic and unbelievable, that so far from ever being ready for her, even her residents, returning, can never be fully prepared.)

But to resume--Chioggia is the end of all things. The train stops at the station because there is no future for it; the road to the steamer stops at the pier because otherwise it would run into the water.

Standing there, looking north, one sees nothing but the still, land-locked lagoon with red and umber and orange-sailed fishing-boats, and tiny islands here and there. But only ten miles away, due north, is Venice. And a steamer leaves several times a day to take you there, gently and loiteringly, in the Venetian manner, in two hours, with pauses at odd little places _en route_. And that is the way to enter Venice, because not only do you approach her by sea, as is right, Venice being the bride of the sea not merely by poetical tradition but as a solemn and wonderful fact, but you see her from afar, and gradually more and more is disclosed, and your first near view, sudden and complete as you skirt the island of S. Giorgio Maggiore, has all the most desired ingredients: the Campanile of S. Marco, S. Marco's domes, the Doges'

Palace, S. Theodore on one column and the Lion on the other, the Custom House, S. Maria della Salute, the blue Merceria clock, all the business of the Riva, and a gondola under your very prow.

That is why one should come to Venice from Chioggia.

The other sea approach is from Fusina, at the end of an electric-tram line from Padua. If the Chioggia scheme is too difficult, then the Fusina route should be taken, for it is simplicity itself. All that the traveller has to do is to leave the train at Padua overnight--and he will be very glad to do so, for that last five-hour lap from Milan to Venice is very trying, with all the disentanglement of registered luggage at the end of it before one can get to the hotel--and spend the next morning in exploring Padua's own riches: Giotto's frescoes in the Madonna dell'Arena; Mantegna's in the Eremitani; Donatello's altar in the church of Padua's own sweet Saint Anthony; and so forth; and then in the afternoon take the tram for Fusina. This approach is not so attractive as that from Chioggia, but it is more quiet and fitting than the rush over the viaduct in the train. One is behaving with more propriety than that, for one is doing what, until a few poor decades ago of scientific fuss, every visitor travelling to Venice had to do: one is embarked on the most romantic of voyages: one is crossing the sea to its Queen.

This way one enters Venice by her mercantile shipping gate, where there are chimneys and factories and a vast system of electric wires. Not that the scene is not beautiful; Venice can no more fail to be beautiful, whatever she does, than a Persian kitten can; yet it does not compare with the Chioggia adventure, which not only is perfect visually, but, though brief, is long enough to create a mood of repose for the antic.i.p.atory traveller such as Venice deserves.

On the other hand, it must not be forgotten that there are many visitors who want their first impression of this city of their dreams to be abrupt; who want the transition from the rattle of the train to the peace of the gondola to be instantaneous; and these, of course, must enter Venice at the station. If, as most travellers from England do, they leave London by the 2.5 and do not break the journey, they will reach Venice a little before midnight.

But whether it is by day or by night, this first shock of Venice is not to be forgotten. To step out of the dusty, stuffy carriage, jostle one's way through a thousand hotel porters, and be confronted by the sea washing the station steps is terrific! The sea tamed, it is true; the sea on strange visiting terms with churches and houses; but the sea none the less; and if one had the pluck to taste the water one would find it salt. There is probably no surprise to the eye more complete and alluring than this first view of the Grand Ca.n.a.l at the Venetian terminus.

But why do I put myself to the trouble of writing this when it has all been done for me by an earlier hand? In the most popular of the little guide-books to Venice--sold at all the shops for a franc and twenty centimes, and published in German, English, and, I think, French, as well as the original Italian--the impact of Venice on the traveller by rail is done with real feeling and eloquence, and with a curious intensity only possible when an Italian author chooses an Italian translator to act as intermediary between himself and the English reader. The author is Signor A. Carlo, and the translator, whose independence, in a city which swarms with Anglo-Saxon visitors and even residents, in refusing to make use of their services in revising his English, cannot be too much admired, is Signor G. Sarri.

Here is the opening flight of these Two Gentlemen of Venice: "The traveller, compelled by a monotone railway-carriage, to look for hours at the endless stretching of the beautifull and sad Venetian plain, feels getting wear, [? near] this divine Queen of the Seas, whom so many artists, painters and poets have exalted in every time and every way; feels, I say, that something new, something unexpected is really about to happen: something that will surely leave a deep mark on his imagination, and last through all his life. I mean that peculiar radiation of impulsive energy issueing from anything really great, vibrating and palpitating from afar, fitting the soul to emotion or enthusiasm...."

Yesterday, or even this morning, in Padua, Verona, Milan, Chioggia, or wherever it was, whips were cracking, hoofs clattering, motor horns booming, wheels endangering your life. Farewell now to all!--there is not a wheel in Venice save those that steer rudders, or ring bells; but instead, as you discern in time when the brightness and unfamiliarity of it all no longer bemuse your eyes, here are long black boats by the score, at the foot of the steps, all ready to take you and your luggage anywhere for fifty per cent more than the proper fare. You are in Venice.

If you go to the National Gallery and look at No. 163 by Ca.n.a.letto you will see the first thing that meets the gaze as one emerges upon fairyland from the Venice terminus: the copper dome of S. Simeon. The scene was not much different when it was painted, say, _circa_ 1740. The iron bridge was not yet, and a church stands where the station now is; but the rest is much the same. And as you wander here and there in this city, in the days to come, that will be one of your dominating impressions--how much of the past remains unharmed. Venice is a city of yesterdays.

One should stay in her midst either long enough really to know something about her or only for three or four days. In the second case all is magical and bewildering, and one carries away, for the mind to rejoice in, no very definite detail, but a vague, confused impression of wonder and unreality and loveliness. d.i.c.kens, in his _Pictures of Italy_, with sure instinct makes Venice a city of a dream, while all the other towns which he describes are treated realistically.

But for no matter how short a time one is in Venice, a large proportion of it should be sacred to idleness. Unless Venice is permitted and encouraged to invite one's soul to loaf, she is visited in vain.

CHAPTER II

S. MARK'S. I: THE EXTERIOR

Rival cathedrals--The lure of S. Mark's--The facade at night--The Doge's device--S. Mark's body--A successful theft--Miracle pictures--Mosaic patterns--The central door--Two problems--The north wall--The fall of Venice--Napoleon--The Austrian occupation--Daniele Manin--Victor Emmanuel--An artist's model--The south wall--The Pietra del Bando--The pillars from Acre.