Then, taking the first guide that presented himself, I was shown along several cloisters and corridors, sustained by innumerable pillars, into the state apartments, which Tintoret and Paolo Veronese have covered with the triumphs of their country.
A swarm of lawyers filled the Sala del Maggior Consiglio, and one of the first advocates in the republic was pleading with all his might, before a solemn row of senators. The eyes and ears of the assembly seemed equally affected. Clouds of powder, and volleys of execrations issuing every instant from the disputants, I got out of their way; and was led from hall to hall, and from picture to picture, with exemplary resignation. To be sure, I was heartily tired, but behaved with decency, having never once expressed how much I wished the chefs-d’œuvre I had been contemplating, less smoky and numerous.
At last, I reached once more the colonnades at the entrance, and caught the sea-breeze in the open porticoes which front San Giorgio Maggiore. The walls are covered in most places with grim visages sculptured in marble, whose mouths gape for accusations, and swallow every lie that malice and revenge can dictate. I wished for a few ears of the same kind, dispersed about the Doge’s residence, to which one might apply one’s own, and catch some account of the mysteries within; some little dialogue between the three Inquisitors, or debate in the Council of Ten.
This is the tribunal which holds the wealthy nobility in continual awe; before which they appear with trembling and terror; and whose summons they dare not disobey. Sometimes, by way of clemency, it condemns its victims to perpetual imprisonment, in close, stifling cells, between the leads and beams of the palace; or, unwilling to spill the blood of a fellow-citizen, generously sinks them into dungeons, deep under the canals which wash its foundations; so that, above and below, its majesty is contaminated by the abodes of punishment. What other sovereign could endure the idea of having his immediate residence polluted with tears? or revel in his halls, conscious that many of his species were consuming their hours in lamentations above his head, and that but a few beams separated him from the scene of their tortures? However gaily disposed, could one dance with pleasure on a pavement, beneath which lie damp and gloomy caverns, whose inhabitants waste away by painful degrees, and feel themselves whole years a-dying? Impressed by these terrible ideas, I could not regard the palace without horror, and wished for the strength of a thousand antediluvians, to level it with the sea, lay open the secret recesses of punishment, and admit free gales and sunshine into every den.
When I had thus vented my indignation, I repaired to the statue of Neptune, whom twenty ages ago I should have invoked to second my enterprise. Once upon a time no deity had a freer hand at razing cities. His execution was renowned throughout all antiquity, and the proudest monarchs deprecated the wrath of KΡΕΙΩΝ ΕΝΟΣΙΧΘΩΝ. But, like the other mighty ones of ancient days, his reign is past and his trident disregarded. Formerly any wild spirit found favour in the eyes of fortune, and was led along the career of glory to the deliverance of captives and the extirpation of monsters; but, in our degenerate times, this easy road to fame is no longer open, and the means of producing such signal events are perplexed and difficult.
Abandoning therefore the sad tenants of the Piombi to their fate, I left the courts, and stepping into my bark, was rowed down a canal overshadowed by the lofty walls of the palace. Beneath these fatal waters the dungeons I have also been speaking of are situated. There the wretches lie marking the sound of the oars, and counting the free passage of every gondola. Above, a marble bridge, of bold majestic architecture, joins the highest part of the prisons to the secret galleries of the palace; from whence criminals are conducted over the arch to a cruel and mysterious death. I shuddered whilst passing below; and believe it is not without cause, this structure is named PONTE DEI SOSPIRI. Horrors and dismal prospects haunted my fancy upon my return. I could not dine in peace, so strongly was my imagination affected; but snatching my pencil, I drew chasms and subterraneous hollows, the domain of fear and torture, with chains, racks, wheels, and dreadful engines in the style of Piranesi. About sunset I went and refreshed myself with the cool air and cheerful scenery of the Fondamenti nuovi, a vast quay or terrace of white marble, which commands the whole series of isles, from San Michele to Torcello,
“That rise and glitter o’er the ambient tide.”
Nothing can be more picturesque than the groups of towers and cupolas which they present, mixed with flat roofs and low buildings, and now and then a pine or cypress. Afar off, a little woody isle, called Il Deserto, swells from the ocean and diversifies its expanse.
When I had spent a delightful half-hour in viewing the distant isles, M. de Benincasa accompanied me to the Mendicanti, one of the four conservatorios, which give the best musical education conceivable to near one hundred young women. You may imagine how admirably those of the Mendicanti in particular are taught, since their establishment is under the direction of Bertoni, who breathes around him the very soul of harmony. The chapel in which we sat to hear the oratorio was dark and solemn; a screen of lofty pillars, formed of black marble and highly polished, reflected the lamps which burn perpetually before the altar. Every tribune was thronged with people, whose profound silence showed them worthy auditors of this master’s music. Here were no cackling old women, or groaning Methodists, such as infest our English tabernacles, and scare one’s ears with hoarse coughs accompanied by the naso obligato. All were still and attentive, imbibing the plaintive notes of the voices with eagerness; and scarce a countenance but seemed deeply affected with David’s sorrows, the subject of the performance. I sat retired in a solitary tribune, and felt them as my own. Night came on before the last chorus was sung, and I still seem to hear its sacred melody.
LETTER V
M. de Viloison and his attendant Laplander. – Drawings of ancient Venetian costume in one of the Gradanigo palaces. – Titian’s master-piece in the church of San Giovanni e Paolo. – The distant Euganean hills.
IT rains; the air is refreshed and I have courage to resume my pen, which the sultry weather had forced to lie dormant so long. I like this odd town of Venice, and find every day some new amusement in rambling about its innumerable canals and alleys. Sometimes I pry about the great church of Saint Mark, and examine the variety of marbles and mazes of delicate sculpture with which it is covered. The cupola, glittering with gold, mosaic, and paintings of half the wonders in the Apocalypse, never fails to transport me to the period of the Eastern empire. I think myself in Constantinople, and expect Michael Paleologus with all his train. One circumstance alone prevents my observing half the treasures of the place, and holds down my fancy just springing into the air: I mean the vile stench which exhales from every recess and corner of the edifice, and which all the incense of the altars cannot subdue.
When no longer able to endure this noxious atmosphere, I run up the Campanile in the piazza, and seating myself amongst the pillars of the gallery, breathe the fresh gales which blow from the Adriatic; survey at my leisure all Venice beneath me, with its azure sea, white sails, and long tracks of islands shining in the sun. Having thus laid in a provision of wholesome breezes, I brave the vapours of the canals, and venture into the most curious and murky quarters of the city, in search of Turks and Infidels, that I may ask as many questions as I please about Cairo and Damascus.
Asiatics find Venice very much to their taste, and all those I conversed with allowed its customs and style of living had a good deal of conformity to their own. The eternal lounging in coffee-houses and sipping of sorbets agree perfectly well with the inhabitants of the Ottoman empire, who stalk about here in their proper dresses, and smoke their own exotic pipes, without being stared and wondered at as in most other European capitals. Some few of these Orientals are communicative and enlightened; but, generally speaking, they know nothing beyond the rule of three, and the commonest transactions of mercantile affairs.
The Greeks are by far a more lively generation, still retaining their propensity to works of genius and imagination. Metastasio has been lately translated into their modern language, and some obliging papa or other has had the patience to put the long-winded romance of Clelia into
