interests, at once broke her faith and betrayed her religion.
"And yet, in the midst of this national criminality, we shall be struck again and again by the evidences of the most noble individual feeling. The tears of Dandolo were not shed in hypocrisy, though they could not blind him to the importance of the conquest of Zara. The habit of assigning to religion a direct influence over all his own actions, and all the affairs of his own daily life, is remarkable in every great Venetian during the times of the prosperity of the state; nor are instances wanting in which the private feeling of the citizens reaches the sphere of their policy, and even becomes the guide of its course where the scales of expediency are doubtfully balanced. I sincerely trust that the inquirer would be disappointed who should endeavor to trace any more immediate reasons for their adoption of the cause of Alexander III. against Barbarossa, than the piety which was excited by the character of their suppliant, and the noble pride which was provoked by the insolence of the emperor. But the heart of Venice is shown only in her hastiest counsels; her worldly spirit recovers the ascendency whenever she has time to calculate the probabilities of advantage, or when they are sufficiently distinct to need no calculation; and the entire subjection of private piety to national policy is not only remarkable throughout the almost endless series of treacheries and tyrannies by which her empire was enlarged and maintained, but symbolized by a very singular circumstance in the building of the city itself. I am aware of no other city of Europe in which its cathedral was not the principal feature. But the principal church in Venice was the chapel attached to the palace of her prince, and called the "Chiesa Ducale." The patriarchal church, inconsiderable in size and mean decoration, stands on the outermost islet of the Venetian group, and its name, as well as its site, is probably unknown to the greater number of travellers passing hastily through the city. Nor is it less worthy of remark, that the two most important temples of Venice, next to the ducal chapel, owe their size and magnificence, not to national effort, but to the energy of the Franciscan and Dominican monks, supported by the vast organization of those great societies on the mainland of Italy, and countenanced by the most pious, and perhaps also, in his generation, the most wise, of all the princes of Venice, who now rests beneath the roof of one of those very temples, and whose life is not satirized by the images of the Virtues which a Tuscan sculptor has placed around his tomb.
"There are, therefore, two strange and solemn lights in which we have to regard almost every scene in the fitful history of the Rivo Alto. We find, on the one hand, a deep and constant tone of individual religion characterizing the lives of the citizens of Venice in her greatness; we find this spirit influencing them in all the familiar and immediate concerns of life, giving a peculiar dignity to the conduct even of their commercial transactions, and confessed by them with a simplicity of faith that may well put to shame the hesitation with which a man of the world at present admits (even if it be so in reality) that religious feeling has any influence over the minor branches of his conduct. And we find as the natural consequence of all this, a healthy serenity of mind and energy of will expressed in all their actions, and a habit of heroism which never fails them, even when the immediate motive of action ceases to be praiseworthy. With the fulness of this spirit the prosperity of the state is exactly correspondent, and with its failure her decline, and that with a closeness and precision which it will be one of the collateral objects of the following essay to demonstrate from such accidental evidence as the field of its inquiry presents. And, thus far, all is natural and simple. But the stopping short of this religious faith when it appears likely to influence national action, correspondent as it is, and that most strikingly, with several characteristics of the temper of our present English legislature, is a subject, morally and politically, of the most curious interest and complicated difficulty; one, however, which the range of my present inquiry will not permit me to approach, and for the treatment of which I must be content to furnish materials in the light I may be able to throw upon the private tendencies of the Venetian character.
"There is, however, another most interesting feature in the policy of Venice, which a Romanist would gladly assign as the reason of its irreligion; namely, the magnificent and successful struggle which she maintained against the temporal authority of the Church of Rome. It is true that, in a rapid survey of her career, the eye is at first arrested by the strange drama to which I have already alluded, closed by that ever memorable scene in the portico of St. Mark's, the central expression in most men's thoughts of the unendurable elevation of the pontifical power; it is true that the proudest thoughts of Venice, as well as the insignia of her prince, and the form of her chief festival, recorded the service thus rendered to the Roman Church. But the enduring sentiment of years more than balanced the enthusiasm of a moment; and the bull of Clement V., which excommunicated the Venetians and their doge, likening them to Dathan, Abiram, Absalom, and Lucifer, is a stronger evidence of the great tendencies of the Venetian government than the umbrella of the doge or the ring of the Adriatic. The humiliation of Francesco Dandolo blotted out the shame of Barbarossa, and the total exclusion of ecclesiastics from all share in the councils of Venice became an enduring mark of her knowledge of the spirit of the Church of Rome, and of her defiance of it. To this exclusion of papal influence from her councils the Romanist will attribute their irreligion, and the Protestant their success. The first may be silenced by a reference to the character of the policy of the Vatican itself; and the second by his own shame, when he reflects that the English Legislature sacrificed their principles to expose themselves to the very danger which the Venetian senate sacrificed theirs to avoid.
"One more circumstance remains to be noted respecting the Venetian government, the singular unity of the families composing it,—unity far from sincere or perfect, but still admirable when contrasted with the fiery feuds, the almost daily revolutions, the restless succession of families and parties in power, which fill the annals of the other states of Italy. That rivalship should sometimes be ended by the dagger, or enmity conducted to its ends under the mask of law, could not but be anticipated where the fierce Italian spirit was subjected to so severe a restraint: it is much that jealousy appears usually commingled with illegitimate ambition, and that, for every instance in which private passion sought its gratification through public danger, there are a thousand in which it was sacrificed to the public advantage. Venice may well call upon us to note with reverence, that of all the towers which are still seen rising like a branchless forest from her islands, there is but one whose office was other than that of summoning to prayer, and that one was a watchtower only: from first to last, while the palaces of the other cities of Italy were lifted into sullen fortitudes of rampart, and fringed with forked battlements for the javelin and the bow, the sands of Venice never sank under the weight of a war tower, and her roof terraces were wreathed with Arabian imagery, of golden globes suspended on the leaves of lilies.
"These, then, appear to me to be the points of chief general interest in the character and fate of the Venetian people. I would next endeavor to give the reader some idea of the manner in which the testimony of art bears upon these questions, and of the aspect which the arts themselves assume when they are regarded in their true connection with the history of the state: 1st. Receive the witness of painting. It will be remembered that I put the commencement of the Fall of Venice as far back as 1418. Now, John Bellini was born in 1423, and Titian in 1480. John Bellini, and his brother Gentile, two years older than he, close the line of the sacred painters of Venice. But the most solemn spirit of religious faith animates their works to the last. There is no religion in any work of Titian's: there is not even the smallest evidence of religious temper or sympathies either in himself or in those for whom he painted. His larger sacred subjects are merely themes for the exhibition of pictorial rhetoric,—composition and color. His minor works are generally made subordinate to purposes of portraiture. The Madonna in the church of the Frari is a mere lay figure, introduced to form a link of connection between the portraits of various members of the Pesaro family who surround her. Now this is not merely because John Bellini was a religious man and Titian was not. Titian and Bellini are each true representatives of the school of painters contemporary with them; and the difference in their artistic feeling is a consequence not so much of difference in their own natural characters as in their early education: Bellini was brought up in faith, Titian in formalism. Between the years of their births the vital religion of Venice had expired.
"The vital religion, observe, not the formal. Outward observance was
