Table of Contents
Even at first, when the vexatious sense of the city of the Doges reduced to earning its living as a curiosity-shop was in its keenness, there was a great deal of entertainment to be got from lodging on Riva Schiavoni and looking out at the far-shimmering lagoon. There was entertainment indeed in simply getting into the place and observing the queer incidents of a Venetian installation. A great many persons contribute indirectly to this undertaking, and it is surprising how they spring out at you during your novitiate to remind you that they are bound up in some mysterious manner with the constitution of your little establishment. It was an interesting problem for instance to trace the subtle connection existing between the niece of the landlady and the occupancy of the fourth floor. Superficially it was none too visible, as the young lady in question was a dancer at the Fenice theatre—or when that was closed at the Rossini—and might have been supposed absorbed by her professional duties. It proved necessary, however, that she should hover about the premises in a velvet jacket and a pair of black kid gloves with one little white button; as also, that she should apply a thick coating of powder to her face, which had a charming oval and a sweet weak expression, like that of most of the Venetian maidens, who, as a general thing—it was not a peculiarity of the land-lady’s niece—are fond of besmearing themselves with flour. You soon recognise that it is not only the many-twinkling lagoon you behold from a habitation on the Riva; you see a little of everything Venetian. Straight across, before my windows, rose the great pink mass of San Giorgio Maggiore, which has for an ugly Palladian church a success beyond all reason. It is a success of position, of colour, of the immense detached Campanile, tipped with a tall gold angel. I know not whether it is because San Giorgio is so grandly conspicuous, with a great deal of worn, faded-looking brickwork; but for many persons the whole place has a kind of suffusion of rosiness. Asked what may be the leading colour in the Venetian concert, we should inveterately say Pink, and yet without remembering after all that this elegant hue occurs very often. It is a faint, shimmering, airy, watery pink; the bright sea-light seems to flush with it and the pale whiteish-green of lagoon and canal to drink it in. There is indeed a great deal of very evident brickwork, which is never fresh or loud in colour, but always burnt out, as it were, always exquisitely mild.
Certain little mental pictures rise before the collector of memories at the simple mention, written or spoken, of the places he has loved. When I hear, when I see, the magical name I have written above these pages, it is not of the great Square that I think, with its strange basilica and its high arcades, nor of the wide mouth of the Grand Canal, with the stately steps and the well-poised dome of the Salute; it is not of the low lagoon, nor the sweet Piazzetta, nor the dark chambers of St. Mark’s. I simply see a narrow canal in the heart of the city—a patch of green water and a surface of pink wall. The gondola moves slowly; it gives a great smooth swerve, passes under a bridge, and the gondolier’s cry, carried over the quiet water, makes a kind of splash in the stillness. A girl crosses the little bridge, which has an arch like a camel’s back, with an old shawl on her head, which makes her characteristic and charming; you see her against the sky as you float beneath. The pink of the old wall seems to fill the whole place; it sinks even into the opaque water. Behind the wall is a garden, out of which the long arm of a white June rose—the roses of Venice are splendid—has flung itself by way of spontaneous ornament. On the other side of this small water-way is a great shabby facade of Gothic windows and balconies—balconies on which dirty clothes are hung and under which a cavernous-looking doorway opens from a low flight of slimy water-steps. It is very hot and still, the canal has a queer smell, and the whole place is enchanting.
{Illustration: A NARROW CANAL, VENICE}
It is poor work, however, talking about the colour of things in Venice. The fond spectator is perpetually looking at it from his window, when he is not floating about with that delightful sense of being for the moment a part of it, which any gentleman in a gondola is free to entertain. Venetian windows and balconies are a dreadful lure, and while you rest your elbows on these cushioned ledges the precious hours fly away. But in truth Venice isn’t in fair weather a place for concentration of mind. The effort required for sitting down to a writing-table is heroic, and the brightest page of MS. looks dull beside the brilliancy of your milieu. All nature beckons you forth and murmurs to you sophistically that such hours should be devoted to collecting impressions. Afterwards, in ugly places, at unprivileged times, you can convert your impressions into prose. Fortunately for the present proser the weather wasn’t always fine; the first month was wet and windy, and it was better to judge of the matter from an open casement than to respond to the advances of persuasive gondoliers. Even then however there was a constant entertainment in the view. It was all cold colour, and the steel-grey floor of the lagoon was stroked the wrong way by the wind. Then there were charming cool intervals, when the churches, the houses, the anchored fishing-boats, the whole gently-curving line of the Riva, seemed to be washed with a pearly white. Later it all turned warm—warm to the eye as well as to other senses. After the middle of May the whole place was in a glow. The sea took on a thousand shades, but they were only infinite variations of blue, and those rosy walls I just spoke of began to flush in the thick sunshine. Every patch of colour, every yard of weather-stained stucco, every glimpse of nestling garden or daub of sky above a calle, began to shine and sparkle—began, as the painters say, to “compose.” The lagoon was streaked with odd currents, which played across it like huge smooth finger-marks. The gondolas multiplied and spotted it allover; every gondola and gondolier looking, at a distance, precisely like every other.
There is something strange and fascinating in this mysterious impersonality of the gondola. It has an identity when you are in it, but, thanks to their all being of the same size, shape and colour, and of the same deportment and gait, it has none, or as little as possible, as you see it pass before you. From my windows on the Riva there was always the same silhouette—the long, black, slender skiff, lifting its head and throwing it back a little, moving yet seeming not to move, with the grotesquely-graceful figure on the poop. This figure inclines, as may be, more to the graceful or to the grotesque—standing in the “second position” of the dancing-master, but indulging from the waist upward in a freedom of movement which that functionary would deprecate. One may say as a general thing that there is something rather awkward in the movement even of the most graceful gondolier, and something graceful in the movement of the most awkward. In the graceful men of course the grace predominates, and nothing can be finer than the large, firm way in which, from their point of vantage, they throw themselves over their tremendous oar. It has the boldness of a plunging bird and the regularity of a pendulum. Sometimes, as you see this movement in profile, in a gondola that passes you—see, as you recline on your own low cushions, the arching body of the gondolier lifted up against the sky—it has a kind of nobleness which suggests an image on a Greek frieze. The gondolier at Venice is your very good friend—if you choose him happily—and on the quality of the personage depends a good deal that of your impressions. He is a part of your daily life, your double, your shadow, your complement. Most people, I think, either like their gondolier or hate him; and if they like him, like him very much. In this case they take an interest in him after his departure; wish him to be sure of employment, speak of him as the gem of gondoliers and tell their friends to be certain to “secure” him. There is usually no difficulty in securing him; there is nothing elusive or reluctant about a gondolier. Nothing would induce me not to believe them for the most part excellent fellows, and the sentimental tourist must always have a kindness for them. More than the rest of the population, of course, they are the children of Venice; they are associated with its idiosyncrasy, with its essence, with its silence, with its melancholy.
When I say they are associated with its silence I should immediately add that they are associated also with its sound. Among themselves they are an extraordinarily talkative company. They chatter at the traghetti, where they always have some sharp point under discussion; they bawl across the canals; they bespeak your commands as you approach; they defy each other from afar. If you happen to have a traghetto under your window, you are well aware that they are a vocal race. I should go even further than I went just now, and say that the voice of the gondolier is in fact for audibility
