fete was magnificent. They kept it up the whole night long, and I never enjoyed myself better than I did while it lasted.
What a funny old city this Queen of the Adriatic is! Narrow streets, vast, gloomy marble palaces, black with the corroding damps of centuries, and all partly submerged; no dry land visible any where, and no sidewalks worth mentioning; if you want to go to church, to the theatre, or to the restaurant, you must call a gondola. It must be a paradise for cripples, for verily a man has no use for legs here.
For a day or two the place looked so like an overflowed Arkansas town, because of its currentless waters laving the very doorsteps of all the houses, and the cluster of boats made fast under the windows, or skimming in and out of the alleys and by-ways, that I could not get rid of the impression that there was nothing the matter here but a spring freshet, and that the river would fall in a few weeks and leave a dirty high-water mark on the houses, and the streets full of mud and rubbish.
In the glare of day, there is little poetry about Venice, but under the charitable moon her stained palaces are white again, their battered sculptures are hidden in shadows, and the old city seems crowned once more with the grandeur that was hers five hundred years ago. It is easy, then, in fancy, to people these silent canals with plumed gallants and fair ladies--with Shylocks in gaberdine and sandals, venturing loans upon the rich argosies of Venetian commerce--with Othellos and Desdemonas, with Iagos and Roderigos--with noble fleets and victorious legions returning from the wars. In the treacherous sunlight we see Venice decayed, forlorn, poverty-stricken, and commerceless--forgotten and utterly insignificant. But in the moonlight, her fourteen centuries of greatness fling their glories about her, and once more is she the princeliest among the nations of the earth.
"There is a glorious city in the sea;
The sea is in the broad, the narrow streets,
Ebbing and flowing; and the salt-sea weed
Clings to the marble of her palaces.
No track of men, no footsteps to and fro,
Lead to her gates! The path lies o'er the sea,
Invisible: and from the land we went,
As to a floating city--steering in,
And gliding up her streets, as in a dream,
So smoothly, silently--by many a dome,
Mosque-like, and many a stately portico,
The statues ranged along an azure sky;
By many a pile, in more than Eastern pride,
Of old the residence of merchant kings;
The fronts of some, tho' time had shatter'd them,
Still glowing with the richest hues of art,
As tho' the wealth within them had run o'er."
What would one naturally wish to see first in Venice? The Bridge of Sighs, of course--and next the Church and the Great Square of St. Mark, the Bronze Horses, and the famous Lion of St. Mark.
We intended to go to the Bridge of Sighs, but happened into the Ducal Palace first--a building which necessarily figures largely in Venetian poetry and tradition. In the Senate Chamber of the ancient Republic we wearied our eyes with staring at acres of historical paintings by Tintoretto and Paul Veronese, but nothing struck us forcibly except the one thing that strikes all strangers forcibly--a black square in the midst of a gallery of portraits. In one long row, around the great hall, were painted the portraits of the Doges of Venice (venerable fellows, with flowing white beards, for of the three hundred Senators eligible to the office, the oldest was usually chosen Doge,) and each had its complimentary inscription attached--till you came to the place that should have had Marino Faliero's picture in it, and that was blank and black--blank, except that it bore a terse inscription, saying that the conspirator had died for his crime. It seemed cruel to keep that pitiless inscription still staring from the walls after the unhappy wretch had been in his grave five hundred years.
At the head of the Giant's Staircase, where Marino Faliero was beheaded, and where the Doges were crowned in ancient times, two small slits in the stone wall were pointed out--two harmless, insignificant orifices that would never attract a stranger's attention--yet these were the terrible Lions' Mouths! The heads were gone (knocked off by the French during their occupation of Venice,) but these were the throats, down which went the anonymous accusation, thrust in secretly at dead of night by an enemy, that doomed many an innocent man to walk the Bridge of Sighs and descend into the dungeon which none entered and hoped to see the sun again. This was in the old days when the Patricians alone governed Venice--the common herd had no vote and no voice. There were one thousand five hundred Patricians; from these, three hundred Senators were chosen; from the Senators a Doge and a Council of Ten were selected, and by secret ballot the Ten chose from their own number a Council of Three. All these were Government spies, then, and every spy was under surveillance himself--men spoke in whispers in Venice, and no man trusted his neighbor--not always his own brother. No man knew who the Council of Three were--not even the Senate, not even the Doge; the members of that dread tribunal met at night in a chamber to themselves, masked, and robed from head to foot in scarlet cloaks, and did not even know each other, unless by voice. It was their duty to judge heinous political crimes, and from their sentence there was no appeal. A nod to the executioner was sufficient. The doomed man was marched down a hall and out at a door-way into the covered Bridge of Sighs, through it and into the dungeon and unto his death. At no time in his transit was he visible to any save his conductor. If a man had an enemy in those old days, the cleverest thing he could do was to slip a note for the Council of Three into the Lion's mouth, saying "This man is plotting against the Government." If the awful Three found no proof, ten to one they would drown him anyhow, because he was a deep rascal, since his plots were unsolvable. Masked judges and masked executioners, with unlimited power, and no appeal from their judgements, in that hard, cruel age, were not likely to be lenient with men they suspected yet could not convict.
We walked through the hall of the Council of Ten, and presently entered the infernal den of the Council of Three.
The table around which they had sat was there still, and likewise the stations where the masked inquisitors and executioners formerly stood, frozen, upright and silent, till they received a bloody order, and then, without a word, moved off like the inexorable machines they were, to carry it out. The frescoes on the walls were startlingly suited to the place. In all the other saloons, the halls, the great state chambers of the palace, the walls and ceilings were bright with gilding, rich with elaborate carving, and resplendent with gallant pictures of Venetian victories in war, and Venetian display in foreign courts, and hallowed with portraits of the Virgin, the Saviour of men, and the holy saints that preached the Gospel of Peace upon earth--but here, in dismal contrast, were none but pictures of death and dreadful suffering!--not a living figure but was writhing in torture, not a dead one but was smeared with blood, gashed with wounds, and distorted with the agonies that had taken away its life!
From the palace to the gloomy prison is but a step--one might almost jump across the narrow canal that intervenes. The ponderous stone Bridge of Sighs crosses it at the second story--a bridge that is a covered tunnel--you can not be seen when you walk in it. It is partitioned lengthwise, and through one compartment walked such as bore light sentences in ancient times, and through the other marched sadly the wretches whom the Three had doomed to lingering misery and utter oblivion in the dungeons, or to sudden and mysterious death. Down below the level of the water, by the light of smoking torches, we were shown the damp, thick-walled cells where many a proud patrician's life was eaten away by the long-drawn miseries of solitary imprisonment--without light, air, books; naked, unshaven, uncombed, covered with vermin; his useless tongue forgetting its office,
