far back in the troubled morning of Christian civilization, by refugees from barbarian invasion, and built with stones quarried from the ruins of old Altinum, over which Attila had passed desolating. During the first ages of its existence Torcello enjoyed the doubtful advantage of protection from the Greek emperors, but fell afterward under the domination of Venice. In the thirteenth century the debris of the river that emptied into the lagoon there began to choke up the wholesome salt canals, and to poison the air with swampy malaria; and in the seventeenth century the city had so dwindled that the Venetian podestà removed his residence from the depopulated island to Burano,—though the bishopric established immediately after the settlement of the refugees at Torcello continued there till 1814, to the satisfaction, no doubt, of the frogs and mosquitoes that had long inherited the former citizens.
I confess that I know little more of the history of Torcello than I found in my guide-book. There I read that the city had once stately civic and religious edifices, and that in the tenth century the Emperor Porphorygenitus called it ”magnum emporium Torcellanorum.” The much-restored cathedral of the seventh century, a little church, a building supposed to have been the public palace, and other edifices so ruinous and so old that their exact use in other days is not now known, are all that remain of the magnum emporium, except some lines of moldering wall that wander along the canals, and through pastures and vineyards, in the last imbecile stages of dilapidation and decay. There is a lofty bell-tower, also, from which, no doubt, the Torcellani used to descry afar off the devouring hordes of the barbarians on the main-land, and prepare for defense. As their city was never actually invaded, I am at a loss to account for the so-called Throne of Attila, which stands in the grass-grown piazza before the cathedral; and I fear that it may really have been after all only the seat which the ancient Tribunes of Torcello occupied on public occasions. It is a stone arm-chair, of a rude stateliness, and though I questioned its authenticity, I went and sat down in it a little while, to give myself the benefit of a doubt in case Attila had really pressed the same seat.
As soon as our gondola touched the grassy shores at Torcello, Giovanna’s children, Beppi and Nina, whom we had brought with us to give a first experience of trees and flowers and mother earth, leaped from the boat and took possession of land and water. By a curious fatality the little girl, who was bred safely amid the hundred canals of Venice, signalized her absence from their perils by presently falling into the only canal in Torcello, whence she was taken dripping, to be confined at a farm-house during the rest of our stay. The children were wild with pleasure, being absolutely new to the country, and ran over the island, plucking bouquets of weeds and flowers by armsful. A rake, borne afield upon the shoulder of a peasant, afterwhile fascinated the Venetian Beppi, and drew him away to study its strange and wonderful uses.
The simple inhabitants of Torcello came forth with gifts, or rather bargains, of flowers, to meet their discoverers, and, in a little while, exhausted our soldi. They also attended us in full force when we sat down to lunch,—the old, the young men and maidens, and the little children, all alike sallow, tattered, and dirty. Under these circumstances, a sense of the idyllic and the patriarchal gave zest to our collation, and moved us to bestow, in a splendid manner, fragments of the feast among the poor Torcellani. Knowing the abstemiousness of Italians everywhere, and seeing the hungry fashion in which the islanders clutched our gifts and devoured them, it was our doubt whether any one of them had ever experienced perfect repletion. I incline to think that a chronic famine gnawed their entrails, and that they never filled their bellies but with draughts of the east wind disdained of Job. The smaller among them even scrambled with the dog for the bones, until a little girl was bitten, when a terrific tumult arose, and the dog was driven home by the whole multitude. The children presently returned. They all had that gift of beauty which Nature seldom denies to the children of their race; but being, as I said, so dirty, their beauty shone forth chiefly from their large soft eyes. They had a very graceful, bashful archness of manner, and they insinuated beggary so winningly, that it would have been impossible for hungry people to deny them. As for us, having lunched, we gave them every thing that remained, and went off to feast our enthusiasm for art and antiquity in the cathedral.
Of course, I have not the least intention of describing it. I remember best among its wonders the bearing of certain impenitents in one of the mosaics on the walls, whom the earnest early artist had meant to represent as suffering in the flames of torment. I think, however, I have never seen complacence equal to that of these sinners, unless it was in the countenances of the seven fat kine, which, as represented in the vestibule of St. Mark’s, wear an air of the sleepiest and laziest enjoyment, while the seven lean kine, having just come up from the river, devour steaks from their bleeding haunches. There are other mosaics in the Torcello cathedral, especially those in the apsis and in one of the side chapels, which are in a beautiful spirit of art, and form the widest possible contrast to the eighteenth-century high altar, with its insane and ribald angels flying off at the sides, and poising themselves in the rope-dancing attitudes favored by statues of heavenly persons in the decline of the Renaissance. The choir is peculiarly built, in the form of a half-circle, with seats rising one above another, as in an amphitheatre, and a flight of steps ascending to the bishop’s seat above all,—after the manner of the earliest Christian churches. The partition parapet before the high altar is of almost transparent marble, delicately and quaintly sculptured with peacocks and lions, as the Byzantines loved to carve them; and the capitals of the columns dividing the naves are of infinite richness. Part of the marble pulpit has a curious bass-relief, said to be representative of the worship of Mercury; and indeed the Torcellani owe much of the beauty of their Duomo to unrequited antiquity. (They came to be robbed in their turn: for the opulence of their churches was so great that in the fifteenth and sixteenth centuries the severest penalties had to be enacted against those who stole from them. No one will be surprised to learn that the clergy themselves participated in these spoliations; but I believe no ecclesiastic was ever lashed in the piazza, or deprived of an eye or a hand for his offense.) The Duomo has the peculiar Catholic interest, and the horrible fascination, of a dead saint’s mortal part in a glass case.
An arcade runs along the facade of the cathedral, and around the side and front of the adjoining church of Santa Fosca, which is likewise very old. But we found nothing in it but a dusty, cadaverous stench, and so we came away and ascended the campanile. From the top of this you have a view of the lagoon, in all its iridescent hues, and of the heaven-blue sea. Here, looking toward the main-land, I would have been glad to experience the feelings of the Torcellani of old, as they descried the smoking advance of Huns or Vandals. But the finer emotions are like gifted children, and are seldom equal to occasions. I am ashamed to say that mine got no further than Castle Bluebeard, with Lady Bluebeard’s sister looking out for her brothers, and tearfully responding to Lady B.‘s repeated and agonized entreaty, “O sister, do you see them yet?”
The old woman who had opened the door of the campanile was surprised into hospitality by the sum of money we gave her, and took us through her house (which was certainly very neat and clean) into her garden, where she explained the nature of many familiar trees and shrubs to us poor Venetians.
We went back home over the twilight lagoon, and Giovanna expressed the general feeling when she said: ”Torsello xe beo—no si pol negar—la campagna xe bea; ma, benedetta la mia Venezia!“
(The country is beautiful—it can’t be denied—Torcello is beautiful; but blessed be my Venice!)
The panorama of the southern lagoon is best seen in a voyage to Chioggia, or Ciozza, the quaint and historic little city that lies twenty miles away from Venice, at one of the ports of the harbor. The Giant Sea-wall, built there by the Republic in her decline, is a work of Roman grandeur, which impresses you more deeply than any other monument of the past with a sense of her former industrial and commercial greatness. Strips of village border the narrow Littorale all the way to Chioggia, and on the right lie the islands of the lagoon. Chioggia itself is hardly more than a village,—a Venice in miniature, like Murano, with canals and boats and bridges. But here the character of life is more amphibious than in brine-bound Venice; and though there is no horse to be seen in the central streets of Chioggia, peasants’ teams
