buildings, the gay gondolier began to sing, true to the traditions of his race. I stood it a little while. Then I said:
“Now, here, Roderigo Gonzales Michael Angelo, I’m a pilgrim, and I’m a stranger, but I am not going to have my feelings lacerated by any such caterwauling as that. If that goes on, one of us has got to take water. It is enough that my cherished dreams of Venice have been blighted forever as to the romantic gondola and the gorgeous gondolier; this system of destruction shall go no farther; I will accept the hearse, under protest, and you may fly your flag of truce in peace, but here I register a dark and bloody oath that you shan’t sing. Another yelp, and overboard you go.”
I began to feel that the old Venice of song and story had departed forever. But I was too hasty. In a few minutes we swept gracefully out into the Grand Canal, and under the mellow moonlight the Venice of poetry and romance stood revealed. Right from the water’s edge rose long lines of stately palaces of marble; gondolas were gliding swiftly hither and thither and disappearing suddenly through unsuspected gates and alleys; ponderous stone bridges threw their shadows athwart the glittering waves. There was life and motion everywhere, and yet everywhere there was a hush, a stealthy sort of stillness, that was suggestive of secret enterprises of bravoes and of lovers; and clad half in moonbeams and half in mysterious shadows, the grim old mansions of the Republic seemed to have an expression about them of having an eye out for just such enterprises as these at that same moment. Music came floating over the waters — Venice was complete.
It was a beautiful picture — very soft and dreamy and beautiful. But what was this Venice to compare with the Venice of midnight? Nothing. There was a fete — a grand fete in honor of some saint who had been instrumental in checking the cholera three hundred years ago, and all Venice was abroad on the water. It was no common affair, for the Venetians did not know how soon they might need the saint’s services again, now that the cholera was spreading every where. So in one vast space — say a third of a mile wide and two miles long — were collected two thousand gondolas, and every one of them had from two to ten, twenty and even thirty colored lanterns suspended about it, and from four to a dozen occupants. Just as far as the eye could reach, these painted lights were massed together — like a vast garden of many-colored flowers, except that these blossoms were never still; they were ceaselessly gliding in and out, and mingling together, and seducing you into bewildering attempts to follow their mazy evolutions. Here and there a strong red, green, or blue glare from a rocket that was struggling to get away, splendidly illuminated all the boats around it. Every gondola that swam by us, with its crescents and pyramids and circles of colored lamps hung aloft, and lighting up the faces of the young and the sweet-scented and lovely below, was a picture; and the reflections of those lights, so long, so slender, so numberless, so many-colored and so distorted and wrinkled by the waves, was a picture likewise, and one that was enchantingly beautiful. Many and many a party of young ladies and gentlemen had their state gondolas handsomely decorated, and ate supper on board, bringing their swallow-tailed, white-cravatted varlets to wait upon them, and having their tables tricked out as if for a bridal supper. They had brought along the costly globe lamps from their drawing-rooms, and the lace and silken curtains from the same places, I suppose. And they had also brought pianos and guitars, and they played and sang operas, while the plebeian paper-lanterned gondolas from the suburbs and the back alleys crowded around to stare and listen.
There was music every where — choruses, string bands, brass bands, flutes, every thing. I was so surrounded, walled in, with music, magnificence and loveliness, that I became inspired with the spirit of the scene, and sang one tune myself. However, when I observed that the other gondolas had sailed away, and my gondolier was preparing to go overboard, I stopped.
The 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 highwater 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
