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That is all very well, except the “clear” part of the lake. It certainly is clearer than a great many lakes, but how dull its waters are compared with the wonderful transparence of Lake Tahoe! I speak of the north shore of Tahoe, where one can count the scales on a trout at a depth of a hundred and eighty feet. I have tried to get this statement off at par here, but with no success; so I have been obliged to negotiate it at fifty percent discount. At this rate I find some takers; perhaps the reader will receive it on the same terms—ninety feet instead of one hundred and eighty. But let it be remembered that those are forced terms—Sheriff’s sale prices. As far as I am privately concerned, I abate not a jot of the original assertion that in those strangely magnifying waters one may count the scales on a trout (a trout of the large kind,) at a depth of a hundred and eighty feet—may see every pebble on the bottom—might even count a paper of dray-pins. People talk of the transparent waters of the Mexican Bay of Acapulco, but in my own experience I know they cannot compare with those I am speaking of. I have fished for trout, in Tahoe, and at a measured depth of eighty-four feet I have seen them put their noses to the bait and I could see their gills open and shut. I could hardly have seen the trout themselves at that distance in the open air.
As I go back in spirit and recall that noble sea, reposing among the snow-peaks six thousand feet above the ocean, the conviction comes strong upon me again that Como would only seem a bedizened little courtier in that august presence.
Sorrow and misfortune overtake the legislature that still from year to year permits Tahoe to retain its unmusical cognomen! Tahoe! It suggests no crystal waters, no picturesque shores, no sublimity. Tahoe for a sea in the clouds: a sea that has character and asserts it in solemn calms at times, at times in savage storms; a sea whose royal seclusion is guarded by a cordon of sentinel peaks that lift their frosty fronts nine thousand feet above the level world; a sea whose every aspect is impressive, whose belongings are all beautiful, whose lonely majesty types the Deity!
Tahoe means grasshoppers. It means grasshopper soup. It is Indian, and suggestive of Indians. They say it is Pi-ute—possibly it is Digger. I am satisfied it was named by the Diggers—those degraded savages who roast their dead relatives, then mix the human grease and ashes of bones with tar, and “gaum” it thick all over their heads and foreheads and ears, and go caterwauling about the hills and call it mourning. These are the gentry that named the Lake.
People say that Tahoe means “Silver Lake”—“Limpid Water”—“Falling Leaf.” Bosh. It means grasshopper soup, the favorite dish of the Digger tribe,—and of the Pi-utes as well. It isn’t worth while, in these practical times, for people to talk about Indian poetry—there never was any in them—except in the Fenimore Cooper Indians. But they are an extinct tribe that never existed. I know the Noble Red Man. I have camped with the Indians; I have been on the warpath with them, taken part in the chase with them—for grasshoppers; helped them steal cattle; I have roamed with them, scalped them, had them for breakfast. I would gladly eat the whole race if I had a chance.
But I am growing unreliable. I will return to my comparison of the lakes. Como is a little deeper than Tahoe, if people here tell the truth. They say it is eighteen hundred feet deep at this point, but it does not look a dead enough blue for that. Tahoe is one thousand five hundred and twenty-five feet deep in the centre, by the state geologist’s measurement. They say the great peak opposite this town is five thousand feet high: but I feel sure that three thousand feet of that statement is a good honest lie. The lake is a mile wide, here, and maintains about that width from this point to its northern extremity—which is distant sixteen miles: from here to its southern extremity—say fifteen miles—it is not over half a mile wide in any place, I should think. Its snow-clad mountains one hears so much about are only seen occasionally, and then in the distance, the Alps. Tahoe is from ten to eighteen miles wide, and its mountains shut it in like a wall. Their summits are never free from snow the year round. One thing about it is very strange: it never has even a skim of ice upon its surface, although lakes in the same range of mountains, lying in a lower and warmer temperature, freeze over in winter.
It is cheerful to meet a shipmate in these out-of-the-way places and compare notes with him. We have found one of ours here—an old soldier of the war, who is seeking bloodless adventures and rest from his campaigns in these sunny lands.[Colonel J. HERON FOSTER, editor of a Pittsburgh journal, and a most estimable gentleman. As these sheets are being prepared for the press I am pained to learn of his decease shortly after his return home—M.T.]
We voyaged by steamer down the Lago di Lecco, through wild mountain scenery, and by hamlets and villas, and disembarked at the town of Lecco. They said it was two hours, by carriage to the ancient city of Bergamo, and that we would arrive there in good season for the railway train. We got an open barouche and a wild, boisterous driver, and set out. It was delightful. We had a fast team and a perfectly smooth road. There were towering cliffs on our left, and the pretty Lago di Lecco on our right, and every now and then it rained on us. Just before starting, the driver picked up, in the street, a stump of a cigar an inch long, and put it in his mouth. When he had carried it thus about an hour, I thought it would be only Christian charity to give him a light. I handed him my cigar, which I had just lit, and he put it in his mouth and returned his stump to his pocket! I never saw a more sociable man. At least I never saw a man who was more sociable on a short acquaintance.
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We saw interior Italy, now. The houses were of solid stone, and not often in good repair. The peasants and their children were idle, as a general thing, and the donkeys and chickens made themselves at home in drawing-room and bed-chamber and were not molested. The drivers of each and every one of the slow-moving market-carts we met were stretched in the sun upon their merchandise, sound a sleep. Every three or four hundred yards, it seemed to me, we came upon the shrine of some saint or other--a rude picture of him built into a huge cross or a stone pillar by the road-side.--Some of the pictures of the Saviour were curiosities in their way. They represented him stretched upon the cross, his countenance distorted with agony. From the wounds of the crown of thorns; from the pierced side; from the mutilated hands and feet; from the scourged body--from every hand-breadth of his person streams of blood were flowing! Such a gory, ghastly spectacle would frighten the children out of their senses, I should think. There were some unique auxiliaries to the painting which added to its spirited effect. These were genuine wooden and iron implements, and were prominently disposed round about the figure: a bundle of nails; the hammer to drive them; the sponge; the reed that supported it; the cup of vinegar; the ladder for the ascent of the cross; the spear that pierced the Saviour’s side. The crown of thorns was made of real thorns, and was nailed to the sacred head. In some Italian church-paintings, even by the old masters, the Saviour and the Virgin wear silver or gilded crowns that are fastened to the pictured head with nails. The effect is as grotesque as it is incongruous.
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Here and there, on the fronts of roadside inns, we found huge, coarse frescoes of suffering martyrs like those in the shrines. It could not have diminished their sufferings any to be so uncouthly represented. We were in the heart and home of priest craft--of a happy, cheerful, contented ignorance, superstition, degradation, poverty, indolence, and everlasting unaspiring worthlessness. And we said fervently: it suits these people precisely; let them enjoy it, along with the other animals, and Heaven forbid that they be molested. We feel no malice toward these fumigators.
We passed through the strangest, funniest, undreampt-of old towns, wedded to the customs and steeped in the dreams of the elder ages, and perfectly unaware that the world turns round! And perfectly indifferent, too, as to whether it turns around or stands still. They have nothing to do but eat and sleep and sleep and eat, and toil a little when they can get a friend to stand by and keep them awake. They are not paid for thinking--they are not paid to fret about the world’s concerns. They were not respectable people--they were not worthy people--they were not learned and wise and brilliant people--but in their breasts, all their stupid lives long, resteth a peace that passeth understanding! How can men, calling themselves men, consent to be so degraded and happy.
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We whisked by many a gray old medieval castle, clad thick with ivy that swung its green banners down from towers and turrets where once some old Crusader’s flag had floated. The driver pointed to one of these ancient fortresses, and said, (I translate):
“Do you see that great iron hook that projects from the wall just under the highest window in the ruined tower?”
We said we could not see it at such a distance, but had no doubt it was there.
“Well,” he said; “there is a legend connected with that iron hook. Nearly seven hundred years ago, that castle was the property of the noble Count Luigi Gennaro Guido Alphonso di Genova----”
“What was his other name?” said Dan.
“He had no other name. The name I have spoken was all the name he had. He was the son of----”
“Poor but honest parents--that is all right--never mind the particulars--go on with the legend."
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Well, then, all the world, at that time, was in a wild excitement about the Holy Sepulchre. All the great feudal lords in Europe were pledging their lands and pawning their plate to fit out men-at-arms so that they might join the grand armies of Christendom and win renown in the Holy Wars. The Count Luigi raised money, like the rest, and one mild September morning, armed with battle-ax, portcullis and thundering culverin, he rode through the greaves and bucklers of his donjon-keep with as gallant a troop of Christian bandits as ever stepped in Italy. He had his sword, Excalibur, with him. His beautiful countess and her young daughter waved him a tearful adieu from the battering-rams and buttresses of the fortress, and he galloped away with a happy heart.
He made a raid on a neighboring baron and completed his outfit with the booty secured. He then razed the castle to the ground, massacred the family and moved on. They were hardy fellows in the grand old days of chivalry. Alas! Those days will never come again.
Count Luigi grew high in fame in Holy Land. He plunged into the carnage of a hundred battles, but his good Excalibur always brought him out alive, albeit often sorely wounded. His face became browned by exposure to the Syrian sun in long marches; he suffered hunger and thirst; he pined in prisons, he languished in loathsome plague-hospitals. And many and many a time he thought of his loved ones at home, and wondered if all was well with them. But his heart said, Peace, is not thy brother watching over thy household?
* * * * * * *
Forty-two years waxed and waned; the good fight was won; Godfrey reigned in Jerusalem--the Christian hosts reared the banner of the cross above the Holy Sepulchre!
Twilight was approaching. Fifty harlequins, in flowing robes, approached this castle wearily, for they were on foot, and the dust upon their garments betokened that they had traveled far. They overtook a peasant, and asked him if it were likely they could get food and a hospitable bed there, for love of Christian charity, and if perchance, a moral parlor entertainment might meet with generous countenance--“for,” said they, “this exhibition hath no feature that could offend the most fastidious taste.”
“Marry,” quoth the peasant, “an’ it please your worships, ye had better journey many a good rood hence with your juggling circus than trust your bones in yonder castle.”
“How now, sirrah!” exclaimed the chief monk, “explain thy ribald speech, or by’r Lady it shall go hard with thee.”
“Peace, good mountebank, I did but utter the truth that was in my heart. San Paolo be my witness that did ye but find the stout Count Leonardo in his cups, sheer from the castle’s topmost battlements would he hurl ye all! Alack-a-day, the good Lord Luigi reigns not here in these sad times.”
“The good Lord Luigi?”
“Aye, none other, please your worship. In his day, the poor rejoiced in plenty and the rich he did oppress; taxes were not known, the fathers of the church waxed fat upon his bounty; travelers went and came, with none to interfere; and whosoever would, might tarry in his halls in cordial welcome, and eat his bread and drink his wine, withal. But woe is me! some two and forty years agone the good count rode hence to fight for Holy Cross, and many a year hath flown since word or token have we had of him. Men say his bones lie bleaching in the fields of Palestine.”
“And now?”
“Now! God ’a mercy, the cruel Leonardo lords it in the castle. He wrings taxes from the poor; he robs all travelers that journey by his gates; he spends his days in feuds and murders, and his nights in revel and debauch; he roasts the fathers of the church upon his kitchen spits, and enjoyeth the same, calling it pastime. These thirty years Luigi’s countess hath not been seen by any in all this land, and many whisper that she pines in the dungeons of the castle for that she will not wed with Leonardo, saying her dear lord still liveth and that she will die ere she prove false to him. They whisper likewise that her daughter is a prisoner as well. Nay, good jugglers, seek ye refreshment other wheres. ’Twere better that ye perished in a Christian way than that ye plunged from off yon dizzy tower. Give ye good-day.”
“God keep ye, gentle knave--farewell.”
But heedless of the peasant’s warning, the players moved straightway toward the castle.
Word was brought to Count Leonardo that a company of mountebanks besought his hospitality.
“’Tis well. Dispose of them in the customary manner. Yet stay! I have need of them. Let them come hither. Later, cast them from the battlements--or--how many priests have ye on hand?”
“The day’s results are meagre, good my lord. An abbot and a dozen beggarly friars is all we have.”
“Hell and furies! Is the estate going to seed? Send hither the mountebanks. Afterward, broil them with the priests.”
The robed and close-cowled harlequins entered. The grim Leonardo sate in state at the head of his council board. Ranged up and down the hall on either hand stood near a hundred men-at-arms.
“Ha, villains!” quoth the count, “What can ye do to earn the hospitality ye crave.”
“Dread lord and mighty, crowded audiences have greeted our humble efforts with rapturous applause. Among our body count we the versatile and talented Ugolino; the justly celebrated Rodolpho; the gifted and accomplished Roderigo; the management have spared neither pains nor expense--”
“S’death! What can ye do? Curb thy prating tongue.”
“Good my lord, in acrobatic feats, in practice with the dumb-bells, in balancing and ground and lofty tumbling are we versed--and sith your highness asketh me, I venture here to publish that in the truly marvelous and entertaining Zampillaerostation--”
“Gag him! throttle him! Body of Bacchus! am I a dog that I am to be assailed with polysyllabled blasphemy like to this? But hold! Lucretia, Isabel, stand forth! Sirrah, behold this dame, this weeping wench. The first I marry, within the hour; the other shall dry her tears or feed the vultures. Thou and thy vagabonds shall crown the wedding with thy merry-makings. Fetch hither the priest!”
The dame sprang toward the chief player.
“O, save me!” she cried; “save me from a fate far worse than death! Behold these sad eyes, these sunken cheeks, this withered frame! See thou the wreck this fiend hath made, and let thy heart be moved with pity! Look upon this damosel; note her wasted form, her halting step, her bloomless cheeks where youth should blush and happiness exult in smiles! Hear us and have compassion. This monster was my husband’s brother. He who should have been our shield against all harm, hath kept us shut within the noisome caverns of his donjon-keep for lo these thirty years. And for what crime? None other than that I would not belie my troth, root out my strong love for him who marches with the legions of the cross in Holy Land, (for O, he is not dead!) and wed with him! Save us, O, save thy persecuted suppliants!”
She flung herself at his feet and clasped his knees.
“Ha!-ha!-ha!” shouted the brutal Leonardo. “Priest, to thy work!” and he dragged the weeping dame from her refuge. “Say, once for all, will you be mine?--for by my halidome, that breath that uttereth thy refusal shall be thy last on earth!”
“NE-VER?”
“Then die!” and the sword leaped from its scabbard.
Quicker than thought, quicker than the lightning’s flash, fifty monkish habits disappeared, and fifty knights in splendid armor stood revealed! fifty falchions gleamed in air above the men-at-arms, and brighter, fiercer than them all, flamed Excalibur aloft, and cleaving downward struck the brutal Leonardo’s weapon from his grasp!
“A Luigi to the rescue! Whoop!”
“A Leonardo! ‘tare an ouns!’”
“Oh, God, Oh, God, my husband!”
“Oh, God, Oh, God, my wife!”
“My father!”
“My precious!” [Tableau.]
Count Luigi bound his usurping brother hand and foot. The practiced knights from Palestine made holyday sport of carving the awkward men-at-arms into chops and steaks. The victory was complete. Happiness reigned. The knights all married the daughter. Joy! wassail! finis!
“But what did they do with the wicked brother?”
“Oh nothing--only hanged him on that iron hook I was speaking of. By the chin.”
“As how?”
“Passed it up through his gills into his mouth.”
“Leave him there?”
“Couple of years.”
“Ah--is--is he dead?”
“Six hundred and fifty years ago, or such a matter.”
“Splendid legend--splendid lie--drive on."
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We reached the quaint old fortified city of Bergamo, the renowned in history, some three-quarters of an hour before the train was ready to start. The place has thirty or forty thousand inhabitants and is remarkable for being the birthplace of harlequin. When we discovered that, that legend of our driver took to itself a new interest in our eyes.
Rested and refreshed, we took the rail happy and contented. I shall not tarry to speak of the handsome Lago di Gardi; its stately castle that holds in its stony bosom the secrets of an age so remote that even tradition goeth not back to it; the imposing mountain scenery that ennobles the landscape thereabouts; nor yet of ancient Padua or haughty Verona; nor of their Montagues and Capulets, their famous balconies and tombs of Juliet and Romeo et al., but hurry straight to the ancient city of the sea, the widowed bride of the Adriatic. It was a long, long ride. But toward evening, as we sat silent and hardly conscious of where we were--subdued into that meditative calm that comes so surely after a conversational storm--some one shouted--
“VENICE!”
And sure enough, afloat on the placid sea a league away, lay a great city, with its towers and domes and steeples drowsing in a golden mist of sunset.
This Venice, which was a haughty, invincible, magnificent Republic for nearly fourteen hundred years; whose armies compelled the world’s applause whenever and wherever they battled; whose navies well nigh held dominion of the seas, and whose merchant fleets whitened the remotest oceans with their sails and loaded these piers with the products of every clime, is fallen a prey to poverty, neglect and melancholy decay. Six hundred years ago, Venice was the Autocrat of Commerce; her mart was the great commercial centre, the distributing-house from whence the enormous trade of the Orient was spread abroad over the Western world. To-day her piers are deserted, her warehouses are empty, her merchant fleets are vanished, her armies and her navies are but memories. Her glory is departed, and with her crumbling grandeur of wharves and palaces about her she sits among her stagnant lagoons, forlorn and beggared, forgotten of the world. She that in her palmy days commanded the commerce of a hemisphere and made the weal or woe of nations with a beck of her puissant finger, is become the humblest among the peoples of the earth,--a peddler of glass beads for women, and trifling toys and trinkets for school-girls and children.
The venerable Mother of the Republics is scarce a fit subject for flippant speech or the idle gossipping of tourists. It seems a sort of sacrilege to disturb the glamour of old romance that pictures her to us softly from afar off as through a tinted mist, and curtains her ruin and her desolation from our view. One ought, indeed, to turn away from her rags, her poverty and her humiliation, and think of her only as she was when she sunk the fleets of Charlemagne; when she humbled Frederick Barbarossa or waved her victorious banners above the battlements of Constantinople.
We reached Venice at eight in the evening, and entered a hearse belonging to the Grand Hotel d’Europe. At any rate, it was more like a hearse than any thing else, though to speak by the card, it was a gondola. And this was the storied gondola of Venice!--the fairy boat in which the princely cavaliers of the olden time were wont to cleave the waters of the moonlit canals and look the eloquence of love into the soft eyes of patrician beauties, while the gay gondolier in silken doublet touched his guitar and sang as only gondoliers can sing! This the famed gondola and this the gorgeous gondolier!--the one an inky, rusty old canoe with a sable hearse-body clapped on to the middle of it, and the other a mangy, barefooted guttersnipe with a portion of his raiment on exhibition which should have been sacred from public scrutiny. Presently, as he turned a corner and shot his hearse into a dismal ditch between two long rows of towering, untenanted 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.
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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 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.
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, with none to speak to; the days and nights of his life no longer marked, but merged into one eternal eventless night; far away from all cheerful sounds, buried in the silence of a tomb; forgotten by his helpless friends, and his fate a dark mystery to them forever; losing his own memory at last, and knowing no more who he was or how he came there; devouring the loaf of bread and drinking the water that were thrust into the cell by unseen hands, and troubling his worn spirit no more with hopes and fears and doubts and longings to be free; ceasing to scratch vain prayers and complainings on walls where none, not even himself, could see them, and resigning himself to hopeless apathy, driveling childishness, lunacy! Many and many a sorrowful story like this these stony walls could tell if they could but speak.
In a little narrow corridor, near by, they showed us where many a prisoner, after lying in the dungeons until he was forgotten by all save his persecutors, was brought by masked executioners and garroted, or sewed up in a sack, passed through a little window to a boat, at dead of night, and taken to some remote spot and drowned.
They used to show to visitors the implements of torture wherewith the Three were wont to worm secrets out of the accused--villainous machines for crushing thumbs; the stocks where a prisoner sat immovable while water fell drop by drop upon his head till the torture was more than humanity could bear; and a devilish contrivance of steel, which inclosed a prisoner’s head like a shell, and crushed it slowly by means of a screw. It bore the stains of blood that had trickled through its joints long ago, and on one side it had a projection whereon the torturer rested his elbow comfortably and bent down his ear to catch the moanings of the sufferer perishing within.
Of course we went to see the venerable relic of the ancient glory of Venice, with its pavements worn and broken by the passing feet of a thousand years of plebeians and patricians--The Cathedral of St. Mark. It is built entirely of precious marbles, brought from the Orient--nothing in its composition is domestic. Its hoary traditions make it an object of absorbing interest to even the most careless stranger, and thus far it had interest for me; but no further. I could not go into ecstasies over its coarse mosaics, its unlovely Byzantine architecture, or its five hundred curious interior columns from as many distant quarries. Every thing was worn out--every block of stone was smooth and almost shapeless with the polishing hands and shoulders of loungers who devoutly idled here in by-gone centuries and have died and gone to the dev--no, simply died, I mean.
Under the altar repose the ashes of St. Mark--and Matthew, Luke and John, too, for all I know. Venice reveres those relics above all things earthly. For fourteen hundred years St. Mark has been her patron saint. Every thing about the city seems to be named after him or so named as to refer to him in some way--so named, or some purchase rigged in some way to scrape a sort of hurrahing acquaintance with him. That seems to be the idea. To be on good terms with St. Mark, seems to be the very summit of Venetian ambition. They say St. Mark had a tame lion, and used to travel with him--and every where that St. Mark went, the lion was sure to go. It was his protector, his friend, his librarian. And so the Winged Lion of St. Mark, with the open Bible under his paw, is a favorite emblem in the grand old city. It casts its shadow from the most ancient pillar in Venice, in the Grand Square of St. Mark, upon the throngs of free citizens below, and has so done for many a long century. The winged lion is found every where--and doubtless here, where the winged lion is, no harm can come.
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St. Mark died at Alexandria, in Egypt. He was martyred, I think. However, that has nothing to do with my legend. About the founding of the city of Venice--say four hundred and fifty years after Christ--(for Venice is much younger than any other Italian city,) a priest dreamed that an angel told him that until the remains of St. Mark were brought to Venice, the city could never rise to high distinction among the nations; that the body must be captured, brought to the city, and a magnificent church built over it; and that if ever the Venetians allowed the Saint to be removed from his new resting-place, in that day Venice would perish from off the face of the earth. The priest proclaimed his dream, and forthwith Venice set about procuring the corpse of St. Mark. One expedition after another tried and failed, but the project was never abandoned during four hundred years. At last it was secured by stratagem, in the year eight hundred and something. The commander of a Venetian expedition disguised himself, stole the bones, separated them, and packed them in vessels filled with lard. The religion of Mahomet causes its devotees to abhor anything that is in the nature of pork, and so when the Christian was stopped by the officers at the gates of the city, they only glanced once into his precious baskets, then turned up their noses at the unholy lard, and let him go. The bones were buried in the vaults of the grand cathedral, which had been waiting long years to receive them, and thus the safety and the greatness of Venice were secured. And to this day there be those in Venice who believe that if those holy ashes were stolen away, the ancient city would vanish like a dream, and its foundations be buried forever in the unremembering sea.
The Venetian gondola is as free and graceful, in its gliding movement, as a serpent. It is twenty or thirty feet long, and is narrow and deep, like a canoe; its sharp bow and stern sweep upward from the water like the horns of a crescent with the abruptness of the curve slightly modified.
The bow is ornamented with a steel comb with a battle-ax attachment which threatens to cut passing boats in two occasionally, but never does. The gondola is painted black because in the zenith of Venetian magnificence the gondolas became too gorgeous altogether, and the Senate decreed that all such display must cease, and a solemn, unembellished black be substituted. If the truth were known, it would doubtless appear that rich plebeians grew too prominent in their affectation of patrician show on the Grand Canal, and required a wholesome snubbing. Reverence for the hallowed Past and its traditions keeps the dismal fashion in force now that the compulsion exists no longer. So let it remain. It is the color of mourning. Venice mourns. The stern of the boat is decked over and the gondolier stands there. He uses a single oar--a long blade, of course, for he stands nearly erect. A wooden peg, a foot and a half high, with two slight crooks or curves in one side of it and one in the other, projects above the starboard gunwale.