Italy at War and the Allies in the West. E. Alexander Powell
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At those hotels on the Lung' Arno, which remain open, the visitor can make his own terms. The Via Tornabuoni is as quiet as a street in a country town. The dealers in antiques, in souvenirs, in pictures, in marbles, have most of them put up their shutters and disappeared, to return, no doubt, in happier times.
There is in the Via Tornabuoni, midway between Giacosa's and the American Consulate, an excellent barber shop. The owner, who learned his trade in the United States, is the most skilful man with scissors and razor that I know. His customers came from half the countries of the globe.
"But they are all gone now," he told me sadly. "Some are fighting, some have been killed, the others have gone back to their homes until the war is over. Three years ago I had as nice a little business as a man could ask for. To-day I do not make enough to pay my rent. But it doesn't make much difference, for next month my class is called to the colors, and in the spring my son, who will then be eighteen, will also have to go."
No, they're not very enthusiastic over the war in Florence. But you can't blame them, can you?
In none of the great cities known and loved by Americans has the war wrought such startling changes as in Venice. Because it is a naval base of the first importance, because it is almost within sight of the Austrian coast, and therefore within easy striking distance of Trieste, Fiume, and Pola, and because throughout Venetia Austrian spies abound, Venice is a closed city. It reminded me of a beautiful playhouse which had been closed for an indefinite period: the fire-curtain lowered, the linen covers drawn over the seats, the carpets rolled up, the scenery stored away, the great stage empty and desolate. Gone are the lights, the music, the merriment which made Venice one of the happiest and most care free of cities. Because of the frequent air raids—Venice has been attacked from the sky nearly a hundred times since the war began—the city is put to bed promptly at nightfall. To show a light from a door or window after dark is to invite a domiciliary visit from the police and, quite possibly, arrest on the charge of attempting to communicate with the enemy. The illumination of the streets is confined to small candle-power lights in blue or purple bulbs, the weakened rays being visible for only a short distance. To stroll at night in the darkened streets is to risk falling into a canal, while the use of an electric torch would almost certainly result in arrest as a spy. The ghastly effect produced by the purple lights, the utter blackness of the canals, the deathly silence, broken only by the sound of water lapping the walls of the empty palazzos, combine to give the city a peculiarly weird and sepulchral appearance.
Of the great hotels which line the Canale Grande, only the Danieli remains open. Over the others fly the Red Cross flags, and in their windows and on their terraces lounge wounded soldiers. The smoking-room of the Danieli, where so many generations of travelling Americans have chatted over their coffee and cigars, has been converted into a rifugio, in which the guests can find shelter in case of an air attack. A bomb-proof ceiling has been made of two layers of steel rails, laid crosswise, and ramparts of sand-bags have been built against the walls. On the doors of the bedrooms are posted notices urging the guests, when hostile aircraft are reported, to make directly for the rifugio, and remain there until the raid is over. In other cities in the war zone the inhabitants take to their cellars during aerial attacks, but in Venice there are no cellars, and the buildings are, for the most part, too old and poorly built to afford safety from bombs. To provide adequate protection for the population, particularly in the poorer and more congested districts of the city, has, therefore, proved a serious problem for the authorities. Owing to its situation, Venice is extremely vulnerable to air attacks, for the Austrian seaplanes, operating from Trieste or Pola, can glide across the Adriatic under cover of darkness, and are over the city before their presence is discovered. Before the anti-aircraft guns can get their range, or the Italian airmen can rise and engage them, they have dropped their bombs and fled. Although, generally speaking, the loss of life resulting from these aerial forays is surprising small, they are occasionally very serious affairs. During an air raid on Padua, which occurred a few days before I was there, a bomb exploded in the midst of a crowd of terrified townspeople who were struggling to gain entrance to a rifugio. In that affair 153 men, women, and children lost their lives.
The admiral in command of Venice showed me a map of the city, which, with the exception of a large rectangle, was thickly sprinkled with small red dots. There must have been several hundred of them.
"These dots," he explained, "indicate where Austrian bombs have fallen."
"This part of the city seems to have been peculiarly fortunate," I remarked, placing my finger on the white square.
"That," said he, "is the Arsenal. For obvious reasons we do not reveal whether any bombs have fallen there."
Considering the frequency with which Venice has been attacked from the air, its churches, of which there are an extraordinary number, have escaped with comparatively little damage. Only four, in fact, have suffered seriously. Of these, the church of Santa Maria Formosa has sustained the greatest damage, its magnificent interior, with the celebrated decorations by Palma Vecchio, having been transformed through the agency of an Austrian bomb, into a heap of stone and plaster. Another bomb chose as its target the great dome of the church of San Pietro di Castello, which stands on the island of San Pietro, opposite the Arsenal. On the Grand Canal, close by the railway-station, is the Chiesa degli Scalzi, whose ceiling by Tiepolo, one of the master's greatest works, has suffered irreparable injury. Santi Giovanni e Páolo, next to St. Mark's the most famous church in Venice, has also been shattered by a bomb.
I asked the officer in command of the aerial defenses of Venice if he thought that the Austrian airmen intentionally bomb churches, hospitals, and monuments, as has been so often asserted in the Allied press.
"It's this way," he explained. "A dozen aviators are ordered to bombard a certain city. Three or four of them are real heroes and, at the risk of their lives, descend low enough to make certain of their targets before releasing their bombs. The others, however, rather than come within range of the anti-aircraft guns, remain at a safe height, drop their bombs at random as soon as they are over the city, and then clear out. Is it very surprising, then, that bombs dropped from a height of perhaps ten thousand feet, by aircraft travelling sixty miles an hour, miss the forts and barracks for which they are intended and hit churches and dwellings instead?"
Intentional or not, the bombardment of the Venetian churches is a blunder for which the Austrians will pay dearly in loss of international good-will. A century hence these shattered churches will be pointed out to visitors as the work of the modern Vandals, and lovers of art and beauty throughout the world will execrate the nation which permitted the sacrilege. They have destroyed glass and paintings and sculptures that were a joy to the whole world, they have undone the work of saints and heroes and masters, and they have gained no corresponding military advantage. In every city which has been subjected to air raids the inhabitants have been made more obstinate, more iron-hard in their determination to keep on fighting. The sight of shattered churches, of wrecked dwellings, of mangled women and dead babies, does not terrify or dismay a people: it infuriates them. In the words of Talleyrand: "It is worse than a crime; it is a mistake."
The strangest sight in Venice to-day is St. Mark's. There is nothing in its present appearance, inside or out, to suggest the famous cathedral which so many millions of people have reverenced and loved. Indeed, there is little about it to suggest a church at all. It looks like a huge and ugly warehouse, like a car barn, like a Billy Sunday tabernacle, for, in order to protect the wonderful mosaics and marbles which adorn the church's western façade, it has been sheathed, from ground to roof, with unpainted planks, and these, in turn, have been covered with great squares of asbestos. By this use of fire-proof material it is hoped that, even should the church be hit by a bomb, there may be averted a fire such as did irreparable damage to the Cathedral of Rheims.
The famous bronze horses have been removed from their place over the main portal of St. Mark's, and taken, I believe, to Florence. It is not the first travelling that they have done, for from the triumphal arch of Nero they once looked down on ancient Rome. Constantine sent them to adorn the imperial hippodrome which he built in Constantinople, whence the Doge Dandolo brought them as spoils of war to Venice when the thirteenth century was still young. In 1797 Napoleon carried them to Paris, but after the downfall of the Emperor