Italian Hours. Henry Foss James
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above the high altar of San Giovanni Crisostomo. Sebastian was a Venetian by birth, but few of his productions are to be seen in his native place; few indeed are to be seen anywhere. The picture represents the patron-saint of the church, accompanied by other saints and by the worldly votaries I have mentioned. These ladies stand together on the left, holding in their hands little white caskets; two of them are in profile, but the foremost turns her face to the spectator. This face and figure are almost unique among the beautiful things of Venice, and they leave the susceptible observer with the impression of having made, or rather having missed, a strange, a dangerous, but a most valuable, acquaintance. The lady, who is superbly handsome, is the typical Venetian of the sixteenth century, and she remains for the mind the perfect flower of that society. Never was there a greater air of breeding, a deeper expression of tranquil superiority. She walks a goddess—as if she trod without sinking the waves of the Adriatic. It is impossible to conceive a more perfect expression of the aristocratic spirit either in its pride or in its benignity. This magnificent creature is so strong and secure that she is gentle, and so quiet that in comparison all minor assumptions of calmness suggest only a vulgar alarm. But for all this there are depths of possible disorder in her light-coloured eye.
I had meant however to say nothing about her, for it’s not right to speak of Sebastian when one hasn’t found room for Carpaccio. These visions come to one, and one can neither hold them nor brush them aside. Memories of Carpaccio, the magnificent, the delightful—it’s not for want of such visitations, but only for want of space, that I haven’t said of him what I would. There is little enough need of it for Carpaccio’s sake, his fame being brighter to-day—thanks to the generous lamp Mr. Ruskin has held up to it—than it has ever been. Yet there is something ridiculous in talking of Venice without making him almost the refrain. He and the Tintoret are the two great realists, and it is hard to say which is the more human, the more various. The Tintoret had the mightier temperament, but Carpaccio, who had the advantage of more newness and more responsibility, sailed nearer to perfection. Here and there he quite touches it, as in the enchanting picture, at the Academy, of St. Ursula asleep in her little white bed, in her high clean room, where the angel visits her at dawn; or in the noble St. Jerome in his study at S. Giorgio Schiavoni. This latter work is a pearl of sentiment, and I may add without being fantastic a ruby of colour. It unites the most masterly finish with a kind of universal largeness of feeling, and he who has it well in his memory will never hear the name of Carpaccio without a throb of almost personal affection. Such indeed is the feeling that descends upon you in that wonderful little chapel of St. George of the Slaves, where this most personal and sociable of artists has expressed all the sweetness of his imagination. The place is small and incommodious, the pictures are out of sight and ill-lighted, the custodian is rapacious, the visitors are mutually intolerable, but the shabby little chapel is a palace of art. Mr. Ruskin has written a pamphlet about it which is a real aid to enjoyment, though I can’t but think the generous artist, with his keen senses and his just feeling, would have suffered to hear his eulogist declare that one of his other productions—in the Museo Civico of Palazzo Correr, a delightful portrait of two Venetian ladies with pet animals—is the “finest picture in the world.” It has no need of that to be thought admirable; and what more can a painter desire?
VIII
May in Venice is better than April, but June is best of all. Then the days are hot, but not too hot, and the nights are more beautiful than the days. Then Venice is rosier than ever in the morning and more golden than ever as the day descends. She seems to expand and evaporate, to multiply all her reflections and iridescences. Then the life of her people and the strangeness of her constitution become a perpetual comedy, or at least a perpetual drama. Then the gondola is your sole habitation, and you spend days between sea and sky. You go to the Lido, though the Lido has been spoiled. When I first saw it, in 1869, it was a very natural place, and there was but a rough lane across the little island from the landing-place to the beach. There was a bathing-place in those days, and a restaurant, which was very bad, but where in the warm evenings your dinner didn’t much matter as you sat letting it cool on the wooden terrace that stretched out into the sea. To-day the Lido is a part of united Italy and has been made the victim of villainous improvements. A little cockney village has sprung up on its rural bosom and a third-rate boulevard leads from Santa Elisabetta to the Adriatic. There are bitumen walks and gas-lamps, lodging-houses, shops and a teatro diurno. The bathing-establishment is bigger than before, and the restaurant as well; but it is a compensation perhaps that the cuisine is no better. Such as it is, however, you won’t scorn occasionally to partake of it on the breezy platform under which bathers dart and splash, and which looks out to where the fishing-boats, with sails of orange and crimson, wander along the darkening horizon. The beach at the Lido is still lonely and beautiful, and you can easily walk away from the cockney village. The return to Venice in the sunset is classical and indispensable, and those who at that glowing hour have floated toward the towers that rise out of the lagoon will not easily part with the impression. But you indulge in larger excursions—you go to Burano and Torcello, to Malamocco and Chioggia. Torcello, like the Lido, has been improved; the deeply interesting little cathedral of the eighth century, which stood there on the edge of the sea, as touching in its ruin, with its grassy threshold and its primitive mosaics, as the bleached bones of a human skeleton washed ashore by the tide, has now been restored and made cheerful, and the charm of the place, its strange and suggestive desolation, has well-nigh departed.
It will still serve you as a pretext, however, for a day on the lagoon, especially as you will disembark at Burano and admire the wonderful fisher-folk, whose good looks—and bad manners, I am sorry to say—can scarcely be exaggerated. Burano is celebrated for the beauty of its women and the rapacity of its children, and it is a fact that though some of the ladies are rather bold about it every one of them shows you a handsome face. The children assail you for coppers, and in their desire to be satisfied pursue your gondola into the sea. Chioggia is a larger Burano, and you carry away from either place a half-sad, half-cynical, but altogether pictorial impression; the impression of bright-coloured hovels, of bathing in stagnant canals, of young girls with faces of a delicate shape and a susceptible expression, with splendid heads of hair and complexions smeared with powder, faded yellow shawls that hang like old Greek draperies, and little wooden shoes that click as they go up and down the steps of the convex bridges; of brown-cheeked matrons with lustrous tresses and high tempers, massive throats encased with gold beads, and eyes that meet your own with a certain traditional defiance. The men throughout the islands of Venice are almost as handsome as the women; I have never seen so many good-looking rascals. At Burano and Chioggia they sit mending their nets, or lounge at the street corners, where conversation is always high-pitched, or clamour to you to take a boat; and everywhere they decorate the scene with their splendid colour—cheeks and throats as richly brown as the sails of their fishing-smacks—their sea-faded tatters which are always a “costume,” their soft Venetian jargon, and the gallantry with which they wear their hats, an article that nowhere sits so well as on a mass of dense Venetian curls. If you are happy you will find yourself, after a June day in Venice (about ten o’clock), on a balcony that overhangs the Grand Canal, with your elbows on the broad ledge, a cigarette in your teeth and a little good company beside you. The gondolas pass beneath, the watery surface gleams here and there from their lamps, some of which are coloured lanterns that move mysteriously in the darkness. There are some evenings in June when there are too many gondolas, too many lanterns, too many serenades in front of the hotels. The serenading in particular is overdone; but on such a balcony as I speak of you needn’t suffer from it, for in the apartment behind you—an accessible refuge—there is more good company, there are more cigarettes. If you are wise you will step back there presently.
1882.
THE GRAND CANAL