The Innocents Abroad Read online

  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 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.

  "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—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 whispe
rs 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.

  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.

  CHAPTER XXIII.

  The Famous Gondola—The
Gondola in an Unromantic Aspect—The Great Square of St. Mark and the Winged Lion—Snobs, at Home and Abroad—Sepulchres of the Great Dead—A Tilt at the "Old Masters"—A Contraband Guide—The Conspiracy—Moving Again

  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.

  Against that peg the gondolier takes a purchase with his oar, changing it at intervals to the other side of the peg or dropping it into another of the crooks, as the steering of the craft may demand—and how in the world he can back and fill, shoot straight ahead, or flirt suddenly around a corner, and make the oar stay in those insignificant notches, is a problem to me and a never diminishing matter of interest. I am afraid I study the gondolier's marvelous skill more than I do the sculptured palaces we glide among. He cuts a corner so closely, now and then, or misses another gondola by such an imperceptible hair-breadth that I feel myself "scrooching," as the children say, just as one does when a buggy wheel grazes his elbow. But he makes all his calculations with the nicest precision, and goes darting in and out among a Broadway confusion of busy craft with the easy confidence of the educated hackman. He never makes a mistake.