Delphi complete works of.., p.1158
Delphi Complete Works of William Dean Howells, page 1158
“The fair, the old;”
and to tell the truth, I think it is the best society in Venice, and I learned to turn to it later from other companionship with a kind of relief.
My first rambles, moreover, had a peculiar charm which knowledge of locality has since taken away. They began commonly with some purpose or destination, and ended by losing me in the intricacies of the narrowest, crookedest, and most inconsequent little streets in the world, or left me cast-away upon the unfamiliar waters of some canal as far as possible from the point aimed at. Dark and secret little courts lay in wait for my blundering steps, and I was incessantly surprised and brought to surrender by paths that beguiled me up to dead walls, or the sudden brinks of canals. The wide and open squares before the innumerable churches of the city were equally victorious, and continually took me prisoner. But all places had something rare and worthy to be seen: if not loveliness of sculpture or architecture, at least interesting squalor and picturesque wretchedness: and I believe I had less delight in proper Objects of Interest than in the dirty neighborhoods that reeked with unwholesome winter damps below, and peered curiously out with frowzy heads and beautiful eyes from the high, heavy-shuttered casements above. Every court had its carven well to show me, in the noisy keeping of the water-carriers and the slatternly, statuesque gossips of the place. The remote and noisome canals were pathetic with empty old palaces peopled by herds of poor, that decorated the sculptured balconies with the tatters of epicene linen, and patched the lofty windows with obsolete hats.
I found the night as full of beauty as the day, when caprice led me from the brilliancy of St. Mark’s and the glittering streets of shops that branch away from the Piazza, and lost me in the quaint recesses of the courts, or the tangles of the distant alleys, where the dull little oil-lamps vied with the tapers burning before the street-corner shrines of the Virgin, [Footnote: In the early times these tapers were the sole means of street illumination in Venice.] in making the way obscure, and deepening the shadows about the doorways and under the frequent arches. I remember distinctly among the beautiful nights of that time, the soft night of late winter which first showed me the scene you may behold from the Public Gardens at the end of the long concave line of the Riva degli Schiavoni. Lounging there upon the southern parapet of the Gardens, I turned from the dim bell-towers of the evanescent islands in the east (a solitary gondola gliding across the calm of the water, and striking its moonlight silver into multitudinous ripples), and glanced athwart the vague shipping in the basin of St. Mark, and saw all the lights from the Piazzetta to the Giudecca, making a crescent of flame in the air, and casting deep into the water under them a crimson glory that sank also down and down in my own heart, and illumined all its memories of beauty and delight. Behind these lamps rose the shadowy masses of church and palace; the moon stood bright and full in the heavens; the gondola drifted away to the northward; the islands of the lagoons seemed to rise and sink with the light palpitations of the waves like pictures on the undulating fields of banners; the stark rigging of a ship showed black against the sky, the Lido sank from sight upon the east, as if the shore had composed itself to sleep by the side of its beloved sea to the music of the surge that gently beat its sands; the yet leafless boughs of the trees above me stirred themselves together, and out of one of those trembling towers in the lagoons, one rich, full sob burst from the heart of a bell, too deeply stricken with the glory of the scene, and suffused the languid night with the murmur of luxurious, ineffable sadness.
But there is a perfect democracy in the realm of the beautiful, and whatsoever pleases is equal to any other thing there, no matter how low its origin or humble its composition; and the magnificence of that moonlight scene gave me no deeper joy than I won from the fine spectacle of an old man whom I saw burning coffee one night in the little court behind my lodgings, and whom I recollect now as one of the most interesting people I saw in my first days at Venice. All day long the air of that neighbourhood had reeked with the odors of the fragrant berry, and all day long this patient old man — sage, let me call him — had turned the sheet-iron cylinder in which it was roasting over an open fire after the picturesque fashion of roasting coffee in Venice. Now that the night had fallen, and the stars shone down upon him, and the red of the flame luridly illumined him, he showed more grand and venerable than ever. Simple, abstract humanity, has its own grandeur in Italy; and it is not hard here for the artist to find the primitive types with which genius loves best to deal. As for this old man, he had the beard of a saint, and the dignity of a senator, harmonized with the squalor of a beggar, superior to which shone his abstract, unconscious grandeur of humanity. A vast and calm melancholy, which had nothing to do with burning coffee, dwelt in his aspect and attitude; and if he had been some dread supernatural agency, turning the wheel of fortune, and doing men, instead of coffee, brown, he could not have looked more sadly and weirdly impressive. When, presently, he rose from his seat, and lifted the cylinder from its place, and the clinging flames leaped after it, and he shook it, and a volume of luminous smoke enveloped him and glorified him — then I felt with secret anguish that he was beyond art, and turned sadly from the spectacle of that sublime and hopeless magnificence.
At other times (but this was in broad daylight) I was troubled by the aesthetic perfection of a certain ruffian boy, who sold cakes of baked Indian-meal to the soldiers in the military station near the Piazza, and whom I often noted from the windows of the little caff� there, where you get an excellent caff� bianco (coffee with milk) for ten soldi and one to the waiter. I have reason to fear that this boy dealt over shrewdly with the Austrians, for a pitiless war raged between him and one of the sergeants. His hair was dark, his cheek was of a bronze better than olive; and he wore a brave cap of red flannel, drawn down to eyes of lustrous black. For the rest, he gave unity and coherence to a jacket and pantaloons of heterogeneous elements, and, such was the elasticity of his spirit, a buoyant grace to feet encased in wooden shoes. Habitually came a barrel-organist, and ground before the barracks, and
“Took the soul
Of that waste place with joy;”
and ever, when this organist came to a certain lively waltz, and threw his whole soul, as it were, into the crank of his instrument, my beloved ragamuffin failed not to seize another cake-boy in his arms, and thus embraced, to whirl through a wild inspiration of figures, in which there was something grotesquely rhythmic, something of indescribable barbaric magnificence, spiritualized into a grace of movement superior to the energy of the North and the extravagant fervor of the East. It was coffee and not wine that I drank, but I fable all the same that I saw reflected in this superb and artistic superation of the difficulties of dancing in that unfriendly foot-gear, something of the same genius that combated and vanquished the elements, to build its home upon sea-washed sands in marble structures of airy and stately splendor, and gave to architecture new glories full of eternal surprise.
So, I say, I grew early into sympathy and friendship with Venice, and being newly from a land where every thing, morally and materially, was in good repair, I rioted sentimentally on the picturesque ruin, the pleasant discomfort and hopelessness of every thing about me here. It was not yet the season to behold all the delight of the lazy, out-door life of the place; but nevertheless I could not help seeing that great part of the people, both rich and poor, seemed to have nothing to do, and that nobody seemed to be driven by any inward or outward impulse. When, however, I ceased (as I must in time) to be merely a spectator of this idleness, and learned that I too must assume my share of the common indolence, I found it a grievous burden. Old habits of work, old habits of hope, made my endless leisure irksome to me, and almost intolerable when I ascertained fairly and finally that in my desire to fulfill long-cherished, but, after all, merely general designs of literary study, I had forsaken wholesome struggle in the currents where I felt the motion of the age, only to drift into a lifeless eddy of the world, remote from incentive and sensation.
For such is Venice, and the will must be strong and the faith indomitable in him who can long retain, amid the influences of her stagnant quiet, a practical belief in God’s purpose of a great moving, anxious, toiling, aspiring world outside. When you have yielded, as after a while I yielded, to these influences, a gentle incredulity possesses you, and if you consent that such a thing is as earnest and useful life, you cannot help wondering why it need be. The charm of the place sweetens your temper, but corrupts you; and I found it a sad condition of my perception of the beauty of Venice and friendship with it, that I came in some unconscious way to regard her fate as my own; and when I began to write the sketches which go to form this book, it was as hard to speak of any ugliness in her, or of the doom written against her in the hieroglyphic seams and fissures of her crumbling masonry, as if the fault and penalty were mine. I do not so greatly blame, therefore, the writers who have committed so many sins of omission concerning her, and made her all light, color, canals, and palaces. One’s conscience, more or less uncomfortably vigilant elsewhere, drowses here, and it is difficult to remember that fact is more virtuous than fiction. In other years, when there was life in the city, and this sad ebb of prosperity was full tide in her canals, there might have been some incentive to keep one’s thoughts and words from lapsing into habits of luxurious dishonesty, some reason for telling the whole hard truth of things, some policy to serve, some end to gain. But now, what matter?
CHAPTER III.
THE WINTER IN VENICE
It was winter, as I said, when I first came to Venice, and my experiences of the city were not all purely aesthetic. There was, indeed, an every-day roughness and discomfort in the weather, which travelers passing their first winter in Italy find it hard to reconcile with the habitual ideas of the season’s clemency in the South. But winter is apt to be very severe in mild climates. People do not acknowledge it, making a wretched pretense that it is summer only a little out of humor.
The Germans have introduced stoves at Venice, but they are not in much favor with the Italians, who think their heat unwholesome, and endure a degree of cold, in their wish to dispense with fire, which we of the winter-lands know nothing of in our houses. They pay for their absurd prejudice with terrible chilblains; and their hands, which suffer equally with their feet, are, in the case of those most exposed to the cold, objects pitiable and revolting to behold when the itching and the effort to allay it has turned them into bloated masses of sores. It is not a pleasant thing to speak of; and the constant sight of the affliction among people who bring you bread, cut you cheese, and weigh you out sugar, by no means reconciles the Northern stomach to its prevalence. I have observed that priests, and those who have much to do in the frigid churches, are the worst sufferers in this way; and I think no one can help noting in the harsh, raw winter-complexion (for in summer the tone is quite different) of the women of all classes, the protest of systems cruelly starved of the warmth which health demands.
The houses are, naturally enough in this climate, where there are eight months of summer in the year, all built with a view to coolness in summer, and the rooms which are not upon the ground-floor are very large, lofty, and cold. In the palaces, indeed, there are two suites of apartments — the smaller and cozier suite upon the first floor for the winter, and the grander and airier chambers and saloons above, for defence against the insidious heats of the sirocco. But, for the most part, people must occupy the same room summer and winter, the sole change being in the strip of carpet laid meagrely before the sofa during the latter season. In the comparatively few houses where carpets are the rule and not the exception, they are always removed during the summer — for the triple purpose of sparing them some months’ wear, banishing fleas and other domestic insects, and showing off the beauty of the oiled and shining pavement, which in the meanest houses is tasteful, and in many of the better sort is often in-wrought with figures and designs of mosaic work.
All the floors in Venice are of stone, and whether of marble flags, or of that species of composition formed of dark cement, with fragments of colored marble imbedded and smoothed and polished to the most glassy and even surface, and the general effect and complexion of petrified plum-pudding, all the floors are death-cold in winter. People sit with their feet upon cushions, and their bodies muffled in furs and wadded gowns. When one goes out into the sun, one often finds an overcoat too heavy, but it never gives warmth enough in the house, where the Venetian sometimes wears it. Indeed, the sun is recognized by Venetians as the only legitimate source of heat, and they sell his favor at fabulous prices to such foreigners as take the lodgings into which he shines.
It is those who remain in-doors, therefore, who are exposed to the utmost rigor of the winter, and people spend as much of their time as possible in the open air. The Riva degli Schiavoni catches the warm afternoon sun in its whole extent, and is then thronged with promenaders of every class, condition, age, and sex; and whenever the sun shines in the Piazza, shivering fashion eagerly courts its favor. At night men crowd the close little caff�, where they reciprocate smoke, respiration, and animal heat, and thus temper the inclemency of the weather, and beguile the time with solemn loafing, [Footnote: I permit myself, throughout this book, the use of the expressive American words loaf and loafer, as the only terms adequate to the description of professional idling in Venice] and the perusal of dingy little journals, drinking small cups of black coffee, and playing long games of chess, — an evening that seemed to me as torpid and lifeless as a Lap’s, and intolerable when I remembered the bright, social winter evenings of another and happier land and civilization.
Sometimes you find a heated stove — that is to say, one in which there has been a fire during the day — in a Venetian house; but the stove seems usually to be placed in the room for ornament, or else to be engaged only in diffusing a very acrid smoke, — as if the Venetian preferred to take warmth, as other people do snuff, by inhalation. The stove itself is a curious structure, and built commonly of bricks and plastering, — whitewashed and painted outside. It is a great consumer of fuel, and radiates but little heat. By dint of constant wooding I contrived to warm mine; but my Italian friends always avoided its vicinity when they came to see me, and most amusingly regarded my determination to be comfortable as part of the eccentricity inseparable from the Anglo-Saxon character.
I daresay they would not trifle with winter, thus, if they knew him in his northern moods. But the only voluntary concession they make to his severity is the scaldino, and this is made chiefly by the yielding sex, who are denied the warmth of the caff�. The use of the scaldino is known to all ranks, but it is the women of the poorer orders who are most addicted to it. The scaldino is a small pot of glazed earthen-ware, having an earthen bale: and with this handle passed over the arm, and the pot full of bristling charcoal, the Veneziana’s defense against cold is complete. She carries her scaldino with her in the house from room to room, and takes it with her into the street; and it has often been my fortune in the churches to divide my admiration between the painting over the altar and the poor old crone kneeling before it, who, while she sniffed and whispered a gelid prayer, and warmed her heart with religion, baked her dirty palms in the carbonic fumes of the scaldino. In one of the public bathhouses in Venice there are four prints upon the walls, intended to convey to the minds of the bathers a poetical idea of the four seasons. There is nothing remarkable in the symbolization of Spring, Summer, and Autumn; but Winter is nationally represented by a fine lady dressed in furred robes, with her feet upon a cushioned foot-stool, and a scaldino in her lap! When we talk of being invaded in the north, we poetize the idea of defense by the figure of defending our hearthstones. Alas! could we fight for our sacred scaldini?
Happy are the men who bake chestnuts, and sell hot pumpkins and pears, for they can unite pleasure and profit. There are some degrees of poverty below the standard of the scaldino, and the beggars and the wretcheder poor keep themselves warm, I think, by sultry recollections of summer, as Don Quixote proposed to subsist upon savory remembrances, during one of his periods of fast. One mendicant whom I know, and who always sits upon the steps of a certain bridge, succeeds, I believe, as the season advances, in heating the marble beneath him by firm and unswerving adhesion, and establishes a reciprocity of warmth with it. I have no reason to suppose that he ever deserts his seat for a moment during the whole winter; and indeed, it would be a vicious waste of comfort to do so.
In the winter, the whole city sniffs, and if the Pipchin theory of the effect of sniffing upon the eternal interests of the soul be true, few people go to heaven from Venice. I sometimes wildly wondered if Desdemona, in her time, sniffed, and found little comfort in the reflection that Shylock must have had a cold in his head. There is comparative warmth in the broad squares before the churches, but the narrow streets are bitter thorough-draughts, and fell influenza lies in wait for its prey in all those picturesque, seducing little courts of which I have spoken.
It is, however, in the churches, whose cool twilight and airy height one finds so grateful in summer, that the sharpest malice of the winter is felt; and having visited a score of them soon after my arrival, I deferred the remaining seventy-five or eighty, together with the gallery of the Academy, until advancing spring should, in some degree, have mitigated the severity of their temperature. As far as my imagination affected me, I thought the Gothic churches much more tolerable than the temples of Renaissance art. The empty bareness of these, with their huge marbles, and their soulless splendors of theatrical sculpture, their frescoed roofs and broken arches, was insufferable. The arid grace of Palladio’s architecture was especially grievous to the sense in cold weather; and I warn the traveler who goes to see the lovely Madonnas of Bellini to beware how he trusts himself in winter to the gusty, arctic magnificence of the church of the Redentore. But by all means the coldest church in the city is that of the Jesuits, which those who have seen it will remember for its famous marble drapery. This base, mechanical surprise (for it is a trick and not art) is effected by inlaying the white marble of columns and pulpits and altars with a certain pattern of verd-antique. The workmanship is marvelously skillful, and the material costly, but it only gives the church the effect of being draped in damask linen; and even where the marble is carven in vast and heavy folds over a pulpit to simulate a curtain, or wrought in figures on the steps of the high-altar to represent a carpet, it has no richness of effect, but a poverty, a coldness, a harshness indescribably table-clothy. I think all this has tended to chill the soul of the sacristan, who is the feeblest and thinnest sacristan conceivable, with a frost of white hair on his temples quite incapable of thawing. In this dreary sanctuary is one of Titian’s great paintings, The Martyrdom of St. Lawrence, to which (though it is so cunningly disposed as to light that no one ever yet saw the whole picture at once) you turn involuntarily, envious of the Saint toasting so comfortably on his gridiron amid all that frigidity.
