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The Stones of Venice, Volume II (of 3)
by John Ruskin
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Volume III contains the index for all three volumes. The index in the html version of Volume III has links to the the other two volumes.

Transcriber's note:

A few typographical errors have been corrected. They are listed at the end of the text.

Characters following a caret were printed as superscript in the original. For example, St^a; here the "a" is a superscript.



Library Edition

The Complete Works of John Ruskin

STONES OF VENICE

VOLUMES I-II



National Library Association New York Chicago



The Complete Works of John Ruskin

Volume VIII

STONES OF VENICE

VOLUME II



THE STONES OF VENICE

VOLUME II.

The Sea Stories



ADVERTISEMENT.

It was originally intended that this Work should consist of two volumes only; the subject has extended to three. The second volume, however, will conclude the account of the ancient architecture of Venice. The third will embrace the Early, the Roman, and the Grotesque Renaissance; and an Index, which, as it gives, in alphabetical order, a brief account of all the buildings in Venice, or references to the places where they are mentioned in the text, will be found a convenient guide for the traveller. In order to make it more serviceable, I have introduced some notices of the pictures which I think most interesting in the various churches, and in the Scuola di San Rocco.



CONTENTS.

FIRST, OR BYZANTINE, PERIOD.

CHAPTER I. PAGE The Throne, 1

CHAPTER II. Torcello, 11

CHAPTER III. Murano, 27

CHAPTER IV. St. Mark's, 57

CHAPTER V. Byzantine Palaces, 118

SECOND, OR GOTHIC, PERIOD.

CHAPTER VI. The Nature of Gothic, 151

CHAPTER VII. Gothic Palaces, 231

CHAPTER VIII. The Ducal Palace, 281

APPENDIX.

1. The Gondolier's Cry, 375 2. Our Lady of Salvation, 378 3. Tides of Venice and Measures at Torcello, 378 4. Date of the Duomo of Torcello, 380 5. Modern Pulpits, 380 6. Apse of Murano, 382 7. Early Venetian Dress, 383 8. Inscriptions at Murano, 384 9. Shafts of St. Mark's, 384 10. Proper Sense of the Word Idolatry, 388 11. Situations of Byzantine Palaces, 391 12. Modern Paintings on Glass, 394



LIST OF PLATES.

Facing Page Plate 1. Plans of Torcello and Murano, 14

" 2. The Acanthus of Torcello, 15

" 3. Inlaid Bands of Murano, 40

" 4. Sculptures of Murano, 42

" 5. Archivolt in the Duomo of Murano, 45

" 6. The Vine, Free and in Service, 96

" 7. Byzantine Capitals—Convex Group, 131

" 8. Byzantine Capitals—Concave Group, 132

" 9. Lily Capital of St. Mark's, 136

" 10. The Four Venetian Flower Order, 137

" 11. Byzantine Sculptures, 138

" 12. Linear and Surface Gothic, 224

" 13. Balconies, 247

" 14. The Orders of Venetian Arches, 248

" 15. Windows of the Second Order, 254

" 16. Windows of the Fourth Order, 257

" 17. Windows of the Early Gothic Palaces, 259

" 18. Windows of the Fifth Order, 266

" 19. Leafage of the Vine Angle, 308

" 20. Leafage of the Venetian Capitals, 368



THE

STONES OF VENICE.

FIRST, OR BYZANTINE, PERIOD.



CHAPTER I.

THE THRONE.

Sec. I. In the olden days of travelling, now to return no more, in which distance could not be vanquished without toil, but in which that toil was rewarded, partly by the power of deliberate survey of the countries through which the journey lay, and partly by the happiness of the evening hours, when, from the top of the last hill he had surmounted, the traveller beheld the quiet village where he was to rest, scattered among the meadows beside its valley stream; or, from the long-hoped-for turn in the dusty perspective of the causeway, saw, for the first time, the towers of some famed city, faint in the rays of sunset—hours of peaceful and thoughtful pleasure, for which the rush of the arrival in the railway station is perhaps not always, or to all men, an equivalent,—in those days, I say, when there was something more to be anticipated and remembered in the first aspect of each successive halting-place, than a new arrangement of glass roofing and iron girder, there were few moments of which the recollection was more fondly cherished by the traveller than that which, as I endeavored to describe in the close of the last chapter, brought him within sight of Venice, as his gondola shot into the open lagoon from the canal of Mestre. Not but that the aspect of the city itself was generally the source of some slight disappointment, for, seen in this direction, its buildings are far less characteristic than those of the other great towns of Italy; but this inferiority was partly disguised by distance, and more than atoned for by the strange rising of its walls and towers out of the midst, as it seemed, of the deep sea, for it was impossible that the mind or the eye could at once comprehend the shallowness of the vast sheet of water which stretched away in leagues of rippling lustre to the north and south, or trace the narrow line of islets bounding it to the east. The salt breeze, the white moaning sea-birds, the masses of black weed separating and disappearing gradually, in knots of heaving shoal, under the advance of the steady tide, all proclaimed it to be indeed the ocean on whose bosom the great city rested so calmly; not such blue, soft, lake-like ocean as bathes the Neapolitan promontories, or sleeps beneath the marble rocks of Genoa, but a sea with the bleak power of our own northern waves, yet subdued into a strange spacious rest, and changed from its angry pallor into a field of burnished gold, as the sun declined behind the belfry tower of the lonely island church, fitly named "St. George of the Seaweed." As the boat drew nearer to the city, the coast which the traveller had just left sank behind him into one long, low, sad-colored line, tufted irregularly with brushwood and willows: but, at what seemed its northern extremity, the hills of Arqua rose in a dark cluster of purple pyramids, balanced on the bright mirage of the lagoon; two or three smooth surges of inferior hill extended themselves about their roots, and beyond these, beginning with the craggy peaks above Vicenza, the chain of the Alps girded the whole horizon to the north—a wall of jagged blue, here and there showing through its clefts a wilderness of misty precipices, fading far back into the recesses of Cadore, and itself rising and breaking away eastward, where the sun struck opposite upon its snow, into mighty fragments of peaked light, standing up behind the barred clouds of evening, one after another, countless, the crown of the Adrian Sea, until the eye turned back from pursuing them, to rest upon the nearer burning of the campaniles of Murano, and on the great city, where it magnified itself along the waves, as the quick silent pacing of the gondola drew nearer and nearer. And at last, when its walls were reached, and the outmost of its untrodden streets was entered, not through towered gate or guarded rampart, but as a deep inlet between two rocks of coral in the Indian sea; when first upon the traveller's sight opened the long ranges of columned palaces,—each with its black boat moored at the portal,—each with its image cast down, beneath its feet, upon that green pavement which every breeze broke into new fantasies of rich tessellation; when first, at the extremity of the bright vista, the shadowy Rialto threw its colossal curve slowly forth from behind the palace of the Camerlenghi; that strange curve, so delicate, so adamantine, strong as a mountain cavern, graceful as a bow just bent; when first, before its moonlike circumference was all risen, the gondolier's cry, "Ah! Stali,"[1] struck sharp upon the ear, and the prow turned aside under the mighty cornices that half met over the narrow canal, where the plash of the water followed close and loud, ringing along the marble by the boat's side; and when at last that boat darted forth upon the breadth of silver sea, across which the front of the Ducal palace, flushed with its sanguine veins, looks to the snowy dome of Our Lady of Salvation,[2] it was no marvel that the mind should be so deeply entranced by the visionary charm of a scene so beautiful and so strange, as to forget the darker truths of its history and its being. Well might it seem that such a city had owed her existence rather to the rod of the enchanter, than the fear of the fugitive; that the waters which encircled her had been chosen for the mirror of her state, rather than the shelter of her nakedness; and that all which in nature was wild or merciless,—Time and Decay, as well as the waves and tempests,—had been won to adorn her instead of to destroy, and might still spare, for ages to come, that beauty which seemed to have fixed for its throne the sands of the hour-glass as well as of the sea.

Sec. II. And although the last few eventful years, fraught with change to the face of the whole earth, have been more fatal in their influence on Venice than the five hundred that preceded them; though the noble landscape of approach to her can now be seen no more, or seen only by a glance, as the engine slackens its rushing on the iron line; and though many of her palaces are for ever defaced, and many in desecrated ruins, there is still so much of magic in her aspect, that the hurried traveller, who must leave her before the wonder of that first aspect has been worn away, may still be led to forget the humility of her origin, and to shut his eyes to the depth of her desolation. They, at least, are little to be envied, in whose hearts the great charities of the imagination lie dead, and for whom the fancy has no power to repress the importunity of painful impressions, or to raise what is ignoble, and disguise what is discordant, in a scene so rich in its remembrances, so surpassing in its beauty. But for this work of the imagination there must be no permission during the task which is before us. The impotent feelings of romance, so singularly characteristic of this century, may indeed gild, but never save the remains of those mightier ages to which they are attached like climbing flowers; and they must be torn away from the magnificent fragments, if we would see them as they stood in their own strength. Those feelings, always as fruitless as they are fond, are in Venice not only incapable of protecting, but even of discerning, the objects to which they ought to have been attached. The Venice of modern fiction and drama is a thing of yesterday, a mere efflorescence of decay, a stage dream which the first ray of daylight must dissipate into dust. No prisoner, whose name is worth remembering, or whose sorrow deserved sympathy, ever crossed that "Bridge of Sighs," which is the centre of the Byronic ideal of Venice; no great merchant of Venice ever saw that Rialto under which the traveller now passes with breathless interest: the statue which Byron makes Faliero address as of one of his great ancestors was erected to a soldier of fortune a hundred and fifty years after Faliero's death; and the most conspicuous parts of the city have been so entirely altered in the course of the last three centuries, that if Henry Dandolo or Francis Foscari could be summoned from their tombs, and stood each on the deck of his galley at the entrance of the Grand Canal, that renowned entrance, the painter's favorite subject, the novelist's favorite scene, where the water first narrows by the steps of the Church of La Salute,—the mighty Doges would not know in what spot of the world they stood, would literally not recognize one stone of the great city, for whose sake, and by whose ingratitude, their grey hairs had been brought down with bitterness to the grave. The remains of their Venice lie hidden behind the cumbrous masses which were the delight of the nation in its dotage; hidden in many a grass-grown court, and silent pathway, and lightless canal, where the slow waves have sapped their foundations for five hundred years, and must soon prevail over them for ever. It must be our task to glean and gather them forth, and restore out of them some faint image of the lost city, more gorgeous a thousand-fold than that which now exists, yet not created in the day-dream of the prince, nor by the ostentation of the noble, but built by iron hands and patient hearts, contending against the adversity of nature and the fury of man, so that its wonderfulness cannot be grasped by the indolence of imagination, but only after frank inquiry into the true nature of that wild and solitary scene, whose restless tides and trembling sands did indeed shelter the birth of the city, but long denied her dominion.

Sec. III. When the eye falls casually on a map of Europe, there is no feature by which it is more likely to be arrested than the strange sweeping loop formed by the junction of the Alps and Apennines, and enclosing the great basin of Lombardy. This return of the mountain chain upon itself causes a vast difference in the character of the distribution of its debris on its opposite sides. The rock fragments and sediment which the torrents on the north side of the Alps bear into the plains are distributed over a vast extent of country, and, though here and there lodged in beds of enormous thickness, soon permit the firm substrata to appear from underneath them; but all the torrents which descend from the southern side of the High Alps, and from the northern slope of the Apennines, meet concentrically in the recess or mountain bay which the two ridges enclose; every fragment which thunder breaks out of their battlements, and every grain of dust which the summer rain washes from their pastures, is at last laid at rest in the blue sweep of the Lombardic plain; and that plain must have risen within its rocky barriers as a cup fills with wine, but for two contrary influences which continually depress, or disperse from its surface, the accumulation of the ruins of ages.

Sec. IV. I will not tax the reader's faith in modern science by insisting on the singular depression of the surface of Lombardy, which appears for many centuries to have taken place steadily and continually; the main fact with which we have to do is the gradual transport, by the Po and its great collateral rivers, of vast masses of the finer sediment to the sea. The character of the Lombardic plains is most strikingly expressed by the ancient walls of its cities, composed for the most part of large rounded Alpine pebbles alternating with narrow courses of brick; and was curiously illustrated in 1848, by the ramparts of these same pebbles thrown up four or five feet high round every field, to check the Austrian cavalry in the battle under the walls of Verona. The finer dust among which these pebbles are dispersed is taken up by the rivers, fed into continual strength by the Alpine snow, so that, however pure their waters may be when they issue from the lakes at the foot of the great chain, they become of the color and opacity of clay before they reach the Adriatic; the sediment which they bear is at once thrown down as they enter the sea, forming a vast belt of low land along the eastern coast of Italy. The powerful stream of the Po of course builds forward the fastest; on each side of it, north and south, there is a tract of marsh, fed by more feeble streams, and less liable to rapid change than the delta of the central river. In one of these tracts is built RAVENNA, and in the other VENICE.

Sec. V. What circumstances directed the peculiar arrangement of this great belt of sediment in the earliest times, it is not here the place to inquire. It is enough for us to know that from the mouths of the Adige to those of the Piave there stretches, at a variable distance of from three to five miles from the actual shore, a bank of sand, divided into long islands by narrow channels of sea. The space between this bank and the true shore consists of the sedimentary deposits from these and other rivers, a great plain of calcareous mud, covered, in the neighborhood of Venice, by the sea at high water, to the depth in most places of a foot or a foot and a half, and nearly everywhere exposed at low tide, but divided by an intricate network of narrow and winding channels, from which the sea never retires. In some places, according to the run of the currents, the land has risen into marshy islets, consolidated, some by art, and some by time, into ground firm enough to be built upon, or fruitful enough to be cultivated: in others, on the contrary, it has not reached the sea-level; so that, at the average low water, shallow lakelets glitter among its irregularly exposed fields of seaweed. In the midst of the largest of these, increased in importance by the confluence of several large river channels towards one of the openings in the sea bank, the city of Venice itself is built, on a crowded cluster of islands; the various plots of higher ground which appear to the north and south of this central cluster, have at different periods been also thickly inhabited, and now bear, according to their size, the remains of cities, villages, or isolated convents and churches, scattered among spaces of open ground, partly waste and encumbered by ruins, partly under cultivation for the supply of the metropolis.

Sec. VI. The average rise and fall of the tide is about three feet (varying considerably with the seasons[3]); but this fall, on so flat a shore, is enough to cause continual movement in the waters, and in the main canals to produce a reflux which frequently runs like a mill stream. At high water no land is visible for many miles to the north or south of Venice, except in the form of small islands crowned with towers or gleaming with villages: there is a channel, some three miles wide, between the city and the mainland, and some mile and a half wide between it and the sandy breakwater called the Lido, which divides the lagoon from the Adriatic, but which is so low as hardly to disturb the impression of the city's having been built in the midst of the ocean, although the secret of its true position is partly, yet not painfully, betrayed by the clusters of piles set to mark the deep-water channels, which undulate far away in spotty chains like the studded backs of huge sea-snakes, and by the quick glittering of the crisped and crowded waves that flicker and dance before the strong winds upon the unlifted level of the shallow sea. But the scene is widely different at low tide. A fall of eighteen or twenty inches is enough to show ground over the greater part of the lagoon; and at the complete ebb the city is seen standing in the midst of a dark plain of seaweed, of gloomy green, except only where the larger branches of the Brenta and its associated streams converge towards the port of the Lido. Through this salt and sombre plain the gondola and the fishing-boat advance by tortuous channels, seldom more than four or five feet deep, and often so choked with slime that the heavier keels furrow the bottom till their crossing tracks are seen through the clear sea water like the ruts upon a wintry road, and the oar leaves blue gashes upon the ground at every stroke, or is entangled among the thick weed that fringes the banks with the weight of its sullen waves, leaning to and fro upon the uncertain sway of the exhausted tide. The scene is often profoundly oppressive, even at this day, when every plot of higher ground bears some fragment of fair building: but, in order to know what it was once, let the traveller follow in his boat at evening the windings of some unfrequented channel far into the midst of the melancholy plain; let him remove, in his imagination, the brightness of the great city that still extends itself in the distance, and the walls and towers from the islands that are near; and so wait, until the bright investiture and sweet warmth of the sunset are withdrawn from the waters, and the black desert of their shore lies in its nakedness beneath the night, pathless, comfortless, infirm, lost in dark languor and fearful silence, except where the salt runlets plash into the tideless pools, or the sea-birds flit from their margins with a questioning cry; and he will be enabled to enter in some sort into the horror of heart with which this solitude was anciently chosen by man for his habitation. They little thought, who first drove the stakes into the sand, and strewed the ocean reeds for their rest, that their children were to be the princes of that ocean, and their palaces its pride; and yet, in the great natural laws that rule that sorrowful wilderness, let it be remembered what strange preparation had been made for the things which no human imagination could have foretold, and how the whole existence and fortune of the Venetian nation were anticipated or compelled, by the setting of those bars and doors to the rivers and the sea. Had deeper currents divided their islands, hostile navies would again and again have reduced the rising city into servitude; had stronger surges beaten their shores, all the richness and refinement of the Venetian architecture must have been exchanged for the walls and bulwarks of an ordinary sea-port. Had there been no tide, as in other parts of the Mediterranean, the narrow canals of the city would have become noisome, and the marsh in which it was built pestiferous. Had the tide been only a foot or eighteen inches higher in its rise, the water-access to the doors of the palaces would have been impossible: even as it is, there is sometimes a little difficulty, at the ebb, in landing without setting foot upon the lower and slippery steps: and the highest tides sometimes enter the courtyards, and overflow the entrance halls. Eighteen inches more of difference between the level of the flood and ebb would have rendered the doorsteps of every palace, at low water, a treacherous mass of weeds and limpets, and the entire system of water-carriage for the higher classes, in their easy and daily intercourse, must have been done away with. The streets of the city would have been widened, its network of canals filled up, and all the peculiar character of the place and the people destroyed.

Sec. VII. The reader may perhaps have felt some pain in the contrast between this faithful view of the site of the Venetian Throne, and the romantic conception of it which we ordinarily form; but this pain, if he have felt it, ought to be more than counterbalanced by the value of the instance thus afforded to us at once of the inscrutableness and the wisdom of the ways of God. If, two thousand years ago, we had been permitted to watch the slow settling of the slime of those turbid rivers into the polluted sea, and the gaining upon its deep and fresh waters of the lifeless, impassable, unvoyageable plain, how little could we have understood the purpose with which those islands were shaped out of the void, and the torpid waters enclosed with their desolate walls of sand! How little could we have known, any more than of what now seems to us most distressful, dark, and objectless, the glorious aim which was then in the mind of Him in whose hand are all the corners of the earth! how little imagined that in the laws which were stretching forth the gloomy margins of those fruitless banks, and feeding the bitter grass among their shallows, there was indeed a preparation, and the only preparation possible, for the founding of a city which was to be set like a golden clasp on the girdle of the earth, to write her history on the white scrolls of the sea-surges, and to word it in their thunder, and to gather and give forth, in worldwide pulsation, the glory of the West and of the East, from the burning heart of her Fortitude and Splendor.

FOOTNOTES

[1] Appendix 1, "The Gondolier's Cry."

[2] Appendix 2, "Our Lady of Salvation."

[3] Appendix 3, "Tides of Venice."



CHAPTER II.

Torcello.

Sec. I. Seven miles to the north of Venice, the banks of sand, which near the city rise little above low-water mark, attain by degrees a higher level, and knit themselves at last into fields of salt morass, raised here and there into shapeless mounds, and intercepted by narrow creeks of sea. One of the feeblest of these inlets, after winding for some time among buried fragments of masonry, and knots of sunburnt weeds whitened with webs of fucus, stays itself in an utterly stagnant pool beside a plot of greener grass covered with ground ivy and violets. On this mound is built a rude brick campanile, of the commonest Lombardic type, which if we ascend towards evening (and there are none to hinder us, the door of its ruinous staircase swinging idly on its hinges), we may command from it one of the most notable scenes in this wide world of ours. Far as the eye can reach, a waste of wild sea moor, of a lurid ashen grey; not like our northern moors with their jet-black pools and purple heath, but lifeless, the color of sackcloth, with the corrupted sea-water soaking through the roots of its acrid weeds, and gleaming hither and thither through its snaky channels. No gathering of fantastic mists, nor coursing of clouds across it; but melancholy clearness of space in the warm sunset, oppressive, reaching to the horizon of its level gloom. To the very horizon, on the north-east; but, to the north and west, there is a blue line of higher land along the border of it, and above this, but farther back, a misty band of mountains, touched with snow. To the east, the paleness and roar of the Adriatic, louder at momentary intervals as the surf breaks on the bars of sand; to the south, the widening branches of the calm lagoon, alternately purple and pale green, as they reflect the evening clouds or twilight sky; and almost beneath our feet, on the same field which sustains the tower we gaze from, a group of four buildings, two of them little larger than cottages (though built of stone, and one adorned by a quaint belfry), the third an octagonal chapel, of which we can see but little more than the flat red roof with its rayed tiling, the fourth, a considerable church with nave and aisles, but of which, in like manner, we can see little but the long central ridge and lateral slopes of roof, which the sunlight separates in one glowing mass from the green field beneath and grey moor beyond. There are no living creatures near the buildings, nor any vestige of village or city round about them. They lie like a little company of ships becalmed on a far-away sea.

Sec. II. Then look farther to the south. Beyond the widening branches of the lagoon, and rising out of the bright lake into which they gather, there are a multitude of towers, dark, and scattered among square-set shapes of clustered palaces, a long and irregular line fretting the southern sky.

Mother and daughter, you behold them both in their widowhood,—TORCELLO and VENICE.

Thirteen hundred years ago, the grey moorland looked as it does this day, and the purple mountains stood as radiantly in the deep distances of evening; but on the line of the horizon, there were strange fires mixed with the light of sunset, and the lament of many human voices mixed with the fretting of the waves on their ridges of sand. The flames rose from the ruins of Altinum; the lament from the multitude of its people, seeking, like Israel of old, a refuge from the sword in the paths of the sea.

The cattle are feeding and resting upon the site of the city that they left; the mower's scythe swept this day at dawn over the chief street of the city that they built, and the swathes of soft grass are now sending up their scent into the night air, the only incense that fills the temple of their ancient worship. Let us go down into that little space of meadow land.

Sec. III. The inlet which runs nearest to the base of the campanile is not that by which Torcello is commonly approached. Another, somewhat broader, and overhung by alder copse, winds out of the main channel of the lagoon up to the very edge of the little meadow which was once the Piazza of the city, and there, stayed by a few grey stones which present some semblance of a quay, forms its boundary at one extremity. Hardly larger than an ordinary English farmyard, and roughly enclosed on each side by broken palings and hedges of honeysuckle and briar, the narrow field retires from the water's edge, traversed by a scarcely traceable footpath, for some forty or fifty paces, and then expanding into the form of a small square, with buildings on three sides of it, the fourth being that which opens to the water. Two of these, that on our left and that in front of us as we approach from the canal, are so small that they might well be taken for the out-houses of the farm, though the first is a conventual building, and the other aspires to the title of the "Palazzo publico," both dating as far back as the beginning of the fourteenth century; the third, the octagonal church of Santa Fosca, is far more ancient than either, yet hardly on a larger scale. Though the pillars of the portico which surrounds it are of pure Greek marble, and their capitals are enriched with delicate sculpture, they, and the arches they sustain, together only raise the roof to the height of a cattle-shed; and the first strong impression which the spectator receives from the whole scene is, that whatever sin it may have been which has on this spot been visited with so utter a desolation, it could not at least have been ambition. Nor will this impression be diminished as we approach, or enter, the larger church to which the whole group of building is subordinate. It has evidently been built by men in flight and distress,[4] who sought in the hurried erection of their island church such a shelter for their earnest and sorrowful worship as, on the one hand, could not attract the eyes of their enemies by its splendor, and yet, on the other, might not awaken too bitter feelings by its contrast with the churches which they had seen destroyed. There is visible everywhere a simple and tender effort to recover some of the form of the temples which they had loved, and to do honor to God by that which they were erecting, while distress and humiliation prevented the desire, and prudence precluded the admission, either of luxury of ornament or magnificence of plan. The exterior is absolutely devoid of decoration, with the exception only of the western entrance and the lateral door, of which the former has carved sideposts and architrave, and the latter, crosses of rich sculpture; while the massy stone shutters of the windows, turning on huge rings of stone, which answer the double purpose of stanchions and brackets, cause the whole building rather to resemble a refuge from Alpine storm than the cathedral of a populous city; and, internally, the two solemn mosaics of the eastern and western extremities,—one representing the Last Judgment, the other the Madonna, her tears falling as her hands are raised to bless,—and the noble range of pillars which enclose the space between, terminated by the high throne for the pastor and the semicircular raised seats for the superior clergy, are expressive at once of the deep sorrow and the sacred courage of men who had no home left them upon earth, but who looked for one to come, of men "persecuted but not forsaken, cast down but not destroyed."

Sec. IV. I am not aware of any other early church in Italy which has this peculiar expression in so marked a degree; and it is so consistent with all that Christian architecture ought to express in every age (for the actual condition of the exiles who built the cathedral of Torcello is exactly typical of the spiritual condition which every Christian ought to recognize in himself, a state of homelessness on earth, except so far as he can make the Most High his habitation), that I would rather fix the mind of the reader on this general character than on the separate details, however interesting, of the architecture itself. I shall therefore examine these only so far as is necessary to give a clear idea of the means by which the peculiar expression of the building is attained.



Sec. V. On the opposite page, the uppermost figure, 1, is a rude plan of the church. I do not answer for the thickness and external disposition of the walls, which are not to our present purpose, and which I have not carefully examined; but the interior arrangement is given with sufficient accuracy. The church is built on the usual plan of the Basilica[5] that is to say, its body divided into a nave and aisles by two rows of massive shafts, the roof of the nave being raised high above the aisles by walls sustained on two ranks of pillars, and pierced with small arched windows. At Torcello the aisles are also lighted in the same manner, and the nave is nearly twice their breadth.[6]



The capitals of all the great shafts are of white marble, and are among the best I have ever seen, as examples of perfectly calculated effect from every touch of the chisel. Mr. Hope calls them "indifferently imitated from the Corinthian:"[7] but the expression is as inaccurate as it is unjust; every one of them is different in design, and their variations are as graceful as they are fanciful. I could not, except by an elaborate drawing, give any idea of the sharp, dark, deep penetrations of the chisel into their snowy marble, but a single example is given in the opposite plate, fig. 1, of the nature of the changes effected in them from the Corinthian type. In this capital, although a kind of acanthus (only with rounded lobes) is indeed used for the upper range of leaves, the lower range is not acanthus at all, but a kind of vine, or at least that species of plant which stands for vine in all early Lombardic and Byzantine work (vide Vol. I. Appendix 8); the leaves are trefoiled, and the stalks cut clear so that they might be grasped with the hand, and cast sharp dark shadows, perpetually changing, across the bell of the capital behind them. I have drawn one of these vine plants larger in fig. 2, that the reader may see how little imitation of the Corinthian there is in them, and how boldly the stems of the leaves are detached from the ground. But there is another circumstance in this ornament still more noticeable. The band which encircles the shaft beneath the spring of the leaves is copied from the common classical wreathed or braided fillet, of which the reader may see examples on almost every building of any pretensions in modern London. But the mediaeval builders could not be content with the dead and meaningless scroll: the Gothic energy and love of life, mingled with the early Christian religious symbolism, were struggling daily into more vigorous expression, and they turned the wreathed band into a serpent of three times the length necessary to undulate round the shaft, which, knotting itself into a triple chain, shows at one side of the shaft its tail and head, as if perpetually gliding round it beneath the stalks of the vines. The vine, as is well known, was one of the early symbols of Christ, and the serpent is here typical either of the eternity of his dominion, or of the Satanic power subdued.



Sec. VI. Nor even when the builder confines himself to the acanthus leaf (or to that representation of it, hereafter to be more particularly examined, constant in Romanesque work) can his imagination allow him to rest content with its accustomed position. In a common Corinthian capital the leaves nod forward only, thrown out on every side from the bell which they surround: but at the base of one of the capitals on the opposite side of the nave from this of the vines,[8] two leaves are introduced set with their sides outwards, forming spirals by curling back, half-closed, in the position shown in fig. 4 in Plate II., there represented as in a real acanthus leaf; for it will assist our future inquiries into the ornamentation of capitals that the reader should be acquainted with the form of the acanthus leaf itself. I have drawn it, therefore, in the two positions, figs. 3 and 4 in Plate II.; while fig. 5 is the translation of the latter form into marble by the sculptor of Torcello. It is not very like the acanthus, but much liker than any Greek work; though still entirely conventional in its cinquefoiled lobes. But these are disposed with the most graceful freedom of line, separated at the roots by deep drill holes, which tell upon the eye far away like beads of jet; and changed, before they become too crowded to be effective, into a vigorous and simple zigzagged edge, which saves the designer some embarrassment in the perspective of the terminating spiral. But his feeling of nature was greater than his knowledge of perspective; and it is delightful to see how he has rooted the whole leaf in the strong rounded under-stem, the indication of its closing with its face inwards, and has thus given organization and elasticity to the lovely group of spiral lines; a group of which, even in the lifeless sea-shell, we are never weary, but which becomes yet more delightful when the ideas of elasticity and growth are joined to the sweet succession of its involution.

Sec. VII. It is not, however, to be expected that either the mute language of early Christianity (however important a part of the expression of the building at the time of its erection), or the delicate fancies of the Gothic leafage springing into new life, should be read, or perceived, by the passing traveller who has never been taught to expect anything in architecture except five orders: yet he can hardly fail to be struck by the simplicity and dignity of the great shafts themselves; by the frank diffusion of light, which prevents their severity from becoming oppressive; by the delicate forms and lovely carving of the pulpit and chancel screen; and, above all, by the peculiar aspect of the eastern extremity of the church, which, instead of being withdrawn, as in later cathedrals, into a chapel dedicated to the Virgin, or contributing by the brilliancy of its windows to the splendor of the altar, and theatrical effect of the ceremonies performed there, is a simple and stern semicircular recess, filled beneath by three ranks of seats, raised one above the other, for the bishop and presbyters, that they might watch as well as guide the devotions of the people, and discharge literally in the daily service the functions of bishops or overseers of the flock of God.

Sec. VIII. Let us consider a little each of these characters in succession; and first (for of the shafts enough has been said already), what is very peculiar to this church, its luminousness. This perhaps strikes the traveller more from its contrast with the excessive gloom of the Church of St. Mark's; but it is remarkable when we compare the Cathedral of Torcello with any of the contemporary basilicas in South Italy or Lombardic churches in the North. St. Ambrogio at Milan, St. Michele at Pavia, St. Zeno at Verona, St. Frediano at Lucca, St. Miniato at Florence, are all like sepulchral caverns compared with Torcello, where the slightest details of the sculptures and mosaics are visible, even when twilight is deepening. And there is something especially touching in our finding the sunshine thus freely admitted into a church built by men in sorrow. They did not need the darkness; they could not perhaps bear it. There was fear and depression upon them enough, without a material gloom. They sought for comfort in their religion, for tangible hopes and promises, not for threatenings or mysteries; and though the subjects chosen for the mosaics on the walls are of the most solemn character, there are no artificial shadows cast upon them, nor dark colors used in them: all is fair and bright, and intended evidently to be regarded in hopefulness, and not with terror.

Sec. IX. For observe this choice of subjects. It is indeed possible that the walls of the nave and aisles, which are now whitewashed, may have been covered with fresco or mosaic, and thus have supplied a series of subjects, on the choice of which we cannot speculate. I do not, however, find record of the destruction of any such works; and I am rather inclined to believe that at any rate the central division of the building was originally decorated, as it is now, simply by mosaics representing Christ, the Virgin, and the apostles, at one extremity, and Christ coming to judgment at the other. And if so, I repeat, observe the significance of this choice. Most other early churches are covered with imagery sufficiently suggestive of the vivid interest of the builders in the history and occupations of the world. Symbols or representations of political events, portraits of living persons, and sculptures of satirical, grotesque, or trivial subjects are of constant occurrence, mingled with the more strictly appointed representations of scriptural or ecclesiastical history; but at Torcello even these usual, and one should have thought almost necessary, successions of Bible events do not appear. The mind of the worshipper was fixed entirely upon two great facts, to him the most precious of all facts,—the present mercy of Christ to His Church, and His future coming to judge the world. That Christ's mercy was, at this period, supposed chiefly to be attainable through the pleading of the Virgin, and that therefore beneath the figure of the Redeemer is seen that of the weeping Madonna in the act of intercession, may indeed be matter of sorrow to the Protestant beholder, but ought not to blind him to the earnestness and singleness of the faith with which these men sought their sea-solitudes; not in hope of founding new dynasties, or entering upon new epochs of prosperity, but only to humble themselves before God, and to pray that in His infinite mercy He would hasten the time when the sea should give up the dead which were in it, and Death and Hell give up the dead which were in them, and when they might enter into the better kingdom, "where the wicked cease from troubling and the weary are at rest."

Sec. X. Nor were the strength and elasticity of their minds, even in the least matters, diminished by thus looking forward to the close of all things. On the contrary, nothing is more remarkable than the finish and beauty of all the portions of the building, which seem to have been actually executed for the place they occupy in the present structure. The rudest are those which they brought with them from the mainland; the best and most beautiful, those which appear to have been carved for their island church: of these, the new capitals already noticed, and the exquisite panel ornaments of the chancel screen, are the most conspicuous; the latter form a low wall across the church between the six small shafts whose places are seen in the plan, and serve to enclose a space raised two steps above the level of the nave, destined for the singers, and indicated also in the plan by an open line a b c d. The bas-reliefs on this low screen are groups of peacocks and lions, two face to face on each panel, rich and fantastic beyond description, though not expressive of very accurate knowledge either of leonine or pavonine forms. And it is not until we pass to the back of the stair of the pulpit, which is connected with the northern extremity of this screen, that we find evidence of the haste with which the church was constructed.

Sec. XI. The pulpit, however, is not among the least noticeable of its features. It is sustained on the four small detached shafts marked at p in the plan, between the two pillars at the north side of the screen; both pillars and pulpit studiously plain, while the staircase which ascends to it is a compact mass of masonry (shaded in the plan), faced by carved slabs of marble; the parapet of the staircase being also formed of solid blocks like paving-stones, lightened by rich, but not deep, exterior carving. Now these blocks, or at least those which adorn the staircase towards the aisle, have been brought from the mainland; and, being of size and shape not easily to be adjusted to the proportions of the stair, the architect has cut out of them pieces of the size he needed, utterly regardless of the subject or symmetry of the original design. The pulpit is not the only place where this rough procedure has been permitted: at the lateral door of the church are two crosses, cut out of slabs of marble, formerly covered with rich sculpture over their whole surfaces, of which portions are left on the surface of the crosses; the lines of the original design being, of course, just as arbitrarily cut by the incisions between the arms, as the patterns upon a piece of silk which has been shaped anew. The fact is, that in all early Romanesque work, large surfaces are covered with sculpture for the sake of enrichment only; sculpture which indeed had always meaning, because it was easier for the sculptor to work with some chain of thought to guide his chisel, than without any; but it was not always intended, or at least not always hoped, that this chain of thought might be traced by the spectator. All that was proposed appears to have been the enrichment of surface, so as to make it delightful to the eye; and this being once understood, a decorated piece of marble became to the architect just what a piece of lace or embroidery is to a dressmaker, who takes of it such portions as she may require, with little regard to the places where the patterns are divided. And though it may appear, at first sight, that the procedure is indicative of bluntness and rudeness of feeling, we may perceive, upon reflection, that it may also indicate the redundance of power which sets little price upon its own exertion. When a barbarous nation builds its fortress-walls out of fragments of the refined architecture it has overthrown, we can read nothing but its savageness in the vestiges of art which may thus chance to have been preserved; but when the new work is equal, if not superior, in execution, to the pieces of the older art which are associated with it, we may justly conclude that the rough treatment to which the latter have been subjected is rather a sign of the hope of doing better things, than of want of feeling for those already accomplished. And, in general, this careless fitting of ornament is, in very truth, an evidence of life in the school of builders, and of their making a due distinction between work which is to be used for architectural effect, and work which is to possess an abstract perfection; and it commonly shows also that the exertion of design is so easy to them, and their fertility so inexhaustible, that they feel no remorse in using somewhat injuriously what they can replace with so slight an effort.

Sec. XII. It appears however questionable in the present instance, whether, if the marbles had not been carved to his hand, the architect would have taken the trouble to enrich them. For the execution of the rest of the pulpit is studiously simple, and it is in this respect that its design possesses, it seems to me, an interest to the religious spectator greater than he will take in any other portion of the building. It is supported, as I said, on a group of four slender shafts; itself of a slightly oval form, extending nearly from one pillar of the nave to the next, so as to give the preacher free room for the action of the entire person, which always gives an unaffected impressiveness to the eloquence of the southern nations. In the centre of its curved front, a small bracket and detached shaft sustain the projection of a narrow marble desk (occupying the place of a cushion in a modern pulpit), which is hollowed out into a shallow curve on the upper surface, leaving a ledge at the bottom of the slab, so that a book laid upon it, or rather into it, settles itself there, opening as if by instinct, but without the least chance of slipping to the side, or in any way moving beneath the preacher's hands.[9] Six balls, or rather almonds, of purple marble veined with white are set round the edge of the pulpit, and form its only decoration. Perfectly graceful, but severe and almost cold in its simplicity, built for permanence and service, so that no single member, no stone of it, could be spared, and yet all are firm and uninjured as when they were first set together, it stands in venerable contrast both with the fantastic pulpits of mediaeval cathedrals and with the rich furniture of those of our modern churches. It is worth while pausing for a moment to consider how far the manner of decorating a pulpit may have influence on the efficiency of its service, and whether our modern treatment of this, to us all-important, feature of a church be the best possible.

Sec. XIII. When the sermon is good we need not much concern ourselves about the form of the pulpit. But sermons cannot always be good; and I believe that the temper in which the congregation set themselves to listen may be in some degree modified by their perception of fitness or unfitness, impressiveness or vulgarity, in the disposition of the place appointed for the speaker,—not to the same degree, but somewhat in the same way, that they may be influenced by his own gestures or expression, irrespective of the sense of what he says. I believe, therefore, in the first place, that pulpits ought never to be highly decorated; the speaker is apt to look mean or diminutive if the pulpit is either on a very large scale or covered with splendid ornament, and if the interest of the sermon should flag the mind is instantly tempted to wander. I have observed that in almost all cathedrals, when the pulpits are peculiarly magnificent, sermons are not often preached from them; but rather, and especially if for any important purpose, from some temporary erection in other parts of the building: and though this may often be done because the architect has consulted the effect upon the eye more than the convenience of the ear in the placing of his larger pulpit, I think it also proceeds in some measure from a natural dislike in the preacher to match himself with the magnificence of the rostrum, lest the sermon should not be thought worthy of the place. Yet this will rather hold of the colossal sculptures, and pyramids of fantastic tracery which encumber the pulpits of Flemish and German churches, than of the delicate mosaics and ivory-like carving of the Romanesque basilicas, for when the form is kept simple, much loveliness of color and costliness of work may be introduced, and yet the speaker not be thrown into the shade by them.

Sec. XIV. But, in the second place, whatever ornaments we admit ought clearly to be of a chaste, grave, and noble kind; and what furniture we employ, evidently more for the honoring of God's word than for the ease of the preacher. For there are two ways of regarding a sermon, either as a human composition, or a Divine message. If we look upon it entirely as the first, and require our clergymen to finish it with their utmost care and learning, for our better delight whether of ear or intellect, we shall necessarily be led to expect much formality and stateliness in its delivery, and to think that all is not well if the pulpit have not a golden fringe round it, and a goodly cushion in front of it, and if the sermon be not fairly written in a black book, to be smoothed upon the cushion in a majestic manner before beginning; all this we shall duly come to expect: but we shall at the same time consider the treatise thus prepared as something to which it is our duty to listen without restlessness for half an hour or three quarters, but which, when that duty has been decorously performed, we may dismiss from our minds in happy confidence of being provided with another when next it shall be necessary. But if once we begin to regard the preacher, whatever his faults, as a man sent with a message to us, which it is a matter of life or death whether we hear or refuse; if we look upon him as set in charge over many spirits in danger of ruin, and having allowed to him but an hour or two in the seven days to speak to them; if we make some endeavor to conceive how precious these hours ought to be to him, a small vantage on the side of God after his flock have been exposed for six days together to the full weight of the world's temptation, and he has been forced to watch the thorn and the thistle springing in their hearts, and to see what wheat had been scattered there snatched from the wayside by this wild bird and the other, and at last, when breathless and weary with the week's labor they give him this interval of imperfect and languid hearing, he has but thirty minutes to get at the separate hearts of a thousand men, to convince them of all their weaknesses, to shame them for all their sins, to warn them of all their dangers, to try by this way and that to stir the hard fastenings of those doors where the Master himself has stood and knocked yet none opened, and to call at the openings of those dark streets where Wisdom herself hath stretched forth her hands and no man regarded,—thirty minutes to raise the dead in,—let us but once understand and feel this, and we shall look with changed eyes upon that frippery of gay furniture about the place from which the message of judgment must be delivered, which either breathes upon the dry bones that they may live, or, if ineffectual, remains recorded in condemnation, perhaps against the utterer and listener alike, but assuredly against one of them. We shall not so easily bear with the silk and gold upon the seat of judgment, nor with ornament of oratory in the mouth of the messenger: we shall wish that his words may be simple, even when they are sweetest, and the place from which he speaks like a marble rock in the desert, about which the people have gathered in their thirst.

Sec. XV. But the severity which is so marked in the pulpit at Torcello is still more striking in the raised seats and episcopal throne which occupy the curve of the apse. The arrangement at first somewhat recalls to the mind that of the Roman amphitheatres; the flight of steps which lead up to the central throne divides the curve of the continuous steps or seats (it appears in the first three ranges questionable which were intended, for they seem too high for the one, and too low and close for the other), exactly as in an amphitheatre the stairs for access intersect the sweeping ranges of seats. But in the very rudeness of this arrangement, and especially in the want of all appliances of comfort (for the whole is of marble, and the arms of the central throne are not for convenience, but for distinction, and to separate it more conspicuously from the undivided seats), there is a dignity which no furniture of stalls nor carving of canopies ever could attain, and well worth the contemplation of the Protestant, both as sternly significative of an episcopal authority which in the early days of the Church was never disputed, and as dependent for all its impressiveness on the utter absence of any expression either of pride or self-indulgence.

Sec. XVI. But there is one more circumstance which we ought to remember as giving peculiar significance to the position which the episcopal throne occupies in this island church, namely, that in the minds of all early Christians the Church itself was most frequently symbolized under the image of a ship, of which the bishop was the pilot. Consider the force which this symbol would assume in the imaginations of men to whom the spiritual Church had become an ark of refuge in the midst of a destruction hardly less terrible than that from which the eight souls were saved of old, a destruction in which the wrath of man had become as broad as the earth and as merciless as the sea, and who saw the actual and literal edifice of the Church raised up, itself like an ark in the midst of the waters. No marvel if with the surf of the Adriatic rolling between them and the shores of their birth, from which they were separated for ever, they should have looked upon each other as the disciples did when the storm came down on the Tiberias Lake, and have yielded ready and loving obedience to those who ruled them in His name, who had there rebuked the winds and commanded stillness to the sea. And if the stranger would yet learn in what spirit it was that the dominion of Venice was begun, and in what strength she went forth conquering and to conquer, let him not seek to estimate the wealth of her arsenals or number of her armies, nor look upon the pageantry of her palaces, nor enter into the secrets of her councils; but let him ascend the highest tier of the stern ledges that sweep round the altar of Torcello, and then, looking as the pilot did of old along the marble ribs of the goodly temple ship, let him repeople its veined deck with the shadows of its dead mariners, and strive to feel in himself the strength of heart that was kindled within them, when first, after the pillars of it had settled in the sand, and the roof of it had been closed against the angry sky that was still reddened by the fires of their homesteads,—first, within the shelter of its knitted walls, amidst the murmur of the waste of waves and the beating of the wings of the sea-birds round the rock that was strange to them,—rose that ancient hymn, in the power of their gathered voices:

THE SEA IS HIS, AND HE MADE IT: AND HIS HANDS PREPARED THE DRY LAND.

FOOTNOTES

[4] Appendix 4, "Date of the Duomo of Torcello."

[5] For a full account of the form and symbolical meaning of the Basilica, see Lord Lindsay's "Christian Art," vol. i. p. 12. It is much to be regretted that the Chevalier Bunsen's work on the Basilicas of Rome is not translated into English.

[6] The measures are given in Appendix 3.

[7] Hope's "Historical Essay on Architecture" (third edition, 1840), chap. ix. p. 95. In other respects Mr. Hope has done justice to this building, and to the style of the early Christian churches in general.

[8] A sketch has been given of this capital in my folio work.

[9] Appendix 5, "Modern Pulpits."



CHAPTER III.

MURANO.

Sec. I. The decay of the city of Venice is, in many respects, like that of an outwearied and aged human frame; the cause of its decrepitude is indeed at the heart, but the outward appearances of it are first at the extremities. In the centre of the city there are still places where some evidence of vitality remains, and where, with kind closing of the eyes to signs, too manifest even there, of distress and declining fortune, the stranger may succeed in imagining, for a little while, what must have been the aspect of Venice in her prime. But this lingering pulsation has not force enough any more to penetrate into the suburbs and outskirts of the city; the frost of death has there seized upon it irrevocably, and the grasp of mortal disease is marked daily by the increasing breadth of its belt of ruin. Nowhere is this seen more grievously than along the great north-eastern boundary, once occupied by the smaller palaces of the Venetians, built for pleasure or repose; the nobler piles along the grand canal being reserved for the pomp and business of daily life. To such smaller palaces some garden ground was commonly attached, opening to the water-side; and, in front of these villas and gardens, the lagoon was wont to be covered in the evening by gondolas: the space of it between this part of the city and the island group of Murano being to Venice, in her time of power, what its parks are to London; only gondolas were used instead of carriages, and the crowd of the population did not come out till towards sunset, and prolonged their pleasures far into the night, company answering to company with alternate singing.

Sec. II. If, knowing this custom of the Venetians, and with a vision in his mind of summer palaces lining the shore, and myrtle gardens sloping to the sea, the traveller now seeks this suburb of Venice, he will be strangely and sadly surprised to find a new but perfectly desolate quay, about a mile in length, extending from the arsenal to the Sacca della Misericordia, in front of a line of miserable houses built in the course of the last sixty or eighty years, yet already tottering to their ruin; and not less to find that the principal object in the view which these houses (built partly in front and partly on the ruins of the ancient palaces) now command is a dead brick wall, about a quarter of a mile across the water, interrupted only by a kind of white lodge, the cheerfulness of which prospect is not enhanced by his finding that this wall encloses the principal public cemetery of Venice. He may, perhaps, marvel for a few moments at the singular taste of the old Venetians in taking their pleasure under a churchyard wall: but, on further inquiry, he will find that the building on the island, like those on the shore, is recent, that it stands on the ruins of the Church of St. Cristoforo della Pace; and that with a singular, because unintended, moral, the modern Venetians have replaced the Peace of the Christ-bearer by the Peace of Death, and where they once went, as the sun set daily, to their pleasure, now go, as the sun sets to each of them for ever, to their graves.

Sec. III. Yet the power of Nature cannot be shortened by the folly, nor her beauty altogether saddened by the misery, of man. The broad tides still ebb and flow brightly about the island of the dead, and the linked conclave of the Alps know no decline from their old pre-eminence, nor stoop from their golden thrones in the circle of the horizon. So lovely is the scene still, in spite of all its injuries, that we shall find ourselves drawn there again and again at evening out of the narrow canals and streets of the city, to watch the wreaths of the sea-mists weaving themselves like mourning veils around the mountains far away, and listen to the green waves as they fret and sigh along the cemetery shore.

Sec. IV. But it is morning now: we have a hard day's work to do at Murano, and our boat shoots swiftly from beneath the last bridge of Venice, and brings us out into the open sea and sky.

The pure cumuli of cloud lie crowded and leaning against one another, rank beyond rank, far over the shining water, each cut away at its foundation by a level line, trenchant and clear, till they sink to the horizon like a flight of marble steps, except where the mountains meet them, and are lost in them, barred across by the grey terraces of those cloud foundations, and reduced into one crestless bank of blue, spotted here and there with strange flakes of wan, aerial, greenish light, strewed upon them like snow. And underneath is the long dark line of the mainland, fringed with low trees; and then the wide-waving surface of the burnished lagoon trembling slowly, and shaking out into forked bands of lengthening light the images of the towers of cloud above. To the north, there is first the great cemetery wall, then the long stray buildings of Murano, and the island villages beyond, glittering in intense crystalline vermilion, like so much jewellery scattered on a mirror, their towers poised apparently in the air a little above the horizon, and their reflections, as sharp and vivid and substantial as themselves, thrown on the vacancy between them and the sea. And thus the villages seem standing on the air; and, to the east, there is a cluster of ships that seem sailing on the land; for the sandy line of the Lido stretches itself between us and them, and we can see the tall white sails moving beyond it, but not the sea, only there is a sense of the great sea being indeed there, and a solemn strength of gleaming light in sky above.

Sec. V. The most discordant feature in the whole scene is the cloud which hovers above the glass furnaces of Murano; but this we may not regret, as it is one of the last signs left of human exertion among the ruinous villages which surround us. The silent gliding of the gondola brings it nearer to us every moment; we pass the cemetery, and a deep sea-channel which separates it from Murano, and finally enter a narrow water-street, with a paved footpath on each side, raised three or four feet above the canal, and forming a kind of quay between the water and the doors of the houses. These latter are, for the most part, low, but built with massy doors and windows of marble or Istrian stone, square-set and barred with iron; buildings evidently once of no mean order, though now inhabited only by the poor. Here and there an ogee window of the fourteenth century, or a doorway deeply enriched with cable mouldings, shows itself in the midst of more ordinary features; and several houses, consisting of one story only carried on square pillars, forming a short arcade along the quay, have windows sustained on shafts of red Verona marble, of singular grace and delicacy. All now in vain: little care is there for their delicacy or grace among the rough fishermen sauntering on the quay with their jackets hanging loose from their shoulders, jacket and cap and hair all of the same dark-greenish sea-grey. But there is some life in the scene, more than is usual in Venice: the women are sitting at their doors knitting busily, and various workmen of the glass-houses sifting glass dust upon the pavement, and strange cries coming from one side of the canal to the other, and ringing far along the crowded water, from venders of figs and grapes, and gourds and shell-fish; cries partly descriptive of the eatables in question, but interspersed with others of a character unintelligible in proportion to their violence, and fortunately so if we may judge by a sentence which is stencilled in black, within a garland, on the whitewashed walls of nearly every other house in the street, but which, how often soever written, no one seems to regard: "Bestemme non piu. Lodate Gesu."

Sec. VI. We push our way on between large barges laden with fresh water from Fusina, in round white tubs seven feet across, and complicated boats full of all manner of nets that look as if they could never be disentangled, hanging from their masts and over their sides; and presently pass under a bridge with the lion of St. Mark on its archivolt, and another on a pillar at the end of the parapet, a small red lion with much of the puppy in his face, looking vacantly up into the air (in passing we may note that, instead of feathers, his wings are covered with hair, and in several other points the manner of his sculpture is not uninteresting). Presently the canal turns a little to the left, and thereupon becomes more quiet, the main bustle of the water-street being usually confined to the first straight reach of it, some quarter of a mile long, the Cheapside of Murano. We pass a considerable church on the left, St. Pietro, and a little square opposite to it with a few acacia trees, and then find our boat suddenly seized by a strong green eddy, and whirled into the tide-way of one of the main channels of the lagoon, which divides the town of Murano into two parts by a deep stream some fifty yards over, crossed only by one wooden bridge. We let ourselves drift some way down the current, looking at the low line of cottages on the other side of it, hardly knowing if there be more cheerfulness or melancholy in the way the sunshine glows on their ruinous but whitewashed walls, and sparkles on the rushing of the green water by the grass-grown quay. It needs a strong stroke of the oar to bring us into the mouth of another quiet canal on the farther side of the tide-way, and we are still somewhat giddy when we run the head of the gondola into the sand on the left-hand side of this more sluggish stream, and land under the east end of the Church of San Donato, the "Matrice" or "Mother" Church of Murano.

Sec. VII. It stands, it and the heavy campanile detached from it a few yards, in a small triangular field of somewhat fresher grass than is usual near Venice, traversed by a paved walk with green mosaic of short grass between the rude squares of its stones, bounded on one side by ruinous garden walls, on another by a line of low cottages, on the third, the base of the triangle, by the shallow canal from which we have just landed. Near the point of the triangular space is a simple well, bearing date 1502; in its widest part, between the canal and campanile, is a four-square hollow pillar, each side formed by a separate slab of stone, to which the iron hasps are still attached that once secured the Venetian standard.

The cathedral itself occupies the northern angle of the field, encumbered with modern buildings, small outhouse-like chapels, and wastes of white wall with blank square windows, and itself utterly defaced in the whole body of it, nothing but the apse having been spared; the original plan is only discoverable by careful examination, and even then but partially. The whole impression and effect of the building are irretrievably lost, but the fragments of it are still most precious.

We must first briefly state what is known of its history.

Sec. VIII. The legends of the Romish Church, though generally more insipid and less varied than those of Paganism, deserve audience from us on this ground, if on no other, that they have once been sincerely believed by good men, and have had no ineffective agency in the foundation of the existent European mind. The reader must not therefore accuse me of trifling, when I record for him the first piece of information I have been able to collect respecting the cathedral of Murano: namely, that the emperor Otho the Great, being overtaken by a storm on the Adriatic, vowed, if he were preserved, to build and dedicate a church to the Virgin, in whatever place might be most pleasing to her; that the storm thereupon abated; and the Virgin appearing to Otho in a dream showed him, covered with red lilies, that very triangular field on which we were but now standing, amidst the ragged weeds and shattered pavement. The emperor obeyed the vision; and the church was consecrated on the 15th of August, 957.

Sec. IX. Whatever degree of credence we may feel disposed to attach to this piece of history, there is no question that a church was built on this spot before the close of the tenth century: since in the year 999 we find the incumbent of the Basilica (note this word, it is of some importance) di Santa Maria Plebania di Murano taking an oath of obedience to the Bishop of the Altinat church, and engaging at the same time to give the said bishop his dinner on the Domenica in Albis, when the prelate held a confirmation in the mother church, as it was then commonly called, of Murano. From this period, for more than a century, I can find no records of any alterations made in the fabric of the church, but there exist very full details of the quarrels which arose between its incumbents and those of San Stefano, San Cipriano, San Salvatore, and the other churches of Murano, touching the due obedience which their less numerous or less ancient brotherhoods owed to St. Mary's.

These differences seem to have been renewed at the election of every new abbot by each of the fraternities, and must have been growing serious when the patriarch of Grado, Henry Dandolo, interfered in 1102, and, in order to seal a peace between the two principal opponents, ordered that the abbot of St. Stephen's should be present at the service in St. Mary's on the night of the Epiphany, and that the abbot of St. Mary's should visit him of St. Stephen's on St. Stephen's day; and that then the two abbots "should eat apples and drink good wine together, in peace and charity."[10]

Sec. X. But even this kindly effort seems to have been without result: the irritated pride of the antagonists remained unsoothed by the love-feast of St. Stephen's day; and the breach continued to widen until the abbot of St. Mary's obtained a timely accession to his authority in the year 1125. The Doge Domenico Michele, having in the second crusade secured such substantial advantages for the Venetians as might well counterbalance the loss of part of their trade with the East, crowned his successes by obtaining possession in Cephalonia of the body of St. Donato, bishop of Euroea; which treasure he having presented on his return to the Murano basilica, that church was thenceforward called the church of Sts. Mary and Donato. Nor was the body of the saint its only acquisition: St. Donato's principal achievement had been the destruction of a terrible dragon in Epirus; Michele brought home the bones of the dragon as well as of the saint; the latter were put in a marble sarcophagus, and the former hung up over the high altar.

Sec. XI. But the clergy of St. Stefano were indomitable. At the very moment when their adversaries had received this formidable accession of strength, they had the audacity "ad onta de' replicati giuramenti, e dell'inveterata consuetudine,"[11] to refuse to continue in the obedience which they had vowed to their mother church. The matter was tried in a provincial council; the votaries of St. Stephen were condemned, and remained quiet for about twenty years, in wholesome dread of the authority conferred on the abbot of St. Donate, by the Pope's legate, to suspend any o the clergy of the island from their office if they refused submission. In 1172, however, they appealed to Pope Alexander III, and were condemned again: and we find the struggle renewed at every promising opportunity, during the course of the 12th and 13th centuries; until at last, finding St. Donate and the dragon together too strong for him, the abbot of St. Stefano "discovered" in his church the bodies of two hundred martyrs at once!—a discovery, it is to be remembered, in some sort equivalent in those days to that of California in ours. The inscription, however, on the facade of the church, recorded it with quiet dignity:—"MCCCLXXIV. a di XIV. di Aprile. Furono trovati nella presente chiesa del protomartire San Stefano, duecento e piu corpi de' Santi Martiri, dal Ven. Prete Matteo Fradello, piovano della chiesa."[12] Corner, who gives this inscription, which no longer exists, goes on to explain with infinite gravity, that the bodies in question, "being of infantile form and stature, are reported by tradition to have belonged to those fortunate innocents who suffered martyrdom under King Herod; but that when, or by whom, the church was enriched with so vast a treasure, is not manifested by any document."[13]

Sec. XII. The issue of the struggle is not to our present purpose. We have already arrived at the fourteenth century without finding record of any effort made by the clergy of St. Mary's to maintain their influence by restoring or beautifying their basilica; which is the only point at present of importance to us. That great alterations were made in it at the time of the acquisition of the body of St. Donato is however highly probable, the mosaic pavement of the interior, which bears its date inscribed, 1140, being probably the last of the additions. I believe that no part of the ancient church can be shown to be of more recent date than this; and I shall not occupy the reader's time by any inquiry respecting the epochs or authors of the destructive modern restorations; the wreck of the old fabric, breaking out beneath them here and there, is generally distinguishable from them at a glance; and it is enough for the reader to know that none of these truly ancient fragments can be assigned to a more recent date than 1140, and that some of them may with probability be looked upon as remains of the shell of the first church, erected in the course of the latter half of the tenth century. We shall perhaps obtain some further reason for this belief as we examine these remains themselves.

Sec. XIII. Of the body of the church, unhappily, they are few and obscure; but the general form and extent of the building, as shown in the plan, Plate I. fig. 2, are determined, first, by the breadth of the uninjured east end D E; secondly, by some remains of the original brickwork of the clerestory, and in all probability of the side walls also, though these have been refaced; and finally by the series of nave shafts, which are still perfect. The doors A and B may or may not be in their original positions; there must of course have been always, as now, a principal entrance at the west end. The ground plan is composed, like that of Torcello, of nave and aisles only, but the clerestory has transepts extending as far as the outer wall of the aisles. The semicircular apse, thrown out in the centre of the east end, is now the chief feature of interest in the church, though the nave shafts and the eastern extremities of the aisles, outside, are also portions of the original building; the latter having been modernized in the interior, it cannot now be ascertained whether, as is probable, the aisles had once round ends as well as the choir. The spaces F G form small chapels, of which G has a straight terminal wall behind its altar, and F a curved one, marked by the dotted line; the partitions which divide these chapels from the presbytery are also indicated by dotted lines, being modern work.

Sec. XIV. The plan is drawn carefully to scale, but the relation in which its proportions are disposed can hardly be appreciated by the eye. The width of the nave from shaft to opposite shaft is 32 feet 8 inches: of the aisles, from the shaft to the wall, 16 feet 2 inches, or allowing 2 inches for the thickness of the modern wainscot, 16 feet 4 inches, half the breadth of the nave exactly. The intervals between the shafts are exactly one fourth of the width of the nave, or 8 feet 2 inches, and the distance between the great piers which form the pseudo-transept is 24 feet 6 inches, exactly three times the interval of the shafts. So the four distances are accurately in arithmetical proportion; i.e.

Ft. In. Interval of shafts 8 2 Width of aisle 16 4 Width of transept 24 6 Width of nave 32 8

The shafts average 5 feet 4 inches in circumference, as near the base as they can be got at, being covered with wood; and the broadest sides of the main piers are 4 feet 7 inches wide, their narrowest sides 3 feet 6 inches. The distance a c from the outmost angle of these piers to the beginning of the curve of the apse is 25 feet, and from that point the apse is nearly semicircular, but it is so encumbered with renaissance fittings that its form cannot be ascertained with perfect accuracy. It is roofed by a concha, or semi-dome; and the external arrangement of its walls provides for the security of this dome by what is, in fact, a system of buttresses as effective and definite as that of any of the northern churches, although the buttresses are obtained entirely by adaptations of the Roman shaft and arch, the lower story being formed by a thick mass of wall lightened by ordinary semicircular round-headed niches, like those used so extensively afterwards in renaissance architecture, each niche flanked by a pair of shafts standing clear of the wall, and bearing deeply moulded arches thrown over the niche. The wall with its pillars thus forms a series of massy buttresses (as seen in the ground plan), on the top of which is an open gallery, backed by a thinner wall, and roofed by arches whose shafts are set above the pairs of shafts below. On the heads of these arches rests the roof. We have, therefore, externally a heptagonal apse, chiefly of rough and common brick, only with marble shafts and a few marble ornaments; but for that very reason all the more interesting, because it shows us what may be done, and what was done, with materials such as are now at our own command; and because in its proportions, and in the use of the few ornaments it possesses, it displays a delicacy of feeling rendered doubly notable by the roughness of the work in which laws so subtle are observed, and with which so thoughtful ornamentation is associated.

Sec. XV. First, for its proportions: I shall have occasion in Chapter V. to dwell at some length on the peculiar subtlety of the early Venetian perception for ratios of magnitude; the relations of the sides of this heptagonal apse supply one of the first and most curious instances of it. The proportions above given of the nave and aisles might have been dictated by a mere love of mathematical precision; but those of the apse could only have resulted from a true love of harmony.

In fig. 6, Plate I. the plan of this part of the church is given on a large scale, showing that its seven external sides are arranged on a line less than a semicircle, so that if the figure were completed, it would have sixteen sides; and it will be observed also, that the seven sides are arranged in four magnitudes, the widest being the central one. The brickwork is so much worn away, that the measures of the arches are not easily ascertainable, but those of the plinth on which they stand, which is nearly uninjured, may be obtained accurately. This plinth is indicated by the open line in the ground plan, and its sides measure respectively:

Ft. In. 1st. a b in plan 6 7 2nd. b c 7 7 3rd. c d 7 5 4th. d e (central) 7 10 5th. e f 7 5 6th f g 7 8 7th. g h 6 10

Sec. XVI. Now observe what subtle feeling is indicated by this delicacy of proportion. How fine must the perceptions of grace have been in those builders who could not be content without some change between the second and third, the fifth and sixth terms of proportion, such as should oppose the general direction of its cadence, and yet were content with a diminution of two inches on a breadth of seven feet and a half! For I do not suppose that the reader will think the curious lessening of the third and fifth arch a matter of accident, and even if he did so, I shall be able to prove to him hereafter that it was not, but that the early builders were always desirous of obtaining some alternate proportion of this kind. The relations of the numbers are not easily comprehended in the form of feet and inches, but if we reduce the first four of them into inches, and then subtract some constant number, suppose 75, from them all, the remainders 4, 16, 14, 19, will exhibit the ratio of proportion in a clearer, though exaggerated form.

Sec. XVII. The pairs of circular spots at b, c, d, etc., on the ground plan fig. 6, represent the bearing shafts, which are all of solid marble as well as their capitals. Their measures and various other particulars respecting them are given in Appendix 6. "Apse of Murano;" here I only wish the reader to note the coloring of their capitals. Those of the two single shafts in the angles (a, h) are both of deep purple marble; the two next pairs, b and g, are of white marble; the pairs c and f are of purple, and d and e are of white: thus alternating with each other on each side; two white meeting in the centre. Now observe, the purple capitals are all left plain; the white are all sculptured. For the old builders knew that by carving the purple capitals they would have injured them in two ways: first, they would have mixed a certain quantity of grey shadow with the surface hue, and so adulterated the purity of the color; secondly, they would have drawn away the thoughts from the color, and prevented the mind from fixing upon it or enjoying it, by the degree of attention which the sculpture would have required. So they left their purple capitals full broad masses of color; and sculptured the white ones, which would otherwise have been devoid of interest.

Sec. XVIII. But the feature which is most to be noted in this apse is a band of ornament, which runs round it like a silver girdle, composed of sharp wedges of marble, preciously inlaid, and set like jewels into the brickwork; above it there is another band of triangular recesses in the bricks, of nearly similar shape, and it seems equally strange that all the marbles should have fallen from it, or that it should have been originally destitute of them. The reader may choose his hypothesis; but there is quite enough left to interest us in the lower band, which is fortunately left in its original state, as is sufficiently proved by the curious niceties in the arrangement of its colors, which are assuredly to be attributed to the care of the first builder. A word or two, in the first place, respecting the means of color at his disposal.

Sec. XIX. I stated that the building was, for the most part, composed of yellow brick. This yellow is very nearly pure, much more positive and somewhat darker than that of our English light brick, and the material of the brick is very good and hard, looking, in places, almost vitrified, and so compact as to resemble stone. Together with this brick occurs another of a deep full red, and more porous substance, which is used for decoration chiefly, while all the parts requiring strength are composed of the yellow brick. Both these materials are cast into any shape and size the builder required, either into curved pieces for the arches, or flat tiles for filling the triangles; and, what is still more curious, the thickness of the yellow bricks used for the walls varies considerably, from two inches to four; and their length also, some of the larger pieces used in important positions being a foot and a half long.

With these two kinds of brick, the builder employed five or six kinds of marble: pure white, and white veined with purple; a brecciated marble of white and black; a brecciated marble of white and deep green; another, deep red, or nearly of the color of Egyptian porphyry; and a grey and black marble, in fine layers.

Sec. XX. The method of employing these materials will be understood at once by a reference to the opposite plate (Plate III.), which represents two portions of the lower band. I could not succeed in expressing the variation and chequering of color in marble, by real tints in the print; and have been content, therefore, to give them in line engraving. The different triangles are, altogether, of ten kinds:

a. Pure white marble with sculptured surface (as the third and fifth in the upper series of Plate III.).

b. Cast triangle of red brick with a sculptured round-headed piece of white marble inlaid (as the first and seventh of the upper series, Plate III.).

c. A plain triangle of greenish black marble, now perhaps considerably paler in color than when first employed (as the second and sixth of the upper series of Plate III.).

d. Cast red brick triangle, with a diamond inlaid of the above-mentioned black marble (as the fourth in the upper series of Plate III.).

e. Cast white brick, with an inlaid round-headed piece of marble, variegated with black and yellow, or white and violet (not seen in the plate).

f. Occurs only once, a green-veined marble, forming the upper part of the triangle, with a white piece below.

g. Occurs only once. A brecciated marble of intense black and pure white, the centre of the lower range in Plate III.

h. Sculptured white marble with a triangle of veined purple marble inserted (as the first, third, fifth, and seventh of the lower range in Plate III.).

i. Yellow or white marble veined with purple (as the second and sixth of the lower range in Plate III.).

k. Pure purple marble, not seen in this plate.



Sec. XXI. The band, then, composed of these triangles, set close to each other in varied but not irregular relations, is thrown, like a necklace of precious stones, round the apse and along the ends of the aisles; each side of the apse taking, of course, as many triangles as its width permits. If the reader will look back to the measures of the sides of the apse, given before, p. 42, he will see that the first and seventh of the series, being much narrower than the rest, cannot take so many triangles in their band. Accordingly, they have only six each, while the other five sides have seven. Of these groups of seven triangles each, that used for the third and fifth sides of the apse is the uppermost in Plate III.; and that used for the centre of the apse, and of the whole series, is the lowermost in the same plate; the piece of black and white marble being used to emphasize the centre of the chain, exactly as a painter would use a dark touch for a similar purpose.

Sec. XXII. And now, with a little trouble, we can set before the reader, at a glance, the arrangement of the groups along the entire extremity of the church.

There are thirteen recesses, indicative of thirteen arches, seen in the ground plan, fig. 2, Plate I. Of these, the second and twelfth arches rise higher than the rest; so high as to break the decorated band; and the groups of triangles we have to enumerate are, therefore, only eleven in number; one above each of the eleven low arches. And of these eleven, the first and second, tenth and eleventh, are at the ends of the aisles; while the third to the ninth, inclusive, go round the apse. Thus, in the following table, the numerals indicate the place of each entire group (counting from the south to the north side of the church, or from left to right), and the letters indicate the species of triangle of which it is composed, as described in the list given above.

6. h. i. h. g. h. i. h. 5. b. c. a. d. a. c. b. 7. b. c. a. d. a. c. b. 4. b. a. b. c. a. e. a. 8. a. e. a. c. b. a. b. 3. b. a. b. e. b. a. 9. a. b. e. b. a. b. 2. a. b. c. 10. a. b. c. b. 1. a. b. c. b. a. 11. b. a. c. f. a. a.

The central group is put first, that it may be seen how the series on the two sides of the apse answer each other. It was a very curious freak to insert the triangle e, in the outermost place but one of both the fourth and eighth sides of the apse, and in the outermost but two in the third and ninth; in neither case having any balance to it in its own group, and the real balance being only effected on the other side of the apse, which it is impossible that any one should see at the same time. This is one of the curious pieces of system which so often occur in mediaeval work, of which the key is now lost. The groups at the ends of the transepts correspond neither in number nor arrangement; we shall presently see why, but must first examine more closely the treatment of the triangles themselves, and the nature of the floral sculpture employed upon them.



Sec. XXIII. As the scale of Plate III. is necessarily small, I have given three of the sculptured triangles on a larger scale in Plate IV. opposite. Fig. 3 is one of the four in the lower series of Plate IV., and figs. 4 and 5 from another group. The forms of the trefoils are here seen more clearly; they, and all the other portions of the design, are thrown out in low and flat relief, the intermediate spaces being cut out to the depth of about a quarter of an inch. I believe these vacant spaces were originally filled with a black composition, which is used in similar sculptures at St. Mark's, and of which I found some remains in an archivolt moulding here, though not in the triangles. The surface of the whole would then be perfectly smooth, and the ornamental form relieved by a ground of dark grey; but, even though this ground is lost, the simplicity of the method insures the visibility of all its parts at the necessary distance (17 or 18 feet), and the quaint trefoils have a crispness and freshness of effect which I found it almost impossible to render in a drawing. Nor let us fail to note in passing how strangely delightful to the human mind the trefoil always is. We have it here repeated five or six hundred times in the space of a few yards, and yet are never weary of it. In fact, there are two mystical feelings at the root of our enjoyment of this decoration: the one is the love of trinity in unity, the other that of the sense of fulness with order; of every place being instantly filled, and yet filled with propriety and ease; the leaves do not push each other, nor put themselves out of their own way, and yet whenever there is a vacant space, a leaf is always ready to step in and occupy it.

Sec. XXIV. I said the trefoil was five or six hundred times repeated. It is so, but observe, it is hardly ever twice of the same size; and this law is studiously and resolutely observed. In the carvings a and b of the upper series, Plate III., the diminution of the leaves might indeed seem merely representative of the growth of the plant. But look at the lower: the triangles of inlaid purple marble are made much more nearly equilateral than those of white marble, into whose centres they are set, so that the leaves may continually diminish in size as the ornament descends at the sides. The reader may perhaps doubt the accuracy of the drawing on the smaller scale, but in that given larger, fig. 3, Plate IV., the angles are all measured, and the purposeful variation of width in the border therefore admits of no dispute.[14] Remember how absolutely this principle is that of nature; the same leaf continually repeated, but never twice of the same size. Look at the clover under your feet, and then you will see what this Murano builder meant, and that he was not altogether a barbarian.

Sec. XXV. Another point I wish the reader to observe is, the importance attached to color in the mind of the designer. Note especially—for it is of the highest importance to see how the great principles of art are carried out through the whole building—that, as only the white capitals are sculptured below, only the white triangles are sculptured above. No colored triangle is touched with sculpture; note also, that in the two principal groups of the apse, given in Plate III., the centre of the group is color, not sculpture, and the eye is evidently intended to be drawn as much to the chequers of the stone, as to the intricacies of the chiselling. It will be noticed also how much more precious the lower series, which is central in the apse, is rendered, than the one above it in the plate, which flanks it: there is no brick in the lower one, and three kinds of variegated marble are used in it, whereas the upper is composed of brick, with black and white marble only; and lastly—for this is especially delightful—see how the workman made his chiselling finer where it was to go with the variegated marbles, and used a bolder pattern with the coarser brick and dark stone. The subtlety and perfection of artistical feeling in all this are so redundant, that in the building itself the eye can rest upon this colored chain with the same kind of delight that it has in a piece of the embroidery of Paul Veronese.

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