Mark is there with his pen uplifted; he and the Lion are looking each other earnestly in the face, disputing about the way to spell a word--the Lion looks up in rapt admiration while St. Mark spells. This is wonderfully interpreted by the artist. It is the master-stroke of this imcomparable painting.
I visited the place daily, and never grew tired of looking at that grand picture. As I have intimated, the movement is almost unimaginably vigorous; the figures are singing, hosannahing, and many are blowing trumpets. So vividly is noise suggested, that spectators who become absorbed in the picture almost always fall to shouting comments in each other"s ears, making ear-trumpets of their curved hands, fearing they may not otherwise be heard. One often sees a tourist, with the eloquent tears pouring down his cheeks, funnel his hands at his wife"s ear, and hears him roar through them, "__Oh, to be there and at rest__!"
None but the supremely great in art can produce effects like these with the silent brush.
Twelve years ago I could not have appreciated this picture. One year ago I could not have appreciated it. My study of Art in Heidelberg has been a n.o.ble education to me. All that I am today in Art, I owe to that.
The other great work which fascinated me was Ba.s.sano"s immortal Hair Trunk. This is in the Chamber of the Council of Ten. It is in one of the three forty-foot pictures which decorate the walls of the room.
The composition of this picture is beyond praise. The Hair Trunk is not hurled at the stranger"s head--so to speak--as the chief feature of an immortal work so often is; no, it is carefully guarded from prominence, it is subordinated, it is restrained, it is most deftly and cleverly held in reserve, it is most cautiously and ingeniously led up to, by the master, and consequently when the spectator reaches it at last, he is taken unawares, he is unprepared, and it bursts upon him with a stupefying surprise.
One is lost in wonder at all the thought and care which this elaborate planning must have cost. A general glance at the picture could never suggest that there was a hair trunk in it; the Hair Trunk is not mentioned in the t.i.tle even--which is, "Pope Alexander III. and the Doge Ziani, the Conqueror of the Emperor Frederick Barbarossa"; you see, the t.i.tle is actually utilized to help divert attention from the Trunk; thus, as I say, nothing suggests the presence of the Trunk, by any hint, yet everything studiedly leads up to it, step by step. Let us examine into this, and observe the exquisitely artful artlessness of the plan.
At the extreme left end of the picture are a couple of women, one of them with a child looking over her shoulder at a wounded man sitting with bandaged head on the ground. These people seem needless, but no, they are there for a purpose; one cannot look at them without seeing the gorgeous procession of grandees, bishops, halberdiers, and banner-bearers which is pa.s.sing along behind them; one cannot see the procession without feeling the curiosity to follow it and learn whither it is going; it leads him to the Pope, in the center of the picture, who is talking with the bonnetless Doge--talking tranquilly, too, although within twelve feet of them a man is beating a drum, and not far from the drummer two persons are blowing horns, and many hors.e.m.e.n are plunging and rioting about--indeed, twenty-two feet of this great work is all a deep and happy holiday serenity and Sunday-school procession, and then we come suddenly upon eleven and one-half feet of turmoil and racket and insubordination. This latter state of things is not an accident, it has its purpose. But for it, one would linger upon the Pope and the Doge, thinking them to be the motive and supreme feature of the picture; whereas one is drawn along, almost unconsciously, to see what the trouble is about. Now at the very _end_ of this riot, within four feet of the end of the picture, and full thirty-six feet from the beginning of it, the Hair Trunk bursts with an electrifying suddenness upon the spectator, in all its matchless perfection, and the great master"s triumph is sweeping and complete. From that moment no other thing in those forty feet of canvas has any charm; one sees the Hair Trunk, and the Hair Trunk only--and to see it is to worship it. Ba.s.sano even placed objects in the immediate vicinity of the Supreme Feature whose pretended purpose was to divert attention from it yet a little longer and thus delay and augment the surprise; for instance, to the right of it he has placed a stooping man with a cap so red that it is sure to hold the eye for a moment--to the left of it, some six feet away, he has placed a red-coated man on an inflated horse, and that coat plucks your eye to that locality the next moment--then, between the Trunk and the red horseman he has intruded a man, naked to his waist, who is carrying a fancy flour-sack on the middle of his back instead of on his shoulder--this admirable feat interests you, of course--keeps you at bay a little longer, like a sock or a jacket thrown to the pursuing wolf--but at last, in spite of all distractions and detentions, the eye of even the most dull and heedless spectator is sure to fall upon the World"s Masterpiece, and in that moment he totters to his chair or leans upon his guide for support.
Descriptions of such a work as this must necessarily be imperfect, yet they are of value. The top of the Trunk is arched; the arch is a perfect half-circle, in the Roman style of architecture, for in the then rapid decadence of Greek art, the rising influence of Rome was already beginning to be felt in the art of the Republic. The Trunk is bound or bordered with leather all around where the lid joins the main body. Many critics consider this leather too cold in tone; but I consider this its highest merit, since it was evidently made so to emphasize by contrast the impa.s.sioned fervor of the hasp. The highlights in this part of the work are cleverly managed, the _motif_ is admirably subordinated to the ground tints, and the technique is very fine. The bra.s.s nail-heads are in the purest style of the early Renaissance. The strokes, here, are very firm and bold--every nail-head is a portrait. The handle on the end of the Trunk has evidently been retouched--I think, with a piece of chalk--but one can still see the inspiration of the Old Master in the tranquil, almost too tranquil, hang of it. The hair of this Trunk is _real_ hair--so to speak--white in patches, brown in patches. The details are finely worked out; the repose proper to hair in a rec.u.mbent and inactive att.i.tude is charmingly expressed. There is a feeling about this part of the work which lifts it to the highest alt.i.tudes of art; the sense of sordid realism vanishes away--one recognizes that there is _soul_ here.
View this Trunk as you will, it is a gem, it is a marvel, it is a miracle. Some of the effects are very daring, approaching even to the boldest flights of the rococo, the sirocco, and the Byzantine schools--yet the master"s hand never falters--it moves on, calm, majestic, confident--and, with that art which conceals art, it finally casts over the _tout ensemble_, by mysterious methods of its own, a subtle something which refines, subdues, etherealizes the arid components and endures them with the deep charm and gracious witchery of poesy.
Among the art-treasures of Europe there are pictures which approach the Hair Trunk--there are two which may be said to equal it, possibly--but there is none that surpa.s.ses it. So perfect is the Hair Trunk that it moves even persons who ordinarily have no feeling for art. When an Erie baggagemaster saw it two years ago, he could hardly keep from checking it; and once when a customs inspector was brought into its presence, he gazed upon it in silent rapture for some moments, then slowly and unconsciously placed one hand behind him with the palm uppermost, and got out his chalk with the other. These facts speak for themselves.
CHAPTER XLIX
[Hanged with a Golden Rope]
One lingers about the Cathedral a good deal, in Venice. There is a strong fascination about it--partly because it is so old, and partly because it is so ugly. Too many of the world"s famous buildings fail of one chief virtue--harmony; they are made up of a methodless mixture of the ugly and the beautiful; this is bad; it is confusing, it is unrestful. One has a sense of uneasiness, of distress, without knowing why. But one is calm before St. Mark"s, one is calm within it, one would be calm on top of it, calm in the cellar; for its details are masterfully ugly, no misplaced and impertinent beauties are intruded anywhere; and the consequent result is a grand harmonious whole, of soothing, entrancing, tranquilizing, soul-satisfying ugliness. One"s admiration of a perfect thing always grows, never declines; and this is the surest evidence to him that it _is_ perfect. St. Mark"s is perfect.
To me it soon grew to be so n.o.bly, so augustly ugly, that it was difficult to stay away from it, even for a little while. Every time its squat domes disappeared from my view, I had a despondent feeling; whenever they reappeared, I felt an honest rapture--I have not known any happier hours than those I daily spent in front of Florian"s, looking across the Great Square at it. Propped on its long row of low thick-legged columns, its back k.n.o.bbed with domes, it seemed like a vast warty bug taking a meditative walk.
St. Mark"s is not the oldest building in the world, of course, but it seems the oldest, and looks the oldest--especially inside.
When the ancient mosaics in its walls become damaged, they are repaired but not altered; the grotesque old pattern is preserved. Antiquity has a charm of its own, and to smarten it up would only damage it. One day I was sitting on a red marble bench in the vestibule looking up at an ancient piece of apprentice-work, in mosaic, ill.u.s.trative of the command to "multiply and replenish the earth." The Cathedral itself had seemed very old; but this picture was ill.u.s.trating a period in history which made the building seem young by comparison. But I presently found an antique which was older than either the battered Cathedral or the date a.s.signed to the piece of history; it was a spiral-shaped fossil as large as the crown of a hat; it was embedded in the marble bench, and had been sat upon by tourists until it was worn smooth. Contrasted with the inconceivable antiquity of this modest fossil, those other things were flippantly modern--jejune--mere matters of day-before-yesterday. The sense of the oldness of the Cathedral vanished away under the influence of this truly venerable presence.
St. Mark"s is monumental; it is an imperishable remembrancer of the profound and simple piety of the Middle Ages. Whoever could ravish a column from a pagan temple, did it and contributed his swag to this Christian one. So this fane is upheld by several hundred acquisitions procured in that peculiar way. In our day it would be immoral to go on the highway to get bricks for a church, but it was no sin in the old times. St. Mark"s was itself the victim of a curious robbery once. The thing is set down in the history of Venice, but it might be smuggled into the Arabian Nights and not seem out of place there:
Nearly four hundred and fifty years ago, a Candian named Stammato, in the suite of a prince of the house of Este, was allowed to view the riches of St. Mark"s. His sinful eye was dazzled and he hid himself behind an altar, with an evil purpose in his heart, but a priest discovered him and turned him out. Afterward he got in again--by false keys, this time. He went there, night after night, and worked hard and patiently, all alone, overcoming difficulty after difficulty with his toil, and at last succeeded in removing a great brick of the marble paneling which walled the lower part of the treasury; this block he fixed so that he could take it out and put it in at will. After that, for weeks, he spent all his midnights in his magnificent mine, inspecting it in security, gloating over its marvels at his leisure, and always slipping back to his obscure lodgings before dawn, with a duke"s ransom under his cloak. He did not need to grab, haphazard, and run--there was no hurry. He could make deliberate and well-considered selections; he could consult his esthetic tastes. One comprehends how undisturbed he was, and how safe from any danger of interruption, when it is stated that he even carried off a unicorn"s horn--a mere curiosity--which would not pa.s.s through the egress entire, but had to be sawn in two--a bit of work which cost him hours of tedious labor. He continued to store up his treasures at home until his occupation lost the charm of novelty and became monotonous; then he ceased from it, contented. Well he might be; for his collection, raised to modern values, represented nearly fifty million dollars!
He could have gone home much the richest citizen of his country, and it might have been years before the plunder was missed; but he was human--he could not enjoy his delight alone, he must have somebody to talk about it with. So he exacted a solemn oath from a Candian n.o.ble named Crioni, then led him to his lodgings and nearly took his breath away with a sight of his glittering h.o.a.rd. He detected a look in his friend"s face which excited his suspicion, and was about to slip a stiletto into him when Crioni saved himself by explaining that that look was only an expression of supreme and happy astonishment. Stammato made Crioni a present of one of the state"s princ.i.p.al jewels--a huge carbuncle, which afterward figured in the Ducal cap of state--and the pair parted. Crioni went at once to the palace, denounced the criminal, and handed over the carbuncle as evidence. Stammato was arrested, tried, and condemned, with the old-time Venetian promptness. He was hanged between the two great columns in the Piazza--with a gilded rope, out of compliment to his love of gold, perhaps. He got no good of his booty at all--it was _all_ recovered.
In Venice we had a luxury which very seldom fell to our lot on the continent--a home dinner with a private family. If one could always stop with private families, when traveling, Europe would have a charm which it now lacks. As it is, one must live in the hotels, of course, and that is a sorrowful business. A man accustomed to American food and American domestic cookery would not starve to death suddenly in Europe; but I think he would gradually waste away, and eventually die.
He would have to do without his accustomed morning meal. That is too formidable a change altogether; he would necessarily suffer from it. He could get the shadow, the sham, the base counterfeit of that meal; but it would do him no good, and money could not buy the reality.
To particularize: the average American"s simplest and commonest form of breakfast consists of coffee and beefsteak; well, in Europe, coffee is an unknown beverage. You can get what the European hotel-keeper thinks is coffee, but it resembles the real thing as hypocrisy resembles holiness. It is a feeble, characterless, uninspiring sort of stuff, and almost as undrinkable as if it had been made in an American hotel. The milk used for it is what the French call "Christian" milk--milk which has been baptized.
After a few months" acquaintance with European "coffee," one"s mind weakens, and his faith with it, and he begins to wonder if the rich beverage of home, with its clotted layer of yellow cream on top of it, is not a mere dream, after all, and a thing which never existed.
Next comes the European bread--fair enough, good enough, after a fashion, but cold; cold and tough, and unsympathetic; and never any change, never any variety--always the same tiresome thing.
Next, the b.u.t.ter--the sham and tasteless b.u.t.ter; no salt in it, and made of goodness knows what.
Then there is the beefsteak. They have it in Europe, but they don"t know how to cook it. Neither will they cut it right. It comes on the table in a small, round pewter platter. It lies in the center of this platter, in a bordering bed of grease-soaked potatoes; it is the size, shape, and thickness of a man"s hand with the thumb and fingers cut off. It is a little overdone, is rather dry, it tastes pretty insipidly, it rouses no enthusiasm.
Imagine a poor exile contemplating that inert thing; and imagine an angel suddenly sweeping down out of a better land and setting before him a mighty porterhouse steak an inch and a half thick, hot and sputtering from the griddle; dusted with a fragrant pepper; enriched with little melting bits of b.u.t.ter of the most unimpeachable freshness and genuineness; the precious juices of the meat trickling out and joining the gravy, archipelagoed with mushrooms; a township or two of tender, yellowish fat gracing an outlying district of this ample county of beefsteak; the long white bone which divides the sirloin from the tenderloin still in its place; and imagine that the angel also adds a great cup of American home-made coffee, with a cream a-froth on top, some real b.u.t.ter, firm and yellow and fresh, some smoking hot-biscuits, a plate of hot buckwheat cakes, with transparent syrup--could words describe the grat.i.tude of this exile?
The European dinner is better than the European breakfast, but it has its faults and inferiorities; it does not satisfy. He comes to the table eager and hungry; he swallows his soup--there is an undefinable lack about it somewhere; thinks the fish is going to be the thing he wants--eats it and isn"t sure; thinks the next dish is perhaps the one that will hit the hungry place--tries it, and is conscious that there was a something wanting about it, also. And thus he goes on, from dish to dish, like a boy after a b.u.t.terfly which just misses getting caught every time it alights, but somehow doesn"t get caught after all; and at the end the exile and the boy have fared about alike; the one is full, but grievously unsatisfied, the other has had plenty of exercise, plenty of interest, and a fine lot of hopes, but he hasn"t got any b.u.t.terfly.
There is here and there an American who will say he can remember rising from a European table d"hote perfectly satisfied; but we must not overlook the fact that there is also here and there an American who will lie.
The number of dishes is sufficient; but then it is such a monotonous variety of _unstriking_ dishes. It is an inane dead-level of "fair-to-middling." There is nothing to _accent_ it. Perhaps if the roast of mutton or of beef--a big, generous one--were brought on the table and carved in full view of the client, that might give the right sense of earnestness and reality to the thing; but they don"t do that, they pa.s.s the sliced meat around on a dish, and so you are perfectly calm, it does not stir you in the least. Now a vast roast turkey, stretched on the broad of his back, with his heels in the air and the rich juices oozing from his fat sides ... but I may as well stop there, for they would not know how to cook him. They can"t even cook a chicken respectably; and as for carving it, they do that with a hatchet.
This is about the customary table d"hote bill in summer:
Soup (characterless).
Fish--sole, salmon, or whiting--usually tolerably good.
Roast--mutton or beef--tasteless--and some last year"s potatoes.
A pate, or some other made dish--usually good--"considering."
One vegetable--brought on in state, and all alone--usually insipid lentils, or string-beans, or indifferent asparagus.
Roast chicken, as tasteless as paper.
Lettuce-salad--tolerably good.
Decayed strawberries or cherries.
Sometimes the apricots and figs are fresh, but this is no advantage, as these fruits are of no account anyway.
The grapes are generally good, and sometimes there is a tolerably good peach, by mistake.
The variations of the above bill are trifling. After a fortnight one discovers that the variations are only apparent, not real; in the third week you get what you had the first, and in the fourth the week you get what you had the second. Three or four months of this weary sameness will kill the robustest appet.i.te.
It has now been many months, at the present writing, since I have had a nourishing meal, but I shall soon have one--a modest, private affair, all to myself. I have selected a few dishes, and made out a little bill of fare, which will go home in the steamer that precedes me, and be hot when I arrive--as follows:
Radishes. Baked apples, with cream Fried oysters; stewed oysters.
Frogs. American coffee, with real cream. American b.u.t.ter. Fried chicken, Southern style. Porter-house steak. Saratoga potatoes. Broiled chicken, American style. Hot biscuits, Southern style. Hot wheat-bread, Southern style. Hot buckwheat cakes. American toast. Clear maple syrup. Virginia bacon, broiled. Blue points, on the half sh.e.l.l. Cherry-stone clams. San Francisco mussels, steamed. Oyster soup. Clam Soup. Philadelphia Terapin soup. Oysters roasted in sh.e.l.l-Northern style. Soft-sh.e.l.l crabs.
Connecticut shad. Baltimore perch. Brook trout, from Sierra Nevadas.
Lake trout, from Tahoe. Sheep-head and croakers, from New Orleans.
Black ba.s.s from the Mississippi. American roast beef. Roast turkey, Thanksgiving style. Cranberry sauce. Celery. Roast wild turkey.
Woodc.o.c.k. Canvas-back-duck, from Baltimore. Prairie liens, from Illinois. Missouri partridges, broiled. "Possum. c.o.o.n. Boston bacon and beans. Bacon and greens, Southern style. Hominy. Boiled onions. Turnips.
Pumpkin. Squash. Asparagus. b.u.t.ter beans. Sweet potatoes. Lettuce.
Succotash. String beans. Mashed potatoes. Catsup. Boiled potatoes, in their skins. New potatoes, minus the skins. Early rose potatoes, roasted in the ashes, Southern style, served hot. Sliced tomatoes, with sugar or vinegar. Stewed tomatoes. Green corn, cut from the ear and served with b.u.t.ter and pepper. Green corn, on the ear. Hot corn-pone, with chitlings, Southern style. Hot hoe-cake, Southern style. Hot egg-bread, Southern style. Hot light-bread, Southern style. b.u.t.termilk. Iced sweet milk. Apple dumplings, with real cream. Apple pie. Apple fritters. Apple puffs, Southern style. Peach cobbler, Southern style Peach pie. American mince pie. Pumpkin pie. Squash pie. All sorts of American pastry.
Fresh American fruits of all sorts, including strawberries which are not to be doled out as if they were jewelry, but in a more liberal way.
Ice-water--not prepared in the ineffectual goblet, but in the sincere and capable refrigerator.