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One sees the bridge that was thus built, the foundations having been laid with much ceremony, a procession and a sung mass, in a seventeenth-century print in the Museo Civico. There is a buttress a quarter of the way from each end, on which houses were still standing. Then in 1635 this bridge was carried away by a flood.
The suitability of this consummation needn't be pointed out. Even we ourselves, in the irresistible contagion, are going so fast now that we have only time to note in how clever and costly a fashion the Museo Civico, the old Fondaco dei Turchi, has been reconstructed and restored.
It was in the Museo Civico of Venice that we saw and fell victims to an enchanting antique table decoration a formal Italian garden, in blown glass, once the property of a great Venetian family and redolent of those golden days when Venice was the playground of princes, and feasting their especial joy; days when visiting royalty and the world's greatest folk could have no higher honour bestowed upon them than a gift of Venetian glass, often real marvels mounted in silver and gold.
It is enough to indicate the goal of many a pleasant pilgrimage: warrior angels of Vivarini and Basaiti hidden in a dark chapel of the Frari; Fra Francesco's fantastic orchard of fruits and flowers in distant S. Francesco della Vigna; the golden Gian Bellini in S. Zaccaria; Palma's majestic S. Barbara in S. Maria Formosa; San Giobbe's wealth of sculptured frieze and floral scroll; the Ponte di Paradiso, with its Gothic arch; the painted plates in the Museo Civico; and palace after palace, loved for some quaint piece of tracery, some moulding full of mediæval symbolism, some fierce impossible Renaissance freak of fancy.
A "Madonna in Glory" and the "Women of Samaria," 1799, are in the New Pinakothek, Munich, where is also the portrait of Louis I. of Bavaria, as Crown Prince, 1805. The "Farewell of Abelard and Heloise," together with other works of this artist, are in the Hermitage, St. Petersburg. A "Holy Family," and others, in the Museo Civico, Venice.
His earliest picture is dated 1490: his last 1521 or 1522. Gentile Bellini was his master. Ruskin found Carpaccio by far the most sympathetic Venetian painter. Everything that he painted, even, as I point out later, the Museo Civico picture of the two ladies, he exults in, here, there, and everywhere.
But the plot miscarried through one of the conspirators warning a friend to keep indoors; the ringleaders were caught and hanged or exiled; and the Doge, after confessing his guilt, was beheaded in the courtyard of this palace. His coffin may be seen in the Museo Civico, and of his unhappy story Byron made a drama.
Leaving on our right the Palazzo Civico, built two-score years before Columbus set foot on the beach of San Salvador, we rolled through the gateway in the ancient city wall, acknowledging the salute of the steel-helmeted sentry just as the mail-clad knights who rode through that same gateway to the fighting on the plain, long centuries ago, doubtless acknowledged the salute of the steel-capped men-at-arms.
From the Museo Civico, whither we repaired first in the morning, and where there are some beautiful Montagnas, and an assortment of good and bad works by other masters, we went to the Campo Santo, which is worthy to be seen, if only because of the beautiful Laschi monument by Vela, one of the greatest modern sculptors.
Perfect, in its prime, was the marble Ca'd'Oro, with the noble recesses of its <i>loggie</i>, but even then it probably never "met a want," like the successful <i>vaporetto<i>. If, however, we are not to go into the Museo Civico the old Museo Correr, which rears a staring renovated front far down on the left, near the station, so also we must keep out of the great vexed question of steam on the Canalazzo, just as a while since we prudently kept out of the Accademia.
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