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The latter grew in piety, fame, and learning, and at the time the former began his quarrel with the Republic, there was none in Venice so fit and prompt as Sarpi to stand forth in her defense. He was at once taken into the service of St. Mark, and his clear, acute mind fashioned the spiritual weapons of the Republic, and helped to shape the secular measures taken to annul the interdict.
And yet I could not feel that the ground was holy, and it did not make me think of Sarpi; and I believe that only those travelers who invent in cold blood their impressions of memorable places ever have remarkable impressions to record. Once, before the time of Sarpi, an excommunication was pronounced against the Republic with a result as terrible as that of the later interdict was absurd.
He had talked over the art of sonneteering with Tasso, the art of history with Sarpi; he had listened, between awe and incredulity, to the daring theories of Galileo; he had taken his pupils to Venice, that their portraits might be painted by Paul Veronese; he had seen the palaces of Palladio, and the merchant princes on the Rialto, and the argosies of Ragusa, and all the wonders of that meeting-point of east and west; he had watched Tintoretto's mighty hand "hurling tempestuous glories o'er the scene;" and even, by dint of private intercession in high places, had been admitted to that sacred room where, with long silver beard and undimmed eye, amid a pantheon of his own creations, the ancient Titian, patriarch of art, still lingered upon earth, and told old tales of the Bellinis, and Raffaelle, and Michael Angelo, and the building of St.
And, in fact, the only thing that remembered Sarpi, on the site of the convent where he spent his life, died, and was buried, was the little tablet on the outside of the wall, of which the abbreviated Latin announced that he had been Theologue to the Republic, and that his dust was now removed to the island of San Michele.
It is also not impossible that artists may have already invented what we call steel pens. Sarpi, in the seventeenth century, thanks a correspondent for the gift of one of these mechanical devices. Speaking broadly, the reed and the quill, red and black chalk, or matita, were the vehicles of Michelangelo's expression as a draughtsman.
Sarpi wrote also a history of the Council of Trent, published in London, 1619. His complete works were published in Naples in 1790, in twenty-four volumes. Another Venetian statesman, Jerome Maggi, very learned in archaeology, history, mathematics, and other sciences, hastened his death by his writings.
Of Settembrini he spoke highly as a noble character and valuable critic, though with no permanent place in Italian literature. He excused the tardiness of Italians in putting up statues to Giordano Bruno and Fra Paolo Sarpi, since they had so many other recent statues to put up.
What was much better, new honors were showered upon Sarpi, and extraordinary and affectionate measures were taken to provide for his safety. And, in fine, he lived in the service of the Republic, revered and beloved, till his seventieth year, when he died with zeal for her good shaping his last utterance: "I must go to St. Mark, for it is late, and I have much to do."
Brave Sarpi, and brave Republic! Men cannot honor them enough. For though the terrors of the interdict were doubted to be harmless even at that time, it had remained for them to prove the interdict, then and forever, an instrument as obsolete as the catapult.
He was the author of all the pamphlets that had been written on the subject of mortmain; and as he was an intimate friend of the ambassador's, M. Mocenigo had furnished him with an account of the proceedings of the Venetian Republic against the monks. He might have dispensed with this source of information if he had read the writings of Father Paul Sarpi on the same subject.
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