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Updated: May 28, 2025
The Campo Santo The Vivarini The glass-blowers An artist at work S. Pietro A good Bellini A keen sacristan S. Donato A foreign church An enthusiast Signor "Rooskin" The blue Madonna The voyage to Burano The importunate boatman A squalid town The pretty lace workers Torcello A Christian exodus Deserted temples The bishop's throne The Last Judgment The stone shutters The Porto di Lido.
In course of time, when he is fully persuaded that we are not only English but worthy of his secret, it comes out that he had the priceless privilege of knowing Signor "Rooskin" in the flesh, and from his pocket he draws a copy of The Stones of Venice, once the property of one Constance Boyle, but now his own.
Signor Rooskin, it is true, saw her as a symbol of sadness, and some of the most exquisite sentences of "The Stones of Venice" belong to her; but had her robe been of less lovely hues it is possible that he might have written differently. When the church was built, probably in the tenth century, the Virgin was its patron saint.
This he fondles, for though the only words in his own chapters that he can understand are "Murano" and "Donato," yet did not his friend the great Signor Rooskin write it, and what is more, spend many, many days in careful examination of everything here before he wrote it? For that is what most appeals to the old gentleman: the recognition of his S. Donato as being worthy of such a study.
The vigorous climb the campanile, from which, as Signor Rooskin says, may be seen Torcello and Venice "Mother and Daughter ... in their widowhood." Looking down, it is strange indeed to think that here once were populous streets. On the way to the campanile do not forget to notice the great stone shutters of the windows of the cathedral; which suggest a security impossible to be conveyed by iron.
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