1380 ,, Chiozza, her most fatal war, I. i. 5.
1380 II. v. 13.
1406 ,, murder of Carrara, her worst crime,
I. I. 5-
1418 ,, Carlo Zeno's death, I. I. 5, 6.
1418 ,, fall of Venice.
See below, s. Fall.
1454 war with Turkey, I. I. 5.
1497 ib., ib., ib.
1509 submission to Papal power, z., *., id., //.
See s. Ducal Palace, Mark's (Saint).
Fall of Venice (141823):
I. i. 5, 46; I. v. 25.
aspect and lesson of, I. I. 1-5.
causes of (infidelity, luxury, pride, self-indulgence, sen-
sualism, vainglory). See
I. I. 3, 28.
I. v. 128.
II. m. 47, 85; II. iv. 103.
II. v. i, 18, 76.
Government of:
Council of Ten, I. v. 16.
doges, election of, described, II. vi. 7.
hero-princes, I. I. 4.
earliest, I. I. 3.
power of papacy, I. i. 1 1 .
secrecy of, not a sign of deceit, I. v. 128.
Serrar del Consiglio, I. I. 6; I. v. 12.
Greatness of:
coincident with her religion, I. i. 8.
pride of, II. ill. 47.
Miscellaneous details (ancient and modern) :
approach of, entrance into, 1. 11. i, 2.
aspect of, temp. Enrico Dandolo and now, ib., ib., ib.
Brides of, II. v. 3, 7, seqq.
74 THE STONES OF VENICE.
Venice : miscellaneous details (ancient and modern), continued:
Byron's aspect of, I. II. 2.
children, uncombed hair of, I. v. 67.
dialect of, I. v. 96.
doge's election described, II. vi. 7.
dress, II. v. 8 n.
England, Tyre and (the three thrones), I. I. I,
festival of, the chief, I. I. 1 1 .
geographical position, I. II. 4.
gondolas. See s. v.
gondolier's cry. See s. v.
guides to. See s. Kugler, Lazari, Murray.
Henry V., of Germany, at, I. v. n.
horses in, I. v. 97.
June, the month of cherries, I. v. 124.
marriages, II. V. 7 seqq.
moonlight, I. v. 114.
Otho (Emperor), at, I. v. 10.
romantic sentiment about, I. II. 2, /.
ruin of modern, I. II. 2; II. vi. 3.
Saint Mark and. See s. Mark.
Theodore and. See s. Theodore,
steam gondolas, etc., II. VI. 3.
Tides of, I. II. 6.
tourists' enjoyment of, II. vi. I, 4.
war-towers, none in, I. I. 12.
II. Art:
Generally :
as evidence of her life, I. I. 8, 13.
learnt from her foes, I. I. 33.
Painting:
school of, II. vi. 6.
study of what painters recommended, II. App. II.
pref.
Sculpture:
noo 1 200 poor, II. m. 47.
INDEX. 75
Venice: sculpture, continued:
1300 1400, peculiar dress of figures, I. v. 40.
figure sculpture progresses slowly, II. in. 53.
See s.
IIL Architecture:
(a) generally
battlefield of architecture, Venice, I. I. 24.
churches, built by private enterprise, I. I. 9.
Commynes, Philip de, on, I. i. 15.
decline of, II. I. 4 seqq.
domestic, Arabian, I. I. 32.
and ecclesiastical, I. I. 33.
marble from Istria, I. I. 15, 16.
palaces :
frescoed, II. i. 30-4.
Gothic and Byzantine, II. i. 25.
colour, II. i. 30 seqq.
domestic, I. v. i.
forms of decline, I', i. 5.
later II. i. 24.
Renaissance, medallions on, II. i. 23 .
Renaissance architecture at:
adopted, II. n. 45; II. in. 47.
churches, the three vilest, II. v. 19.
death-knell of Venetian architecture, I. v. 25.
inlaid marbles of, II. i. 23.
palaces, I. i. 38; II. i. 23.
Roman architecture at, I. I. 30.
streets of, 1200 1400, II. I. i.
colour of, tb.j tb., ib.
styles of, I. I. $Qseqq.; I. V. 9; II. I. 23.
tombs of, I. I. 40.
Venice temp. Enrico Dandolo, I. i. 4; I. n. 2.
,, Giorgione ('Modern Painters,' quoted),
II. vi. 7.
(V) details:
angles, pilastered, etc., I. V. 31.
capitals, I. v. 130, 131.
ceilings decorated, I. v. 19.
finials, etc., as signs of decline, II. i. 14.
7 6
THE STONES OF VENICE.
Venice: buildings, etc., continued:
IV. Buildings, etc., mentioned (either for their architecture
or for the pictures they contain):
(l) churches:
Alvise, S., II. App. n. s.v.
Andrea, S., II. App. n. s.v.
Angeli (Murano), II. App. n. s.v.
Apostoli, SS M II. App. II. s.v.
Bartolomeo, S. II. App. n. s.v.
Carita, Church of the, II. App. n. s.v.
Carinini, finialed porch of, II. i. 14.
Cassano, S., II. App. u. s.v.
Clemente, S.
Donato of Murano, II. App. n. s.v.
Eufemia, S., II. App. n. s.v.
Eustachio, S., sculpture of fa^de, II. v. 22.
II. App. u., s. Ospe-
daletto.
Formosa, S. Maria, the first church in Venice to the
Virgin, II. v. 3.
,, the first church, with no religious
decoration, II. v. 17.
> ,, grotesque head on, II. v. 14, 16, 39.
> >, ,, ,, II. App. n., s.
Ospedaletto.
Fosca, S. (Torcello). See s. Torcello.
Francesco dclla Vigna, S., II. App. n. s.v.
Frari. See above, s. Frari.
Geminiano, S., old church of, I. iv. 3.
Giacomo dell' Orio, S., II. App. n. s.v.
,, ,, Arabian character of, I. i. 33.
,, ,, jewel shaft, I. iv. 33.
di Rialto, S., II. App. n. s.v.
j, ,, Byzantine character in, I. I. 30.
Giobbe, S., II. App. n. s.v.
Giorgio dei Greri, S., II. App. n. s.v.
- ,, ,, Schiavoni, S., II. App. II. s.v.
,, in Aiga, II. App. n. s.v.
,, Maggiore, II. App. n. s.v.
Giovanni e Paolo, SS. See above, s. Giovanni.
,, Elemosinario, II. App. n. s.v.
,, Grisostomo, II. App. n. s.v.
,, in Bragora, II. App. II. s.v.
Giuseppe di Carbello, II. App. n. s.v.
Gregorio, II. App. n. s.v.
Jesuit!, II. App. II. s.v.
Luca, 11^ App. II. s.v.
Marcilian, II. App. n. s.v.
Maria, Churches to S., II. App. 11., s. Maria.
Mark's, Saint. See above, s. Mark.
Mater Domini, II. App. n. s.v.
INDEX. 77
Venice: buildings, etc., continued:
Churches, continued:
Michele in Isola, II. App. u. s.v.
Miracoli, Maria dei, II. App. n. s.v.
Misericordia, II. App. n. s.v.
Moise, S., II. App. u. s.v., and s. Ospedaletto.
,, frightful facade of, I. iv. 11-13.
,, its insolent atheism, II. v. 19.
Orto, S. Maria dell', II. App. u. s.v.
Ospedaletto, II. App. u. s.v.
Paternian, II. App. n. s.v.
Pietro di Castello , the patriarchal Church of Venice,
I. i. 9.
Polo, II. App. u. s.v.
Redentore, II. App. u. s.v.
Rocco, II. App. u. s.v.
Salute, II. App. u. s.v.
,, aspect of, generally, II. App. u., s. Barbaro and
Contarini Fararo.
,, aspect of, generally. I. n. i, 2.
,, tomb of F. Dandolo in, I. v. 16; II. in. 58.
Salvador, II. in. 80.
Salvatore, II. App. u. s.v.
Scalzi, II. App. ii. s.v.
Sebastian, S., architecture and painting of, II. i. 36 .
,, ,, ,, ,, II. App. u. s.v.
Servi, II. App. n. s.v.
Silvestro, S., II. App. n. s.v.
Simeone Piccolo, II. App. 11. s.v.
,, Profeta, II. App. u. s.v.
Stefano (Murano), II. App. n. s.v.
- (Venice), II. App. n. s.v.
,, ,, finials of, II. i. 14.
Tolentini, Church of the, II. App. u. s.v.
Torcello. See s. Torcello.
Trovaso, S., II. App. n. s.v.
Vitali, S., II. App. u. s.v.
Volto, Santo, II. App. u. s.v.
Zaccaria, S., II. App. II. s.v.
Zobenigo, S. Maria, II. App. u. s.v., and s. Ospedaletto.
,, ,, its insolent atheism, II. v. 19.
(2) palaces:
Apostoli, palace near, SS., II. App. n. s.v.
Badoer Participazio, its disc ornament, II. App. u. s.v.
BafFo, II. App. u. s.v.
Barbarigo, II. App. n. s.v.
Barbaro, II. App. n. s.v.
Bembo (a), on Grand Canal, II. App. 11. s.v.
,, (b), in Calle Magno, II. App. n. s.v.
{(a), on Grand Canal.
(), at S. Polo, "the best after the Ducal."
II. App. n. s.y.
75 THE STONES OF VENICE.
Venice: buildings, etc., continued:
Palaces, continued:
Caruerlenghi, I. n. i ; II. App. n. s.v.
Cappello, II. App. n. s.v.
Cavalli (a), II. App. u. s.v.
,, (&), II. App. n. s.v.
Contarini dai Scrigni, II. App. n. s.v.
della Figure, II. i. 23 ; II. App. n. s.v.
Fasan, II. App. n. s.v.
Porta di Ferro, II. App. n. s.v.
Corner della Ca' Grande, II. App. n. s. v.
,, Regina, II. v. 22.
Spinelli, II. App. n. s.v.
Raccolta, II. App. n. s.v.
Dandolo, II. App. n. s.v.
Dario, II. i. 23 and n.
Dona', II. App. n. s.v.
D'Oro, capitals, II. i. 13 ./ II. App. n. s.v.
Ducal. See above, s. Ducal Palace.
Erizzo (a), near Arsenal, II. App. u. s.v.
(), on Grand Canal, II. App. n. s.v.
Europa Hotel, II. App. n. s.v.
Ferro, II. App. n. s.v.
Fondaco de* Turchi, I. v. 10 ; II. App. n. s.v.
Foscari, II. App. n. s.v.
Giovanelli, II. App. II. s.v.
Giustiniani, II. App. u. s.v.
Grimani, II. n. i ; II. App. n. s.v.
Loredan, II. App. n. s.v.
Malipiero, II. App. u. s.v.
Manfrini, II. App. u. s.v.
Manzoni, II. i. 23, and n.
Minelli, II. App. u. s.v.
Moro, II. App. n. s.v.
Nani-Mocenigo, II. App. n. s.v.
Pesaro, II. v. 22 ; II. App. n. s.v.
Pisani, II. App. n. s.v.
Polo, II. App. n. s.v.
Priuli, II. i. 34 ; II. App. n. s.v.
Querini, II. App. n. s.v.
Rezzonico, II. App. 11. s.v.
Sagredo, frescoes, II. i. 32 ; II. App. n. s.v
S. Severe, house near, II. App. n. s.v.
Sanudo, II. App. n. s.v.
Tiepolo, see Braided House, II. App. u. s.v.
Trevisan, II. i. 38, and n.; II. App. n. s.v.
Tron., II. App. n. s.v.
Vittura, II. v. 14 .
(3) miscellaneous:
Academy, II. App. n. s.v. See s. Names of Artists.
Arsenal, II. App. n. s.v.
INDEX. 79
Venice: buildings, etc,, continued:
Miscellaneous, continued:
Black Eagle Inn, I. iv. 13.
Bridge of Sighs, I. 11. 2 ; 1. v. 3, 20.
,, ,, built by Antonio da Ponte, I. v. 29.
,, ,, ,, ,, ,, II. v. 16, 22.
,, ,, like Temple Bar, II. App. n. s. Rialto.
See below, s. Ponte.
Campiello della Strope, house near, II. App. 11. s.v.
,, S. Rocco, II. App. ii. s. Rocco.
Campo S. Benedetto, II. App. n. s.v.
,, S. M. Mater Domini, II. App. 11. s.v.
,, S. Zaccaria, archway, II. I. 14.
,, S. Polo, moulding, II. App. 11. s.v.
Cancellaria, II. App. n. s.v.
Correr Museum, II. App. n. s.v. n.
,, ,, MS. in quoted, I. v. 24.
Corte del Remer, II. App. n. s.v.
Dogana di Mare, II. App. n. s.v.
Giudecca, II. App. n. s.v.
Jean d'Arc, pillars, I. iv. 15.
Libreria Vecchia, II. App. n. s.v.
Ospedaletto, II. v. 22.
Othello's house, II. App. 11. s.v.
Piazza, of S. Mark, appearance of, originally, I. iv. 2.
,, ,, description of, I. iv. 12 segg.
,, ,, first called Broglio, I. iv. 3.
,, ,, greatness and debasement of, I. iv. 71.
,, ,, plan of, I. v. 3.
And see II. App. n. s.v.
Piazzetta, I. i. 44-45.
,, importance of, in old times, I. v. 36.
,, pillars, I. i. 32; II. App. n. s.v.
Ponte della Paglia, I. v. 4.
,, dei Sospiri. See above, s. Bridge of Sighs.
Porta della Carta (1423), II. i. 15 ; (1439-41), I. v. 26.
Rialto, II. App. n. s.v.
Rio del Palazzo, II. App. n. s.v.
Salizzada San Lio, II. App. n. s.v.
Scuola di S. Giovanni, II. App. n. s.v.
,, Marco, II. i. 23 ; II. App. n. s.v.
,, ,, Rocco, neglect of pictures at (1846), I. v. 139.
And see II. App. n. s.v.
Verona :
architecture of, Byzantine Renaissance at, II. I. 23.
crocket at, II. I. 14.
,, finials, II. I. 14.
,, tombs of:
character of, I. i. 40.
8o THE STONES OF VENICE.
Verona, continued:
architecture of, tombs of:
,, gable decoration of, II. in. 19.
See below s. Castelbarco, Scaliger.
battle under walls of, Austrians, 1848, I. n. 4.
buildings, etc., at, specially mentioned:
' Fra Giocondo's Loggia, II. I. 23 n.
S. Zeno, I. m. 8.
Scaligers' Palace and Tombs. See s. Scaliger.
Veronese, Paul, his chiaroscuro, II. I. 27.
frescoes, II. I. 35.
luxury, I. v. 134.
,, ,, manner, II. App. II., Rocco Scuola 7.
,, Venice, the place to see, II. App. n. pref.
,, ,, works of:
" Death of Darius," II. App. n., s. Pisani.
Ducal Palace pictures, neglected, I. v. 139 seqg
Europa, II. App. n., s. Ducal Palace, n.
Fall of Manna, II. App. n., s. Apostoli.
Judith (Genoa), II. vi. 5.
In the Redentore, II. App. u. s.v.
S. Catherine's marriage, II. App. n., Cattarina.
S. Luke and the Virgin, II. App. n., Luca.
Venice enthroned, II. App. n., Ducal Palace 12.
and Doge Selvo, II. App. n., Ducal
Palace 13.
Verrochfo, combines execution with knowledge, II. I. 16, 19, 20.
works of: Colleone statue, II. I. 22.
Versailles, II. II. 45.
Vespasian, sculpture of, on Ducal Palace capital, I. v. 68.
Vice, representation of, I. v. 56. See s. Virtues.
Vicenza, architecture of, I. I. 34, 38.
peaks of, I. n. I.
siege of, II. m. 53.
Town Hall, II. in. 53.
Victory, figure of, on Faliero tomb, II. III. 84.
Vincenzo Capello, inscription to (S. Maria Formosa), II. v.
17, 18.
Vine, sculpture of, Byzantine and Lombard, I. in. 5.
with serpent, Torcello, I. in. 5.
free and in service, I. IV. 49.
INDEX. 8 1
Vine, symbolic of Christ, I. ill. 5.
Virgin, mosaics of, in S. Mark's, I. iv. 18.
subordinate to Christ in old Romanism, I. IV. 20 n.
Virtues, analysis of, in Christianity, I. v. 46, 49, 52, 54.
,, Christian and classical classification of, I. v. 56.
cardinal, recognised, z., /&., ib.
Cicero and Plato on the, I. v. 49.
,, on Ducal Palace, I. I. 47.
,, personification of, Christian, I. v. 55.
,, representation of Virtues and Vices in early Christian art,
I. V. 44 seqq.
statues of, on later tombs, II. in. 46 seqq. 68. See s.
Tombs.
theological, Faith, Hope, Charity, I. v. 50.
,, the "steps of the Virtues," I. v. 53, 54.
Virtus, confusion of the word, I. V. 49.
Vitruvius, quoted, II. 11. 38.
Vittor, Pisani, I. I. 5.
Vivarini, picture by, in Frari, II. App. II., s. FrarL
Vulgate, quoted:
Psalm cm. 21, I. v. 49.
Psalm CXLVIII. 2, I. v. 49.
WATTS, G. F., painter, II. I. 35, 39 n.
"Weight, to be borne by capitals. See s. Capital.
West, Benjamin, I. IV. 58.
Whitehall, windows of, II. n. 3.
Whitewash and restoration, II. I. 32 n.
Wind, effect of, on Ducal Palace capital, I. v. 105.
Windows, English, " square openings in the wall," II. I. 2.
plate-glass, II. I. 44.
porches over, I. I. 8.
Venetian, six orders of, I. v. 117. See s. Tracery.
Wine trade, England and Venice, II. v. 10 n.
Wood, Mr., on the ugliness of S. Mark's, I. IV. 28.
Wood, graining of, II. I. 40 seqq.
painting of, to imitate marble, ib.
Wordsworth, often misquoted, II. App. n. pref.
quoted, Sonnet, "The world is too much with us"
("A Pagan suckled," etc.), II. IV. 101.
The Stones of Venice. I. 6
82 THE STONES OF VENICE.
Workman, true and false tempered in art, II. in. 48.
to be happy in his work (cf. graining wood), II. I. 40.
Wren, Sir C., I. i. 38.
II. n. 3. See s. Paul's (Saint).
YOUNG, quoted, "To waft a feather or to drown a fly," I. V. 92.
,, "'Tis not in folly not to scorn a fool," II,
App. i. 54.
Youth, a, entering life, what he should know. See s. Education.
ZANOTTO, quoted, II. in. 69.
Zara, Dandolo and the siege of, I. i. 9.
Zeno, Carlo, his death, I. I. 5 ; I. i. 40.
II. in. 66.
, Saint. See s. Verona.
Ziani, Doge (1172), and the Ducal Palace, I. i. 4; I. v. n.
Zodiac,, signs of, on Ducal Palace, I. V. 106.
THE STONES OF VENICE.
CHAPTER I.
[FIRST, OF THE OLD EDITION.]
THE QUARRY.
i. SINCE first the dominion of men was asserted
over the ocean, three thrones, of mark beyond all others,
have been set upon its sands: the thrones of Tyre, Venice,
and England. Of the First of these great powers only
the memory remains; of the Second, the ruin; the Third,
which inherits their greatness, if it forget their example,
may be led, through prouder eminence, to less pitied
destruction.
The exaltation, the sin, and the punishment of Tyre
have been recorded for us, in perhaps the most touch-
ing words ever uttered by the Prophets of Israel against
the cities of the stranger. But we read them as a lovely
song; and close our ears to the sternness of their warn-
ing: for the very depth of the fall of Tyre has blinded
us to its reality, and "we forget, as we watch the bleach-
6*
84 THE STONES OF VENICE.
ing of the rocks between the sunshine and the sea, that
they were once "as in Eden, the garden of God."
Her successor, like her in perfection of beauty, though
less in endurance of dominion, is still left for our be-
holding in the final period of her decline: a ghost upon
the sands of the sea, so weak, so quiet, so bereft of
all but her loveliness, that we might well doubt, as we
watched her faint reflection in the mirage of the lagoon,
which was the City, and which the Shadow.
I would endeavour to trace the lines of this image
before it be for ever lost; and to record, as far as I may,
the warning which seems to me to be uttered by every
one of the fast-gaining waves, that beat, like passing
bells, against the STONES OF VENICE.
2. It would be difficult to overrate the value of
the lessons which might be derived from a faithful study
of the history of this strange and mighty city: a history
which, in spite of the labour of countless chroniclers,
remains in vague and disputable outline, barred with
brightness and shade, like the far-away edge of her own
ocean, where the surf and the sandbank are mingled
with the sky. The inquiries in which we have to engage
will hardly render this outline clearer, but their results
will in some degree alter its aspect; and, so far as they
bear upon it at all, they possess an interest of a far
higher kind than that usually belonging to architectural
investigations. I may, perhaps, in the outset, and in few
words, enable the general reader to form a clearer idea
of the importance of every existing expression of Vene-
tian character through Venetian art, and of the breadth
of interest which the true history of Venice embraces,
THE QUARRY. 85
than he is likely to have gleaned from the current fables
of her mystery, or magnificence.
3. Venice is usually conceived as an oligarchy:
She was so during a period less than the half of her
existence, and that including the days of her decline;
and it is one of the first questions needing severe exami-
nation, whether that decline was owing in any wise to
the change in the form of her government, or altogether,
as assuredly in great part, to changes in the character
of the persons of whom it was composed.
The state of Venice existed Thirteen Hundred and
Seventy- six years, from the first establishment of a con-
sular a government on the island of the Rialto, to the
moment when the General-in-chief of the French army
of Italy pronounced the Venetian republic a thing of
the past. Of this period, Two Hundred and Seventy-
six years were passed in a nominal subjection to the
cities of old Venetia, especially to Padua, and in an
agitated form of democracy of which the executive ap-
pears to have been entrusted to tribunes, b chosen, one
by the inhabitants of each of the principal islands. For
six hundred years, during which the power of Venice
was continually on the increase, her government was an
elective monarchy, her King or Doge possessing, in early
a [I affectedly called it "consular," because the Ducal power
was limited by the great council of the people , and often by two
subordinate ministers. But see the clearer statement in my re-
written history: "St. Mark's Rest," chap, v.]
D [There is no "appearance" in the matter. Each tribe or
group of people had its own natural captain , and I don't trace any
subjection to the land cities, now. See again the new history. But
the main truth of the statement remains: the government was at
first democratic, agitated, and weak.]
86 THE STONES OF VENICE.
times at least, as much independent authority as any
other European sovereign, but an authority gradually
subjected to limitation, and shortened almost daily of its
prerogatives, while it increased in a spectral and inca-
pable magnificence. The final government of the nobles
under the image of a king lasted for five hundred years,
during which Venice reaped the fruits of her former
energies, consumed them, and expired.
4. Let the reader therefore conceive the existence
of the Venetian state as broadly divided into two
periods: the first of nine hundred, the second of five
hundred years, the separation being marked by what
was called the "Serrar del Consiglio;" that is to say,
the final and absolute distinction of the nobles from the
commonalty, and the establishment of the government
in their hands to the exclusion alike of the influence of
the people on the one side, and the authority of the
Doge on the other.
Then the first period, of nine hundred years, presents
us with the most interesting spectacle of a people
struggling out of anarchy into order and power; and
then governed, for the most part, by the worthiest and
noblest man whom they could find among them,* called
their Doge or Leader, with an aristocracy gradually and
resolutely forming itself around him, out of which, and
at last by which, he was chosen; an aristocracy owing
its origin to the accidental numbers, influence, and wealth
of some among the families of the fugitives from the
* "Ha saputo trovar modo che non uno, non v pochi, non
molti, signoreggiano, ma molti buoni, pochi raigliori, e insiememente,
un otttmo solo." Sansovino. Ah, well done, Venice! Wisdom
this, indeed.
THE QUARRY. 87
older Venetia, and gradually organising itself, by its
unity and heroism, into a separate body.
This first period includes the Rise of Venice, her
noblest achievements, and the circumstances which deter-
mined her character and position among European
powers; and within its range, as might have been anti-
cipated, we find the names of all her hero princes of
Pietro Urseolo, Ordelafo Falier, Domenico Michieli,
Sebastiano Ziani, and Enrico Dandolo.
5. The second period opens with a hundred and
twenty years, the most eventful in the career of Venice
the central struggle of her life stained with her
darkest crime, the murder of Carrara disturbed by her
most dangerous internal sedition, the conspiracy of Falier
oppressed by her most fatal war, the war of Chiozza
and distinguished by the glory of her two noblest
citizens (for in this period the heroism of her citizens
replaces that of her monarchs), Vittor Pisani and Carlo
Zeno.
I date the commencement of the Fall of Venice from
the death of Carlo Zeno, 8th May, 1418; the visible
commencement from that of another of her noblest and
wisest children, the Doge Tomaso Mocenigo, who ex-
pired five years later. The reign of Foscari followed,
gloomy with pestilence and war; a war in which large
acquisitions of territory were made by subtle or fortunate
policy in Lombardy, and disgrace, significant as irre-
parable, sustained in the battles on the Po at Cremona,
and in the marshes of Caravaggio. In 1454, Venice,
the first of the states of Christendom, humiliated herself
to the Turk: in the same year was established the In-
88 THE STONES OF VENICE.
quisition of state,* and from this period her government
takes the perfidious and mysterious form under which it
is usually conceived. In 1477, the great Turkish in-
vasion spread terror to the shores of the lagoons; and
in 1508 the league of Cambrai marks the period usually
assigned as the commencement of the decline of the
Venetian power;** the commercial prosperity of Venice
in the close of the fifteenth century blinding her historians
to the previous evidence of the diminution of her internal
strength.
6. Now there is, apparently a significative coin-
cidence between the establishment of the aristocratic and
oligarchical powers, and the diminution of the prosperity
of the state. But this is the very question at issue; and
it appears to me quite undetermined by any historian,
or determined by each in accordance with his own pre-
judices. It is a triple question: first, whether the
oligarchy established by the efforts of individual ambi-
tion was the cause, in its subsequent operation, of the
fall of Venice; or (secondly) whether the establishment
of the oligarchy itself be not the sign and evidence,
rather than the cause, of national enervation; or (lastly)
whether, as I rather think, the history of Venice might
not be written almost without reference to the construc-
* Daru, liv. xvi. cap. XX. We owe to this historian the dis-
covery of the statutes of the tribunal, and date of its establishment.
c [It has been indeed conceived under this form ; and was as-
suredly in many respects "mysterious," and in some acts, "per-
fidious." I believe it merits the title, in the essential spirit of its
government, as much as "perfide Albion."]
** Ominously signified by their humiliation to the Papal power
(as before to the Turkish) in 1509, and their abandonment of their
right of appointing the clergy of their territories.
THE QUARRY. 89
tion of her senate, or the prerogatives of her Doge. It
is the history of a people eminently at unity in itself,
descendants of Roman race, long disciplined by adversity,
and compelled by its position either to live nobly or to
perish: for a thousand years they fought for life; for
three hundred they invited death: their battle was re-
warded, and their call was heard.
7. Throughout her career, the victories of Venice,
and, at many periods of it, her safety, were purchased
by individual heroism; and the man who exalted or saved
her was sometimes (oftenest) her king, sometimes her