Italy at War and the Allies in the West | Page 7

precautions would probably avail but little were a bomb to strike St. Mark's. In the destruction that would almost certainly result there would perish mosaics and sculptures which were in their present places when Vienna was still a Swabian village, and Berlin had yet to be founded on the plain above the Spree.
If it has proved difficult to protect from airplane fire the massive basilica of St. Mark's, consider the problem presented to the authorities by the Palace of the Doges, that creation of fairylike loveliness, whose exquisite fa?ades, with their delicate window tracery and fragile carvings, would be irretrievably ruined by a well-aimed bomb. In order to avert such a disaster, it was proposed to protect the fa?ades of the palace by enclosing the building in temporary walls of masonry. It was found, however, that this plan was not feasible, as the engineers reported that the piles on which the ancient building is poised would submerge if subjected to such an additional weight. All that they have been able to do, therefore, is to shore up the arches of the loggia with beams, fill up the windows with brick and plaster, and pray to the patron saint of Venice to save the city's most exquisite structure.
The gilded figure of an angel, which for so many centuries has looked down on Venice from the summit of the Campanile, has been given a dress of battleship gray that it may not serve as a landmark for the Austrian aviators. Over the celebrated equestrian statue of Colleoni--of which Ruskin said: "I do not believe there is a more glorious work of sculpture existing in the world"--has been erected a titanic armored sentry-box, which is covered, in turn, with layer upon layer of sand-bags. Could the spirit of that great soldier of fortune be consulted, however, I rather fancy that he would insist upon sitting his bronze warhorse, unprotected and unafraid, facing the bombs of the Austrian airmen just as he used to face the bolts of the Austrian crossbowmen.
The commercial life of Venice is virtually at a standstill. Most of the glass and lace manufactories have been forced to shut down. The dealers in curios and antiques lounge idly in their doorways, deeming themselves fortunate if they make a sale a month. All save one or two of the great hotels which have not been taken over by the Government for hospitals have had to close their doors. The hordes of guides and boatmen and waiters who depended for their living upon the tourists are--such of them as have not been called to the colors--without work and in desperate need. In normal times a quarter of Venice's 150,000 inhabitants are paupers, and this percentage must have enormously increased, for, notwithstanding the relief measures which the Government has taken, unemployment is general, the prices of food are constantly increasing, and coal has become almost impossible to obtain. Fishing, which was one of the city's chief industries, is now an exceedingly hazardous employment because of submarines and floating mines. Save for the clumsy craft of commerce, the gondolas have largely disappeared, and with them has disappeared, only temporarily, let us hope, the most picturesque feature of Venetian life. They have been driven off by the slim, polished, cigar-shaped power-boats, which tear madly up and down and crossways of the canals in the service of the military government and of the fleet. To use a gondola, particularly at night, is as dangerous as it would be to drive upon a motor race-course with a horse and buggy, for, as no lights are permitted, one is in constant peril of being run down by the recklessly driven power craft, whose wash, by the way, is seriously affecting the foundations of many of the palazzos.
It is an unfamiliar, gloomy, mysterious place, is war-time Venice, but in certain respects I liked it better than the commercialized city of antebellum days. Gone are the droves of loud-voiced tourists, gone the impudent boatmen, the importunate beggars, the impertinent guides, gone the glare of lights and the blare of cheap music. No longer do the lantern-strung barges of the musicians gather nightly off the Molo. No longer across the waters float the strains of "Addio di Napoli" and "Ciri-Biri-Bi"; the Canale Grande is dark and silent now. The tourist hostelries, on whose terraces at night gleamed the white shirt-fronts of men and the white shoulders of women, now have as their only guests the white-bandaged wounded. In its darkness, its mystery, its silence, it is once again the Venice of the Middle Ages, the Venice of lovers and conspirators, of inquisitors and assassins, the Venice of which Shakespeare sang.
But with the coming of dawn the Venice of the twelfth century is abruptly transformed into the Venice of the twentieth. The sun,