'Our cities are fast losing their best characteristics,' said Pompeo Molmenti at Montecitorio, in one of those eloquent speeches which the Chamber hears often from him, and hears, alas! always in vain. His name is no doubt known to many English readers although his beautiful books are not as widely read outside the peninsula as they merit. His conspicuous position as President of the Venetian Academy has perhaps in a manner obscured, out of Italy, his infinite merits and vast erudition as a writer on history and art, and even Wyzewa reproaches him with making Venice too exclusively his universe. But surely Venice is wide enough, and great enough, to be the world of a man penetrated from his earliest years with her beauty, and with the grandeur of her past, and who, in his childhood, saw, accomplished by his seniors, that union of Venice to northern and central Italy, which raised such high hopes and caused such glorious dreams.

His works are, as I have said, but little known in England, not known at least as the classic scholarship, the historic learning and the artistic erudition of their writer deserve; nor are the debates of the Italian Chamber truthfully enough represented in the English press for the brilliant oratory of the deputy for Salo to have found any echo in English ears. Many-sided as great Italians usually are, politics, literature, and history alike claim his allegiance, and art is his adored mistress. Eloquent, dauntless, and sarcastic, his periods pierce like arrows and lash like scourges, whether he condemns the miserable blasphemies of the modern spirit, or holds up to mockery such individual vanity as that of the Under-Secretary of State, who caused his own name and titles to be cut under a verse of Dante's on one of the stones of the church of S. Francesco at Assisi!

I can imagine nothing more painful than for a man of fine taste and high culture, born and bred in such a city as Venice, venerating every shadow on its waters, the moss upon its walls, to be forced to see, day by day, roll up and break over it the mud-wave of modern barbarism. So may have watched, from the marble atrium of his villa, some Roman patrician of the days of Honorius the approach, upon the golden horizon, of the unlettered tribes drawing nearer and nearer as the sun descended, to burn, to slaughter, to deflour, to desecrate. 'Great and sublime attainment would be his who should save Venice from the dreadful menace now hanging over her!' cries Pompeo Molmenti, with the bitter consciousness that none will succeed in that endeavour, since her lot is now cast in times when her treasures of art are in the hands of tradesmen and speculators, to whom her past glory is naught.

His years have been passed amongst her art and her disciples of art; he has watched the spoilers at their work amongst her treasures, and, with the grief of a son who beholds his mother dishonoured, he has been overwhelmed in these most recent times by the indignity and injustice of her lot.

She shares that lot with her sisters; the burden of her chains lies also on them; every city throughout the peninsula from Monte Rosa to Mount Etna has been insulted, dishonoured, defamed, defiled, even as she herself. But Venice is threatened with something still more than this; she is threatened with absolute extinction. There are schemes now simmering in the brains of speculators by which she will disappear as completely as one of her own fishing-boats, when it is sucked under the sea, canvas, and timbers, and crew, in a night of storm.

A few weeks ago, Molmenti gave the solitary vote against the destruction of more of the Calle, and the establishment of a night service of steamers on the Canalezzo. The record of that single unsupported vote is his own highest honour, and the shame of his contemporaries and co-citizens. But he wrestles in vain with the forces of cupidity and stupidity. Whether in the Council Chamber of Venice, or in the Parliament of Montecitorio, he strives in vain to resist the trampling hoofs of those devastating barbaric hordes which a pseudo civilisation vomits over his country.

What he justly calls the burial of the lagoons goes on every day; loads of clay and sand and stones being poured into that silent water which so lately mirrored walls which were green with the hart's-tongue, penny-wort, and ivy-leaved toad's-flax, and reflected statues white through ages in the dustless air, shining acacia leaves, boughs of fig and laurel, carved niches, illumined shrines; the rubble and the rubbish are shot down into the canals which are chosen for extinction, and the walls are scraped, the acacias, the fig-trees, the laurels are cut down, the fruit-boat, the sandalo, the bridal gondola, are pushed out of the way by the brick-laden launches; where marble fretwork crossed the air, there is a cast-iron pontoon, and higher still a telephone wire; under foot there is a paved or macadamised way. Marco Polo could not find his house now; it still exists, but all around it is disfigured, dismantled, defaced.

The Palazzo Narni and the Ponte del Paradiso made, a few years ago, together one of the most beautiful corners in the world; go look at that spot now; it is enough to make the grey-beard of Cadore rise from his grave. There still remains on high, between the two houses, the admirable cuspide of the Trecento, on which there is sculptured the Madonna, who opens wide her mantle and her cloak to receive the kneeling people; but the beautiful bridge has been destroyed, and in its place has been built a frightful structure, with asphalte roadway and painted metal parapet. In similar manner the elegant, yet bold, arches of the three bridges at S. Nicolo di Tolentino exist nowhere, now, except upon the canvases of painters, and the three banks, near the Campo di Marte, which those graceful arches united, are now basely conjoined by three erections of stucco and cast-iron.

'In the Arzere of Santa Marta,' Molmenti writes in his latest work, 'once so green and gay and sunlit, a poor quarter no doubt, but one intensely interesting by customs and traditions, there blocks the way now, in all its stolid vulgarity, a cotton factory. Between the public gardens and the Lido, instead of the lovely verdure of the island of Sant' Elena, in its grace and its green twilight of drooped boughs, is a shapeless expanse of mud and cinders, which spreads farther every season, and threatens to invade the water-space which separates it from the gardens and S. Pietro di Castello. On this desert of coke and dirt there have been lately erected offices, sheds, warehouses, chimneys, engines, in the midst of which there still stands, hiding as though ashamed, the beautiful church of the Quattro Cento. But the invasion has been useless; the speculations have failed; and art and history mourn unavailingly the senseless and profitless destruction of this fairest gem of the lagoons: insularum ocellus. The ruin of Sant' Elena, of the view of San Giorgio, of the bridge of San Lio, the hideous new wing added to the noble brown marbles of the Pal Tiepolo, the hideous iron warehouse fronting and affronting the Ca d'Oro, the whitewash daubed on the Pal Sagredo, the indecent alterations and additions to that jewel of Pietro Lombardo the Pal Corner-Spinelli, the new red (like ruddle or red ochre) with which the Pal Foscari has been insulted, these are all offences which every traveller of taste, every artist of culture, can see, and number, and denounce. But countless, and unknown to the world in general, and undreamed of by those who knew not Venice fifteen years ago, is the enormous loss to the city by the destruction at the hands of the Muncipal Councillors of the Calli, of the Arzere, of the mediÆval bridges, as of those of which I have spoken above, of innumerable nooks and corners, historical and beautiful; old wells, old fountains, old shrines, beautiful fragments of sculpture and fresco, solemn convent walls, graceful church spires and monastic belfries, parapets, arches, doorways, spiral staircases winding up to hand-forged iron balconies, lamps of metal-work fine as lace-work, all these in innumerable numbers have been effaced, pulled down, built over, or sold; and, above all, there have been destroyed those lovely quiet green places, called each il Campo or il Campiello (the field or the little field), where, of old, the Venetians fed their sheep, stretches of grass enclosed by old houses, old convents, old towers, old quays, old bridges, with always a sculptured well in the centre of each, and the splash of oars near at hand.'

These have nearly all had a similar fate to that of the beautiful house in the Campo di S. Margherita, which Molmenti especially laments, of which the Venetian colouring, the carven galleries, the climbing vines, the bronze railing, the falling water with its spouting jets, have all disappeared, to give place to a yellow, plastered modern building, while its basso-relievo of the Virgin, so long dear to all artists, has been sold to a picture dealer.

'One must be blind indeed,' writes Molmenti, 'not to see the horrible misgovernment of Venice in this latter half of the century, and persons still young can remember a Venice poetic, picturesque, filled with fascination and mysterious charm, now destroyed for no other reason than a senseless and brutal craze for novelty.'

What language can strongly enough denounce such wicked and insensate acts?

He quotes the well-known lines of Philippe de Commines as to the 'most triumphant city' that he had ever seen, 'the most beautiful street' (the Canal Grande) 'that there could be found in all the world'; and he adds, 'the stranger who comes now into this street only finds himself in a vast alley of shopkeepers.'

The Canalezzo is now, indeed, as he says, little more than a huge bazaar of tradesmen and dealers in curios, in which hundreds of advertisements, in many-coloured posters, announce the wares which are now for sale within the ancient palaces. The syndicate of foreign traders, now being established in Venice, will achieve its degradation.

Italian ministers and Italian municipalities are often accused of not encouraging warmly enough English, German, and American tradesmen and manufacturers to establish themselves in Italy, and of putting upon foreign commercial establishments in Italy a prohibitive taxation; the truth is that it would be much better were such foreign firms discouraged more effectively. It is urged on their behalf that they bring capital into the country; they may do so, but only to take it out again for their own profit, and Italian labour sweats and groans only that some millionaire of Eaton Square or Fifth Avenue may increase his wealth, whilst at the same time Italian tradespeople, trading in their own right, on their own soil, are undersold by the shop-keeping and store-keeping Briton and Yankee.

I am far from entire agreement with Molmenti in many of his views (as for instance his admiration of English pre-Raphaelism), but I am wholly with him in his views of the claims of Venice, and of the sacrilege which is destroying her; wholly with him in his severe and scornful denunciation of what he rightly calls the gretta e meschina arte dei nostre tempi (the mean and trivial art of modern times), and of the modern density of perception and invulnerable self-conceit which render it impossible for the modern mind to appreciate harmony of hues and of proportions, and impossible for the modern architect to place a new building beside an ancient one without injury or vulgarity. Giotto could place his church at Padua on the remains of the Roman amphitheatre, with perfect unity, although in absolute contrast. When a modern mind has sufficient intuition to enable it to admire a work of other times, it can think of no better way of showing its admiration than to desire to pull down all the houses in its vicinity to lay it bare.

Molmenti says, with entire truth, 'It is a supreme duty for the few, who are capable of feeling them, to assert the sentiment of, and respect for, Art against the destructive and impious tendencies of the time.'

But, alas! it is labour of Sisyphus.

There is now under consideration a scheme to make a tramway-road raised on piles from Mestre to Venice parallel with the line now followed across the lagoon by the railway. It is difficult to comprehend the motives and views of persons who desire to turn a beautiful water-city into a commonplace land one, or rather it is easy to perceive that the motive inspires the views, since nothing but the greed of concessionaires and of contractors could ever have evolved such a plan out of any human mind.

The concessionaire and the contractor are the modern representatives of ghouls and vampires of old-world romance. Truly, to them, as to the Sabreur of Offenbach, nothing is sacred. They are guided entirely by their lust of percentage, and to this they are ready to sacrifice every other consideration; indeed, no other consideration exists for them. They have settled on Italy for many years past as they are now settling on Abyssinia. Venice is essentially a water-city; dealt with as land cities are, under the present system, it will not only be disfigured and mutilated like them, but it will be swept away; it will cease to be. The world will have in its stead a dreary, dingy, trading port, with warehouses, factories, docks, grain elevators, electric works, all the polluted, crowded, discoloured, monotonous frightfulness which you can have now at any moment on any coastline of the United States of America. The Venice of Giambellini and the Veronese will be no more; you will have in its stead a petty maritime Pittsburg.

At the present moment Molmenti has successfully combated this Mestre project, but as the abominable scheme of the night steamers on the Canalezzo, and the pontoon under S. Zeno, was almost unanimously rejected four times by the Venetian Council, yet, on its presentation a fifth time, was accepted (unacknowledged influences having been at work), it is impossible to all those who love Venice as she merits not to feel the greatest anxiety. For these speculators resemble the RÖntgen rays, and find means to penetrate through closed doors and all other barriers. Iron still resists the RÖntgen rays, and such iron the speculators find now and then opposed to them in the scorn of such men as the Count Antonio DonÀ della Rosa, who dismissed with offence and disdain the offer of two millions in gold for the purchase of the historic tapestries of his palace in Venice.

Were there only fifty such men as Count DonÀ in every Italian province they would be able to hold in check the rage of destruction. But the character of Count DonÀ is very rare in these days anywhere, and grows rarer with every decade. The sordid Mephistopheles of a buyer usually finds as sordid a temper in the Faust of a seller whom he tempts. This may be a temper which enriches individuals; it is not one which ennobles or elevates a nation: and frequently not even individual wealth is realised for any length of time by the base barter, for the gambling on the Bourse, or at the club-house, often makes the ill-got gains vanish almost as soon as they are obtained. Such persons as find no attraction in either form of gambling, unhappily for the most part, shrink from action and from public life. Few have the courage of Molmenti, who throws himself into the strife careless of what enmity he incurs, and rarely even buoyed up by any hope of success in his efforts, since to weave ropes of sand were scarcely more hopeless labour: it is impossible to succeed in any public work where there is no response to your appeal from the multitudes. And the voices of those who do secretly respond in feeling are dumb in Italy; people are afraid to speak; they are intimidated by the cry cast against them of want of energy, and of enmity to progress (progress, good heavens! a gin-shop instead of a temple!); they are afraid to be called reactionary, romantic, unpatriotic; and in municipal government, as in other government, everything is done by the wire-pullers, the money-grubbers, the speculators.

The timid public huddles together, mute, submissive, and afraid, shorn of its fleeces like a flock of sheep, but not daring to complain.

Those who do so dare are either ignored, or, if they give trouble, are repressed. The gondoliers of Venice have again and again risen against the ruin of their livelihood by the 'black devils' of the vaporetti, but force is at once called in and they are brutally silenced, flung into prison, and deprived of their licence, i.e., of their daily bread. Because it is so picturesque a calling, and the balancing of the oar looks so easy a work, those who are outside it do not realise the hardships of a gondolier. In summer, if Venice be full, it is well enough, and brings a fair, though never a high, wage; but in the other seasons it is a life of great and continual exposure and fatigue. In cold weather, and Venice is intensely cold in the winter solstice, the long vigils on the traghetto are most tedious and trying, especially through the long chill nights. When the icy winds blow in from the Alps or the Adriatic, the gondolier stands exposed to all their fury, whilst the passenger he carries sits warm and sheltered under the felze.

Strong and lithe in form, often handsome in feature, almost invariably intelligent and acquainted with legend and verse, invariably courteous and well-bred, the gondolier should have received the utmost attention from his rulers. It is painful to know that no body of men has ever been so slighted, so injured, and so wantonly outraged.

There is nowhere any more interesting and deserving community than the Venetian gondoliers, and few more worthy of regard; yet they have been dealt with as though they were no more than so much scum of the sea. Their long-established rights receive no consideration, and their injuries no compensation.

If the vote of Venice could have been honestly polled, no steam-boat would ever have been allowed on the Grand Canal, as, if the vote of Florence could have been honestly polled, the centre of Florence would be now standing untouched, and would have remained untouched for many a generation.

Meanwhile, it is said, by those competent to judge, that the great Murazzi, which protect Venice from the onslaught of the sea in winter storm, and which we all know so well as we pass out from the Lido by the Bar of Malamocco to Chioggia, are being dangerously undermined by the attacks of the high tides in rude weather, and require costly and immediate repair. It is in vain that this most necessary work is urged upon the Government in Rome. The Government neither undertakes it itself, nor allows Venetians to undertake it. For any foolish, needless disfiguring work, such as the installation of the electric light in the ducal palace, against which Venetians in vain protested, the Government is always ready to waste millions. But for a work of obvious and vital necessity, such as that of the strengthening of the Murazzi, it has not a soldo to spare.

The architecture of Venice has the fragility as it has the fairness of the dianthus or the gemmia of the sea; its walls and buttresses and foundations are plunged into salted, sanded mud; its piles grow green and brown and purple with weed; its snowy marbles and its ruddy stones are mirrored in rippling or in stagnant water; they tremble under the vibrations caused by the accursed paddle-boats; they quiver, like living things, under the knife, as the engines roar and the cog-wheels turn. Assailed as the city is within by the invasion of steam and barbarism, it is entirely certain that she could not resist the force of the inrushing waters if the Murazzi were ever to yield to the pressure of a winter sea; and it is unhappily quite possible that the gigantic barrier of the sea-walls may give way on some day of unusually high tides and violent tempest, and the city herself will then be overwhelmed beneath the Adriatic waters.

Who would care if this were her fate?

The contractors, and concessionaires, and jerry-builders, and bureaucratic thieves, and foreign speculators would have the pleasure and profit of building a spick and span new town, north-east of Mestre: all tiresome reminiscences of the Lion of St Mark would have sunk with the bronze horses underneath the waves.

Many public men would breathe more freely were Venice but a memory of the past entombed in seaweed and in sand. For there is nothing so curiously malignant or so restlessly jealous as the enmity of a feeble Present of a great Past. It is such malignity, it is such jealousy, which, even more than greed of gain, and vitiated taste, caused, and causes, and will cause, the destruction of the great cities of Italy by Italian deputies, syndics, and municipalities, and by those foreign companies and alien speculations to which they unhappily open their gates.

If the fact did not face us at every step, it would seem incredible that, even in this age, such cities as Venice and Florence and Rome could have been sacrificed to the ignominious interests of wire-pullers. Each possessed, to protect it, unique beauty, splendour of association and tradition, an heroic past: and for each had the greatest of men laboured, in each had the charm of atmosphere and horizon lent a more than mortal loveliness to the architecture of man. And each is now wrecked, and ransacked, and despoiled, and obliterated, and destroyed as though a horde of savages had been let loose in their precincts.

There is no language strong enough to condemn the injuries from which they suffer.

On the walls of the Flavian Amphitheatre there grew in marvellous fertility countless plants unknown elsewhere; survivors of sylvan worlds destroyed, of botanical kingdoms for ever perished, the seeds of which perchance had lodged in the sandals of the legions as they came from Palmyra or Babylon; this most precious legacy of nature was, as everyone knows, mercilessily destroyed in the first years of the Italian occupation of Rome.

The uprooting with knives and acids of the unique flora of the Colosseum was a type of the acts which, for the last fifteen years, have hacked away and corroded and destroyed off the face of the earth the supreme flowers of human genius.

In the present debasement and desecration of Italian cities there is not even such motive and excuse as that which was urged by archaeologists for the ruin of these plants. There is everything lost, nothing whatever gained, in the debasement of classic and artistic cities to the level of Buluwayo or Klondyke.

To pull down the Palazzo Venezia and the Palazzo Torlonia, which it is decided to do in Rome, in order that the statue of Victor Emmanuel, for which the funds have not even yet been raised, may be visible from the Corso, is as contemptible as it is childish. The beauty of the Campidoglio is already ruined in order to place that statue there: might not that suffice? To throw down the Tower of the Amadei to put in its place a restaurant, or a drinking-shop, is so stupid an act that the enormity of the offence to history and art is almost forgotten in its imbecility. To cut off a portion of the Archbishop's Palace to widen a road, and destroy half the gardens of the Orti Oricellari to make a mean street, and to place the stations and rails of tramway companies on the macigno pavement under the Campanile, the Battistero, and the Duomo of Florence, are outrages to the whole educated world and the history of five centuries. To destroy the Ponte del Paradiso in order to put a cast-iron pontoon in its place, is an abomination which should only seem possible to a company of clowns crazy with drink; whilst to turn the lovely isle of Sant' Elena into a heap of cinders for the pleasure of a carriage-building company, which company was not even guaranteed from bankruptcy, was unquestionably as unbusinesslike and as unprofitable as it was impious.

There is neither common sense, nor common decency, in the chief part of the measures taken within the last decade to humiliate and imbastardise the cities and towns of Italy. The process of destruction began indeed much earlier; but within the last ten years the pace has been increased from a leisurely walk to a furious gallop. The scramble to be first to outrage, to deface, to despoil, has become a St Vitus's dance amongst the syndics, assessors, and councilmen; each deliriously eager for the approving smile of the various ministers in whose hands the destinies of these great and unrivalled Urbes unfortunately are placed.

It must be remembered by the foreign reader that there is no Minister of Fine Arts in Italy. There is a Minister of Education, another of Public Works, and another of Agriculture, and between these three all questions of art and architecture are divided, and are decided in agreement with the various municipalities. The mischief the trio does is incalculable, for they are seldom selected with any regard to their Æsthetic qualifications. Indeed, if ever anyone of them show any scholarly capacity and aptitude for his office, like that which was shown by Villari, his possession of power is very short. Of a recent minister of agriculture it is related that, as he looked over a valley planted with magnificent olives near Brescia, he exclaimed, 'What fine willows!'

A similar ignorance in matters belonging to their respective departments is expected of the Ministers of Education and Public Works. Were there a Minister of Fine Arts, he would undoubtedly be chosen from the attorneys, the manufacturers, the scientists, or the rural Boeotians.

Another minister of agriculture, Count Francesco Guicciardini, had an admirable and thorough command of the objects of his Dicastero; skilled in agriculture himself, and the owner of large estates, he knew what to do and how to do it; and by his energy an outbreak of phylloxera was arrested before any great losses had ensued. But outside agriculture, his influence was less excellent, because he was unfortunately enabled to meddle with matters not agricultural and beyond his knowledge; as when he ordered the destruction of a whole quarter of the martial and ancient city of Pistoia, and the waste of the town funds in the erection of a new savings bank. Over the choice of a design for this building, the townspeople of Pistoia are now violently quarrelling, whilst many of their finest and noblest palaces are left to go empty to decay!

A minister of the strictest probity, of the strongest desire to do what is just and wise, is never long able to resist the pressure of those around him, the force of example, the persuasions of local magnates, and the insistence of the crowd of hungry perquisite-hunters. It is such shocking and wicked waste of money as was this in Pistoia which impoverishes every town, and disfigures each with vulgar piles of brick and iron, and grotesque monuments of black metal, whilst a miserable woman at their gates pays four centimes duty on a pint of milk before she can take it past the guards to sell, and a wretched man, who owns a little road-fed flock of goats, is taxed two hundred francs a year before he may drive them into the streets to yield the little nourishment which they can afford to invalids and children. Should the law now under consideration pass, and the debts of the Communes be paid by the State, and monies be henceforth lent lavishly by the State to the Communes, this expenditure will increase tenfold, and the jobbery accompanying it will be multiplied in similar measure.

No one of the governing classes is guiltless in the matter; cabinets, senators, deputies, prefects, mayors, town councils, provincial councils, each and all, sin alike in this matricide, and seem to vie with each other in suggesting and executing the abominable projects which disgrace the close of the century.

In this day, in everything appertaining to municipal government, the greater is sacrificed to the lesser; the smug, the ordinary, the expedient, the venal are first of all considered; the kind of man who pushes to the front in affairs is bustling, sharp, keen, insensible, in whose own existence no necessity for anything except vulgar prosperity, as ugly as you will, is felt for an hour. To speak to such men of such impersonal desires as moved the makers of the great cities of old, is to speak in an unknown tongue, which they appraise as gibberish. They are, for the present time, the rulers of the world, and the material they are made of is the same clay, whether its shape take that of an emperor or a contractor, of a king or a beadle, of a minister or a vestryman. At the present hour the earth is given over to them.

Wyzewa accepts this insatiable mania for destruction as a characteristic, which of course it undoubtedly is, of the general disease of modernity; but he does not seem to trace it to what is surely its source, the greed of gain. All these engineers, builders, contractors, town councillors, bankers, usurers, speculators, chairmen, shareholders, and directors of companies, can make nothing out of the ancient glory and grace of beautiful cities; the mayors can get no savoury morsel to compensate them for all their servility and time-serving; the deputies can find no useful plunder to enrich the crew who have voted for them; in respecting the beauty of the past, syndicates and tradesmen and gamblers on 'Change would reap no harvest of gold whatever.

What else but greed has been the motive of that shameless desecration of Rome against which Geoffroy has raised his voice from the tomb to protest?

What else but greed the motive of that infamous destruction of the entire centre of Florence, its historic towers and churches and palaces, torn down with blind rage to be replaced by hideous hotels, and monster shops, and grotesque monuments? the most piteous, and the most inexcusable, injury ever done to the rights of history and of art.

What else the motive of that wanton disfigurement of Venice which has disgraced the last fifteen years of the municipal rule, and is about to continue the work of ruin merely to enrich the men of greed, the English and American tradesmen, the Hebrew speculators, the German hucksters, the cosmopolitan inflators of bubble companies?

The motive of all these destructions is always the same, and always of the lowest kind: gain. Everyone concerned in them gains, or hopes to gain. There is no other instinct or idea than this. It is, like the present diplomacy of Europe, an all-round game of grab; and a large percentage of the gains goes to the doctors who label the gambling 'Hygiene.'

The plea of health is a falsehood usually advanced in excuse of such destructions as those of the Florentine centre and the Venetian Calli and Campielli. Those who allege it know, as well as I do, that the unhealthiness lies not in the habitations but in the habits of the people. Water never touches their bodies; tight-lacing is a female rule in even the peasant class; the field-worker is as tightly cased in her leather stays as the duchess in her satin corset. The favourite foods of the populace are such as give worms, dysentery, and skin diseases; their drinks are adulterated and poisonous;[15] their general habits are unwholesome and injurious beyond all description; they are saved only by the purity of the air which the municipalities, who chatter of hygiene, do their best to pollute with acid and chemical fumes, and the stench of noxious trades.

The men who prate of hygiene know these facts as well as I do; they know, I repeat, that the insalubrity is in the habits, not in the habitations; but the conventional lie passes muster and serves its end: it enables landlords to sell, and lawyers to pocket fees, and contractors to make profits, and all the troops of middlemen to fatten on the demolition of noble and ancient places and the creation of shoddy stucco architecture in their stead.

The sense of beauty has died with the public destruction of beauty: it is dead in the ruling classes; and what is far worse, dead in the populace; dead, or nearly so, in the writers, the painters, the sculptors. If in this latter class there were any strong, true, and delicate instinct of what is noble and beautiful, Molmenti would not stand alone in the Council of Venice; Prince Corsini would not alone have resisted the destruction of the Florence of the Renaissance; D'Annunzio would not alone repeat the denunciations of two dead foreigners, Geoffroy and Gregorovius, of the violation of ancient and of mediÆval Rome. The voices of the artists (were they artists in feeling indeed) would be, and would have been, so powerful that no ministry and no municipality would have ventured to ignore them.

But most modern artists are afraid to offend their public, their patrons, the town councils, the mayors, and communes, or the Ministers of Education or of Public Works, to which or to whom they look for employment; they have the decoration-hunger, which is one of the chief curses of Continental Europe, and decorations only come from the powers above; and in these powers above there is not the faintest glimmer of taste or feeling, there is only jealousy of a great and unapproachable Past.

Therefore, the few who do feel indignation do not speak; and the speculator, the jerry builder, the cunning lawyer and conveyancer, the vast body of greedy and gross spoilers, have their way unchecked.

In the case of Rome, of course, that cruellest and ugliest of all passions, religious antagonism, has had much to do with the atrocious ruin of the Prati del Castello, of the Trastevere generally, of the passage of the four trams in derision in face of St Peter's, of the hideous gimcrack houses built under the walls of the Lateran, of the destruction of street shrines and votive chapels and ancient chapels, of the erection of the entire quarters of what is called New Rome;[16] but religious hatred cannot be the cause of the barbarous scraping and daubing of classic buildings, of the degradation of the Via Nomentana, and of Porta Pia, of the ruin of such glory and grace as that of the Ludovisi and the Farnesina villas, of the bedaubing and beplastering, the dwarfing and disfiguring, the vulgarising and disfiguring of everything which is touched by the modern Ædiles of Rome. No matter what the syndic be called, whether Ruspoli or Guiccioli, or Torlonia, or Colonna, no matter whether the cabinet be headed by Rudini or Giolitti, by Crispi or Pelloux, the pickaxe is never at rest, and the hammer and hatchet sound ceaselessly in street and garden, on desecrated altars, and in devastated groves.

To what end have served the fury and haste with which ancient ecclesiastical buildings have been razed to the ground in both the cities and the provinces? To none whatever, so far as any diminution of the funds and the numbers of ecclesiastical foundations can be counted.

The suppression of the monasteries and convents was actuated by love of gain as much as by polemical rancour, by the hunger of the newly-created kingdom, for their treasures and riches, for their rich endowments and saleable possessions. There was no sincerity about it; there could be none in a nation then almost entirely Catholic; and this insincerity is proved by the indifference with which the State allows the re-establishment of these buildings and these orders. At this moment the bare-footed Carmelites, a most bigoted order, have lately opened a new church and convent in Milan, which are endowed with three millions of money, and have been opened with great pomp by the Archbishop. Similar institutions are being re-created in all directions, possessing all the evils of those which were suppressed, without their artistic beauty, and largely without their good faith and munificent charity. Rich and lovely maidens continue to take the veil when too young to have any realisation of what they do,[17] and the Church is as enriched as of old by their dowers; whilst the monk is not the less dangerous to intellectual liberty because, when he goes out of the gates for a few hours, he wears a coat and trousers like those of the layman of the adjacent town.

The ancient monasteries and convents were at least an education to the eye: who could daily see the Certosa of Pavia, or of the Val d'Ema, and not be purified and instructed in visual memory and artistic instinct? The new revivals of the old orders teach nothing except a base and strictly modern union of superstition and compromise. Indeed, the State forces the priest to be base; it makes it the condition of allowing his existence. If he do not succumb to the State in all things (even in those most opposed to his conscience), he is deprived of his placet; and Zanardelli has in these last few days desired to deprive him of it without such legal forms as have hitherto been observed. For one of the greatest of the misfortunes of Italy is that, not in the Radicals nor in the Conservatives, nor in any one of the groups into which political life is divided, is there the slightest trace of any respect for individual freedom; liberty of action and of opinion obtain no fair play whatever from any one of the parties of the State.

True, it is not in Italy alone that the sense of symmetry and harmony is leaving the terrestial race; the want of beauty, as the daily bread of life, grows less and less felt every year by the modern mind wherever that mind has been unhinged by the manias of modernity. Beauty, natural and artistic, has become entirely indifferent to the majority of even highly-educated modern men and women. They have no leisure to contemplate it, no temperament capable of feeling it; it is in no sense necessary to them; it makes no impression either on their retina or their memory. Their lives pass before a revolving panorama, so rapidly dissolving and changing that they have no distinct impression of any of the scenes or subjects. Every year modern habits become more unlovely, and modern sensibilities more blunted. The preservation of what is beautiful, per se, at the present time is almost always ridiculed, unless it can be shown to be joined to some profit or utility. The characteristic passion of the hour is greed; greed of possession, desire of acquisition, and passion for ostentation. Trade has become an octopus embracing the whole world; the thirst for gain engrosses all classes; beauty, unless it be a means of gain, is to this temper a useless, or worse than a useless, thing: it is regarded as a stumbling-block and encumbrance.

It is doubtful if even the power of perceiving what is beautiful has not in a great measure left a large part of the population in all countries. Modern cities would not be what they are now had not the race to a great extent grown colour-blind, and become without the sense of proportion. Modern builders and modern engineers would remain unoccupied were not the generations, which employ and enrich them, destitute of all artistic feelings.

Many of the prevailing fashions would be so intolerable to persons with any delicate or accurate perception, that such fashions could never have become general had any perception of this kind been general. Even the deformity of their bodies awakens no aversion in the modern public; if it did, the bicycle would never have been in demand.

Such blindness and deadness to the charm of beauty is to be noted in every nation, and is developed even in the extreme East whenever modern European and American usage influences the Oriental.

Japan is rapidly becoming the rival in vulgarity and hideousness of Chicago.

It is no doubt general and inevitable, the low tone of susceptibility, the dense, thick-skinned temper, which accompany what is called Civilisation, which are to be seen everywhere from cold to warm latitudes, wherever the steam-engine screams and the shoddy suits are worn.

The modern temper is something even worse than inartistic; it is brutally and aggressively hostile to beauty, whether natural or architectural. It will go out of the way to injure, to deface, to uproot, to level with the dust.

To the cold, bald, hard, derisive temper of the modern majority there is something offensive and irritating in beauty, whether it be seen in the stately verdure of a tree in its summer glory, or of an ancient tower,[18] brown and grey in the light of evening. To fell the tree, to pull down the tower, is the first instinct of the modern mind, and it is an instinct clamorous, savage, insatiable, born of incapacity and triviality, of the hunger for destruction, and of a secret and ignoble jealousy.

There can, I think, be no doubt that modern education implants and increases this insensibility. If it did not, modern municipalities would not be what they are, would not do what they do. The only resistance to this insensibility is found, and this but rarely, at the two extremes of the social scale—the peasant and the noble, i.e., in those who are least subjected to the pressure of general education. In the man, absolutely uneducated, and in the man reared by an individual and highly-cultured education, are alone now to be found any appreciation of beauty, natural or artistic.

A French writer, with no pity for the lovers of teas and porcelains, has said recently that he looks forward with joy to the time when the whole empire of China will be covered with factories and mines as thickly as blades of grass grow in a meadow. Most modern persons have no higher ideal than his. In similar phrase, Ferrero, whose political writings I have often cited with approval, and whose striking abilities I greatly admire, but with whose narrow socialist temper I have no sympathy, actually states that the plain of Lombardy was created by nature to be studded with factory chimneys!

Even into remote mountain towns, and in small forgotten cities, on the edge of lonely lakes, or deep-sunk in chestnut woods, or ilex-forests, the same desecration creeps, and sullies, and pollutes. Gimcrack, gaudy villas, and pasteboard houses, show their pert and paltry forms amidst noble palaces, or beside patrician towers. Pistachio green paint makes day hideous everywhere, daubed on deal shutters and blinds, accompanied by the paltry stained doors, and the stucco mouldings, of the epoch. The modern municipality displays its whitewashed and belettered frontage, unashamed, on some grand old piazza, which has seen centuries of strife and splendour. Silent sunlit bays of Tyrrhene or Adriatic, lovely as a poem of Shelley, are made vulgar and ludicrous by lines of habitations such as the jerry-builder of the end of the nineteenth century procreates, wearing an air of smug imbecility which makes one long to slap their stucco faces; of course the drinking-shop, the cycling-casino, and the shooters' club have been run up beside them so that their patrons and frequenters may befoul the roseate evening, and insult the ethereal night.

Moreover, it is strange to note how, with the vulgarisation of the towns and of the landscapes in this classic land, the human physiognomy loses its classic unity and grace, grows heavier, coarser, meaner, commoner, changes indeed entirely its type and colouring; the camus or the snub nose replaces the aquiline, the scrofulous mouth replaces the lips shaped like a Cupid's bow; the eyes diminish in size and grow lack-lustre; the beautiful oval outline of cheek and chin alters to the bull-dog jaw and puffy cheeks; the clear and pure skin alters to the sodden, pallid, unwholesome complexion of the new type. This is no exaggerated statement; anyone can see the change for himself who will take the trouble to observe such young Italians as throng the second-rate and the third-rate cafÉs and dining-saloons of cities, and then go into the more remote country, and see the Italiote race still in its integrity, in old-world hamlets of the Abruzzi or the Apennines, in forest-sheltered nooks of the Sabine or the Carrara mountains, in sea-faring, wind-swept villages of the Veneto, in nomad sheep-folds on the oak-studded grass plains of the Basilicata, or in old walled towns, calm and venerable, in the lap of the high hills, where the shriek of the engine has not yet been heard; where it is still unknown, that which Loti calls in his latest work, 'cette chose de laid, de noirÂtre, de tapageur, d'idiotement empressÉe, qui passe vite vite, Ébranle la terre, trouble ce calme dÉlicieux par des sifflets et des bruits de ferailles, le chemin de fer, le chemin de fer!—plus nivelant que le temps, propageant la basse camelote de l'industrie, dÉversant chaque jour de la banalitÉ et des imbÉciles.'

In the provinces he will still find, in thousands of living creatures, the youths of Luca Signorelli, the knights of Giorgione and Carpaccio, the young gods of Paolo Veronese, the noble grey-beards of Tiziano, the stately women of Michelangiolo, the enchanting children of Raffaelle, and Correggio. But in the towns, and in the country where it receives the moral and physical miasma of the towns, he will find little else but the debased modern type, with its snigger of conceit, its cynical grin, its criminal's jaw, its cutaneous eruptions, its dull and insolent eyes, its stunted growth, and its breath foul with nicotine and chemical drinks, such as the modern schools, and the modern scientists, and the modern dram-shops have made it.

Commerce, from being beneficent, is fast becoming a curse. It usurps and absorbs all place and all energy. Its objects are allowed to push out of existence all higher aims; armies and navies exist only to protect it; and an English Premier was not ashamed at a Lord Mayor's banquet to declare that this was their unique aim: to conquer fresh fields for trading, and protect the trader in his invasion of the rights of others. His Secretary of State for the Colonies and his Chancellor of the Exchequer have, still more recently, repeated after him this singularly ignoble view of a nation's duty, and of a soldier's and sailor's obligation.

The Secretary of the Colonies, indeed, rising to unwonted enthusiasm, added that all the greatness of Great Britain lies in its commerce. No doubt this may be a fact; but it is not an ennobling fact; and it is one which is the parent of gross sins, and the enemy of high ideals; in the name of commerce, murder, theft, and torture are all legalised, and the most brutal egotism deified; it can be at best only a material greatness which is thus consolidated.

To measure the virtue of a nation by its commerce alone is like measuring the virtue of a man solely by the amount of his income. This manner of estimation is one common in the world, but it can never be considered a high standard. However, this excuse of the prior and dominant claims of commerce which may be put forward in the case of Great Britain for the sacrifice to it of all other interests cannot be alleged by Italy except in some districts of the north. What requires protection in five-sixths of Italy, and only suffers extinction through fiscal pressure, is small commerce: personal arts, crafts, and trades, which flourished so happily in past times, and would still live in fair peace and comfort were they not stoned out of existence by a merciless taxation, direct and indirect. These neither disfigure nor offend the beautiful and venerable little towns in which they dwell; the smith has his anvil under a Lombard arch, the apothecary keeps his ointments and simples in old majolica vases, the barber's pole slants under a shrine of the Renascence, the cloth-seller piles his bales against the sculpture of a Seicento wall, the seedsman's sacks show the shining berries in their gaping mouths behind the iron scroll-work of mediÆval kneeling-windows. It is not they who have hurt their birthplaces. It is the English syndicate, the Jew syndicate, the German money-changer, the American tram-contractor, the foreign electric company, the foreign co-operative store-keeper, who have no end but their own gain, and who tempt to shameful acts those native to the soil, in whose hands lie the fate of these historic, and late happy, places.

Ferrero has, concerning this, a true and touching passage which is much worthier of him than his views regarding Lombardy and the factories. He says, in a recent able article on the 'Miseria e Richezza in Italia':—

'The tendencies of new commercial life, in its immense enterprises, is to send money and movement into a very few amongst the cities of Italy, the others live content with their small traffic and trade; though trembling when the fleet well-springs of their small fortunes are menaced or run dry. Many of these towns were in other days rich, and still preserve the evidences of their splendid past in sumptuous palaces, spacious squares, monumental churches; a sense of venerable years, of profound repose lie on them; yet a sad and cruel tragedy often passes between these walls; beneath the magnificent palaces of the Renascence and the beautiful mediÆval Lombard churches, the populace perishes slowly of hunger. The small ancient industries disappear, crushed out by the victorious rivalry of the great tradesmen of the north. The ruin of these small industries and of these individual crafts began some decades ago; but it was much less cruelly felt then than it is now, and the sole recourse or solace now left to it is in revolt. A revolt to which the Government only replies by fixed bayonets, and a duty on corn, which is a crime.'

Ferrero, as a political economist is bound to do, considers that no means should be taken to artificially sustain ancient methods of work and trade, but he says with entire truth that to artificially depress and deplete them is on the part of the State an abominable act. To wear out the temper and patience of the populace with harassing edicts; to drive to desperation those who are cheerful and contented in an honestly supported poverty; to starve them by artificially raised food-prices, and by gate-taxes, which ruin the small trader, the modest householder, and the rural vendor alike; to render it, by a monstrous taxation, impossible for small industries to exist; to levy income-tax (focatico) on the poorest labourer—this is the terrible error, the inexcusable cruelty, of which the actual, and every preceding, Italian Cabinet is, and has been, guilty. If there be revolution in the air, who can wonder? The granaries are guarded by battalions, whilst millions are thrown away on bad statues to Savoy princes. These are facts which it is not necessary for a man to know his A B C to read. But they are the primer which is daily placed before the eyes of the many various peoples of Italy from the Col de Tenda to Cape Sorano; and these peoples are of rare intelligence even where wholly illiterate: often, indeed, most intelligent where most illiterate.

There were, not many years ago, a great measure of mirth and contentment in all the minor cities of Italy, and in the small towns and the big walled villages; much harmless merry-making and pastime, much simple and neighbourly pleasure, much enjoyment of that 'ben' di Dio,' the blessed air and sunshine. Most of it has been killed now; starved out, strangled by regulations and penalties and imposts, and a fiendish fiscal tyranny; dead like the poor slaughtered forgotten conscripts in Africa.

But this opens out a political question, and it is not of politics that these pages treat, but of art and its outrage: above all, of such outrage in Venice; since the President of her Academy did me, of late, the honour to say to me, 'Non puÒ Lei far nulla per salvare la nostra povera Venezia?' Alas! how powerless are all our forces against the ever-rising tide of modern barbarism!

A precious intaglio of exquisite workmanship is being broken up and pulverised under our eyes; and no one cares.

I know a wide plain, intersected by many streams, and lying full in the light of the west; these streams are filled from August to October with millions of white water-lilies.

Nothing more beautiful can be beheld than these countless water-courses covered with these cups of snow, which share the clear, slowly-rippling streams only with the water-wagtail and the sedge-warbler, the bullrush, and the flag. They resemble exactly the river on which the Virgine delle Rocce drift with their brothers and Claudio. But the peasants push their black, flat-bottomed boats recklessly amongst the silver goblets of the flowers, crashing into them and breaking them with brutal indifference, and raking them into heaps in their boats, to be cast up on to the oozing banks to rot and serve as land manure; the boorish insensibility of the boatmen is typical of their time; the lilies would serve quite as well for manure were they allowed to live out their lovely life, and were not gathered until they were yellow and faded; but they who rake them in do not wait for their natural season of decay; they smash and break them in full flower as they kill birds on the nest in the fields and hedges.

Their fate is like the fate of that greater lily, rosy-red at sunset, which lies cradled on the waters between Mestre and Murano; and which is roughly and painfully being uprooted and destroyed that a pack of foreign traders and native attorneys may wax fat and lay up gold.

No doubt the fate of Venice is common in these days; no doubt, all over the world, capitalists and socialists join hands across the gulf of their differences to unite in the destruction of all that is beautiful, graceful, harmonious, and venerable.

But in Italy such destruction is more sad and shameful than anywhere else in Europe, by reason of the magnificence and glory of her past, and in view of the pitiful fact that the land, which was a Pharos of light and leading to the earth, is now every year and every day receding farther and farther into darkness: that dreadful darkness of the modern world which comes of polluted waters and polluted air, of the breath of poisoned lungs, and the pressure of starving crowds. The basest form of venality, the lowest form of greed, have fastened on her with the tentacles of the devil-fish; and are every hour devouring her.

[1] RÉvue des Deux Mondes, 1^re janvier 1895.