ISLAND AFTERNOONS' ENTERTAINMENTS. II: S. LAZZARO AND CHIOGGIA
An Armenian monastery--The black beards--An attractive cicerone--The
refectory--Byron's Armenian studies--A little museum--A pleasant
library--Tireless enthusiasm--The garden--Old age--The two
campanili--Armenian proverbs--Chioggia--An amphibious town--The
repulsiveness of roads--The return voyage--Porto Secco--Malamocco--An
evening scene--The end.
As one approaches the Lido from Venice one passes on the right two
islands. The first is a grim enough colony, for thither are the male
lunatics of Venice deported; but the second, with a graceful eastern
campanile or minaret, a cool garden and warm red buildings, is alluring
and serene, being no other than the island of S. Lazzaro, on which is
situated the monastery of the Armenian Mechitarists, a little company of
scholarly monks who collect old MSS, translate, edit and print their
learned lucubrations, and instruct the young in religion and theology.
Furthermore, the island is famous in our literature for having afforded
Lord Byron a refuge, when, after too deep a draught of worldly
beguilements, he decided to become a serious recluse, and for a brief
while buried himself here, studied Armenian, and made a few
translations: enough at any rate to provide himself with a cloistral
interlude on which he might ever after reflect with pride and the
wistful backward look of a born scholiast to whom the fates had been
unkind.
According to a little history of the island which one of the brothers
has written, S. Lazzaro was once a leper settlement. Then it fell into
disuse, and in 1717 an Armenian monk of substance, one Mekhitar of
Sebaste, was permitted to purchase it and here surround himself with
companions. Since then the life of the little community has been easy
and tranquil.
The extremely welcome visitor is received at the island stairs by a
porter in uniform and led by him along the sunny cloisters and their
very green garden to a waiting-room hung thickly with modern paintings:
indifferent Madonnas and views of the city and the lagoon. By and by in
comes a black-bearded father, in a cassock. All the Mechitarists, it
seems, have black beards and cassocks and wide-brimmed beavers; and the
young seminarists, whom one meets now and then in little bunches in
Venice, are broad-brimmed, black-coated, and give promise of being hairy
too. The father, who is genial and smiling, asks if we understand
French, and deploring the difficulty of the English language, which has
so many ways of pronouncing a single termination, whereas the Armenian
never exceeds one, leads the way.
The first thing to admire is the garden once more, with its verdant
cedars of Lebanon and a Judas-tree bent beneath its blood. On a seat in
the midst another bearded father beneath a wide hat is reading a proof.
And through the leaves the sunlight is splashing on the cloisters,
pillars, and white walls.
[Illustration: THE ARMENIAN MONASTERY AND THE LAGOON]
The refectory is a long and rather sombre room. Here, says the little
guide-book to the island, prepared by one of the fathers who had
overcome most of the difficulties of our tongue, "before sitting down to
dine grace is said in common; the president recites some prayer, two of
the scholars recite a psalm, the Lord's prayer is repeated and the meal
is despatched in silence. In the meantime one of the novices appears in
the pulpit and reads first a lesson from the Bible, and then another
from some other book. The meal finished, the president rings a bell, the
reader retires to dine, the Community rises, they give thanks and retire
to the garden."
Next upstairs. We are taken first to the room which was Byron's, where
the visitors' book is kept. I looked from the window to see upon what
prospect those sated eyes could fall, and found that immediately
opposite is now the huge Excelsior Hotel of the Lido. In Byron's day the
Lido was a waste, for bathing had hardly been invented. The reverence in
which the name and memory of his lordship are still held suggests that
he took in the simple brothers very thoroughly. Not only have they his
portrait and the very table at which he sat, but his pens, inkstand, and
knife. His own letters on his refuge are interesting. Writing to Moore
in 1816 he says: "By way of divertisement, I am studying daily, at an
Armenian monastery, the Armenian language. I found that my mind wanted
something craggy to break upon; and this--as the most difficult thing I
could discover here for an amusement--I have chosen, to torture me into
attention. It is a rich language, however, and would amply repay any one
the trouble of learning it. I try, and shall go on; but I answer for
nothing, least of all for my intentions or my success." He made a few
metrical translations into Armenian, but his principal task was to help
with an English and Armenian grammar, for which, when it was ready, he
wrote a preface. Byron usually came to the monastery only for the day,
but there was a bedroom for him which he occasionally occupied. The
superior, he says, had a "beard like a meteor." A brother who was there
at the time and survived till the seventies told a visitor that his
"Lordship was as handsome as a saint."
In the lobby adjoining Byron's room are cases of autographs and
photographs of distinguished visitors, such as Mr. Howells, Longfellow,
Ruskin, Gladstone, King Edward VII when Prince of Wales, and so forth.
Also a holograph sonnet on the monastery by Bryant. Elsewhere are
various curiosities--dolls dressed in national costumes, medals,
Egyptian relics, and so forth. In one case is some manna which actually
fell from the skies in Armenia during a famine in 1833.
The chief room of the library contains not only its priceless MSS., but
a famous mummy which the experts put at anything from 2200 to 3500 years
old. Another precious possession is a Buddhist ritual on papyrus, which
an Armenian wandering in Madras discovered and secured. The earliest
manuscript dates from the twelfth century. In a central case are
illuminated books and some beautiful bindings; and I must put on record
that if ever there was a cicerone who displayed no weariness and
disdained merely mechanical interest in exhibiting for the thousandth
time his treasures, it is Father Vardan Hatzouni. But the room is so
pleasant that, were it not that one enjoys such enthusiasm and likes to
stimulate it by questions, it would be good merely to be in it without
too curiously examining its possessions.
Downstairs is a rather frigid little church, where an embroidered cloth
is shown, presented by Queen Margherita. The S. Lazzaro Armenians, I may
say, seem always to have attracted gifts, one of their great benefactors
being Napoleon III. They are so simple and earnest and unobtrusive--and,
I am sure, grateful--that perhaps it is natural to feel generous
towards them.
Finally we were shown to the printing-room, on our way to which, along
the cloisters from the church, we passed through a group of elderly
monks, cheerfully smoking and gossiping, who rose and made the most
courtly salutation. Here we saw the printing-presses, some of English
make, and then the books that these presses turn out. Two of these I
bought--the little pamphlet from which I have already quoted and a
collection of Armenian proverbs translated into English.
The garden is spreading and very inviting, and no sooner were we outside
the door than Father Hatzouni returned to some horticultural pursuit.
The walks are long and shady and the lagoon is lovely from every point;
and Venice is at once within a few minutes and as remote as a star.
In the garden is an enclosure for cows and poultry, and the little
burial-ground where the good Mechitarists are laid to rest when their
placid life is done. Among them is the famous poet of the community, the
Reverend Father Gonidas Pakraduni, who translated into Armenian both the
_Iliad_ and _Paradise Lost_, as well as writing epics of his own. The
_Paradise Lost_ is dedicated to Queen Victoria. Some of the brothers
have lived to a very great age, and Mr. Howells in his delightful
account of a visit to this island tells of one, George Karabagiak, who
survived until he was 108 and died in September, 1863. Life, it seems,
can be too long; for having an illness in the preceding August, from
which he recovered, the centenarian remarked sadly to one of his
friends, "I fear that God has abandoned me and I shall live." Being
asked how he was, when his end was really imminent, he replied "Well,"
and died.
As we came away we saw over the wall of the playground the heads of a
few black-haired boys, embryo priests; but they wore an air of gravity
beyond their years. The future perhaps bears on them not lightly. They
were not romping or shouting, nor were any in the water; and just below,
at the edge of the sea, well within view and stone range, I noticed an
empty bottle on its end, glistening in the sun. Think of so alluring a
target disregarded and unbroken by an English school!
The returning gondola passes under the walls of the male madhouse. Just
before reaching this melancholy island there is a spot at which it is
possible still to realize what Venice was like when S. Mark's campanile
fell, for one has the S. Giorgio campanile and this other so completely
in line that S. Georgio's alone is visible.
Some of the Armenian proverbs are very shrewd and all have a flavour of
their own. Here are a few:--
"What can the rose do in the sea, and the violet before the fire?"
"The mother who has a daughter always has a hand in her purse."
"Every one places wood under his own pot."
"The day can dawn without the cock's crowing."
"If you cannot become rich, become the neighbour of a rich man."
"Our dog is so good that the fox has pupped in our poultry house."
"One day the ass began to bray. They said to him: 'What a beautiful
voice!' Since then he always brays."
"Whether I eat or not I shall have the fever, so better eat and have the
fever."
"The sermon of a poor priest is not heard."
"When he rides a horse, he forgets God; when he comes down from the
horse, he forgets the horse."
"Dine with thy friend, but do no business with him."
"To a bald head a golden comb."
"Choose your consort with the eyes of an old man, and choose your horse
with the eyes of a young man."
"A good girl is worth more than seven boys."
"When you are in town, if you observe that people wear the hat on one
side, wear yours likewise."
"The fox's last hole is the furrier's shop."
"The Kurd asked the barber: 'Is my hair white or black?' The other
answered him: 'I will put it before you, and you will see'."
"He who mounts an ass, has one shame; he who falls from it, has two."
"Be learned, but be taken for a fool."
Of a grumbler: "Every one's grain grows straight; mine grows crooked."
Of an impatient man: "He feeds the hen with one hand and with the other
he looks for her eggs."
I have not printed these exactly as they appear in the little pamphlet,
because one has only to turn one page to realize that what the S.
Lazzaro press most needs is a proof-reader.
I said at the beginning of this book that the perfect way to approach
Venice for the first time is from Chioggia. But that is not too easy.
What, however, is quite easy is to visit Chioggia from Venice and then,
returning, catch some of the beauty--without, however, all the surprise
and wonder--of that approach.
Steamers leave the Riva, opposite Danieli's, every two hours. They take
their easy way up the lagoon towards the Lido for a little while, and
then turn off to the right, always keeping in the enclosed channel, for
eighteen miles. I took the two o'clock boat on a hot day and am not
ashamed to confess that upon the outward voyage I converted it (as
indeed did almost everybody else) into a dormitory. But Chioggia
awakened me, and upon the voyage back I missed, I think, nothing.
Choggia is amphibious. Parallel with its broad main street, with an
arcade and cafés under awnings on one side, and in the roadway such
weird and unfamiliar objects as vehicles drawn by horses, and even
motor-cars noisy and fussy, is a long canal packed with orange-sailed
fishing boats and crossed by many little bridges and one superb broad
white one. All the men fish; all the women and children sit in the
little side streets, making lace, knitting, and stringing beads. Beside
this canal the dirt is abnormal, but it carries with it the usual
alleviation of extreme picturesqueness, so that Chioggia is always
artist-ridden.
The steamer gives you an hour in which to drift about in the sunshine
and meditate upon the inferiority of any material other than water for
the macadamizing of roads. There are sights too: Carpaccio's very last
picture, painted in 1520, in S. Domenico; a Corso Vittorio Emmanuele; a
cathedral; a Giardino Pubblico; and an attractive stone parapet with a
famous Madonna on it revered by fishermen and sailors. The town is
historically important, for was not the decisive battle of Chioggia
fought here in 1379 between the Venetians and their ancient enemies the
Genoese?
But I cannot pretend that Chioggia is to my taste. To come to it on the
journey to Venice, knowing what is in store, might put one in a mood to
forgive its earthy situation and earthy ways; but when, all in love with
water, one visits it from Venice, one resents the sound and sight of
traffic, the absence of gondolas, and the presence of heat unalleviated.
At five o'clock, punctually to the minute, the steamer leaves the quay
and breaks the stillness of the placid lagoon. A few fishing boats are
dotted about, one of them with sails of yellow and blue, as lovely as a
Chinese rug; others the deep red that Clara Montalba has reproduced so
charmingly; and a few with crosses or other religious symbols. The boat
quickly passes the mouth of the Chioggia harbour, the third spot at
which the long thread of land which divides the lagoon from the Adriatic
is pierced, and then makes for Palestrina, surely the narrowest town on
earth, with a narrower walled cemetery just outside, old boats decaying
on the shore, and the skin of naked boys who frolic at the water's edge
glowing in the declining sun. Never were such sun-traps as these strips
of towns along this island bank, only a few inches above sea level and
swept by every wind that blows.
Hugging the coast, which is fringed with tamarisk and an occasional
shumac, we come next to Porto Secco, another tiny settlement among
vegetable gardens. Its gay church, yellow washed, with a green door and
three saints on the roof, we can see inverted in the water, so still is
it, until our gentle wash blurs all. Porto Secco's front is all pinks
and yellows, reds, ochres, and white; and the sun is now so low that the
steamer's shadow creeps along these façades, keeping step with the boat.
More market gardens, and then the next mouth of the harbour, (known as
Malamocco, although Malamocco town is still distant), with a coastguard
station, a fort, acres of coal and other signs of militancy on the
farther side. It is here that the Lido proper begins and the island
broadens out into meadows.
At the fort pier we are kept waiting for ten minutes while a live duck
submits to be weighed for fiscal purposes, and the delay gives an old
man with razor-fish a chance to sell several pennyworths. By this time
the sun is very near the horizon, setting in a roseate sky over a lagoon
of jade. There is not a ripple. The tide is very low. Sea birds fleck
with white the vast fields of mud. The peacefulness of it all under such
unearthly beauty is almost disquieting.
Next comes Malamocco itself, of which not much is seen but a little
campo--almost an English village green--by the pier, and children
playing on it. Yet three thousand people live here, chiefly growers of
melons, tomatoes, and all the picturesque vegetables which are heaped up
on the bank of the Grand Canal in the Rialto market and are carried to
Venice in boats day after day for ever.
Malamocco was a seat of ducal government when Venice was only a village,
and not until the seventh century did the honours pass to Venice: hence
a certain alleged sense of superiority on the part of the Malamoccans,
although not only has the original Malamocco but the island on which it
was built disappeared beneath the tide. Popilia too, a city once also of
some importance, is now the almost deserted island of Poveglia which we
pass just after leaving Malamocco, as we steam along that splendid wide
high-way direct to Venice--between the mud-flats and the sea-mews and
those countless groups of piles marking the channel, which always
resemble bunches of giant asparagus and sometimes seem to be little
companies of drowning people who have sworn to die together.
[Illustration: FROM THE DOGANA AT NIGHT]
Here we overtake boats on the way to the Rialto market, some hastening
with oars, others allowing their yellow sails to do the work, heaped
high with vegetables and fruit. Just off the mud the sardine catchers
are at work, waist high in the water.
The sun has now gone, the sky is burning brighter and brighter, and
Venice is to be seen: either between her islands or peeping over them.
S. Spirito, now a powder magazine, we pass, and S. Clemente, with its
barrack-like red buildings, once a convent and now a refuge for poor mad
women, and then La Grazia, where the consumptives are sent, and so we
enter the narrow way between the Giudecca and S. Giorgio Maggiore, on
the other side of which Venice awaits us in all her twilight loveliness.
And disembarking we are glad to be at home again. For even an
afternoon's absence is like an act of treachery.
And here, re-entering Venice in the way in which, in the first chapter,
I advised all travellers to get their first sight of her, I come to an
end, only too conscious of how ridiculous is the attempt to write a
single book on this city. Where many books could not exhaust the theme,
what chance has only one? At most it can say and say again (like "all of
the singing") how it was good!
Venice needs a whole library to describe her: a book on her churches and
a book on her palaces; a book on her painters and a book on her
sculptors; a book on her old families and a book on her new; a book on
her builders and a book on her bridges; a book--but why go on? The fact
is self-evident.
Yet there is something that a single book can do: it can testify to
delight received and endeavour to kindle an enthusiasm in others; and
that I may perhaps have done.
INDEX
Accademia, the, 98, 168.
Adriatic espousals, 27, 54, 161, 263.
Alberghetti, 75.
Albrizzi, Countess, and Byron, 132.
Alexander III., Pope, 18, 53, 54.
Americans, 65, 259.
_Amleto_, performance of, 163.
Animals, 250.
Architects, Venetian, 93.
Armenian monastery, 299.
Armenian proverbs, 304.
Arsenal, the, 166, 263.
Artists, modern, 14, 272, 276, 306.
Austrian rule in Venice, 12, 13, 106-107, 162.
Austrian tourists, 13, 32.
Barbarigo, Cardinal Gregorio, 125, 147.
Barbarigo, Pietro, Patriarch of Venice, 97.
Barbaro, Marc Antonio, 147.
Basaiti, pictures by, 96, 154, 169, 172, 190.
Bathing, 268.
Bead-workers, 202.
Beauharnais, Eugène, Prince of Venice, 12.
Beerbohm, Max, 104.
Bellini, Gentile, pictures by, 10, 51, 257.
his "Holy Cross" pictures, 179-180.
his S. Lorenzo Giustinian, 180.
his tomb, 256.
Bellini, Giovanni, pictures by, 50, 51, 63, 118, 125, 154, 169, 172,
192, 193, 203, 208, 215, 219, 224, 249, 259, 283.
his "Agony," 169.
his "Loredano," 169.
his "Peter Martyr," 169.
his career, 190.
and the Venetian School, 193.
his last picture, 224.
his tomb, 256.
Bellotto, Bernardo, _see_ Canaletto.
Benedict, S., his life in panels, 200.
Benzoni, Countess, and Byron, 138, 139.
_Beppo_, Byron's, 134, 290.
Berri, Duchesse de, in Venice, 122.
Bissolo, picture by, 173.
Boccaccini, Boccaccio, picture by, 190.
Bon, Bartolommeo, 73, 232.
Bon, Giovanni, 73.
Bon, Pacifico, his tomb, 251.
Bonconsiglio, picture by, 170.
Boni, Giacomo, 86.
Bonington in Venice, 272.
picture by, 273.
Book-shops, 229.
Bordone, Paris, his "Fisherman and Doge," 177.
picture by, 284.
Bovolo staircase, 285.
Bowls, 226.
Bragadino, his career, 257.
his tomb, 257.
Brangwyn, Frank, picture by, 114.
Bridge of Boats, the, 203.
Bridge of Sighs, _see_ Doges' Palace.
Bronson, Mrs. Arthur, on Browning, 107, 140.
Browning, Robert, in Venice, 98, 99, 100.
his funeral service, 102.
his love of Venice, 103.
and the Lido, 140.
and the Colleoni statue, 256.
on Venice, 275.
Browning, and the Zattere, 274.
Browning, Mrs., on Venice, 100.
Brule, Albert de, his carvings, 200, 201.
Bruno, Giordano, in Venice, 143.
Bucintoro, the, 263.
yacht club, 149.
Buono of Malamocco, 8.
Burano, the journey to, 157.
its charm and dirt, 158.
the Scuola Merletti, 158.
on Venice, 63.
Byron, in Venice, 112, 128, 129.
his _Beppo_, 134.
on gondolas, 134.
his Venetian life, 137.
and the Lido, 137.
his _Marino Faliero_, 138.
his _Two Foscari_, 138.
Shelley visits, 139.
his _Julian and Maddalo_, 139.
on Giorgione's "Tempest," 290.
and S. Lazzaro, 299.
Byways of Venice, the, 284.
Cabots, the, 77.
Cafés, 34, 38.
Calendario, 59.
Calli, narrow, 101.
Campanile of S. Mark, the, 43.
lift, 43.
golden angel, 43.
bells, 44, 265.
view from, 44.
Campaniles, 42, 43, 98, 165, 189, 197, 283.
Campo Daniele Manin, 285.
Campo Morosoni, 165.
Campo S. Bartolommeo, 221.
Campo S. Giacomo dell'Orio, 285.
Campo S. Margharita, 196.
Campo S. Maria Formosa, 280.
Campo S. Maria Mater Domini, 285.
Campo Santo, 152.
Campos, their characteristics, 221.
Canal, the Grand, 91-150.
Canal, di S. Marco, 195.
Canals, filled in, 226.
Canaletto, his career, 188.
pictures by, 5, 68, 118, 187, 207.
Canova, 77.
his "St. George," 68.
works by, 118, 252.
his early studies, 127.
his career, 248.
his tomb, 248.
Caracci, picture by, 281.
Caravaggio, picture by, 190.
Carlo, A., his guide to Venice, 4, 134.
Carmagnola, 64.
Carpaccio, pictures by, 62, 73, 113, 117, 146, 172.
his "Santo Croce" picture, 180.
his S. Ursula pictures, 182.
his career, 184.
Ruskin on, 184.
his pictures, at S. Giorgio degli Schiavoni, 210.
his last picture, 306.
Casanova, Jacques, in Venice, 75, 162.
Castel Franco, 294.
Castello, island of, 267.
Cat, the Frari, 250.
Catena, pictures by, 169, 190.
_Childe Harold_, Venice in, 136.
Children, Venetian, 26, 39, 120, 227, 245, 295.
Chimneys, old, 96, 97, 285.
Chioggia, 306.
Churches, origin of some, 28.
Venice approached from, 1, 307.
the most comfortable, 165, 245.
Churches:
SS. Apostoli, 225.
S. Bartolommeo, 221.
S. Donato (Murano), 155.
S. Eustachio, 115.
S. Fosca (Torcello), 160.
S. Francesco della Vigna, 214.
its campanile, 42.
S. Geremia, 119.
Gesuati, 271.
S. Giacomo di Rialto, 227.
S. Giobbe, 284.
S. Giorgio degli Schiavoni, 180, 210.
S. Giorgio Maggiore, its campanile, 42, 189.
its pictures, 168.
its panels, 200.
S. Giovanni Crisostomo, 224.
S. Giovanni Elemosinario, 229.
S. Giovanni in Bragora, 209.
S. Giovanni e Paolo, 254.
S. Giuliano, 219.
S. Gregorio, abbey of, 96.
Madonna dell'Orto, 282.
S. Marcuola, 121.
S. Margiala, 284.
S. Maria della Carità, 98.
S. Maria del Carmine, 277.
S. Maria Formosa, 280.
S. Maria del Giglio, 147, 164.
S. Maria dei Miracoli, 279.
S. Maria della Salute, 95.
Misericordia, 281.
S. Moise, 162.
S. Pietro in Castello, campanile, 43.
S. Pietro Martire (Murano), 154.
Redentore, 203.
S. Rocco, 231, 244.
S. Salvatore, 49.
Scalzi, 119.
S. Sebastiano, 275.
S. Stefano, 165.
S. Theodore, 9.
S. Trovaso, 274.
S. Vio, 97.
S. Vitale, 146.
S. Zaccaria, 207.
S. Zobenigo, 164.
S. Zulian, 285.
Cigharillo, Gianbettino, his "Death of Rachel," 187.
Cima, pictures by, 125, 172, 190, 209, 261, 277, 283.
Clement XIII, Pope, 103.
his birthplace, 123.
Clemente, S., island of, 309.
Shelley at, 141.
Cloisters, 165.
Cobbler's shop, a, 285.
Colleoni, Bartolommeo, his career, 255.
his statue, 21, 151, 255, 262, 273.
Concert barges, the, 195.
Constantinople, the expedition to, 56.
Contarini, Pietro, 124.
Conti, Niccolò, 75.
Cooper, Fenimore, in Venice, 127.
Corner, Catherine, Queen of Cyprus, 76, 114, 147, 180, 220.
Correr, Teodoro, 118.
Coryat, Thomas, on the Pietra del Bando, 15.
on the Acre columns, 16.
on absence of horses, 21.
on bronze wells, 75.
on Loggetta, 86.
on palace balconies, 148.
on prison, 207.
on Merceria giants, 219.
on Bragadino monument, 257.
Council of Ten, the, 50.
Credi, di, picture by, 281.
Custodians, 52, 60, 85.
Cyprus, the acquirement of, 147.
Cyprus, Queen of, _see_ Corner, Catherine.
Danieli's Hotel, 104, 207, 272.
D'Annunzio, his _Il Fuoco_, 122.
Dante, 77.
Desdemona, the house of, 148.
Dickens, Charles, on Venice, 5.
Dogana, the, 94, 270.
Doge and Fisherman, the story of, 177.
Doges, the, 46.
incorrigibly municipal, 46.
Doges:
Barbarigo, Agostino, 96,147.
Barbarigo, Marco, 147.
Contarini, Alvise, his tomb, 216.
Contarini, Francesco, his tomb, 216.
Corner, Marco, his tomb, 258.
Dandolo, Andrea, 28, 58, 77, 80.
Dandolo, Enrico, 21, 36, 53, 54, 166.
Donato, Francesco, 49.
Faliero, Marino, 58, 225.
Foscari, Francesco, 73.
his tomb, 251.
his career, 252.
Grimani, 47.
Gritti, Andrea, 49, 62, 81
his tomb, 216.
Giustinian, Marcantonio, 166.
Giustinian, Partecipazio, 60.
Lando, Pietro, 50.
Loredano, Leonardo, 50.
painted by Bellini, 169.
his tomb, 258.
painted by Giorgione, 298.
Loredano, Pietro, 50, 61.
Malipiero, Pasquale, his tomb, 260.
Manin, Lodovico, 11, 61.
Marcello, Niccolò, his tomb, 261.
Michiel, Domenico, 156.
Michiel, Vitale, 53, 104.
Mocenigo, Alvise, 49, 243.
his tomb, 256.
Mocenigo, Giovanni, his tomb, 257.
Mocenigo, Pietro, his tomb, 257.
Mocenigo, Tommaso, 67.
his career, 260.
his tomb, 260.
Moro, Cristoforo, the original of Othello, 284.
his tomb, 284.
Morosini, Francesco, his career, 165.
his death, 166.
his tomb, 165.
Morosini, Michele, his tomb, 258.
Oberelio, Antenorio, 59.
Oberelio, Beato, 59.
Partecipazio, Angelo, 59.
Partecipazio, Giovanni, 60.
Partecipazio, Giustiniano, 7.
Pesaro, Giovanni, his tomb, 250.
Ponte, Niccolò da, 49.
Priuli, Girolamo, 60.
his tomb, 220.
Priuli, Lorenzo, his tomb, 220.
Steno, Michele, his tomb, 260.
Tiepolo, Jacopo, his tomb, 256.
Tiepolo, Lorenzo, his tomb, 256.
Trevisan, Marc Antonio, 50.
his tomb, 216.
Tron, Niccolò, his career, 252.
his tomb, 252.
Valier, Bertucci, his tomb, 257.
Valier, Silvestro, his tomb, 258.
Vendramin, Andrea, his tomb, 258.
Venier, Antonio, his tomb, 259.
Venier, Francesco, 75.
his tomb, 220.
Venier, Sebastiano, 49, 51.
his career, 158.
his tomb, 258.
Ziani, Sebastiano, 53.
Doges' Palace, the, 15, 16, 46.
Scala d'Oro, 47.
Sala delle Quattro Porte, 47, 50.
Sala del Collegio, 49.
Bocca di Leone, 50.
Sala del Consiglio dei Dieci, 50.
Sala del Senato, 50, 67.
Sala del Maggior Consiglio, 51, 60, 67, 68.
Sala dello Scrutinio, 61.
Archæological museum, 62.
Bridge of Sighs, 63, 136, 137.
the cells, 63.
Shelley on, 142.
its history, 66.
its building, 66, 67.
Giants' Stairs, 67, 74.
the carved capitals, 68.
Porta della Carta, 73, 74, 76.
courtyard, 74.
its restoration, 198.
D'Oggiano, Marco, picture by, 94.
Dona dalle Rose, Count Antonio, 125.
Donato, S., his body brought to Murano, 156.
Douglas, Col., his _Venice on Foot_, 218, 285.
Dürer on Bellini, 181
Duse, Eleanora, 97.
English travellers, Byron and, 138.
Erberia, the, 228.
Faliero Conspiracy, the, 49.
Fantin-Latour, picture by, 114.
Favretto, 114.
Fenice Theatre, the, 132, 162.
Ferdinando, gondolier, 87.
Fildes, Luke, his Venetian pictures, 273.
Fiore, Jacobello del, pictures by, 62, 160.
Fireworks, Venetian, 197.
Fish, 40, 229.
Fish-market, 113, 229.
Flagstaffs, the Piazza, 256.
Flanhault, Mme. de, and Byron, 130.
Florian's, 31, 32, 38.
Football match, a, 265.
Foscari, Jacopo, 64.
Foscarini, Antonio, 64.
Foscolo, Ugo, 76.
France, Anatole, 8.
Francesca, Pietro della, picture by, 190.
Francesco, S., in Deserto, island, 158.
Franchetti, Baron, 124.
Franchetti family, 146.
Frari church, the exterior, 245.
the campanile, 42, 43.
Titian's tomb, 246.
Canova's tomb, 248.
Frederick Barbarossa, Emperor, 18, 53, 54.
French occupation, 137.
Frezzeria, Byron in the, 130, 162.
Fruit in Venice, 40.
Fruit-market, _see_ Erberia.
Funeral, a, 208.
Fusina, Venice approached from, 2, 297.
Galileo, autograph of, 77, 84.
Gardens, 97, 143, 202, 215.
Garibaldi statue, 264.
Genoa, the war with, 58.
George, S., the story of, 211.
Germans in Venice, 268.
Giambono, pictures by, 170.
Giardinetto Infantile, 123.
Giardini Pubblici, 12, 105, 264.
Giordano, Luca, picture by, 96.
Giorgio Maggiore, S., 197.
Giorgione, pictures by, 94, 123, 127, 224, 244, 281, 287.
and Titian, 247, 294.
his "Tempest," 287.
his innovations, 289, 298.
and the attributors, 291.
his career, 292.
his statue, 295.
his masterpiece, 296.
Giudecca, the, 202.
Giustiniani, Marco, 61.
Giustiniani, Niccolò, 104.
Giustiniani, family, 104, 215.
Glass-making at Murano, 152.
Gobbo, the, 228.
Goethe, in Venice, 106.
Goldoni, 77.
autograph of, 84.
his statue, 101, 220.
Browning on, 101.
his plays, 220.
his _Autobiography_ 221.
room at the Museo Civico, the, 117.
Theatre, _Hamlet_ at the, 163.
Gondolas, Byron on, 134.
Shelley on, 141.
Gondoliers, 33, 87.
Wagner on, 108.
their folk-song, 108.
Howells on, 144.
battles between, 281.
Gosse, Mr. Edmund, 104.
Gramophone, a, 196.
Grossi, Alessandro, gondolier, 87.
Grimani, Cardinal, 63.
Grimani, Count, 41.
Grimani, Breviary, 84.
Guardi, Francesco, his career, 189.
his "Dogana," 187.
Guardi, Francesco, pictures of, 38, 68, 96, 116, 149, 189.
Guariento, fresco by, 51.
Guides, 17, 259.
"Hamlet" in Venice, 163.
Harding, J.D., his Venetian pictures, 273.
Hatzouni, Fr. Vardan, 302.
Helena, S., her life, 266.
Henri III of France in Venice, 109.
Henri IV, his armour, 263.
Hohenlohe, Prince, his palace, 147.
Honeymooners, 32, 195.
Hoppner on Byron in Venice, 137.
Horses, absence of, 21.
the golden, 10, 21, 57.
House moving, a, 274.
Houses, desirable, 96, 204, 205.
Howells, W.D., in Venice, 104, 144, 221.
his _Venetian Life_, 144.
on gondoliers, 144.
on Venice, 204, 264.
on campos, 221.
on S. Lazzaro, 303.
Ibsen and Browning, 103.
James, G.P.R., buried in Venice, 152.
Jerome, S., and the lion, 213, 215.
Jews in Venice, 227.
Joseph II, Emperor, 103, 115.
Lace making at Burano, 158.
Lavery, John, picture by, 114.
Layard, Sir Henry, in Venice, 111.
Lazzaro, S., 299.
Byron at, 130, 299, 301.
its history, 300.
visitors to, 302.
the printing-room, 303.
"Leda and the Swan," 63, 298.
La Grazia, Island of, 309.
Leopardi, autograph of, 84.
Lewis, "Monk," visits Byron in Venice, 136.
Liberi, Pietro, picture by, 61.
Library, the Old, 80, 149.
Library, S. Mark's, 84.
Lido, the, bathing at, 14, 15, 267.
Browning at, 101, 102, 140.
Byron at, 137, 139.
Shelley at, 139.
Clara Shelley's, grave, 141.
the aquarium, 229.
Lion column, the, 54, 79.
Lions, 25, 73, 166, 261.
a census of, 73.
Lippi, Filippino, picture by, 94.
Loafers, 30.
Loggetta, the, 42, 80, 85.
Lombardi, the, 122, 225, 257, 261, 279, 284.
Longhena, Baldassarre, his works, 95, 96, 103, 114, 115, 116, 149.
Longhi, Pietro, his career, 187.
pictures by, 75, 116, 125, 187.
Lotto, picture by, 194.
Malamocco, 59, 307, 308.
Malibran Theatre, 106.
Manin, Daniele, his tomb, 11.
his career, 12, 103.
his statue, 13, 73.
his portrait, 77.
Mansueti, his "Santa Croce" picture, 180.
Mantegna, his "S. Sebastian," 124.
his "S. George," 190.
Marcello, Jacopo, his tomb, 251.
Mark, S., his body brought to Venice, 8, 60.
miracles of, 171, 172.
legend of, 177.
Mark's, S., history, 6, 7.
the façade, 6, 7, 10.
the mosaics, 8, 9, 17-21, 24-26, 29.
external carvings, 9.
north façade and piazzetta, 10, 11, 14.
the golden horses, 10, 21,57.
the atrium, 17.
the interior, 22.
a procession, 23.
chapel of S. Isidoro, 25.
Cappella dei Mascoli, 25.
the Pala d'Oro, 26.
the High Altar, 26.
the Treasuries, 27.
the Baptistery, 28.
Dandolo's tomb, 28.
Zeno chapel, 29.
Markets, 228.
Mary, S., of Egypt, the story of, 234.
Matteo Lambertini, Michele di, picture by, 170.
Merceria, the, 218.
Merceria, clock, 218.
giants, 218, 219.
Michele, S., island of, 103.
Mocenigo, Lazzaro, 77.
Molo, the, 87.
Montalba, Clara, her Venetian pictures, 273, 307.
Moore, Thomas, and Byron, 130.
Moore, Thomas, in Venice, 128.
Mor, picture by, 173.
Moretti, Sig., 86.
Moretto, picture by, 125.
Motor boats, 92.
Munaretti, Cav., 86.
Murano, the way to, 151, 157.
glass-making at, 152.
the early art of, 152.
its churches, 154.
Museo, Civico, 46, 59, 115, 116.
Music, in Venice, 31, 35, 106, 196.
Musset, Alfred de, in Venice, 207.
Napoleon in Venice, 11, 12, 21, 110.
Nicholson, W., picture by, 114.
Orefice, Pellegrino, 122.
_Othello_, 284.
Padua, 2, 297.
Painters, foreign, pictures of Venice by, 273.
Painting, its coming to Venice, 191.
Pala d'Oro, 57.
Palaces, present condition of, 33.
coloured posts of, 94.
on visiting, 111.
Palaces:
Albrizzi, 112, 132, 139.
Angaran, 110.
Avogadro, 112.
Balbi, 110.
Balbi-Valier, 98.
Barbarigo, 97, 123, 147.
Barbarigo della Terrazza, 111.
Barbaro, 123, 146, 147.
Sargent's interior of, 146.
Barozzi Wedmann, 149.
Battagia, 115.
Bembo, 127.
Benzon, 128, 132.
Byron at, 132, 139.
Bernardo, 111.
Boldù, 123.
Bonhomo, 123.
Brandolin, 114.
Brandolin-Rota, 98, 101.
Businello, 112.
Cà d'Oro, 124.
Camerlenghi, 73, 227.
Capello, 111.
Cà Ruzzini, 126.
Casa Falier, 104.
Casa Petrarca, 112.
Cavalli, 146.
Civran, 110, 126.
Coccina-Tiepolo, 111.
Coletti, 123.
Contarini, 99, 115, 121, 128, 286.
Contarini Fasan, 148.
Contarini degli Scrigni, 99.
Contarini del Zaffo, 98.
Corner, 129.
Corner della Cà Grande, 147.
Corner della Regina, 114.
Curti, 128.
Dandolo, 110.
Dario, 97.
Dolfin, 99.
Dona, 111, 113, 280.
Emo, 123.
Erizzo, 123.
Falier, 144.
W.D. Howells at, 144.
Farsetti,127.
Fini, 148.
Flangini, 119.
Fontana, 123.
Foscari, 104, 109, 125.
Foscarini, 115.
Gazzoni, 128.
Giovanelli, 118, 123, 281, 287.
Giustinian Lolin, 146.
Giustiniani, 100, 104, 110, 149.
Grassi, 143.
Grimani, 110, 123, 128.
Gritti, 121, 148.
Gussoni, 123.
Labia, 120.
Lezze, 123.
Lion, 126.
Lobbia, 121.
Loredan, 98, 99, 127.
Malipiero, 143, 280.
Mandelli 121.
Manfrini, 290.
Mangilli Valmarana, 126.
Manin, 127.
Manolesso-Ferro, 148.
Manzoni, 101.
Marcello, 122.
Martinengo, 96, 121, 122, 128.
Mengaldo, 112.
Miani, 123.
Michiel, 149.
Michiel, da Brusâ, 126.
Michiel, dalle Colonne, 125.
Mocenigo, 126, 129, 143.
Byron at, 134, 139.
Mocenigo Gambara, 99.
Molin, 123.
Moro-Lin, 143.
Morosini, 114, 167.
Mosto, da, 126.
Mula, 97.
Nani, 7, 104.
Papadopoli, 111.
Paradiso, 98.
Perducci, 126.
Pesaro, 114, 115, 125.
Piovene, 123.
Pisani, 167.
Pisani Moretta, 111.
Querini, 99, 111, 121.
Querini Stampalia, 280.
Rampinelli, 112.
Rezzonico, 98, 99, 102, 103.
Sagredo, 125.
Swift, 148.
Tiepolo, 111, 149.
Tornielli, 128.
Tron, 115, 128.
Valaresso, 149.
Valmarana, 128.
Van Axel, 285.
Vendramin, 111.
Vendramin Calergi, 122.
Venier, 97.
Volkoff, 97.
Palestrina, 307.
Palladio, Andrea, his career, 198.
works of, 214.
Palma, pictures by, 177, 280.
Palma, the younger, pictures by, 61, 178.
Pennell, Joseph, pictures by, 114.
Pesaro, Jacopo, 249.
his tomb, 250.
Petrarch on Andrea Dandolo, 28.
Piazza di S. Marco, 31.
the pigeons, 36, 76.
buildings in, 37.
floor pattern, 44.
in 1496, 179.
Piazzetta, the, 78.
Picture cleaning, the need of, 210, 244, 282.
Pictures, Venetian, in London, 168, 273.
Pictures of Venice by foreign painters, 273.
Pietra del Bando, the, 15.
Pigeons, 36, 76.
Piombo, Sebastian del, picture by, 221, 224.
Pisani, Vittorio, 77.
Polo, Marco, 77.
Ponte di Paglia, 256.
Ponte della Veneta Marina, 263.
Ponte dell'Erbe, 285.
Ponte del Diavolo, 285.
Ponte Rialto, 112, 180, 226.
Ponte S. Polo, 286.
Popilia, 308.
Pordenone, pictures by, 128, 165, 229.
Porphyry, 97.
Poveglia, 308.
Prison, the, 206.
Querini statue, 264.
Rain, 23.
Rampino, the, 89.
Raphael, drawings by, 173.
Red hair, 34, 167.
Regattas, 203.
Régnier, Henri de, 97.
Restaurants, 39, 40.
Rialto, 59.
_see_ Ponte Rialto.
Ribera, picture by, 173.
Richardson, Mrs., on the doges, 60.
Ricketts, Charles, on Titian, 121.
on Giorgione, 291, 296.
Ridotto, the, 162.
Rizzo, Antonio, work of, 74.
Robbia, Delia, ceiling by, 284.
Roberts, David, visits Ruskin, 148.
Robinson, Cayley, picture by, 114.
Rocco, S., the story of, 242.
Rodin, works by, 114.
Romanino, his "Deposition," 173.
Rossellino, Antonio, sculpture by, 284.
Royal Palace, the, 37, 149.
Rubens, tapestry by, 125.
Ruskin, John, on S. Mark's, 26.
his _St. Mark's Rest_, 28, 117.
on Venice, 69, 72.
on the Ponte Rialto, 113.
on a Carpaccio, 117.
at the Palazzo Swift, 147.
at Murano, 156.
his _Stones of Venice_, 156, 233, 271.
on Torcello, 160.
on Carpaccio, 184-186.
his _Fors Clavigera_, 185, 271.
on the Giudecca, 204.
on Tintoretto, 233, 237.
on the Venetians, 271.
his Zattere home, 271.
on S. Maria dei Miracoli, 279.
Rustico of Torcello, 8.
Sacristans, 42, 198, 209, 210, 216, 220, 224, 225, 252, 279, 283,
295, 296.
Salizzada S. Moise, 162.
Sammichele, Michele, architect, 128.
Sand, George, in Venice, 207.
Sansovino, Jacopo, his career, 81.
his tomb, 95.
Sansovino, his works, 74, 80, 123, 127, 147, 219, 220, 252.
Santa Croce miracles, 179-180.
Sant'Elena, island of, 265.
Sargent, J.S., his interior of the Pal. Barbaro, 146.
his Venetian pictures, 273.
Sarpi, Paolo, 77.
Sarri, G., his guide to Venice, 4, 134.
Sarto, Andrea del, 81.
Savelli, Paolo, 251.
Schiavone, picture by, 277.
Scuola dei Morti, 119.
Scuola di S. Giovanni Evangelistica, 179.
Scuola di S. Marco, 238, 261.
and Tintoretto's "Miracle," 171.
Scuola di S. Rocco, 231.
Tintoretto's "Crucifixion," 177.
the carvings, 243.
Scuola Merletti, Burano, 158.
Seagulls, 101.
Seminario Patriarcale, 94.
Seminario della Salute, 84.
Shelley, visits Byron, 139.
rides on the Lido, 139.
on Venice, 140, 141.
on gondolas, 141.
Shelley, Mrs., at Venice, 141.
Shelley, Clara, her death, 141.
Shops and shopkeepers, 38, 218, 227.
Spirito, S., island of, 309.
Statues:
Colleoni, 21, 151, 255, 262, 273.
Garibaldi, 264.
Giorgione, 295.
Manin, 13.
Querini, 264.
Tommaseo, 166.
Wagner, 264.
Steamers in Venice, 92.
_Stones of Venice, The_, 156, 233, 271.
Symonds, J.A., on a Tiepolo, 120, 225.
Tagliapietra, Contessa, 97.
Taglioni in Venice, 124, 146.
Tedeschi, Fondaco dei, 126, 227, 239, 246.
Tennyson, 77.
Theodore, S., column, 78, 79.
the story of, 79.
his ashes, 219.
Tiepolo, Gianbattista, his career, 188.
his portrait, 77.
pictures by, 48, 112, 116, 118, 119, 120, 187, 225, 244, 252, 277.
Tintoretto, pictures by, 8, 38, 48, 49, 50, 51, 121, 123, 172, 176,
177, 193, 194, 198, 199, 203, 231, 274, 277, 281, 283.
his house, 39, 282.
his "Bacchus and Ariadne," 48, 65, 241, 288.
his "Paradiso," 52, 54.
his portrait, 77.
his "Marriage in Cana," 95,
his "Miracle," 170, 171, 238, 241.
his "Crucifixion," 177, 236.
his S. Rocco pictures, 231-37.
his realism, 233.
his career, 237.
his children, 240.
on Titian, 240.
caricatured, 243.
his "Presentation," 282.
his tomb, 283.
Tintoretto, Domenico, pictures by, 52, 128, 237, 284.
Titian, pictures by, 48, 51, 62, 76, 96, 111, 121, 127, 171, 193,
219, 220, 229, 235, 259, 276, 284.
his portrait, 77.
his autograph, 84.
his "Bacchus and Ariadne," 169.
his "Assumption," 170.
his last picture, 178.
his "Presentation," 194.
Tintoretto on, 240.
his career, 246.
his tomb, 246.
his house, 247.
his "Pesaro Madonna," 249.
and Giorgione, 294.
Tommaseo, Niccolò, 13, 77.
his statue, 166.
Torcello, 155, 159.
Tourists, 32.
Town Hall, 127.
Tura, Cosimo, picture by, 190.
Turchi, Fondaco dei, 115.
Turner, J.M.W., his "San Benedetto," 202.
his Venetian pictures, 272, 273.
Ursula, S., the story of, 181.
Van Dyck, in Venice, 244.
Vendramin, Andrea, and the Holy Cross, 180.
Venetian architects, 93.
bead-workers, 202.
ceilings, 194.
children, 26, 39,120, 227, 245.
custodians, 52, 60, 85.
fireworks, 197.
food, 40.
funerals, 208.
gardens, 97, 143, 202, 215.
girls, 33, 34.
glass, 152.
lace, 158.
life, 281.
painting, 291.
pictures in London, 187, 188, 189, 192, 207.
red hair, 34, 167.
regattas, 203.
school of painting, 191.
women, 34.
Venetians and regattas, 203.
Ruskin on, 271.
in S. Mark's Square, 32.
their self-satisfaction, 48.
Venice:
the Austrian occupation of, 12, 13, 106, 162.
artists in, 14, 272, 276, 306.
being lost in, 218.
Berri, Duchesse de, in, 122.
Bonington in, 272.
its book-shops, 229.
Browning in, 98, 99, 100, 274.
on, 275.
Mrs. on, 100.
Byron in, 112, 128, 129.
on, 63.
its by-ways, 284.
its cafés, 34, 38.
its chimneys, 96, 97, 285.
a city of the poor, 33.
its concerts, 195.
Fenimore Cooper in, 127.
Dickens, Charles, on, 5.
Duse, Eleanora, in, 97.
the first sight of, 3.
its fish, 40, 229.
the French occupation of, 137.
its fruit, 40.
Germans in, 268.
Goethe in, 106.
gramophones in, 196.
Henry III of France in, 109.
honeymooners in, 32, 195.
house moving in, 274.
houses, desirable, 96, 204, 205.
Howells, W.D., in, 104, 144, 221.
on, 204, 264.
James, G.P.R., in, 152.
Jews in, 227.
Joseph II, Emperor, in, 103, 115.
Layard, Sir H., in, 111.
Lewis, "Monk," in, 136.
Lions of, 25, 73, 166, 261.
Moore, Thomas, in, 128.
Motor-boats in, 92.
music in, 31, 35, 106, 196.
Napoleon in, 11, 12, 21, 110.
pictures of, by foreign painters, 273.
Pius X, Pope, in, 231.
rain in, 23.
its republicanism, 32.
its restaurants, 39, 40.
Roberts, David, in, 148.
its roofs, 44.
Ruskin in, 92, 93, 147, 272.
on, 69, 72.
the sacristans of, 42, 198, 209, 210, 216, 220, 224, 225, 252,
279, 283, 295, 296.
Seagulls in, 101.
Shelley in, 139.
on, 140, 141.
its shops and shopkeepers, 38, 218, 227.
its steamers, 92.
tourists in, 32.
Turner in, 272.
its unfailing beauty, 3.
Van Dyck in, 244.
Wagner in, 104, 122.
walking in, 217.
the wells of, 75.
where to live in, 204.
_Venice on Foot_, 218, 285.
Venturi, Sig. Lionello, his _Giorgione e Giorgionismo_, 291.
Veronese, Paul, his "Rape of Europa," 49.
pictures by, 49, 50, 53, 172, 176, 194, 215, 275.
his portrait, 77.
his "House of Darius," 111, 169.
his "Jesus in the House of Levi," 174.
his examination, 174.
his life, 275.
his tomb, 275.
Verrocchio, Andrea, work by, 256, 277.
Via Vittorio Emmanuele, 226.
Vicentino, Andrea, picture by, 61.
Vinci, Leonardo da, works by, 94, 173, 277.
and Giorgione, 293.
death notices, 278.
Vittoria, Alessandro, his grave, 208.
Vittorio Emmanuele, monument to, 14.
Vivarini, the, pictures by, 116, 152, 156, 190, 203, 210, 251, 261.
Wagner in Venice, 104, 122.
his statue, 264.
Walton, E.A., picture by, 114.
Whistler, J.M., his Venetian pictures, 114, 202, 273.
Whitman, Walt, 77.
Woods, Henry, his Venetian pictures, 273.
Yriarte, his _La Vie_, etc., 147.
Zattere, the, 271.
Browning at, 98, 274.
a house on, 205.
Zecca, the, 80, 84.
Zeno, Carlo, 77, 260.
Zeno, Cardinal, 29.
Ziem, his Venice pictures, 273.
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charming entertainment.
*The Loiterer's Harvest*
_Illustrated. 12mo. $1.25 net._
*Harvest Home*
_12mo. $1.00 net._
*A Little of Everything*
_12mo. $1.25 net._
Seldom has one author to his credit so many sought-after travel books,
delightful anthologies, stirring juveniles, and popular novels. In the
novel as in the essay and in that other literary form, if one may call
it such, the anthology, Mr. Lucas has developed a mode and style all his
own.
The above volumes of essays contain much of Mr. Lucas' charming
character delineation; in their amusing discursiveness, their recurrent
humor, and their quiet undertones of pathos, the reader will catch many
delightful glimpses of Mr. Lucas' originality and distinctiveness.
* * * * *
PUBLISHED BY
THE MACMILLAN COMPANY
64-66 Fifth Avenue, New York
THE LUCAS WANDERER BOOKS
*A Wanderer in Florence*
Colored illustrations and reproductions of the great works of art.
"All in all, a more interesting book upon Florence has seldom been
produced, and it has the double value that, while it should serve
excellently as an aid to the traveler, it is so written as to make a
charming journey even though one's ticket reads no further than the
familiar arm-chair."--_Springfield Republican_.
_Cloth, 8vo, $1.75 net._
*A Wanderer in London*
With sixteen illustrations in color by Mr. Nelson Dawson, and thirty-six
reproductions of great pictures.
"Mr. Lucas describes London in a style that is always entertaining,
surprisingly like Andrew Lang's, full of unexpected suggestions and
points of view, so that one who knows London well will hereafter look on
it with changed eyes, and one who has only a bowing acquaintance will
feel that he has suddenly become intimate."--_The Nation_.
_Cloth, 8vo, $1.75 net._
*A Wanderer in Holland*
With twenty illustrations in color by Herbert Marshall, besides many
reproductions of the masterpieces of Dutch painters.
"It is not very easy to point out the merits which make this volume
immeasurably superior to nine-tenths of the books of travel that are
offered the public from time to time. Perhaps it is to be traced to the
fact that Mr. Lucas is an intellectual loiterer, rather than a keen-eyed
reporter, eager to catch a train for the next stopping-place. It is also
to be found partially in the fact that the author is so much in love
with the artistic life of Holland."--_Globe Democrat_, St. Louis.
_Cloth, 8vo, $2.00 net._
*A Wanderer in Paris*
Wherever Mr. Lucas wanders he finds curious, picturesque, and unusual
things to interest others, and his mind is so well stored that
everything he sees is suggestive and stimulating. He is almost as much
at home in Paris as in London, and even those who know the city best
will find much in the book to interest and entertain them.
_Cloth, 8vo, $1.75 net._
* * * * *
THE MACMILLAN COMPANY
Publishers 64-66 Fifth Avenue New York
VOLUMES OF ESSAYS BY E.V. LUCAS
*Character and Comedy*
"Of all the readers of Charles Lamb who have striven to emulate him, Mr.
Lucas comes nearest to being worthy of him. Perhaps it is because it is
natural to him to look upon life and letters and all things with
something of Lamb's gentleness, sweetness, and humor."--_The Tribune_.
_Cloth, 16mo, $1.25 net; by mail, $1.35 net._
*One Day and Another*
"The informality, intimacy, unaffected humor, of these unpretentious
papers make them delightful reading."--_The Outlook_.
_Cloth, 16mo, $1.25 net; by mail, $1.35 net._
BOOKS FOR CHILDREN
*Anne's Terrible Good Nature*
A book of stories delightfully lighted up with such a whimsical strain
of humor as children enjoy.
_Cloth, 12mo, colored illustrations, $1.75 net._
*The Slowcoach (The Macmillan Juvenile Library)*
Mr. Lucas has a unique way of looking at life, of seeing the humor of
everyday things, which exactly suits the butterfly fancy of a bright
child.
_Decorated cloth, illustrated, $.50 net._
*Another Book of Verse for Children*
Verses of the seasons, of "little fowls of the air," and of "the country
road"; ballads of sailormen and of battle; songs of the hearthrug, and
of the joy of being alive and a child, selected by Mr. Lucas and
illustrated in black and white and with colored plates by Mr. F.D.
Bedford. The wording of the title is an allusion to the very successful
"Book of Verse for Children" issued ten years ago. _The Athenæum_
describes Mr. Lucas as "the ideal editor for such a book as this."
_Cloth, 8vo, colored illustrations, $1.50 net._
*Three Hundred Games and Pastimes*
OR, WHAT SHALL WE DO NOW? A book of suggestions for the
employment of young hands and minds, directions for playing many
children's games, etc.
_Decorated cloth, x + 392 pages, $2.00 net._
* * * * *
THE MACMILLAN COMPANY
Publishers 64-66 Fifth Avenue New York
*The Ladies' Pageant*
BY E.V. LUCAS
"An unusual collection of poetry and prose in comment upon the varying
aspects of the feminine form and nature, wherein is set forth for the
delectation of man what great writers from Chaucer to Ruskin have said
about the eternal feminine. The result is a decidedly companionable
volume."--_Town and Country_.
"To possess this book is to fill your apartment--your lonely farm parlor
or little 'flat' drawing-room in which few sit--with the rustle of silks
and the swish of lawns; to comfort your ear with seemly wit and musical
laughter; and to remind you how sweet an essence ascends from the
womanly heart to the high altar of the Maker of Women."--_The Chicago
Tribune_.
_Cloth. $1.25 net._
*Some Friends of Mine* A RALLY OF MEN
BY E.V. LUCAS
At last the sterner sex is to have its literary dues. In this little
volume Mr. Lucas has essayed to do for men what he did for the heroines
of life and poetry and fiction in "The Ladies Pageant." No other editor
has so deft a hand for work of this character, and this volume is as
rich a fund of amusement and instruction as all the previous ones of the
author have been.
_Cloth. $1.25 net._
ALSO BY E.V. LUCAS
*Highways and Byways in Sussex*
ILLUSTRATED BY F.L. GRIGGS
Contains some of the best descriptions yet written of the beauties of
that most lovely of the English Counties.
_Decorated Cloth. 12mo. $2.00 net._
* * * * *
PUBLISHED BY
THE MACMILLAN COMPANY
64-66 Fifth Avenue
New York
*The Gentlest Art*
*_A Choice of Letters By Entertaining Hands_*
EDITED BY E.V. LUCAS
_Cloth, $1.25 net._
An anthology of letter-writing so human, interesting, and amusing from
first to last, as almost to inspire one to attempt the restoration of
the lost art.
"There is hardly a letter among them all that one would have left out,
and the book is of such pleasant size and appearance, that one would not
have it added to, either."--_The New York Times_.
"Letters of news and of gossip, of polite nonsense, of humor and pathos,
of friendship, of quiet reflection, stately letters in the grand manner,
and naïve letters by obscure and ignorant folk."
OTHER ESSAYS BY E.V. LUCAS
*Old Lamps for New*
_Frontispiece, 12mo. $1.25 net._
*The Second Post*
_16mo. $1.25 net._
*British Pictures and Their Painters*
_Illustrated. 12mo. $1.25 net._
* * * * *
PUBLISHED BY
THE MACMILLAN COMPANY
64-66 Fifth Avenue
New York
OTHER BOOKS BY E.V. LUCAS
*Over Bemerton's*
_A Novel_
After seeing modern problems vividly dissected, and after the excitement
of thrilling adventure stories, it will be positively restful to drop
into the cozy lodgings over Bemerton's second-hand bookstore for a
drifting, delightful talk with a man of wide reading, who has travelled
in unexpected places, who has an original way of looking at life, and a
happy knack of expressing what is seen. There are few books which so
perfectly suggest without apparent effort a charmingly natural and real
personality.
_Decorated cloth, $1.50 net._
*Mr. Ingleside* (The Macmillan Fiction Library)
The author almost succeeds in making the reader believe that he is
actually mingling with the people of the story and attending their
picnics and parties. Some of them are Dickensian and quaint, some of
them splendid types of to-day, but all of them are touched off with
sympathy and skill and with that gentle humor in which Mr. Lucas shows
the intimate quality, the underlying tender humanity, of his art.
_Decorated cloth, 12mo, $1.50 net._
*Listener's Lure*
_A Kensington Comedy_
A novel, original and pleasing, whose special charm lies in its happy
phrasing of acute observations of life. For the delicacy with which his
personalities reveal themselves through their own letters, "the book
might be favorably compared," says the Chicago _Tribune_, "with much of
Jane Austen's character work"--and the critic proceeds to justify, by
quotations, what he admits is high praise indeed.
_Cloth, 12mo, $1.50 net._
* * * * *
THE MACMILLAN COMPANY
Publishers 64-66 Fifth Avenue New York
OTHER WORKS BY E.V. LUCAS.
A Wanderer in Florence
A Wanderer in London
A Wanderer in Holland
A Wanderer in Paris
Mr. Ingleside
Listener's Lure
Over Bemerton's
London Lavender
Loiterer's Harvest
Landmarks
One Day and Another
Fireside and Sunshine
Character and Comedy
Old Lamps for New
The Hambledon Men
The Open Road
The Friendly Town
Her Infinite Variety
Good Company
The Gentlest Art
The Second Post
A Little of Everything
Harvest Home
The Best of Lamb
A Swan and Her Friends
The British School
Highways and Byways in Sussex
Anne's Terrible Good Nature
The Slowcoach
and
The Pocket Edition of the Works of Charles Lamb: I. Miscellaneous
Prose; II. Elia; III. Children's Books; IV. Poems and Plays; V.
and VI. Letters.