If in its war dress the exterior of St. Mark's presents a strange appearance, the transformation of the interior is positively startling. Nothing that ingenuity can suggest has been left undone to protect the sculptures, mosaics, glass, and marbles which, brought by the seafaring Venetians from the four corners of the globe, make St. Mark's the most beautiful of churches. Everything portable has been removed to a place of safety, but the famous mosaics, the ancient windows, and the splendid carvings it is impossible to remove, and they are the most precious of all. The two pulpits of colored marbles and the celebrated screen with its carven figures are now hidden beneath pyramids of sand-bags. The spiral columns of translucent alabaster which support the altar, are padded with excelsior and wrapped with canvas. Swinging curtains of quilted burlap protect the walls of the chapels and transepts from flying shell fragments. Yet all these precautions would probably avail but little were a bomb to strike St. Mark's. In the destruction that would almost certainly result there would perish mosaics and sculptures which were in their present places when Vienna was still a Swabian village, and Berlin had yet to be founded on the plain above the Spree.
If it has proved difficult to protect from airplane fire the massive basilica of St. Mark's, consider the problem presented to the authorities by the Palace of the Doges, that creation of fairylike loveliness, whose exquisite façades, with their delicate window tracery and fragile carvings, would be irretrievably ruined by a well-aimed bomb. In order to avert such a disaster, it was proposed to protect the façades of the palace by enclosing the building in temporary walls of masonry. It was found, however, that this plan was not feasible, as the engineers reported that the piles on which the ancient building is poised would submerge if subjected to such an additional weight. All that they have been able to do, therefore, is to shore up the arches of the loggia with beams, fill up the windows with brick and plaster, and pray to the patron saint of Venice to save the city's most exquisite structure.
The gilded figure of an angel, which for so many centuries has looked down on Venice from the summit of the Campanile, has been given a dress of battleship gray that it may not serve as a landmark for the Austrian aviators. Over the celebrated equestrian statue of Colleoni—of which Ruskin said: "I do not believe there is a more glorious work of sculpture existing in the world"—has been erected a titanic armored sentry-box, which is covered, in turn, with layer upon layer of sand-bags. Could the spirit of that great soldier of fortune be consulted, however, I rather fancy that he would insist upon sitting his bronze warhorse, unprotected and unafraid, facing the bombs of the Austrian airmen just as he used to face the bolts of the Austrian crossbowmen.
The commercial life of Venice is virtually at a standstill. Most of the glass and lace manufactories have been forced to shut down. The dealers in curios and antiques lounge idly in their doorways, deeming themselves fortunate if they make a sale a month. All save one or two of the great hotels which have not been taken over by the Government for hospitals have had to close their doors. The hordes of guides and boatmen and waiters who depended for their living upon the tourists are—such of them as have not been called to the colors—without work and in desperate need. In normal times a quarter of Venice's 150,000 inhabitants are paupers, and this percentage must have enormously increased, for, notwithstanding the relief measures which the Government has taken, unemployment is general, the prices of food are constantly increasing, and coal has become almost impossible to obtain. Fishing, which was one of the city's chief industries, is now an exceedingly hazardous employment because of submarines and floating mines. Save for the clumsy craft of commerce, the gondolas have largely disappeared, and with them has disappeared, only temporarily, let us hope, the most picturesque feature of Venetian life. They have been driven off by the slim, polished, cigar-shaped power-boats, which tear madly up and down and crossways of the canals in the service of the military government and of the fleet. To use a gondola, particularly at night, is as dangerous as it would be to drive upon a motor race-course with a horse and buggy, for, as no lights are permitted, one is in constant peril of being run down by the recklessly driven power craft, whose wash, by the way, is seriously affecting the foundations of many of the palazzos.
It is an unfamiliar, gloomy, mysterious place, is war-time Venice, but in certain respects I liked it better than the commercialized city of antebellum days. Gone are the droves of loud-voiced tourists, gone the impudent boatmen, the importunate beggars, the impertinent guides, gone the glare of lights and the blare of cheap music. No longer do the lantern-strung barges of the musicians gather nightly off the Molo. No longer across the waters float the strains of "Addio di Napoli" and "Ciri-Biri-Bi"; the Canale Grande is dark and silent now. The tourist hostelries, on whose terraces at night gleamed the white shirt-fronts of men and the white shoulders of women, now have as their only guests the white-bandaged wounded. In its darkness, its mystery, its silence, it is once again the Venice of the Middle Ages, the Venice of lovers and conspirators, of inquisitors and assassins, the Venice of which Shakespeare sang.
But with the coming of dawn the Venice of the twelfth century is abruptly transformed into the Venice of the twentieth. The sun, rising out of the Adriatic, turns into ellipsoids of silver the aluminum-colored observation balloons which form the city's first line of aerial defense. As the sun climbs higher it brings into bold relief the lean barrels of the anti-aircraft guns, which, from the roofs of the buildings to the seaward, sweep the eastern sky. Abreast the Public Gardens the great war-ships, in their coats of elephant-gray, swing lazily at their moorings. Near the Punta della Motta lie the destroyers, like greyhounds held in leash. Off the Riva Schiavoni, on the very spot, no doubt, where Dandolo's war-galleys lay, are anchored the British submarines. And atop his granite column, a link with the city's glorious and warlike past, still stands the winged lion of St. Mark, snarling a perpetual challenge at his ancient enemy—Austria.
The Comando Supremo, or Great Headquarters, of the Italian army is at Udine, an ancient Venetian town some twenty miles from the Austrian frontier. This is supposed to be a great secret, and must not be mentioned in letters or newspaper despatches, it being assumed that, were the Austrians to learn of the presence in Udine of the Comando Supremo, their airmen would pay inconvenient visits to the town, and from the clouds would drop their steel calling-cards on the King and General Cadorna. So, though every one in Italy is perfectly aware that the head of the Government and the head of the army are at Udine, the fact is never mentioned in print. To believe that the Austrians are ignorant of the whereabouts of the Italian high command is to severely strain one's credulity. The Italians not only know where the Austrian headquarters is situated, but they know in which houses the various generals live, and the restaurants in which they eat. This extreme reticence of the Italians seems a little irksome and overdone after the frankness one encounters on the French and British fronts, but it is due, no doubt, to the admonitions which are posted in hotels, restaurants, stations, and railway carriages throughout Italy: "It is the patriotic duty of good citizens not to question the military about the war," and: "The military are warned not to discuss the war with civilians. An indiscreet friend can be as dangerous as an enemy."
My previous acquaintance with Udine had been confined to fleeting glimpses of it from the windows of the Vienna-Cannes express. Before the war it was, like the other towns which dot the Venetian plain, a quaint, sleepy, easy-going place, dwelling in the memories of its past, but with the declaration of hostilities it suddenly became one of the busiest and most important places in all Italy. From his desk in the Prefecture, General Cadorna, a short, wiry, quick-moving man in the middle sixties, with a face as hard and brown as a hickory-nut, directs the operations of the armies along that four-hundred-and-fifty-mile-long battle-line which stretches from the Stelvio to the sea. The cobble-paved streets and the vaulted arcades are gay with many uniforms, for, in addition to the hundreds of staff and divisional officers quartered in Udine, the French, British, Russian, and Belgian Governments maintain there military missions, whose business it is to keep the staffs of their respective armies constantly in touch with the Italian high command,