In Treviso there was an illumination, paper lanterns suspended in every part of the great square, and a large gaudy transparency in the centre. Some most lovely girls were walking about, in their long white veils and scarlet petticoats. It was quite dark when we arrived at Mestre last night, when we got into a boat, and in a dead calm, gently rowed across to Venice. On our passage thither, where nothing but water is to be seen, and distant lights, we saw a small rock which stands in the midst of the sea; on this a lamp was burning; all the sailors took off their hats as we passed, and one of them said, this was the "Madonna of Tempests," which are often most dangerous and violent here. We then glided quietly into the great city, under innumerable bridges, without sound of post-horns, or rattling of wheels, or toll-keepers; the passage now became more thronged, and numbers of ships were lying near; past the theatre, where gondolas in long rows lie waiting for their masters, just as our own carriages do at home, then into the great canal, past the church of St. Mark, the Lions, the palace of the Doges, and the Bridge of Sighs. The obscurity of night only enhanced my delight on hearing the familiar names, and seeing the dark outlines.
And so I am actually in Venice! Well, to-day I have seen the finest pictures in the world, and have at last personally made the acquaintance of a very admirable man, whom hitherto I only knew by name—I allude to a certain Signor Giorgione, an inimitable artist—and also to Pordenone, who paints the most noble portraits, both of himself and many of his simple scholars, in such a devout, faithful, and pious spirit, that you seem to converse with him, and to feel an affection for him. Who would not have been confused by all this? But if I am to speak of Titian, I must do so in a more reverent mood. Till now, I never knew that he was the felicitous artist I have this day seen him to be. That he thoroughly enjoyed life, in all its beauty and fulness, the picture in Paris proves; but he has fathomed the depths of human sorrow, as well as the joys of Heaven. His glorious "Entombment," and also the "Assumption," fully evince this. How Mary floats on the cloud, while a waving movement seems to pervade the whole picture; how you see at a glance her very breathing, her awe, and piety, and in short a thousand feelings—all words seem poor and commonplace in comparison! The three angels too, on the right of the picture, are of the highest order of beauty—pure, serene loveliness, so unconscious, so bright and so seraphic. But no more of this! or I must perforce become poetical, or indeed am so already, and this does not at all suit me; but I shall certainly see it every day.
I must however say a few words about the "Entombment," as you have the engraving. Look at it, and think of me. This picture represents the conclusion of a great tragedy: so still, so grand, and so acutely painful. Magdalene is supporting Mary, fearing that she will die of anguish; she endeavours to lead her away, but looks round herself once more, evidently wishing to imprint this spectacle indelibly on her heart, thinking that it is for the last time; it surpasses everything; and then the sorrowing John, who sympathizes and suffers with Mary; and Joseph, who absorbed in his piety, and occupied with the tomb, directs and conducts the whole; and Christ himself, lying there so tranquil, having endured to the end: then the blaze of brilliant colour, and the gloomy mottled sky! It is a composition that speaks to my heart and fills me with enthusiasm, and will never leave my memory.
I believe few things I have yet to see in Italy will affect me so deeply; but you know that I am devoid of all prejudices, and I give you a fresh proof of this by telling you that the "Martyrdom of St. Peter," from which I expected the most, pleased me the least of the three; it did not strike me as being a complete whole; the landscape, which is very fine, seemed to me to predominate too much. Then I was dissatisfied with the disposition in the picture of two victims and only one murderer; (for the small figure in the distant background does not remedy this). I could not bring myself to consider it a martyrdom. But probably I am in error, and I intend to study it more carefully to-morrow; my contemplation of it, besides, was disturbed by some one strumming most sacrilegiously on the organ, and these sacred forms were forced to listen to such miserable opera finales! But this matters not: where such pictures are, I require no organist. I play the organ in my thoughts for myself, and feel as little irritated by such trash as I should be by an ignorant rabble. Titian, however, was a man well adapted to improve others; so I shall try to profit by him, and to rejoice that I am in Italy. At this moment the gondoliers are shouting to each other, and the lights are reflected in the depths of the waters; one is playing a guitar, and singing to it. It is a charming night. Farewell! and think of me in every happy hour as I do of you.
Felix.
To Professor Zelter.[5]
Venice, October 16th, 1830.
Dear Professor,
I have entered Italy at last, and I intend this letter to be the commencement of a regular series of reports, which I purpose transmitting to you, of all that appears to me particularly worthy of notice. Though I only now for the first time write to you, I must beg you to impute the blame to the state of constant excitement in which I lived, both in Munich and in Vienna. It was needless for me to describe to you the parties in Munich, which I attended every evening, and where I played the piano more unremittingly than I ever did in my life before; one soirée succeeding another so closely, that I really had not a moment to collect my thoughts. Moreover, it would not have particularly interested you, for after all, "good society which does not offer materials for the smallest epigram," is equally vapid in a letter. I hope that you have not taken amiss my long silence, and that I may expect a few lines from you, even if they contain nothing save that you are well and cheerful.
The aspect of the world at this moment is very bleak and stormy, and much that was once thought durable and unchangeable, has been swept away in the course of a couple of days. It is then doubly welcome to hear well-known voices, to convince us that there are certain things which cannot be annihilated or demolished, but remain firm and steadfast. You must know that I am at this moment very uneasy at not having received any news from home for some weeks past. I found no letters from my family, either at Trieste or here, so a few lines from you, written in your old fashion, would both cheer and gratify me, especially as it would prove that you think of me with the same kindness that you have always done from my childhood to the present time.
My family have no doubt told you of the exhilarating impression made on me by the first sight of the plains of Italy. I hurry from one enjoyment to another hour by hour, and constantly see something novel and fresh; but immediately on my arrival I discovered some masterpieces of art, which I study with deep attention, and contemplate daily for a couple of hours at least. These are three pictures by Titian. The "Presentation of Mary as a Child in the Temple;" the "Assumption of the Virgin;" and the "Entombment of Christ." There is also a portrait by Giorgione, representing a girl with a cithern in her hand, plunged in thought, and looking forth from the picture in serious meditation (she is apparently about to begin a song,