Chapter 40
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.
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.
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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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._
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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._
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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.