Chapter 2

"This part of the city seems to have been peculiarly fortunate," I remarked, placing my finger on the white square.

"That," said he, "is the Arsenal. For obvious reasons we do not reveal whether any bombs have fallen there."

Considering the frequency with which Venice has been attacked from the air, its churches, of which there are an extraordinary number, have escaped with comparatively little damage. Only four, in fact, have suffered seriously. Of these, the church of Santa Maria Formosa has sustained the greatest damage, its magnificent interior, with the celebrated decorations by Palma Vecchio, having been transformed through the agency of an Austrian bomb, into a heap of stone and plaster. Another bomb chose as its target the great dome of the church of San Pietro di Castello, which stands on the island of San Pietro, opposite the Arsenal. On the Grand Canal, close by the railway-station, is the Chiesa degli Scalzi, whose ceiling by Tiepolo, one of the master's greatest works, has suffered irreparable injury. Santi Giovanni e Páolo, next to St. Mark's the most famous church in Venice, has also been shattered by a bomb.

I asked the officer in command of the aerial defenses of Venice if he thought that the Austrian airmen intentionally bomb churches, hospitals, and monuments, as has been so often asserted in the Allied press.

"It's this way," he explained. "A dozen aviators are ordered to bombard a certain city. Three or four of them are real heroes and, at the risk of their lives, descend low enough to make certain of their targets before releasing their bombs. The others, however, rather than come within range of the anti-aircraft guns, remain at a safe height, drop their bombs at random as soon as they are over the city, and then clear out. Is it very surprising, then, that bombs dropped from a height of perhaps ten thousand feet, by aircraft travelling sixty miles an hour, miss the forts and barracks for which they are intended and hit churches and dwellings instead?"

Intentional or not, the bombardment of the Venetian churches is a blunder for which the Austrians will pay dearly in loss of international good-will. A century hence these shattered churches will be pointed out to visitors as the work of the modern Vandals, and lovers of art and beauty throughout the world will execrate the nation which permitted the sacrilege. They have destroyed glass and paintings and sculptures that were a joy to the whole world, they have undone the work of saints and heroes and masters, and they have gained no corresponding military advantage. In every city which has been subjected to air raids the inhabitants have been made more obstinate, more iron-hard in their determination to keep on fighting. The sight of shattered churches, of wrecked dwellings, of mangled women and dead babies, does not terrify or dismay a people: it infuriates them. In the words of Talleyrand: "It is worse than a crime; it is a mistake."

The strangest sight in Venice to-day is St. Mark's. There is nothing in its present appearance, inside or out, to suggest the famous cathedral which so many millions of people have reverenced and loved. Indeed, there is little about it to suggest a church at all. It looks like a huge and ugly warehouse, like a car barn, like a Billy Sunday tabernacle, for, in order to protect the wonderful mosaics and marbles which adorn the church's western façade, it has been sheathed, from ground to roof, with unpainted planks, and these, in turn, have been covered with great squares of asbestos. By this use of fire-proof material it is hoped that, even should the church be hit by a bomb, there may be averted a fire such as did irreparable damage to the Cathedral of Rheims.

The famous bronze horses have been removed from their place over the main portal of St. Mark's, and taken, I believe, to Florence. It is not the first travelling that they have done, for from the triumphal arch of Nero they once looked down on ancient Rome. Constantine sent them to adorn the imperial hippodrome which he built in Constantinople, whence the Doge Dandolo brought them as spoils of war to Venice when the thirteenth century was still young. In 1797 Napoleon carried them to Paris, but after the downfall of the Emperor they were brought back to Venice by the Austrians and restored to their ancient position. There they remained for just a hundred years, until the menace of the Austrian aircraft necessitated their hasty removal to a place of safety. Of them one of Napoleon's generals is said to have remarked disparagingly: "They are too coarse in the limbs for cavalry use, and too light for the guns." In any event, they were the only four horses, alive or dead, in the whole city, and the Venetians love them as though they were their children.

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, thus securing practical co-operation. In a modest villa, a short distance outside the town, dwells the King, who has been on the front almost constantly since the war began. Although, as ruler of the kingdom, he is commander-in-chief of the Italian armies, he rarely gives advice unless it is asked for, and never interferes with the decisions of the Comando Supremo. Scarcely a day passes that he does not visit some sector of the battle-line. Officers and men in some of the lonely mountain commands told me that the only general who has visited them is the King. Should he venture into exposed positions, as he frequently does, he is halted by the local command. It is, of course, tactfully done. "I am responsible for your Majesty's safety," says the officer. "Were there to be an accident I should be blamed." Whereupon the King promptly withdraws. If he is not permitted to take unnecessary risks himself, neither will he permit others. When the Prince of Wales visited the Italian front last summer, he asked permission to enter a certain first-line trench, which was being heavily shelled. The King bluntly refused. "I want no historic incidents here," he remarked dryly.

To obtain a room in Udine is as difficult as it is to obtain hotel accommodation in New York during the Automobile Show. But, because I was a guest of the Government, I found that a room had been reserved for me by the Comando Supremo at the Hotel Croce di Malta. I was told that since the war three proprietors of this hotel had made their fortunes and retired, and after I received my bill I believed it. There was in my room one of those inhospitable, box-shaped porcelain stoves so common in North Italy and the Tyrol. To keep a modest wood-fire going in that stove cost me exactly thirty lire (about six dollars) a day. But a fire was a necessity. Luxuries came higher. Yet the scene in the hotel's shabby restaurant at the dinner-hour was well worth the fantastic charges, for there gathered there nightly as interesting a company as I have not often seen under one roof: a poet and novelist who has given to Italy the most important literary work since the days of the great classics, and who, by his fiery and impassioned speeches, did more than any single person to force the nation's entrance into the war; an American dental surgeon who abandoned an enormously lucrative practice in Rome to establish at the front a hospital where he has performed feats approaching the magical in rebuilding shrapnel-shattered faces; a Florentine connoisseur, probably the greatest living authority on Italian art, who has been commissioned with the preservation of all the works of art in the war zone; an English countess who is in charge of an X-ray car which operates within range of the Austrian guns; a young Roman noble whom I had last seen, in pink, in the hunting-field; a group of khaki-clad officers from the British mission, cold and aloof of manner despite their being among allies; a party of Russians, their hair clipped to the skull, their green tunics sprinkled with stars and crosses; half a dozen French military attachés in beautifully cut uniforms of horizon-blue; and Italian officers, animated and gesticulative, on whose breasts were medal ribbons showing that they had fought in forgotten wars in forgotten corners of Africa. At one table they were discussing the probable date of some Roman remains which had just been unearthed at Aquileia; at another an argument was in progress over the merits of _vers libre_; one of the Russians was explaining a new system he had evolved for breaking the bank at Monte Carlo; the young English countess was retailing the latest jokes from the London music-halls, but nowhere did I hear mentioned the grim and bloody business which had brought us, of so many minds and from so many lands, to this shabby, smoke-filled, garlic-scented room in this little frontier town. Yet, had the door been opened, and had we stilled our voices, we could have heard, quite plainly, the sullen grumble of the cannon.

II

WHY ITALY WENT TO WAR

To understand why Italy is at war you have only to look at the map of Central Europe. You can hardly fail to be struck by the curious resemblance which the outline of the Austro-Hungarian Empire bears to a monstrous bird of prey hovering threateningly over Italy. The body of the bird is formed by Hungary; Bohemia is the right wing, Bosnia and Dalmatia constitute the left; the Tyrol represents the head, while the savage beak, with its open jaws, is formed by that portion of the Tyrol commonly known as the Trentino. And that savage beak, you will note, is buried deep in the shoulder of Italy, holding between its jaws, as it were, the Lake of Garda. To continue the simile, it will be seen that the talons of the bird, formed by the Istrian Peninsula, reach out over the Adriatic in threatening proximity to Venice and the other Italian coast towns. It is to end the intolerable menace of that beak and those claws that Italy is fighting. There you have it in a nutshell.

Just as in France, since 1870, the national watchword has been "Alsace-Lorraine," so in Italy, for upward of half a century, the popular cry has been "_Italia Irredenta_"--Italy Unredeemed. It was a deep and bitter disappointment to all Italians that, upon the formation in 1866 of the present kingdom, there should have been left under Austrian dominion two regions which, in population, in language, and in sentiment, were essentially Italian. These "unredeemed" regions were generally called after their respective capital cities: Trent and Trieste. But, though the phrase _Italia Irredenta_ was originally interpreted as referring only to the Trentino and Trieste, it has gradually assumed, in the course of years, a broader significance, until now it includes all that portion of the Tyrol lying south of the Brenner, the Carso plateau, Trieste and its immediate hinterland, the entire Istrian Peninsula, the Hungarian port of Fiume, and the whole of Dalmatia and Albania. In other words, the Irredentists of to-day--and, since Italy entered the war, virtually the entire nation has subscribed to Irredentist aims and ideals--dream of an Italy whose northern frontier shall be formed by the main chain of the Alps, and whose rule shall be extended over the entire eastern shore of the Adriatic.

In order to intelligently understand the Italian view-point, suppose that we imagine ourselves in an analogous position. For this purpose you must picture Canada as a highly organized military Power, its policies directed by an aggressive, predacious and unscrupulous government, and with a population larger than that of the United States. You will conceive of the State of Vermont as a Canadian province under military control: a wedge driven into the heart of manufacturing New England, and threatening the teeming valleys of the Connecticut and the Hudson. You must imagine this province of Vermont as overrun by Canadian soldiery; as crisscrossed by military roads and strategic railways; its hills and mountains abristle with forts whose guns are turned United Statesward. The inhabitants of the province, though American in descent, in traditions, and in ideals, are oppressed by a harsh and tyrannical military rule. With the exception of a single trunk-line, there are no railways crossing the frontier. Commercial intercourse with the United States is virtually forbidden. To teach American history in the schools of Vermont is prohibited; to display the American flag is a felony; to sing the "Star-Spangled Banner" is punishable by imprisonment or a fine. For the Vermonters to communicate, no matter how innocently, with their kinsmen in the United States, is to bring down upon them suspicion and possible punishment. By substituting Austria-Hungary for Canada, Italy for the United States, and the Trentino for Vermont, you will, perhaps, have a little clearer understanding of why the liberation of the Trentino from Austrian oppression is demanded by all Italians.

A similar homely parallel will serve to explain the Adriatic situation. You will imagine Seattle and the shores of Puget Sound, with its maze of islands, in Canadian possession. Seattle, Vancouver, and Victoria are strongly fortified bases for Canadian battle-fleets and flotillas of destroyers which constantly menace the commercial cities along our Pacific seaboard. The Americans dwelling in Seattle and the towns of the Olympic Peninsula are under an even harsher rule than their brethren in Vermont. No American may hold a Government position. The Canadian authorities encourage and assist the immigration of thousands of Orientals in order to get the trade of the region out of American hands. A Canadian naval base at Honolulu threatens our trade routes in the Pacific and our commercial interests in Mexico and the Orient. In this analogy Seattle stands, of course, for Trieste; the Olympic Peninsula corresponds to the Istrian Peninsula; for Vancouver and Victoria you will read Pola and Fiume; while Honolulu might, by a slight exercise of the imagination, be translated into the great Austrian stronghold of Cattaro. Such is a reasonably accurate parallel to Italy's Adriatic problem.