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THIRD, OR RENAISSANCE, PERIOD.

INDICES.

LIST OF PLATES.

Facing Page

PLATE 1. Temperance and Intemperance in Ornament, 6 " 2. Gothic Capitals, 8 " 3. Noble and Ignoble Grotesque, 125 " 4. Mosaic of Olive Tree and Flowers, 179 " 5. Byzantine Bases, 225 " 6. Byzantine Jambs, 229 " 7. Gothic Jambs, 230 " 8. Byzantine Archivolts, 244 " 9. Gothic Archivolts, 245 " 10. Cornices, 248 " 11. Tracery Bars, 252 " 12. Capitals of Fondaco de Turchi, 304

THE

STONES OF VENICE.

THIRD, OR RENAISSANCE, PERIOD.

EARLY RENAISSANCE.

Now observe, first, the Gothic naturalism advancing gradually from the Byzantine severity; how from the sharp, hard, formalized conventionality of the upper series the leaves gradually expand into more free and flexible animation, until in fig. 12 we have the perfect living leaf as if fresh gathered out of the dew. And then, in the last two examples and partly in fig. 11, observe how the forms which can advance no longer in animation, advance, or rather decline, into luxury and effeminacy as the strength of the school expires.

The reason of this is, that the finial is properly the ornament of gabled architecture; it is the compliance, in the minor features of the building, with the spirit of its towers, ridged roof, and spires. Venetian building is not gabled, but horizontal in its roots and general masses; therefore the finial is a feature contradictory to its spirit, and adopted only in that search for morbid excitement which is the infallible indication of decline. When it occurs earlier, it is on fragments of true gabled architecture, as, for instance, on the porch of the Carmini.

Without further reference to the intervening years from the twelfth century to the eighteenth--a long period of wars, festivals, tournaments, and royal and priestly pageantry--we will now glance at the condition of the islands at the time of their discovery by Captain Cook, a little more than a century ago. It was estimated that the islands then contained a population of four hundred thousand souls. This estimate has been considered large. But when it is noted that fifteen years later there were between thirty and forty thousand warriors under arms in the group at the same time, with large reserves ready for service, the conclusion is irresistible that the population could scarcely have been less. Kamehameha invaded Oahu with sixteen thousand warriors, principally drawn from the island of Hawaii. He was opposed by eight or ten thousand spears, while as many more awaited his arrival on Kauai. According to the figures of the Rev. Mr. Ellis, who travelled around the island of Hawaii in 1821 and numbered the dpediment: two elements of noble form, which had fortunately existed in Rome, were, however, for that reason, still permitted; the cupola, and, internally, the waggon vault.

There is, therefore, of course, an infinite gradation in the art of the period, from the Sistine Chapel down to modern upholstery; but, for the most part, since in architecture the workman must be of an inferior order, it will be found that this cinque-cento painting and higher religious sculpture is noble, while the cinque-cento architecture, with its subordinate sculpture, is universally bad; sometimes, however, assuming forms, in which the consummate refinement almost atones for the loss of force.

But chiefly let him notice, in the Casa Contarini delle Figure, one most strange incident, seeming to have been permitted, like the choice of the subjects at the three angles of the Ducal Palace, in order to teach us, by a single lesson, the true nature of the style in which it occurs. In the intervals of the windows of the first story, certain shields and torches are attached, in the form of trophies, to the stems of two trees whose boughs have been cut off, and only one or two of their faded leaves left, scarcely observable, but delicately sculptured here and there, beneath the insertions of the severed boughs.

Happily, in the pictures of Gentile Bellini, the fresco coloring of the Gothic palaces is recorded, as it still remained in his time; not with rigid accuracy, but quite distinctly enough to enable us, by comparing it with the existing colored designs in the manuscripts and glass of the period, to ascertain precisely what it must have been.

The whole front of a Gothic palace in Venice may, therefore, be simply described as a field of subdued russet, quartered with broad sculptured masses of white and gold; these latter being relieved by smaller inlaid fragments of blue, purple, and deep green.

And therefore, in finally leaving the Ducal Palace, let us take with us one more lesson, the last which we shall receive from the Stones of Venice, except in the form of a warning.

Now, if we were never in the habit of seeing anything but real marbles, this language of theirs would soon begin to be understood; that is to say, even the least observant of us would recognize such and such stones as forming a peculiar class, and would begin to inquire where they came from, and, at last, take some feeble interest in the main question, Why they were only to be found in that or the other place, and how they came to make a part of this mountain, and not of that? And in a little while, it would not be possible to stand for a moment at a shop door, leaning against the pillars of it, without remembering or questioning of something well worth the memory or the inquiry, touching the hills of Italy, or Greece, or Africa, or Spain; and we should be led on from knowledge to knowledge, until even the unsculptured walls of our streets became to us volumes as precious as those of our libraries.

There is not a meaner occupation for the human mind than the imitation of the stains and striae of marble and wood. When engaged in any easy and simple mechanical occupation, there is still some liberty for the mind to leave the literal work; and the clash of the loom or the activity of the fingers will not always prevent the thoughts from some happy expatiation in their own domains. But the grainer must think of what he is doing; and veritable attention and care, and occasionally considerable skill, are consumed in the doing of a more absolute nothing than I can name in any other department of painful idleness. I know not anything so humiliating as to see a human being, with arms and limbs complete, and apparently a head, and assuredly a soul, yet into the hands of which when you have put a brush and pallet, it cannot do anything with them but imitate a piece of wood. It cannot color, it has no ideas of color; it cannot draw, it has no ideas of form; it cannot caricature, it has no ideas of humor. It is incapable of anything beyond knots. All its achievement, the entire result of the daily application of its imagination and immortality, is to be such a piece of texture as the sun and dew are sucking up out of the muddy ground, and weaving together, far more finely, in millions of millions of growing branches, over every rood of waste woodland and shady hill.

FOOTNOTES:

There is a curious instance of this in the modern imitations of the Gothic capitals of the Casa d' Oro, employed in its restorations. The old capitals look like clusters of leaves, the modern ones like kneaded masses of dough with holes in them.

Not that even these men were able to wear it altogether without harm, as we shall see in the next chapter.

Appendix 4, "Date of Palaces of Byzantine Renaissance."

There may, however, be a kind of dishonesty even in the use of marble, if it is attempted to make the marble look like something else. See the final or Venetian Index under head "Scalzi."

Appendix 5, "Renaissance Side of Ducal Palace."

The belief that one person might be prayed to death by another was universal with the ancient Hawaiians, and not a few of the race would turn pale to-day if told that one of priestly strain was earnestly praying for his death. In praying a person to death it was essential that the kahuna should possess something closely connected with the person of the victim--a lock of his hair, a tooth, a nail-paring, or a small quantity of his spittle, for example; hence the office of spittoon-bearer to the ancient kings was entrusted only to chiefs of some rank, who might be expected to guard with care the royal expectoration.

The belief was general that the spirits of the dead might be seen and conversed with by the kilos, or sorcerers, and the spirits of the living, it was claimed, were sometimes invoked from their slumbering tabernacles by priests of exceptional sanctity. The spirit of the dead was called unihipili, while the disembodied and visible spirit of a living person was known as kahoaka.

The last public recognition of the powers of Pele occurred as late as 1882 on the island of Hawaii. The village of Hilo was threatened. A broad stream of lava from Mauna Loa, after a devastating journey of twenty-five miles or more, reached a point in its downward course within a mile or two of the bay of Hilo. Its movement was slow, like that of all lava-streams some distance from their source, but its steadily approaching line of fire rendered it almost certain that the village, and perhaps the harbor, of Hilo would be destroyed within a very few days. Trenches were digged, walls were raised, and prayers were offered, but all to no purpose. Downward moved the awful avalanche of fire.

Ruth, a surviving sister of the fourth and fifth Kamehamehas, was then living in Honolulu. She was a proud, stern old chiefess, who thought too little of the whites to attempt to acquire their language. The danger threatening Hilo was reported to her. "I will save the fish-ponds of Hilo," said the old chiefess. "Pele will not refuse to listen to the prayer of a Kamehameha." She chartered a steamer, left Honolulu for Hilo with a large number of attendants, and the next day stood facing the still moving flow of lava. Ascending an elevation immediately back of the village, she caused to be erected there a rude altar, before which she made her supplications to Pele, with offerings fed to the front of the advancing lava. This done, she descended the hill with confidence and returned to Honolulu.

The stream of fire ceased to move, and to-day its glistening front stands like a wall around Hilo. "A remarkable coincidence," explained the whites. "The work of Pele," whispered the natives, although the last of the temples of that goddess had been destroyed sixty years before. Without discussing the cause--a natural one beyond a doubt--it may be remarked that the result has been something of a renewal with the natives of faith in the discarded gods of their fathers.

All of the minor gods of the Hawaiians seem to have been independent and self-controlling. It is not claimed that they derived their powers from, were directed by, or were responsible to the supreme godhead. Hence the mythology of the Polynesians, strong though it be in individual powers and personations of the forces and achievements of nature, presents itself to us in a fragmentary form, like an incongruous patchwork of two or more half-developed or half-forgotten religious systems.

One of the most noted of the independent deities of the group was Kalaipahoa, the poison-goddess of Molokai. Some centuries back she came to the islands, with two or three of her sisters, from an unknown land, and left her mark in many localities. She entered a grove of trees on the island of Molokai, and left in them a poison so intense that birds fell dead in flying over their branches. The king of the island was advised by his high-priest to have a god hewn from one of the poisoned trees. Hundreds of his subjects perished in the undertaking, but the image was finally finished and presented to the king, wrapped in many folds of kapa. It came down the generations an object of fear, and was finally seized by the first Kamehameha, and at his death divided among his principal chiefs.

Kuula was the principal god of the fishermen on all the islands of the group. Rude temples were erected to him on the shores of favorite fishing-grounds, and the first fish of every catch was his due. His wife was Hina, and she was appealed to when her husband withheld his favors. Laeapua and Kaneapua were gods worshipped by the fishermen of Lanai, and other fish-gods were elsewhere recognized.

There were a number of shark and lizard gods. They were powerful and malignant, and greatly feared by the classes who frequented the sea. Heiaus were erected to them on promontories overlooking the ocean, and the offerings to them of fish and fruits were always liberal. They assumed the forms of gigantic sharks and lizards, and not unfrequently lashed the waters into fury and destroyed canoes. Moaalii was the great shark-god of Molokai and Oahu. Apukohai and Uhumakaikai were the evil gods infesting the waters of Kauai. Lonoakihi was the eel-god of all the islands, and Ukanipo was the shark-god of Hawaii.

The public heiaus, or temples, of the Hawaiians were usually walled enclosures of from one to five acres, and generally irregular in form. The walls were frequently ten feet in thickness and twenty feet in height, and the material used, was unhewn stone, without mortar or cement. They narrowed slightly from the base upward, and were sometimes capped with hewn slabs of coral or other rock not too firm in texture to be worked with tools of stone.

Within this enclosure was an inner stone or wooden temple of small dimensions, called the luakina, or house of sacrifice, and in front of the entrance to it stood the lele, or altar, consisting of a raised platform of stone. The inner temple was sacred to the priests. Within it stood the anu, a small wicker enclosure, from which issued the oracles of the kaulas, or prophets, and around the walls were ranged charms and gods of especial sanctity. Beside the entrance to this sacred apartment were images of the principal gods, and the outer and inner walls were surmounted by lines of stone and wooden idols.

The enclosure contained other buildings for the accommodation of the high-priest and his assistants; also a house for the governing chief or king, some distance removed from the domiciles of the priest. It was used temporarily by him when on a visit of consultation to the temple, or as a place of refuge in a time of danger. On each side of the entrance to the outer enclosure was a tabu staff, or elevated cross, and near it was a small walled structure in which were slain the victims for the altar.

When an augury was required by the king he frequently visited the heiau in person and propounded his questions to the kaulas. If the answers from the anu were vague and unsatisfactory, other methods of divination were resorted to, such as the opening of pigs and fowls, the shapes of the clouds, the flights of birds, etc. After prayers by the priest the animals were killed, and auguries were gathered from the manner in which they expired, the appearance of the intestines--which were supposed to be the seat of thought--and other signs. Sometimes the spleens of swine were removed, if auguries of war were required, and held above the heads of the priests while prayers were offered.

Before engaging in war or any other important enterprise attended by doubt or danger, human and other sacrifices were made, of which there were fifteen different kinds, and the first prisoners taken in battle were reserved for the altar. The priests named the number of men required for sacrifice, and the king provided them, sometimes from prisoners and malefactors, and sometimes from promiscuous drafts along the highways. The victims were slain with clubs without the temple walls, and their bodies, with other offerings, were laid upon the altar to decay. When the king or other high chief made a special offering of an enemy, the left eye of the victim, after the body had been brought to the altar, was removed and handed to him by the officiating priest. After making a semblance of eating it the chief tossed it upon the altar.

During the construction of heiaus human sacrifices were usually offered as the work progressed, and when completed they were dedicated with great pomp and solemnity, and the altars were sometimes heaped with human bodies. In dedicating ordinary temples the kaiopokeo prayer was employed; but in consecrating heiaus of the first class the kuawili invocation was recited, a prayer continuing from sunrise to sunset. Oil and holy water were sprinkled upon the altars and sacred vessels, and the services were under the direction of the high-priest, and generally in the presence of the governing chief.

The ordinary services in the temples consisted of offerings of fruits and meats, and of chants, prayers and responses, in which the people sometimes joined. Women did not participate in the ceremonies of the temples, but the exclusion found ample compensation in their exemption from sacrifice when human bodies were required.

Temples of refuge, called puhonuas, were maintained on Hawaii, and possibly on Lanai and Oahu in the remote past; but concerning the latter there is some doubt. One of the puhonuas on Hawaii was at Honaunau, near the sacred burial-place of Hale-o-Keawe, and the other at Waipio, connected with the great heiau of Paa-kalani. Their gates were always open, and priests guarded their entrances. Any one who entered their enclosures for protection, whether chief or slave, whether escaping criminal or warrior in retreat, was safe from molestation, even though the king pursued. These places of refuge, with the right of circumcision, which existed until after the death of the first Kamehameha, suggest a Polynesian contact with the descendants of Abraham far back in the past, if not a kinship with one of the scattered tribes of Israel.

In further evidence of the wanderings of the early Polynesians in western and southern Asia, and of their intercourse with the continental races, it may be mentioned that a disposition toward phallic worship, attested by tradition and existing symbols, followed them far out into the Pacific; and that connected with their story of the creation, so closely resembling the Hebrew version, is the Buddhist claim of previous creations which either ran their course or were destroyed by an offended godhead. Nor is Hawaiian tradition content with the mere advancement of the theory of successive creations. It makes specific reference to a creation next preceding that of their Ku-mu-honua, or Adam, and gives the names of the man and woman created and destroyed. They were Wela-ahi-lani and Owe.

It has been mentioned that the birds pueo and alae were sacred and sometimes worshipped. Among the sacred fish were the aku and opelu. How they became so is told in a legend relating to the high-priest Paao, who migrated to the islands in the eleventh century and induced Pili to follow him. Before visiting Hawaii, Paao lived near his brother, probably on the island of Samoa. Both were priests and well skilled in sorcery and divination. The name of the brother was Lonopele. Both were affluent and greatly respected. Lonopele's lands were near the sea and produced the choicest varieties of fruits. One season, when the fruits were ripening, Lonopele discovered that some one was surreptitiously gathering them in the night-time, and accused one of the sons of Paao of stealing them. Indignant at the charge, and discerning no better way of disproving it, Paao killed and opened his son, and showed his brother that there was no fruit in the stomach of the boy.

Grieved at the death of his son, and holding his brother accountable for it, Paao concluded to emigrate to some other land, and built strong canoes for that purpose. About the time they were completed a son of Lonopele chanced to be in the neighborhood, and Paao, remembering the death of his own son, ordered the boy to be killed. He was missed, and search was made for him, and his body was finally found near Paao's canoes. Lonopele charged his brother with the murder. Paao did not deny it, and Lonopele ordered him to leave the island. To avoid further trouble Paao set sail at once with a party consisting of thirty-eight persons. One tradition says Pili was of the party; but he must have left Samoa some years later, as Paao sent or went for him after reaching Hawaii.

As the canoes were moving from the shore several prophets, standing on the cliffs above, expressed a desire to join the party. "Very well," was the answer of Paao; "if you are prophets, as you say, leap from the cliffs and I will take you aboard." Several leaped into the sea and were dashed against the rocks and drowned. Finally Makuakaumana, a prophet of genuine inspiration, who was to have accompanied the expedition, reached the shore and discovered the canoes of Paao far out on the ocean. Raising his voice, he hailed Paao and asked that a canoe might be sent back for him. "Not so," returned the priest in a loud voice, which the favoring winds bore to the belated prophet. "To return would be an omen of evil. There is room for you, but if you would go with us you must fly to our canoes." And, flying, the prophet reached the canoes in safety.

Observing the canoes of Paao as they were disappearing in the distance, Lonopele sent a violent storm to destroy them; but the strong fish Aku assisted in propelling the canoes against the storm, and the mighty fish Opelu swam around them and broke the waves with his body. The malignant brother then sent the great bird Kihahakaiwainapali to vomit over the canoes and sink them; but they were hastily covered with mats, and thus escaped destruction. After a long voyage Paao landed in Puna, on the coast of Hawaii. Thenceforth the aku and opelu were held sacred by Paao and his descendants.

Following is a list of the supreme and principal elemental, industrial and tutelar deities of the Hawaiian group:

The Godhead. Kane, the organizer. Ku, but poor and lifeless knowledge, if it has no tendency to force itself forward, and become ground for reflection, in despite of the succession of external objects. It will not obey their succession. The first that comes gives it food enough for its day's work; it is its habit, its duty, to cast the rest aside, and fasten upon that. The first thing that a thinking and knowing man sees in the course of the day, he will not easily quit. It is not his way to quit anything without getting to the bottom of it, if possible. But the artist is bound to receive all things on the broad, white, lucid field of his soul, not to grasp at one. For instance, as the knowing and thinking man watches the sunrise, he sees something in the color of a ray, or the change of a cloud, that is new to him; and this he follows out forthwith into a labyrinth of optical and pneumatical laws, perceiving no more clouds nor rays all the morning. But the painter must catch all the rays, all the colors that come, and see them all truly, all in their real relations and succession; therefore, everything that occupies room in his mind he must cast aside for the time, as completely as may be. The thoughtful man is gone far away to seek; but the perceiving man must sit still, and open his heart to receive. The thoughtful man is knitting and sharpening himself into a two-edged sword, wherewith to pierce. The perceiving man is stretching himself into a four-cornered sheet wherewith to catch. And all the breadth to which he can expand himself, and all the white emptiness into which he can blanch himself, will not be enough to receive what God has to give him.

That is what we have to make men, so far as we may. All are to be men of genius in their degree,--rivulets or rivers, it does not matter, so that the souls be clear and pure; not dead walls encompassing dead heaps of things known and numbered, but running waters in the sweet wilderness of things unnumbered and unknown, conscious only of the living banks, on which they partly refresh and partly reflect the flowers, and so pass on.

Of such knowledge as this, nothing but pride could come; and, therefore, I have called the first mental characteristic of the Renaissance schools, the "pride" of science. If they had reached any science worth the name, they might have loved it; but of the paltry knowledge they possessed, they could only be proud. There was not anything in it capable of being loved. Anatomy, indeed, then first made a subject of accurate study, is a true science, but not so attractive as to enlist the affections strongly on its side: and therefore, like its meaner sisters, it became merely a ground for pride; and the one main purpose of the Renaissance artists, in all their work, was to show how much they knew.

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