"Why, Uncle Bob, these pigeons are exactly like the ones at home—just as pretty and just as hungry," Jean said.
"Should you like to stop a moment and feed them, little girl?"
"Oh, do! It will make Hannah think of Boston," begged Jean. "But we have nothing to give them," she added in dismay.
"I will find you something, señorita," Giusippe declared.
Darting3 up to an old Italian who was standing4 near he soon returned with a small paper cornucopia5 filled with grain.
"The pigeons of St. Mark's are very tame. See!"
He put some kernels6 of corn on the top of his hat, and holding more in his outstretched hands stood motionless. There was a whirr of wings, and in an instant the boy was quite hidden beneath an eager multitude of fluttering whiteness.
"I never saw so many pigeons," Jean whispered. "You have many more than we do at home."
"We Venetians are very fond of the birds," was Giusippe's reply. "So, too, are the tourists who come to Venice, for they never seem to be tired of having their pictures taken surrounded by flocks of pigeons."
"Doesn't this make you think of Boston Common, Hannah?" asked Uncle Bob.
"Yes, a little. But I should feel more as if I were in Massachusetts if there were not such a babel of foreign tongues about me." Then turning to Giusippe she demanded: "How did you come to speak English, young man?"
"I have been expecting you would ask me that," smiled Giusippe. "You see, I have an uncle who went to America; yes, to Pennsylvania, to seek his fortune. He stayed there five years and in that time he learned to speak English well. When he came back he taught me all he knew. Then he returned with his wife to the United States, and I got books and studied. When they found at Murano that I could speak English they often called on me to show tourists over the glass works. In this way I picked up many words and their pronunciation. Since then I have found that I could sometimes serve as interpreter for English or American travelers if I watched for the chance. I was eager for such opportunities, for it gave me practice, and I often learned new words."
"And why are you so anxious to learn English, Giusippe?" Jean questioned.
"I hope, señorita, to go some day to the United States. My uncle told me what a wonderful country it is, and I desire to see it. Perhaps in that beautiful great land where everything is in abundance I might grow rich. I now have nothing to keep me here; my parents are dead and I have no other kinsmen7. I want to join my uncle in Pennsylvania as soon as I have enough money. Part of my passage I have already saved."
"Why, Giusippe!"
"Yes, señorita, I am in earnest. It is lonely here in Venice now that I have no people. And Murano is not what it was in the golden days of my ancestors. I am sure I could find work in your country if I should go there. Do you not think I could, señor?" He turned to Mr. Cabot.
"It is possible," was Uncle Bob's thoughtful answer. "Especially since you speak English so well. What sort of thing would you like to do?"
"I know my trade of glass-making," was Giusippe's modest answer. "I know, too, much of coloring stained glass and of mosaic8 making. These things I have known from my babyhood up. There must be such work for persons going to the United States. Perhaps my uncle, who is in Pittsburgh with a large glass company, could get me something to do there."
"Pittsburgh!" exclaimed the other three in a breath.
"Yes. My uncle is with the company of a Señor Thomas Curtis, who has been very kind to him."
"Uncle Tom! It's Uncle Tom!" Jean cried, laying her hand impulsively9 on his arm. "Mr. Curtis is my uncle, Giusippe. Did you ever hear anything so wonderful!"
"It certainly is a strange coincidence," agreed Mr. Cabot. "But why did your uncle come back, Giusippe, after he once got over there?"
"Ah, it was this way. He went first alone, expecting when he had enough money to send it back so that the young girl he loved could follow him, and they could be married. But when at last he had the money saved her parents became sick. They were old people. She could not leave them to die here alone, señor. Therefore she refused to go to America, and so much did my uncle love Anita that he would not stay there without her. Back he came and worked once more at Murano. Then the father and mother died, and my uncle and Anita were married and went to the United States. They wanted to take me, but I pretended that I would rather remain here. This I did because I feared that if I went with them and did not find work I might be a burden. All this was several years ago. My uncle is now a superintendent10 in one of the Curtis glass factories, and is happy and prosperous. Still, there are children, and I could not let him pay my fare to America. As I said, it will not take me much longer to save the rest of my passage money. Then I shall go and perhaps become rich. Who knows, señor!" Giusippe broke into a ringing laugh.
Mr. Cabot made no reply.
He was thinking.
Fearing that he had offended, Giusippe changed the subject.
"But I weary you with my affairs, señor. Pardon. Shall we go on to St. Mark's?"
It was but a few steps across the piazza, and they were soon inside the church. Then for the first time Mr. Cabot spoke11.
"This church, Jean," said he, "is the link between the old art of the Mohammedans and the Gothic art of the Christian12 era. It was planned as a Byzantine church, and in it one can see many things suggesting St. Sofia's at Constantinople. When St. Mark's at Alexandria was destroyed by the Mohammedans many of its treasures fell into the hands of the Doge of Venice, who promptly proclaimed St. Mark the new patron saint in place of St. Theodore and set about building a cathedral in which to put all the beautiful things he had acquired. Some parts of this ancient cathedral remain, but most of the church was built by Doge Contarini between 1063 and 1071. To the next Doge, Domenico Selvo, fell the task of decorating it. You see, over here the building of churches takes longer than it does at home."
"I should think it did," answered Jean. "Why, we think it is awful if our churches are not all done in two years."
Giusippe smiled.
"Ah, we build not that way here, señorita," he said. "Three centuries did our people spend in building into St. Mark's the marble carvings14 brought from the East; erecting16 the altars; and adorning17 the walls. These mosaics18 alone it took workmen two hundred and fifty years to fashion. Venice was a rich Republic, you see, and could well afford to put into this cathedral the money she might have spent on war. Above the slabs20 of marble are the mosaics, señorita. So it was in St. Sofia, my father told me; the slabs of marble near the ground and the decoration above. This whole cathedral of ours is covered on all the walls with mosaics—pictures made from bits of glass put together to form scenes from the Bible or from history. Even the most ignorant people who had had no schooling21 could read such stories, could they not?"
Jean nodded.
She was dazzled by the beauty of the place—by the soft light; the walls rich in gold and color; by the many wonderful things there were to be seen. She was interested, too, in the smoothly22 worn, uneven23 floor which showed where the piles beneath the church had settled.
"Mosaic makers24, you know, Jean, began crude attempts at making pictures in glass thousands of years ago, for glass-making was familiar to the Egyptians as well as to the Phœnicans and Syrians. The Greeks and Romans, too, were great glass-makers. So glass-making came down through the ages. The Byzantine churches usually were lighted by a row of tiny glass windows round the base of the dome13. Some of this ancient glass still remains25 in St. Sofia. The common way of making such windows was to cut a design in a slab19 of marble or plaster, and then insert small pieces of colored glass. Sometimes, too, a pattern for wall decoration was worked out by sticking fragments of glass into soft stucco. So the first mosaic work began. We can see some of it in the museums of England."
"I am afraid you will be more convinced of that fact than ever when you get there," chuckled27 Uncle Bob. "But to return to Giusippe's mosaics. You may remember, perhaps, that when the Mohammedans invaded Constantinople and found how important a part the glass-makers played in decorating the churches, they at once handed the artisans over to the caliphs, that they might be set to work adorning their mosques28. Now the Mohammedans believed it a crime to make a copy of either man or woman in a picture, a carving15, or a statue. It was punishable to pay reverence29 to sacred figures; therefore all decoration in their churches took the form of flowers, fruit, or conventional designs. So no great mosaic pictures with figures such as these were made. Between the thirteenth and fourteenth centuries Damascus became the center of glass-making, and there are in existence in some of the museums old Arab lamps which hung in the mosques with inscriptions30 from the Koran engraved31 upon them. It is Giusippe's St. Mark's which revived the art of mosaic making, and served as the bridge between those Pagan days and the days when with Christianity the arts revived and mosaic makers began to represent in glass figures of Christ and the saints."
"And then the painters came, as Giusippe has said," put in Jean.
"Yes, the great artists were born, and from that time pictures on canvas instead of pictures of glass decorated the churches. But the mosaic makers did an important service to art, for it was they who indirectly32 gave to the world the idea of making stained-glass windows. And in Venice those who ceased to make mosaics made instead the beautiful Venetian glass of which Giusippe has told us."
"And are there no mosaics made now, Uncle Bob?" asked Jean.
"Yes. When in 1858 it became necessary to restore some of the mosaics in St. Mark's, a descendant of one of the old Murano glass workers named Radi, together with a Dr. Salviati, started a factory on the Grand Canal, where they gradually revived some of the past glory of Venice. They copied the old time glass products, making Arab lamps such as hung in the mosques; cameo work similar to the Naples and Portland vases; and pictures in mosaic. It was they who did The Last Supper for Westminster Abbey, and the mosaics for Albert Memorial Hall in London."
"But Salviati's mosaics were not like those here, señor," put in Giusippe, "because the San Marco mosaics were constructed upon the walls, small cubes of glass being pressed into the moist cement to make the picture. This gave a rough, irregular surface which artists say is far more artistic33 than is Salviati's smooth, glassy work. When Salviati sent mosaics away he made them here, and then backed them with cement so they could be placed on a slab of solid material and transported great distances from Venice. His pictures, it is true, were far more perfectly34 done than were the old mosaics—too perfectly, I have heard glass experts say."
"Undoubtedly35 they are right, Giusippe, for the roughness in the ancient mosaics would, of course, break up the great plain surfaces and make them more interesting. But Salviati did Venice a service, nevertheless, in reviving the art. And there is, too, another virtue36 about mosaics, and that is that they will endure far longer than paintings. Had it not been for the foresight37 of Pope Urban, who between 1600 and 1700 had many of the famous pictures of the Vatican copied in mosaic, these masterpieces would have been lost to the world."
"I have been told that the church in Ravenna has some fine mosaics, but I never have seen them," Giusippe ventured.
"I have. They are beautiful, and I hope you may see them some time. Then there are others scattered38 through the various churches of Sicily and Rome; and there are also many beautiful inlays of mosaic decorating the old churches and palaces of European cities. When we visit Westminster Abbey, Jean, I must show you the crude early mosaic work on the tomb of Edward the Confessor. It is very curious, for it is made of pieces of colored glass set in grooves39 of marble."
"How much you are to see, señorita," observed Giusippe wistfully.
"Should you, too, like to see all these wonders, Giusippe?" he asked half playfully and half in earnest.
"Should I? Ah, señor, it is not for me to envy or be unhappy about that which I may not have. Some day, perhaps, when I have made my fortune in your country I can return to the old world and see its marvels43. I must have a little patience, that is all."
The mingling44 of sadness and longing45 in the reply touched Uncle Bob; Jean and the young Venetian chattered46 on, but Mr. Cabot walked silently ahead, deep in thought.
"Did I understand you to say, Giusippe," he asked at last turning abruptly47, "that you have no relatives in Venice?"
"None in all the world with the exception of the uncle in America of whom I told you, señor."
Again there was a pause.
"Suppose I were to take you with us."
"What, señor?"
"Take you with us now, when we leave Venice."
"I do not understand."
"Suppose I asked you to go with us to France and England, and then across to America."
"But I have not enough money, señor."
"I haven't much, either," Mr. Cabot answered, smiling kindly48 into the boy's puzzled eyes. "Still, I think I could get together a sufficient sum to pay your way until you got to the United States and found work."
"To go—to go with you now, do you mean, señor?"
"Yes. We leave Venice next week for France. You see, I like you, Giusippe; we all do. And in addition to that you have done us a service. But more than anything else I feel that, once started, you are capable of making your way and doing well in life; all you need is a chance. I have perfect faith that if I took you to America you would make good. It would cost very little more were you to join us, and no doubt you could help in many little ways during the trip. Do you speak French at all?"
"Yes, some; but more German. It is nothing. Many travelers come to Venice, and one must talk to them. Then, too, here it is not unusual to speak several languages, because the countries lie near together, and the people come and go from place to place. With you it is different; a mighty49 sea divides you from the rest of the world."
"Despite all your excuses for us, Giusippe, it is quite true that we Americans are as a rule pitiably ignorant about languages. Here is this boy, Jean, who knows not only his mother tongue but French, German and English besides. Isn't that a rebuke50 to us, with our fine schools and our college educations? It makes me ashamed of myself. Do you, little girl, try and do better than I have. Well, young man, what do you say to my proposition? Will you come with us to America?"
"Señor! Oh, señor! How can I ever——"
"Well, then, that settles it," interrupted Mr. Cabot, cutting him short. "I will arrange everything. But there is just one condition to be made, my youthful Venetian patriot51. If by chance we see any of those old mirrors made by the early Frenchmen who stole your art from Murano you are not to smash them. Remember!"
Giusippe laughed.
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1
promptly
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| adv.及时地，敏捷地 | |
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piazza
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| n.广场；走廊 | |
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darting
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| v.投掷，投射( dart的现在分词 )；向前冲，飞奔 | |
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standing
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| n.持续，地位；adj.永久的，不动的，直立的，不流动的 | |
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cornucopia
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| n.象征丰收的羊角 | |
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kernels
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| 谷粒( kernel的名词复数 )； 仁； 核； 要点 | |
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kinsmen
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| n.家属，亲属( kinsman的名词复数 ) | |
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mosaic
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| n./adj.镶嵌细工的，镶嵌工艺品的，嵌花式的 | |
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impulsively
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| adv.冲动地 | |
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superintendent
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| n.监督人，主管，总监；(英国)警务长 | |
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spoke
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| n.（车轮的）辐条；轮辐；破坏某人的计划；阻挠某人的行动 v.讲，谈（speak的过去式）；说；演说；从某种观点来说 | |
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Christian
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| adj.基督教徒的；n.基督教徒 | |
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dome
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| n.圆屋顶，拱顶 | |
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carvings
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| n.雕刻( carving的名词复数 )；雕刻术；雕刻品；雕刻物 | |
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carving
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| n.雕刻品，雕花 | |
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erecting
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| v.使直立，竖起( erect的现在分词 )；建立 | |
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adorning
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| 修饰，装饰物 | |
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mosaics
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| n.马赛克( mosaic的名词复数 )；镶嵌；镶嵌工艺；镶嵌图案 | |
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slab
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| n.平板，厚的切片；v.切成厚板，以平板盖上 | |
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slabs
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| n.厚板，平板，厚片( slab的名词复数 )；厚胶片 | |
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schooling
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| n.教育；正规学校教育 | |
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smoothly
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| adv.平滑地，顺利地，流利地，流畅地 | |
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uneven
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| adj.不平坦的，不规则的，不均匀的 | |
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makers
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| n.制造者，制造商（maker的复数形式） | |
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remains
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| n.剩余物，残留物；遗体，遗迹 | |
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gasped
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| v.喘气( gasp的过去式和过去分词 )；喘息；倒抽气；很想要 | |
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chuckled
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| 轻声地笑( chuckle的过去式和过去分词 ) | |
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mosques
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| 清真寺； 伊斯兰教寺院，清真寺； 清真寺，伊斯兰教寺院( mosque的名词复数 ) | |
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reverence
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| n.敬畏，尊敬，尊严；Reverence:对某些基督教神职人员的尊称；v.尊敬，敬畏，崇敬 | |
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inscriptions
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| （作者）题词( inscription的名词复数 )； 献词； 碑文； 证劵持有人的登记 | |
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engraved
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| v.在（硬物）上雕刻（字，画等）( engrave的过去式和过去分词 )；将某事物深深印在（记忆或头脑中） | |
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indirectly
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| adv.间接地，不直接了当地 | |
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artistic
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| adj.艺术(家)的，美术(家)的；善于艺术创作的 | |
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perfectly
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| adv.完美地，无可非议地，彻底地 | |
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undoubtedly
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| adv.确实地，无疑地 | |
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virtue
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| n.德行，美德；贞操；优点；功效，效力 | |
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foresight
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| n.先见之明，深谋远虑 | |
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scattered
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| adj.分散的，稀疏的；散步的；疏疏落落的 | |
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grooves
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| n.沟( groove的名词复数 )；槽；老一套；（某种）音乐节奏v.沟( groove的第三人称单数 )；槽；老一套；（某种）音乐节奏 | |
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fixed
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| adj.固定的，不变的，准备好的；(计算机)固定的 | |
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attentively
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| adv.聚精会神地；周到地；谛；凝神 | |
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42
banter
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| n.嘲弄，戏谑；v.取笑，逗弄，开玩笑 | |
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43
marvels
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| n.奇迹( marvel的名词复数 )；令人惊奇的事物（或事例）；不平凡的成果；成就v.惊奇，对…感到惊奇( marvel的第三人称单数 ) | |
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44
mingling
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| adj.混合的 | |
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longing
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| n.（for）渴望 | |
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46
chattered
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| （人）喋喋不休( chatter的过去式 )； 唠叨； （牙齿）打战； （机器）震颤 | |
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47
abruptly
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| adv.突然地，出其不意地 | |
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48
kindly
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| adj.和蔼的，温和的，爽快的；adv.温和地，亲切地 | |
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mighty
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| adj.强有力的；巨大的 | |
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50
rebuke
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| v.指责，非难，斥责 [反]praise | |
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51
patriot
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| n.爱国者，爱国主义者 | |
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