A DEFINITIVE HISTORY OF VENICE

PIAZZA DI SAN MARCO

 

After the sky has shaded from indigo

to sepia, when swifts have gone and pigeons

roost in the crepuscular arcades,

when the Basilica’s looted bronze horses

are illumined – where Rossano Brazzi

and Katherine Hepburn failed to meet

at any one of the five cafés in

Napoleon’s ‘most splendid drawing room

in Europe’, where Proust (holidaying

at the Danieli with mother) corrected

his translation of Ruskin and criticised

the risotto, where Casanova

evaded the watch – then the eclectic

clock tower, the three, competing string orchestras,

and the melancholy campanile

accompany gratis a young man, alone,

masked, waltzing on the marble pavement.

 

 

 

A DEFINITIVE HISTORY OF VENICE

BACINO DI SAN MARCO

 

From the Daniele’s restaurant terrace,

a bride and groom watch a shower of rain,

against the deep blue of the sky, approach

from the Adriatic, fall on the Lido,

San Lazzaro, La Giudecca, become

a foil for San Giorgio Maggiore,

La Dogana, La Salute, disappear

out of sight, somewhere over the lagoon.

 

As the late afternoon sun glows on wet

marble and the monogamous swifts return,

the man exclaims, ‘What a view we’ve got!,’

but the woman, ‘The light!’

 

 

 

A DEFINITIVE HISTORY OF VENICE

DECLINE AND FALL

 

Once, there were no panhandlers in La

Serenissima. Now there are four beggars –

men from Dalmatia, the old colonies,

and a Roma woman with no past.

Near the Rialto, two alternate

on the same pitch: heads sunk, hands out, their stories

in English on cardboard. The third plays

an accordion near the Accademia,

his history on plywood at his feet.

Only the woman, dark-eyed, distressed, who sits

anonymous, huddled, swaddled against the

long wall of the Ospedale Civile,

looks charity the tourist in the eye.  She

takes the last  vaporetto  for Torcello

– and disembarks somewhere in the dark lagoon:

but returns always as if she were any

other traveller on the chopped and dancing

water, under the pellucid sky, in the

serenity of the light.

 

 

 

 

A DEFINITIVE HISTORY OF VENICE

A CONTINUING CITY

 

A millennium of trade and empire

has pushed the wooden piles the founders drove

more deeply into the seditious silt

than they had intended.

 

In Campo di Ghetto, ‘Juda Merda’

is daubed: on Fondamente Nouve,

grammatically correct, ‘Venezia

truffa i touristi.’

 

On San Michele lie Ezra Pound, the

Stravinskys, somebody from Salop and

Venetian bourgeoisie almost safe in

their ferrara chambers.

 

Before dawn, carts spouting disinfectant

are trundled hastily through shuttered streets –

which, later, are pristine with human sounds:

laughter, footfalls, a song.

 

 

 

THE BARNSTON MONUMENT

‘On the road to Chester, on the outskirts of Farndon, stands a monument to the late Major Barnston, raised in 1858 by his tenantry and friends. It consists of a grand obelisk, having at its base, four handsomely carved stone figures of recumbent lions.’

 History of the County Palatine and City of Chester, George Ormerod, 2nd Edition 1882.

 

The lions, positioned north, south, east and west –

encompassing the, now reduced, estates–

are lying, on their tomb chests, heads on paws

as if asleep. The Barnston family,

originally of Norman stock,

had been landowners in the parish

for six hundred years of unstinting service

to their estates, England, the monarch –

and had the church’s chancel named for them.

The monument – the design the result

of a competition – is, perversely,

sculpted in yellow not local sandstone

and cost the equivalent of £30k,

met entirely by public subscription.

A farm hand earned two shillings a day.

 

The inscription tells us the Major fought

‘In the Indian Mutiny campaign

in 1857; in which

he received a severe wound whilst gallantly

leading an assault at the relief

of Lucknow…from the effects of which

he died at Cawnpore…aged 31 years.’

He had, it seems, neither wife nor children.

 

This grandiose memorial surprises

on a country road and the landscape,

across the gentle Dee Valley into Wales,

appears much as the Major would have seen it

for the last time – orderly, productive,

agrarian. I note the irony –

a pitiless, criminal war for land –

and picture, from six thousand miles away

and more than a century and a half,

the noise, the blood, the hate.

 

 

 

THE ABATTOIR AT MAZINGARBE

 

The Last Absolution of the Munsters at Rue Du Bois, by Fortunino Mattania, depicts an event which took place on 8th May 1915, near Neuve Chapelle.

 

 

The push for Aubers Ridge had been postponed

because of rain. But the Saturday

was dry and sunny. Going up the line

in the early evening, the battalion

stood easy at the shrine to Our Lady.

‘…in remissionem peccatorum…’

By noon, next day, nearly half were dead,

caught on the German wire Haig’s ill equipped

artillery had, once more, failed to cut.

 

In Mazingarbe, an industrial town

ten miles south, the British commandeered

the abattoir. The first to be shot at dawn

was a Munster regular from Cork.

‘…in nomine Patris…’