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For centuries the painters of Venice have seized and made their own the objects they loved most in this wondrous City by the Sea. Canaletto, ignoring every other beautiful thing, laid hold of quays backed by lines of palaces bordering the Grand Canal, dotted with queer gondolas rowed by gondoliers, in queerer hoods of red or black, depending on the guild to which they belonged. Turner stamped his ownership on sunset skies, silver dawns, illuminations, fetes, and once in a while on a sweep down the canal past the Salute, its dome a huge incandescent pearl. Ziem tied up to the long wall and water steps of the Public Garden, aflame with sails of red and gold: he is still there–was the last I heard of him, octogenarian as he is. Rico tacks his card to garden walls splashed with the cool shadows of rose-pink oleanders dropping their blossoms into white and green ripples, melting into blue. As for me–I have laid hands on a canal–the Rio Giuseppe–all of it–from the beginning of the red wall where the sailors land, along its crookednesses to the side entrance of the Public Garden, and so past the rookeries to the lagoon, where the tower of Castello is ready to topple into the sea.

Not much of a canal–not much of a painting ground really, to the masters who have gone before and are still at work, but a truly lovable, lovely, and most enchanting possession to me their humble disciple. Once you get into it you never want to get out, and, once out, you are miserable until you get back again. On one side stretches a row of rookeries–a maze of hanging clothes, fish-nets, balconies hooded by awnings and topped by nondescript chimneys of all sizes and patterns, with here and there a dab of vermilion and light red, the whole brilliant against a china-blue sky. On the other runs the long brick wall of the garden,–soggy, begrimed; streaked with moss and lichen in bands of black-green and yellow ochre, over which mass and sway the great sycamores that Ziem loves, their lower branches interwoven with zinnober cedars gleaming in spots where the prying sun drips gold.

Only wide enough for a barca and two gondolas to pass–this canal of mine. Only deep enough to let a wine barge through; so narrow you must go all the way back to the lagoon if you would turn your gondola; so short you can row through it in five minutes; every inch of its water surface part of everything about it, so clear are the reflections; full of moods, whims, and fancies, this wave space–one moment in a broad laugh coquetting with a bit of blue sky peeping from behind a cloud, its cheeks dimpled with sly undercurrents, the next swept by flurries of little winds, soft as the breath of a child on a mirror; then, when aroused by a passing boat, breaking out into ribbons of color–swirls of twisted doorways, flags, awnings, flower-laden balconies, black-shawled Venetian beauties all upside down, interwoven with strips of turquoise sky and green waters–a bewildering, intoxicating jumble of tatters and tangles, maddening in detail, brilliant in color, harmonious in tone: the whole scintillating with a picturesqueness beyond the ken or brush of any painter living or dead.

On summer days–none other for me in Venice (the other fellow can have it in winter)–everybody living in the rookeries camps out on the quay, the women sitting in groups stringing beads, the men flat on the pavement mending their nets. On its edge, hanging over the water, reaching down, holding on by a foot or an arm to the iron rail, are massed the children–millions of children–I never counted them, but still I say millions of children. This has gone on since I first staked out my claim–was a part of the inducement, in fact, that decided me to move in and take possession–boats, children, still water, and rookeries being the ingredients from which I concoct color combinations that some misguided people take home and say they feel better for.