a
Venetian expedition disguised himself, stole the bones, separated them,
and packed them in vessels filled with lard. The religion of Mahomet
causes its devotees to abhor anything that is in the nature of pork, and
so when the Christian was stopped by the officers at the gates of the
city, they only glanced once into his precious baskets, then turned up
their noses at the unholy lard, and let him go. The bones were buried in
the vaults of the grand cathedral, which had been waiting long years to
receive them, and thus the safety and the greatness of Venice were
secured. And to this day there be those in Venice who believe that if
those holy ashes were stolen away, the ancient city would vanish like a
dream, and its foundations be buried forever in the unremembering sea.

CHAPTER XXIII.

The Venetian gondola is as free and graceful, in its gliding movement, as
a serpent. It is twenty or thirty feet long, and is narrow and deep,
like a canoe; its sharp bow and stern sweep upward from the water like
the horns of a crescent with the abruptness of the curve slightly
modified.

The bow is ornamented with a steel comb with a battle-ax attachment which
threatens to cut passing boats in two occasionally, but never does. The
gondola is painted black because in the zenith of Venetian magnificence
the gondolas became too gorgeous altogether, and the Senate decreed that
all such display must cease, and a solemn, unembellished black be
substituted. If the truth were known, it would doubtless appear that
rich plebeians grew too prominent in their affectation of patrician show
on the Grand Canal, and required a wholesome snubbing. Reverence for the
hallowed Past and its traditions keeps the dismal fashion in force now
that the compulsion exists no longer. So let it remain. It is the color
of mourning. Venice mourns. The stern of the boat is decked over and
the gondolier stands there. He uses a single oar--a long blade, of
course, for he stands nearly erect. A wooden peg, a foot and a half
high, with two slight crooks or curves in one side of it and one in the
other, projects above the starboard gunwale. Against that peg the
gondolier takes a purchase with his oar, changing it at intervals to the
other side of the peg or dropping it into another of the crooks, as the
steering of the craft may demand--and how in the world he can back and
fill, shoot straight ahead, or flirt suddenly around a corner, and make
the o