A considerable number of persons are still employed in the manufacture of objects of taste and ornament; and in the Ruga Vecchia at Rialto they yet make the famous Venetian gold chain, which few visitors to the city can have failed to notice hanging in strands and wound upon spools, in the shop windows of the Old Procuratie and the Bridge of Rialto. It is wrought of all degrees of fineness, and is always so flexile that it may be folded and wound in any shape. It is now no longer made in great quantity, and is chiefly worn by contadine (as a safe investment of their ready money), [Footnote: Certain foreigners living in Venice were one day astonished to find their maid-servant in possession of a mass of this chain, and thought it their business to reprove her extravagance. “Signori,” she explained paradoxically, “if I keep my money, I spend it; if I buy this chain, it is always money (_è sempre soldi_).”] and old-fashioned people of the city, who display the finer sort in skeins or strands. At Chioggia, I remember to have seen a babe at its christening in church literally manacled and shackled with Venetian chain; and the little girl who came to us one day, to show us the splendors in which she had appeared at a _disputa_ (examination of children in doctrine), was loaded with it. Formerly, in the luxurious days of the Republic, it is said the chain was made as fine as sewing-silk, and worn embroidered on Genoa velvet by the patrician dames. It had then a cruel interest from the fact that its manufacture, after a time, cost the artisans their eyesight, so nice and subtle was the work. I could not help noticing that the workmen at the shops in the Ruga Vecchia still suffer in their eyes, even though the work is much coarser. I do not hope to describe the chain, except by saying that the links are horseshoe and oval shaped, and are connected by twos,--an oval being welded crosswise into a horseshoe, and so on, each two being linked loosely into the next.
An infinitely more important art, in which Venice was distinguished a thousand years ago, has recently been revived there by Signor Salviati, an enthusiast in mosaic painting. His establishment is on the Grand Canal, not far from the Academy, and you might go by the old palace quite unsuspicious of the ancient art stirring with new life in its breast. “A. Salviati, Avvocato,” is the legend of the bell-pull, and you do not by any means take this legal style for that of the restorer of a neglected art, and a possessor of forgotten secrets in gilded glass and “smalts,” as they term the small delicate rods of vitreous substance, with which the wonders of the art are achieved. But inside of the palace are some two hundred artisans at work,--cutting the smalts and glass into the minute fragments of which the mosaics are made, grinding and smoothing these fragments, polishing the completed works, and reproducing, with incredible patience and skill, the lights and shadows of the pictures to be copied.