Renaissance façade

Me and the boys were in NY last December and met up with the fourth of our party at The Strand (Union Square, a good a place as any) where I bought a beautiful second edition of Proust’s The Sweet Cheat Gone. I think it’s unofficially the next to the last volume in À la recherche du temps perdu. Anyway, right now I’m editing my movie about Venice, and that concludes my flimsy rationale for posting this bit of chapter three from Sweet Cheat Gone, on a lovely afternoon, no less. That, and a well-worn regard for you.

My mother had brought me for a few weeks to Venice and — as there may be beauty in the most precious as well as in the humblest things — I was receiving there impressions analogous to those which I had felt so often in the past at Combray, but transposed into a wholly different and far richer key. When at ten o’clock in the morning my shutters were thrown open, I saw ablaze in the sunlight, instead of the black marble into which the slates of Saint-Hilaire used to turn, the Golden Angel on the Campanile of San Marco. In its dazzling glitter, which made it almost impossible to fix it in space, it promised me with its outstretched arms, for the moment, half an hour later, when I was to appear on the Piazzetta, a joy more certain than any that it could ever in the past have been bidden to announce to men of good will. I could see nothing but itself, so long as I remained in bed, but as the whole world is merely a vast sun-dial, a single lighted segment of which enables us to tell what o’clock it is, on the very first morning I was reminded of the shops in the Place de l’Eglise at Combray, which, on Sunday mornings, were always on the point of shutting when I arrived for mass, while the straw in the market place smelt strongly in the already hot sunlight. But on the second morning, what I saw, when I awoke, what made me get out of bed (because they had taken the place in my consciousness and in my desire of my memories of Combray), were the impressions of my first morning stroll in Venice, Venice whose daily life was no less real than that of Combray, where as at Combray on Sunday mornings one had the delight of emerging upon a festive street, but where that street was paved with water of a sapphire blue, refreshed by little ripples of cooler air, and of so solid a colour that my tired eyes might, in quest of relaxation and without fear of its giving way, rest their gaze upon it. Like, at Combray, the worthy folk of the Rue de l’Oiseau, so in this strange town also, the inhabitants did indeed emerge from houses drawn up in line, side by side, along the principal street, but the part played there by houses that cast a patch of shade before them was in Venice entrusted to palaces of porphyry and jasper, over the arched door of which the head of a bearded god (projecting from its alignment, like the knocker on a door at Combray) had the effect of darkening with its shadow, not the brownness of the soil but the splendid blue of the water. On the piazza , the shadow that would have been cast at Combray by the linen-draper’s awning and the barber’s pole, turned into the tiny blue flowers scattered at its feet upon the desert of sun-scorched tiles by the silhouette of a Renaissance façade, which is not to say that, when the sun was hot, we were not obliged, in Venice as at Combray, to pull down the blinds between ourselves and the Canal, but they hung behind the quatrefoils and foliage of gothic windows. Of this sort was the window in our hotel behind the pillars of which my mother sat waiting for me, gazing at the Canal with a patience which she would not have displayed in the old days at Combray, at that time when, reposing in myself hopes which had never been realised, she was unwilling to let me see how much she loved me. Nowadays she was well aware that an apparent coldness on her part would alter nothing, and the affection that she lavished upon me was like those forbidden foods which are no longer withheld from invalids, when it is certain that they are past recovery. To be sure, the humble details which gave an individuality to the window of my aunt Léonie’s bedroom, seen from the Rue de l’Oiseau, the asymmetry of its position not midway between the windows on either side of it, the exceptional height of its wooden ledge, the slanting bar which kept the shutters closed, the two curtains of glossy blue satin, divided and kept apart by their rod, the equivalent of all these things existed in this hotel in Venice where I could hear also those words, so distinctive, so eloquent, which enable us to recognise at a distance the house to which we are going home to luncheon, and afterwards remain in our memory as testimony that, during a certain period of time, that house was ours; but the task of uttering them had, in Venice, devolved not, as at Combray, and indeed, to a certain extent, everywhere, upon the simplest, that is to say the least beautiful things, but upon the almost oriental arch of a façade which is reproduced among the casts in every museum as one of the supreme achievements of the domestic architecture of the middle ages; from a long way away and when I had barely passed San Giorgio Maggiore, I caught sight of this arched window which had already seen me, and the spring of its broken curves added to its smile of welcome the distinction of a loftier, scarcely comprehensible gaze. And since, behind those pillars of differently coloured marble, Mamma was sitting reading while she waited for me to return, her face shrouded in a tulle veil as agonising in its whiteness as her hair to myself who felt that my mother, wiping away her tears, had pinned it to her straw hat, partly with the idea of appearing ‘dressed’ in the eyes of the hotel staff, but principally so as to appear to me less ‘in mourning,’ less sad, almost consoled for the death of my grandmother; since, not having recognised me at first, as soon as I called to her from the gondola, she sent out to me, from the bottom of her heart, a love which stopped only where there was no longer any material substance to support it on the surface of her impassioned gaze which she brought as close to me as possible, which she tried to thrust forward to the advanced post of her lips, in a smile which seemed to be kissing me, in the framework and beneath the canopy of the more discreet smile of the arched window illuminated by the midday sun; for these reasons, that window has assumed in my memory the precious quality of things that have had, simultaneously, side by side with ourselves, their part in a certain hour that struck, the same for us and for them; and however full of admirable tracery its mullions may be, that illustrious window retains in my sight the intimate aspect of a man of genius with whom we have spent a month in some holiday resort, where he has acquired a friendly regard for us; and if, ever since then, whenever I see a cast of that window in a museum, I feel the tears starting to my eyes, it is simply because the window says to me the thing that touches me more than anything else in the world: “I remember your mother so well.”