Venice and its Story Part 17

Rooms III., IV., V., VI. are wholly dominated by Francesco Morosini and contain spoils of war, personal relics, among which are a book of hours (concealing a pistol), a bust, a portrait, costumes, pictures of his victories, models of galleys. Room VII. has an interesting and complete set of oselle,[112] beginning (2200) from Doge Ant. Grimani to (2716) Doge Ludovico Manin. Venetian coins, among which are cases of gold Zecchini with a unique Marn Falier, and medals of the Carraresi. Rooms VIII. and IX. display some beautiful Venetian lace and rich stuffs; costumes, fans, stilted shoes, and miniatures, a diagram showing the method of electing a Doge, and a remarkable fifteenth-century wooden staircase. Room X., besides some furniture, has, No. 14, a portrait of Goldoni, and some paintings by Longhi. Room XI. has a miscellaneous collection of reliefs from the burnt chapel of the Rosary at S.

Zanipolo; bronze works and ornaments. Room XII. contains a fine collection of majolica ware and porcelain, and some gla.s.s, among which, 912, is a deep blue wedding goblet by the famous Berovieri of Murano.

Room XIV. has a precious collection of illuminated MSS. No. 70 (fifteenth century), (Leggenda dell' apparizione di S. Marco) shows the pillar near St Clement's altar from which the hand of the saint is said to have protruded. Here are also a number of Mariegole or guild statutes, one of which (9) shows the Master of the Carpet-makers submitting the statutes to Doge Foscari. A specimen of the manufacture which has been presented to the Doge according to usage is hanging on the balcony; 166 is a portrait of Paolo Sarpi and the dagger with which he was stabbed. Room XV., 43, Basaiti, Virgin and Child with donor. 35, Jac. Bellini, Crucifixion. Room XVI., 2, Alvise Vivarini, St Anthony of Padua. 5, Carpaccio,[113] Two Courtezans with their pets: the stilted shoes then worn by ladies are seen in this picture.[114] Four early works by Giov. Bellini, (6) a Transfiguration, (3) a Pieta with a forged signature of Durer; (8) a Crucifixion, and (II) Christ mourned by Three Angels. Portraits of Doge Giov. Mocenigo (16) by Gentile Bellini and (19) a Bellini school painting of Doge Franc. Foscari.

The curious old church of S. Giacomo dall' Orio stands S. of the Museo Civico. The timber coved roof dates from the fourteenth century. On the wall R. of the entrance is a fine picture (1511) SS. Sebastian, Lawrence and Roch by Giov. Buonconsiglio, a Vicenzian painter of the early sixteenth century, sometimes known as Marescalco. In the R. aisle is a richly carved and gilded vaulted frieze beneath which is Franc.

Ba.s.sano's Preaching of the Baptist, one of his most beautiful works: opposite is an Ionic column of _verde antico_ of wonderful size and beauty, one of the "jewel shafts"[115] referred to by Ruskin. In a chapel in the L. aisle is a Lorenzo Lotto, Coronation of the Virgin with SS. Andrew, James, Cosimo and Damian (1546). The picture, which has been much restored, brought the artist 130 gold ducats.

SECTION XIV

_S. Sebastiano--S. M. del Carmine--S. Pantaleone--The Cobblers'

Guildhall--S. Polo--S. Apollinare_

We follow the route (Section XI.) to the Campo Morosini and turn R. by the church of S. Vitale along the Campiello Loredan. After crossing two bridges and turning an angle to the L., we reach the Campo S. Samuele.

The ferry across the Grand Ca.n.a.l will land us at the Calle del Traghetto, which we follow to the Campo S. Barnaba. Crossing the Campo obliquely we reach on the R. the Ponte dei Pugni, as its name implies, one of the bridges where the faction fights between the Castellani and Nicolotti used to take place. The former were distinguished by red, the latter by black caps and scarves. These contests were favoured by the Signory, in order, it is believed, to foster a warlike spirit among the people, and were continued until 1705, when a peculiarly b.l.o.o.d.y affray in which stones and knives were used, led to their abolition.[116] If the traveller will mount to the crown of the bridge he will see two footmarks in stone let into the paving on either side. Victory smiled on that faction which could thrust their adversaries beyond the line marked by the feet. The bridge then had no parapets and in the course of the struggle many a champion fell into the ca.n.a.l. We resume our way along the Fondamenta as far as the Ponte delle Pazienze. A turning opposite, to the L., brings us to the Calle Lunga, which we follow to the R.

direct to the church of S. Sebastiano. No admirer of Veronese should leave this church unvisited. Here the painter, when he came, a young man of twenty seven, to try his fortune at Venice, received his first commission to decorate the sacristy, owing to the influence of his uncle the prior of the monastery. Veronese has made the walls of this temple glorious with some of his greatest creations. Here he desired to be buried, and his two sons and his brother (all fellow artists) piously gave effect to his wishes, and a slab of marble on the pavement, with an inscription, marks his resting-place under his bust to the R. of the organ. A year after his work on the ceiling of the sacristy (the Coronation of the Virgin and the Four Evangelists), he painted in 1556 the ceiling of the church with scenes from the Book of Esther. People crowded to see these novel and daring compositions. At one flight he rose to the highest plane of artistic excellence, to rank with the veteran t.i.tian, and with Tintoretto in the height of his fame. In these creations the Veronese of the Ducal Palace is already revealed with his daring perspective, the grand and victorious sweep of his powerful brush, the pulsating life and movement of his figures. In the plenitude of his genius he subsequently decorated the walls of the choir with two scenes from the martyrdom of SS. Sebastiano, Marco and Marcellino (all three victims of the Diocletian persecution), and the high altar with a Virgin and Child with the Baptist, SS. Sebastian, Peter and Francis, John the Baptist and Elizabeth. In the composition L. of the choir, St Sebastian in armour clasping a banner is seen exhorting SS. Marco and Marcellino to be faithful unto death, while their mothers at the top of the steps entreat them to recant and live. Below, kneeling wives and children add their supplications. This is esteemed by some the masterpiece of the artist, who has painted his own portrait in the figure of St Sebastian. To the R. of the choir is the Martyrdom of St Sebastian.

Veronese designed also the decorations of the organ and painted the panels, (outside) the Purification of the Virgin, (inside) the Pool of Bethesda. The church possesses three altar-pieces by the master (the first altar has a St Nicholas by t.i.tian), and the wall paintings in fresco in the upper choir.

We retrace our steps to the Ponte delle Pazienze, which we cross, and quickly reach the long basilica of S. Maria del Carmine, elaborately renovated in the seventeenth century. The church contains a somewhat faded Cima, Birth of Christ, with a characteristic landscape; an early Tintoretto, the Purification of the Virgin; Lorenzo Lotto's Apotheosis of St Nicholas, with the Baptist, St Lucy, and angels bearing the bishop's mitre and crook. In a landscape to R. is seen St George slaying the dragon; in the centre the Princess near a city by the sea; L. are some peasants--a n.o.ble and poetic creation.

[Ill.u.s.tration: DOORWAY WITH COLOURED RELIEF OF SS. MARK AND ANIa.n.u.s: COBBLERS' GUILD HOUSE, CAMPO S. TOMa]

We leave by the door of the L. aisle, and make our way through the long Campo S. Margarita to the church of S. Pantaleone, which we visit for the sake of the fine altar-piece, a Coronation of the Virgin, by Giov.

Alemano and Antonio Vivarini in the chapel L. of the choir. What art was able to accomplish four centuries later we may see by lifting our eyes to the ceiling of the church over which expatiate Fumiani's paintings of the Martyrdom and Apotheosis of the patron-saint.

We leave the church on our left, and continue N.E. to the Campo S. Toma.

Here we shall find the old Guild Hall of the Cobblers (_Scuola dei Calerghi_) with a relief by Pietro Lombardo, St Mark healing the cobbler. The quaint signs of the craft over the portal and Pietro's sculpture bear traces of the original colouring. We make our way E., pa.s.sing the fourteenth-century Campanile of S. Polo, one of the finest at Venice. At the base are carved in stone two lions, one of which has a serpent coiled round its neck, the other holds a human head in its claws. They are popularly supposed to symbolise the fate that overtook Marin Faliero. We note on the L. the fine old Gothic S. portal of the church, and emerge into the broad Campo S. Polo.

From the S.E. angle of the campo a way leads along the Calle della Madonetta, and by the Calle del Perdon to the Campo S. Apollinare. On the L., just before we emerge into the campo, are an inscription and a medallion of Pope Alexander III., which mark his legendary resting-place (p. 50). (Another tradition, however, indicates the portico of the old church of S. Salvatore in the Merceria as the spot where he lay.) S.

from the campo a way leads to the S. Silvestro Pier on the Grand Ca.n.a.l.

[Ill.u.s.tration: TIMBER BOATS.]

SECTION XV

_Giudecca--The Redentore--S. Trovaso_

A steamer leaves the Riva degli Schiavoni every hour for the S. Croce Pier on the island of the Giudecca where stands Palladio's masterpiece, the plague church of the Redentore de' Cappucini. The island, formerly known as Spinalunga was a.s.signed (_giudicata_) in the ninth century as a place of banishment to certain of the n.o.bles implicated in the murder of Doge Tradenico. Hence according to some authorities its name: by others it is believed to have been the ancient Jewry.

The fine proportion and symmetry make the interior of the church even more impressive than that of S. Giorgio Maggiore. In the sacristy are three early Venetian paintings once a.s.signed to Giov. Bellini, now generally attributed: (1) Virgin with the Sleeping Jesus attended by two Angels to Alvise Vivarini (p. 196); (2) Virgin and Child with SS. John and Catherine and (3) Virgin and Child with SS. Mark and Francis to Bissolo. The last is by some critics attributed to Pasqualino, a feeble imitator of Giov. Bellini.

We may return by the steamer that crosses every few minutes to the fondamenta of the Zattere (rafts) so called because here the great rafts of timber from the Alps were and still are landed, and follow the rio di S. Trovaso, on which is a most picturesque _squero_ (boat builder's) purchased by the munic.i.p.ality of Venice to save it from destruction, to the church of S. Trovaso. The church contains two Tintorettos of interest. At the high altar is his Temptation of St Anthony. "A small and very carefully finished picture, marvellously temperate and quiet in treatment," says Ruskin, who describes the painting in the Venetian Index. There is little tranquillity in the other picture, the Last Supper, in the L. transept. The whole scene is full of "bustle and tumult" and in nearly all its details the composition is coa.r.s.e and irreverent. The moment chosen is when Christ has uttered the words, "One of you shall betray Me." An overturned rush-bottom chair is in the foreground. One of the Apostles is leaning down to fill his gla.s.s from a large fiasco of wine on the floor; another is in the act of lifting the lid of a soup kettle; a cat is lapping up some of the soup. The solemn scene is degraded to the level of a vulgar beanfeast.

SECTION XVI

_Palazzo l.a.b.i.a--S. Giobbe--The Ghetti--Gli Scalzi_

From the S. Geremia Pier on the Grand Ca.n.a.l we turn along the W. bank of the Cannareggio and quickly reach the Pal. l.a.b.i.a. A hall on the first floor is decorated by the finest of Tiepolo's work existing in Venice.

We continue along the fondamenta and at length reach the gra.s.s-grown campo, opposite the Ponte Tre Archi, on which stands the Franciscan church of S. Giobbe attributed to Pietro Lombardo. The chief pictures of interest are in the sacristy: the portrait of Doge Cristoforo Moro with a careful representation of a ducal cap is a Bellini school painting; a well-preserved Marriage of St Catherine is by Previtati in the master's most suave and gracious manner; there is also a not very convincing tryptich by Ant. Vivarini. In the Ante-Sacristy is a much-restored Savoldo, the Birth of Christ. Moro's tomb is on the ground before the altar in the beautiful chapel erected by the Doge to his personal friend S. Bernardino. The chapel is a fine example of Pietro Lombardo's decorative genius and power.

[Ill.u.s.tration: FISHING BOATS ON THE GIUDECCA.]

[Ill.u.s.tration: CANNAREGGIO.]

The Ghetto Vecchio and the Ghetto Nuovo may be reached by crossing the Ponte Tre Archi and following the E. bank of the Cannareggio to a portico which gives access to the Jewry of Venice. The term Ghetto is said to have originated from the fact that here were located the old and new foundries for casting (_gettando_) the ordnance of the Republic. The sites of the old and the new foundries (the Ghetto Vecchio and the Ghetto Nuovo) were in 1516 a.s.signed to the Jews for their quarter.

Little that is characteristic now remains. On the L. as we enter the quarter is an inscription declaring the "firm intention of the magistrates of the Republic to severely repress the sin of blasphemy whether committed by Jews or converted Jews. They therefore have ordered this proclamation to be carved in stone in the most frequented part of the Ghetti, and threaten with the cord, stocks, whip, galleys or prisons all who are guilty of blasphemy. Their Excellencies offer to receive secret denunciations and to reward informers by a sum of a hundred ducats to be taken from the property of the offender on conviction."

We return to the fondamenta and pursue our way to the fine bridge on the R. which spans the Cannareggio and leads to the railway station. We cross the bridge and reach the church of S. Maria agli Scalzi (1648-89), designed by Longhena. The facade by Sardi was restored by the Austrians in 1853-62. The interior is condemned by Ruskin as a vulgar abuse of marble in every way. The ceiling is frescoed by Tiepolo in his most flamboyant style. This heavily decorated edifice (p. 195) was erected, as its name implies, for Our Lady of the Shoeless Friars. Behind the high altar is a doubtful Giov. Bellini. The last of the Doges, Ludovico Manin, lies in this church.

SECTION XVII

_t.i.tian's House--S. Michele in Isola--Murano_

Few parts of Venice have suffered more from the disfigurement wrought by national decadence, poverty and insensibility than that now bounded by the _Fondamente nuove_. In the sixteenth century this was one of the most charming quarters of the city. Here stood the smaller pleasure palaces of the patricians, with delicious gardens sloping down to the sea, whither they could retire after the business of the day to refresh themselves and entertain their friends. The gardens gave on that exquisite prospect where:--

"the h.o.a.r And aery Alps towards the north appeared Thro' mist an heaven-sustaining bulwark reared Between the east and west; and half the sky Was roofed with clouds of rich emblazonry."

At evening over the face of the waters, fanned by the cooling breezes of the north, glided the "black Tritons" of the lagoons, graced by the wit and fashion and beauty of Venice. Salutation and repartee were winged with laughter from mouth to mouth, and stanza alternating with stanza of Ta.s.so's n.o.ble verse answered each other in song over the rippling sea. t.i.tian's palace,[117] where the master entertained all who were celebrated in art and literature, stood near the present Fondamenta. While the tables were being laid the guests were taken to see his great collection of pictures, then for a stroll about his beautiful gardens. The banquet was arranged with delightful art; tables were loaded with the most delicate viands and the most precious wines; music of sweet voices and many instruments accompanied the feast.

Pleasures and amus.e.m.e.nts followed, suited to the season and the guests, until midnight closed the revelry.

[Ill.u.s.tration: MURANO]

There was no brick wall then fencing about the fair island of S. Michele with its beautiful churches, cloisters and gardens; no cloud of coal smoke fouling the atmosphere of Murano, it too adorned with palaces and lovely pleasaunces.

We make our way to the ferry steamer for Murano, which leaves the Fondamente Nuove every quarter of an hour. How has the glory of Murano departed--_Muranum delitiae et voluptas civium Venetorum!_ Its palaces and pleasure grounds are said by an anonymous writer of the seventeenth century[118] to be beautiful beyond description. s.p.a.cious chambers and banqueting halls were hung with tapestry wrought with scenes from the Punic wars, and furnished with the most precious and ornate productions of Venetian craftsmen. Delicious gardens were traversed by artfully designed paths and provided with arbours of interlaced foliage; fountains, fish-ponds, cool grottos adorned with coral and sh.e.l.ls in charming taste, pastures gay with the manifold colours of flowers, and trees bearing choicest fruits. Cla.s.sic peristyles and _exedrae_, decorated with paintings and arabesques, afforded shelter from the heat of the sun or from rain, and invited to quiet converse.

On gaining the island of Murano we follow the Fondamenta Vetrai and soon reach the church of S. Pietro Martire, which possesses Giov. Bellini's altar-piece (1488), the Virgin and Child, to whom St Mark presents Doge Agostino Barbarigo. Notwithstanding the clumsiness of restorers this remains one of the most precious of Venetian paintings.

We continue along the Fondamenta, and cross the Ponte Vivarini to the ancient basilica of SS. Mary and Donatus. Legend tells of the Emperor Otho I. caught in a fearful storm, and vowing, if saved, to build a church to the Virgin, who appeared to him in a vision and indicated this very triangular s.p.a.ce, bright with a ma.s.s of red lilies, as the chosen spot. To the basilica of S. Maria here erected, Doge Dom. Michele gave in 1125 the body of S. Donatus and the bones of the slain dragon, which are still suspended over the high altar. The story of the saint, as related by the worthy sacristan of the church with dramatic gestures, is as follows:--A terrible dragon once devastated Cephalonia, devouring the inhabitants and poisoning the waters of the river up which it swam. The good bishop Donatus determined to rid the land of the monster, and, accompanied by his clergy, went towards the river to confront it. On its appearance the clergy fled, but the saint boldly advanced alone and spat at the beast, which at once fell dead. Donatus then took a cup, and drinking of the water of the river, found it pure and sweet, called back his clergy and showed them the dead monster.

The exterior of the apse, with its masterly decoration of coloured brick and marble so lovingly described by Ruskin in the "Stones of Venice," is one of the most interesting examples of twelfth century Lombard architecture in North Italy.

We enter and note the rare and precious pavement of the church which is finer even than that of St Mark's. Much of it has been broken up and reset, but enough has remained undisturbed to rejoice the eye of the traveller. The quaint designs are wrought of opus Alexandrinum, porphyry, _verde antico_ and mosaic. A favourite subject is that of two c.o.c.ks bearing between them a fox with feet bound--the triumph of watchfulness over cunning. The date, September 1, 1140, may still be read on the pavement in the middle of the nave near the main entrance.

The tall, solitary figure of the Virgin in the act of blessing in the apse is a twelfth-century mosaic. An example of Sebastiani's work--Virgin and Child with the Baptist, St Donatus and the donor (1484)--will be found in the L. aisle.