Al, (aay x 4 or ai \ 4 eS Zs cer Ry Solin bas AND CAN Ack IN VOI aN a ee: CALLI E CANALI IN VENEZIA VENEZIA FERDIN. ONGANIA EDITORE SO} HE) (BY VES B. T. BATSFORD 52 High Holborn, LONDON MpDieCGe xe ie Q Fern. Ongania- epirore 4890.93 j } i j RN RN RSD ee Ae EAN nn ee re timer BA ISS ANOLE PROPRIETA ARTISTICA E LETTERARIA. Venezia, TipoGrartia EMiniana uy = ~*~ ¢Lsvould endeavour to trace the lines of this image Before Sit Fé for ever lost; and to record, as far as I may, the we i‘ UlolP seems to me to be uttered by y-one of the fast-gain ¢ STONES O, Joun Rusxis. ~ outline of the design I propose to realize in publishing a series “of hs under the title of « Storia dell Arte a Venezia » which j ‘shall comprise illustrations of the noblest monuments, and be a record of the grand historic and artistic periods of Venice. f As an introduction to the series I have in the present work reproduced the most picturesque views in this city, col- lecting them under the name of « Calli e Canali in Venezia » (Streets and Canals in Venice), and this collection, like others of the series is complete in itself, while forming with the rest a perfect whole. In the last century Canaletto and Guardi, essentially original Artists, left us representations of the special character | of the Venice of their epoch, and Canaletto in addition to his paintings left us, in his beautiful copper-plates, a durable impression of the ensemble of the city, and of its uniqul art. The present collection although following the same general idea will differ greatly in execution. The plates, one hundred in number, are faithful representations of the original scenes made by means of Photographs taken expressly for this work, and reproduced by a process which, to the merit of the most faithful reproduction, unites that of a permanent impression, and therefore combines the advantages of all other modern inventions in reproductive art. The literary part of the work was entrusted to P. Molmenti and other writers who have already occupied themselves with Venetian art and history. Each plate is supplemented with a note containing a brief artistic and historical account of its the subject. I trust that this new publication will meet with the same fayour as the preceding (*), for it should be attractive and valuable not only to artists and amateurs of Art, but also to Library and Artistic Institutions, and to the studious art loving public in general. (*) Raccolta delle vere da pozzo a Venezia. Collection of Well-Curbs, with illustrations of interiors of Venetian palaces etc. Two portfolios in-4." containing 260 plates in heliotype from Nature, 1889. Price 200 frs. Ferp. ONGANIA. Bronze Lion on a Column in the Piazzetta, INTRODUCTION ENICE is ever the ideal home of all who are enamoured of Art. The love of artists, the researches of students and the enthusiasm of poets have been so ardent and so daring as not unfrequently to result in substituting the imaginary ve % 3 oe : for the real, and consequently in weakening if not altogether destroying the \\) conception of truth, for enthusiasm often blinds us to the reality of things. QP Thus, paintings, poems, romances, and alas! many histories have combined yy to create a purely conyentional Venice. Painters, have reproduced, ad nauseam, S. Mark’s, the Piazzetta, the Mole, the Lagune, in such brilliant, such audacious colours, as give no idea of the mild harmony of the Venetian sky, while the Photographer, competing with them, has inundated us with views of the Grand Canal and of the Ducal Palace, illumined by artificial moonshine ; representing a theatrical Venice precisely as described by poetasters, by bad play-writers, by foolish novellists, and by ignorant and prejudiced historians. No city has ever been more erringly judged, no government less understood, no people — gifted with a lively disposition and with ready wit — more vilely misrepresented than when described as surrounded by spies, by bravoes, and by executioners. These false ideas were, doubtless, in part induced by the mysterious aspect of the city, by the obscurity prevalent in certain localities, by the gloom in the blind alleys, by the tortuous canals, by the narrow and silent lanes! « The city », writes Byron, « resembles a dream ; her history is a romance ». But Poetry — which when it disdains morbid romanticism is always truthful — gathers ineffable attractions from this hidden, meditative, inner aspect of Venice. To study Se TENTS CS ea NEGO DAN EAN TORII TASS ToS em oe eepney/3 ITIAEVENS: her in her peculiar characteristics one must lose oneself in the labyrinth of her streets, canals, bridges, embankments, and little squares; then the soul of the beholder unites in loving sympathy with the poetry of light, water, and colour. Certainly no small portion of Venice has, not only in the centres of busy life but also in the remoter parts, undergone transformation. Bridges with massive brick parapets have been replaced by light iron ones; crumbling walls have had their marvellous tints covered by a sheet of mono- tonous white; and wonderful old edifices, inexhaustible sources of artistic inspiration, have fallen a prey to the pick-axe; yet, far better than in the frequented streets, and uncontaminated by | | j | | irreverent modernism, the Past still proclaims itself from among the gloomy canals and picturesque alleys. How strange passion for is the silent and mysteriously modest Art; this affectionate reverence for the relics of a by gone agr! Eyery most remote corner of Venice is illumined by Art. The wonderful edifice of the Bernardo family at S. Polo, rich in pointed arches, rises from a Canal where the light hardly penetrates ; on the right of the entrance to the Calle dei Miracoli we find the majestic Van Axel Palace; through narrow alleys and court-yards we penetrate to the beautiful winding staircase of the Contarini! ! be a REE ANS EZ a er 2 nnn an And how many charming details for the artist! Here and there — walled in by chance in some ruinous edifice a marble image by an ingenuous third-century Artist, or a black, bituminous pilaster, the remains of some princely dwelling; a byzantine patera, or a most graceful ogee: a yerse from an ancient poem: images and reflections caught and incomparably rendered by two cunning XVIII" century painters, — Canaletto and Guardi. It is this sweet intimacy with Truth that constitutes the joy and the torment of Painters of to-day, who, abandoning all the old conventionalism, desire, as an acute critic has well said, to be inspired by and to pourtray a Venice which shall be none other than Venice herself !! A courageous Publisher — with the soul of an Artist — not heeding expense, and stranger still, heedless of sordid gain, now proposes by means of accurate photo-engravings, to perpetuate and to place within our reach the most characteristic features of those less known parts of Venice which unite in themselves the Poetry of Art with that of Old Memories. And all lovers of these cannot 1 to applaud and to encourage him. P. MOLMENTI. Translation by F. Home. Rosenperc. Me hs BAT STES ARE E ST NASER ET PS SE RI BROT 9. 10. STREETS AND CANALS EN Ve INGE ED ED BY FERDINAND ONGANIA cg LIST OF THE PLATES WITH NOTES ON THEIR SUBJECTS. 10 O CANALE DI S. MARINA. The Canal of S. Marina, — On the embankment to the leftis a Palace, in the pointed-arch style, which in the XV century belonged to the Soranzo family who aided in founding the Church of aria dei Miracoli. In the XVII century this palace became the property of the Van-Axels; it is remarkable for its carved door. RIO E PALAZZO DELL'ANGELO A S. MARCO. Canal and Palace of the Angel of S. Marks: so called from the half-figure of an Angel still existing on the front of the palace, and placed there, as the legend says, in memory of a malignant spirit that once haunted it in the form of an Ape. This palace, built in the XV century, in pointed-arch style by the Soranzo family, was adorned by Tintoretto with frescoes of battle-scenes and with a frieze composed capriciously of hands and feet, which occasioned the painter's rivals to observe that he required hands and feet to complete so important a work. RIO E PALAZZO WIDMAN ‘anciano. Widiman Palace and Canal. — This Palace, from the designs of B. Longhena, and formerly adorned with exquisite works of art, first belonged to the Bergamasque family Sarotti, and afterwards became the property of the Counts Wid- man, originally merchants from Carinthia and in 1646 enrolled among the nobles of Venice. RIO DISAN CANCIANO, e ANTICO TRAGHETTO DI MURANO. S. Canciano's Canal, and old Ferry to Murano. — On the left is the Palace named after the Strozzi, emigrants from Florence, later on the dwelling of the Svaiers, and of the Webers who here formed a precious collection of historic and artistic memorials, now lost. RIO PRIULI, aS. Maria Formosa. Priuli Canal; — On the right is the Palace formerly called Ruzzini, afterwards Priuli, from the designs of B tolomeo Monopola. RIO E PALAZZO ALBRIZZI, aS. Apollinare. Albriyzi Palace and Ca- nal. — ‘The palace was built by the Bonomo family in the XVII century, and became the property of the Albrizzi In 1648. Isabella Teotochi Al- br distinguished authoress and a friend of Foscolo’s and Byron's lived here TRAGHETTO E CHIESA DEI SS, ERMAGORA E FORTUNATO (vulgo S. Marcuola). Ferry and Church of the Saints Ermagora and Fortunato, commonly called S. Marcuola Church foun- ded in the earliest period of Venice, and rebuilt between 172g and 1736. The poet Andrea Calmo, and the composers G. A. Hasse and R. Wagner lived in the neighbouring Vendramin Palace. RIO DIS. GIROLAMO, S. Jerome's Canal. — To the right are seen the ancient cloth-drying grounds and the suppressed church of the Saint. The chiovere (perhaps from chiovi, chiodi, nails) were anciently the sheds used for distending and drying the woollen cloths manufactured in Venice. CANAL GRANDE, TRAGHETTO E CAMPO DI S. MARTA ZOBE- iGO. Grand Canal, S. Maria Zobenigo's Ferry and Square. — On the t is the Gritti Palace (now Baron Swift's), to the left, in the back- ‘ound, is the Saint’s Church rebuilt in 1680 from designs hy Sardi, The Doge Michele Steno had his residence in this square. RIO DIS. TROVASO. S. Trova 0's Canal: — On the right is part of the Palace, called Contarini degli Scrigni, or Contarini of the Iron Safes, probably from a “ Strong Room ,, which once existed there. Forn sitors to Venice will recollect a vast hall in this palace which served f the purposes of an “ English Church ,, during the ministry of the Rev. Cz valiere F. Davis Merewether, the same hall which, in 152 ounded with festive strains on the occasion of the wedding of the Doge Andrea Gritti’s niece Vienna, when the entire edifice was splendidly hung with costly tapestry and carpets. This fine old palace has recently become the property of M. Peabody-Russell er vi- 11. RIOO CANALE BERNARDO AS, POLO. Bernardo Canal of St. Paul's parin. — On the left is part of a palace which belonged to the Bernardo family. Francesco Bernardo, who lived here in the first years of the XVI Century, is remembered on account of the whimsical orders he left in his testament, among which he prescribed that his corpse should be well perfumed and placed in a very strong coffin which, in its turn, was to be enclosed in a marble ark bearing an inscription narrating his exploits, such inscription to consist of eight Hexameter lines for which the poet was to receive half a sequin each, and moreover to be in large characters capable of being read at two yards’ distance. 12. SQUERO NEL RIO DELLA BOTTISELLA A SS. APOSTOLI. Boat- building yard on the Bolticella Canal at the SS. Apostoli. —\n Squero (squaro, squadro) we have our word Square, these yards being almost invariably of that form. The fish-wives from Burano anciently held their Market here. RIO ALBRIZZI A S. APOL 13. INARE. Albrizzi Canal at S. Apollinare. On the right is the Bragadin Palace, once the residence of the patri- cian family of that name; on the left is part of the palace of the Ba celebrated printers who, in 1714, were admitted to patrician rank. . Fosca's Canal. — Ou the right is the bell-tower of S. Fosca’s Church. On the left is the Vendramin Palace, in Gothic Lom- bardesque (the expression Lombardesque is applied to the work of the Lombardo Family of architects) built towards the close of the XV century, and noted in after times for its gallery of portraits of distinguished men, for its museum of precious objects of ancient art, for its collection of paint- ings by Giorgione, by Giovanni Bellini, by Titian, and by Michel Angelo, and as being the centre of reunion of the virtuos? of the city. C al Francis Vendramin, celebrated in his day for learning and piety, li here. . RIO E SQUERO DIS. TROVASO, Canal or Boat-building yard at S. Trovaso’s. — This picturesque Squero, so dear to painters and espe cially to lady artists, few of whom visit Venice without making a study of it, was recently put up for sale by its owners, and being consequently in danger of being bought and destroyed by some innovating improver, was purchased by the Commune of Venice in order that it might be pre- served in its integrity. 16. CAMPIELLO, from Campicello: Little field. — The Campi and Cam- ell in Venice are so called from having originally been small islands or fields which, in course of time, have become shut in by edifices built on the borders of the surrounding canals. The open spaces thus left in the centre long remained more or less covered with grass, till at length, being paved, they correspond to the prayye and larghi or squares of other ci- ties, still however retaining their old appellation of Campi or Campielli RIO DELLA FRESCADA A S. PANTALEONE. Frescada Car S. Pantaleone’s. — In the background is part of the on the left is the palace of the patrician family dalla Frascada built in the pointed-arch style at the close of the XIV ¢ y. Marco dalla Frascada, out 1320, left part of his wealth to found a hospice for sixteen poor women which still exists in the Fondamenta Zorzi and Bragadin in the parish of SS. Vito and Modesto. Hail to his Memory! His palace became in succession the property of the Cornero, the Loredans, and the Foscarini Garzoni, and now belongs to the Chevalier Michel Angelo Guggenheim. al al chool of S. Rocco; Ge RIO DIS. GEREMIA E FONDAMENTA LABIA. S. Jeremiah’s Canal, and L ficent frescoes by Tiepolo are still pre- served in the Labia palace, built in the XVII century. It is related of one of this patrician family that, after entertaining forty noblemen at a ban- quet, he threw the gold which it had been served into the canal beneath the windows, exclaiming: * Le abia, 0 non le abia, sono sempre Labia ,. \ poor pun which may be rendered: Whether I have it, or do not have it, I am always Have it, It is almost needless to add that the Palace finally followed the Plate. 19. RIO DIS. SOFIA. S. Sophia's Canal. — The Doge Marino Faliero pos- sessed many houses in the Ruga dei due Pozzi (Strect of the two wells) in this neighbourhood, bought from Zilio at the auction in 1355. 20. BAC 26. 28. » PALA O DI S. MARCO. — With the Palazzo Giustinian, the Giardino Reale, the Zecca (Mint), the Palazzo Ducale, the Prigioni (prisons), the Palazzo Dandolo, now Danieli’s Hotel, and the Chiesa (church) della Pieta. . COLON \ DIS. MARCO. — ANGOLO DELLA LIBRERIA. — LA ZECCA, Column in the piayetla S Mark. — Angle of the library. — The mint,— The granite Column on which the tue of S. Theodore is placed, together with the other bearing the mbolic lion is said to have been bronght, during the crusades, from araea where both formed part of the temple erected by Herod in honour of Julius Czsar. The old Library, begun by Sansovino early in the sixteenth century and finished by Scamozai in 1582 was rightly called the finest building erected in Venice during that epoc The Mint, by the same Architect, of severe and majestic aspect, is de- scribed by Sansovino's son as a “Notable edifice... all interwoven within and without of cut stone, bricks and iron, without so much as a foot of wood, so that for strength and for being fire-proof there is none other which can compare with it , ARCHIVOLTO A SINISTRA LA FACCIATA PRINCIPALE DELLA BASILICA DIS. MARCO. The arcaded niche on the left hand of the front elevation of the Basilica, — This niche is adorned with precious marbles and with byzantine columns and capitals; it contains an im- portant mosaic, reputed to be of the XII century, representing the transport of the body of S. Mark, The bronze gate of the door-way dates from 1300 and is the work of Bertuccio, a Venetian goldsmith. 0 DETTO CA D'ORO SUL CANAL GRANDE. Palace named Ca d'Oro, on the Grand Canal. — A wonderful edifice in pointed arch style the erection of which was entrusted by the Contarini family, b: ween 1424 and 1430, to John and Bartholomew Bon. A year afterwards the greater part of the marble ornamentation was painted and gilt by a French artist, hence the name by which it has always been known, viz: Ca d'oro, or House of Gold. In 1484 this palace passed from the Con- tarini to Peter Marcello, of whom a chronicler writes * He was called Peter of the House of Gold on account of his having acquired — with his wife — the gilded house near the Contarini Palace at S. Sophia ,. — cutive proprietors of the Ca d'Oro were the Loredani and the wa. Last century it became the seat of a theatrical academy founded by the Marquis Francesco Albergati and Count Alessandro Pepoli. RIO DELL’ ANGELO RAF 1 E PALAZZO ARIAN. The Ar- changel Raphael's canal, and the Ariani palace. — This palace, in pointed arch style, with a magnificent central window, is attributed to the middle of the XIV century. Tradition says that an Ariani palace existed on this spot from the IX century. The Ariani were anciently comprised among, the patricians of Venice, but were excluded from the Grand Council towards the end of the XIV century. An Antonio of this family, dying in 1361, ordered in his will that none of his sons or daughters should dare to intermarry with patricians, ALAZZO VENDRAMIN C. RGI AI SS. ERMAGORA E FORTU- NATO SUL CANAL GRANDE. Vendramin-Calergt Palace and Saints Ermagora and Fortunato on the Grand Canal. — This palace was built by order of Andrew Loredan at the end of the XV century and was inhabited during the XVI by Princes visiting Venice. In that’ century it was purchased by the Calergi from whose possession it passed into that of the Grimani-Calergi. On the 15 January 1658 John and Peter Grimani- Calergi, having inveigled Francis Querini-Stampalia into the adjacent garden caused him to be barbarously murdered there; for this the Grimani family was banished and degraded from the ranks of the nobility, to which it was, however, restored two years after. This family becoming extinct in 1740 the palace passed into the possession of the Vendramin- Calergi who sold it in 1g44 to the Duchess of Berry. The Archduke Charles Ferdinand of Innspruck dwelt here in 1652, and on the 13 Fe- bruary 1883 Richard Wagner here exhaled his last breath. CHIESA DELLA MADONNA DELL'ORTO. Church of our Lady of the Garden. — s church, originally dedicated to S. Christopher, was built in the XIV century. The pointed arch front, with its statues and very tasteful decorations, indicates the transition from the gothic, to the Lombardo style, and dates from the XV century. Tintoretto lies buried here. COLONNA DELLA PIAZ TA DIS. MARCO. — ANGOLO DE PALAZZO DUCALE. Column in the Piazzetta S. Mar the Ducal Palace. he front and side elevations of this Palace to the first years of the XIV century, and are said to be the work of Giovanni Bartolomee and Pantaleone Bon. For the column see Note 21 supra. AN SUL CANAL GRANDE. Contarini- Zanal, — Belonged to the Contarini, and PALAZZO CONTARINI-F/ Fasan Palace on the Grand is a magnificent specimen of the Pointed-arch style of the XIV century. Tradition says that the beautiful marble balcony on thi st floor, to the left of the water-gate was that of the unfortinate Desdemona. PALAZZI CAPPELLO E GRIMANI DUBOIS A S. POLO SUL CANAL GRANDE, E RIO DIS. POLO. Cappello and Grimani Palaces at S. Paul, on the grand and S. Paul canal. — On the left is part of the Cappello palace built in the renaissance style by the patrician family whose name it bears, and once remarkable for frescoes by Paul Veronese with which its exterior was adorned. This palace is now the property of Sir H. Austen Layard who has enriched it with a precious collection of Ancient and Modern Art. The Grimani-Dubois Palace, also in the renais- sance style is still in the possession of the patrician family Grimani. CHIESA DIS. ZACCHARIA. The church of S. Zaccario — Is of very ancient origin, but was rebuilt in the second half of the XV century by renaissance artists; it is adorned with precious master picces of Art, in painting by Palma, by Giovanni and Antonio of Murano, by Giovanni Bellini, and in Sculpture by Francesco and Marco of Vicenza and by Alessandro Vittoria. Immediately adjoining is the Monastery of S. Zac- charia which was annually visited by the Doge on the anniversary of the consecration of the church y H 31. PORTA DELLA CARTA 34. 36. 37. 38. 39. 44. 46. . CALLEL . CHIESA DI S. MARIA DELLA SALU 2. RIO O CANALE \RIO O NGOLO DE Carta Gate and angle of the Ducal F ranks among the most famous monuments on account of the richness of its sculptural decorations, executed, it is believed, by Giovanni and Bartolomeo Bon between 1440 and 1443. — It was called Porta della Carta because the official notices used to be placarded on the door. DIS.MAR he Cathedral of S.Mark. — The most impor- tant edifice in Venice, begun by the Doge Giustiniano Partecipazio in the IX century and destined to contain the rem: ains of the Evangelist S. Mark. Partly destroyed by fire in the X" century, its reconstruction was com- menced by the Doge Pietro Orseolo, continued by his successors Dome: nico Contarini and Domenico Selvo and finished by Vitale Falier. — It is decorated with Mosaics and marble facings and columns, these last having been brought to V i e quantities during the Crusades. CORTILE DEL PALAZZO DUCALE, E SCALA DEI GIGANTI. — Court of the Ducal Palace, and Giants’ Staircase. — The body of the edifice fronting the Court-yard is attributed chiefly to the architect and Sculptor Antonio Rizzo who profusely enriched it with gems of renaissance ornament. The staircase was ornamented chiefly by Domenico and Bernardino da Mantova, The two colossal statues of Mars and Neptune by Jacopo Sansovino, placed on the landing in 4 caused it thenceforth to be named the Giants’ Staircase. RIO IIESA DEGLI OGNISSANTI. All Saints’ Church and Ca- nal. — This Church was built at the close of the XV Century, and be- longed to Cistercian Nuns. LA MADONNA presso il Ponte di Rialto. The strect of “ Our Lady , near the Rialto Bridge, probably contained some houses possessed by a Brotherhood under the auspices of the Virgin, hence its name Calle della Madonna. It is noteworthy for its edifices which date from the first years of the XVI century, and which preserve their original character. CHIOSTRO DELL’ABBAZIA DIS. GREGORIO. Cloisters of the abbey of S. Gregory. — These form part of the Abbey rebuilt in the beginning of the XIV century, suppressed together with the Church in 1g0g and are among the most picturesque features in Venice. RIO DETTO DELLA CA DI DIO. * Ca di Dio , Canal. — The name is taken from the neighbouring Hospice for Pilgrims, later on converted into an Alms-House for poor women who must be patricians or citizens of Venice. RIO DEL S: RVASIO E PROTASIO, DETTO S. TROV, The canal of S. Trovaso. — One of the most picturesque localities in Venice although its edifices possess no artistic value PO DEI SOSPIRI. The Bridge of Sighs. — So called because it led from the Ducal Palace to the State Prisons; artists, historians, and poets. amongst whom Byron takes a fore most place, have united to make this bridge celebrated. It was built at the end of the XVI century. The * Zattere , and Or- ted promenade anciently served and still jallere or rafls of timber floated down from the Alps, hence its name. The Orphanage Church, formerly belonging to the Jesuits, is an elegant specimen of the Renaissance. i SUL CANAL GRANDE. Church of * our Lady of Health , on the Grand Canal. — The con- struction of this church was decreed in 1680 as a votive offering on the cessation of the Plague which had just afflicted Venice. It was therefore commenced in 1631 and finished in 16g2, from the design and under the direction of Baldassare Longhena who, as is believed, modelled it on the description left by Polifilo in the XV century. It contains paintings by Marco Basaiti, ian, Tintoretto, Salviati, and Palma the younger. Annually on the 21 November this church was visited in great state by the Doge and chief dignitaries of the Republic. DI S. ANTONINO DAL PONTE DELLA PIETA. S. Antonin Canal from the Pieta Bridge — one of the most pictu- resque.in Venice. . ANGOLO DELLE PRIGIONI, PONTE DELLA PAGLIA E PALAZZO. DUCALE dalla Riva degli Schiavoni. Corner of the prisons the straw bridge and Ducal Palace, from the Riva degli Schiavoni. The prisons (/e Prigiont) were built from the designs of Jacopo da Ponte in 1589 in order to replace the unhealthy cells of the Ducal Palace. —The Ponte della Paglia, or Straw Bridge, was so called from the boats laden with straw which were accustomed to moor near it. PALAZZO DARIO A S. GREGORIO SUL CANAL GRANDE. Dario Palace at S.Gregory's, on the Grand Canal. — An elegant Lombardesque building, rich in coloured marbles, erected towards the close of the XV century apparently by Giovanni Dario, a Venetian, since we read on its front the inscription : GENIO YRBIS IOANNES DARIVS (It was more recently in the possession of Sig. Lucovich from whom it was purchased by M." George Talbot.) SILICA DI ) DALLA PIAZZETTA. S. Mark's Cathedral Piayzetla. — For a reference to marvellous edifice, built during the most glorious epochs of the Republic, see note to Plate PALAZZO CORNER SPINELLI SUL CANAL GRANDE. Corne nelli Palace, on the Grand Canal. — Attributed to the Architects P Lombardo and Guglielmo Bergamasco XVI century. The side balconies and the landing-stair are true models of Art. AL ‘a Island. NELL'ISOLA DELLA GIUDECCA. Canals in the Il of which, on account of the variety of colour, Giudece and of the fishing-boats which assemble there, especially in summer, present the Artist with rich fields for study. 51. CORTE BOSELLO ALLA PIETA. — Certain houses in this Court 66. PALAZZO FOSCARI SUL CANAL GRANDE. Foscari Palace, on the were the property of the Bosello family, Venetian citizens who were Grand Canal. —History and Legend both speak of this palace, rendered considered among the most conspicuous for wealth and comr nd famous by the vicissitudes of Doge Jacopo Foscari, who, having be- of whom notices are found in the Records so far back as the XIV cen- come its owner in 1452, rebuilt it, and died there in his eightieth year, a tury. This court is one of the most picturesque in Venice, and is few days after his deposition. Here also dwelt his unfortunate son before comprised among those localities which are nof to be demolished by his banishment. Years afterwards Maria Casimira, Queen of Poland, was the Improvements Commission. entertained here; and the palace was finally purcha and became the seat of the Royal High School for 1 by the Commune mmerce. cul ; MIA, PALAZZO LABIA SUL CANAL GRANDE = RIO DIS. GEREMIA. Church of S. Jeremiah. hia Palace on the 67. CANAL GRANDE RIV 2 SARITA. The Gr ¥ 3 Q ; lace on the 97. CANAL GRANDE DALLA RIVA DELLA CARITA, The Grand Canal Grand Canal, and S. Jeremiah’s Canal. — This church, said to have been from the Carita Embankment. — On the right is the church of Our founded in the XI century, was rebuilt in 1753 by the Architect Carlo Cor- Lady of Health: Chiesa della Salute, and the Custom House: Punta bellini. Noteworthy among the few works of Art it contains are two della De altars admirably painted in fresco by Girolamo Mi the Labia Palace see note to Plate 18. i v ana. On the left is the Franchetti Palace, formerly known as sozzi Colonna. For Palazzo Cavalli, and that of the Prefecture, formerly belonging to the Corner family. 53. PALAZZO GRIMANI SUL CANAL GRANDE. Grimani Palace on the Grand Canal. — Built by the patrician Family Grimani from designs by Sammicheli. It was here that Doge Marino Grimani dwelt, and here was the Dogess. Morosina Morosini solemnly crowned in 1597. Ladislaus VIL Son of Sigismund IL. King of Poland was a guest in this palace in 1625, In the present century it became the Post Office, but is now the seat of the Court of Appeal. DELLA PIETA. The Greeks’ Canal, from the Pieta Bridge. — The bell-tower in the back-ground is that of the church of S. George of the Greeks, On the right is a Lombardic edifice followed by a Gothic one remarkable for their colour, worthy of a Venetian brush. 68. RIO DEI GRECI DAL PONTE 69. PALAZZO REZZONICO ORA BROWNING SUL CANAL GRANDE FLATT The Rexzonico (now the Browning) Palace, on the Grand Canal. — The Race. — In front is the Rialto Bridge, on the right is the Palace of the Rezzonico Family, who were inscribed on the Roll of Venetian Patri- Camerlenghi. Records of the famous Venetian Regatta, a word which cians in 16g7, entrusted, in 1752, the erection of this Palace to Giorgio some derive from Remigata, or stroke of the oars, and some from Ri Massari, one of the best architects of his time, and the result was worthy avstraight ling belonging to the XIV. century. ‘These races were at hese of the family which numbered Pope Clement XIII among its members rowed in galleys for the purpose of exercising and stimulatit When the Emperor Joseph II visited Venice in 1769, the Republic gave 54. IN ATTESA DELLA REGATA. Waiting for the Re the crews. Blauneecaenlveinimare oir tiectenEile teers tet IR eS USIRERE a grand concert in his honor in the halls of this palace, said to be the fi- the Regatfa which took place in honour of the visit to Venice of Emperor nest that had ever been heard in the city. This palace was purchased by Pre denickilly intae ys ch Modauicotslareael wis Beacon eee the poet Browning who died there in 1g89, an event commemorated by hd a ali eaeelite Guan Paneno eae Rdwerds A usuctie Dies a marble tablet placed by the Municipality on one of the outer walls, and of York in 1764 — of Joseph Il, of Austria in 1775 — and of Paul, Whicheontains|the following inscription: afterwards Emperor of Russia, i is: faces, OW rowed in A small gondola-shaped boats called Gondolini, still constitute the most Sree - popular summer anetaels in Venice SOURS AG) BION ASTIES MORTO IN QUESTO PALAZZO CAMPO DELLA MADDALENA. Magdalen Square. — ‘The church VENEZIA POSE in this Campo, or Squz ated to S. Mary Magdalen, was rebuilt in the IX century from Temanza’s designs. The Bell-tower, erected in the XIII century, was demolished in 18§1 when the square thereby lost much of its artistic aspect. * Open my heart and you will sec Graved inside of it * Italy , 7o. FONDAMENTA DELL’ABBAZIA PRESSO S. MARIA DELLA MISE 56. RIO O CANALE DIS. MARINA. S. Marina’s Canal. — On the left is RICORDIA. Adbey Embankment, near S. Maria della Misericor- one of the Papadopoli palaces, formerly Marcello, now the seat of the dia, — On the left is the arch through which entrance is gained to the Bancsedilcreditenvienctor ? court which contained the Hospital of the great Confraternity of S. Maria della Misericordia, and the gothic building which was formerly 57. IL CANAL GRANDE DALLA FONDAMENTA DELLA CARITA. The the seat of the latter. Nearer to the spectator is the Abbey Church which Grand Canal from the Fondamenta della Carita. — In the background was-suppressed and closed in 1868. is the Balbi Palace, now the Artistic-Industrial home of the Chevalier M. A. Guggenheim; on the right is the Giustinian Lolin Palace and the 71. RIO O CANALE DIS. APOLLINARE. S. Apollinare’s Canal. — In the basement of the once projected one called del Duca; on the left is the background is the Cappello Palace, interesting from the fact of its having Palagzo dell Ambascialore; Browning Palace formerly Rezzonico; two once been the dwelling of the famous Bianca Cappello who was born of the Giustiniani’s, and the Ca Foscari now the seat of the Royal School there in 154g, and from which palace, in November 1563, she eloped of Commerce, : with Pietro Bonaventuri a Florentine Banker who took her to his native city, Florence. For this they were placed under the ban of the Republic, 58. CORTE DOLFIN A CASTELLO. Dolfin Court in the Castello. — Above but shortly afterwards Bianca gained the friendship of Duke Cosimo’s son, Francesco dei Medici who, on Pietro Bonaventuri’s death, married her, so that, in 1578, only 15 years after her elopement, she became Grand Duchess of Tuscany, whereupon the Republic of Venice hastened to revoke the ban, and to declare her its own specially beloved danghter. But this union was far from being a happy one, and between the 19 and 20 Novemb: both Fr: and Bianca suddenly died, poisoned, it was supposed, by Cardinal Francesco dei Medici. the Arch by which this Court is entered are sculptured the Armorial bearings of the patrician Dolfin family, owners of the houses situated therein, 59. PAL O CONTARINI DALLE FIGURE A S.SAMUELE., Contarini Palace of the Sculptures of S. Samuel's. — Believed to have built from designs by Bramante, 1504-1546, by order of the Contarini Family it was called Contarini dalle Figure on account of the many sculptur that adorned its front. This pa was formerly rich in works of Art which have disappeared with successive proprietors RIO O CANALE DIS. PIETRO DI CASTELLO. Canal of S. Peter di Castello. — The fishing boats and accessories which frequent this canal during several months in the year render the locality one of the most picturesque in Venice 60. RIO O CANALE NELL'ISOLA DELLA GIUDE the Giudecca Island. See Plates: 47, 48, 49, ‘CA. Rio or Canal in 73. IL BACINO DI S. MARCO DA S, BIAGIO. S. Mark’s Basin, as seen etn wares SONG GEC ARE from S. Biagio. — Behind the riva or esplanade of the Schiavoni on LIA SOTTO LA NEVE DAL PONTE DEI-BARETTERI (San S. Mark’s Basin are built a series of historic palaces, at the further ex- WES SP AA AGRO gp AOD UU TEES LE HES TE SS tremity of which one sees the Prisons, the Ducal Palace, the Library Snow seldom falls in Venice, but when it does, it gives so singular an Beattie arexaalletasces appearance to the magic city as is to be seen in no other place. This view is taken from one of those picturesque canals which give the city 74, CAMPO DI S. MARTA DAT: GANALE DEL CAMPO DI MARTE Ui (oa ate circle S. Martha’s Square from the Campo di Marte Canal, — A church built in the XIV. century and dedicated to S. Martha once stood in the imme- diate neighbourhood; but this remote and populous quarter of the city lost its artistic character in 1883 when numerous buildings were demo- lished to make way for the new Cotton Mills. Some parts still call to mind the anciet aspect of those piazza, but the songs of the famous Mondays Bon and Tullio Lombardo: immortalized by Guardi’s brush and by the writings of Giustina Michiel are no longer heard therc 61. 62. RIO O CANALE DEI MENDICANTI E SCUOLA DIS. MARCO. The I Canal and S, Mark’s School. — This precious edifice was built by the Confraternity of S. Mark, from designs by Martino Lom- bardo. Its front elevation is adorned with sculptures by Bartolomeo 63. PALAZZO COCCINA, POI TIEPOLO, OR NAL GRANDE A S. APOLLINARE. Beaten oli Pe Canal at S, Apollinare's, — According to some writers this pz built by Palladio; but others, with more reason, attribute the de a pupil of Sansovino’s who was employed by the Coccina family which originally came from Bergamo. From this family it passed to the Tiepoli, from them to Marshal Sturmer, finally to become the property of Counts Nicola and Angelo Papadopoli who have enlarged it and had it decorated AGHETTO E RIO O CANALI aN- . S. Toma's Canal and Ferry, and the Centani Palace. — This in pointed style with traces of frescoes, was the property of the zo and Centani families. The celebrated playwright Charles Goldoni was, as he mentions in his Memoirs, born here in 1707 DI S. TOMA E PALAZZO C ERiertetene Fei On He CRE VAIN the iedinselol GUewenneia 76. CANAL GRANDE, DOGANA E CHIESA DIS, MARIA DETTA with much taste and skill by th Se soe diana rie DELLA SALUTE. The Grand Canal, Custom House, and Church of 64. CAMPO DI TRINITA, VULGO S. TERNITA. Trinity or, as it S. Maria della Salute. — The Custom’ House is from the plans of Bal- are Longhena. For the Church s . 41. On the right are the Ferro irand Hotel, Ternita’s Square. — This square was formerly dassar I tity which was erected in the XI century, and Corner palaces, the former of which has become the ‘ the latter the seat of the Prefecture of the Province. ts commonly ca . the site of the Church of the Tr rebuilt in the XVI, closed in 1810, and demolished in 1832 DA DIS. SAMUELE. S. Samuel's Paven RIO O CANALE DIS. MARIA MATERDOMINI. The Canal of S. Ma- the mos resque views in Venice. — The artists Giulio, Tullio and — This canal is rendered specially interesting by the Antonio Lombardo, Girolamo Campagna, Paolo e Benedetto Caliari, hich line it and by a wing of the Pesaro Palace, one Giacomo Pilotti, Carlo Ridolfi, Pietro Liberi, and the famous adventurer of the most famous in Venice which, seen from this side, appears to be a Giacomo Casanova lived in this neighbourhood. colossal structure of Roman architecture. 65. SALIZ ent, forms one of = y 78. (Bik 6. 87. . PONTE . RIO O CANALE presso S. FELIC 5. PONTE = DI S. GIOBBE DAL CAMPO O PIA? \ DEI IOVANNI E PAOLO E MONUMENTO COLLEONI. The Square of SS. Giovanni e Paolo and the Colleoni Monument. — Bartolomeo Colleoni was a distinguished Bergamasque General in the service of the Venetian Republic. At his death he be- queathed a large sum to the State on condition that his equestrian statue should be placed in S. Mark's Square. As he had the fortune to die in the good graces of the Rulers of the Republic his money was accepted, but his statue was placed, not in S. Mark's Square but in that of SS. Giovanni e Paolo. This magnificent bronze work, modelled by the celebrated Flo- rentine sculptor Andrea del Verocchio was cast by the Venetian Alessan- dro Leopardi in 1496, with such suc to render it the finest of the equestrian monuments of the Ren: LA PL \ DI S. MARCO DALLA COLONNA DEL LE S. Mark's Piayetta as seen from the summit of the Lion's Column. This view executed during the recent repairs required by the column and by the symbolical lion whose mysterious origin still ses the ingenuity and the erudition of Archeologists. ABALA A GREGORIO PRESA DAI MAGAZ Fondamenta Cabala, taken from the Salt Ma- gazines on the Zatlere. — This Embankment forms one of the most picturesque sites in Venice, and probably derives its name from the family Cabala who once possessed a residence on it. The Government Salt Ma- ines, repaired in 1531, are still devoted to their original purpose. PONTE DI RIALTO SUL CANAL GRANDE. Rialto Bridge on the grand Canal. — A marvellous work in stone which crosses the Grand Canal and unites the two Seséfert, of S, Mark and Rialto. From the XII. to the 2a century this bridge was of ee) but int it was exebuilt in its pres at a co 50,000 Ducat Note: Each of the udministrative districts into which V: is divided is called a ses/x)tiere. DI RIALTO E PA LO D fO DEL CAMERL! Rialto bridge and Camerlenghi Palace.— The palace of the Camerlen- ghi is a magnificent edifice of the Renaissance style attributed to ( glielmo Bergamasco. Under the Republic it was the residence of three Magis ates called Camerlenghi who were charged with the duties of iving and distributing the State revenues. On the left are the Fab- he Vecchie, or Old Buildings, used as public Offices, and built by Scarpagnino » SQUERO DIS. MARTA DALL’EX CAMPO DI MARTE. The square of S. Martha, from the * Campo-di-Marte ,. — We have alre: refer- red to the squéri, (Plates 12 and 15). This “squero , is situated in one of the most picturesque localities in Venice still saved from the rece: destructions. Canal near S. Felic nal also has preserved its ancient character, and numerous are the edi- fices on it which are distinguished for architectural excellence and for local colour. “A FONDAMENTA OMONIMA. The of St. Job, from the embankment of the same name. — This crosses the Cannaregio Canal, and is one of the finest in Veni built by Tirali in 1688, and radically restored in 1794. DAL PONTE DELLA VENETA MARINA. View taken from the Ve nela Marina bridge. — Extremely picturesque are the buildings which front S. Mark's Basin, at the extremity of which one sees the Public Gardens, a delightful summer promenade, CHIESA E SCUOLA DELL’ ABBAZIA DELLA MISERICORDIA. Church and school of the Misericordia abbey. — The Church was built by the Architect Moli in the style of the decadence, in 1659. — It is now suppressed, and the works of Art which adorned it have, for the greater part, gone to enrich foreign Museums. The Gothic building near it was destined for the meetings of the Confraternity under the auspices of S. Maria della Misericordia, and as a Hospital for the poor. CASA DEL TINTORETTO ALLA MADONNA DELL'ORTO, Tinlo- retto’s house at the Madonna dell’ Orto. — The house in which Jacopo Robusti, surnamed the Tintoretto — one of the greatest painters of the Venetian School — lived from 1574 till his death in 1594 stands on the Mori Embankment. The front still shows some remains of classic sculpture, placed there, perhaps, by Tintoretto to shew his devotion to ancient Art VENIC. November 1892 8 ). 90. o1 92. 93: O4. 95. 96. 97. 98. 99. 100. RIVA DEGLI SCHIAVONI, taken from the summit of the Lion’s column during its restoration in 1891. This locality has been mentioned in the notes to plates 20, 21, 27, and 43 RIO 0 CANALE DIS ROCCO ED ANGOLO DELLA SCUOLA OMO- MA. The canal of St. Rocco, and portion of the school of St. Rocco. - The School, erected between the years 1517 and 1550, is very properly classed among the master-pieces of the Lombardo family. Its existence is due to the generous legacies of pious persons who had already, from 1415, founded a School under the auspices of the Saint whose relics were transported to Venice in 1485, PALAZZI REZZONICO E BALBI SUL CANAL GRANDE. The Re nico and Balbi Palaces, on the Grand Canal. — See notes to plates 57 and 69, CAMPANILE A CHIESA DI S. SALVATORE E ANTICHE FABBRICHE ower of S. Salvatore's Church, and other ancient buildings. — This church dates from the earliest times of Venice. It as rebuilt in 1209 and several times restored. In 1507 it begun to as- sume its modern appearance and was finished in 1534, Pietro and Tullio Lombardo, together with Sansovino, superintending. The actual front was added in 1663 by Longhena and Sardi, with funds left for that pur- pose by a wealthy merchant named Giacomo Galli. PONTE DI RIALTO SUL CANAL GRANDE. The Rialto Bridge. — See note to plate §1 RIO OC. NALE GRIMANI A S. LUC. The Grimani Canal, at S, Luca’s. — On the right is Sammicheli’s Masterpiece, the Grimani palace of the XVI. century, once that of Doge Marino Grimani, but now occupied by the Court of Appeal. In the background is the Papado- poli Palace; on the left is that of the Mocenigo family, a graceful and highly esteemed work of the Renaissance period. FONDAMENTA ZEN AL GESUITI. The Zen embankment, at the Gesuili, — On the right is the Zen palace, from designs by Sebastiano Serlio. PIAZZA DI S. MARCO, S. Mark's Square. — From this spot we see on the right the Old Procuratie and the Clock-Tower; on the left the Royal Palace; in front the Campanile and the Basilica of S. Mark (see note to plate 32). — The mpanile (bell-tower) remounts to the century; it is 98 m. (308 feet) high, and the view from the summit over the city and the lagoon is truly magnificent. RIO O CANALE DIS. BARNABA. S. Barnaba’s Canal. — On the right is the Bell-tower of S. Barnaba; in the background that of the Church of amuel. On the left is a view of part of the Rezzonico Palace with the statue of the Madonna which has been so often repro- duced by painters, and which rivals the famous example at Chioggia. RIO 0 CANALE DEL LOVO, The lovo Canal, at S, Salvator From this point the upper part of S. Mark's Tower may be se LA RIVA DEGLI SCHIAVONI. The * Riva degli Schiavoni ,, or the Dalmatian’s Embankment, taken from the island of S. George. — On the right is the palace which, built by the Dandolos in the XIV. cen- tury, belonged successively to the Mocenigo, Bernardo, and Nani fami- lies, and is now the “ Royal Hotel Danieli ,. — Beyond are the Pri- son, the Ducal Palace, the Library, and the Mint. GONDOLA V 1aY The Venetian Gondola. — The name is said to have been derived from the greek word kondy. They were originally light embarcations, but in the centuries of splendour their magnificence became so extravagant that the Senate passed a law re- ducing them almost to their original simplicity, and providing that they be all painted black, with black furniture, as at present. Notwithstanding their lugubrious appearance they are general favourites as no other form of boat adapts itself so readily and perfectly to the exigences of the tortuous canals, none glides so swifly and with such easy motion under the impulse of a single oa FERD. ONGANIA, Publisher. 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