. ■ . ' & STOUGHTON, Paternoster Row. : C. NAYA, Piazza S. Marco. And § p 1 of E Arra econ Mi] arrai chiei Co Rout' Co -count way, rran Co offere Co comp journ Co in thi for S 1 IIS of :inent elling and ’ 1 our their g the eapest of the ; Rail- i their id are 1 / 4 -- < 53/1 C 77c a most return erest. feature season Th entir< tweei at an nment sly be- cured Tours to Palestine are rendered easy, safe, and economical, by the superior arrangements of Thomas Cook & Son, who now have their own Resident Manager in Beyrout. They are therefore prepared to conduct large or small parties in the most com- fortable manner through the country ; to Jerusalem, the Dead Sea, the Jordan, Damascus, Sinai, etc. The parties can be so fixed as to go independently or under personal manage- ment any time between October and April. Over seven hundred ladies and gentlemen have visited Palestine under their arrangements. Turkey, Greece, the Levant, etc.— Thomas Cook & Son are now prepared to issue tickets by any line of steamers, to any port touched by the Austrian Lloyd’s, Russian and Rubattino Co.’s Steamers. India, China, etc. — Thomas Cook & Son are the Agents of the principal Steam- ship Companies of the world, and are prepared to issue tickets from Southampton, Venice, Ancona, Genoa, Naples, and Brindisi, to Alexandria, Aden, Bombay, Calcutta, Singapore, Hong Kong, Shanghai, or any other point in India or China. Ron travell: or Eas Coo variou Return this book on or before the Latest Date stamped below. University of Illinois Library direct : West els in ;kets, THOMAS COOK AND SON, "piONEERS, Inaugurates, and Promoters of the principal systems of Tours established in Great Britain and Ireland, and on the Continent of Europe, are now giving increased attention to Ordinary Travelling Arrangements, with a view to rendering them as easy, practicable, and economical as circumstances will allow. During 34 years, more than Four Millions of Travellers have visited near and distant places under their arrangements ; and their system of Tickets now provides for visiting the chief points of interest in the Four Quarters of the Globe. Cooks’ Tickets to and from Paris are available by the Shortest and Cheapest Routes, and by Dover and Calais. Cooks’ Swiss Tickets are available by every Route, and cover every part of the •country. Thomas Cook & Son are the only Authorised Agents of every Swiss Rail- way, Steamboat, and Diligence Company. Every Alpine Route is included in their rrangements. Cooks’ Italian Tickets provide for every Route to and through Italy, and are offered at great Reduction in Fares. Cooks’ Tours to Holland, Belgium, and the Rhine are arranged upon a most comprehensive basis, Tickets being provided for every Route, for single and return journeys, and for Circular Tours. Breaks of journey are allowed at all places of interest. Cooks’ Personally Conducted Tours have now become a most popular feature in their arrangements. Parties are organised to leave London weekly during the season for Switzerland, Germany, Italy, and various parts of the Continent. The Steam Navigation Of the Nile is committed by the Khedive Government entirely to Thomas Cook & Son. The Steamers (the only ones on the Nile) ply be- tween Cairo and the first Cataract (600 miles). Tickets can be had, and berths secured at any of Thomas Cook & Son’s Offices. Tours to Palestine are rendered easy, safe, and economical, by the superior arrangements of Thomas Cook & Son, who now have their own Resident Manager in Beyrout. They are therefore prepared to conduct large or small parties in the most com- fortable manner through the country ; to Jerusalem, the Dead Sea, the Jordan, Damascus, Sinai, etc. The parties can be so fixed as to go independently or under personal manage- ment any time between October and April. Over seven hundred ladies and gentlemen have visited Palestine under their arrangements. Turkey, Greece, the Levant, etc.— Thomas Cook & Son are now prepared to issue tickets by any line of steamers, to any port touched by the Austrian Lloyd’s, Russian and Rubattino Co.’s Steamers. India, China, etc. — Thomas Cook & Son are the Agents of the principal Steam- Ship Companies of the world, and are prepared to issue tickets from Southampton, Venice, Ancona, Genoa, Naples, and Brindisi, to Alexandria, Aden, Bombay, Calcutta, Singapore, Hong Kong, Shanghai, or any other point in India or China. COOKS' EXCURSIONS — CONTINUED. Round the World.— Thomas Cook & Son are now prepared to issue a direct travelling ticket for a journey Round the World by Steam ; available to go either West or East. First Class, ^170. Cooks’ Hotel Coupons, available at nearly three hundred first-class hotels in various parts of the world, can be had by travellerspurchasing Cooks’ Tourist Tickets, guaranteeing them first-class accommodations at fixed and regular prices. Passages to America and Canada are provided by Thomas Cook & Son for all the chief lines of steamers. Arrangements are made for Tours through America, giving a choice of more than 500 Single and Tourist Tickets ; and an Office has been opened in New York, under the joint arrangements of Thomas Cook, Son and Jenkins, 261, Broadway. Thomas Cook & Son’s General Travelling Arrangements are so widely ex- tended that they can supply tickets to almost any point that Tourists may wish to visit, in most cases at reductions, many ranging from twenty-five to forty- five per cent, be- low ordinary fares. The regular Travelling Ticket being issued in all cases, printed in English on one side, and in the language of the country where it is used on the other, and it contains all the information the traveller needs. Policies Of Insurance against accidents of all kinds, by land and sea, are effected through the Office of Messrs. Cook & Son, as Agents of the “Ocean, Railway, and General Travellers’ Assurance Company, Limited.” Programmes can be had gratuitously, on application at the Offices of TllOm&S Cook & Son, or by Post, in return for Stamps covering Postage. Cooks’ Excursionist is published Monthly in London, New York, and Brussels, at 2d., post free 3d., and contains programmes and lists to the number of nearly one thousand specimen Tours ; tickets for which are issued by Thomas Cook & Son, with fares by every route. OFFICES OF THOMAS COOK & SON : CHIEF OFFICE : Ludgate Circus, Fleet Street, London, E.C. NEW YORK: Cook, Son & Jenkins, 261, Broadway. BRANCH LONDON — Comer of Midland Station, St. Pancras. LIVERPOOL — 14, Cases Street, (opposite New Central Station.) MANCHESTER— 43, Piccadilly. BIRMINGHAM— 16, Stephenson Place. DUBLIN — 45, Dame Street. PARIS — 15, Place du Havre. OFFICES: COLOGNE — 40, Domhof. BRUSSELS— 22, Galerie du Roi. GENEVA — 90, Rue du Rhone. ROME — ib, Piazza di Spagna. CAIRO — Cook’s Tourist Pavilion, Shepheard’s Hotel. JAFFA — Cook’s Agency, Twelve Tribes Hotel. Churches. Palaces and Public Build $.* 20 PaLDuucale i log & Palace, ) Mestre 'poRersayUs) Stetano Salvator 5 A' . Maria Formosa 6 S . Georgia diyli Sddavoni 7 S.Fhancesoo della. Vigna, 8 S. Giovanni e Paolo 9 A* . Maria dei Miracoli 10 I GesuUi H S. Maria dell Orto 12 GU Scald, 13 S . Rocco 14- I Frarv (S. Maria, Gloriosa,) 15 S . Sebastiarw 16 5 .Maria, della Salute, 17 R Redenlore 18 S. Giorgio Maggiore, S 19 S _ Pietro di Gastello / Mocenigo Mused Chico Sacco, della Miseruvrdia AjfCliioggi \S.Quari The atn Mxlibr, Caxnpo di Marti PP di S. Marta iogana, di Mart ' CustonvSouse, ) dv Quintavalle COOK'S PLAN OF E NIC! (VENEZIA) Scale / Isola di S . Georgia Maggiore WkA. K JoSstcn!TSw^ i Churches 1 SarvMarco 2 S. Stefano 3 S . Salvatore \ S. Zaccaruv 5 s.MariaFoi 6 S . Georgia o 7 S'Frarucesa 8 S. Gioyajm 9 S.FLariajd 10 X Gesuiti H s.Martiv‘ 12 GliScabd 13 S.Rocco H I Frarv( 15 S.Sebast 16 S Maria 17 H Redm 18 S.Girrw 19 5 .Rirtro Palaces and Public Build^f* 20 Pal.Ducale (D og el Palace ) 21 ,, Re ale 22 „ Envo Treves 23 „ Comer 21 Acadania d. beReArd 25 PaL.Fo scare 26 „ Balbi 27 „ Mocenigo 28 „ Comer 2 9 „ Grijruml (Post Office J 30 Mania 31 „ Pesaro 32 „ Comer (Muuseo Cnico J 33 „ labia 31 „ Vendramia Calerghi 35 „ Manfruz. 3 6 Ospedale Civile Theatres a. L aFenlce i c . Apollo b. Gallo I d.Comjploy e . Malibran IfCliioggia pnddljo Lagoons o£ YE ^ I C E Hotel ^Victoria Agency of Thoracis Co oh and Son. COOK’S HANDBOOK TO VENICE. LONDON : THOS, COOK AND SON, LUDGATE CIRCUSj HODDER AND STOUGHTON, PATERNOSTER ROW. Venice: C. NAAJA, PIAZZA S. MARCO. l874- ;2-A7-2-7i4W^. £, 11 *. PREFACE. I N this little Handbook to Venice the Editor has endea- voured to describe all the principal places of interest with sufficient clearness to dispense with the services of a valet de place , and at the same time to connect the historical associations with the places described, so as to dispense with the necessity of carrying a volume or two of Histories. He has not attempted to describe everything in Venice, but everything that is really important and interesting ; nor has he undertaken to mark out the streets and alleys through which the Tourist must pass in order to get from one place to another. A long experience has proved how fruitless is such a task. The arrangement of the book is very simple, and a copious Index is appended, which will, it is believed, with the aid of the Map specially prepared for this work, enable the Tourist to find, without difficulty, all the information neces- sary to a thorough enjoyment of the marvels of art and rich treasuries of association in this Queen of Cities. Ludgate Circus, August, 1874. 547768 “ I think there can be nothing else in the world so full of glittering and exquisite surprise as that first glimpse of Venice which the traveller catches as he issues from the Railway Station by night, and looks upon her peerless strangeness. There is something in the blessed breath of Italy (how quickly coming south, you know it, and how bland it is, after the harsh transalpine air 1) which prepares you for your nocturnal advent into Venice ; and O you ! whoever you are, that journey towards this enchanted city for the first time, let me tell you how happy I count you ! There lies before you for your pleasure the spectacle of such singular beauty as no picture can ever show you, nor book tell you ; beauty which you shall feel perfectly but once, and regret for ever.” — Howell's Venetian Life . Italian , Venezia. German , Venedig. French , Venise. (Hotel, Victoria.) Bankers. — S. & A. Blumenthal, 672, Freyreria Casa Avesieri. 1 Bronzes. — Michielli & Co., 1250, Calle dei Cerchieri, S. Trovaso. Foundry for ancient and modern bronzes, statues, ornaments, etc. Prize Medals, Paris and Vienna. Visitors are invited to inspect the choice and varied works of art. On view daily. English Chemist.— Dr. Zampironi, S. Moise, near Piazza S. Marco. Prescriptions carefully prepared — patent medicines— special pastilles for killing mosquitoes. English Physician. — Chev. Dr. M. R. Levi, Chief Physician of Marine Hospital, 4785, S. Salvatore. Hairdresser. — Girardi, Piazza S. Marco. Ladies’ hair dressed — English and French perfumery, sponges, brushes, soap, etc. (Recommended by English and Americans.) Jewellers. — L. Pallotti Bros., 270, Merceria dell’ Orologio ; Manufactory, Palazzo Civran. English spoken. Pearls, Mosaics. — A large selection of pearls, mosaics, spun glass, etc., to be seen at D. Bedendo’s Manufactory, 2636, The Frari. Photographs. — C. Naya, Piazza S. Marco, Photographer to H.M. the King of Italy. Large assortment of views and pictures. First Prize Medals from every Inter* national Exhibition. English spoken. SPECIAL NOTES AND MEMORANDA. English Service is held at the residence of the clergy- man, Palazzo Contarini 1057, on the Grand Canal, near Iron Bridge. A party of Singers can be engaged at a cost of two napoleons for two hours, and those who have never heard music on the Grand Canal will do well to engage them. They are called the Compagnia dei pitiori e Gondolieri . In making purchases at shops in Venice, remember that 1 VENICE. 2 it is the custom of the country to ask considerably more than the seller will be prepared to take. Do not hesitate therefore to drive a bargain, and even the notice “ Fixed Prices need not always be read literally. Before starting on a Gondola Journey, consult the Tariff, fix your terms distinctly, and note the time. Visit the Churches in the morning, as they are then open free, and can be visited with greater pleasure on account of the light. Moreover it is a great saving in expense, as later in the day a fee is demanded or expected by the sacristan who opens them for visitors. Be careful not to drink too freely of the water of Venice, especially on first arrival. It does not agree with all, although it is generally good at Hotels and Cafes. In visiting the Theatres, it must be remembered that the price of admission paid at the doors does not include a seat, but merely a standing place in the parterre. It can then be decided whether you pay for box, stall, or other seat. In making the programme for the day, it is very desirable that those who wish to economise time should look carefully through this book and determine upon what they wish to see, and regulate their time accordingly. It is possible to see all Venice in a week, while a month will not exhaust it. Many only spend a day or two, during which time they see so much that they think they have seen everything. It is not the design of this book to confuse the tourist by telling him how to get from one place to another. A long residence is necessary to enable any one to find his way through the labyrinthine streets. Besides which, nobody ever thinks of walking in Venice. It is poor policy to do so. Gondolas are very cheap, and very comfortable. Museums, churches, and picture galleries are very tiring. And much valuable time is lost in wandering north, south, and east, in order to find a place in the west. Therefore we recommend the tourist to spare himself the fatigue of walking from place to place. Hire a gondola for the day, and plenty of opportunities for exercise will be found at the various halting places. Nor do we think it is desirable to mark out what to do on this day, and what to do on that. It only confuses, and is of little service ; for the tastes of tourists differ considerably; and an arbitrary “ four hours to visit the Academy ” would only irritate the lover of art who intends to spend at least four days there. We shall therefore only say that everything mentioned in PRINCIPAL SIGHTS. 3 this book is worth seeing, and if the tourist will devote a few minutes each evening during his stay in Venice to note, in his memorandum book, what he has seen and what he has yet to see, he will then only have to consult the map, and arrange, not to visit a church in the extreme south on the same day he visits one in the extreme north, but to visit those places which lie most nearly to one another. PRINCIPAL SIGHTS, AND TIMES FOR SEEING THEM. * Academy of Fine Arts. — Daily: winter, io to 3 ; summer, 9 to 4 ; Festivals, n to 2. page 55. (Hall iv. of Academy (p. 58) is only open on Thursdays and Saturdays, 12 to 3. Archives. — Thursday, 10 to 3. p. 37. * Arsenal Museum. — Daily, 9 to 3. p. 65. Botanical Gardens. — p. 64. Campanile (piazza). — Ascend early morning or evening. (25 c.) p. 12. ^Churches. — Early morning. Open free from 6 to 12; after that upon application. Fee, 50 c. each church. ^Frari. *SS. Giovanni e Paolo. *S. Marco. *S. Maria Formosa. *S. Maria della Salute. *Redentore. *S. Salvatore. *Scalzi. *S. Sebastiano. *S. Stefano. *S. Zaccaria. City Museum. — Monday, Wednesday, and Saturday, 12 to 4. p. 67. *Doge’s Palace. — Daily, 9 to 3. (Small fee, 25 to 50 c., for each of the principal divisions. A party cheaper.) p. 16. Gallery Manfrin. — Daily, 10 to 3 ; fee, 50 c. p. 68. Glass Mosaic Manufactory. — Salviati’s. Grand canal. Daily. P- 73 - f Grand Canal. — Make the tour twice or thrice, in afternoon and at night, on arriving and on leaving Venice, p. 50. '"Islands. — Chioggia. — View of Murazzi. p. 73. S. Lazzaro. — Armenian Monastery. Daily, p. 70. Lido. — Bathing, etc. p. 70. Murano. — Museum. Daily, p. 72. St. Michele. — Cemetery. Daily, p. 72. Torcello. — The Antiquarian's Paradise, p. 72. Markets. — Fish, Fruit, and Vegetable ; near Rialto ; morning. *Palaces. — Emo-Treves. (Fee, 1 franc ; porter, 20 to 30 c.) p. 5 1. Fini-Wimpfen. Same fees. p. 51. 4 VENICE. '^Palaces. — Mocenigo. (Byron’s house and Art Exhibition.) Same fees. p. 52. Pesaro. Same fees. p. 54. Vendramin Calergi. Same fees. p. 54. *Piazza and Piazzetta. — Interesting at all times. Pigeons fed at 2. Band in evening, p. 11. Public Gardens. Daily, p. 64. *San Marco. — Daily. Treasury of S. Marco, Monday and Friday, 12 to 2. Other times on application and fee. Scuola di S. Rocco. p. 62. Seminario Patriarcale. p. 51. The principal walk in Venice, much frequented and lined with a succession of good shops, is from the Piazza (under the clock) through the Merceria to the Rialto, p. 63. Another is from the Piazzetta, along the Riva degli Schiavoni, to the Public Gardens, p. 64. The following List of Terms will, it is thought, be found useful to some : — A large open space, Piazza ; a small piazza, Piazzetta. Grand canal, Canalazzo ; canals, Rii. A small square, Campo ; small squares, Campi ; mere court- yards, Campidli . Narrow passage or street, II Calk ; plural, Calli. Footway along canal bank, Riva ; larger and wider Rive, Fonda - menti. Districts, Sestieri. Ferries, Traghetti. Tower, Campanile . Rail- way, Strada f err at a. Valet de place, Servitori di piazza. On most corner houses of the streets will be found the desig- nation of the locality, as for example : — “ Parrochia S. Geramia , Sestiere di Cannaregio , Fo?ula 7 nenti Penitentil That is : — The Quay Penitenti in the parish of St. Jeremiah, in the district of Cannaregio. Venice “ originally consisted of a few islands formed in the midst of a broad lagoon. Where six rivers flowing from the Alps and the Tyrol discharged their waters into the Adriatic, the meeting of the rivers with the sea caused a deposit of mud and sand in such a way as to create little islets, irregular in their outline, and varying in their size. At low water these islands were surrounded by beds of yielding sands, extending HISTORY OF VENICE. 5 twenty miles in length and six in breadth. Narrow channels, formed by the rivers, intersected the islets, and their navigation was so difficult, that many a hostile force by sea, or mainland, was thereby baffled in the conquest of the islanders. The first occupants of these islands were the Veneti, who descended from their cities among the Euganean hills, fleeing from before the advance of great conquerors. Here they settled in peace and security, and laid the foundation of an empire, destined in after years to achieve a foremost place amongst the nations of the world. Here, amongst the purple poppies and the yellow rushes, the Veneti built their huts and brought up their families. A lovelier home they could not have found than that furnished by these sandy islands, where every day the blue waters of the Adriatic rose about them, giving unfailing security from the alarms of war. Overhead there was stretched a sky of azure brightness, like a gorgeous ceiling. In summer, gentle zephyrs, scent-laden, played about their dwellings, and in winter time the sea tempered the cold blasts, as they swept out from the mainland towards the Gulf of Venice.” * As population increased and trade commenced, a form of government followed, first under Tribunes, and then by Doges. The first Doge, Paolo Luca Anafesto, was elected in 697. Malamocco was then the capital, and remained so until 81 1, when the government was removed to Rialto, which stood in the centre of a group of islands, and became the city of Venice, although for a long time it retained its name of Rialto. Angelo Partecipazio was then the Doge, and he set to work to drain the marshes and bank up the rivers, and to connect the islands by bridges. The wonderful work accomplished in the early days of Venice must have been stupendous. Her canals were made and preserved. Man’s enterprise had to do battle with the assailing ocean ; forests of piles had to be sunk to hold the shifting land together, and yet the huts gave way to marble palaces, and the desolate islands, stolen from the sea, became one of the chief cities in the world. During the time of the Crusades, when Venice had acquired great political and commercial influence, her ships were engaged as transports for merchandise to Syria, and much of her wealth and greatness date from this time. In the 1 2th century one of the Doges (Enrico Dandolo) conquered Constantinople. * “ Stories of Venice and the Venetians.” 6 VENICE. Dandolo was assassinated in 1172, and soon after this a change was made in the constitution of the Republic. A council of 500, chosen annually, was appointed, and the Doge was the head of the council. Sebastiano Ziani was the first Doge under the new regime. The Venetians waged war with Genoese, Hungarians, the Saracens, and many more, and all tended to the advancement of the Republic. The fifteenth century was the culmination of the greatness of Venice. From its earliest days until the close of that century, step by step it rose higher, until the whole world acknowledged it as the centre of commercial prosperity; and from that time until a few years past it as steadily went down, until eventually it was taken by the French in 1797 ; in which year, by the peace of Campo Formio, it was handed over by France to Austria, and thus ended the Venetian Republic, after an honourable continuance of more than a thousand years. “ The state of Venice existed thirteen hundred and seventy- six years, from the first establishment of a consular government on the island of the Rialto to the moment when the General- in-Chief of the French army of Italy pronounced the Venetian Republic a thing of the past. Of this period, two hundred and seventy-six years were passed in a nominal subjection to the cities of old Venetia, especially to Padua, and in an agitated form of democracy, of which the executive appears to have been entrusted to tribunes, chosen, one by the inhabitants of each of the principal islands. For six hundred years, during which the power of Venice was continually on the increase, her government was an elective monarchy, her King, or Doge, possessing, in early times at least, as much independent authority as any other European sovereign, but an authority gradually subjected to limitation, and shortened almost daily of its prerogatives, while it increased in a spectral and incapable magnificence. The final government of the nobles, under the image of a king, lasted for five hundred years, during which Venice reaped the fruits of her former energies, consumed them, — and expired.” * “ The briefest catalogue of events which have rendered cele- brated the name of Venice, would demand a volume. The defeat of Barbarcssa — the conquest of Constantinople — the acquisition of Candia — the sea victories over Genoa and Pisa * “ Stones of Venice. HISTORY OF VENICE. 7 — the treason of Marino Faliero — the triumphs of Carlo Zeno — the war of the Chioggia — the cruel fates of the Carrara, and Carmagnola, and the two Foscari — the marriage of Catherine Cornaro and the acquisition of Cyprus — the League of Cambray and the King of France on the Lagune — wars with the Otto- man and the victory of Lepanto — the loss of Candia and the concession of the Morea — such is a brief abstract of more prominent events which, to a mind familiar with the chronicles of Venice, cannot fail to call up a throng of like associations. Nor are these the only associations of interest with the name of Venice. Here Galileo in 1609, on a visit, while professor in the University of Padua, invented the telescope; and having with it studied the stars from the tall summit of the campanile of St. Mark, more than three hundred feet high, presented it to the Doge Donato. Here, too, at a subsequent period, Sirturi constructed an instrument of the same description ; and, while using it in the tower, was interrupted by the people from below, who, for hours, examined it with the utmost curiosity, to the astronomer’s exceeding annoyance. Here Loyola, in 1536, organised, with his friends, the order of Jesus; and hence repairing to Rome, sought and gained the sanction of Paul III. to his enterprise. Here were born, or lived, or died, Titian and Tintoretto, Vittoria and Canova, Sansovino and Palladio, Giorgione and Tasso, Goldoni and Cardinal Bembo, Paolo Sarpi and Marco Polo ; and the dwell- ings they inhabited are yet pointed out. The Palace — once a church, then a convent, next a hospital, and then an Austrian barrack — appropriated by the Senate to Petrarch, during his visit to Venice, is likewise shown, as are also a few of the books — the nucleus of the library of St. Mark, now embracing 70,000 volumes — which he then pre- sented to the State. Here lived Lucretia Conaro, a Doctor of Laws ; Mariana Martinez, the vocalist and composer ; Camera Rosalba, the painter of portraits ; and Marietta Robusti, daughter of Tintoretto, who, with well-nigh the genius of her illustrious father, sacrificed ambition to love, declined invitations to the Spanish and the Imperial courts, became the bride of a jeweller, lived in obscurity, died early, and was buried — no one knows where ! At Venice the first book printed in Italy was issued from the press. It was the “ Familiar Epistles of Cicero,” printed by Jean de Spire, in 1469. Next year Janson established his presses at Venice, and made great improvements in type. 8 VENICE. The first editions of the Bible and of the classics were issued at Venice ; and more books in the Hebrew language are esti- mated to have been printed there than in all the rest of Christendom together. Here dwelt the famous Aldini, whose name is classical. The first of the name was Aldus-Manucius, who was succeeded in the business of publishing and printing by his son Paolo, and his grandson Aldus. At the opening of the seventeenth century, the first newspaper in the world ap- peared at Venice, which was sold for the coin called a Gazetta , and thus took a name. Strange that the great “ palladium of liberty ” should have originated under the most jealous despotism that ever existed ! At Venice, too, appeared the first Bill of Exchange, the first Bank of Deposit and Discount, and the earliest miracles in the manufacture of glass. Artillery, too, was first invented, it is said, by the Venetians ; and the species of bombard invented and employed by Vittoria Pisani against the Genoese, in the war of the Chioggia, as early as 1380, is yet to be seen at the foot of his statue at the Arsenal. The engine could be dis- charged but once a day, and it threw a stone of more than a hundred pounds weight. Doria, the Genoese general, was crushed by one, and died. It was a Venetian, also, Francis della Barde, who invented a balista which threw masses of rock of three thousand pounds weight; but one day at the siege of Zara, while superintending its repairs, he was hurled by it instead of a stone, a shapeless corpse, over the walls of the hostile city.” * Perhaps in no place in the world are there so many historical memorials as in Venice, and one of the chief interests in a visit to this strange city is to find her history written chapter by chapter in tombs, and monuments, and palaces, scattered throughout its length and breadth. Instead, therefore, of entering here upon anything like a detailed account of the rise and progress of Venice, we shall endeavour to record the history in the descriptions of its monuments. Venice is seven miles in circumference, and is divided into two unequal halves by the Grand Canal. It is made up of three large islands and 114 smaller ones formed by 146 canals, and by means of 400 bridges is held in a compact mass ; so that, despite the watery ways, it is possible to walk all over Venice from one end to the other. Flagg’s “ History of Venice. GONDOLAS AND GONDOLIERS. 9 Surrounding the city are the Lagoons, the most famous in Europe. They are divided into lagune morte (dead lagoon) and lagune vive (living lagoon). The former extend to the mainland, and are only influenced by the sea at high tides and in storms, while the latter are affected by every tide. Venice is in the lagune vive , and every twelve hours the tide flows through the city, and there are frequent siroccos which drive the waters of the Adriatic through the canals with a strong force, and thoroughly cleanse the city. A chain of islands separates the lagoon of Venice from the sea, but there are four channels into it, two of which only, the Lido and Malamocco, are navigable by large vessels. The only obstacle to the open sea from submerging and carrying away the city was a long spit of land, and formerly t^is was the only protection against such a calamity. But in the last century, when Venice was threatened again and again with destruction by the wearing away of the dunes and the advance of the sea, the gigantic work was commenced, and eventually completed, of building sea-walls of solid Istrian marble. These are called the Murazzi, or Giant walls, and are marvellous structures extending for miles, and averaging thirty feet in height and forty in width, (p. 73.) The population of Venice is now about 130,000, although in its palmy days it numbered 200,000. The city forms an important part of the kingdom of Italy, and every year shows signs of growing prosperity, and it seems as if the many poetical predictions of the downfall of the proud Queen of the Adriatic must now be indefinitely postponed. On arrival at Venice, look out for the porter of the Victoria Hotel, and confide yourself and baggage to his care. If you should arrive at a time when no such person is on show, take a gondola, and leave it to the people at the hotel to pay the charges. GONDOLAS AND GONDOLIERS. There are no horses, cabs, carriages, or road conveyances of any kind in Venice. The gondola is the only vehicle that runs upon those water streets. It is graceful in shape, delight- fully easy in motion, and can make a good speed when required. Many of the private gondolas are very elegant, and the costumes of the gondoliers picturesque in the extreme. An edict of the fifteenth century caused all gondolas to go IO VENICE. into mourning, and so they have remained ever since. Osten- sibly this was to check an undue competition and extrava- gance in decoration, but really it was to favour political intrigue. In a black gondola, on a dark night, any one might travel without fear of detection. To ambassadors only was the privilege given of decorating their gondolas in colours, and the reason was that their movements might the more easily be watched by the spies of the Government. The gondola does duty for cab, omnibus, cart, coach, waggon, wheelbarrow, and hearse. It is to be found every- where, and everybody travels in it. The gondoliers are as a rule civil and attentive, and take pleasure in pointing out to the visitor the objects of interest on a journey. They are wonderfully dexterous with the single oar which they use standing. They do not pull the oar, but push it, rarely lifting it out of the water, but “ feathering ” very slightly with the end of the blade in the water. This move- ment, which looks easy, is really very difficult; for the gondolier does not shift his oar from side to side as in paddling a canoe, but makes all the strokes on one side only, and the return stroke is the regulator of the movements of the gondola. It is marvellous the accuracy with which they guide their boats without any other rudder than that made by the u regulation ” stroke. They can turn a corner within an inch, and not touch ; they pass in and out upon the crowded canal without the least jerk or collision, and when going at a considerable speed can pull up momentarily. A fresco . , or corso di bar chi, is a sight which once seen will never be forgotten ; and those who do not see this will remember almost as vividly the strange sight of large com- panies going to theatres or to churches, the gondolas taking up and setting down, and pulling up in rank, as the carriages do at Covent Garden or St. George’s. The head-quarters of the gondoliers is at the Piazzetta, where a tariff table may be seen. There are gondolas and barcas (gondoliers and barcarolas), omnibusses and ferries. The fares for gondolas are one franc for one hour, fifty cents for every following hour, and five francs for a whole day of ten hours. This is for one rower for one to four persons in a gondola, or one rower for one to six persons in a barca. In going for a short distance or for a limited time, it is desirable to consult the tariff table, or make an agreement with the gondolier. PIAZZA S. MARCO. II At the completion of a journey a small gratuity is expected, and generally cheerfully given. For a second rower, necessary in rough weather, and for journeys beyond the limits of the time, the price is double. Ferries— Across the canal, five cents ; other journeys see tariff. Omnibus — Railway to Piazzetta, thirty cents. Piazzetta to the Lido in the bathing season, twenty cents. As with our cabmen, the gondolier is bound to show a copy of the tariff, if demanded. PIAZZA SAN MARCO. The Piazza of St. Mark is the largest open space in Venice, and is in fact the finest thing of its kind in Europe. It is a noble entrance to Venice from the sea; it is the grand resort of all ranks and conditions of men every evening in season- able weather ; all public demonstrations, civil, religious, and patriotic, are held here ; and in no other city in the world does the life of the place focus in one spot as in this magnificent Piazza. Here, in the summer season, a good band plays two or three evenings in the week ; and after eight o’clock, hun- dreds, sometimes thousands, may be seen taking their coffee and other beverages at the little tables outside the cafes. In the winter months the hours for the fashionable promenade are from two to four o’clock. On Sundays the Tombola (lottery) attracts a crowded assembly, and during the carnival a scene of indescribable beauty and festivity may be witnessed, as the construction of the place is better adapted for illumi- nation and decoration than any other with which we are acquainted. In shape it is, in round terms, a square ; but it is often de- scribed as an oblong, or an irregular quadrangle. Authorities, differ as to its exact dimensions, and never having measured it ourselves, we quote from two or three as specimens : — “ 192 yards in length, 61 wide on west, and 90 on east.” “ 600 feet by 300.” “576 feet in length, and from 185 to 269 in breadth.” “ 540 feet long, 174 to 252 broad.” It is well paved with a dark stone and marble, and is sur- rounded on three sides by colonnades forming a continuous arcade of 129 arches, a most convenient arrangement on burning hot days, and in damp weather. These arcades con- 12 VENICE. tain the principal shops of Venice, and some cafe's whose fame is world-wide. The effect of these three sides of the great square is very imposing, the series of palaces of which they consist are the Procuratie Vecchie, on the north; the Procuratie Nuove, on the south ; and a modern structure on the west, which unites these into one vast palace. The visitor who can so arrange it, should make his first visit to the Piazza from the west, and the effect produced upon him will be one winch he will probably never forget. Facing him is the magnificent Campanile, and beyond is the Church of St. Mark, with its marvellous facade, its wild horses, and its curious domes. At right angles with the Piazza, to the right as you face St. Mark’s, is the Piazzetta, and as you turn towards it another view of surpassing beauty is displayed. On one side (the left) is the Doge’s palace; on the right, the Mint and Library of St. Mark ; in front, the two magnificent monolith columns ; and beyond, the Lagoons with their gondolas and larger vessels. All these things can be taken in almost at a glance, and they form together a scene which is unparalleled. A brief description in detail of the principal things to notice specialty, will be useful. The Campanile, or bell tower of St. Mark, stands at a short distance from the church. It is quadrangular, brick-built, nearly forty feet square at the base, and 350 feet high (others make it only 320, while a local guide describes it as 304). There are many campanili to be seen in Italy; but few, if any, have a finer effect than the Campanile of St. Mark. The pinnacle is in the shape of a pyramid, and the summit is crowned by a figure of an angel with wings spread. The building was commenced in the tenth century (91 1), and finished in 1510. Bartolommeo Buono, the architect of the Palace of the Doges, rebuilt the belfry, which was destroyed by lightning, and crowned it with the winged angel. At the base of the Campanile is the Loggietta, an elegant piece of architecture by Sansovino, once used as a guard-house and now reduced to an auction room and office for the sale of tombola tickets. The bronze doors, statues, and bas-reliefs are very beautiful. Every visitor to Venice should make the ascent of the Campanile (fee, ten cents), which may be accomplished with the least possible fatigue, as the ascent is made by inclined planes, gradual and easy, to the platform or open belfry. A stair-way then leads to the upper gallery, some fifty feet higher. The view we will not attempt to describe, but merely say PIAZZA S. MARCO. 13 that nowhere can the glory of Venice, as Queen of the Waters, be seen to greater perfection. Around is the labyrinth of waters, below are the masses of domes, towers, and palaces, while in the distance are the Alps, and the Euganean hills, and the heights of Istria. A watchman is always stationed in the belfry, on the look-out for fire in the city or danger in the port, and he possesses a good telescope, of which the tourist will be glad to avail himself. An old tradition says that in the dark days of the middle ages, priests who had broken their vows and otherwise disgraced themselves, were put in cages and suspended from the tower until such time as Fate should have done its worst. The old and new Palaces of the Procurators on the north and south sides of the Piazza were formerly used by the “ Procurators,” who were the recipients of the highest honours of the Republic. The old Procurator Palace is now private property, while the new one is the Royal Residence. The building connecting the two is a wing of the Royal Palace, and was built by Napoleon in 1810, who demolished the old church of St. Germiniano to make room for it. In front of the Church of St. Mark will be noticed three tall flag- staffs, which on high days and holidays bear the Italian flag. They were in former days memorials of victory, and from them waved the banners of Candia, Cyprus, and the Morea, kingdoms brought into subjection to Venice. On the left of St. Mark's is the clock tower (Torre dell’ Orologio) erected by Pietro Lombardo in 1496. On the dial-plate the twenty-four hours are marked, and the signs of the Zodiac, and the phases of the moon. Above this is the Madonna, sitting in state upon a platform between two doors. On grand religious festivals, such as Epiphany and Ascension ? the door on the right of the Virgin opens, and out walks an angel with a big trumpet, which he blows, and then bowing to the Madonna, passes on ; he is followed by three gentlemen representing three Moorish monarchs, or the three wise men y or the three sacred kings, one of whom is black as the night. These all pause, and bow before the Virgin, and the whole party pass through the door on her left, which immediately closes after them. On the platform is the huge bell, beside which stand two giant figures, who strike the hour with sledge- hammers, while above all is the Lion of St. Mark with out- stretched wings. Never will the inhabitants of Venice tire of witnessing the 14 VENICE. performances of this wonderful clock ; and next to the interest a stranger has in seeing it, is to see the unqualified pleasure with which the natives linger to gaze and rapturously hail the pro- cession. Not only do the Venetians take a keen interest in this clock, but also in a multitude of Pigeons which have their homes in the Piazza and neighbourhood, and as the clock strikes two descend into the Piazza to be fed at the public expense : they are wonderfully tame and pleasant birds, and are the subjects of many legends; one is, that they were loosed from a church at a religious festival, and having fled for shelter, and found a house for themselves under the roof of St. Mark’s, the senate decreed that the state should provide for them; another is, that when Admiral Dandolo was besieging Candia, he received important news by means of pigeons despatched from V enice ; and when victory crowned his labours, these same birds bore back the news to Venice, and they and their descendants have ever since been cherished by a grateful people. The two Monolith Pillars in the Piazzetta are of oriental granite, red and gray, and were brought to Venice, it is said, by the Doge Dominicho Michiele in the twelfth century. This Doge is celebrated for his conquests in Syria, and several trophies of his from the East and the Grecian Archipelago, besides these pillars, we shall meet with elsewhere in Venice. The red column bears on its summit the marble statue of St. Theodore, the protector of the Republic, and earliest patron of Venice. Singularly enough, he holds the sword in his left hand, and a shield in the right ! On the gray column is the winged lion of St. Mark in bronze. Napoleon took the winged lion of St. Mark to Paris in 1807, and deposited it in the Invalides , but it was restored in 1815. There are many legends clustering around these columns. One is, that they lay for best part of a century on the quay, until a Lombard, Nicolo by name, raised them as they now stand, and as a reward claimed permission to keep a gambling table at their base. The vicious love of play, hitherto suppressed, knew no bounds, and to stop it the space between the two pillars was used as a place for public execution. The superstitious considered that to pass between the two pillars was a sure presage of evil, and it is recorded by the dealers in the marvellous that when the unfortunate Faliero (see p. 19) landed here, upon his election as Doge, a fog was hanging over river and city, and inadvertently A? passed between the fatal columns. The sequel is known to all. PIAZZA S. MARCO. 15 The Library (Libreria Vecchia) was begun in 1536 by Jacopo Sansovino, and is considered one of the finest specimens of sixteenth century art ; the chief entrance is supported by two huge caryatides. The building now forms part of the Royal Palace. The ceiling of the grand saloon is decorated with some fine paintings by Titian, Paolo Veronese, and others. Near to the Library is the Mint (La Zecca), also the work of Sansovino. In the time of Giovanni Dandolo gold ducats came into use, and these were called Zecchini. The Molo, a fine promenade, especially in the close weather, runs at the bottom of the Piazzetta, and is the head- quarters of the gondoliers. Having so far described the principal sights in the Piazza, except the Church of St. Mark and the Doge’s Palace, which demand a more detailed account, we would seek to recall some of the historical scenes which have made the Piazza famous, and we therefore quote from Mr. Flagg, in his History of Venice. “The Place of St. Mark! — the heart of Venice! — the forum— the garden — the grand hall of the Dogal city! the general rendezvous for business or for pleasure — the place where one meets whom one seeks — where one hopes to meet whom one loves ! And then, its historic and traditionary prestige — the wonderful scenes it has witnessed — the gorgeous fetes and solemnities of which it has been the theatre ! It was here, eleven centuries ago, that blind old Dandolo received the crusader chiefs of France — Montfort, Montferrat, Montmorency, and Baudoin here that Barbarossa bowed his neck to the sandal of the aged pontiff ; here that the splendid nuptials of Francesco Foscari — so soon, alas ! to die an exile — were cele- brated by a tournament witnessed by thirty thousand people, and continued with other pageants for ten successive days ; here that Petrarch assisted at the gorgeous fetes for the con- quest of Candia, and exclaimed, “ I know not that the world hath the equal of this place ; here that the conspiracies of Tiepolo and Falierowere crushed, upon the only two occasions, in the long period of fourteen hundred years, when Venetian fought Venetian on the Place St. Mark. It was around this square that the newly elected Doge was wont to be borne in his chair of state, on the shoulders of the Arsenalotti, scattering largess in his course ; and around the same square, on the Mardi Gras of each year, for several centuries, that 4 the bull and twelve hogs/ in memory of the unique ran- i6 VENICE. som of the patriarch of Aquiela and his twelve canons, were fiercely chased, and finally ‘ with a single blow from a two- handed sword, four feet long and four inches broad/ were slain. Around this same square, also, proceeded — and still proceeds — once every year, in pompous procession, the priestly pageant of the Corpiis Domini , with lanterns and flambeaux, and torches and candles ; and here, for centuries, was held the famous Tiera Fra?ica, or Tree Fair, to which flocked the mer- chants of all Europe, when, during a certain period of eight days in every year, a city of shops, filled with rarest and most costly commodities, rose on the pavement of St. Mark, the lanes and streets of which are yet beheld traced out by lines of tesse- lated stones. Here, too is the theatre of the Tombola , that characteristic lottery of Italy, which draws into the piazza, cn masse , the whole population of the Dogado; and here the home of the white pigeons of St. Mark, once supported by the state, but now by a special legacy of a devout old patrician, and which, when the hour of two is beaten out on the huge bell of the clock-tower by the bronze giants, pour down in clouds upon the north-west angle of the place for their accustomed food. In modern times this ancient square has been the scene of more than one splendid spectacle, not the least imposing of which was that which signalized the visit of the Emperor Ferdinand, when returning from his coronation at Milan, when the vast area blazed with illumination — when the bal- conies, entablatures, cornices, fringes, and all the caprices of architecture of the palaces and the cathedral, were traced in lines of irised light — when the lofty Campanile heaved up its mighty mass, wedge-like, into the dark sky, as if a blazing beacon from a sea of fire, and dome and spire and pinnacle of the Saracenic, yet sacred, architecture of St. Mark was out- lined in flame ! It was at the base of the Tree of Liberty, planted in the centre of this square, that the insignia of the ancient Republic were consumed on the 4th of June, 1797 ; and here, fifty years later, on the 22nd of March, 1848, that ancient Republic was declared anew ! ” THE DOGE’S PALACE. (Palazzo Ducalei) The Palace was founded in the year 820, and was destroyed first in an insurrection, then by fire and other disastrous events, THE DOGE S PALACE. 1 7 no fewer than five times, and each reconstruction only tended to develope a more magnificent building. It is in the Venetian- Gothic style, and amongst its architects were Pietro Bassegio, Filippo Calendario (supposed to be the Calendario associated with the Faliero conspiracy), Giovanni, Pantaleone and Bar- tolommeo Buono and Antonio de Ponte. One part (west) of the Palace faces the Piazzetta, and the south side looks towards the Molo, and these are the principal features presented to the outside view. The two colonnades, with their pointed vaultings, rich mould- ings, and double rows of columns, are known to all. The Porta della Carta (or Gate of the Paper) is the grand entrance — adjoining St. Mark’s — into the Court of the Palace. This doorway bears in the architrave the name of Bartolommeo Buono, and is celebrated as one of the finest specimens of his art in Venice; it derives its name from the fact that all the edicts of the Republic were at one time pla- carded here. Passing through this portal, we enter the Court, around which are two storeys of arcades. In the centre of the Court are two wells, at which may generally be seen a group of women drawing water, which is the best in Venice, as it passes through sand-tanks and clay filters. The Giants’ Staircase (Scala dei Giganti) is before us, the entrance to the rooms of the Palace. Mars and Neptune, by Sansovino, stand at the top, and after them the noble flight of steps is named. Behind us, as we ascend, are two statues of Adam and Eve, the work of Antonio Rizzo. It was upon the landing at the head of these stairs that “ the newly elected Doge received the beretta of his office ; and then, having heard mass in the Basilica, and made the tour of the Piazza on the shoulders of the Arsenalotti, scattering largess the while, he retired quietly to his future abode within ; and it was upon this landing that, on the morning of the 25th day of October, 1457, the aged Foscari fainted with anguish, when forced to abandon a palace which for more than thirty years had been his home ; but it was not upon this landing, according to Lecomte, that Faliero was beheaded, nor did his head ‘roll down the Giants’ Staircase,’ despite the tragedies of Byron and Delavigne, for the very good reason that neither staircase nor landing had any existence until more than a century after the event ; Faliero having been executed in the middle of the fourteenth century, and the staircase having been constructed in the middle of the fifteenth.” 2 i8 VENICE. Looking to the left of the stairway, a red building will be seen high up in the Palace. It was here that the poet, Silvio Pellico, was imprisoned. Having arrived at the top of the staircase, we turn to the right under the fine colonnade, in which are found busts of the celebrated Scholars, Doges, and Artists of Venice, amongst whom are Marco Polo, Galileo, Sebastian Cabot, Enrico Dan- dolo, and many more. The Golden Stairs (Scala d’Oro), by Sansovino, with stucco work by Alessandro Vittoria, were once only trodden by those of the nobility whose names were in the Golden Book. “ The Golden Book/’ that severe nomenclature of patrician rank in Venice, was instituted in 1315, and was thenceforth the index and standard of nobility, by which all claims were decided. Upon its pages were inscribed all the births, bridals, and deaths of the nobles. The names of a few foreign princes appear upon its leaves, and among them that of Henry IV. of France, placed there, at his own request, on his marriage with the Italian princess, Marie de Medici. This king and his posterity thus became nobles of Venice. Accompanying this request W'as a splendid suit of armour, yet to be seen at the Arsenal (see p. 65), and the “ sword worn by him at the battle of Ivry, which disappeared in the spoliation of 1797.” The usual entrance for visitors at the present time is the Scala dei Cencori. To the left is the library of St. Mark’s, and from here a passage leads to the Hall of the Grand Council (Saladel Maggior Consiglio). This magnificent Hall (175 feet long and 85 broad) was where the Grand Council, composed of the noblest families in the Golden Book, sat; and here, too, so recently as 1849, when Manin was the dictator, it was used as the State Assembly Room. Around the Hall is the celebrated frieze, with portraits of seventy-six Doges, most of them painted by Jacopo Tintoretto ; they are arranged in chronological order, and would, perhaps, receive but slight attention from the ordinary tourist, were it not that he will have pointed out to him one vacant space upon which, instead of a portrait, there is an inscription on a black veil to this effect, Hie est locus Marini Falethri decapitati pro criminibus . As we have seen the spot on the Giants’ Stairway which Byron has rendered so fabulously interesting, and as we shall meet with memorials of Marino Faliero again, it will be well here to tell his story. THE DOGES PALACE. 19 He was a man of quick temper, and on one occasion, when delayed by a bishop in receiving the Sacrament, dealt him a blow which the bishop felt and remembered. In 1354, when Faliero was an old man, he was elected Doge of Venice. At a banquet given shortly after his election, Ser Michele Steno, who loved one of the damsels of the duchess, so offended him that the Doge ordered him to be thrust off the platform ; then Michele Steno avenged himself by scribbling some insulting lines upon the throne of the Doge. When this was discovered, and the crime laid at Ser Michele’s door, the Doge brought the matter before the Council of Forty, and the culprit was sentenced to two years’ imprisonment, and then a year’s banishment. Soon after this the Admiral of the Arsenal was struck in a quarrel by Barbaro, a noble, and appealing to the Doge, who was grieved that so slight a punishment, as he thought, should have been inflicted on Steno, said, “ How can I help thee ? Think of the scurrilous words which have been written of me, and how slightly Michele Steno has been punished, that will show you the mind of the Council of Forty.” “ My lord,” the Admiral is said to have replied, “ if you wish to be a prince indeed, and not only in name, I have the heart, if you will but support me, to make you absolute prince of all this state, and you may then punish them all.” A conspiracy was formed with no less abominable a scheme than to butcher the whole of the aristocracy. The plot, however, was discovered in time. The Doge was arrested, and late at night was taken before the Council, who passed sentence upon him. Calendario and Israelo, two of the conspirators, were already hanged on the red pillars of the Palace balcony, with gags in their mouths, and on the 1 6th of April, 1355, the very day after the fearful plot was to have taken effect, Marino Faliero received the due reward of his crime, and was beheaded within the closed gates of the Palace. One of the Council of Ten, with the sword of justice wreaking with the traitor’s blood, rushed out on the gallery, and, holding it before the multitude, cried, “The betrayer of his country has received his terrible doom,” and then the gates were thrown open. The people gazed on the face of the old man, and then, ere the sun had set, Faliero was buried out of sight. The pictures in the Hall would require so much space to describe, especially the historical ones, that we must content ourselves by giving a list only, as it is impossible to transcribe, in so limited a space, the history of Venice to which these pic- tures refer. 20 VENICE. At the east end of the Hall is “ The Glory of Paradise ” by Tintoretto . The largest picture ever painted on canvas (84 feet by 34). Ruskin speaks of this as “the artist's chef d' oeuvre , and the most precious thing that Venice possesses;” but tastes differ materially upon this point. Commencing at the right, and working towards the left, we have — 1. Pope Alexander III. discovered in a Convent by Doge Sebastian o Ziani. ( Carlo and Gabriel Caglia 7 'i , pupils , sons, or heirs of Paolo Veronese.) 2. Departure of Ambassadors of Pope and Doge for Pavia. The same. 3. The Pope presenting to the Doge a Consecrated Candle. Leandro Bassano. 4. Ambassadors of Pope and Doge at Pavia before Frederick Barbarossa ...... Tintoretto. 5. The Doge receiving sword from the Pope. Francesco Bassa?io. 6. (Above window,) Pope blessing departing Doge. Paolo Fiammengo . 7. Sea Battle at Salvore and Capture of Otho. Domenico Tintoretto. 8. (Above door,) Otho presented to the Pope by the Doge. Andrea Vincentino . 9. The Release of Otho by the Pope . Jacopo Palma . 10. Frederick Barbarossa submitting to the Pope Alexander III. (See page 29) .... F Zucchero. 11. (Over door,) Landing in Ancona of the Emperor, Pope, and Doge, after the conclusion of peace. Girolamo Gamberato . 12. The Pope Alexander III. presenting to the Doge Ziani the ring with which the Adriatic was wedded. Giulio del Moro . “ When Barbarossa invaded Italy, the Pope fled to Venice. The Doge received him very hospitably, and sailed out against the fleet which the Emperor had sent in pursuit of him. He obtained a complete victory; and on his return the grateful Alexander went forth to meet him attended by a great concourse of people. He embraced the Doge with many thanks and blessings ; then drawing a ring from his finger, said to him in a clear, impressive voice, that was distinctly heard by the attentive listeners, ‘Take this ring: use it, O Doge! to retain the sea henceforth in subjection to this city Venice! Yea, espouse THE DOGE’S PALACE. 21 the Adriatic with this ring, and let the marriage be annually celebrated to the end of time ; that the world may ever know that Venice rules the waves, and that the sea is subject to it, even as a wife unto her husband !’ From that time forth the Doge regularly embarked on Ascension Day, in a richly carved and gilded vessel called Bucentaur, and proceeded in great state to a little island a few miles from Venice, accompanied by the nobility and foreign ambassadors in their pleasure boats; and there, after offering up some prayers, he dropped a ring into the sea, saying, ‘ I espouse thee, O sea ! in token of perpetual dominion.’” * (Seep. 66.) 13. Doge Andrea Contarini returning from the Victory of Chioggia (1380) . . . . Paolo Veronese . 14. Doge Dandolo Crowning Baldwin as Emperor of the East (1204) ...... Aliense . 15. Baldwin elected Emperor in St. Sophia, Constantinople. Andrea Vincent ino. 16. Constantinople taken a second time by Crusaders (1204). Domenico Tintoretto. 17. Constantinople first taken 1203, by Crusaders, under “ Blind old Dandolo ” . . . Palma Giovane. 18. Alexius, son of Isaac, the Dethroned Emperor of Con- stantinople, beseeches aid from Venice for his father. A. Vicentino. 19. (Above window,) Zara surrendered to the Crusaders (1202). Domenico Tintoretto. 20. Storming of Zara by Crusaders (1202) . A. Vicentino. 21. Alliance of Doge Enrico Dandolo and French Crusaders, who swear in St. Mark’s they will liberate Palestine (1201) ...... A. Vicentino. There is a splendid view of the lagoon and islands from central window, under picture described as No. 19. The ceiling paintings in this room are very fine; the subjects are historical, and are the works of P. Veronese, F. Bassano, Tintoretto, and Palma Giovane. Passing through a small corridor with a bust of Francis I. of Austria, we enter the Sala dello Scrutinio, or Hall of the Elections, or Voting Hall. It was in this room that the forty-one nobles were elected, upon whom devolved the nomination of the Doge. “It is a fact worthy mention, that, however jealously closed and vigilantly guarded against all obtruders might be the * “ Story of Italy.” 22 VENICE. Council Chambers of Venice at all other times, yet when the Senators entered the Hall of Scrutiny to cast their votes, even on the most secret and momentous questions, the doors were thrown wide, and even strangers in masks might watch the ballotings undisturbed. There were three urns of different colours : white for the affirmative, green for the negative, and red for neutral. The ballotings always took place in this Sala dello Scrntinio , and in this hall did Henry III. of France once cast a gilded ball in the election of a Procurator, and in this hall was Henry IV. elected a Patrician of Venice/’ Commencing at the right the pictures will be seen in the following order : — 1. Capture of Zara (1346) .... Tintoretto . 2. Capture of Cattaro (1378) . . . Vicentino . 3. Naval Battle of Lepanto (1571) . . . Vicentino . 4. The Castle of Margaritino in Albania destroyed (1571). Bellotti. 5. Mocenigo victorious at the Dardanelles (1656) Liheri. On the wall opposite to the entrance is the Triumphal Arch erected to the Doge Francesco Morosini, the conqueror of the Morea, and named therefrom “ Peloponnesiacus.” 6. Pepin besieging Venice (809) . . . Vicentino. 7. His Defeat in the Canal Orfano . . . Sa?ne. 8. The Caliph of Egypt defeated at Jaffa by Domenico Michieli (i 123) . ..... Peranda. 9. Capture of Tyre (1125) .... Aliense . 10. Roger King of Sicily defeated by the Venetians at Morea (1448) ...... Marco Vecellio. The gem in this room is considered by many to be the Last Judgment , by Palma Giovane, opposite the arch of Morosini. The Portraits of the Doges are continued on the frieze in this room, the last one being that of Lodovico Manin (1797). The Ceiling Paintings are mostly historical. The Library of St. Mark contains 120,000 vols., 10,000 MSS., coins, the celebrated Breviary of Cardinal Grimani, with miniatures by Hembling, &c., &c. Opposite the Library is the entrance to THE ARCH GEOLOGICAL MUSEUM, In five rooms in which, up to the 16th century, the Doges resided. These rooms contain many of the “ Spoils of Venice,” taken from the various scenes of Venetian victories. In the coii'idor is a fine collection of marbles. Note par- THE DOGE S PALACE. 23 ticularly two Muses from the amphitheatre at Pola, and a colossal Minerva. The Camera degli Scarlatti was once a bedroom of the Doge, and later on used by the members of the Grand Council as a wardrobe for their scarlet cloaks, from whence its name is derived. Chimney-piece (1490) very handsome. Over door a bas- relief of Doge Leonardo Loredano at the feet of the Virgin. The statues in this room are very fine, particularly Gladiator in his last struggle, Gladiator dying, Gladiator lying on his shield. Sala della Scudo, or hall of the shield, so named from the shield of the newly elected Doge being placed here. The room is hung with maps, charts, etc., descriptive of the coun- tries explored by Marco Polo and other celebrated Venetians. The most wonderful thing in the room is the Map of the World by Fra Manro , (a Camaldulensian monk of Murano,) executed in 1457-1459, the greatest curiosity of its kind in the world. It represents all that was known, or surmised, at the time it was taken. The Earth in the form of a heart, taken from a Turkish Gallery, the work of Hadji-Mahomed of Tunis, 1559. Camera dei Basso-relievi (room of Bas-reliefs). Camera dei Busti (room of the Busts). Camera degli Stucchi (room of Stucco Ornaments). Notice some paintings — - Holy Family ....... Salviati. Descent from the Cross ..... Pordenone. Adoration of the Magi ..... Bonifazio. The Birth of Christ ...... Bassano . The head of Doge Francesco Foscari in marble, the remnant of the statue at the Porta della Carta. We now retrace our steps through the Museum, and ascend- ing a flight of steps we reach the upper storey of the Palace, and commence a series of rooms magnificent in design, in objects of art, and in historical associations. The Sala della Bussola is so named from the wooden partition which formed the anti-chamber of the Council of Ten. The opening in the wall which once was adorned with a lion’s head is called the Bocca de Leone, or lion’s mouth, into which secret information or denunciation was thrown. Ceiling paint- ing by Veronese, chimney-piece by Sansovino, and two pictures, “The taking of Bergamo,” 1427 {Aliens e) ; “Surrender of Brescia,” 1426 {Same). 24 VENICE. Sala del Consiglio dei Dieci, Hall of the Council of Ten. Visit of the Magi ...... A /tense. Doge Sebastian Ziani met by the Pope Alexander III. on his return from victory over the Emperor Barbarossa. L. Bassano . Pope Clement VII. and Emperor Charles V. concluding the Peace of Bologna ..... Marco Vecellio. Ceiling paintings by Zelotii. It was in this hall that the Council of Ten, established in 1310, and invested with supreme authority, hated by many, dreaded by all, secret, powerful, relentless, and omnipotent, like the Vehme Gericht of Westphalia, sent forth its terrible decrees, and received its denunciations, through the lion’s mouth. “ The lion’s mouth was everywhere : at the landing of the Giants’ staircase, at the portals of the ducal palace, at the entrance of the chamber of the Ten; a lion’s mouth of marble, with yawning jaws, for every department of state, for every crime, for all corners, against all persons, for written or for oral communications, anonymous or signed ; and below each was inscribed, ‘ Denounce ! denounce ! 9 Once denounced, the victim is seized ; once seized, he is sentenced ; once sen- tenced, all is over. Nothing is seen, heard, suspected of his fate. He disappears! A man is suddenly missing to his family. Where is he ? They dare not ask. The Pozzi , the Piombi, the Ponte dei Sospiri ’ the Rio Orfano alone can tell. At midnight one hears a splash. He stops, he listens, he hears no more — all is still : he hurries on, breathless with terror, with quaking heart and footsteps. “ ‘ The thunderbolt Falls heavy, and the hand by which ’tis launch’d Is veiled in clouds.’ ” There is a strange fascination in the room, despite its beautiful adornments. For it was here that the doom of the aged Ealiero was pronounced (see p. 19), and his two accom- plices, Calendario and Bertuccio, were sentenced. Francis Bassan, Carrara, and a whole series of names come up to the mind of the visitor, and visions of strangulation, starvation, torture in the dungeons, and the executioner’s fatal axe between the columns of the Piazzetta, crowd upon the mind. With these associations in the memory, pass again through the Sala della Bussola to the Stanza dei tre capi del consiglio dei Dieci, or Room of the Three Heads of the Council of Ten. THE DOGE’S PALACE. 25 Here everything of the past is disguised, and the room is robbed of its horrors. Here sat the highest tribunal, a court higher and more terrible than the Ten. “ Here sat the Inquisitors concealed whilst they listened to the answers of witness or accused, as elicited by their secretary, who, without, questioned and recorded.” A secret door and a narrow stairway lead from this room to the terrible Piombi (or leads), chambers or narrow cells under the leaden roof of the Palace, fearfully hot in summer, and cold in winter, in which the prisoners were confined. It leads also to the Pozzi (wells or pits), the lower dungeons in the foundations of the palace. Much sympathy, and sentimental pity have been elicited by the Piombi and Pozzi : they have been represented as everything that torture could realize, and writers of romance have blackened them with horrors which have made their very names to inspire awe ; but no one who has visited the dark dungeons of Newgate, or Baden, or the Castles of the Rhine, would endorse the verdict that the cells of Venice were the worst in the world. A new prison was built at the beginning of the seventeenth century, since which time the Pozzi have not been used. Most modern writers agree that the dungeons of Venice were horrible, not so much from the construction of the places, as from the terrible secrecy as to the fate of those who entered them. Byron is responsible for creating much of the interest attaching to the Bridge of Sighs. It connects the new prison with the old palace, — a prison which John Howard declared was the best arranged, as regarded health and the claims of humanity, that he had ever visited. It is divided into two passages, and is not in itself ghastly. As the best view of it is to be obtained from the Ponte della Paglia, we shall defer quoting Byron’s lines till we reach that spot. Leaving the room of the Three, we arrive at a small Ante- room ( atrio qucidrato ), where ambassadors and others who ascended by the golden stairway, waited. On the ceiling is a painting by Tintoretto , of The Doge Priuli receiving the Sword of Justice. The Grand Hall of the Four Doors (Sala delle quattro porte). The four portals designed by Palladio (1575) are very beautiful, and the paintings in this room are good, especially “The Doge Grimani kneeling before Faith,” by Titian, con- sidered by many to be one of his most celebrated works, and 26 VENICE. described by Ruskin as an exhibition of the artist’s “ want of feeling and coarseness of conception.” Reception of the Persian Ambassadors by Doge Cicogna, in 1585 . . . . . Carletto Cagliari . Exquisite ceiling by Palladio and others. The Vestibule of the Ministerial Council {Anti- collegio) contains the celebrated pictures — Jacob’s return to Canaan .... Bassano. The Rape of Europa ..... Veronese . ' Ariadne and Bacchus ..... Tintoretto . The Hall of the Ministerial Council {Sal a del Collegio). In this room the business of state which was afterwards to be discussed in the Senate was prepared. The best picture in this room is The Christ in Glory by P Veronese , and ceiling paintings by the same. Hall of the Senate ( Sala del Senato , or Sala dei Prigadi), a magnificent room in which the Senate, numbering from 250 to 300, held their discussions. Descent from the Cross, by Tintoretto , “a most noble painting” (Ruskin). Venice, as Queen of the Sea, “ notable for the sweep of its dark-green surges, and for the daring character of its con- ception ” (Ruskin). The Doge Loredano in Prayer ( Tintoretto ). “ A grand work ” (Ruskin). Ante-room to the Chapel of the Doge {Anti-chie- setta) . Chapel of the Doge. Altar-piece of Carrara marble ( V Scctmozzi), over it a Madonna and Child by Sansovino . Notice specially — Christ in Hades ...... Giorgione . Ecce Homo ...... Albrecht Diirer. Crossing the Red Sea ..... Titian . Christ laid in the Grave . . . . . P Bordone . Annunciation to Shepherds at Bethlehem . "Jacopo Bassano . An allegorical picture by Bonifazio. Passage of the Red Sea . . . . . Titian. Returning into the Hall of the Senate, the Hall of the Council of Ten, etc., we can visit the prisons and Bridge of Sighs, if we have not already done so. 27 THE RIVA DEGLI SCHIAVONI Is a continuation of the Piazzetta and Molo. It is a fine broad quay, where a multitude of seafaring men of all nations may be seen at all hours of the day. The first bridge at the end of the Palace of the Doges is the Ponte della Paglia , from which the best and most popular view is obtained of the Bridge of Sighs {Ponte dei Sospiri), see p. 25. It is never worth while to disabuse the mind of any healthy poetical sentiments, and for many years it has been considered the proper thing to stand upon the Ponte della Paglia and indulge in dreams, or nightmares, when contemplating the Bridge of Sighs. We quote below the lines of Byron, which have made this spot immortal. “ I stood in Venice, on the Bridge of Sighs — A palace and a prison on each hand. I saw from out the wave her structures rise As from the stroke of the enchanter’s wand. A thousand years their cloudy wings expand Around me, and a dying glory smiles O’er the far times when many a subject land Looked to the winged Lion’s marble piles, Where Venice sate in state, throned on her hundred isles.” Ruskin describes the structure itself as “ a work of no merit, and of a late period and he adds, that it owes “the interest it possesses chiefly to its pretty name, and the ignorant senti- mentalism of Byron.” Howells, in his capital book, “Venetian Life,” describes it as “ that pathetic swindle, the Bridge of Sighs ; ” and all modern writers are agreed that it is not associated in any way with the names of great state prisoners, but merely with low and commonplace criminals, who require only the same sym- pathy we should give to those in Bridewell. Despite the above criticisms, however, it is a fine covered bridge. It does connect the prison with the palace ; and he must be destitute of poetical imagination, who, standing on the Ponte della Paglia in the moonlight, and seeing the black gon- dolas glide noiselessly under the bridge, cannot conjure up many strange fictions on his own account. The practical utility of the Bridge is, that, being divided into two passages, the prisoners can be brought to trial straight from the prison without passing through the public streets, and can be dismissed from the house of justice without exciting attention. 28 THE CHURCHES OF VENICE. SAN MARCO. There is a tradition that, as early as the year 550, a church stood on this spot, and was dedicated to St. Theodore, the first patron of the Republic. “ In the year 829, the body of St. Mark the Evangelist, which had long lain in the temple, founded by himself at Alexandria, if we may credit the prevalent tradition, was transferred to Venice by two merchants of the latter city, who, in contravention of an edict issued by the late doge, inhibiting the supply of arms and provisions to the enemies of the Eastern Empire, were carrying on a clandestine commerce with the Egyptian ports.” — Hazlitt. St. Mark then became the patron saint of Venice, and his remains repose, it is believed, under the high altar of the church. Whether there was a church or not before this time, the present magnificent edifice owes its origin to the advent of the sacred relics. It is built in the shape of a Greek cross, and occupies all the eastern side of the Piazza. In no other building, perhaps, in the world has there been lavished such costly material as in the composition of this church ; domes, columns (500 of marble on the outside), statues, mosaics, wondrous arches, altogether make up a building that might be mistaken as an architectural museum of all ages, a Mahom- medan mosque, or what it really is, the contribution of the art of numberless generations in the constitution of a Christian church. We can but point out a few of the principal objects which will interest the tourist. Over the principal entrance are the celebrated Four bronze horses, supposed to be the work of Lys- sippus, a Greek of the Isle of Chio, and designed for a triumphal car. Others maintain that they are of Roman workmanship, and surmounted triumphal arches of Augustus, Nero, Trajan, and others. Constantine sent them to Constantinople, and Doge Dandolo brought them to Venice, with other spoils of the East. Napoleon seized them in 1797, and sent them by way of the Alps to Paris, where they crowned the Triumphal Arch in the Place du Carrousel till 1815, when the Emperor Francis I. caused them to be sent back, and they were replaced where they now stand. These wonderful horses weigh each about two tons, and are of pure copper. They were once covered with gold. SAN MARCO. 29 In the pavement of the vestibule below is a Slab of Por- phyry, which marks the spot where that scene in history, so often quoted, and so variously described, occurred. Let Rogers describe it for us : — ‘ * In that temple porch (The brass is gone, the porphyry remains) Did Barbarossa fling his mantle off, And, kneeling, on his neck receive the foot Of the proud pontiff, — thus, at last, consoled For flight, disguise, and many an aguish shake On his stone pillow.” The facade is brilliant with mosaics, amongst which are spe- cially to be noticed the “ Embarkation ” and “ Disembarkation of the body of St. Mark,” and the “ Last Judgment;’’ in the upper arches are, the “ Descent from the Cross,” 44 Christ in Hades,” the 44 Resurrection ” and 44 Ascension.” The Vestibule is full of curiosities. The vault of it has a series of mosaics, illustrating the history of the Old Testament, many of them by the celebrated Francesco, and Valerio Zuccato. There are three doors of metal, inlaid with silver, leading into the church, the one on the right hand having been taken from the mosque of St. Sophia, at Constantinople (1203); there are also some columns which a legend says once ornamented the Temple at Jerusalem ; but the legend is doubtful. In the centre of this vestibule is the slab (or three red slabs) above referred to. On the right is the Zeno Chapel, with the magnificent tomb of Cardinal Zeno. At the extreme left hand of this vestibule is the tomb of Daniel Manin, the president of the Republic in 1848, one of the pioneers of Italian liberty ; the friend and compatriot of Nicolo Tomasseo, who has so recently (May, 1874) found a grave in Santa Croce, Florence. It will be remembered that the remains of Daniel Manin were brought from Paris in 1868, and re-interred in this great church — the first who had ever received the holy rite of burial here for three centuries ; and Venice will never forget that funeral procession of her beloved and idolized hero. The funeral gondola was decorated with much taste ; the bow being surmounted by the lion of St. Mark, resplendent with gold, and bearing the Venetian standard veiled with black crape. On both sides of the vessel, from fore to aft, ran transparencies, on which were painted the arms of the prin- cipal towns of Italy. At the stern stood two silvery colossal 30 VENICE. statues, representing the union of Italy with Venetia. Behind these two symbolical figures waved the national colours of Italy. At every angle rose up gigantesque torches and columns with cinerary urns. Magnificent was the funeral procession — gondola after gondola, draped in black, ‘ 4 steering in, And gliding up her streets as in a dream, So smoothly, silently — by many a dome, Mosque-like, and many a stately portico, The statues ranged along an azure sky ; By many a pile in more than eastern splendour, Of old the residence of merchant-kings ; The fronts of some, though time had shattered them, Still glowing with the richest hues of art, As though the wealth within them had run o’er.” Rogers. The interior of the church is more wonderful and im- pressive than the exterior, and is thus graphically described by Mr. Ruskin: — “ There opens before us a vast cave, hewn out into the form of a cross, and divided into shadowy aisles by many pillars. Round the domes of its roof the light enters only through nar- row apertures like large stars : and here and there a ray or two from some far-away casement wanders into the darkness, and casts a narrow phosphoric stream upon the waves of marble that heave and fall in a thousand colours upon the floor. What else there is of light is from torches or silver lamps, burning ceaselessly in the recesses of the chapels ; the roof sheathed with gold, and the polished walls covered with rich alabaster, give back at every curve and angle some feeble gleaming to the flames ; and the glories round the heads of the sculptured saints flash out upon us as we pass them, and sink again into gloom. Under foot and over head a continual succession of crowded imagery, one picture passing into another, as in a dream ; forms beautiful and terrible mixed together, dragons and serpents, and ravening beasts of prey, and graceful birds that in the midst of them drink from running fountains, and feed from vases of crystal ; the passions and the pleasures of human life symbolized together, and the mystery of its redemption, for the mazes of interwoven lines and changeful pictures lead always at last to the Cross, lifted and carved in every place, and upon every stone; sometimes with the serpent of eternity wrapt round it, sometimes with doves beneath its arms, and sweet herbage growing forth from its feet ; but conspicuous most of SAN MARCO. 3 1 all is the great rood that crosses the church before the altar, raised in bright blazonry against the shadow of the apse.” As it would be impossible to describe the mosaics which fill the church, we can only call attention to them, remarking that they are more brilliant and diversified and extensive than any that can be seen elsewhere ; as a writer says, 44 the whole inte- rior of the temple is draped with this tapestry of stone, these paintings of marble ; ” nor can we refer particularly to the wonderful marbles from all nations, executed in all ages, and representing every style and period of art. The Church of St. Mark is a marvellous museum, and every country where the fleet of Venice has been, has been laid under contribution, and the tourist will hear the professional guides telling the people they are conducting over the building, 44 This was from Tyre, and that from Greece, and the other from Constantinople,” as he points out pillars of porphyry, jasper, or verd-antique. We will, how- ever, mention some of the curiosities in detail. Over the central door is a mosaic of Christ, Mary, and St. Mark, the oldest in the church. The basin for holy water, of porphyry, on the right. The two pulpits of marble in front of the choir ; the one on the right ft used for preaching, and here the Doge made his first public appearance after his election. On the Screen which separates the Choir there are fourteen marble statues, representing St. Mark, the Madonna, and the twelve Apostles, by Jacob ello and Pietro Paolo Masegne. The Choir is decorated with bas-reliefs in bronze, of inci- dents in the life of St. Mark, by Sansovino . On the parapet of the stalls are eight figures in bronze — Four Evangelists (, Sansovino ) ; Four Teachers ( Caliari ). The high altar is richly ornamented, but the famous golden altar-piece Jala d' Oro), wrought on plates of gold, set with pearls and precious stones, and adorned with pictures in enamel, is only to be seen on special occasions. Under the altar the body of St. Mark is said to rest, (see p. 28.) Sacristy— Bronze door ( Sansovino ) ; rich mosaics above the door by Zuccato and others. The descent to the Crypt is made from the Sacristy. From 1569 till 1871 it was almost always filled with water ; it has now, however, been made water-tight, and is worth visiting. The Treasury of St. Mark ( Tesoro di S. Marco') is not so rich now as it was prior to 1797, but it still retains many curiosities ; among them two candelabra, by Benevennto Cellini ; the chair of St. Mark, said to have been used by the Evangelist at Alexandria; the sword of the Doge Morosini; and many 32 VENICE. relics which, if genuine, are sacred indeed, viz. — some of the blood of the Saviour in a crystal vase, a portion of the skull of St. John, a piece of the true Cross, etc., etc. The Baptistery is in the right aisle, near the principal entrance ; large bronze font (1545) ; monument of Doge Andrea Dandolo, “ Petrarch’s friend, and known as the first historian of Venice.” Reliefs and statues of John Baptist, and the stone on which he was beheaded. The stone of the altar-piece was brought from Mount Tabor. The Zeno Chapel, with a magnificent monument to the Cardinal after whom it is named, and an altar in bronze. There are other chapels and curiosities in the church, of minor import- ance, which we cannot particularly describe, but the tourist will readily find out. At the altar of the Madonna in the left tran- sept there is a very ancient picture of the Virgin; it was brought from Constantinople by the Doge Enrico Dandolo, and is said to have been painted by St. Luke the Evangelist. When the church has been well inspected, a tour round the Gallery should be made, in order to have a close view of the mosaics, and to get the general effects of the building. SANTA MARIE DELLA SALUTE ( Holy Mary of the Salvatioii) Is considered by many as the second church in magnificence to the Church of St. Mark. It stands at the entrance of the Grand Canal, a noble and imposing structure, adorned in its three facades with nearly one hundred statues ; it is surmounted with an elegant dome, and is approached by a flight of sixteen marble steps. Venice has been subjected at various times to the fearful scourge of the plague, and in the year 1631, 60,000 of the inhabitants were swept away by the horrible visita- tion. When the plague was at its height, the Doge Contarini and the Patriarch Tiepolo entered into a covenant to erect a memorial in honour of the Virgin so soon as the plague should be stayed. It is said that on the same day that the cove- nant was made the plague ceased, and the visitor to the church will find upon the high altar a fine group in marble, by Lecurt, representing the Virgin banishing the demons of the plague. The church was built by Baldassare Longhena, and its foundations were laid on 1,200,000 piles. There are many curiosities in the church which deserve attention. The monolith pillars around the high altar were brought from the amphi- THE FRARI. 33 theatre at Pola. The large bronze candelabrum is by Andrea Bresciano. On the roof behind the high altar are four paintings by Salviati, and eight by Titian. The portrait of Titian is introduced under the guise of St. Matthew. In the ante-room of the sacristy is Titian’s celebrated painting of St. Mark and four Saints, which, before it was restored, Ruskin considered by far the best work of Titian’s in Venice ; (it will be remembered that Titian died of the plague in Venice in 1576.) In the sacristy will be found a painting considered by many to be the masterpiece of Tintoretto, “ The Marriage in Cana.” Tintoretto only affixed his name to three pictures, one of them being the “ Marriage in Cana.” There are many Madonnas in the sacristy, and some fine ceiling paintings by Titian; that of the “Death of Abel” deserving special attention. There are six altars in the church, beside the high altar, all deserving attention ; but the great curiosity of the church, apart from its own architectural magnificence, is Tintoretto’s picture. In the oratory of the Seminario Patriarcale is the tomb of Sansovino, who was, it is said, a wanderer all his life, and whose remains have been wandering ever since his death. THE FRARI {Or Santa Maria Gloriosa del Frari) Was erected for the Minorite Brethren (Frati Minori, in the dia- lect, Frari) in 1250 — 1338, and was designed by Nicolo Pisano. It is the St. Paul’s of Venice, or the Westminster Abbey, if SS. Giovanni e Paolo be accepted as the Westminster Abbey. It is built in the Italian-Gothic style, and contains a number of monuments of great interest. On the right hand as you enter is the Monument of Titian, who died of the plague in 1576. “A law had been made during the plague, that none should be buried in the churches, but that all the dead bodies should be carried beyond the precincts of the city; an exception, however, even in that hour of terror and anguish, was made in favour of Titian.” His remains were borne with honour to the tomb, and deposited in the church of Santa Maria dei Frari, for which he had painted his famous “ Assumption,” now in the Academy. The monument is a vast canopy, or triumphal arch, under which is a statue of Titian, seated, with one hand resting upon the Book of Art, while with the other he is represented as 3 34 VENICE. lifting the veil of Nature. Surrounding him are figures repre- senting Painting, Wood-carving, Sculpture, and Architecture, while on the wall behind him are bas-reliefs of his three greatest works, the “Assumption” (p. 56), the “Martyrdom of St. Lawrence,” and the “ Martyrdom of St. Peter.” Two flying angels bear the simple inscription — “Titiano Ferdinandus I., MDCCCLII.” Immediately opposite is the Monument of Canova. Only the heart of this great master is buried here ; his body rests in his native village of Passagnano, near Bassano, while his right hand is preserved in the Academy of Arts. The design of this monument was Canova’s own, and was originally intended for Titian, but was used for the Archduchess Christina of Austria, and may be seen in the church of the Augustines at Vienna. Canova’s monu- ment was executed by his pupils, Rinaldo Rinaldi, Ferrari, Martini, and Bosa. It represents a pyramid of Carrara marble, in the centre of which are doors opening into a tomb, with figures of Religion, Art, and Genius, entering in funeral pro- cession. It is a striking monument ; but whether in good taste or not, let those who visit it decide. Ruskin rather exhausts himself in calling it “ intolerable in affectation, ridiculous in conception,” and so on. The inscription is simply — “ Hie Canova.” He died in Venice in 1822, aged 65, and left behind him over 160 noble works. “ Europe — the world — has but one Canova.” — Byron . Having inspected these two famous monuments, a tour of the church may be made. Commencing at the left, after the monument of Titian , altar-piece, Presentation of the Virgin; monument to Almerico d’Este, a general of the Republic ; third altar, a statue of St. Jerome, by Alessandro Vittoria , said to be a portrait of Titian in his old age ; fourth altar, Martyrdom of St. Catherine, by Palma Giova?ie . In the transept to the right, monument of Jacopo Marcello , j 4 8 4 - A fine altar-piece in four sections by Bartolommeo Vivarini , 1482. Sacristy, magnificent shrine by Francesco Penso . Altar-piece in three sections, by Giovanni Bellini . THE FRARI. 35 In the chapel of the high altar is the monument of the unfor- tunate Doge, Francesco Foscari, on the right, and of Doge, Nicolo Tron on the left. The story of Foscari is so well known in Byron’s tragedy that only a brief historical notice, condensed from the “ Story of Italy,” need be inserted here. Doge Francesco Foscari had distinguished himself as an able general in his youth, and to extreme old age was a powerful ruler, and held in high esteem, but his latter days were full of sorrow ; his family troubles and sad end make a touching story. His son Giacopo was accused of “ having received presents from foreign princes/’ especially from the Duke of Milan, and was brought to trial before the Council of Ten. He was tortured on the rack, and pronounced guilty; the Doge, in spite of his paternal anguish, having to pronounce his sentence of banishment. Napoli di Romania was to be the place of his exile, but he fell ill at Treviso, and was per- mitted to remain there, but not to quit it on pain of death. Some years after this, Donato, a senator, was returning home late one evening, when he was murdered at his own door, and suspicion fell on Giacopo, his manservant having been seen in the city on the night of the murder. He was sought out and tortured, but had nothing to confess. The Council then sent for young Foscari from Treviso, and put him on the rack, but drew nothing from him but the con- stant assurance of his innocence. The Council therefore, not finding sufficient cause for putting him to death, banished him for life to Candia. From this place of exile the unfortunate prisoner continually wrote to his friends, entreating them to get his sentence re- versed. One of these letters he foolishly addressed to the Duke of Milan. This was treasonable in a Venetian; an enemy carried it to the Council of Ten, and Foscari was again brought before his judges, who sentenced him to receive thirty stripes. Being asked between the intervals of the strappado, what induced him to write to the Duke, he replied that he thought if the letter miscarried he should be brought to Venice, and he would gladly undergo all the torture once more to be near his beloved family. This affecting confession only made his judges more bitter, and they sentenced him to be kept in close captivity for a year. They granted him, however, a farewell interview with his family, but only in their presence. 36 VENICE. When the aged Doge, his venerable wife, Giacopo’s wife and four children, were brought into the council-room, Giacopo fell at his father’s feet weeping in agony of mind and racked limbs, and cried, “O my lord ! my father, plead for me, that I may remain at home ; ” and the heart-stricken father replied, “ Obey what thy country commands, and seek nothing else.” After tenderly embracing them all he was hurried to the vessel which was to convey him to Candia. No sooner had they started, than Erizzo, a Venetian nobleman on his dying bed, acknow- ledged that he had murdered Donato, but the confession came too late ; heart-broken and hopeless, Giacopo died on reaching his prison. Francesco Foscari had twice sought to abdicate, but the Senate would not accept his resignation. But through the machinations of his enemy Loredano (who wished to add this pang to the agony of the old man’s parting with his son), a deputation was sent requesting the Doge to abdicate. They assigned him a pension, and commanded him to leave the ducal palace in eight days. On hearing the decree, Foscari remarked, “ I never foresaw that my old age would be preju- dicial to the state ; however, the decree is passed, and I yield to it.” But it was too much. The next day, hearing the bell of St. Mark’s announce the election of his successor, his agitation was so great that it caused the rupture of a blood-vessel, and almost instant death ensued. Titian’s world-famed picture, “The Assumption,” formerly hung in this church, and its place is now occupied by Salviati’s picture of the same subject. The stalls of the choir are of inlaid wood-work, by Marco da Vicenza. In the adjoining chapels should be noticed — Chapel 5. Madonna and Saints . . Bernardino Licinio . Chapel 6. Tomb of General Trevisano. Gilded altar, carved and coloured wood. Statue of John Baptist, by Donatello . Chapel 7. St. Ambrose and Saints Vivarini and Mai'co Basaiti . In the left transept, monument to Generossa Orsini, wife of Maffeo Zen. Altar-piece in three sections, by B. Vivarini. In the left side nave, Chapel of St. Peter, with statue of John Baptist, by Sa?isovino; monument of fine oriental marble to Jacopo Pesaro, 1547 ; over it an altar-piece much admired, by Titian . Then follows the most gorgeous monument to the Doge SS. GIOVANNI E PAOLO. 37 Giovanni Pesaro ; it is a stupendous work, and has been ridiculed and praised by turns. A writer says this monument “ will attract attention for its unique, its grotesque design, and for nothing besides. It is that of the Doge Pesaro, who died in 1660, from the effects of a fall down one of the secret stair- cases of the Ducal Palace. He reigned but three years, and his pompous tomb presents one of the numerous instances at Venice, wherein the monument of the prince seems imposing and splendid, in exact ratio to the brevity and insignificance of his administration. The ponderous mausoleum presses with crushing weight on the shoulders of two unhappy negroes, black as the blackest marble can make them ; their sable knees bursting through their white drawers, in their desperate efforts to sustain their burden. In the centre of the monument, above all, complacently sits the marble Doge ; and on each side of him is a bronze skeleton bearing a scroll, and a dragon bearing an urn ! Another figure is at the same time offering the Doge a crown, which he is very modestly declining ! ” In a monastery adjoining the church of the Frari are the archives, one of the largest collections in the world; there are 14,000,000 documents, dating from 883 to our own day. The building contains 400 rooms, 300 of which are filled with these historical treasures. SS. GIOVANNI E PAOLO. The Church of Saints John and Paul is the pantheon of Venice. It was commenced in 1240, and completed in 1430, and is supposed to be the design of Nicolo Pisano. It was here that the Doges of Venice found their last resting-place, to which they were usually attended by the whole senate. In the right side-nave, Tomb of Doge Pietro Mocenigo (1476), with fifteen statues by the Lo? 7 ibardi . Tomb of Admiral Girolamo Canal ([535). Pyramid tomb of the painter Melchior Lanza. Tomb of Marc Antonio Bragadino, the champion and martyr of Cyprus, who was flayed alive by the Turks. His skin was sent as a trophy to Constantinople. After it had been stuffed with hay, and carried through the city, it was ransomed by his family at a great cost, and is buried here in an urn. Altar-piece (very fine) . . Bellini , Vivarini , or Carpaccio, Over doors, Tombs of the Valier family, rich in statues 38 VENICE. and reliefs. In the chapel below, St. Hyacinth crossing a river ....... Leandro Bassano . Transept to the right. St. Augustine ( B . Vivarini). Tomb of Nicolo Orsini, wooden equestrian statue. Altar-piece — San Antonio dispensing alms . Lorenzo Lotto . Fine painted glass window. ‘ . . B. Vivarini . Altar-piece — Christ, St. Andrew, St. Paul . Rocco Marconi . In the Choir there are several chapels, and some mag- nificent tombs, particularly Tomb of Michele Morosini (Gothic). Tomb of Leonardo Loredano „ Tomb of Andrea Vendramin (Renaissance). Alessandro Leopardi \ Opinions differ considerably as to the merits of the last tomb as a work of art, and also of Vendramin as a man and a Doge. The following from Ruskin is submitted : — “In the choir of the same church (SS. Giov. and Paolo) is another tomb, that of the Doge Andrea Vendramin. This Doge died in 1478, after a short reign of two years, the most disastrous in the annals of Venice. He died of a pestilence which followed the ravages of the Turks, carried to the shores of the lagoons. He died leaving Venice disgraced by sea and land, with the smoke of hostile devastation rising in the blue distance of Friuli; and then was raised to him the most costly tomb ever bestowed on her monarchs.” Mr. Ruskin objects to this monument on various grounds, too lengthy to quote, but the tone of the objections will be gathered from the sentence with which he sums up the matter : “ But now, reader, comes the very gist and point of the whole matter. This lying monument to a dishonoured doge, this culminating pride of the Renaissance art of Venice, is at least veracious, if in nothing else, in its testimony to the character of its sculptor. He was banished from Venice for forgery in 1487.” Tomb of Marco Conaro (Gothic). In the chapel of the Trinity is the Sarcophagus of Andrea Morosini. Fine altar-piece — The Holy Trinity, by L. Bassano. In the left transept is a marble group representing Vittore Capello receiving the staff of command. He was defeated at Negroponte, and died of grief in consequence. The Chapel of the Rosary was the gem of this wonder- IL REDENTORE. 39 ful church ; it is now a mass of ruins, blackened and charred by fire. It was destroyed in 1867, and with it the most valuable paintings of the church, which had been deposited in the chapel during repairs in the church. Amongst them Titian’s cele- brated San Pietro Martire, his finest work, and the second in regard of merit in the world ; and Bellini’s Madonna. Continuing in the transept — Tomb of Agnes and Ursula Venier (1411). Equestrian Statue of Leonardo da Prato. In the left side nave, Painting on wall, The Crucifixion. Tintoretto.. Above door of sacristy, busts of Titian, and elder and younger Palma. Tomb of Doge Pasquale Malipiero (Renaissance, 1462). Tomb of senator, G. B. Bonzio. Tomb of Doge Tomasseo Mocenigo. Tomb of Nicolo Marcello. Altar-piece — St. Pietro Martire, (a copy of Titian’s picture destroyed in the chapel of the Rosary,) presented by Victor Emmanuel. Tomb of Doge Giovanni Mocenigo, and other tombs belonging to the same family. The visitor who is staying a long time in Venice will find a great deal of pleasant material for “ reading up ” in this church. Close beside this church is the Scuola di S. Marco, built by the Lombardi, celebrated for its facade ; the building is now used as an hospital. In the Campo is the equestrian monument of Colleoni, a general of the Republic, who is said to have been the first to use field pieces in warfare in 1475. DEL SANTISSIMO REDENTORE. ( The Church of the Most Holy Redeemer .) During the great plague of 1557, the Doge Moncenigo and the Patriarch Trevisano vowed, as did Contarini and Tiepolo (see p. 32), that they would build a church. The plague ceased, and at once the aid of Palladio was called in. The result was this masterpiece of his art ; and the whole event is celebrated to this day by a festival called the Sagra del Redentore , when two bridges of boats are thrown over the canal to make access easy, and after services in the church, festivities on the 40 VENICE. water, musical processions, and such-like are kept up till a late hour. In the interior observe on the right- Chapel i. Birth of Christ 2. Baptism of Christ . 3. Scourging of Christ On the left — Chapel 4. Descent from the Cross Resurrection of Christ . Ascension of Christ of the church are three 5 - 6 . The gems sacristy F. Bassano. Carletto Cagliari . . Tintoretto. Palma Giovane. F Bassano . . Tintoretto. Madonnas in the Giovanni Bellini. S. GIORGIO MAGGIORE, (On the island opposite the Piazzetta.) This church was commenced in 1565 by Andrea Palladio, and was completed in 1610 by Scamozzi. The interior is a Latin cross. The first altar-piece on the right has a Nativity by Jacopo Bassano. 3rd and 4th altars — A Martyrdom, and Coronation of the Virgin . Tintoretto. High Altar. — Fall of Manna — (“one of Tintoretto’s most remarkable landscapes ” (Ruskin), and The Last Supper Tintoretto . There is a fine bronze group over the high altar, representing God the Father seated on a gilded globe supported by the Evangelists. The Choir Stalls, forty-eight in number, are very beauti- ful, and represent the legends of St. Benedict — they are the work of the seventeenth century . . . Alberto de Bride. On the right of the choir is the Tomb of the Doge Domenico Michiel, the conqueror of Jaffa and Tyre, and the isles of the Archipelago, who died in 1129. On his return, the Doge, having, “ like so many of his predecessors, formed a wish to pass the remainder of his days in the privacy of the cloister, expressed an intention to abdicate ; he had selected as the place of his retirement the abbey of San Giorgio Maggiore, which, it will be remembered, had been founded a century and a half before, by the monk Morosini. Michiel survived his pious resolution, however, only a few months ; the vaults of San Giorgio were opened to receive his remains, and on his tomb S. SEBASTIANO. 4 1 the Venetians wrote with pride and truth — Terr os Graecorum jacet hie (1128).” On the left — Resurrection of Christ . . . . Tintoretto . Martyrdom of St. Stephen ...... Statue of Madonna and Child . . ^ G. Campagna. Martyrdom of St. Lucia . ... L. Bassano. Tombs of the Doges Leonardo Donato (1612) and Marc Anto- nio Memmo (1616). No one must omit to ascend the Campanile, which is easy to mount, and amply repays the trouble ; the view is not perhaps finer, if so fine, as from the Campanile in the Piazza, but it commands a decidedly better view of the islands of the Lagoons and of places which cannot be so well seen from its opposite neighbour. S. SEBASTIANO. Built 1506. This church is sacred to the memory of Paul Cagliari, better known as Paolo Veronese. When that great master came from Verona, which at that time boasted a multitude of painters, the first works which at- tracted any attention after his settlement in Venice were those he had been commissioned to execute for the church of San Sebastiano. From that time forth his fame was established for ever, and dying in Venice, no place could be more suitable for his tomb than the scene of his early labours. Around the church have hung for many generations some of his choicest works — (at the present time many of them are in the Academy during the restoration of the church. ) The tomb of Veronese bears this inscription : — “ Paolo Caliaro Veronesi pictori , naturae aemulo , artis mira - culo , superstiie fatis, fa 7 na victuroP There are many objects of interest in the church — I. Altar — right hand. St. Nicholas ....... Titian. Painted in his 86th year. II. Madonna and Child . ... P. Veronese. III. Marble Group — Madonna and Child Tommasso da Lugano. IV. Crucifixion ...... P. Veronese. A handsome monument to Bishop Podocataro . Sansovino. 42 VENICE. The chapel of the high altar is entirely the painting of Paolo Veronese. Notice specially on the wall, right and left — Martyrdom of St. Sebastian, and of SS. Mark and Marcellinus. In the sacristy the ceiling paintings are said to be the first pictures executed by Veronese in Venice, when he was only twenty-four years of age. In the church the ceiling paintings represent the history of Esther, also by Veronese, and are the works which brought him into notoriety. SAN SALVATORE. This magnificent church, stamped with the genius of Tullio Lombardo, Sansovino, Scamozzi, and others, is under repair, and the pictures have been removed to the academy. It will be enough, therefore, to say that the church contains some rich treasures and remarkable tombs and remains. The finest tomb is that of the Doge Francesco Venier. Here also are buried Andrea Dolphin and his wife (1602); Catherine Cornaro, Queen of Cyprus (1580), who is represented as “ offering the crown of her island kingdom to the Doge — albeit in very sooth an offer more compulsory on the part of the spirited sovereign than spontaneous ; ” Doges Lorenzo and Girolamo Priuli (1556 — 1557). S. MARIA FORMOSA. Cruciform Church, built 1492, fagade has statue of General Vincenzo Capello ..... Domenico da Salo. The best picture in the church is that over the first altar (right), St. Barbara and Saints . . . Palma Vecchio . Second altar, St. Anna and St. Joachim . . B . Vivarinu Third altar, Mater Dolorosa . . . Palma Giovarie. It was from this church, say some, although others lay the plot at San Pietro di Castello, that the Brides of Venice were captured. “ It was an ancient annual usage for twelve poor virgins, endowed by the state, to be united to their lovers on St. Mary's Eve, in the Church of St. Peter the Apostle, at Olivolo. On this auspicious day the parents, friends, and kinsfolk of the betrothed used to assemble betimes on that island, and from an early hour barks gaily decorated with S. FRANCESCO DELLA VIGNA. 43 flowers and streamers might be seen gliding along the canals, bearing the happy couples, their dowers and marriage presents to St. Peter's. On one of these occasions a band of Corsairs from Trieste pounced upon them as they stood at the altar, bore them senseless to their barks, and set sail for Trieste. The Doge summoned the people to arms, and a body of trunkmakers in the parish of S. Maria Formosa rushed to the rescue, overtook the delinquents, and inflicted a terrible retri- bution. The brides came back to Olivolo with all their treasure, and from that time forth for centuries, every year a procession of young virgins, attended by the Doge and clergy, paid a visit of ceremony to the parish of Santa Maria Formosa, where they received an hospitable welcome from the trunk- makers.’' — Hazlitfs History of Venice . S. FRANCESCO DELLA VIGNA, Occupying the site of an ancient vineyard, whence its name is derived. The facade is by Palladio. The interior after a design by Sansovino. The two statues in the exterior are Moses and St. Paul, by Aspetti. In the interior of the church notice — Statuettes in bronze, St. John Baptist and St. Francis, on basins for holy water . . . . . A . Vittoria. There are seventeen chapels, some of them profusely orna- mented with various coloured marbles. In the fourth chapel, altar-piece, Resurrection of Christ. P. Veronese . High altar. Tombs of the Gritti family. To the left, tomb of Doge Andrea Gritti, “ a sage, brave, and astute old Doge." The Capella Giustiniani, to the left of the high altar, is full of magnificent sculpture (15th century), considered to be some of the finest in Venice. The subjects are (altar-piece) St. Jerome, Michael the Archangel, St. Agnes. Left, St. Anthony of Padua, St. James. Above, Madonna and Angels. Parapet, the Last Judgment. The sides of the chapel, Four Evangelists, Twelve Prophets. In the Capella Santa — Altar-piece, Madonna and Child, with Four Saints G. Bellini. Sacristy. Altar-piece, curious, Jacobello del Fiore. Over pulpit, God the Father and Son . . . G. Santacvoce. 44 VENICE. In the chapels to the left — Chapel t. Altar-piece, Madonna and Saints . P. Veronese. 2. ,, ,, . G. Salviati. 3. Tombs of the Doge and Family Sagredo (1676). 4. Three statues . . . . A. Vittoria. GLI SCALZI. (Close by the Railway.) This church belongs to the Bare-footed Friars, and is a marvel of profuse and sumptuous decoration. Like the church of the Jesuits, it is, from roof to floor, one magnificent mass of marble, and one gets bewildered with gazing upon its many- coloured altars, which are composed of every variety of costly marble, precious stones, and mosaics. Many patrician families have their tombs here ; but there are few other objects of particular interest in the church, except the tomb of the last Doge, Lodovico Manin, who was buried here in 1802. There is a fine picture by Bellini behind the high altar. No one should omit to visit this church, as it is a curiosity such as can only be seen in Venice. SANTA MARIA ZOBENIGO. The church is a memorial to the Barbaro family, whose statues adorn the fa9ade, together with many geographical problems and pictures of sea-fights. The church contains one good Tintoretto of Christ with SS. Justina and Augustine. S. GIACOMO Dl RIALTO. A curious little church in the Piazza di Rialto. “It will surely not be left unvisited on this ground, if on no other, that it stands on the site, and still retains the name, of the first church ever built on that Rialto, which formed the nucleus of future Venice, and became afterwards the mart of her mer- chants.” 45 S. GIOVANNI ELEMOSINARIO. Not of great interest. The campanile adjoining it is fine. Contains — S. Giovanni giving alms .... Titian. Three Saints ...... Pordetione . Madonna and three Saints .... Bonifazio . SAN GIOBBE. Canal reggio. This church has special interest for the architect, both in its external and internal arrangements and adornments, containing some fine examples of the archi- tecture of the 15th century. The pictures in this church are not remarkable, although attention should be given to the portrait of the Doge Cristoforo Moro, by Giovanni Bellini . The tomb of this Doge is in the church. S. ROCCO, Built 1490, is remarkable for what it contains more than for what it is in itself. There are many pictures in it by Tintoretto, amongst them the Miracle at Bethesda, the Annunciation, and two scenes in the life of San Rocco. The high altar is richly decorated, and contains, it is said, the body of the Saint . . Scuola di S. Rocco (see p. 62). S. PANTALEONE. Built 1668. An unimportant church, but containing a picture of the Saint working a miracle . . . . P. Veronese . The Coronation of the Virgin Giovanni and Antonio da Mur ano. And specially deserving notice, a Burial of Christ in high relief (1444). CHURCH OF THE JESUITS. (La Chiesa Dd Gesuiti .) Built in the years 1715-30 by Domenico Rossi, the cost having been defrayed by alms collected by the order. This is one of the most curious churches in the world. On entering you are under the impression that it is lined throughout with a chintz 46 VENICE. somewhat faded, through which runs a pattern in green. You notice the pulpit with heavy curtains around it of the same material, and the altar-steps covered with a carpet made to match. But a nearer glance shows you the whole is marble : from floor to ceiling, from entrance to altar, all is white marble, and the “ green pattern ” is nothing less than verd- antique. The high altar is rich to a degree with costly* marbles. 'Ten solid columns of verd-antique sustain the baldacchino, while the tabernacle is of lapis-lazuli; “the carpet ” before the altar proves to be a rich marble mosaic. Upon the altar is a repre- sentation of God the Father and the Son, upon a marble globe. The principal monuments are — To the right of high altar, tomb of Orazio Farnese (1654); to the left, tomb of the Doge Pasquale Cicogna. It was he who caused the Rialto bridge of marble, which now adorns the Grand Canal, to replace the old Rialto bridge of wood. Sacristy. Finding of the Cross . . Palma Giovane. Altar-piece, Madonna and Saints . . Palma Giovane . Circumcision of Christ ..... Tintoretto . In the left transept, altar-piece, Assumption of the Virgin. Tintoretto . Near the main entrance (left) is the Martyrdom of St. Law- Tence Titian . This picture was at the Louvre from 1797 to 1815. SAN ZACCARI A. Built 1456-1515. Over the door, statue of the Patron Saint, by ........ A. Vittoria . Among the objects of interest in this church should be noticed the large pictures covering the walls of the nave, representing scenes in the history of the church. Altar-piece 1. Madonna and Saints . . Palma Vecchio . ,, 2. S. Zaccaria * . . Palma Giovane . In the chapel of San Tarasio, three richly carved wood altars •and old paintings by the . . . Vivarmi of Mur ano. Behind high altar, The Circumcision . . . G. Bellini . Beside the door of sacristy, Tomb of A. Vittoria. Last altar, Madonna enthroned, and Saints, by G. Bellini . (One of the pictures taken to Paris and restored in 1815.) 47 S. MARIA DELL 5 ORTO. The facade was built by Pietro Lombardo, and has recently been restored. The Twelve Apostles in the niches are said to be the work of Bartolommeo Buono. The Campanile is of elegant design and workmanship. There are a number of fine pictures in this church, the most remark- able being that of the Last Judgment : a curious representation, and a great work as regards size (60 by 30 feet) . Tintoretto . In the right nave, the first altar-piece, John the Baptist and other Saints ..... Cima da Conegliano . Third altar, Statue of Madonna . . . Sansovino. Between this and next altar, Monument of Hieronymus Caraccio (1657). Above sacristy, Virgin and Child . . Giov. de Sanctis . In the sacristy, Portraits of Saints. To the right of the high altar is the tomb of Tintoretto. “Tintoretto, or Tintoret, was born in Venice in 1512. His real name was Jacopo Robusti, Tintoretto being a nickname, signifying the little dyer, in allusion to the trade of his father. He was a pupil in the school of Titian, from which it is stated he was expelled, as his taste for art seemed of a doubtful order. Tradition says that when he set up a school of his own, he in- scribed over the door this modest declaration : — 4 The drawing of Michael Angelo, and the colouring of Titian.’ ” He worked with tremendous energy, and coloured miles of canvas; but to three pictures only did he affix his name, — The “Crucifixion,” and the “Miracle of the Slave,” in the church of St. Roch, Venice; the other, the “Marriage at Cana,” in the Church of Santa Maria della Salute. On the left of the choir, St. Stephen and Saints, by Palma Vecchio. In the Contarini Chapel, the altar-piece, representing the Miracles of St. Agnes, is by Tintoretto . Six busts of Contarini family, two by A . Vittoria . S. GIOVANNI CRISOSTOMO. Renaissance r 1485. The special objects of attraction in this church are few. On the right first altar, Three Saints . . Giovanni Bellini . 48 VENICE. High altar, St. Chrysostom and Saints Sebastiano del Piombo. (Probably designed by Giorgione.) Last altar but one, on the left, Coronation of Virgin, Christ and Twelve Apostles, fine bas-reliefs by . Tullio Lombardo. S. MARIA DEI MIRACOLI. This church was built by Pietro Lombardo, and has a mag- nificent facade of marble. At present the facade is all that can be seen, as the church is under repair, and its restoration will not be complete for some years. SAN GIULIANO. Built 1553. Fagade by Sansovino . Contains — The Body of the Saviour borne by Angels . Paid Veronese. Coronation of the Virgin . . Girolamo Santacroce. In the chapel of the sacrament is the famous marble group of The Dead Saviour supported by Angels, Girolamo Campagna . Notice also the Last Supper . . . P. Veronese . The Agony in Gethsemane . . . Palma Giovane. Madonna and Saints . . . Boccaccino da Cremona . SAN PIETRO Dl CASTELLO. Until the year 1807, this was the cathedral church of the city, and the adjacent Barracks was the seat of the patriarchs. It is of vast size, and was designed by Palladio in 1557. The Campanile is rather out of the perpendicular ; it dates from 1474. It was from this old church, say some authorities, that the “Brides of Venice ” were carried away (see p. 42) by the Istrian Corsairs. There are only a few objects of interest now in the church, the principal being an antique marble throne , said to be the chair of St. Peter. It was brought from Antioch, but the inscriptions upon it, of verses from the Koran, have given the impression to some that it was the throne of a Mahomedan monarch. An altar-piece — SS. Peter, Paul, and John . P. Veronese . Vendramin Chapel, rich in marbles, but not in good taste. All Saints' Chapel — A Mosaic of Paradise . . Zuccato . The Church of St. Pietro was rebuilt in 1621. 49 SAN GIOVANNI. IN BRAGORA, A very old church, but rebuilt in 1728. It has three naves, adorned with paintings. Amongst them — Right-hand chapel — Madonna and child . . G . Bellini. Altar-piece — SS. Andrew, Jerome, and Martin A . Vivarini . Last Supper Bordone . Before the altar of the Madonna — • Christ appearing before Pilate . . . Palma Giovane. And a few paintings by ... B. Vivarini. S. GIORGIO DEGLI SCHIAVONI. The Renaissance fagade is handsome. Above the door — St. George on Horseback .... Pietro da Salo . In the interior (right) there are three pictures by Carpaccio, representing — St. Jerome in his cell — St. Jerome and the lion — Death of St. Jerome. There are other pictures by the same artist. Jesus in the house of the Pharisee — Jesus on the Mount of Olives — St. Tryphon — Scenes in the Life of St. George (who was the patron saint of the lay-Brotherhood of the Dalmatians, for whom the church was built.) SAN STEFANO, An interesting building of Central-Gothic, the best ecclesiastical example of it in Venice. It was built in the fourteenth cen- tury. In the sacristy, Statues SS. John the Baptist and Anthony of Padua ....... Pietro Lombardo. High altar adorned with Florentine mosaics ; marble statues, Apostles, Evangelists, and Fathers of the Church. Two bronze candelabra (1577) . . . A. Vittoria . There is a tradition, that when Luther was on his way to Rome, he tarried in the cloisters adjoining the church, and celebrated mass at this altar. The principal tombs of note are those of Suriano, a physician ( 1 5 1 1 ). In the centre of the church, a marble slab marks the last resting-place of the celebrated Doge Francesco Morosini (see p. 22). 4 50 VENICE. The cloister adjoining the church was once remarkable for its frescoes by Pordenone, few traces of which are now remaining. These traces, however, have an interest from the fact that “ between Titian and Pordenone there existed not only rivalry, but a personal hatred, so bitter that Pordenone affected to think his life in danger, and when at Venice painted with his shield and poniard lying beside him.” In this way were the frescoes in the cloister painted. THE GRAND CANAL. ( Canal Grande = Canalazzo . ) The Grand Canal is nearly two miles long, serpentine in shape, and intersects the city from north-west to south-east. It is the main “ street ” of the city, which it divides into two unequal parts. From one end to the other, houses, palaces, public buildings, and churches rise out of the water. Innumer- able gondolas glide hither and thither, and here in fashionable hours the aristocratic life of Venice may be seen. It is to Venice what Hyde Park is to London, and the row in the gondola cor- responds to the drive in other cities ; the Grand Canal being the principal resort for those who drive, while the Piazza San Marco is the place for promenade. As long as the tourist remains in Venice he will never tire of the Grand Canal. We recommend that the “tour” should be made for the first time with the simple object of taking in the startling and wonderful general effects displayed on every hand, reserving for another occasion an examination of the magnificent edifices in detail. It should be seen in the day- time, when alive with traffic, and it should be traversed by night, especially if the moon and stars are bright. Every palace has a history, legend, or romance attached to it; and as the gondolier calls out the names of the places passed, a flood of memories will be recalled by the student of Venetian history. Starting in our gondola from the Piazzetta, we have the Island of Giudecca on the left, and the Gardens of the Palace on our right. We shall only point out the objects of principal interest, and leave the gondolier to do the rest. THE GRAND CANAL. Left. Maritime Custom House (Dogana di Mare). At the sepa- ration of Giudecca from Grand Canal. Built 1676, by Guiseppe Benoni. A low building, de- signed purposely so as not to damage effect of neighbouring church. A statue of Fortuna is a vane above a gilded copper ball, forming the summit of the tower. Seminario Patriarcale (Archi- epis copal Ecclesiastical Seminary ), with a museum of statuary, archi- tectural remains from monasteries, coins, etc. ; and a small picture gallery, Manfredini , with a picture attributed to Leonardo da Vinci. S. Maria della Salute. See page 32. Palazzo Dario. Fifteenth century. School of the Lombardi. Palazzo Vernier. Incomplete. Palazzo Da Mula. Fifteenth cen- tury. Pointed style. Palazzo Loredan. Much ad- mired. Palazzo Balbi Valier. Seventeenth century. Palazzo Manzoni. Style of the Lombardi. “Its warm yellow marbles are magnificent.” 5f Right. Palazzo Giustiniani. Gothic, four- teenth century. Now used- • as Hotel Europa. Palazzo Emo. Only interesting from the fact that it contains Canova’s last work, “ Hector and Ajax.” Palazzo Tiepolo. Hotel Barbesi. Palazzo Michele. Palazzo Contarini-Fasan. Fifteenth century, Gothic* rich fagade. Palazzo Ferro. Gothic, fifteenth century. Now the Hotel New York. Palazzo Fini-Wimpffen. Fine in- terior, with collection of pictures (modern). 1 franc admission. Palazzo Corner della Ga’ Grande. Renaissance. Built by Sansovino, 1532. Used as Prefecture. Palazzo Barbaro. Palazzo Gavalli. Renaissance- Gothic. The property of the Count Chambord. Observe the windows. (Here the Iron Bridge built in 1854 crosses the Canal.) Campo della Carita. Campo S. Vitale. 52 VENICE. Left. Academy of the Fine Arts. See page 55. Formerly Church and Cloister of S. Maria della Carita. Palazzi Contarini degli Scrigni. Fifteenth and six- teenth centuries. Built by Sca- mozzi. Palazzo Rezzonico. Amagnificent edifice. Builders, Longhena and Massari. Palazzi Giustiniani (Hotel Bril, Pen- sion Anglaise). Fifteenth century. Palazzo Foscari, “ where as guests of the Republic have sojourned Francis and Henry of France, King and Queen of Poland, Em- peror Frederick, Casimir of Hun- gary, and a host of others.” “The noblest example in Venice of the fifteenth century Gothic.” It is now used as a School of Com- merce. It overlooks the course of the once celebrated Regatta. Palazzo Balbi. Renaissance. Ar- chitect, A. Vittoria. (From win- dows Napoleon and Josephine often witnessed aquatic sports.) Palazzi Grimani, Persico, Tiepolo. Palazzo Pisani. Venetian Gothic, fourteenth century. Its celebrated picture, “ The family of Darius,” the souvenir of Paolo Veronese, was sold, in 1857, for 300,000 francs, and is now in England. Palazzo Barbarigo della Terrazza. A celebrated collection of paint- ings was once here, including many of Titian’s best, but they were much injured by damp, and in 1850 were sold to the Emperor of Russia. Right. Palazzo Giustiniani-Lolin. Seven- teenth century. Built by Lon- ghena. Property of Duchess of Palma. Palazzo Malipiero. Renaissance. Seventeenth century. Palazzo Grassi. Eighteenth century. Palazzo Contarini delle Figure. Early Renaissance, 1504. Palazzi Mocenigo. In the middle palace of the three Lord Byron lived, and wrote “Beppo,” “Don Juan” (Canto I.), “ Sar- danapalus,” “Marino Faliero,” and others ; and here came Thomas Moore, his friend and biographer. Palazzo Garzoni. THE GRAND CANAL. 53 Left. Right. Palazzo Bernardo. Fifteenth cen- tury. Gothic. Palazzo Corner Spinelli. Early Renaissance (fifteenth century). Exceedingly tasteful. It is the property of Taglioni , the cele- brated dancer. Palazzo Tiepolo Sturmer. Renais- Palazzo Cavalli. Gothic. Now sance. used as German Consulate. Palazzo Grimani. Now used as post-office. Renaissance, sixteenth century. Considered the master- piece of Michele Sanmicheli. Palazzo Farsetti. Twelfth cen- tury. A mixture of Venetian, Byzantine, and Moorish. No\y used as Municipal Hall. Palazzo Loredan. Bears the arms of the King of Cyprus, husband of Catherine Cornaro, who resided here. It is now used for offices of the Municipality. The Rialto Bridge (Ponte Palazzo de’ Camerlenghi. Early Renaissance, 1525. “The ‘ Ca- merlenghi, ’ properly the 4 Camer- lenghi di Comune,’ were the three officers or ministers who had care of the administration of public expenses.” Vegetable fruit, and flower market. Palazzo Dandolo, once the resi- dence of the famous Doge Enrico Dandolo, and now a cafe. Palazzo Bembo. “ A noble Gothic pile.” Fourteenth century. Palazzo Manin. Sixteenth cen- tury. Fa9ade by Sansovino. Was the residence of last Doge of Venice, Lod: Manin. Is now the National Bank. di Rialto ). See page 63. Fondaco de’ Tedeschi. Now the Dogana (Custom House). Early Renaissance, 1506. On it may be traced old frescoes, the work of Giorgione and Titian, but nearly obliterated by the storms of ages. In this palace, one room was allowed to be used by Protestants, in 1657, for public worship. 54 VENICE. . Left. Pescheria, or fish market. Palazzo Querini. Thirteenth cen- tury. Converted into a slaughter house as a punishment for the part the Querini played in the conspiracy of 1310. Palazzo Corner della Regina. Renaissance, seventeenth century. Stands on the site of palace in which Catherine Cornaro, Queen of Cyprus, lived. Palazzo Pesaro. Renaissance, V seventeenth century. A magnifi- cent building, by Longhena, ar- chitect of the Salute Church, and weir worth a visit (see page 4). It is one of the most handsome buildings on the Canal. The story of Pesaro will be recalled when viewing the palace. He could not endure the sight of his beloved city under the French, < with the tricolour floating where ever before had been the Lion of St. Mark ; so he abandoned all, and ‘‘died in exile in a distant land, rather than behold her in the stranger’s grasp.” Church of San Eustachio (S. Stae). • Nothing remarkable, externally or internally. Palazzo Tron. Sixteenth century. Now a shop for sale of antiquities. Fondaco de’ Turchi. The old building is now scarcely distin- guishable in any part, it having recently been completely restored or rebuilt. It was originally con- structed in the ninth century, and has many legends attached to it ; one is, that Torquato Tasso dwelt here. In 1621 it became the Right. Palazzo Mangilli-Valmarana. Eight- eenth century. Palazzo Michiele dalle Colonne. Seventeenth century. Palazzo Sagredo. Fourteenth cen- tury. Palazzo Ca’ D’Oro. One of the gems of the Grand Canal. It is in the pointed style of the thir- teenth century. Its name is said by some to be derived from the owner, Andrea Doro, banished as a conspirator in 1310; others, from the fact of its having been a gilded palace. Palazzo Grimani della Vida. Six- teenth century. Built by San- micheli or Scammozzi. Palazzo Erizzo. Gothic. Fifteenth century. Palazzo Vendramin Calergi. A magnificent palace in the early Renaissance style, by Pietro Lom- bardo, 1481, with additions by Scamozzi. Deserves minute and careful inspection. The inscrip- tion on the exterior of the palace is “Non nobis Domine, non nobis.” The interior is very elegant, and contains paintings by Palma Giovane, Tintoretto, Bordone. Open daily. See page 4 - Churches of SS. Marcuola and Geremia. THE GRAND CANAL. 55 Left. Right. head- quarters of the Turkish mer- chants in Venice. Palazzo Labia. (Here commences the Canal reggio.) Palazzo Correr. Civico Museo Correr. City Museum. See page Palazzo Frangini. Unimportant. 67. Gli Scalzi. See page 44. Iron Bridge here crosses the Canal. Built 1858. Church of San Simon Piccolo Railway Station ( Stazione della, is intended to be an imitation of Strada Ferrata ). the Roman Pantheon. Says Mr. Ruskin, satirically, “Its black dome, like an unusual species of gasometer, is the admiration of modern Italian architects.” Gardens of Count Papadopoli. Ad- mission upon application at the Palazzo Papadopoli S. Marina. Here terminates the journey of the Grand Canal proper. But we advise all visitors to go on a little farther, and see the Islands of the Lagoons, which look like a marvellous mirage. Take in the glorious view of the Euganeian Hills and the lofty mountains, snow-clad in the spring, stretching away to the right. Notice, too, the Bridge, one of the wonders of the world. Then return by way of the Canna- reggio. (Canal Royal.) ACADEMY OF FINE ARTS. ( Accademia delle belle Arti .) Open daily ; May to August, 9 to 4; at all other times, 9 to 3, except Sundays and Festivals, when it is open from 11 to 2 only. The building, in which this most marvellous collection of pictures, principally by Venetian masters, is contained, faces the Grand Canal near to the Iron Bridge. It was formerly a convent belonging to the Church of Santa Maria della Carita, and was built in 1552 by Palladio. Since then it has been much injured by fire, was for some time used as a barrack, but has been altered and adapted for its present purpose, and forms a series of magnificent rooms (twenty in all). 56 VENICE. Entering from the Grand Canal, you ascend a winding stair- case, and find yourself in a corridor where there are a number of drawings by Jacopo Quarenghi, architect. An ante-room with statues and busts : — Adonis ( Rinaldo Rinaldi ); Titian (same); Adonis ( Jacopo di Martmi ); Venezia (same); Chiron teaching Achilles ( Rin- aldi); The Saviour ( Jacopo Colonna). (The numbers of the pictures are given as arranged in 1874, but they may in a few instances be found to have been altered.) Hall I. Devoted to ecclesiastical works of the Old Venetian School. Period, fourteenth and fifteenth centuries. Ceiling richly orna- mented with wood carvings, and the frames of the pictures very massive and handsome. 1. The Virgin and Saints . . . (1464) B. Vivarini. 5. Altar-piece — Annunciation . . . Lorenzo of Venice Above, God the Father . . and Francesco Bissolo . 6, 7. Altar-piece — St. Anthony, and Death of Christ M. Basaiti. 8. Coronation of the Virgin (1440) Johannes of Germany and Antonio of Marano. 23. * Madonna enthroned .... . Same. 10. St. Matthew ..... Advise Vivarini . 15. St. John Baptist 17. St. Sebastian 18. St. Anthony 19. The Baptist . . . . . „ 20. St. Lawrence 14. St. Barbara ..... Bart. Vivarini . 21. Sta. Clara Hall II. This great hall was the Assembly Room of the Brotherhood of the Carita. In the lunettes are portraits by modern scholars of the old masters. 24. *The Assumption ..... litian . 25. The Fall . Tintoretto . 26. 27, 28, 29. Saints Bonifazio . 31. *The calling of James and John . . Marco Basaiti. 32. Madonna and Child ..... Tintoretto . 33. The Entombment Titian. THE ACADEMY. 57 34. SS. Anthony and Mark . Bonifazio . 35. Assumption. Titian’s first picture. . . • Titian . “ A comparison with Nos. 35, 24, and 33 is very interesting.” — BjEDEKER. 36. Resurrection of Christ ♦ Tintoretto . 37. Storm stilled by Saints . Giorgione . “ Wildly poetical in conception. It commemorates a fact, — a dreadful tempest which occurred in 1340, and threatened to overwhelm the whole city of Venice. In Giorgione’s picture the demons are represented, in an infernal bark, exciting the tempest, while St. Mark, St. Nicholas, and St. George, the patron saints of Venice, seated in a small vessel, tossed amid the waves, oppose, with spiritual arms, the powers of hell, and prevail against them.” — Mrs. Jameson. 38 . 39 - 40. 42. 44. 45 - 47 - 49. 50 . 5 1 - 53 - 54 - 55 - 57 - 59 - 61. 62. 6 3 * ^Madonna and Child with Saints . Giovanni Bellini '. Apocalyptic Vision .... Palma Giovane. Apocalyptic Horsemen ..... Ibid . SS. James and Dominic .... Bonifazio . 46. Ezekiel — Isaiah . . , . . P. Veronese . *St. Mark liberating a Slave condemned to Death Tintoretto . The Marriage at Cana .... Padovanino . SS. Paul and Francis .... The Adulteress brought before Christ . Doge Luigi Mocenigo .... Madonna and Child. Saints and a Doge *Judgment of Solomon Madonna. St. Dominie distributing Garlands *The Adoration of Magi Assumption .... The Revelation to St. Thomas Bonifazio . . Ibid . Tintoretto. Tintoretto . Bonifazio . P. Vero?iese. Bonifazio. Palma Vecchio . . Leandro Bassano. Martyrdom of St. Christina *Death of Abel . P. Vero?iese. . Tintoretto . “ One of the most wonderful works in the whole gallery.” — Ruskin. Hall III. 66. Baptism of Christ 71. St. Mark . . ... 73. *St. Nicolo .... 74. St. Sebastian Ceiling. The Prodigal’s Return *Christ at Emmaus is usually to be Salviati . Tintoretto . Titian . Veronese. Tintoretti. found in this room. It is from San Salvatore, during its restoration. Giov . Bellini . 58 VENICE. Hall IV. Contains a number of original drawings by Leonardo da Vinci, Michael Angelo, Raphael, and others. The right hand of Canova (see p. 34) is kept here in an urn. Open on Thursdays and Saturdays, 12 to 3. Hall V. Collection presented by Count Contarini, 1843. . Schiavoni. Palma Giovane . Palma Vecchio. . /. Bassano . . Ilnd . Giovanni Bellini. . Ibid. Sassofei'rato. 81. St. John the Baptist in the Desert 82. Behold the Man ! 84. *Christ and the Widow of Nain . 90. Moses and the Burning Bush 92. Shepherds ..... 94. *Madonna and Child . 101. Madonna and Child . 107. St. Cecilia .... no. Madonna, St. Catherine, and St. John Andrea Cordellaghi. 1 12. The Prodigal Son .... Palma Giovane. 1 13. The Prayer in Gethsemane . . . I. Bassano. 117. The Dead Body of Christ borne by Angels. Francesco Bis solo. 120. Portrait .... "'Madonna with Two Saints Madonna and Saints *Madonna and Saints 124. I2 5- 132. 134 - I 39- I 5 I « 164. 166. 178. Rape of Proserpine . Judith A Market Pont Neuf, Paris Deliverance of St. Peter Christ on the Mount of Olives . . Tintoretto . . Vincenzo Catena. Cima da Conegliano. Boccacio da Cremona. . Padovanino . . Ibid. Pacques Callot. . Ibid. Palma Giovane. I. Bassano. Hall VI. 193. Landscape. 197. Ditto. 201. Skating, 'i 207. La Tour de Nesle. 214. Ruins. YCallot. 221. Garden Scene. * 222. The Soothsayer. 230. Dancing Master, v 231. Apothecary. 241. Tailor. >. Pietro Longln. 242. Music Master. 243. Toilette. J The best pictures in this room (VI.) are 234 to 238. * Allegories by . . . Giovanni Bellini. THE ACADEMY. 59 Hall VII. Chairs with Ivory Carvings. Statues of Ethiopians, in ebony. Groups in boxwood, and other curiosities, executed by order of Pietro Venier. Hall VIII. (From the Manfrin Gallery.) 256. Holy Family . . . Girolamo Santacroce . 257. Philosopher's Studio P. Rembrandt . 258. SS. Peter and Paul (?) as Hermits . Girolamo Savoldo. 269. Snow Scene ..... Isaac van Ostade . 270. Supposed Portrait of the Mother of Titian. Unknown . (See also No. 301, Hall IX.) 273. *St. George . . . Andrea Mantegna, Hall IX. 280. 281. ^Poultry . . M. Hondekoeter . 295. *Antonio Capello . . Tintoretto, 300. Descent from the Cross , Bart, Schedone, 301. Mother of Titian Titia?i (supposed). See No. 270, Hall VIII. 306. Portrait . . . . . Tinelli. 312. Christ and Mary , Lorenzo Canozio. 313. Virgin and Child , Giov, Bellini, 314. Christ weeping over Jerusalem , , Schiavone. 315. *The Crucifixion Corn, Engelbrechsten. 319. ^Portrait — Jacopo Soranzo . , , Titian, 321. Sleep .... Teniers the yowiger. 324. Angels .... . . Pordenone. 326. Madonna and Child — Saints , , Bonifazio, 332 . , G, Santacroce. 33 7 * >> >> Bissolo. 349. *Mater Dolorosa Antonello da Messina,. 350. Portrait .... , . Titian, Hall X. 361. Madonna Enthroned — Saints . , Bart. Montagna. 365- >> . A. Schiavo 7 ie. 366. *St. John Baptist in the Wilderness . . Titian. 6o VENICE. 367. Holy Family Bassano . 368. Adoration of Magi ..... Bonifazio. 372. Madonna and Child .... Giov. Bellini. Hall XI. 373. St. Nicholas. 374. St. Lawrence. 375. St. Mark. . j Lorenzo of Venice . 39 1 — 393* SS. John, James, and Peter. J Hall XII. In this hall, as in No. XI., the pictures are curious rather than interesting, except to critics and students. They repre- sent the art of the 13th and 14th centuries, but they will not detain the tourist whose time is limited, as there are yet many exquisite works to be seen. Hall XIII. (Renier collection, presented by widow of Count Bernard Renier, 1850.) 414. Jesus crowned with Thorns . . L. Bassano . 416. Madonna and Child, with Saint . . Francesco Vecellio . 417. Dead body of Saviour borne by Angels Palma Giovane . 421. ^Madonna and Child, with Saint . Cima da Conegliano. 424. *Madonna and Child, with SS. Paul and George. Giovanni Bellini, 425. Christ and the Adulteress .... Tintoretto . 428. A Nun P . Bor done. 429. ^Entombment .... Cima da Conegliano . 432. * Jesus with the Doctors School of Leonardo da Vinci . 435. Madonna and Child — Saints . . Francesco Bissolo . 436. * „ „ Giov. Bellini. Hall XIV. 441. Portrait — Marco Grimani .... Tintoretto . 445. Resurrection of Christ .... Tintoretto . 446. * Adoration of Shepherds . . . Lea 7 idro Bassano. 452. *Madonna in Glory — Saints Benvenuto Tisa da Garofalo. 456. *Christ and Two Saints . . Cima da Conegliano . 458. Battle of Lepanto . . . . . P. Veronese . 464. Portrait — Senator Tintoretto . 465. Portrait — Antonio Capello .... Titian . THE ACADEMY. 6 1 Hall XV* The pictures in this room are so fine, that all demand attention. We shall only point out, therefore, some of the most celebrated. 473. Daniel in the Lion’s Den . 481. Descent of the Holy Spirit . 486. Madonna of Mt. Carmel and Saints 487. The Presentation in the Temple 488. The Circumcision 489. The Salutation .... 490. SS. Lorenzo, Giustiniani, John Baptist, Francis, and others Pordenone . The Ring of St. Mark presented to the Doge by the Pietro da Cortona . . Padovanino . • Pordenone . . . Titian . V. Carpaccio. . P. Veronese. 492. 493 - 494 * 50°. 5 * 9 - Fisherman The Resurrection of Lazarus P. Bordone . C. Cagliari . L. Bassano . Bonifazio. pedestal, with 5 2 4. The room. The Supper of Dives .... Madonna and Child. John Baptist on a his back toward the spectator; a favourite subject with modern artists, who may always be found taking copies of this lovely little figure .... Veronese. Massacre of the Innocents .... Bonifazio. model of Canova’s* Hercules and Lycas is in this Ceiling. Discovery of the True Cross G. B. Tiepolo . 529 555 545 548 564 533 537 539 542 544 546 549 552 554 560 Hall XVI. *'A Miracle of the relics of the True Cross Gentile Bellini. ,, ,, ,, ,, Ibid. „ ,, ,, „ Sebastiano. „ ,, „ „ Giov. Mansueti. ,, ,, ,, ,, ~V . Cai paccio . ^Legends in the Life of St. Ursula V. Carpaccio. “The traveller should examine carefully all the pictures by Vittore 62 VENICE. Carpaccio and Gentile Bellini,, which represent scenes in ancient Venice ; they are full of interesting architecture and costume.” — Ruskin. 534. *The Agony in the Garden ... M. Basaiti . “A lovely example of the religious school.” — Ruskin. 568. Hall XVII. Descent from the Cross . . Tintoretto . 57 °- Three Saints .... . . Bonifazio. 572 . Adoration of Magi Ibid . 582. * Madonna and Saints . Cima da Conegliano . 586. SS. Sebastian and Benedict . . Bonifazio . 593 - St. Peter and Saints . Palma Vecchio . 599 - St. John . . Tintoretto . Hall XVIII. Modern Paintings . 608. Nebuchadnezzar’s Dream interpreted by Daniel .... Jacopo d’ Andrea. 614. Fall of Jerusalem . .... Francisco Hay ez. Hall XIX. Contains about 50 pictures, mostly of the eighteenth century, and none of them of striking merit. Hall XX. Contains modern pictures only. We should therefore advise those whose time is limited to omit Rooms xix. and xx. and go back again to say Room xv., in order to take a further view of some of the rare works which demand a careful study, and should be impressed indelibly on the memory. SCUOLA Dl S. ROCCO. Magnificent facade by the Lombardi. The brotherhood of San Rocco has existed since the year 1415, and has numbered amongst its members many of the noblest and best in Venice. This was the art-home of Tintoretto, and contains a marvellous collection of his works ; the light in these large halls of the brotherhood is however so bad that the THE RIALTO. 63 early morning is the only time when there is any possibility of seeing them. Ruskin, speaking of the collection and the defective light, says, “They were all painted* however, for their places in the dark, and are therefore, for the most part, nothing more than vast sketches made to produce under a certain degree of shadow the effect of finished pictures. . . . It is probable that none but Tintoretto would have undertaken the task, and most fortunate that he was forced to it. . . . No other series of his works exhibits powers so exalted.” The Crucifixion is considered to be the chef d' oeuvre of Tintoretto, “it is beyond all analysis and above all praise.” The halls contain some sixty or seventy pictures, the large majority being by Tintoretto. The art student will inspect them all with diligence (and some amount of disappointment), and will then read with intense interest the glowing description given in “ The Stones of Venice,” vol. iii., Venetian Index. THE RIALTO. The Rialto is the name of a district, and the Ponte di Rialto is the bridge over the Grand Canal. Originally all Venice was included in the “ Rivo alto,” and as late as the sixteenth cen- tury it was designated “ the city,” in contradistinction to “ the state” of Venice. When Shakspeare puts into the mouth of Shylock such words as these, — “ Signor Antonio, many a time and oft In the Rialto you have rated me,” Or when Solarino asks, ‘ What news on the Rialto ? ” — it is not to be understood that they were referring to the Ponte di Rialto, under which you will glide, and upon which you will stand, when you visit the Grand Canal. The whole island was the centre of business life, and the question, “What news on the Rialto?” was equivalent to the saying of to-day, “ What news in the City ? ” — the city standing for all the business life of London, as the Rialto stood for all the business life of Venice. The Ponte di Rialto was commenced in 1588, under the Doge Pasquale Cicogna. The old bridge having been con- demned as dangerous, Scamozzi, Sansovino, Palladio, and others, sent in designs for approbation, but the choice fell on that of Antonio da Ponte. It is very simple and very VENICE* 64 strong, consisting of a marble arch of a single span. “ The traveller should observe that the interesting effect both of this and the Bridge of Sighs depends in great part on their being more than bridges; the one a covered passage, the other a row of shops sustained on an arch.” On the right and left of the bridge are the fish, fruit, and vegetable markets, and here from morning till night a stream of busy folk may always be found. On the left hand is the church of S. Giacomo (see p. 44), the oldest church standing upon the oldest site in the city. Notice particularly, in the square before this church, the figure of a man crouching beneath a stairway leading to a column. It is the Gobbo di Rialto. Here the laws of the Republic were recited, and around was the ’Change, the Lombard, the Baaico-giro — in short, here, if anywhere, was the Rialto of Shakspeare’s play. THE BOTANICAL GARDENS. Every visitor to Venice is struck with the silence of the city, and not less so with its lack of vegetation. A few plants here and there, a stray tree or so in the course of a day’s journeying in streets and canals, is all that is to be seen. The visitor for a day or two is generally too much occupied with the novelty of everything around to feel this lack, but after a residence of weeks or months it will be felt keenly, and the Botanical Gar- dens will be greeted with a very pleasant satisfaction. There are fine avenues of trees ; the cacti are remarkably large, and many plants which we are accustomed to see in a stunted form, here attain an unusual development. THE PUBLIC GARDENS. ( Giardini Publici.) The open space at the south-east extremity of the city, now used as the Public Gardens, was once the site of churches, streets, and canals. Napoleon, in 1810, made a clearance of the buildings, filled up the canals, and laid out the grounds. The views here are very charming, and the shady walks most refreshing. Looking towards the city, the view of the Riva degli Schiavoni, with its shipping close to the edge of the quay, the palace of the Doge, and the magnificent churches on the Island of Giudecca form a remarkable prospect, while from THE ARSENAL. 65 the little hill by the restaurant the scene altogether changes, and there is stretched before the beholder the Lagoons and their islands, and away beyond the rolling waters of the Adriatic. THE ARSENAL. ( Arsenale Marittimo.) Very much of the history of Venice centres in the Arsenal. From here issued forth the fleet which was to effect the con- quest of Palestine, and from here for ages went forth her good ships bound on many expeditions, good, bad, and indifferent. Here were treasured her guns and implements of maritime warfare, and here gathered the workmen, at one time num- bering as many as 16,000, who played no unimportant part in the history of the Republic. As we gaze at its handsome entrance, or walk round its basins, or look at its high battlemented walls, we read in all the fact that Venice is shorn of her glory, and nowhere else in the city are we so conscious of the weeds of the widowed queen. The entrance is through a gateway, which is a “ curiously picturesque example of Renaissance architecture, admirably sharp and expressive in its ornamental sculpture.’' Notice specially the Four Lions brought from Athens in 1687 by Morosini ‘ Peleponnesicus.’ The large lion on the left, with inscriptions (untranslated) on its body, is believed to have been a memorial of Marathon. In the Museum of the Arsenal there are many curiosities well worth careful inspection — old armour, curious maps, instru- ments of torture, and models of arms and boats, etc., etc. The objects of principal interest are — A banner taken in the battle of Lepanto (1571), with hal- berds and other trophies. Also mementoes of Chioggia (1380), the Morea, etc. The keys presented to Napoleon when he made his long- coveted inspection of the Arsenal. The armour of Henry IV. of France (see p. 18). An iron helmet worn by Attila, king of the Huns. A good collection of models of Venetian ships, ancient and modern. A fine marble monument to Admiral Angelo Emo, by Canova . The armour of Carlo Zeno. Helmet and shield of Doge Sebastiano Ziani. But the most interesting thing, after all, probably in the Museum is — 5 66 VENICE. The remains and model of the famous Bucentaur, from which, on Ascension-day, the Doge went forth to wed the Adriatic (see p. 20). A good description of the ceremony is given in “Venice and the Venetians,” by Marsh; and although it relates to a particular occasion, it may be taken as descriptive of the ceremony generally. “ Upon the day fixed the Bucentaur was brought out of the arsenal, and rowed to the quay of St. Mark. This grand old vessel had then been built more than two hundred years ; and yet it was as gallant a ship as ever left the stocks of the Republic. On the outside it was covered with carved work and figures, decorated in gold and purple. The double-pointed prow was covered also with figures emblematic of the sovereign State of the Republic ; and upon the upper beak was the Lion of St. Mark. The oarsmen rowed with gilded oars, and the ship glittered as she lay upon the surface of the water like a precious gem. The main cabin stretched from prow to stern, and was covered with a carved ceiling, on the outside of which there was spread the finest velvet cloth that Venice produced. The grand saloon was divided in the centre by a row of richly decorated pillars, and there were cushions of velvet, upon which the guests reclined. Jn the stern was a large cabin, which was devoted to the Doge’s private use, and it was decorated with the greatest taste. Round the outside of this there ran a little balcony, in which the Doge and his guests could walk and watch the glittering throng of boats which accompanied him on this expedition. Outside the prow, also, there was a similar balcony, and it was from here that the Doge went through the ceremony of espousing the sea. There* were no sails to the ship, but from the top of a huge mast there floated the sacred banner of St. Mark. The Doge, the ambassadors of France, Spain, Milan, Ferrara, and the Bishop of Scotland, with his retinue, as well as a large assemblage of the nobles of Venice and their ladies were accommodated on board. They were escorted by thousands of the state gon- dolas of the nobles, decorated in every part. To the music of fifes and lutes, and the ringing of church bells, the procession started on its journey. The spot chosen for the ceremony was outside the Castle of St. Andrea and St. Nicolo, which guarded the entrance to the canal, on the broad bosom of the Gulf of Venice. “Amongst those who accompanied the Doge upon those occasions, there was one who was styled the 6 Anti-Doge/ usually the best gondolier in Venice. This man was selected WEDDING THE ADRIATIC. 6 / to represent the poor people, and chosen from amongst them. He held a court in mock imitation of the Doge ; and was rowed on an old hulk by a number of his fellows, all of whom wore masks. In the stern of the boat was a band of fifers, who kept up the most unmusical din they could create. They were escorted by hundreds of little gondolas belonging to the poor, amongst whom the fantastic freaks of the Anti-Doge and his oarsmen were received with loud laughter. This mock Doge would one moment be rowed alongside the Bucentaur ; when he would offer to take the vessel in tow ; then he would drop astern, when he would call upon the rowers to stop and take him on board. The comical gestures of this man moved the solid Scotch bishop to mirth ; and his tricks were watched with great hilarity by the guests of the Doge. On reaching the Gulf of Venice the Bucentaur formed the centre of a half- circle of gondolas, and then the Doge, stepping on to the bal- cony, threw a gold ring into the sea, signifying that he espoused the waters of the Adriatic as a husband espouses his wife, that she might be a help-mate to him, and be in subjection unto him. After this the Patriarch of Venice, standing by the side of the Doge, blessed the sea for its bounty and for its care of the state, and prayed that it might yield in the future greater blessings to the Venetians than it had shown in all the past. At the conclusion of the ceremony the Anti-Doge flung an iron hoop into the waters with comical gestures, amid the merry laughter of his fellows. Then to the sound of sweet music the Bucentaur returned to Venice, and the evening was devoted to gaiety.” During the occupation of the French, the Bucentaur was broken up “ for the sake of its gilding, which is said to have yielded the sum of 18,000 sequins, about 220,000 francs. It was the third constructed since 1520, and was nearly seventy- five years old.” CIVICO MUSEO CORRER. ( Correr City Museum .) This museum was founded by the wealthy Theodore Correr, who bequeathed his valuable collection for the benefit of the city. It has been added to from time to time, and contains many objects of interest such as are common to museums. On the ground floor are antiquities, as a Roman altar, part 68 VENICE. of asarcophagus, and a statue with drapery falling around in graceful folds. The principal rooms are on the first floor, and contain some good paintings : especially to be noticed are — Caesar Borgia .... Leonardo da Vinci . Portrait of Doge Mocenigo . . Giovanni Bellini . The Transfiguration ... A. Mantegna . Some curious pictures illustrating Venetian life, manners, and costumes, by Pietro Longhi . Among the curiosities are fine specimens of ancient Venetian glass ; a panorama of Venice carved on wood, by Kolb of Nanburg, 1497 ; a candelabra by A. Vittoria ; Mosaics by Zuccato ; collection of sketches by Salvator Rosa, Caracci, Durer, etc. On the second floor there are a few casts of Canova’s works, a collection of MSS., etc., etc. THE GALLERY MANFRIN Was once one of the great sights of Venice but most of its best works have been sold. There are, however, nearly two hundred remaining, but it would hardly be worth the traveller’s while to hurry over the Academy, or any of the principal churches, in order to see this collection. The most remarkable picture is — 74. The Entombment (a copy of ?) . . . Titian . Notice also — 42. The Adoration of the Magi . . Girolama Santa Croce . 34. A Group ....... Giorgione . 150. Noah entering the Ark . said to be by Raphael. Ceiling, Coronation of Hebe .... Veronese. THE GHETTO, Old Jewish Quarter , is in the Cannareggio. There is not so much to see as to recall in this place. The houses are immensely tall, the streets ridiculously narrow, and a great deal of filth abounds. But it was to this quarter that the Jews came, who were driven from Germany, Spain, Portugal, and elsewhere. Although they were allowed to worship according to conscience, they were nevertheless kept in Venice, as in every other place where they sought a refuge, under strict regulations. They might only occupy this par- ticular quarter of the city, where they were locked up at night, THEATRES. 69 and were compelled to wear a particular dress to distinguish them from others. All such regulations have however long since passed away; but the Ghetto Vecchio still remains a memorial of the past ; and every Saturday the sons of Abraham may be seen mustering here for the celebration of their services in the synagogues. Visitors are permitted, on application to the chapel-keeper, to inspect these synagogues ; the principal of which is the Spanish Synagogue, 1655. There is nothing to see of importance, except wood carvings. THE THEATRES. Fenice (Phoenix). Rossini, Zingarelli, Donizetti, Persiani, Perotti, Verdi, — in short, all the great composers, ancient and modern, — have written for this Opera House, and it has echoed to the notes of Malibran, Pasta, Catalini, Grisi, and others of later date. It was built in 1791 ; destroyed by fire in 1836 ; rebuilt in 1837 ; and is one of the finest Theatres in the world. The Theatre Apollo is the next in importance, and a good performance may generally be seen here all the year round. The Theatre Rossini for opera and drama by turns. The Camploy, opera comique. The Marionette, or puppet play, where Arlechino and Facanapa take the place of Punch and Judy. The Malibran is the people’s theatre ; it is so named from the fact that Malibran had almost ruined it by taking all Venice to the Fenice during her long and brilliant engagement there ; and so by way of friendly compensation she gave a series of performances there gratuitously, and so set matters straight for the managers. Houses of Celebrated Men. Titian’s House : Calle di S. Cancino, opposite Murano. Tintoretto’s House : Campo dei Mori. Marco Polo’s House : Corte del Sabbion nr. S. Giovanni Crisostomo. Othello’s House : Palazzo Moro, Campo del Carmine. Shylock’s House unknown. See Ghetto, p. 68. 70 ISLANDS. SAN LAZZARO. This island (well seen from the Public Gardens) is about two miles from the Piazzetta, and is in the possession of the Arme- nians. The monastery was founded by Mechithar, who had been driven from Constantinople, then from the Morea, until finally he found a possession in this island. The monks of the order are principally engaged in working for the welfare of the Armenian nation by translating European literature, and preparing grammars and other useful works for the education of Armenian youth. The monastery possesses a splendid library and collection of MSS., and many other curiosities, amongst them the table at which Lord Byron sat when he studied the Armenian language here. The tourist will visit this semi-oriental little island with much interest, and will not fail to receive courteous attention. THE LIDO. This charming little island, which is always called now The Lido, although it is the Lido of Malamocco, is easily reached by steamers which run frequently in the summer, and is well worth visiting, if only for the sake of walking through the gardens. Everybody wonders where the fresh vegetables in Venice come from, and a visit to the Lido clears up the mystery, for here are the gardens which supply the city with vegetables. In Venice an Englishman has no idea that he is by the sea- side ; and he wonders if ever a Venetian has sat on a sandy shore, or bathed in the rolling tide. He has but to visit the Lido, and he will find a beautiful beach and admirable bathing arrangements. The Lido is to Venice exactly what Scheveningen is to Holland. A writer in the Venice Mail, May, 1874, gives the following description and prophecy : — “ Step by step the Lido is becoming a garden ; the hamlet of a few years ago is becoming a prosperous and smiling village. THE LIDO. 71 At any hour of the day and night travellers may now find a refuge on the Lido, furnished apartments as in Venice, hotels with table d’hote, cabins for the poor, villas for the rich, — all the comforts, in fact, of civilized life in a place where, at the time of the Plebescite, there was no accommodation for tourists, no road properly so called, certainly no strada maestra , or high- road, where carriages could be driven. Now we have roads equal to those of terra firma ; omnibuses as well as carriages with capital hacks ; vans for pleasure-parties ; donkeys for children • saddle-horses for ladies ; and flowers and fresh air for everybody ! What more can the heart desire ? Baths, pic- nics, parties of pleasure ? We shall have them all when the season begins. Concerts and fetes champetres ? Wait till the month of June. Balls and serenades, perhaps regattas? Yes, reader ; all these things, and many more, will be provided for you in the months of July and August, when the Fenice will be opened with a splendid company, both opera and ballet, com- posed of the finest singers and the best dancers in Italy. We have authority for stating that the fetes of the Lido will this year be encouraged by the Municipio, which, grudging the subsidy required for the Carnival, looks with especial favour on the Lido Revival, convinced that the movement is essential to the well-being of this city, or in other words, that the bathing season of the Lido will in a short time become the true Car- nival of Venice , and one of the great centres of attraction for foreigners from all parts of Europe, notably so for travellers from England, Russia, and Austria, and perhaps also from Germany and other countries in the north of Europe.” OBJECTS OF INTEREST ON THE LIDO. The Fort of S. Nicolo, constructed by Sanmicheli, 1545. A wondrous solid structure, with forty embrasures for heavy guns. The Church of S, Nicolo, in which is the tomb of Doge Domenico Contarini. A Jewish Cemetery, very ancient. It will be remembered that it was in this neighbourhood the Bucentaur was moored on the wedding day (see p. 66) ; that here Lord Byron took his drives, and here he intended to have been buried. 72 SAN MICHELE Is passed on the way to Murano. It is a vast cemetery, and is worth visiting “ for the sake of feeling the strangeness of the quiet sleeping-ground in the midst of the sea.” The church of S. Michele, built by Moro Lombardo (1466) has few objects of interest ; the Capella Emiliana is a curious and beautiful little temple, encircled by fluted columns, and crowned with a dome. The cemetery is under the care of the Capuchins, who inhabit the cloisters. MURANO Is about one mile and three-quarters to the north of Venice. It has a population of about 4,000, although in the days when it flourished most no fewer than 30,000 made their habitation here. It is two miles in circumference, and is divided by canals. This is the home of the celebrated Venetian glass, and Murano has been known throughout Europe for ages as carrying the palm in this department of art, and there is not a good museum in the world that does not exhibit mirrors, chandeliers, and other curiosities which were manufactured in this place. The day for these things, however, has gone past, Bohemia and other countries having excelled Venice in the manufacture. The large factories on the island, which now employ two-thirds of the population, are devoted to making glass beads and glass mosaics, etc., etc. ; and no one who visits Murano should fail to inspect the wonderful collection of glass work, ancient and modern, in the museum. TORCELLO Was the refuge of the fugitive Veneti when threatened with destruction by barbarian invaders. It is between five and six miles from Venice in the N. Lagoon, and the interest attaching to it is in its antiquity and memories. At the present time it is a miserable little poverty-stricken place, and unless the tourist is also an antiquarian, he will probably find but little here to interest him. The Cathedral is a basilica in the early Christian style, built in the 7th century, and rebuilt in 1008. There are some CHIOGGIA. 73 curious but highly interesting mosaics in this church. The church of S. Fosca is an octagonal building surrounded, with a portico with columns. The campanile is very picturesque. There are several places in Venice (notably Salviati’s on the Grand Canal) where the various processes of bead and mosaic manufacture can be seen, but a visit to the more extensive manufactories of Murano will repay the visitor. The Cathedral, San Donato, dates from the ioth century. It is sumptuous in its decorations, rich in mosaics, and vener- able in history. The next church of importance is S. Pietro Martire, 1474-1509 ; contains several good pictures by P. Bordone, P. Veronese, B. Vivarini, Francesco Santa Croce, and a Madonna with Saints and a Doge by G. Bellini. CHIOGGIA Is thirty miles to the South of Venice, and the journey may be accomplished either by gondola or by steamer, for which see local announcements. The journey is full of interest, as the Murazzi (see p. 9) may then be seen in all their wonderful proportions. Chioggia is as old as Venice, and grew rapidly; it was con- quered by Venice, taken by the Genoese, and re -taken by the Venetians. There are one or two churches on the island, but the objects of interest are very scarce, and would not in them- selves repay a visit. Mr. Howells says: “ The panorama of the southern lagoon is best seen in a voyage to Chioggia, or Ciozza, the quaint and historic little city that lies twenty miles away from Venice, at one of the ports of the harbour. The giant sea-wall, built there by the Republic in her decline, is a work of Roman grandeur, which impresses you more deeply than any other monument of Venice with a sense of her past in- dustrial and commercial greatness. Strips of village border the narrow Littorale all the way to Chioggia, and on the right lie the islands of the lagoon. Chioggia itself is hardly more than a village ; a Venice in miniature, like Murano, with canals and boats and bridges. But here the character of life is more amphibious than in brine-bound Venice; and though there is no horse to be seen in the central streets of Chioggia, that type of dry-land locomotion penetrates her borders by means of a long bridge from terra jirma ” 74 VENICE. Among the works referred to, and in some cases quoted, in this book, are — “The Stones of Venice,” Ruskin. “Venice and the Venetians,” Marsh. “ History of Venice,” Flagg. “ History of the Republic, of Venice,” Hazlitt “The Story of Italy.” “Venetian Life,” Howells. “ Early Italian Painters,” Mrs. Jameson. “ Handbook of Painting,” Zugler. “ History of Painting,” Lanzi. etc., etc. All the above works will be read with intense interest by those who have made a visit to Venice. INDEX Page Page Academy of Fine Arts • 55 Churches : — Adriatic, Espousal of . 66 S. Maria dei Miracoli . 48 Archaeological Museum . . 22 S. Maria della Salute . 32 Arrival at Venice . - 9 S. Maria dell’ Orto 47 Arsenal .... • 65 S. Maria Formosa 42 S. Maria Zobenigo 44 Bathing .... - 7 i S. Nicolo . 7i Bell Tower . 12 S. Pantaleone 45 Botanical Gardens . . 64 S. Pietro di Castello 48 Brides of Venice . 42 S. Rocco 45 Bridge of Sighs 25 , 27 S. Salvatore 42 Bucentaur . 66 S. Sebastiano 41 S. Simon Piccolo 55 Campanile . 12 S. Stefano . 49 Canal Grande . - 5° S. Zaccaria . 46 Cannareggio . • 55 City Museum . 67 Cemetery * 72 Civico Museo Correr 67 ,, Jewish • 7i Clock Tower . 13 Chapel of Doge . 26 Chioggia .... • 73 Doge’s Palace . 16 Churches : — Archaeological Museum 22 Frari - 33 Chapel of Doge . 26 Gesuiti « 45 Cortile 1 7 Gli Scalzi . . 44 Giant’s Staircase . i7 Marcuola • 54 Golden Stairs 18 Redentore . • 39 Hall of the Council of Ten 24 S. Eustachio • 54 , , , , Three 24 S. Francesco della Vigna • 43 ,, Four Doors 25 S. Geremia . • 54 ,, Grand Council 18 S. Giacomo di Rialto . . 44 ,, Senate 26 S. Giobbe . • 45 Library of S. Mark 22 S. Giorgio degli Schiavoni • 49 Porta della Carta . i7 S. Giorgio Maggiore . . 40 Sala della Bussola 23 S. Giovanni Crisostomo • 47 Sala della Scrutinio 21 S. Giovanni Elemosinario • 45 Drinking Water 2 SS. Giovanni e Paolo . • 37 Dungeons of Palace 25> 27 S. Giovanni in Bragora . 49 S. Giuliano . . 48 English Church Service . 1 S. Marco . 28 Espousal of Adriatic 66 76 VENICE. Ferries .... Page II Fine Arts Gallery . 55 Fish Market . 54 Flagstaff's in Piazza . 13 Fondaco de’ Tedeschi 53 ,, ,, Turchi . Fort of S. Nicolo . 54 7 i Gallery Manfrin 68 Gardens — Botanical 64 „ of Count Papadopoli 55 ,, Public 64 Ghetto .... 69 Glass Works . 72 Gli Scalzi 44 Gobbo di Rialto 64 Gondola Fares 10 Gondolas and Gondoliers 9 Grande Canal . 50 History of Venice . 4 ,, Piazza 15 Islands .... 70 Chioggia 73 Lido .... 70 Murano 72 San Lazzaro 70 San Michele 72 Torcello 72 Jewish Cemetery 7 i „ Quarter 68 Lagoons .... 9 La Zecca .... 15 Library .... 15 Library of S. Marco 22 Lido, The 70 List of T erms . 4 Maritime Custom House . 5 i Markets .... 53 > 54 Merceria .... 4 Merchant of Venice . 63 Mint .... 15 Molo, The 15 Mosaic Manufactory 73 Murano .... 72 Murazzi .... 9 Omnibuses 11 Page Palaces : — Balbi . . . . .52 Balbi Valier . . . 51 Barbarigo della Terrazza . 52 Barbaro . . . . 5 1 Bembo . . . -53 Bernardo . . . -53 Ca d’Oro . . . .54 Cavalli _ . _ . . 51, 53 Contarini degli Serigni . 52 Contarini delle Figure . . 52 Contarini-Fasan ... 5 Corner della ca J Grande . 5 1 Corner della Regina . . 54 Comer Spinelli . . -53 Correr 55 Da Mula . . . . 51 Dandolo . . . -53 Dario . . . . . 5 1 De’ Camerlenghi . * 53 Emo-Treves . . .51 Erizzo ... . 54 Farsetti . . . -53 Ferro . . . . . 51 Fini-Wimpffen . . .51 Foscari . . . .52 Frangmi . . . .55 Garzoni . . . . 52 Giustniani . . . . 5 1 Giustiniani-Lolin . . 52 Grassi . .... 52 Grimani . . . -53 Grimani della Vida . . 54 Labia 55 Loredan . . . 51, 53 Malipiero . . . .52 Mangilli-Valmarana . . 54 Manin . . . . 53 Manzoni . . . .51 Michele . . . . 51 Michiele dalle Colonne . 54 Mocenigo . . . . 52 Pesaro . . . . -54 Pisani . . . . . 52 Querini . . . -54 Rezzonico . . . . 52 Sagredo . . . -54 Tiepolo . . . . 51 Tiepolo- Stunner . . -53 Tron . . . . . .54 Vendramin Calergi . . 54 Vernier . . . .51 PiazzeUa , 12 INDEX. 77 Page Palazzo Ducale. (See Doge’s Palace 16 Piazzo S. Marco 11 Pigeons in Piazza H Pillars in Piazzetta . 14 Piombi .... 25 Ponte dei Sospiri 27 Ponte della Paglia . 27 Ponte di Rialto 53 f*ozzi .... 25 Principal Sights of Venice 3 Procuratie Nuove . 12, 13 Procuratie Vecchie . 12, 13 Programme for the Day . 2 Public Gardens 64 Purchases ... 2 Railway Station 55 Rialto .... 63 Rialto Bridge . 53 ? 63 Riva degli Schiavoni 27 San Lazzaro . . . 70 San Michele . 72 Scuola di S. Rocco . 62 Seminario Patriarcale 5 i Page Singers on Grand Canal . . i Spanish Synagogue . . .69 Special Notes and Memoranda 1 Strada Ferrata . . -55 Theatres 2 Apollo . . . . .69 Camploy . . . .69 Fenice . . . . .69 Malibran . . . .69 Marionette . . . .69 Rossini . . . .69 Tombola . . . . .11 Torcello . . . . .72 Torre dell’ Orologio . .13 Treasury of S. Marco . . 31 Venice, Arrival at . ,, History of . ,, Situation of Visiting Churches . 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