eS ee SRE eee neSDTAens AUR SS PPA AS ad we 8 te TIAN GG EERE STE shumerever ste os <=: aj aR MIRE TES, Sr EE ™ ESSERE SS — Pen SRS SL PT BSR ES TS annie Foy anata: anes ri ee eC a ee ae et ae ca Tee a eS sins Necreae n ne ePA NNCTRDRnM ti9 SATE DMN NERA Om THELIBRARY OF JOHN-WICKLIFF KITCHELL PANA:ILLINOIS -1835 ++ 1914+ BEQVEATHEDBY MRS. MARY F. KITCHELL iN 1931 LIBRARY OF THE VNIVERSITY OF-ILLINOIS gAA.OSI Voy Es cop. Z Return this book on or before the Latest Date stamped below. University of Illinois Library L161—H41 Digitized by the Internet Archive in 2021 with funding from University of Illinois Urbana-Champaign httos://archive.org/details/veniceitshistoryOOyria_O VENICE iene ieiee So ear ARSE Ee Tie Library of the University of IIltnols. THE TRIUMPH OF VENICE. By PAUL VERONESE. (Ceiling of the Hall of the Grand Council.—Ducal Palace.) Frontispuece. IS alleis) ae | 77S HISTORY—ART—INDUSTRIES | AND MODERN LIFE Gilevheek ss YRTARIRE TRANSLATED FROM THE FRENCH Dyin jee lw EIS ws WITH NUMEROUS ILLUSTRATIONS so (es \ { Cc t i) ? ee (on = > 3 G ‘ : itty | OO, sy c 1 Bs / \ a Al bee y } ji ns e = Ja N , 3 i aa / DL wt f 7 GPEORGE BE DUSAND: SONS, YORK ST RBESE COVENT GARDEN : 1880 an Ee a Kas iA KK = PP] “&. \ wary gr 45. a EN : in. & (J x TE eh p itt g ¢ e Oe 0, Gp |\I) X ws _ @6 Py J is 5 J ® % SKS alps < | = e rm e 41. \ ES /, ail! TARIG ADV WERT) RACH Y . = f gs iD « ! ' * ’ a Oa ad _ a 3 . zi Ly Ze. SIR RICHARD WALLACE, BART., M.P., ARMS, WCOMRUS IS GRATEFULLY DEDICATED BY THE AUTHOR. an i i) AARC MARAT ERE A bAB RT . | : HOTT RUN NTA TAL |e (OE TCCONTAB TEE INS IDSy — ogg 02 — Part 1.—History. CrP Pale ek ORIGIN—DEVELOPMENT—FALL OF THE REPUBLIC. Impression made on a Visitor to Venice — Origin of the City: The First Fugitive Settlers on the Lagoon — They found a Government; First Steps; Definitive Form of Government — Their taste for Art, Literature, and Science — Their Eminence in Politics — The Great Council — Duties of Patricians — Episodes in Venetian History: Vittor Pisani: The War of Chioggia: The Conspiracy and Death of Marino Faliero: Israel Bertuccio : Michele Steno: Calendario: Sentence and Execution — Frederick Barbarossa and Pope Alexander III. — Daniel Manin: His Origin and Career — Events of 1848 — The Republic of Venice — Manin’s Exile and Death in France .. ae oe Ae ae ae at He ay, a ae we Page I COA Ee ae THE ARCHIVES OF VENICE IN THE MONASTERY OF SANTA MARIA GLORIOSA DEI FRARI. Monastery of Santa Maria Gloriosa dei Frari — The Ducal Chancery and the Secret Chancery — Vicissitudes of the State Papers — Formation of the “General Imperial and Royal Archives of Venice” — Description of the Depository and Account of the various Series of Documents — Estimates — The Geographer Andrea Balbi — Different Keepers of the Archives: The Cavaliere Fabio Mutinelli — Austrian Depredations — The Benedictine Beda Dudik — The Ambassador’s ‘ Reports” — The Last Directors a ns aa Be i 29 b x Contents. EO ge LE Ve sa SERRIE THE COMMERCE OF THE VENETIANS—THEIR NAVIGATION. First Germs of Trade with the Goths of Ravenna — Material furnished by the Salt-deposits of the Lagoons — Foundation of the office of Salt-inspector — The Venetians trade with the Franks — Establish relations in the East and obtain Privileges from the Greek Emperors — Acquire the Southern Coasts of the Adriatic, and turn the Forests to account — The First Crusade — The Venetians provide Transport for the French — Establishment of a Factory at Tana— The Fondachi of Foreign Merchants—Fondaco dei Turchi — Fondaco dei Tedeschi — Culmination of the Commercial Power MO cae 2 a es ve Page 35 Cares Lele lave THE ARSENAL OF VENICE. Foundation of the Arsenal— Special Office of Inspectors of the Arsenal—Its internal Organisation — Con- struction of the Fleets — Artillery —The Galleys—the Galeasses— The Bomb-vessels— Superceded by Light Ordnance — Colleoni employs Siege-guns for the first time aa oe a Re be “A 46 aie lean Va THE DOGE OF VENICE. Character of the Ducal Dignity — Promises of the Doge — Artistic aspect in the Masters of the Fifteenth and Sixteenth Centuries — Ceremonial: Facsimiles of rare Engravings— Procession of the Doge — The Espousal of the Sea — Historic Portraits — Attributes of the Doge — Armour formerly belonging to them — The Right of Sovereignty over the Adriatic granted by Pope Alexander III. — The Attributes solemnly confirmed by the Pontiff os Ee ea 2 53 Hi se ye es e af “fe or 53 CTIA Se ero wa Vole THE ART OF MEDAL ENGRAVING. Difficulty of drawing up a complete Catalogue — Venetian Numismatics — Conditions affecting the Artists charged with the Representation of the great Personages of Venice — Verona the Cradle of Medal Engraving — Medallists supplied by Venice to Foreign Countries — Specimens of Coins — Sequin of Marino Faliero — Catalogue: Medals of the Doges — Popes, Patricians and Venetian Cardinals — Literary Men, Painters, Musicians, Typographers, Architects and Engravers — Captains and Condottieri .. si ae - 70 Part II.—Art. CHa Pal Real ARCHITECTURE—ITS SUCCESSIVE TRANSFORMATIONS. Torcello and its Cathedral — Santa Fosca in Torcello — Basilica of St. Mark, Venice — The Crypt — Byzantine Architecture — Gothic Period — Calendario — Pietro Baseggio — Ponte del Paradiso — Civil Architecture — Gothic Palaces — Different Types of the Period .. % re be af Sf - = a7 COP TA le ae alene ls ARCHITECTURE—THE RENAISSANCE PERIOD. Remarkable Transformation in Architecture — Antique Forms appropriated to Modern Ideas — The Ten Books of Vitruvius — Palladio — Daniel Barbaro — Francesco Colonna — Inaugurators of the Movement — Sansovino — The Dario Palace — The Casa Guisetti — Samozzi — Pesaro Palace — Rezzonico Palace — Crypt of St. Mark’s, its Restoration — Ducal Palace — Porta della Carta — Various Details — Grimani Palace — San Giorgio Maggiore — The Decadence — The Baroque .. wa cz = a ae ws 97 Contents. Xl easel Reha xe THE RIALTO. History of the Bridge of the Rialto — Former constructions of Wood — Open Competition for a Permanent Con- struction — Senatorial Committee nominated — The Approaches of the Bridge — The Fish Market Page 110 Gili Arlee he. 26s VENETIAN SCULPTURE—SEPULCHRAL MONUMENTS—BRONZES. Sepulchral Monuments — Tombs of the Byzantine Period — Gothic Period — The Churches as Pantheons — Noted Examples of Monumental Sculpture in the Churches — Wells — Door-knockers — Carved Wood — General Survey of Sculpture from the Lombardi to Canova .. 2s ee fe re ale sie ss II5 Ce sheE Roaexa THE LOMBARDI FAMILY. Pietro Lombardi — Monuments attributable to him— Martino Lombardi— Tullio and Antonio Lombardi— Sante and Moro Lombardi — Influence of the Lombardi upon their Age — They found a School of Artists .. 131 are be De ee eee LL ALESSANDRO VITTORIA AND ALESSANDRO LEOPARDI. The Michelangelo of Venice— Sansovino and his Protector — The Stuccoes of Vittoria— His scope in Architecture and Sculpture — His Eminence in Venetian Art — He prepares his Tomb and executes his Bust for San Zaccaria — Commemorative Monument of the Visit of Henry III. to Venice — Andrea Riccio — Maffeo Olivieri — Titiano Aspetti — Leopardi— The Tomb of Vendramin — Alessandro del Cavallo — The Statue of Bartolomeo Colleoni — Andrea Verocchio commissioned to execute it — His Disputes with the Senate — His Flight, Return, and Death — Lorenzo di Credi — Leopardi’s part in the Colleoni Statue — Banishment from Venice as a Forger—The Masts of the Piazza... e is ar a erat Cilieneb le boheme ele le PAINTING—THE ORIGIN AND RISE OF THE VENETIAN SCHOOL—TITIAN. The Venetian School: its Place in the History of Painting — The First Painters — Murano the Cradle of the School — Squarcione — Mantegna — Vivarini — Giovanni and Gentile Bellini — Cima da Conegliano — Carpaccio — Giorgione — Titian — His Principal Works and his Drawings on Wood .. ee fame 050 Ger AS Relate hoe Ie V.. PAINTING (continued )—TINTORETTO—VERONESE—THE ARTISTS OF THE DECADENCE. Pordenone — The two Palmas — Paul Veronese — His great Works — Tintoretto — His prodigious Fertility — Paris Bordone — Andrea Schiavone — The two Da Pontes — Jerome Mutian — Sebastian Ricci — Piazzetta — Rosalba Carriera — The two Tiepolos — Canaletto — Francesco Guardi — Pietro Longhi — The Lesser Masters .. ee Ac e “8 “6 i a ate is ar ore re vee 6h CH AVE ers aca: PRINTING—THE LITERARY MOVEMENT. Survey of Literary History — Official Historians of the Republic — Voyages and Travels — Marco Polo — La da Mosto — Literary Advantages derived from Intercourse with the East — Venetian Poetry — Great Literary Characters — Aretino — Aldus Manutius — The Printers of Venice — The Commedia dell’ Arte — Francesco Marcolini — Books on Music and Embroidery — Carlo Goldoni — Gozzi — Rhetorical Art — Learned Women — Cassandra Fedele — Facsimiles from celebrated Books of the Fifteenth and Sixteenth Centuries — Francesco Colonna— ‘The Dream of Poliphilos” — Francesco Alunno — Illustrations of Terence — Binding — Printers’ Marks .. a BS a ra ar as “ ve =i ¢.4 0802 62 X11 Contents. Part II].—Industrial Arts and Costume. OA e heey Ae OAL GLASS AND MOSAICS. The Glass Industry at Venice — Its Origin, and sudden Development — Mosaic-work — Examples of the most Ancient Mosaic — Mosaics in St. Mark’s — Cathedral of Parenzo — Marble Mosaics in San Giovanni e Paolo — Blown Glass of Murano — Variety of Material — Distinguishing qualities of the Industry — History of the Manufactories at Murano — The First Furnaces — The Dynasty of the Beroviero — Louis XIV. and Colbert attempt to attract Venetian Workmen to Paris — Law of the Republic against Emigration — Decline of Murano — Briati — Venetian imitations of Bohemian Glass — The Remains of this Industry — Salviati — Application of Mosaic to the Decoration of Monuments ae a8 Ne aD - Page 220 Cashchie Thea Oi iiE LACE—COSTUME. Venetian Point — Venetian Ladies and Lace — The Gentildonne —'The Works on Embroidery and Lace — Point Bourré — Rose-point — Bobbin Lace —The Ztatro delle Donne virtuose e Nobbili — Specimens of Lace from French Collections — Designs from Special Authorities: Pompe: Parasole: Vecellio: Vinciolo — Costume from Engravings of the Fifteenth and Sixteenth Centuries — The Doge — The Cafitano del Mare — Women of Venice — The Patten — Bianca Capello — Her Marriage — The Peruke in Venice — Carnival Costumes of the Eighteenth Century — Bartolozzi oe oe oA a oa os an a ~~, 40 Part 1V.—Venice of To-day. Cr As eels Cottage Va LeLe Le THE APPROACH TO THE CITY—THE GRAND CANAL. First Impressions on entering Venice — The Grand Canal — The Palaces — The Rialto — The Fondachi — The Riva de’ Schiavoni — The Campanile — Bird’s-eye View of Venice 2 ss oe a Peeee OE CPA S Deer a eee wales ST. MARK’S—THE CARNIVAL—TYPES OF THE PEOPLE. St. Mark’s Square — Visit to St. Mark’s — The Pigeons of the Republic — The Carnival — Carnival Characters — The Riva and its Denizens — The Ducal Palace — Casanova de Seingalt—— The ‘Leads’ and ‘ Wells’ — Fishermen — Wine Vendors — Chimney Sweeps — Views in the Arsenal — The Fleet of the Chioggiotti — The Palaces dei Mori, Ponte di Sacca, etc. — Types of Venetian Women — The Gondola .. eA CoH ASP ely Ea eens THE CHURCHES—THE LIDO—THE ISLE OF SAN LAZZARO—THE ARMENIANS—CONCLUSION. San Zaccaria — San Giorgio Maggiore — The Frari — Principal Door of San Giovanni e Paolo — Féte of the Redentore — Public Amusements — The Lido — Burano — San Francesco del Deserto— A Villa on the Mainland — San Lazzaro— The Monastery of the Armenians — View of Venice from San Lazzaro — Conclusion oe a os Oe me 7 4 3a By sie oh ne ee e2Or iS Or SEN SE RTE De oP Tea Te iss. ————woo— The Triumph of Venice. — By Paul Veronese .. oe “ a nf 56 HALF TITLE. History. The Archives. — Commerce. — The Arsenal. — The Doge, &c. The Ducal Palace from the Lagoon .. sr ae “ os <2 “a Court of the Ducal Palace .. ae eG a0 ee sis Cloisters of the Monastery of Santa Maria Gloriosa dei Frari_ .. ie Be The Fondaco dei Turchi. — Grand Canal .. ° .. re ne The Doge and the Dogaressa in State Apparel .. we “x The Bucentaur .. a 33 ays Se Abs , ee ae te HALF TITLE. Art. Architecture. — Painting. — Sculpture. — Typography, Xe. .. West Front of the Basilica of St. Mark f Br oe bie Interior of the Basilica of St. Mark.. = ¥ as The Loggetta, Libreria Vecchia, and Piazzetta er ee Bronze Gates of the Loggetta. — By Antonio Gai.. aS we Tomb of the Doge Vendramin. — By Alessandro Leopardi Tomb of the Doge Pietro Mocenigo. —- By Pietro Lombardi and his Sons Statue of Colleoni. — By Andrea Verocchio ote ee = 5¢ és The Virgin of Victory. — By Andrea Mantegna .. aN ae Madonnas. — By Andrea Mantegna .. se eA Ne Re 1 f Frontispiece. Before page To Jace page 8 20 > = 2) XIV List of Inserted Plates. Tiziano Vecellio, called Titian. — From an engraving by Aug. Carrachi The Entombment. — Titian The Martyrdom of St. Peter. — Titian St. Jerome in the Desert. — Titian .. The Six Saints. — Titian Milo of Crotona. — Titian Portrait. — By Jean de Calcar. (Louvre) The Marriage of Cana. — Paul Veronese .. fe 56 os Olympus. — Paul Veronese. (Ceiling of the Grand Gallery at the Villa Barbaro) Olympus. — Paul Veronese. (Part of a fresco at the Villa Barbaro) Apollo and Venus. — Paul Veronese The Miracle of St. Mark. — Tintoretto Antony and Cleopatra. — The Banquet. — By Tiepolo Antony and Cleopatra. — Fresco by Tiepolo ‘Tower of Malghera. — Etching by Canaletto HALF TITLE. Inpustrry. Glass. — Mosaics. — Lace. — Costume.. A Noble Venetian Lady of the Sixteenth Century. — Giacomo Franco.. A Venetian Marriage, Sixteenth Century. — After a print in the British Museum HALF TITLE. VENIcE or To-Day Vendramin Palace. — Grand Canal .. The Casa Doro. — Grand Canal Grimani Palace. — Grand Canal Foscari and Giustiniani Palaces, — Grand Canal .. Bird’s-eye View of Venice The Piazza di San Marco The Café Florian On the Riva dei Schiavoni. — After Filippo Liardo Leaving the Theatre. — La Fenice .. The Isle and Church of San Giorgio Maggiore To face page 170 » 170 » 170 » 172 » 172 » 172 » 174 LOS 53 | LOO » 184 3 04 » 186 » 194 » 194 » 198 220 » 256 » 250 3 260 » 264 » 264 eZ Oo ss 268 270-271 ers » 272 ay) eae Zoo 2) 292 ( xv ) LIST OF ENGRAVINGS IN PAGE The Doge and Members of the College descending the Giants’ Staircase.—Ducal Palace : I Initial: the Porta della Cartax—Ducal Palace. I The Fisherman bringing back the ring of St. Mark : after Paris Bordone ; 3 Standard of the Republic .. 4 Enrico Dandolo. Doge 1192-1205 : 5 Hall of the Great Council.—Ducal Palvee 5 Francesco Foscari. Doge 1423-1457 6 Hall of the Senate.— Ducal Palace 6 Marco Antonio Memmo. Doge 1612-1616 7 Eloquence. By Paul Veronese : 8 Venetian Senator.—After Vecellio 9 Ante-chamber of the Council of Ten.— Sada an Cont 10 Vignette II Vittor Pisani carried in triumph from eae —After Hesse) 22 ee me ee ot ae 13 The Bridge of Sicha as 15 The tribunal of the Council of Ten. preccesiae to Session ., 18 Allegorical group by Zealot. Pcctine ae ihe Hall of the Council of Ten ae ree tC Execution of Marino Biter Atiee Rover Flea ao eH Daniel Manin, President of the Venetian Republic of 1848 .. 3 so Daniel Manin’s house at San Patera xa 25 Vignette 6 The Dogaressa (facsimile “of a MS. eee a at the Frari) «.. oF ay Entrance to the Arehiy es in nage Court of the Monastery of the Frari Fe : #23 One of the MS. rooms at the Fratl 30 of 20) Vignette ate 34 Dogana and church of Santa Maria della ealace a fee Guardi .. no : ie 35 The Fondaco dei Turchi pice its a cestara tion dé 2 Vignette te re af oe a 45 Entrance of the Arsenal oP a es a oo AG The Arsenal Lions .. ; oe “es 48 Pay-day of the workmen & the Aveeral After an engraving by Giacomo Franco ee ee. OC Model of the Galleys of the Venetian Fleet .. ws 5D Vignette _ ae or 2 The Doge and the: Creer in Council, (Facsimile of an engraving on wood, 1560) “i BS a Ge Leonardo Loredano. Doge 1570, From the portrait by Bellini in the National Gallery .. os 55 The Procession of the Doge. (From eight wood- blocks by Matteo Pagani, 1550) ‘ re: 56-59 St. Mark’s Place. The Doge about : start for the ceremony of the Nuptials of the Sea. From an engraving on wood by Jost Amman, 1565 .. 60-61 Antonio Priuli. Doge, 1618 Fc a a ay 6 Luigi Mocenigo. Doge, 1570 .. a is PO? Casket made to contain the Corno * is an OR Iron helmet of repoussé work _.. in re res Armour of the Doge 65 Sheath of the Sword of State presented By the Ponte 66 IUale, AEE Hilt of Sword of State presented a the Pontiff Venetian scimitar é The Attributes of the Doce : Ornamental heading for Chapter on Medals Zecchin, coin : Marino Faliero, coin perreseaiie! Franciscus Foscari, medal of Christophorus Mauro, medal of .. Augustus Barbadicus, medal of .. Marcus Antonius Trevisanus, medal of .. Hieronimus Priolus, medal of .. Maurocena, Dogaressa, medal of Marcus Antonius Memmo, medal of Johannes Amo, medal of .. Grimani, Cardinal, medal of Johannes Delphino, medal of Diedo, Francis, medal of .. Diedus, Paul, medal of Titian, medal of a Wicros Camelius, medallist, medal a Sebastianus Rhenerus, medal of . Nicolaus Piccininus, medal of Nicolo da Ponte, medal of Santa Maria della Salute.—Entrance of (Grane. exe. Scala Minelli, San Paternian oF Presbytery and Episcopal throne, at Toreetlo :: Gilded mouldings from the Cathedral, Torcello Carving from chancel of the Cathedral, Torcello Throne, given to the Patriarch of Grado by Heraclius Apse.—Cathedral, Torcello Apse.—Santa Fosco, Torcello ; The ‘ Beniter’ in the Cathedral, oreels Episcopal throne, Torcello Santa Fosta, Cloister of, Torcello Apse of San Donato, Murano ., Frieze.-— Murano Carving inside St. Mark’s, Faia. fieece. and Rowe Capital.—Casa de’ Apostoli : Capital.—From a palace at Campo San faolon Capital of Byzantine epoch.—St. Mark’s Sculpture.—Byzantine epoch Capital.—Acanthus leaf.—Torcello Capitals.-—Atrium, St. Mark’s Plan of St. Mark’s Plan of St. Sophia’s, Wconcinuinorie Capital and base.—Atrium, St. Mark’s .. Arabesque archivolt, St. Mark’s .. of : Pillar from St. Saba’s at Acre on the Pingretiar Ground-plan of the crypt.—St. Mark’s Crypt.—St. Mark’s ee Horse-shoe eave er iaiece of St. Chry sostom Ancient house (ninth century) The Porta della Carta. Entrance of the Ducal Paice on the Piazzetta One of the pillars of St. Saba, on the Piaetian Capital.—Portico of the Ducal Palace Capital.—Angle of the ey of the Ducal Baleena at the Porta della Carta . XVI List of Engravings. PAGE Balcony of a palace at the Santi Apostoli (ninth century) 8g Lion of St. Mark.—Piazzetta oe de An go Gothic ornament of the Ponte di Paraaiso AG OO Side entrance of Santa Maria Gloriosa dei Frari eo Apse of the Church of the Frari .. a5 a OL Bird’s-eye view of the Ducal Palace Bs gI Gothic pergola of the Priuli Palace, near San oreceos 2 Gothic balcony RC oe . = a Be 2 Window of Casa Doro Ao Ps 36 = AG 94 Balcony.— Cavalli Palace .. re a i ny eh Window.—Cavalli Palace . be Be a 94. From the door of the Senol di Misericordis 50 joo GY! Frieze.—Cavalli Palace .. ae ‘8 ss Ss Cyl Gothic door at the Frari .. “c 35 Palazzo Contarini-Fasan. Seis pened = ee 05 Courtyard of Casa Bembo.—Gothic period .. OO Venetian sailor offering for sale an antique from Naxos .. : ais Ae 00 97 Corner-Spinelli aes Grand Canal 52 30 yh) ‘Balcony of the Corner-Spinelli Palace .. Be a 8) The Libreria Vecchia os a: * too Court of the Ducal Palace.. “p me 55 kOe) Ancient Sacristy.—Scuola della Misericordia aL OO Door of a Palace, Fondamenta di San Fosca .. LOL Dario Palace, Grand Canal os 3 7 ce Loz Casa Guisetti, Strada della Fava.. ee Be Los Church of San Geminiano, St. Mark’s Place .. ELOY: Interior of the Church of San Giorgio Maggiore LOS Grimani Palace, Grand Canal ., ss oe LOO Pesaro Palace, Grand Canal ae os se ra elOy. Rezzonico Palace, Grand Canal .. ap fs LeLOS Facade of the Ospedaletto 6 BS ae =arOO The Cornaro Chapel at Santi Apostoli .. a =e LOO Fort of Sant’? Andrea del Lido... 4c Be Sq 13K) The Bridge of the Rialto, Grand Canal .. ” Sq Wht Pascal Cicogna, Doge when the Rialto was built bp. le The approach to the Rialto, from the Campo San Bartolomeo side ae ae m0 a Ao ates) The Rialto .. js 114 The Piazza San Cova e Parle. the Soucine di San Marco, and the Statue of Colleoni .. 4 las Tomb of Duccio degli Alberti at the Frari, 1336 ee LO Monument of Colleoni.— Piazza San Giovannie Paolo 117 Bronze altar candlestick, end of fifteenth century oe LS Enamelled bronze altar candlestick Pe : 118 Pedestal of mast bearing the Standard of the Repablic in the Piazza San Marco .. 119 Lectern.—Byzantine epoch. Brought fom Rhodes oe Morosini ae e IIQ Well, in the court of a private yee near r San Cian e Paolo, attributed to Bartolommeo Bon (fifteenth cenit) 120 Fountain basin in Bronce Jee of the Dees Palace. Nicolo Conti .. 120 Well.—Fifteenth century. aoa deaect as the capital of the Ducal Palace .. - 120 Well.—Renaissance period.— Cana San Caen e Raoloy eer 120 Well in the court a the Oddi Paes —Late eeuaets period .. Ae 121 Fountain basin in prea in ie court or the ues) Palace. By Alberghetti 4 56 Sc Re ee Well.—Byzantine epoch.—Canareggio Well at Barbaria delle Tolle-—Lombardi period Knocker.—Moro Palace, Strada di Remedio Wrought-iron knocker.—Casa Priuli at Santa Maria Nova 122 Knocker.—Palace a the eee Da ‘Pons. sae pensarac 122 Knocker.—Palace of Justinian Lolina 122 Knocker.—Mafeti Palace at San Paolo . 122 Knocker.—Querini Palace at Cuaron 5 122 Panel of the door of the Sacristy, St. Mark’s.—The Entombment.—Bronze : I Marble bas-relief on the front of the Loggets —Jusece 123 Monument of Pietro Bernardo at the Frarii—Leopardi, L525 ais 50 “ an or a 55 Ue Monument of the Doge Veniero at San Salvatore.— Sansovino, 1556 3 Monument of Jacopo Suriano de Ricnins at San isieiane, Teh sf - Monument of Penn PP oncnena: 1669., “6 a0 Carved wooden seat, 1559.. ae Pe Bas-relief in the Church of San eciupern e Pacle: By Toretti. The Presentation of the Virgin in the Temple .. 4 40 or Bas-relief in the Church of San Giovanni @ Pasion By Tagliapietra. The Purification oe a0 Antonio Canova. From an engraving by Pireli oo Bellows of carved wood.—Sixteenth Century Equestrian Statuette a 3: oe Monument of Cardinal Zeno 5) ‘St, Mark’s.—Pietro Lombardo = ; : Balustrade of Santa Maria ae Areccl Formella at Santa Maria dei Miracoli Column of San Zaccaria .. a Be Sculptured pillar of Santa Maria ae Miracoli .. Interior bay, San Zaccaria ae Santa Maria dei Miracoli. Piece Lombards 5 Fagade of the Scuola di San Marco.—Marco and Tilia Lombardi ; oe Gateway of San Giacomo- ii. evangelista. Seocatdi Capital.—Scuola di San Rocco a The Scuola di San Rocco. Ateibuted to Gener and Scarpagnino Coiner-Spinelli Palace. Attributed to Pietra Convent Fountain in plaster, modelled by Alessandro Vittoria, in the Villa Barbaro .. The Scala d’Oro (Golden Saar in he Dural Palace. Ornamented in plaster by Vittoria 5 Door leading to the Stanza dei Scudieri (Scala d’Oro), Ducal Palace.—Carved wood. Alessandro Vittoria St. Jerome, Alessandro Vittoria.—Altar of St. Jerome atthe Frari .. “ Candelabra in bronze. Sane Maria Maggiore Alessandro Vittoria.—After the bust on his tomb in San Zaccaria oa “ as ie oe Bartolomeo Colleoni. | Commander-in-chief of the forces of the Republic on the mainland Bronze basin in the courtyard of the Ducal Paine By Alberghetti.. a ne The daughter of Herodias. horeione The Madonna and Child. By Gregorio Schiavone Andrea Mantegna. (Padua, 1431-1 pets Facsimiles ; Judith. By agree Menteena Facsimile of a drawing by Mantegna. eon the poles! tion at Padua .. Giovanni Bellini and Genuie Bellini Facsimile .. oe ee Giovanni Bellini eae» to Antonio ag Mosc he Lechevallier Chevignard Facsimile The Madonna and six Sane Seer Bellini Ambassadors of the King of England asking King Donato for the hand of Ursula for their king’s son.—Carpaccio Vittore Carpaccio (1455-1525) : Virgin, with Jesus and St. John.—Carpaccio Giorgio Barbarelli, called Giorgione (1478-1511) The Raising of Lazarus.—Sebastian del Piombo Venus and Adonis.—Titian Bacchus and Ariadne.—Titian Titian’s Mistress The Doge Francesco Dusaie anon the Reais ae the Tutelary Saints of Venice.—Drawn on wood by Titian 36 ot * 3: os Peter Martyr.—Giorgione ee =s The Mother of the Loves.—Fresco by Pac! Seanese Giovanni Antonio Regillo, called Il Pordenone (1483- 1539) Facsimiles . ne ob ne ee Paris Bordone (1844-1580). Me na ae GO PAGE 127 129 129 130 131 132 132 132 132 132 133 134 134 134 135 140 I4I 144 145 148 149 150 153 155 156 157 159 159 160 161 162 162 163 163 164 165 166 167 168 169 171 171 172 173 174 175 176 176 177 List of Engravings in the Text. XVII PAGE PAGE Facsimile .. E * ‘a ae a GY) St. Peter.— Mosaic of eleventh century.—St. Mark’s 227 Santa Giustina. enon fe a on me 178 Mosaics of coloured marbles and gold.—A. eke Santa Barbara.—Palma Vecchio.. : Pet 7.O 1478 be 228 Jacopo Palma, surnamed I] Vecchio (1480-1548) LLCO Glass goblets. — Fifteenth and “sixteenth éenturies The Consecration of St. Nicholas. Paul Veronese .. 181 Murano - ie 229 Neptune.—Fresco in the Villa Barbara. — Paul Specimens of Murano blown ee Seventeenth cen- Veronese of LO? tury Ag a ae = 230, 231 Paolo Cagliari, balled Mercnere (1528- 1588) ae CLO Venetian Blass fasts 233 The Pilgrims of Emmaus.—Paul Veronese .. 184 Goblet of coloured glass. PSictecuth century 234 Strength leaning upon Truth.—Fresco.—Paul ree 185 Glass goblet.—Murano,—Fifteenth century ~* 234 Venice, Peace, and Justice.—Paul Veronese .. SLOO Enamelled ewer.—Sixteenth century ae 235 Jacopo Robusti, called Tintoretto (1512--1594) LOT, Opaline rosewater dish.—Seventeenth century .. 235 Tintoretto by the death-bed of his daughter. By Goblet, coloured enamels.—Sixteenth century .. 235 Morelli of Milan es ‘ ES ites) Goblets, vases, and chalices——Murano .. 236 Marietta, daughter of Tintoretto (1850-1590) .. as Tikets) Ornamental glass.—Murano 5 BG, Inscription .. ee os a . 189 Venetian Maiolica Dish (South eerenetan Museum) 239 Andrea Schiavone (1s22 1582) os Be ae LOO Rose point lace.—Sixteenth century 240 Leandro da Ponte (1548-1623) .. Pa LOO Venetian woman bleaching her hair 242 Jacopo Palma, called I] Giovane (1g44-16a8\- . seo Pattens worn by Venetian ladies.— Fifteenth ad S1X- Domenico Tintoretto (1562-1637) 50 °s LOO teenth centuries a Re = sy NG Sebastiano Ricci (1662-1734) m ae es LO) Specimens of lace from Parasole, 616 of oe 244, 245 Giambattista Piazzetta (1683-1754) es a Peet OL Specimens of point coupé and bobbin lace 247 Rosa-Alba Carriera (1671-1757). From a portrait Venetian collar.—Point bourré 248 painted by herself .. 192 Camail of a Dean of St. Mark’s ag 248 The Girl with the Ape. —Crayon drawing ay ie Fans: Point coupé and embroidery. = Siicentht canta 249 Rosalba ap a 193 Thick relief point bourré.—Seventeenth century 249 A view in Venice. BC aete Se oe aa LOA Costume of Carletto Cagliari. From the Marriage at Giambattista Tiepolo (1692-1767) ; see LOA. Cana of Veronese 251 Antonio Canale, called Canaletto (1647- 1768) . LO The Dogaressa and her maids if Roser. Cerone View at Burano.—Etched by Canaletto .. ac OO Franco .. : 252 Francesco Guardi (1712-1763) .. 197 Trevisan Matron. eno Rerelie 252 The Nuptials of the Doge and the Adriatic: Syn Venetian Lady.—Pietro Bertelli .. : 252 cesco Guardi .. “s oe ne LOS The Doge in State costume. —Giacomo eaceo 253 Pietro Longhi (1702-1785) as oe ee LOO Lady of Vicenza.—Pietro Bertelli 253 Alessandro Longhi, (1733-1813) .. me ae Lee OG Young lady and her dancing master.—Pietro Bere 253 The Dancing Lesson.—Pietro Longhi .. of a Bee) Capitano generale dell’Armata.—Giacomo Franco 254 The House in which Titian died at Venice ot 201 Venetian matron.—Pietro Bertelli 254 The Triumph of Vertumnus and Pomona. = Facsimile Venetian courtesan.—Pietro Bellini 254 from the ‘Dream of Poliphilos’ .. . 202 Venetian noble a SS Isabella d’Este, Marquise of Mantua. Breet aber Magistrate 255 copy of the portrait by Titian ac A ss, Bei Married woman : 255 Aldus Manutius (1447-1515) aa 206 Widow.—Giacomo “poaaee DBE Pietro Aretino.—Facsimile of a drawing on ood by Bianca Capello. From the miniature by Bronzino 256 Ditiany 552. res Pyeys Nuptial Car.—Marriage of Bianca Capello 256 Francesco Marcolini. S55. of a drawing on wood Mountebanks performing on the Piazzetta 257 by Titian, 1552 208 Costume of a Procurator of the seventeenth century. Cassandra Fiddle iy eae ofa an aren on agua Euhler . 268 1497 sp 211 Carnival costumes. Bee rconth eater Batalory 259 Facsimile of a ete: ie Herodotus mented a Venice Domino.— Eighteenth century 260 1494... 212 Masquer.—Eighteenth century 260 Printer’s mark.— FRot the Ryneides of Sabellico, Flute player .. e 260 Keepy ac 215 The Ducal Palace and the Riva xa 261 The Fountain of ase aad. porecioas aanee aesitie Loggetta at the base of the Campanile 261 from the ‘ Dream of Poliphilos’ _.. 216 View from the Riva de’ Schiavoni 263 Francesco Alunno of Ferrara.—Facsimile a enue The Fondaco dei Turchi.—Grand OSA 2606 piece of his work on Petrarch A 217, The Corner Palace.— Grand Canal 266 Facsimile specimens of the illustrations in the OPerence? The Casa Doro.—Grand Canal 267 of 1499 . 218 The Pesaro Palace.—Grand Canal 267 Venetian Benning: —The : Metamorphoses’ of L. Dolce The Contarini Fasan Palace 268 1553 219 Balcony.—Contarini Fasan Palace 268 Venetian cine of the AERIS centtry: : Dante Angle of the arcade.—Ducal Palace 270 TiS AA es : me SeZLO The pigeons of St. Mark’s jaune 271 Venetian Binding of the eeenth asaiiiey “Instruc- Interior of St. Mark’s ‘ 272 tions of the Doge.’—Marino Grimani, 1597 219 West front of St. Mark’s ne rr 272 Mark of Antonio Gardane.—Venice, 1537 Ae rez20 The shops under the arcade of the Proeirane a 5 Bee View of Murano, the seat of the glass manufacture.— An intrigue at Venice under the Renaissance.— The Duomo and the Grand Canal .. Fe Ba PH Vanutelli an as i ne re 6274-5 Specimens of blown glass.—End of sixteenth century.. 221 Carnival characters .. 276 Finial of an archivolt of the doorway of St. Mark’s .. 224 Mascherata dei Bes toritan’ 277 Mosaic of the eleventh century in the Atrium of St. Carnival scene.—Guardi : 277 Mark’s .. or 224 Bigolante at the basins of the out rag the Deeal Curious mosaic at the Bea & the ‘Chapel of the Palace.—Liardo 279 Virgin.—St. Mark’s ., Pi : eo 225 Portrait of Casanova de Seingalt .. 280 Venetian mosaic, thirteenth century. pe van 225 Riva de’ Schiavone.— Madonna of the Condotiers 281 St. John the Evangelist.—Mosaic of eleventh century. Chimney-sweeper of the Riva 281 St. Mark’s a ee ae a at e220 Fisherman of the Marina .. Ae 281 XVII List of Engravings m the Text. PAGE Venetian wine shop Pr te i ss i 202 Interior of San Giorgio Maggiore As ne a Before the Isle St. George.—Clara Montalba .. somos Interior of Santa Maria Gloriosa dei Frari ‘ es The Arsenal.—View of the Isoletta and the basin.— Public amusements.—The Frittole.—Stella.. = Virlartew. er on ie oi ot bn 283 Peasants of Friuli selling mulberries.—Stella .. 36 The flotilla of the Chioggiotti and their nets.—Admiral Interior of the Sacristy of the Convent.—Stella on Acton .. * = cc #3 Sc . 284 Distribution of water by the Capuchins.—Stella as The Arsenal.—View taken in the Darsa Nuovissima.— Festival of the Redentore.—Bridge of boats across the Yriarte re a a s $% i 204 Giudecca Canal.—Stella 6 se se 53 The flotilla of the Chioggiotti—Admiral Acton 285 The shore of the Adriatic.—The Baths in the distance The Palazzo dei Mori se os 285 Bridge over the Canale San Nicolo, Lido.—Yriarte .. Ponte di Sacca ee 5 5 ss on 33 ©2860 View inthe Island of Burano .. Ba ae oe The Scala Antica .. Ae ae ee x -> 286 General view of the Villa Barbaro, near Asolo .. 3 Courtyard of the Palazzo dei Mori a aa a 2286 The Island of San Lazzaro and the Armenian Monastery Venetian Characters.—Women.—Stella se soezo7, The Archbishop of Siounic “ Ac a ie The Traghetto de San Vitale.—Stella_ .. re ae 208 The Vicar-general .. es . a os a Moonlight on the Lagoon.— Orchardson Bis ae 200 The Archdeacon .. a3 a ia s3 3 The Gondola.—From a photograph on = 290 Acolytes oe 30 ss ve be at dc View of the Lido from the Lagoon 30 eeeZOr Deacon es i i os os ee a Interior of San Zaccaria ie Sc 20 ss 202 Sub-deacon .. ae of + ne a 5 Principal entrance of San Giovanni e Paolo 292 View of Venice (tailpiece) .. a ve PAGE 292 293 294 294 295 295 296 298 299 300 301 303 304 304 304 395 395 305 308 The Library of the " Wntversity of linots ra — a iain ‘ \ ae qi =—BOETS EL ieee” as —— : ia _— -— SS > = at - Mavenor. | The Doge and Members of the College descending the Giants’ Staircase.—Ducal Palace. VENICE. CaHeAs Bal Ee Raat: ORIGIN—DEVELOPMENT—FALL OF THE REPUBLIC. WV eee the Queen of the Adriatic, is dis- tinguished, not only by the glory of her arts, the strangeness of her position, the romance of her origin, but by the great historical memories of her days of power. These throw an interest over a city which survives its own glories, and even its own life, like the scenery in some great theatre after the play is done and all the actors are withdrawn. A pleasurable melancholy grows upon the traveller who wanders among the churches or glides along on The Porta della Carta.—Ducal Palace. the canals of Venice. Although misfor- tune has overcast the city with a pall of sadness, it still preserves the indefinable grace of things Italian. Its old magnificence imposes on the mind, while the charm of its present melancholy creeps about the heart. B 2 Venice. And even on the brightest day, when the unconquerable sun looks down, most broadly on the glittering city of St. Mark, silence and melancholy still hold their court on the canals ; and the most unsentimental spirit yields to the elegiac influence. At Venice, he who is happy, he for whom silence has no charms and who loves the tumult of the world, soon finds his footsteps dogged by limping dulness. But those who have known the sorrows of life return gladly thither; the place is catching, every corner or open square recommends itself to the affections. The lightness of the heavens, the even purity of the air, the steely shine of the lagoon, the roseate reflections of the walls, the nights as clear as day, the softness of the Venetian dialect, the trustfulness and placability of the people, their tolerance for all men’s humours, and their gentle intercourse—out of all these results that unseizable and seductive quality which is indeed Venice, which sings at a man’s heart, and so possesses and subdues him that he shall feel far from home whenever he is far from the Piazzetta. Travel where you will, neither Rome nor Jerusalem, neither Granada, Toledo, nor the Golden Horn will offer you the spectacle of such another enchanted approach. It is a dream that has taken shape; a vision of fairyland turned into reality by human hands. The order of nature is suspended ; the lagoon is like the heavens, the heavens are like the sea; these rosy islets carrying temples are like barks voyaging the sky ; and away upon the horizon, towards Malamocco, the clouds and the green islands lie mingled as bafflingly as shapes in the mirage of the desert. The very buildings have an air of dreamland; solids hang suspended over voids ; and ponderous halls and palaces stand paradoxically supported on the stone lace-work of medieval sculptors. All the principles of art are violated : and out of their violation springs a new art, borrowed from the East but stamped with the mark of Venice; in a while this is transformed and becomes, in the hands of the Lombardi, the Leopardi, and the Sansovino, the glory and the adornment of the city. Opulent and untamed imaginations have spoiled the treasury of the Magnificoes to build these sculptured palaces and basilicas of marble and mosaic, to lay their pavements with precious stones and cover their walls with gold and onyx and oriental alabaster. They used the pillage of Aquileia, Altinum, Damascus, and Heliopolis. With a nameless daring they raised high in air, over their porches and among their domes, the huge antique bronze horses of Byzantium. They sustained a mighty palace upon pillars whose carvings seem wrought by workmen in some opiate dream making them reckless of the cost of time. They dammed back the sea to set up their city in its place. In the lagoon, to the sound of strange workmen’s choruses, they buried all the oaks of Istria and Dalmatia, of Albania and the Julian Alps. They transformed the climate of the Illyrian peninsula, leaving plains instead of mountains, and sunburnt deserts in the place of green and grateful forests; for all the hills have become palaces, as at the touch of a wand; and deep in the salt sea the old oaks stand embedded, sustaining the city of St. Mark. It was a people of fugitives, driven from their homes, forty thousand of them, by the barbarians in the fifth century. They took refuge in the lagoon, and there, on that shifting soil, founded the port of the Rialto, in a salt marsh where they had neither ground to till nor stone to cut, nor iron to forge, nor wood for shelter, nor even water that could be drunk. They made their own soil, contrived to found a state without territory, and Origin—Development—Fall of the Republi. 3 oe after a few brief trials and some scenes of blood, from which no people at its beginning can escape, struck out that form of government—the aristocratical republic—which they maintained for fourteen centuries. Faithful to this form, they astonished the world by their sagacity, power, and stability, and by their genius for commerce, exchange, and At their origin they lived by the fruits of the sea as fishermen, and from the industry. This was their first article of exchange. By salt which nature deposited on the coast. CO @IOV/ A itr | Pr I) Iie fils = ~ = ay | Re | a ae 9 | fe 7 = oy a SN lies g a3 % a °) ecm, a ee A IY \ \ \ z] { Pe F Y Uf! \t pe f y = S & 4 f I SF. : ( 2 } ®, N) | Ne A) HVS \ ip \ \ ( = SHA VA aa Sy wa BP ! Wr OW SCA Sa ha nN ae Pie —— 3 \ LN Nas afi sy Wann é aman (a \ ©, ~~ \7SSS et SIG he DSSS ae ne S=F SEE SS | yi \ A\ WS => IN AN - \ \ Se aS ee \ eA jr The fisherman bringing back the ring of St. Mark.—Paris Bordone. degrees they constructed flat-bottomed boats, then galleys, and at last fleets, and entering Byzantium as conquerors, overthrew the Eastern Empire. domain ; they laid claim to its sovereignty by right of a word spoken by Alexander III., when, pursued by Barbarossa, he took refuge in their territory; they symbolised that authority by the espousals of the Doge with the Sea, and the legend of the gold ring brought back to the sovereign by the fisherman; and from that time they held the whole B 2 The whole Adriatic was their 4 Venice. coast from Ravenna to Albania. Kings had to ask leave of the Senate to ply in their waters when they wanted to land on the shores of Illyria. They treated with all the sovereigns of Europe as equals, constituted themselves the purveyors of the world, and on their commercial wealth laid the foundation of their political power. Twice the arbiters of the world vowed the destruction of Venice, and leagued them- selves together against her; but her people, by dint of suppleness and agility, by turns firm and wily, baffled all combinations, and came safely out of the most appalling dilemmas. At one moment all nations were in a manner tributary to them, because they were the greatest merchants, the bravest sailors, the most skilful builders, and the richest ship- owners in the world. When France, already beginning to move the world, had raised the cry of “Dieu le veult,” she had to beg of the Venetians a passage on board their ships to transport her army to the Holy Land; they, being a practical people, demanded payment for this service in blood, as gold wherewith to pay it was lacking; so the French went to the assault of Lara, and retook for the Venetians the Dalmatian colonies, which had shaken off their yoke. CUDA AMMA BM PO RSA 'Y TOTATOATV TACT MAT HAAMUATATD UTA TTTUOUNT TT ATTMNTNNTTTTM TTT TcT aT ov AUUUALLUE sutt aH UH CUOLUNUAAUUALUG AL HNUSAED SJ UPL Standard of the Republic. The oldest, perhaps, of modern nations, the Venetians outstripped all the rest in the arts of civilisation. Before the tenth century they had built on their group of islands no less than seventy churches, some of which, like those of Torcello, were miracles of art. They were the first to have the sense of luxury, to appreciate the refinements of life, the first to delight in sumptuous houses and tissues, in the splendour of gems and the sheen of pearls. While Europe was yet plunged in the darkness of the Middle Ages, the Venetians went to the only two civilised people of our hemisphere, the Arabs and the Greeks, to borrow from them the elements of their delicate and exquisite arts. The more familiar we grow with the history of Venice, the more we come to marvel at the practical common sense of this handful of human beings, who, by the fourteenth or fifteenth centuries, were making more noise in the world, and filling a greater place, than the populations of the largest empires. As early as the fifth century we find them in possession of a government, in the shape of Consuls sent from Padua to administer the islets of the Rialto. In the seventh century they begin to feel their way towards a new form of government, and nominate a Doge, Paul of Heraclea. In 737 they appoint as Origin— Development—Fall of the Republic. 5 heads of the State certain yearly magistrates, called ‘“‘masters of the militia ;” but, five years later, finding that the constant transfer of power gives instability to their society, they revive the office of aa constituting themselves into Doge. No doubt the condi- monarchies, and _ progressing tions of power will yet need along the same lines, with modification. The future will more or less rapidity and not be free from struggles ; success, to unity, the Vene- new institutions will come to tians, on their part, shape complete the system, but from their State into a Republic, 742 to 1797 there will be no make vits “chief, the Dove, essential change in the mode the most constitutional of of government; the State sovereigns, a living emblem has found its formula. Whilst of the Republic, intended only Enrico Dandolo. Doge 1192-1205. all the nations of Europe are to represent her before am- bassadors, at public ceremonials, and on the occasion of royal visits, but without any real power, and acting only under constant and permanent control. At first the Republic is democratic, or, at least, grants certain rights to the people, but it soon becomes aristocratic, and remains so till its fall. Isolated as the Venetians were in their islands, jealous of their power, suspicious, and ever on the watch against conspiracies from without, how was it that they advanced so Hall of the Great Council.—Ducal Palace. rapidly to civilisation? By their unrivalled genius for navigation and commerce. When they first landed in the East their object was certainly not to seek for a spark of the sacred fire of the arts, of industry, science, and the humanities, on the only hearth 6 Ventce. where that fire still burned. But a gifted people does not come in contact with civilisa- tion for nothing; and though its views are first bent with natural self-interest on the material advantages which The first advantage the such attainments may procure, Venetians derived from their the higher moral consequences long sojourn in the East soon follow. The discern- with the French, was the ing spirit of such a people horror they conceived for the tries to appropriate methods, idle discussions, the religious and transforms them by its controversies, and the vain own personal tastes and ¥ < c ja\ subtleties of the Lower Em- tendencies: the seed germi- \ | pire, which had __ brought nates, the shoot grows, the Byzantium to decay. Never buds form themselves, the after the tenth century was Francesco Foscari. Doge 1423-1457. birth of art is at hand. there civil war in the terri- tory of the Republic, not even at that moment when, as if seized by some terrible infatua- tion, the towns of Lombardy rushed in arms against each other, and the sons of the same sacred Italy tore the breast of their mother. In establishing themselves in the East, where they founded houses of business, the Venetians learnt Greek, and one of them, Jacopo, was the first translator of Aristotle. Constantinople being put to fire and sword, the men of science and letters were to be seen emigrating from thence, carrying their ancient manuscripts with them. Florence became the Athens of Italy, and Venice [ eT MLL LIMIALLIM LUMA LLL ALL ALLA a if FIN MANIA A I V NUNS Se f 7 { ee eT TTA MUA L LLU UO TO INA MN ; Bey NNN CO SLIM MMMM = ; | ip yi MUTRUCINEN NN UOO TOON DUOMO TOINUOOTTMOPR OOOO OCU O TUT IR ALUN HOMIE ‘= Hall of the Senate.—Ducal Palace. followed the movement. Thanks to Guarino, one of her Veronese subjects, she came early to the knowledge of Xenophon, Pindar, Strabo, Lucian, Arrian, Procopius, Diodorus Siculus, and Plato. Their architecture the Venetians had long ago borrowed and Origin— Development— Fall of the Republic. 7 adapted from the East. The manufacture of glass came to them from the Arabs, whose rich tissues they also imitated. The industrious people of Lucca, driven into exile by the strife of the Guelf and Ghibelline, brought their silk looms to the city of the lagoons; as, later on, the sack of Rome by Bourbon drove many of the artists whom it dispersed to the same shores. Wealth abounded—it was the dawn of great days for the Italian spirit throughout the whole Peninsula—and the sacred fire ran through the veins of all that great intellectual body. The Venetians were in due time seized with a passion for literature and philosophy. Barbaro devoted himself to Aristotle, Romulus Amaseus to Xenophon and Pausanias, Donato to Xenophon, Jerome Ramnusius translated the Arab Avicenna, and Malherbe, a monk of the Camaldolese order, made the first Italian translation of the Bible. Padua was soon to become the great centre of light. As early as the twelfth century this town 59032220 SBS SOe % S= Marco Antonio Memmo. Doge 1612-1616. had its university; later, after its conquest by Venice, the policy of strengthening and continuing this learned tradition was steadily kept in view, in order to establish a privilege in favour of the institution. The Republic forbade any of its subjects to follow their academical studies abroad, and only recognised degrees conferred by this particular university. To make such a decree of the Senate an advantage to the Venetians it was necessary to raise the standard of instruction to the same level as in the most distinguished intellectual centres of Europe. The Senate shrank from nothing, and men like Vesalius, Galileo, and Scaliger were to be seen in the chairs of Padua. Almost at the same moment a university was founded in Venice itself. By a happy concurrence of events, in the very midst of the fifteenth century, at the close of an iron age, an age of deadly struggles and internal dissensions, of which the only result had been robbery and rapine, the sacking and burning of towns, and unchaining of the lowest passions— at this very time men of the greatest names in Venice, the Bragadino, the Foscarini, 8 Venice. the Cornaro, the Giustiniani, the Trevisan, the Mocenigo, constituted themselves the instructors of youth, and filled the chairs of literature, grammar, the natural sciences and mathematics. We shall show, in a separate division of our study, what development the art of naval construction, an art so vital for this population, had taken at Venice. Architecture had already found its formula, and combining Gothic with Oriental elements, had arrived at that unity of style so peculiar to Venice, and of which Calendario and the architects of the Ducal palace were the first masters. In painting they remained for a long while, first under Oriental and then under Florentine influences; but by-and-by we shall find them, in that harmonious concert of the Italian schools, striking their own independent note with Carpaccio, the Bellini, and Giorgione. Eloquence was held in high honour. How could it be otherwise among the people who had first created a true government by parliament, where business was transacted in the Grand Council, and before the Senate; where to carry his point the speaker must address himself straight to the understanding, ignorance as to State and prevail by the affairs, since they were thus conducted in the broad light of debate. A special body of clearness, charm, or splendour of his lan- guage and the force of his logic. Secretaries, unrivalled Their prudent for political knowledge, and sagacious diplo- and for unpretending macy amazed men by and disinterested in- the accuracy of its dustry, prepared and intelligence and the elucidated obscure depth of its combina- questions, and traced tions. None of the to their source the nobles in the assem- conflicts and incidents Eloquence. By Paul Veronese. blies could be in which occurred to arrest the progress of affairs. An ambassador could only remain for a given time at the same court, lest he should allow himself to be inveighed or influenced by the charm of personal ties, or by the generosity of statesmen or of the sovereign. A solemn day was appointed on his return, when he appeared before the whole assembled Senate to make his statement (velazzone), to give an account of his labours, and to define precisely the relations existing between the Republic and the power to which he had been accre- dited by the suffrages of his fellow-citizens ; to point out the dangers which might occasion conflicts, and to indicate the means of lessening or averting them. Thereupon the Senators, according to the measure of his capacities and political talent, either promoted him in due course, if they were struck by the sagacity of his exposition, to the highest offices of the State, or in the contrary case, simply restored him to his place in the Councils, so preventing him injuring the Republic in the future by his want of discernment. The constitution is a masterpiece. The machinery, with its fundamental system of mutual control, works with perfect regularity. All public offices being elective, there is THE DUCAL PALACE FROM THE LAGOON. IO Ventce. the one fixed idea of each and all, was the greatness of Venice and her splendour above other states. Two hundred thousand inhabitants scattered about the lagoon, which they had transformed into a city the most beautiful, given the unexampled conditions of its site, in Europe, grew so powerful as to seem like a nation of many million citizens, and to fill the world with their renown. Never has the system of check and counter-check been pushed so far; never has the chastisement of public offenders been so severe, and never has punishment so swiftly overtaken the perpetration of a crime against the State. When the finances of the Republic were thrown into disorder by unfaithful agents, sternly, cruelly the Senate condemned to perpetual shame those who were thus guilty, by inscribing their names on the walls of the Ducal palace, untouched by the thought that the innocent descendants of the culprits would thus see their names blighted for ever. The stranger who enters the Palace by the door opening towards the Riva dei Schiavoni can to this day see inscribed iil i Hii J. a =. &- Oo ; i A A Ve I | UU Wy im | 2 hau m —= OT | = ( ri i ll Midi til dH AA TT HTT i = LM ! | Ante-chamber of the Hall of the Council of Ten.—Sala dei Capi. on marble tablets, in the walls of the arch and of the inner porticos, the names of the extortioners thus held up to public ignominy. The system of information, and especially of anonymous information, by citizen against citizen played at one time a great part in the State. There is, it must be confessed, something degrading in this; nevertheless we must remember that those who sanctioned the use of such means for denouncing political offences to the magistrates had the common good of their country in view, although those who actually used the means had often only envy, cupidity, and base jealousy for their motive. Never have the citizens of any other country accepted with such self-sacrifice every part, however onerous or circum- scribed, assigned to them by the process of election for the benefit of the commonwealth. I have elsewhere, in a separate study, defined the rights and the laborious duties of the Venetian patricians of the sixteenth century. The amount of the labours imposed upon them by the law is appalling to think of. In our modern States, those who form what are Origin—Development—Frall of the Republi. 11 now called the governing classes, assume the responsibility of political work, of foreign missions, or of close attendance at parliamentary debates only, when they feel within themselves the desire and the ambition to rise to the highest offices of state, and when vanity or vocation impels them to the pursuit of power. But at Venice, the moment he approached political life, at twenty years of age, every nobleman was compelled to appear before a special magistrate, ‘‘avvocato del comune,” and claim admission to the Great Council as a noble born in lawful wedlock, of noble parents inscribed in the Libro d'Oro. From that time till the day of his death, if Heaven had given him a fair share of intellect, it was all over with his liberty. It was in vain that his tastes might lead him towards study or the arts, intellectual dilettanteism or voyages of discovery, he was chained to politics as the slave is to the soil. All employments, all honourable posts, all magistracies, all offices, were filled by election, and election of what a kind—one ten times controlled, unmade, remade, corroborated, and revised. It was forbidden to any noble to shirk the public service; fines so heavy were imposed in case of refusal to accept an embassy or foreign mission that such refusals occurred but rarely. The noble takes his seat at the beginning of life in the Great Council. There he serves on committees which overwhelm him with work; from the Great Council he ascends to the Senate, and as member of the Great Council of State he may be elected to make one of the College of Wisemen, to use the habitual expression; he may be appointed to one or another of numberless posts in connection with the various departments of the public service; as territorial administration, diplomacy, justice, the arsenal, the inquisition, the mint, the government of the university of Padua, and the rest. Often indeed he may fill several of such offices at once, and no matter what his age, if the State determines that his services and faculties are useful to the public, he can under no pretext give himself up to repose. No more, if he is called to the supreme power, can he refuse the perilous honour of the Doge’s crown; and generally, the first magistrate of the Republic, the representative of the State, wearing upon his brows the horned cap, and on his shoulders the mantle of gold and ermine, is an old man whose step totters as he descends the Giants’ Staircase, an old man broken with years and ripe for the grave, his grey head bowed beneath the weight of life and public cares, his aged body often scarred with wounds received in the service of his country. But even on the brink of eternity, this noble, full of years and honours, is still at the service of - the State to which he has devoted his life, and to which he is about to consecrate his last hour. 12 Ventce. Wake monks 1eReyawsl fg) S soon as their country is in danger a wonderful enthusiasm possesses the whole population; every man is ready to sacrifice fortune, blood, or life. Let others write an exact and connected history of the Venetian Republic—I only pretend to recall some of those living episodes in her history which show the greatness of her citizens and their devoted attachment to St. Mark, or the severity of the punishment which overtook them when they betrayed their country. It was in the year 1378; the Genoese had vowed the ruin of the Venetians, and attacked them at the same time both in their colonies of Istria and Dalmatia and on the Italian coast. Vittor Pisani, a famous general of the Republic, had just won a battle at Cattaro; he had divided his troops, sent back his sick and wounded in some of his ships, and was on his return to Venice. At the mouth of the gulf of Quarnero he meets the Genoese fleet, at the point of Pola. Now, it was usual for the Senate to delegate certain ‘‘provveditori” on board the flagship, with authority to hold councils of war with the officer in command of the campaign. The moment Pisani sees the Genoese offering battle, he holds a council, and points out that, not having his full complement, some of his people being on shore, his ships badly equipped at the close of a campaign, his ranks thinned, he may well be defeated. “Fight,” reply the provveditori; Pisani sounds the charge, his van recedes, he rallies his ships, and leads them again towards the enemy ; points out to the provveditori the two lines of battle, one close, compact, prepared to conquer; the other weak, thin, and badly ranged. One of the provveditori asks him if the Pisani are woman-hearted? Once more Pisani sounds to charge, pushes his own galley to the front, and, standing sword in hand, throws himself into the midst of the enemy, crying out, ‘““Who loves St. Mark follows me.” In his impetuosity he breaks through the Genoese line; but that line closes behind him, and by a skilful manceuvre the enemy captures seventeen galleys, and nineteen hundred men are put to the sword. Vittor Pisani sees the overthrow, wheels about, once more breaks through the line, and escapes the massacre with Michel Zeno. The fleet is dispersed, the convoy of merchandise which it was escorting from the Levant becomes the spoil of the enemy, and the victorious Genoese cross the gulf to lay siege to Venice. They first take Chioggia, then force the passage of the lagoon and bombard the city of the Doges. In the meantime Pisani, who had fled like the wind with the few galleys he could muster, enters the port, presents himself before the Senate, is arrested and thrown into prison. The fatherland is in danger, her people are called upon to defend her, arms are ready for distribution to all volunteers. No volunteers appear; bands are organised by force from the people; they refuse to serve, and assemble under the prison windows, crying, “ Pisani, Pisani, we will have Pisani for our leader.” At night the whole city is on foot, and immense crowds gather under the windows of the Council chamber, and Vittor Prsane. 13 thence through again to the prisons, demanding that Pisani should be given up. Sick and wounded, the great captain drags himself to his prison window, through the bars of which his voice can be heard; he has caught the clamour underneath, and answers by his battle cry of “Glory to St. Mark.” Nevertheless the tumult increases; it is no longer a mere popular movement which may be repressed, it is the grumbling of sedition about to triumph, at the very —-—— $$ _§_—_———. moment the enemy’s galleys are entering the gulf and the city itself is threatened. The Doge trembles, the Senate, holding permanent _ sittings, gives the order to open the prison; Pisani, supported by two prisoners, is carried in triumph to the Ducal Palace, — SSS _ “2 ———= = and there kneels before the Doge, the emblem of the country and the symbol of power. At dawn he is hurried to St. Mark’s, and the Patriarch, amidst the acclama- <> tions of the crowd, confides to him the standard of the Republic. He returns thanks to the people, and crying “Glory to St. Mark,” swears to die or conquer. They con- duct him to his palace, but he leaves it at once for the \ RN \ SiN i ANN \\ RY \ AN i ‘ i iy Kt ‘Ni Yy i i . + Ns arsenal to organise his ex- ACN ASA iF \ \ \ SNA AS pedition, for to-morrow he will start. Before dawn he has returned to St. Mark’s, to kneel again at the foot of the altar, always followed by the people; night and day, in a CL Epon nea state of indescribable enthu- siasm, they make a guard of honour for him, to assure themselves of his presence; he has constantly to show himself on the balconies to salute the crowd. Now ready to start, the hero comes out of the basilica and crosses the Piazzetta; his galley is in waiting at the quay; he harangues the crowd: “Emo guards Chioggia, Zeno and Mocenigo are in full sail and will be among us to-morrow; the Genoese have even now attacked us within the very lagoon. But’we have conquered too often not to conquer again; the Senate 14 Venzce. have arms, you have numbers, nothing but valour is wanted, this you will have, and with the help of God and St. Mark we shall win.” The anchor is weighed and they depart. From that beautiful window of the Ducal Palace which overlooks the water, the aged Doge and the whole Council answer the shouts of the populace and send their blessings after him who but yesterday lay pining in a prison, regarded almost as a traitor; a thousand boats follow them wishing them victory and shouting ‘Glory to St. Mark.” Fourteen galleys and thirty galeasses went out to meet the enemy, following the flagship of Pisani. The enthusiasm in the city was so great that arms were forged on the public piazza. Old men, women, and children, all wanted arms. A few days later, on the 9th of September, at the meeting of the Senate, the venerable Contarini, who was then Doge, declared that he would be of more use in a galley than on the Ducal throne. In two days that wonderful arsenal of Venice, which accomplished such marvels of activity in any crisis of national danger, equipped fifty galleys, which started under the command of the Doge Andrea Contarini. Pisani had not counted too much on his valour, and the Venetians had been right to break his irons, for the great commander saved the Republic. | Two years afterwards, when he was in command at Manfredonia, he attacked the enemy in spite of illness; his lieutenant was wounded in the first encounter, and his galleys broke order; the enemy taking advantage of this confusion escaped him. Thus helpless on his galley, and powerless to rally his own ships and bear down upon the fugitives, and disperse their fleet, the hero died in a delirium. His body was brought back to Venice; nobles and people bewailed themselves together in the streets, and his death was looked upon as a public misfortune: ‘Pisani, our stay and our standard, is dead,” was the cry of the city. The Senate, ever cold and hard on principle, and considering all sacrifice mere duty to the Republic, made no official demonstration, but the praises of the dead were in every mouth. They appointed Carlo Zeno as his successor, while the whole of Venice designated Loredano. N another episode, one of the most celebrated and dramatic in the history of Venice, we may see how sternly she punished the crime of treason. The name of Marino Faliero recalls a tale of darkness, and his place stands empty in the frieze of the Great Council Chamber among the portraits of all the doges who succeeded each other from Theodore Ursat in 742 down to Manin in 1788. He belonged to an illustrious family which has already given two doges to the Republic, Vitale Faliero, in 1082, and Ordelaffo who died fighting the Hungarians (1117). At the time of Marino’s election (1354) he was filling the office of ambassador of the Republic to the Papal Court, and was already in his eightieth year. He was both a merchant and a soldier, a man of self-asserting and violent character: he was accused of having compromised the dignity of his office by a public scandal caused by his hot Lhe Conspiracy and Death of Marino Fatero. 15 temper and want of self-control. While he was magistrate at Treviso he was to take part on one occasion in a procession; the bishop was late in coming, and by the time he did appear Marino had waxed so furious that he received him with a violent box on the ear. The Senate was obliged to disavow their agent, and for this indiscretion he had to submit to the disciplinary penalty applicable to a high official. In the time of the great war against the Genoese, a war so disastrous, yet on the whole so glorious to the Republic, and out of which she came with so much honour, Genoa had The Bridge of Sighs. boasted her Doria, Venice her Pisani. Marino Faliero had just signed the treaty which restored peace to the country. Nothing seemed left to disturb the close of his career ; till one memorable Thursday in Carnival week, at a ball given by the Doge in the Ducal Palace, a young noble named Michel Steno, a member of the criminal tribunal called the “Forty,” under cover of the mask, which often gave almost licentious freedom to these assemblies, allowed himself to be betrayed into some familiarities with one of the ladies in the suite of the Dogaressa. The old Doge, with his hot and jealous nature, forgetful of 16 Venice. his own youthful follies, took the matter up with a high hand, and ordered the imprudent Steno to be expelled from the palace. As Michel Steno, boiling with indignation at the affront thus put upon him before all the nobles of Venice, passed through the Great Council Chamber on his way out, he went up the steps of the Ducal throne, and fastened to the very seat itself a paper on which he had written ‘Marino Faliero with the handsome wife, he keeps her, but another has her favours.” In the confusion of the festivities the deed passed unnoticed; but the next day, at the opening of the sitting of the Great Council, the officials discovered the billet; the noise of the insult offered to the head of the Republic spread rapidly through the palace, and all pointed out the unmistakeable author of the scandal. Michel Steno was young; and understanding that he might pay dearly for a moment of folly, he frankly confessed his fault, and manifested the sincerest repentance. FFaliero, though seeing him thus penitent, was not appeased ; and demanded that he should be put on his trial, and that the offence, having been committed against the head of the State, should be treated as a public crime and be declared amenable to the Council of Ten, who were sure to pronounce a most severe sentence. The matter was discussed in public sitting ; but whether it was that allowance was made for the youth of the offender, whether he was personally popular, or whether the practical men who composed the Senate were unwilling to give to the person of the Doge that character of sovereignty which they had so long been fighting against, Steno was simply arraigned before his compeers of the Forty, and condemned to two months’ imprisonment, and, after undergoing this, to one year’s exile from the territory of the Republic. | Marino Faliero did not consider this punishment proportionate to the offence, and earnestly protested before the College, as well as the Senate, and even before the Great Council; but all in vain, the tribunal had given its decision. From thenceforth Faliero cherished his resentment and meditated revenge ;—but might perhaps never have followed up the schemes of which his mind was full, if it had not been for a singular circumstance which occurred on the very day he was informed of Steno’s sentence. We know that among the prerogatives of the Doge was that of administering justice to all who chose to have recourse to his tribunal. Any person holding himself wronged was free to come to the palace, and appeal directly to the chief of the Republic; it was a patriarchal custom, a satisfaction given to the lower classes, who availed themselves largely of it, and did not fear to come to the foot of the throne to claim justice against any act of tyranny committed by a patrician. Accordingly, on this very day of Steno’s condemnation, at the opening of the audience, a man in great excitement, his face covered with blood, presented himself before Marino Faliero, stating that he belonged to the arsenal where he occupied the place of ‘“ admiral” or chief foreman, and that he came to claim justice against a patrician who had assaulted him, and of whose violence he bore the still bleeding traces. Marino Faliero, instead of dealing with the case as it stood, treated it as a coincidence, and answered with resentful sarcasm, ‘‘ How can I render you justice against a patrician, when I, the Doge, cannot obtain justice for myself, though most bitterly insulted?” ‘For all that,” replied the dark-eyed superintendent, ‘if you and I chose, it would depend on ourselves to be avenged upon those haughty and insolent fellows.” The Doge, discerning in this man an accomplice and a tool, made no The Conspiracy and Death of Marino Fahero. i effort to pacify him, but showed a kindly interest in him, obtained some details from him as to how his companions were disposed, and dismissed him even more excited than when he entered the Ducal Palace, Scarcely outside the door, the man started off to collect his friends together, armed himself, and proceeded to the palace of his adversary, uttering loud threats of vengeance. The patrician, finding himself held up to the animosity of a whole body of arsenal labourers, denounced Israél Bertuccio (this was the name of the injured superintendent) to the Signory, who summoned him to appear before them. In presence of the members of the College, over which tribunal he by right presided, Marino Faliero was forced ostensibly to blame Israél; he even threatened him with death if he continued to incite the workmen of the arsenal against a patrician. But at nightfall Marino sent a messenger to summon the man he had treated so severely before the senators, and had him admitted secretly into the ducal apartments, where he found the Doge alone with his nephew, Bertuccio Faliero, who had espoused his uncle’s quarrel. This interview was the first step in the crime of conspiracy against the State; but it was not decisive. Marino had seen a man outraged like himself by a noble, like himself full of resentment and belonging to a body which, he believed, was ready to take up his quarrel; he acquainted himself with the temper of Israél Bertuccio’s companions, calculated their numbers, and found out what means he had at his disposal. The first name pronounced by Israél is one illustrious in the arts, though comparatively unfamiliar because of the early date to which it belongs; it was that of Filippo Calendario. This Calendario was at once an engineer and sculptor of great ability, and a distinguished architect ; he had rapidly passed through all stages of promotion, and from a very low position, as a working ship-builder in the arsenal, had risen to be director of public buildings to the Signory. He was a kind of Inspector-general, or Director of public works. To him we owe the splendid fabric of the Ducal Palace; he also gave the general plan of St. Mark’s Place and the Piazzetta. Fired by the love of art, and in a true spirit of progressive enterprise, he conjured the Senate, in an eloquent speech, to make of this beautiful piazza, where the basilica already stood, a forum and a sanctuary of art. If we are to believe Marin Sanuto, the great Venetian chronicler whose Narratives serve as a basis for all the histories, Israél Bertuccio gave the name of Calendario as a man ready for anything that might humiliate the pride of the nobles. But Selvatico’s notice on Calendario suggests another explanation; for there we find that Calendario was Israél’s son-in-law, and this seems reason enough for his having espoused his quarrel. Marino Faliero had been the artist’s patron; by his interest he had appointed him to one of the first positions in the State that could be held by a man whose profession was civil and military engineering and the fine arts; he knew that this Calendario was a fiery and adventurous spirit, and much engrossed in politics. Perhaps, too, the attempts of Pietro Gradenigo against the independence of the Venetian people, the memory of Marino Bocconio, of Giovanni Baldovino, of Marco Querini and of Bayamonte Tiepolo had left in the soul of the artist a desire for vengeance; perhaps, in short, he belonged to that party of the ‘‘oppressed” who considered themselves vanquished in the great struggle, of which the fourteenth century had been witness, between the D 18 Ventce. nobles and the people in Venice. Whatever the motives may have been which drove him into the conspiracy, it is certain that Calendario entered completely into the ideas of the Doge and of Israél Bertuccio the superintendent of the arsenal. There were several The tribunal of the Council of Ten proceeding to Session. secret meetings, all held in the Ducal Palace, and the plan of the conspiracy was determined with the Doge himself and _ Bertuccio Faliero. Sixteen chiefs were chosen, one from every quarter, and each of them were to secure sixty well- armed followers, or barely a thou- sand men for the whole city. At break of day, the Doge undertook that he would set the great bell of the basilica ringing, and at this signal, alarm was to be sown among the people in every quarter by the announcement that the Genoese fleet had appeared in the lagoon. This gives us (they clue tomthe anxieties of the moment. Doria the Genoese commander had _be- come the bug-bear of the Venetians, and they looked upon the Genoese as always ready for an invasion. Once the tumult at its height, the conspirators were to group them- selves on St. Mark’s Place and to massacre the nobles as_ they entered the Council. This plan was to be carried out on the 15th of April 1355. Israél Bertuccio and Calendario had not deemed it prudent to divulge the object of their rising to all the conspirators ; still those who were to a certain extent leaders of the masses had to be made acquainted with the projects they were employed to carry out. A furrier called Bertrand, who had a part of some importance to play in the action, had received some kindnesses from a noble, and wishing to show his gratitude, he warned him not to leave his house on the 15th of April. This noble was a senator named The Conspiracy and Death of Marino Fatkero. 19 Nicolo Lioni; he kept on his guard, but at the same time insisted upon knowing the solution of the mystery. Bertrand entreated him to profit by his advice without enquiring further; Nicolo refused to hold his tongue, but in his turn causing hands to be laid on Bertrand, threatened to denounce him to the Senate. The frightened conspirator, imagining himself already before the supreme tribunal, did not hesitate to take credit to himself for his crime, and revealed all he knew, and although he was only acquainted with the acts to be accomplished and not the end to be attained, the senator learned enough to guess that there was a plot afoot, not only to change the form of government, but at the same time to give a final blow to the aristo- cracy. Nicolo hurried to the Doge, (for Faliero’s name had not been mentioned), and denounced the conspiracy to him; the Doge answered that he knew of it already, and that the noble was certainly exaggerating its import- SS ates : y jis ance. At these words Lioni began ie Aa to suspect Marino Faliero, ran to Giovanni Gradenigo and from him to Marco Cornaro; and as Bertrand was still in custody, they all went together to the palace where this accomplice of Israél’s was detained, and questioned him. As he knew nothing except from Bertuccio and Calendario, he in- formed against them; and _ the patricians, for whom by this time the Ducal Palace had become a place of suspicion, met in per- manent sitting at the convent of San Salvatore. Thither was con- Allegorical group by Zelottii—Ceiling of the hall of the Council of Ten. voked the College, the Council of Ten, the advocates of the Commune, the chiefs of the Forty, the Signors of the Night, and the chiefs of the six divisions of the city. These authorities had the public force at their disposal; they first of all arrested Israél Bertuccio and Filippo Calendario, and put them to the torture; these prisoners disclosed the names of some of their accomplices, and the means by which the plot was to be put into effect, and even designated the Doge. The first thing was to hinder the accomplishment of these plans by preventing the signal DPZ 20 Venice. being given from the top of St. Mark’s; next Calendario and Bertuccio were hanged from the window of the Ducal Palace which overlooks the Piazzetta and lights the voting hall. On the very day when the plot laid by Marino Faliero was to have been realised, he was dragged before a tribunal composed of the Council of Ten, and twenty nobles elected by the Great Council. On the 15th the tribunal proceeded to his examination; he appeared in state apparel, the ducal cap on his head, the gold and ermine robe on his shoulders, — and confessed all, giving the reasons for his determination. It was in keeping with the spirit of the Venetian government to proceed rapidly and to act promptly. The Doge had been arrested on the night of the 15th—-16th; he had confessed; on the 16th judgment was given; the pain of death was unanimously pronounced. On the 17th, at the first dawn of day, the preparations for the execution were made; the gates of the palace being still closed, Marino Faliero was led to the first steps of the Giants’ Staircase, on the very spot where he had received the ducal robe and coronet; his head was cut off in the presence of the Council of Ten, of the delegates of the Senate, and of a certain number of the highest functionaries of the State. The execution done, the chief of the Council gave the order to throw open the doors; the noise of the sinister ceremony spread through the city, and people thronged the court of the Ducal Palace and there beheld the body of him who had been the chief of the Republic lying dead on the ground. To give a public sanction to the execution, the whole Council of Ten repaired to the voting hall, and the president, holding the still bloody sword in his hand, solemnly announced that justice had been done to the traitor who had conspired against the State. For a long time, acts of reprisal occurred and researches were made in order to punish all who might directly or indirectly have been concerned in the plot. Out of nine hundred and sixty conspirators, more than four hundred were discovered and condemned to death or exile; the two principal leaders, Israél Bertuccio and Filippo Calendario, having been the first to be executed. The latter lived at San Severo; on the night of the 15th of April he had been asleep when he heard a violent knocking at his door ; it was Angelo Micheli, the Captain of the Republic with his armed police, who had come to secure his person. I have already said Calendario made full confession ; neither his services nor his exceptional talents were taken into consideration; he was hung with Israél from the red porphyry column of the great window of the palace, looking out on the Piazzetta. Calendario’s wife was a daughter of this same Israél Bertuccio, and this seems to explain the prominent part he took in the conspiracy. The widow dragged on a miserable life for some few years after and soon died. ae FT WN = a a * = $-ly i - , a . = = 2 (fex- == 2) = ae NS P = iS} a = iD) a WL le A le! = — PRIM EB > = £ J) Ore (Roe aR KD | A alate) LL Ae a <== SEE li see EP ‘f, a i AZ c (From a picture by Robert Fleury in the possession of Sir Richard Wallace.) tf J; FAIA RI LATIN: ] ’ CO =A ss | yz 2 iL coe Se KA ow La a Se. ¥ AA ETD Hi Weve OFORSE a SS LLL Execution of Marino Faliero, April 17th, 1355. WI CS fue [ cll Are Ub s { Sees ay sane S of Val Marino, which had been confiscated in favour of the Doge. The Senate having refused him this, he went about the city accusing the College of ingratitude and railing against its members. These reproaches came to the ears of the Senators; they passed sentence upon him and he was condemned to the gallows; later his sentence was commuted to ten years’ exile at Ragusa.” The history of Venice has rung with the fame of this conspiracy of Marino Faliero. 22 Venice. Romance, poetry, and the drama have laid hold upon it, and its tradition lives after more than five hundred years; yet it ought to be remembered that this conspiracy did not take its rise in the ambition of any single man; it was the passion of jealousy and anger alone which drove a venerable man of eighty, the head of the Republic, to try and seize the sole power, and perhaps it is to this very character that this bloody episode owes a fame which has surpassed that of the great but purely political conspiracies of Marino Bocconio and of Bayamonte Tiepolo. Even to this day, the traveller who visits the Ducal Palace, when he follows, in the frieze which ornaments the ceiling of the great Council Chamber, the portraits of the doges who have succeeded one another from the creation of the ducal office to the fall of the Republic, stops with emotion before the empty frame where the painter has written on a_scroll—‘‘Hic est locus Marini Falethri, decapitati pro criminibus.” DANIEL MANIN. PISODES in plenty there are in this history to furnish the writer with chapters brilliant or sombre, tragic or splendid black as the dungeons of the Council of Ten, or glittering as the Queen of the Adriatic herself on a summer’s day. Who could help being moved? At every step the city breathes history ; every stone is eloquent. Here, in the twelfth century, before the great door of St. Mark’s, Frederic Barbarossa bowed the knee to a proscribed pope; there, nearly seven hundred years later, the citizens of the same Venice, fallen, dethroned, enslaved, repaired to the prisons to claim freedom for the last champion of her liberty, Daniel Manin. Let us suppose ourselves in 1177; after the great struggle of the Lombard league, the Republic has triumphed over the Emperor, the Venetian fleet has captured and brought into St. Mark’s port forty-eight German galleys, and on board one, Barbarossa’s own son who was in command. Peace is signed, and Frederic comes to humble himself before the fugitive Pope. The historian Sabellicus relates the scene in a dramatic style ; and more than one painter has taken it for the subject of his picture. The Emperor, on the approach of the Pope, threw off his mantle and prostrated himself to kiss his feet. Alexander, seeing before him on his knees the prince who for twenty years had pursued him from one place of refuge to another, could think of nothing but the two rival powers, Pope and Emperor, and forgot himself so far as to put his foot on Barbarossa’s head, quoting the words of the psalm, “Thou shalt tread upon the lion and the adder; the young lion and the dragon shalt thou trample under feet.” At this the Sovereign proudly raised his head, and grasping the pontiffs foot, exclaimed “It is before Peter that I humble myself and not before thee.” Alexander, instead of checking himself and controlling his own movement of anger and pride, insisted the more, saying ‘‘ Before me and Peter both—£¢ mzhi et Petro.” Does not the charm of history add itself at every step to that of art, when we Daniel Manin. 24 replace pictures like these in their proper frames? On that same Piazzetta where we have seen Pisani carried in triumph by the people, Daniel Manin also was received with acclamation and carried on the shield; this was yet another day of glory for Venice, the effort of a downcast people who in struggling to rise fall only the more heavily, till the day comes at last when liberty is restored to them for good. The name of Daniel Manin is the last great political name in Venetian history. Italy was not yet constituted, the idea of unity was scarcely more than a vague dream in the heads and hearts of a few far-sighted politicians and ardent patriots. The kingdom of to-day may claim Manin as a citizen of Italy, since Italy is one; but he was essentially a Venetian, of the great race of the Michieli, the Pisani, and the Mocenigo. He was born in Venice in 1804. His father was a lawyer; he himself was a doctor of laws at seventeen, but as he could not practise before the age of twenty-four, he set himself to his studies again, and became a profound jurist. From his early youth, he had felt a deep depression at the thought of his country’s subjection to Austria; he began a secret propaganda, and formed the project of a rebellion. Shut up in a little carpenter's shop at the very top of the house in which he lived at San Paternian, he drew up and printed, with the help of a lithographic stone, an appeal to arms which his companions slipped by night under the door of every house in Venice. In 1838, in the discussion of some question of local interest, he knew how to find a response in the heart of the masses by openly attacking the government which was oppressing the country. This is the real starting point of his popularity. The subject in question was the plan of a railway to run between Venice and Milan. However indirect and foreign to the question of political emancipation this might appear, the people understood Manin’s action and his character; they had found the leader of the movement which was by-and-by to take head and lead to the departure of the Austrians. Manin lost no opportunity of speaking. He received Cobden, and welcomed Cormenin; when the patriot Padovani was shut up as a lunatic, he made a legal protest and unceasingly claimed his liberation; when Domeneghetti, a young and enthusiastic student, ventured to cry “Long live Pius IX.,” and was forced to enlist in a German regiment to expiate his crime—for it was at this time considered a crime, as the Pope was the representative of liberal ideas in Italy—Manin took his cause in hand and defended it with the greatest vehemence. On the 21st of December, 1848, Daniel urged the liberal deputies to demand reform from the Austrians; he directed the demonstration in which the poet Tommaseo openly, in full Athenzeum, attacked the censorship of the press. At last, on the 18th of January, 1848, he was arrested and avowed his part in all liberal manifestations ; Tommaseo soon shared the same fate. The population of Venice, anxious to show their sympathy with the prisoners, left the theatres empty; many put on mourning; and at four o'clock in the afternoon they came in crowds before the prison, the men uncovering their heads and the women waving their handkerchiefs. On the 5th of February, hearing that the Neapolitans had obtained a Constitution, they resolved to repair to the Fenice; all the women of fashion had agreed to wear tri-coloured ribbons, and when la Cerito danced the Siciliana, she was thrown three wreaths, one of red camellias, another of white 24 Ventce. — camellias, and a third of green leaves. The governor Palfy ordered the house to be cleared, but that the carrying out of this might not be left to the sdzvv7, Comello, a young Italian who had already asked all the ladies to leave, appeared in one of the front boxes crying out “Fuori tutti’—and the armed force found the hall empty. There was at this time the most perfect understanding between all these oppressed citizens; the drawing- room and the street, the palace and the garret, were agreed, and all hearts beat in unison; the patrician and the gondolier suffered from the same grief. The patriots decreed that there should be no more smoking, in order to deprive the Austrian government of the benefit of the duty; every evening, at the hour when the soldiers came to play on St. Mark’s Place, these music-loving Italians retreated to their houses. Such demonstra- port of councillor tions, added to Zanetti's report was known, he had declared Manin and Tommaseo in- those of Milan and Florence, led to the proclamation of the state of siege nocent, and their at Venice. release was now The _ revolu- demanded, and ob- tion of February tained at last by broke OU saat intimidation. The France; it com- whole people rose, municated its ef- revolution was fects to Germany, imminent ; they and Venice became hurried to the more and more prison to tell excited. Agitation Manin he was free, showed itself in and carried the a hundred ways, These Dukessrar Ragusa was in- great patriot on a shield all round St. Mark’s Place, sulted in the Daniel Manin, President of the Venetian Republic of 1848. where he harangued Streets) ties pur the people ; thence they went to the little house at San Paternian of which we give a drawing, the modest dwelling he lived in with his family, and which is still an object of pious care to the Venetians. While Manin was embracing his daughter the people hoisted the Italian flag and paraded it through the streets; a German actress, Goldberg, threw two more flags out of a window of the Procuratie, which were hoisted on the masts of the Piazza. The governor, seeing this, had the alarm-gun fired, and the Piazza occupied by the military. A struggle followed, blood was shed; street fighting is easy in Venice when the bridges are cut. Manin continued to counsel legal resistance, but was overpowered; it was then he accomplished a great act which saved Venice from anarchy, the organising of the civic guard. Daniel Manin. 25 The Austrian government granted four hundred guards, Manin raised four thousand, and defended the people against their own excesses. On the 15th of May, 1848, the Austrians having at last promised a constitution, and the agitation continually increasing, the German regiments began to waver, and the governor to lose his head. An officer of marines called Salvini managed on the 19th to reach Manin, and announced to him that in face of the insurrection the Austrians were decided to bombard the town, andthat the only way of saving it was to take possession of the arsenal. J'rom that moment the idea worked in Manin’s mind, and he put it into execution with incredible firmness and energy. Without firing a shot, forcing Marshal Martini to give way before the threatening in- surrection, substituting for him with his own consent a Colonel Graziani, arming the workmen and distributing them into com- panies, seizing the guns, the arms, the entire arsenal, he stationed there trustworthy officers, and finally repaired to St. Mark’s Place to proclaim the Republic to the characteristic cry of “ Viva San Marco!” A provisional government was nomi- nated, and the same day the Austrian government signed its capitulation. Venice was herself once more; the patriarch sang the Te Deum; Manin was acclaimed President, and Pius IX. did not hesitate to bless the new Re- public. For eleven months Manin, standing ever in the breach, played there the part that Daniel Manin’s house at San Paternian. Lamartine played in Paris from February to the end of April; appeasing the grumblings of sedition, rendering justice, repressing excesses, speaking night and day to control the seething passions of the time. On the 23rd of March, 1849, while Venice was celebrating the anniversary of her Republic, Charles Albert fell at Novara. This was a new danger for Venice, and accordingly, on the 27th of March, the Austrian general Haynau sent a message to the chamber of deputies summoning them to surrender the city to its lawful masters. Manin convoked the representatives and obtained a decision to this effect: ‘“ Venice will resist at all costs; and to this end Manin is invested with discretionary power.’, E 26 Venice. The red flag was hoisted from the Campanile of the Piazza. Thirty thousand Austrians encircled the lagoons with an immense park of artillery and all the necessary materials for a long siege; and admiral Dahlrup blockaded Venice on the side towards the sea. The siege of Venice is epical as the Odyssey. The Venetians under Manin’s leadership accomplished miracles of valour. M. Anatole de la Forge in his ‘Histoire de la République de Venise’ has given a moving narrative of the daily events of this drama. The bombardment was terrible, and the cholera added its horrors to those that fell upon the mighty city. Manin attended to every thing; by turns engineer, statesman, diplomatist, at one moment taking part in a sortie as a private soldier, at another organising the defence or electrifying the spirits of the besieged by his eloquence. The people called incessantly for him before the windows of the Ducal Palace—‘ Fuori Manin” —and Manin by turns stirred or stilled the tumultuous masses. The people were heroic, Manin was sublime; at every moment he braved the bayonets of the Austrians, even those of his fellow-citizens, for there were internal risings to be put down. At length, when the last bit of bread was eaten, the last ducat spent, the last ball fired, Venice capitulated on the 24th of August, 18409. Manin was exiled, and left for France. His wife and daughter both died on the journey. In Paris he lived from hand to mouth by giving lessons in Italian. He was great in his fall as he had been in his triumph, steeped in calumnies, but crowning by virtue and unostentatious poverty one of the most loyal, pure, and noble careers of modern times. Seventeen years afterwards, Venice, rescued from the Austrians, claimed from France the body of her heroic son, and brought it back in splendid state to St. Mark’s on board the Bucentaur, feeling that the soil of the land of exile would weigh too heavily on the great patriot who had so loved his country. The Dogaressa, (facsimile from a manuscript preserved at the Frari). ust upabinas Me THE ARCHIVES OF VENICE IN THE MONASTERY OF SANTA MARIA GLORIOSA DEI FRARI. N the mind of the trained student of historical manuscripts, the whole past of Venice lives again when he visits the ancient monastery Sta. Maria Gloriosa dei Frari, and sees there the astonishing collection of documents which constitute the famous Archives of Venice. M. Armand Baschet, an amiable friend and scholar who was my guide in the first steps I made towards the study of Venice, has devoted to this subject a very important volume, which is indispensable to all who desire to work for themselves at these archives. To give the reader a succinct idea of this prodigious collection of documents, we should have to make a résumé of M. Baschet’s work entitled: ‘Archives de Venise—Chancellerie secréte de la République sérénissime, but we prefer to borrow from the author himself a short account—a_ brief but complete view of the subject. The reader will certainly lose nothing by this, for it may be unhesitatingly said that with the exception of the keepers of the archives 1Dy 322 28 Ventce. themselves, and a few special historians, M. Armand Baschet is the writer who knows the subject best. Strangers visit these memorials of the past, just as they do a museum or a famous palace. Every one receives a warm and liberal welcome. With what delight one wanders through these vast rooms where the archives are preserved and classified, with what amazement one stands before the mass of documents which compose the ‘ Ducal Chancery!’ With what keen interest one penetrates into the little chambers known as the ‘Secret Chancery,’ the holy of holies of this temple! The lover of autographs will stop first at the cases in one of these rooms, to devour with covetous eyes the interesting ae x == Oy ay Ml il We tik l ls | Ny, i NG Fi i igs ti PATTI ul trans S25 Ki — : ! (| tt | sie Hh i — AES iy i hy, a ™ Ht ay Hhistili Bi) | | | {all i AN ltl ill LM A AT Ts TT |i AGU TT py Entrance to the Archives in the court of the Monastery of the Frari. and rare signatures which are here artistically arranged. In due course he will come to the great and small registers of the Council of Ten, who were formerly of such mysterious fame ; some simple folks will wonder at not finding them bound in black with death’s heads at the four corners. The building which now contains these great vestiges of the policy and administration of Venice, used to be called the abbey of ‘Santa Maria Gloriosa dei Frati minori conventuali.. The title is long, and for shortness it was familiarly called ‘dei Frari.’ The grand and beautiful church remained a place of worship after the suppression of the religious bodies in 1810; and the Convent, one of the largest in Venice, unoccupied at first, then turned into a barrack, was some years later appropriated to the custody of all The Archives of Venice. 29 the political, administrative, judicial, financial, territorial, and other papers, which had been dispersed in different places since the fall of the Venetian Republic on the 12th of May 1797. It would be a mistake to suppose that, while the Republic subsisted, there was any single place in which the archives of the various offices of state were deposited. The immense mass of documents, which is now to be seen in the interminable halls and chambers of the Frari, proceeds from a comprehensive scheme of collection and preservation, for which there could have been no motive so long as those offices were still at work. Each department had its own archives; and the phrase ‘State Archives’ was One of the MS. rooms at the Frari. not even used; they said ‘Ducal Chancery,’ ‘Lower Chancery,’ ‘Secret Chancery,’ to designate one of several special collections of documents or written evidences which the State was interested in preserving as ‘containing the record of its political and administrative life. To realise that two hundred and sixty-four vast halls and chambers scarcely suffice to hold the papers collected together, it must be remembered that the actual collection contains not only the archives formerly distributed among the hundred and thirty or forty separate magistracies or departments of which the official world of Venice was composed, but also the whole of the documents produced by the six governments which 30 Vente. have successively administered the Venetian provinces since the rath of May 1797. Under the doges, the political archives properly so called were kept in what was known as the Secret Chancery; those belonging to the Council of Ten were arranged in presses and cabinets adjoining the great Council Chamber; and those of the State inquisitors were confided to the care of the secretary of that dreaded tribunal. These different depositories, which were protected from any indiscretion by regulations of extreme severity, were all in the Ducal Palace. Several fires, of which two in the sixteenth century were the most destructive, caused irreparable losses to the Secret Chancery ; it was thus that many precious series of diplomatic correspondence during the Middle Ages, and from the taking of Constantinople by the Turks down to the death of Francis I. have been destroyed. Venice was then one of the great powers of Europe, of whom all the rest had to take account. Her statesmen had won universal respect by their diplomatic talents. We must therefore regard as an immense loss to history the destruction of such important political documents as the despatches and reports on the various countries which weighed in the balance of European and Oriental politics during the fifteenth century. These archives underwent still further vicissitudes at the fall of Venice in 1797. They were dispersed. France appropriated a small number, which she had to relinquish to Austria; Austria next had to restore them to France, who claimed them for Italy; and all this in the space of nine years (1797-1806). But this game of give-and-take can hardly be free from risk to the component items. In 1807 the Italian government did what it could to concentrate in different localities of Venice the principal divisions of the archives belonging to the old Republic. The ruins were still smoking. All that was possible was done to restore and re-unite. The political division was brought together at San Teodoro, the judicial in another place, and the financial in a third. This state of affairs continued till April of 1814, when the Austrian rule began. The hatred to this rule was not then what it afterwards became. Austria governed without too much annoyance to herself or to the Venetians. The Emperor Francis, who up to that time had only known his empire in agitation and disquiet, began to relish the joys of peace, and the provinces experienced the good result. Venice was well governed and treated in some degree as a favoured capital. Among other salutary steps resolved on in her honour, was one taken on the 13th of December 1815, to concentrate in one place all the archives of all the ancient public offices of the city. Jude fortuna... et salus. Thus, in 1815, was agreed upon, and admitted in principle, the foundation of that splendid collection which a few years later was inaugurated under the official title of Imperial and Royal general Archives of Venice. Once the decree for concentration signed, it became necessary to choose a suitable building. But a short and quick procedure was but little known to the Austrian administration of that time; nothing was accomplished without taking ten times as long as was necessary. Three years passed in selecting the right place, and four more in appropriating it to this use. The place chosen was, as we have said, the ancient monastery of Santa Maria Gloriosa. And in truth no better could have been found. It was in 1822 that the archives of the most serene Republic, increased by those which The Archives of Venice. 31 had since accumulated, were definitively installed in that vast and picturesque resting- place, the aforesaid convent of the Frari where the traveller visits them to-day. From the Campo, where this great and beautiful church stands, the public entrance te the Archives will be found on the left, after crossing two bridges closely connected by a small quay. After passing under the archway of this entrance, which in itself is nothing at all remarkable, we enter a large and rather dilapidated court flanked by wide arcades. From this entrance-court, the great court of the convent, a singular and majestic enclosure called the Court of the Trinity, is separated by a block on the left. The principal parts of the building look down upon the great court in question, which must in old days have been the chief promenade of the monks. The appearance it presents is due to a combina- tion of grandeur and singularity which cannot fail to astonish all visitors. The reddish tone of one part of the walls, the grey tint of the round arches, the extent and width of the balustraded terraces, the triumphal fountain in the middle, the pavement blackened with time, the brick bell-tower strongly dominating the picture; the exterior flank of the church, the long and narrow pointed doorway delicately piercing the right-hand arcade, all these architectural contrasts, brought together, certainly, with no presiding idea of harmony, produce an astonishing effect. After the early morning, when the chattering women and children of the neighbourhood come to draw water from the great well at the hours fixed for the supply of the various adjacent quarters, silence reigns supreme in these cloisters; and when the hot southern sun flings into poetical relief all the parts of the noble group, the imagination can desire no more striking spectacle than this Cortile of the vast Venetian monastery. The buildings rising from each side of the two courts, and opening out also on the half-cultivated gardens which separate them from the little church of Saint Roch, contain the innumerable series of registers and portfolios forming the bulk of the Venetian archives. If we had to explore the labyrinth of rooms the visitor is invited to go through, and to describe the contents of each one of them, our narrative would have to extend to encyclopedic limits. Here, however, are a few accurate notes meant to give some idea of this colossal collection of papers. The systematic arrangement which has been made comprehends four divisions :—the Political, the Judicial, the Commercial, and the Territorial Each of these has its subdivisions, to which are attached the sections in connection with the multifarious official departments of the extinct Republic. It is, to say the truth, a kind of labyrinth, in which one must have had special practice to know how to look properly for what one wishes to find. A trustworthy guide is indispensable. The number of documents collected together in the Frari has often been exaggerated by writers, as well as the area of those parts of the building which contain them. We will have nothing to do with such extravagant figures as those sometimes quoted— 14,000,000 documents, 2,275 archives, 400 halls and rooms, etc. These are fanciful figures. Did not the geographer Andrea Balbi, in a rare pamphlet published in 1835, undertake the absurd task of setting, and pretending to solve, inconceivable problems as to the material bulk of the Archives? His calculations are past belief. A geographer through thick and thin, he proves that the shelves containing the classed portfolios, if ranged one after another, would form a line half as long again as the distance between ae Venice. Paris and Versailles; he affects to show that the separate leaves, numbering approximately 693,176,720, would form a band 1,444,800,000 feet long, going eleven times round the circumference of the earth. He gets at last quite carried away by his geographical enthusiasm, and compares these Archives first with the Ocean, and then, moderating a little, with the Adriatic; but in the end, soaring beyond all bounds, he inquires whether the Venetian Archives could not give standing room to the whole human race on their surface! In some fantastic tale of Hofmann’s, with a Keeper of Public Documents for hero, this fanciful calculation would have the credit of an original invention; but in a geographical writer, whose first duty is accuracy, it becomes childish paradox. Let us get to the facts; following the most moderate and sober calculations, we may say that the Archives of Venice are distributed in 264 rooms; that in the division anterior to 1797, there are 121 archives comprehending 100,752 portfolios and registers; and in the modern division 110 other archives containing 102,462 portfolios and registers; that finally, of separate documents on sheets of parchment, the number is ascertained to be 52,878. Here are trustworthy, and assuredly sufficient, figures. We have said that to find one’s way about the building is no easy matter. The entanglement of the rooms, in spite of their being numbered, is in truth so intricate as almost to require a compass; and it would be very difficult to describe systematically the interior arrangements. There are some rooms which are no larger than an ordinary drawing-room, and there are others, such as the two ancient refectories of the convent, which are large enough to have held as many as 1800 monks on certain ecclesiastical occasions ; others, again, have the full length of the nave of a great church. There are shelves ranged all along the walls, and on these shelves registers and bundles carefully docketed. Inscriptions in white on a blue ground indicate the most important classes. On getting to the first story by the grand staircase built against the back of the ancient refectories, we arrive at the largest halls, which are in the form of a Latin cross. This is the part of the building which contains the choicest of the ancient documents. Here are chronologically arranged all the papers relating to taxes, title-deeds, civil and criminal cases, and papers concerning finance, the mint, the public health, the arsenal, war, sumptuary legislation, maritime possessions, navigation, public instruction, orders of nobility, commerce, the arts, trades, and liberal professions, the departments charged with the inspection of monasteries and public services, the ordinary police, (under the picturesque name of “Signori della Notte al Civile e al Criminale,”) waters, forests, mines, state loans, communal properties, and a multitude of other Uffizi or offices, ramifications of these different great departments. Turning south, we come to a lofty and beautiful chamber, which used to be the library of the monks, but is now set apart, under the name of “Mani-morte” for the collections of the acts of the confraternities and convents; eight of the upper rooms in succession are reserved for the same subjects. At the far end of this magnificent room, a large window opens on the little Campo di San Rocco, and from it can be seen the admirable fagade of that well-known and frequented monument, the Scuola di San Rocco. On leaving the “ Mani-morte,” if we retrace our steps we reach the long space which is partly given up to the collection of the Ducal Chancery. On the right of this two AUATIN i) Wy I if j} HN “uy )/)) if TAN Wi - y ae | | iii i : i | ae i 0 AN f | rect unl A ah LL a j ee a s he i HL sa A (From a drawing by M. G. Stella.) CLOISTERS OF THE MONASTERY OF SANTA MARIA GLORIOSA DEI FRARI. The Archives of Venice. 33 small Roman doors are to be noticed. One of these leads to the collection of the Secret Chancery, the other to that of the Council of Ten. These two low doors in the great sides of the Ducal Chancery, each opening into a suite of eight chambers, among which two of the largest belong to the department of the Inquisitors, represent altogether what one may well call the body and soul of the polity of ancient Venice. Chroniclers, publicists, political historians, historians of manners, diplomatists, negotiators, lawyers, and the merely curious, may all find what they seek here. The ground to be cultivated here is rich and fruitful enough to admit of all reaping from it the rarest products. Since the decree of December 13th, 1815, ordering the general concentration of the archives in one building, they have been under the charge of six successive directors. The first of these was Jacopo Chiodo, of whom it is said that he was born zz and lived for papers. He had in fact served the most Serene Republic under the two last of her doges, first as coadjutor to the Chancery, and then as keeper of the archives to the Senate; afterwards charged with a division of the archives, of which Count Marini had been principal director under the Italian government, he was in his turn appointed director in 1815; presided at the general installation at the Frari in 1822; and remained in this position, one well suited to his powers and tastes, until 1840. Signor Ninfa Priuli succeeded him, and resided in charge for seven years. He did little, or rather nothing at all. He was a man of no special parts or zeal. Then came the Cavaliere Mutinelli, appointed in 1847; during his administration there happened the revolution of 1848; but he was not dismissed under the government of Manin, and when the Austrians returned to power still remained in favour. Signor Mutinelli was a distinguished man of letters; he had a quick and vivacious mind, and undertook various reforms in the great establishment committed to his care. He was not a liberal in politics, and had many and bitter enemies in Venice. Still he knew how to stand out against the storm with which the Viennese government threatened the archives in 1852, Vienna in fact secretly coveted the possession of the most precious part of the State papers of the extinct Republic; and intended nothing less than to plunder the whole Secret Chancery of ancient Venice, all the despatches, all the reports, all the diplomatic element which was one of the historic glories of the famous State. As soon as he was warned of this well-laid plot in the regions of Imperial power, Signor Mutinelli, devoted though he was to the Austrian government, addressed a statement to the Sovereign so forcibly reasoned that the Emperor's hand was stayed on the very eve of signing the fatal decree. We must, then, do Signor Mutinelli the justice to remember that it was he who saved for Venice the most delightful, interesting, and honourable part of her documentary treasures. It was during the later years of his administration that this immense depository began to be more easy of access to the studious visitor. Up to that time admissions to consult these papers were so rare that it would have been easy to name and count them. The Cavaliere Mutinelli retired in 1861, and was succeeded by Count Dandolo. It is from his appointment that we must date the liberal era of the archives; there was little more closing of doors thereafter. Even the secrets of the Council of Ten were accessible. But the venerable Count, less fortunate than his predecessor, had during his administration to sustain the F 34 Ventce. rudest shock that can be given to the head of a great establishment. Upon him fell the lamentable duty of having to record in his protocols the famous depredations ordered by Austria, and carried out with the strong arm, in this edifice intended only for quiet study and patient research. A Benedictine monk named Beda Dudik, with a lieutenant who had made himself his paladin, had orders to see the spoliation accomplished. The struggle between the invaders and directors lasted two days. But armed force was called in, and against might the unfortunate Count had nothing to oppose but right; and on such occasions the power of right, however excellent from an abstract point of view, is of little avail to check or throw an adversary. And in this case the spoiler took away 1336 registers and portfolios from among those most valuable and necessary for the historical study of Venice, and 1000 tariffs, commercial treaties and the like; this happened on the 22nd and 23rd of July 1866. This is the spoil which Austria agreed to restore by the 18th article in the Vienna treaty of the 3rd of October. The article was duly carried out. Count Dandolo was succeeded as director of the Archives by M. Tommaseo Gar, a name respected and loved on all hands, whose valuable writings, accomplished scholarship, and well-proved powers of administration, naturally pointed him out for this coveted position. After him came the Cavaliere Toderini, who died recently, and was succeeded by Signor Bartolommeo Cecchetti, the learned author of various careful and valuable historical memoirs. It must not be supposed that such a prodigious number of documents could only serve to illustrate local history. The reports (velazzonz) of the Venetian ambassadors are true political monuments. They supply an inexhaustible source from which the students of European history in general have drawn and will continue to draw. The whole drift of modern historical work is towards researches of this kind; history is coming to be more and more written from authentic records or contemporary documents; and no more fruitful source can be consulted by the scholar than that which we have just described. It is just to add that nowhere will he find custodians more eager to facilitate his studies, or be put upon the right track with more inexhaustible and disinterested kindness. The Dogana (Custom House) and Church of Santa Maria della Salute—after Guardi. Griese be lo Dahan ale ' THE COMMERCE OF THE VENETIANS—THEIR NAVIGATION. VEN from the first, the Venetians gave so wide an extension to commerce, and the spirit of exchange was always so strong within them, that if the Serene Republic has played an important part in the world, the fact is chiefly due to the wealth created by her trade. Her maritime genius was the precious fruit of necessity. The Venetians took refuge in the inaccessible islands of the lagoon to escape from the barbarians who were ravaging Italy; and from the very precariousness and isolation of their position, turned to account with unequalled prudence and subtlety, and accompanied by a spirit of adventure which never flagged, sprang up this rapidly-acquired prosperity, which had attained its greatest height at an epoch when most other nations of Europe were yet but gropers on the path of progress, and knew no other boundaries but those of their own frontiers. I shall sketch rapidly, following Carlo Antonio Marin and Fabio Mutinelli, the main outlines of the history of Venetian commerce and navigation. In the fourth century of our era, the Gothic King Theodoric reigned at Ravenna. The aim of his policy was to consolidate his power, to civilise his people, and to obliterate all traces of the invasions and disorders attending the fall of the Roman empire. Already established in their refuge amid the lagoons, the fisher people who were to be the founders of Venice made themselves useful and even indispensable to the conquerors, who had KY 2 36 Venice. neither ships nor salt, and who had to beg them of the founders of Venice, by the voice of Cassiodorus, senator and commander of the guard to Theodoric. Here are the words in which Cassiodorus addressed the tribunes who were the magistrates of the new-born Republic: ‘We can live without gold, but not without salt.” The salt-beds of the coast accordingly served to supply the wants of the barbarians; by means of their flat- bottomed boats, the Venetians skimmed the surface of the lagoon, made their way up the rivers, and appeared in the midst of the Gothic towns. They brought them also olives and wine from the coasts of Istria. Thus they laid the foundation of their nascent industry. They were quick to understand the great advantages to be derived from these natural salt-beds of their lagoons, and from those which might be artificially established along the neighbouring coasts. They began therefore by perfecting the art of extracting salt, signed treaties of commerce with their neighbours, bought from them the right of trading in this product of their shores, and either by way of the Adriatic, or by the rivers which empty themselves into the basin of the lagoons, found an easy means of transport, which enabled them to provision Italy and the coasts of the Levant at a lower price than any other producers. These salt-beds of the lagoons furnished in considerable quantities the salt known by the name of Chioggia salt. They improved the beds of Cervia, which belonged to the Bolognese, started the excavations of Istria and Dalmatia, and extended their works to Sicily, to the shores of Africa, and even to those of the Black Sea. Once these relations established, the Venetians founded regular establishments, managed and regulated like our fisheries, in the different places where this work of extracting salt was carried on. Little by little obtaining for themselves a complete monopoly of the trade, they penetrated as far as the interior of Croatia, and into central Germany, to extract the fossil salts. By advantageous contracts, and more often by underselling all other competitors, they secured the supply of the whole of north Italy ; and in the exercise of a rather arbitrary authority, closed their port and even the entrance to the Adriatic against all competitors. Thence arose the palpable necessity of supporting their claims by force, and, as an immediate result, the necessity of increasing their war Navy. The Republic never ceased to regard this branch of trade as one of its most vital resources, and the great merchants of later days introduced into the most solemn treaties in the history of Venice purely commercial clauses, stipulating that they should supply the conquered State with salt. To show how far in advance of other nations the Venetians were in perception of their own interests, and in the spirit of commerce—in 1516, on the day after Marignan, when Pope Leo X. deprived the Venetians, then his own allies, of the concession for furnishing salt to the whole duchy of Milan, and retook it for himself, along with those great salt-works of Cervia which had at an earlier period been ceded by the Bolognese to the Republic, that Republic had already been in possession of this right for more than seven centuries. This throws the signing of the first treaty as far back as the eighth century. Out of the necessity of administering these great properties, the source of such important revenues, grew the creation of a special magistracy, that of the “ provveditori al The Commerce of the Venettans—Ther Navigaton. 37 sale.” They were so jealous of these rights at Venice, that the Senate made laws forbidding the use of foreign salt throughout the territory of the Republic. Any infraction of these laws was punished by perpetual banishment, and the house of the culprit was razed to the ground. The public store-houses of salt were very numerous in Venice; the principal one opened into the warehouses of the Dogana or Custom House, which face the entrances of the Giudecca Canal. As early as the year 450, incredible as it may appear, the spirit of policy showed itself in the Venetians; their prudence coupled with duplicity prompted them, while serving the Goths and deriving immense advantages from transactions with them, not to neglect the Greeks of the Byzantine Empire, who were soon to come to Italy to fight the barbarians. The Venetians became the auxiliaries of the Greek generals, Belisarius and the eunuch Narses; when the latter arrived at Aquileia there was but one way left open for him by which to ‘reach the enemy, who barred the road to Italy on the Lisonzo; and that way led through the marshes and lagoons. Narses had to ask the Venetians to escort the Imperial troops under the walls of that same Ravenna, which but yesterday bought its salt of them. The rendering of this service opened the gates of Constantinople to the commerce of Venice; and immediately commercial treaties and contracts of exchange were signed between Venice and the Eastern Empire. Narses, a traitor to his country, invited the Lombards to that part of Italy which he had conquered ; they came from the remotest parts of their wild home in Pannonia, and fell upon Ravenna; but they brought with them two terrible scourges, plague and famine. These two scourges, making one vast cemetery of the vanquished country, turned never- theless to the profit of the Venetians, who conveyed flocks and supplies for the famished Lombards from Apulia at the other end of the Adriatic. In exchange, the tribunes demanded for the Venetians security, protection, and exemption from all dues throughout the whole kingdom of Lombardy; they obtained permission to build houses, caravanserais, or fondachi, for their travellers and merchants, to establish and supply permanent markets on the coasts, where the inhabitants and subject populations should come and _ buy Venetian salt, foreign grain, and ordinary merchandise. At the end of the eighth century, the Emperor Charlemagne, king of the Franks, takes possession of Lombardy. It is now no longer the dull race of Pannonia who reign at Ravenna, but the subtle Franks, the lovers of pleasure and luxury. The Venetians soon perceive the advantage they can draw from this circumstance, and, already masters of the commerce of the East, the home of splendour and opulence, they bring rich tissues, perfumes, carpets, purple and silk, peacock feathers, ivory, ebony, pearls and gems, to tempt the conquerors. They establish an annual fair at Pavia, which soon acquires the fame that has belonged in later days to that of Nijni, Sinigaglia or Beaucaire. In 989, the great Carlovingian succession having expired, the power of the Saxon Otho succeeded to that of the Lombards and Franks in Italy. Pietro Orseolo, at this time Doge of Venice, wishing to develope still further the commerce and resources of the Republic, sent an ambassador to Otho, who received him at Miilhausen, and confirmed the Venetians in all the privileges which had been previously accorded to them by the Goths, the Lombards, and the Franks in turn; he abolished all taxes, fines, and tributes. But this 38 Venice. was not enough; the Emperor Otho conceded still more, and gave the Venetians a port and market very advantageously situated for access from Germany by way of the northern provinces of Belluno and the Trevisan. Hitherto, the Venetians had but had their genius; henceforth they had wealth and power; and every patriotic German sovereign continued to find advantage for his own people in granting privileges to the city of the lagoons. This same Doge Orseolo, at the beginning of the eleventh century, obtained new rights for the Venetian shipping from Basil II. and Constantine VIII., Emperors of the East; and at the same time demanded of these sovereigns confirmation of the existing treaties of commerce with Constantinople, and with all the ports of Greece, Thrace, Cyprus, and Crete. The better to secure the good graces of the Eastern Court, the Doge in his turn led the galleys of the Republic in person to the assistance of the imperial fleet before Bari, which was being besieged by the Saracens, at this time masters of Apulia. The combined forces succeeded in raising the siege: and this important service drew still closer the bonds between the two powers. But though they had thus contracted commercial alliances and signed innumerable treaties, the Venetians, shut up as they were in their lagoon, and possessing only a few leagues of dry land, experienced the greatest difficulty in procuring wood for building. Accordingly they took advantage of the arrival of the Normans in the Adriatic to embark on an enterprise which was destined to bring them full possession of Istria, Dalmatia, and the ancient Albania, regions at that time abounding in forest, though now cruelly despoiled of all vegetation. The Greek Emperor saw Durazzo besieged by the Normans, and found himself powerless to defend it; Venice came to the rescue and delivered Alexis Comnenus, who after that set no further bounds to the mercantile liberties of the Venetians, and even authorised them to found counting- houses and Fondachi at Durazzo; he also levied a rate from the Greek Empire towards the support of the church of Venice, and went so far as to compel the people of Amalfi, who had been the allies of the Roman pirates, to pay a large annual contribution to the Basilica of St. Mark. But this was not enough, the Venetians had a more important object. The Eastern Emperors advanced a claim upon Dalmatia, and the Venetians, who had just taken possession of that region, did not enjoy their rights without opposition. The Doge Vital Faliero sent a solemn embassy to demand that the Eastern Empire should abandon its pretensions to these colonies. The Empire was at this time a prey to dissensions and usurpations; and Alexis Comnenus, remembering with gratitude the help he had received before Bari, ceded to the Venetians all his rights over Istria and Dalmatia (1084). The effect of this was to open up the forests to them, and to put it into their power to construct those mighty fleets, which, put into action by the great commercial wealth they had acquired, were to render the Venetians masters of the Adriatic. We now reach the moment when the Italian populations begin to claim their liberty. It is the epoch of the famous Lombard league, and of the internal quarrels of the Italian towns, each in arms against its neighbour. The commerce between Italy and Venice languishes, but Venice had a wide field, and every time one of the towns, having declared war against its neighbour, seeks the help of Venice, she makes them pay for this help by The Commerce of the Venettans—Ther Navicaton. 2 Sd e, an advantageous commercial treaty. An immense enterprise, destined to change the face of the world, and forming one of the turning-points of human history, was about to give the Venetians another opportunity of displaying their prodigious resources. Peter the Hermit preached his crusade against the Turks, who had already taken possession of Mesopotamia, Palestine, Syria, and Nicaea, where Soliman had established the seat of his Empire. Constantinople was not yet in danger, but the East was threatened. Venice did not hesitate; was it religious zeal only which urged her on? no, it was also the love of gain, the commercial instinct, the boundless ambition of this former settlement of fishermen. They armed two hundred galleys, commanded by Giovanni son of Vitale Micheli, and went to the help of the Crusaders. At the time of the fourth Crusade they were at the very zenith of their wealth and glory. The French had no fleet large enough to carry their army to the East; they therefore addressed themselves to the Venetians, who contracted to undertake the trans- port for the sum of eighty million gold marks. In vain the French commanders sell their lands, and melt their plate and treasure, they are still thirty million marks short. Then the Senate proposes a singular compact. Lara, the capital of Dalmatia, was in revolt against Venice. It was agreed the French should help to reduce the rebel city, and, not being able to acquit themselves of their debt with gold, should pay it with their blood, and in this way fulfil the contract by which they were to be permitted to deliver the Holy Sepulchre. But before proceeding to their final task, they were tempted by the Senate into a new enterprise which nearly brought upon them the excommunication of the Pope; to the attack, that is, of Constantinople, their ally of yesterday, where the Emperor Alexis, son of Angelus Isaac, had been dethroned by his brother. It was the Doge Enrico Dandolo who had perceived the gain that might accrue to Venice from this enterprise. And in fact, the capital of the Greek Empire once taken, there was no question of restoring the deposed sovereign ; the throne was handed over to Baldwin; and the Venetians, who were not anxious to take over an empty sovereignty subject to so many accidents, and always threatened by the Turks, only laboured to secure for themselves such imprescriptible advantages as would give them facilities for trading in all parts of the world. They had already rights over one part of the empire; now they possessed themselves of a half of Constantinople itself; they made themselves masters of all the islands of the Archipelago, and numerous ports in the Hellespont and in the Morea; they bought the island of Candia from the Marquis of Montferrat for a million gold marks ; without drawing the sword Marco Dandolo and Jacopo Veniero took the city and territory of Gallipoli; Andrea and Girolamo Gisi seized Tenos, Mycon, Syra, and Scopolo; Rabano Carcerio took Negropont; Pisani triumphed at Pio, Quirini at Stampolia, Veniero at Paros, Navagero at Lemnos, and finally Marco Sanuto entered Naxos, adding later to his conquests Antiparos, Santorin, Sisante, and Policandros. The Venetians were now to put the crown upon their power by undertaking commerce with India through the Tartars. Samarcand was the great depot of merchandise in the East; thence by way of the Caspian goods reached the mouths of the Volga; from the Volga they were transported to the Don; the Venetians having there established a commercial settlement which afterwards became very famous at La Tana, AO Venice. (now Azof), they increased it by degrees till it became a very wealthy and important fortified colony, protected by the interests both of the Tartars and of its founders. From this time forth, Venice may increase her glory, but she will never increase her wealth ; she has laid the foundations of a prosperity destined to endure for seven centuries, and unequalled, in proportion to the narrowness of her territory, in the world. France, as we have seen, has already begged ships of Venice, at the time of the Crusades; in the sixteenth century we shall find her contracting loans from the Senate. The Venice of those days can only be compared in wealth—relatively, of course, to the difference of times and conditions—to England, supported by her Indian colonies with their hundred and eighty millions of English and native subjects, and with whole empires subject to her dominion. From the thirteenth century Venice had so increased her commerce, and had made such numberless treaties with the populations of Europe and Asia, that at certain periods her quays were filled with strangers, attracted by exchange and trade, and provided for by commercial friends who showed them hospitality. The Senate, full of anxiety to develope everything that tended to the glory or riches of Venice, thought to facilitate the sojourn of all these strangers by founding /ondacht for them, a kind of caravanserais where they might be lodged gratuitously on reporting themselves to certain magistrates whose duty it was to establish their identity and station. The Germans were the first to have their Fondaco, situated on the Rialto itself; it has been rebuilt several times, and unfortunately nothing remains to be seen of it now but an architectural mass without special character, and of purely modern aspect. Three nobles, with the title of Vis Domini, presided over the administration of establishments of this kind; there was a public weigher who took note of the weights and nature of the merchandise, and was employed in sorting and storing it in the warehouses attached to the Fondaco. It will be seen that this was on the same principle as our docks, with this difference, that the owners of the cargo were lodged in the building itself at the expense of the State. Under the weigher came the Fonticaio, or keeper of the building. In this same thirteenth century, the Armenians were also favoured by the government; and a certain Marco Ziani, a nephew of the Doge Sebastian, who had a strong affection for them because his family had lived for a long time in Armenia, bequeathed them his palace, that known as the palace of the Ziani in the street of San Giuliano, The Moors also had their Fondaco, close to the Madonna del Orto, at the Campo dei Mori, where a number of houses may yet be seen ornamented with sculptures of camels bearing merchandise, and figures in Moorish costume. In the seventeenth century the Turks got for their share that superb palace on the Grand Canal which still bears the name of Fondaco dei Turchi, and which the town has lately restored and appropriated to civic use as the Correr Museum. This palace is one of the oldest and most remarkable in Venice, and must be about contemporary with the Ducal Palace and the facade of St. Mark. It faces the lagoon, and was the property of the Duke of Ferrara. But long before the seventeenth century, so early as the fourteenth even, the State had provided for the Turks in the street called Canareggio, and afterwards in that of San Giovanni e Paolo, near the statue of Colleoni, one of the most beautiful places in The Commerce of the Venetians—Their Navigation. AI Venice, where stands the wonderful church of San Giovanni e Paolo. But it must not be forgotten that these Turks, so useful from a commercial point of view, were infidels ; therefore the windows of their Fondaco were ordered to be walled up, the rooms were lighted from a court inside, the building was enclosed by a wall, and two corner towers, which might have served as a defence, were thrown down. A Catholic warder was appointed, who closed the doors at sunset. Women and children were not allowed to cross the threshold; powder and arms were deposited in a safe place in front of the entrance; and to complete this series of restrictions, it was forbidden to lodge an Ottoman in the town. The Tuscans, who, as every one knows, were great merchants, and had become very wealthy by means of banks and counting-houses, had _ their Fondaco on the ‘Rialto; and the people of Lucca had theirs at the Via Bissa, in the part of the town which lies between the Rialto and San Giovanni Crisostomo. The Greeks and Syrians were so numerous, and on such good terms with the Venetians, that they lived in all parts of the town. As to the Jews, they had been the objects of innumerable regulations; but they could not be excluded by reason of their peculiar aptitude for trade. As early as the sixth century, they had claimed the monopoly of money-changing, and most princes who knew their own interests protected and encouraged them to live in their cities. In the thirteenth century the Lombards and the Florentines had in their turn succeeded in getting the monopoly of large transactions ; envy arose against those who were amassing and preserving such immense wealth; and the spirit of the Crusades, in awaking Christian feeling, also excited public animosity against the race. Still Venice remained open to them, a privilege they used, and no doubt abused, for they were soon forced to take refuge at Mestre, a little place which in our day is the meeting-point of the railroads which converge at Venice from north and south. Banks in the propér sense of the word did not yet exist; pawnbrokers were not known, so that the Senate after a time re-admitted the Jews to the city with a view to developing petty as well as wholesale commercial interests, and of encouraging business generally. The time of their sojourn was limited, so that the privilege should not have a definite character, and they were forced to wear a distinctive badge in the shape of a small piece of yellow material sewn on the front of the dress, for which later a yellow cap was substituted, and later again a cap covered on the top with red. They were forbidden to buy houses, lands, or real property, or to enter the liberal professions, except indeed that of medicine. If a Jew was convicted of misconduct with a woman of the Rialto, he was fined 500 lire and put in prison for six months; and in other cases he might be imprisoned for a whole year. Cruel to these men, whom they nevertheless sought out for their proverbial intelligence, and by whose abilities they profited, the Senate assigned them, as at Rome, a special district to, live in, the Corte delle Galli, between the streets of San Girolamo and San Geremia; they gave it also the customary name of Ghetto. The Jews were made to pay dear, even for this unhealthy abode, and a walled enclosure was built round it, to separate them from other citizens; they were in the identical position of the Jews of Morocco in our own day; constrained to close their doors from sunset to sunrise, and with two Catholic warders, paid out of their own money, charged to keep watch over the place. On holidays they were entirely forbidden to go G A2 Venice. out. Two armed galleys guarded their outlets to the sea. They could not attend a synagogue in Venice, for no place of worship was allowed them within the city; they were forced to go to Mestre for this purpose; and for their burial-place they were grudgingly conceded a desolate strip of the sea-beach. But we are not now concerned with the position of the Jews in Venice, only with their commercial relations towards the people of the Republic; let us therefore return to the Fondachi, or residences granted by the State to the representatives of foreign trade. Two Fondachi have become famous and still exist at Venice; that of the Turks aforesaid, of which we here reproduce the facade, and that of the Germans. The Fondaco dei Turchi stands to this day on the Grand Canal at San Giacomo dell’ Orio. People who visited Venice thirty years ago, must have remarked, in passing down the Grand Canal, this ancient building with its open loggia on the first storey ornamented with marble columns having Byzantine capitals. The antique facade, set with slabs of Greek marble, and encrusted with circular escutcheons, was falling into ruin, and earth and moss were choking the interstices. The Turkish custodian still lived here, and might be seen lean- like dreaming and yet ing sadly and silently is so dreamless, might against the last arch of have imagined that he theloggia, with Eastern read a look of wist- immobility, indifferent fulness in this man’s to the gondolas passing eyes, and that the and re-passing under forlorn warder was his eyes, looking, but thinking of other days, seeing nothing. A poet and of the ancient who did not know glory of Venice. This that placidity of the building, known by The Fondaco dei Turchi before its restoration. Oriental, which looks the name of Fondaco dei Turchi, was built in the thirteenth century by the family of the Palmieri of Pesaro. Pietro Pesaro, the last ambassador of the Venetian Republic at Rome, and the last of his name, could not bear to see the downfall of his country, and died in exile. The Pesaro were not always masters of this building. In 1331 it was bought by the Republic, and given to the Marquesses of Este, Lords of Briare, who afterwards became Dukes of Este, when they gave splendid entertainments in this building, at which Ariosto and Tasso sometimes figured. Pope Clement VIII. took possession of the beautiful domains of the Dukes of Ferrara, and gave them to his nephew Cardinal Aldobrandini, who in 1618 sold them to Antonio Priuli, Doge of Venice. The Republic, seeking a favourable locality for the sale- of Turkish merchandise, hired Antonio Priuli’s palace from him, which thus became the residence of the Turks and the depot of their merchandise. Extremely severe laws regulated this establishment. By-and-by the Fondaco came back into the hands of the Pesaro, Maria Priuli having brought it as a marriage portion to her husband Leonardo Pesaro, Procurator of St. Mark’s. The last descendant of the Pesaro bequeathed the Fondaco dei Turchi to the Count Leonardo Marini, his nephew, who sold it in 1828 to a | Ny eel: ATH LUM Tea TAL | \ 14 Hit | =) wl (ae \ ! | Ww il \ Wut iyi WHA VY Heli | lif | Huai WAT Witt WNT i] Wy A AMA } Wi | \| \HHUih (4 = Nes iT MMT : ————————— Hal == —————— ——} ——— : = = SS ee ——— . —— = —> SSS" — = S___ Se =, ————— Se ——_——S——— SS eS =< ——————— ee (From a drawing by M. G. Stella.) CLOISTERS OF THE MONASTERY OF SANTA MARIA GLORIOSA DEI FRARI. Lhe Commerce of the Venetians—Ther Navigaton. 43 merchant, and he in his turn in 1859 ceded it to the city of Venice, which remains in possession. Count Sagredo, a Senator of the present day, was the first in our time to interest himself in this palace. He has written an excellent monograph upon it, in which the portions relating to art were treated by the skilful architect Frederic Berchet, who with great care and true feeling prepared a plan for restoring the structure. The commission, under the direction of Count Alessandro Marcello first, and then of Count Luigi Benito, welcomed the proposal; this latter began the execution of it, which was carried on with precision and promptitude. Besides the Chevalier Berchet, who made a name for himself by this undertaking, we ought to mention the practical superintendent of the works, Sebastien Cadet, and the sculptor of the carvings, Jacopo Spura, who has been able to restore the ancient marbles without losing the character of their original workmanship. After so many vicissitudes, this ancient building, so judiciously restored, remains finally the Museum of Venice. The Fondaco dei Tedeschi (of the Germans) has been so disfigured by successive restorations that it is necessary to consult history, as well as to make an effort of the imagination, before one can bring oneself to pay any attention to this large and massive palace, without beauty or proportion, which rises on the left of the Rialto as one comes from the railway. Tradition says that at the beginning of the sixteenth century its exterior walls were splendidly decorated with frescoes, the work of Giorgione and Titian. This is the first time we hear of Giorgione as the decorator of the exterior walls of a palace; but as the Senate, d@’orvdine pubblico, had decided on the decoration of the Fondaco, it is quite certain that they would have employed the famous Barbarelli (Giorgione), that great poet in form and colour. It would be interesting to look among the records left by the officials concerned, in the Archives of the Frari, for the financial accounts of the Fondaco, which ought certainly to be there; we should then know whether these great potentates and politicians were really able to employ the genius of Giorgione for this work. But without searching the archives, we may accept the assertions of great writers and specialists in things Venetian, who speak of having still in their time seen this splendid decoration, defaced and ruined indeed, but still showing indubitable marks of the master’s genius. Selvatico has left a notice on the Fondaco dei Tedeschi; he attributes this building to Fra Giocondo, the famous Dominican who built the Consular Palace at Verona, and the Chateau de Gaillon in Normandy, one facade of which has been transported to the court of the Fcole des Beaux-Arts in Paris. It seems that the Fondaco had existed from time immemorial on its present site; and when, in 1540, an extensive fire destroyed the building, the Senate, eager to show its interest in the cause of commerce, and in particular of a nation with which the commercial relations of the Republic had been so close for centuries, decreed that a new building of regular style should be raised upon the site of the old. But, if Selvatico asserts that Fra Giocondo was the architect chosen by the Signory, others say that it was Girolamo Tedesco who received the order. After having described the building and its position on the Grand Canal, with its entrance to the sea, and its stairs by the water-side for the unlading of merchandise, Selvatico expresses himself in words which leave no doubt as to the richness of the decoration. ‘The profile of the windows is poor, but they are disposed symmetrically Ge2 AA Ventce. enough to produce a simple and noble effect; and in truth they needed no further ornament, since all the plain parts of the walls were covered with splendid frescoes by Giorgione and Titian, frescoes which have been almost entirely destroyed by the hand of man and the agency of time together. At the two angles of the facade overlooking the canal, there stood at one time two towers, on which might be read two important inscriptions. But a few years ago, when the building was restored, the two towers were knocked down, the inscriptions effaced, and what is still more irreparable, two magnificent figures by Giorgione which might be regarded as the best preserved of all.” There is therefore no doubt that the most famous artists of the Renaissance helped to decorate public buildings of a civil or commercial character with exterior frescoes. This shows the immense importance which the Signory of Venice attached to commerce, and gives the highest idea of the luxury of the time, and the intelligence of the counsellors of the government. It is, however, difficult for us to form any idea of the splendour of these merchants of Florence and Venice. I find in Mutinelli the following lines, which are well calculated to set the lovers of art dreaming: “When the news of the victory of Lepanto reached Venice, the Germans were the first who wished to celebrate it by a splendid illumination in their Fondaco on the Rialto. All the other merchants followed this example; and those who most distinguished themselves were the Jewellers, the Tuscans, and the Mercers. The well-known portico of the Rialto, where the drapers’ shops are, was entirely hung with turquoise blue fabrics spangled with gold and lined with scarlet. Each ‘shop’ had its decoration; there were panoplies of oriental arms taken from the Turks, and in the midst of these trophies were to be seen pictures by Giovanni Bellini, Giorgione, Sebastian del Piombo, Titian and Pordenone. At the entrance of the bridge, an arch was raised on which the arms of the allied powers were represented quartered on the same scutcheon. Banners and festoons hung from every arch and every window; torches and silver candelabra placed on every projection illuminated the streets, and turned the night into a bright and splendid day.” And to show still more what luxury these powerful goldsmiths displayed, here is a passage from a MS. in the library of St. Mark, entitled: ‘Chronicle of Venice, how the city was built :” “Thursday was the festival day of the Doge, Thomas Mocenigo; great stands were raised in tiers on St. Mark’s Place for the women. The goldsmiths placed two silver helmets in the midst, with their enamelled plumes which cost a hundred ducats apiece. Then came a procession of three hundred and fifty goldsmiths, dressed in scarlet and mounted on richly-caparisoned horses (each harness costing three ducats) preceded by trumpeters and musicians, who marched round the piazza in regular order. Then followed the companies of the Marquess of. Ferrara and of the Lord of Mantua, the first composed of two hundred and the latter of two hundred and. sixty horsemen; it was a great consolation to behold so many coursers, so many devices and ornaments and flags and streamers. The tournament lasted from seventeen o'clock (four) till twenty-two o'clock (nine), and it was a marvel to see so-many gentle deeds. One of the’ silver caskets was presented by the goldsmiths to a knight of the Marquess of Ferrara, and the Lhe Commerce of the Venetians—Ther Navigation. AS other to the Lord of Mantua, and it was a great triumph to behold. On the Sunday following, the 28th of March 1415, there was a joust, a noble sight to see, with all these lords and their companies and devices.” At the time of the Renaissance, commercial relations were destined to extend no further; the most that remained to be done was to establish some counting-houses in the East, and to sign a few new treaties designed to consolidate those already existing. The nobles had no longer the power of occupying themselves with commerce; they were forbidden by strict decrees; exchange was concentrated in the hands of a special body, a class which thus became enormously wealthy, and in calamitous times, when titles of nobility came to be put up for auction, bought them for handsome sums in hard cash. The fleet started from Venice every year under an escort of galleys, so as to escape the dangerous parts of the Adriatic which were infested by pirates, the famous Uscoques, whose haunt was in the Quarnero, The art of navigation was naturally developed with the habit of commerce, but to keep up her claims to dominion over the Adriatic Sea, the Republic had to concentrate all her forces on the construction of ships, and to make of her arsenal one of the most prodigious maritime establishments of the world. TV wn MIMI Entrance of the Arsenal. Gy LigAs aliens heealev ec THE ARSENAL OF VENICE. NAVAL arsenal of formidable power and completeness, con- sidering the date of its creation, was the natural outcome of that spirit of commerce and instinct for barter on which we have so much insisted. In it also the Venetians found the most powerful seconder of Venetian ambition; they had chosen, as a practical matter, to conquer the sovereignty of the Adriatic; they were therefore bound to be in readiness at any moment to defend their claim, against all who might be tempted to dispute it, by help of a fleet powerful enough to make up for the weakness of their theoretic right. The Sieur de Saint-Didier, author of a volume called ‘La Ville et la République de Venise,’ and an eye-witness of all he narrates, declares that the arsenal is what best explains the power of Venice; that it is in his day the admiration of all strangers, and “the foundation of the whole power of the State.” The Turks, who were the constant and powerful enemies of the Republic, and often brought her within an inch of destruction, always looked with envious eyes on this establishment, then unrivalled in the world; when the Grand Viziers gave audience to the The Arsenal of Venice. 47 ambassadors of Venice, they were never tired of asking for details concerning the organisation, resources, and power of the arsenal. Strangers who visited the city hurried to the arsenal to admire both its wonderful order and its colossal extent ; it seemed to be the moral force of Venice in a palpable form, the symbol of her power and the source of her wealth. Here one could lay one’s finger on the working springs of Venetian strength, and realise the inexhaustible resources of a nation which founded its greatness on the construction and maintenance of a fleet greatly out of proportion to its territory, and whose supremacy over the waters extended to all the coasts of the Archipelago. We have seen that the Venetians were the first of all modern nations who understood the art of ship-building on a great scale; as early as the time of the Crusades, as I have said, they undertook the transport of the French army; and it was not enough that they should carry troops, they had also to defend them, and if necessary to provide a convoy. The heavy galleys had seventy-five feet of keel, and the light ones measured a hundred and thirty-five feet in length; the vessels called cogues, specially used for transport service, could carry up to a thousand men-at-arms with their stores; the galeasses, which were rowed like galleys, had their prows made cannon-proof, and were armed with fifty pieces of artillery of the highest known calibre; sixteen hundred soldiers could fight easily on board one of them. When such masses appeared on the scene of battle, the effect of their attack was irresistible and decided the victory. For more than a century, the rival nations were unable to procure means of action powerful enough to oppose these war-ships of the Venetians. But naturally, the Genoese, who were great navigators and redoubtable adversaries, like the Spaniards and the Turks, tried in their turn to arm ships strong enough to affront the contest, and succeeded at last. From this resulted, in Venice, a constant development of warlike resources, succes- sive enlargements of the arsenal, and improvements continually effected under the impulse given by the rivalry of other nations. One superiority remained to the Venetians in their artillery. In every naval battle which they won, it is stated that the fate of the day was decided by the good marksmanship of the Venetian gunners. All their ships, even to the lightest, were armed with cannon; the small galleys, which were so quick in movement and useful in attack, penetrating into every creek of the bay, were also able to resist the shock of the enemy, thanks to the fifteen pieces of artillery which they carried. At the outset, the arsenal was only a dockyard for the construction of merchant vessels and galleys; it occupied, in the eastern part of the town, the site of the ancient islands of Gemole or Gemelle (twins); the place was open, and it was not till long afterwards that it was enclosed by walls and organised as a national establishment. Up to that time dockyards were improvised, wherever room could be found, according as they were required; thus in 1104 and in 1298, fifteen large galleys were put on the stocks, in the place where the Royal Gardens now are, on the very edge of the water. From the thirteenth century the arsenal was firmly established, and the Senate devoted all its power to enlarging it; they bought the neighbouring grounds, dug new docks, dry-docks, and repairing and building-yards to which they gave names which still indicate that they were acquired by degrees. Many times the ruin of the arsenal was the great object of the enemy; a continual watch was kept; the square towers at the corners, the 48 Ventce. circuit of the fortifications, were constantly guarded by a picked corps. Once, during the war with the Genoese and Turks, spies or paid emissaries of the enemy attempted to set fire to the arsenal. In 1428, a Brabancon was prosecuted, who, it was said, had been bribed by the Duke of Milan to destroy the establishment; he was condemned to be quartered on the Piazzetta; and his body, tied to the tail of a horse, was dragged along the Riva de’ Schiavoni. At the close of the fifteenth century, so says a visitor who has left a descriptive memoir, Venice employed sixteen thousand workmen, caulkers, carpenters, and painters, and thirty-six thousand seamen. It was about this period, in 1491, that the Senate created the special magistracy of Provveditori al arsenale. These magistrates remained in office two years and eight months at a time; they had to leave their palaces in Venice, and live in three houses specially built for them, and whose names of Paradiso, Purgatorio, and Inferno, are kept to this day. Each official inagistrate had=to be) ese eae __,_=«segretario adel reggi- a fortnight at a time mento. ‘There was but on duty, and _ while one passage out of the his turn lasted he was arsenal; short of scal- obliged to sleep in a ing the high wall; the room prepared for him small iron gate which within the fortified en- opens “hone thes site closures) He kept; the Campo was the only keys of the arsenal in means of egress. his room, made _ his Everything con- rounds every day, and cerning — ship-building answered with his head and armament, the for the safety of the direction of the works, place. There was a the purchase of wood secretary attached to and iron, the organisa- these three magis- tion of the workshops, The Arsenal Lions. trates, 2 fidelissimo the discipline of the workmen, the commanding of the troops, the training of seamen, store-keeping, pro- visioning, and contracts, all appertained to the frovveditorz. They formed among themselves a committee for testing and examining new inventions proposed to them by their fellow-countrymen or by foreigners. The artillery formed a separate department in the arsenal, under the special management of another magistrate, the Pvrovvedztore all’ artigheria. The outward aspect of the arsenal has scarcely changed since the middle of the sixteenth century, as we learn from an interesting engraving by Giacomo Franco, which represents the workmen leaving the yard after receiving their pay, and shows the same style of architecture and decoration which we still see there now, with, however, one point of difference, the great lions which now stand at the entrance were not yet there. These strange sentinels of granite, which give such a singular character to the building, are works of antiquity brought from Greece by the conquerors of the Peloponnese, and of The Arsenal of Venice. 49 = a which their new owners made bold to assume that the origin, or at least the original employment, was for the commemoration of the famous battle of Marathon. These monuments were only planted in their present place in the seventeenth century. The learned authors of the celebrated compilation, ‘Venise et ses Lagunes,’ say that one of MUU Oc LLL eB; aeRO a, a Aa Lh QD vicflac ta Porta del maraargliofs-Arfenale, nel qua deleonhiuoe ft ‘aino gale rc, cA altrs naf 8 lls da guerra, c gtic/ta ; ipeateche fiscdee a tac [Bea nza la Ea ip aera na cdcfecfucrs la fora coit ‘tie 4 = HE. iil i i i aoe a 2g WML TS i ALN OE ea TY =! ~4 mSranco forma cop riuslegso ween ope & Pay-day of the workmen at the Arsenal.—After an engraving by Giacomo Franco, 1570. the lions stood on the road which leads from Athens to Lepsina, the ancient Eleusis, and that the other, the sitting one, was at Pireus. There is a passage which leaves no doubt as to the removal of these two trophies by the Venetians: ‘The gate is now called Porto Draco, or Lion’s Gate, because of a colossal marble lion which was placed on H 50 Venice. a great pedestal near the mouth of the harbour. It was ten feet high, sitting on its haunches and looking towards the south. As the mouth was pierced it was supposed to have been intended for a fountain in other times. In 1687 this lion was conveyed to Venice by the Venetians and planted at the gate (fort) of the arsenal in that city.” The workmen were a picked body, and the Republic counted so much on their fidelity that the guard of the Grand Council and Senate was entrusted to them. They were not only artizans, but soldiers, with a military organisation, and brigaded and inspected at their work by the same men who commanded them as officers; and very often this body, which always numbered ten thousand and sometimes as many as sixteen thousand men, was the secret guarantee of the internal safety of the Venetian government. Side by side with the pvovveditore and subordinate to him ruled the ‘admiral’ or chief superintendent of the dockyard, who received this naval title rather on grounds of general association than from the actual nature of his duties; for he was an artizan, but one of the highest class, of acknowledged ability and high authority in his trade. He had the general direction of the works and the superintendence of all the building-yards ; he enjoyed some much-envied privileges, and at ceremonies wore a state costume which gave him almost the appearance of a noble; he had a robe of red satin, covered with an outer vest reaching to the knees, and for head-dress a ¢ogue of violet damask with a gold cord and tassels. At great state festivals, or when official visits were paid to the arsenal by the Doge, the Senate, or any sovereign, the ‘admiral’ occupied the post of honour and conducted the great men to the docks which were his special domain. On the day of the Sensaa, when the Doge, accompanied by the Council and the ambassadors, went with great pomp on board the State ship, the Bucentaur, to perform the ceremony of wedding the Adriatic, the high admiral acted as pilot. He was even responsible for bringing the Signory back safe and sound to shore, and had the power, if the weather was doubtful, of insisting that they should only cross the channels of the lagoon, without venturing into any waters which might be dangerous. The arsenal contained three divisions; for ship-building, small arms, and artillery. In construction the Venetians surpassed all other people, and this superiority was attributed to two causes: the skill of the workmen and the quality of the timber they employed. They had adopted the plan of putting the administration of the forests under the naval department, and all other purposes for which timber is used, the building of houses and monuments, fuel, etc., were made subordinate to the necessities of ship-building. Timber was bought in the province of Treviso, in Friuli, in Carniola, in Istria and Dalmatia; but these provinces did not supply enough, and recourse was perforce had to Albania and even to Germany. The timber, duly measured and stamped, and cut into solid beams, was floated in the Adriatic near the Lido, and kept thus seasoning for ten years before it was used. The different pieces of which a galley was composed were prepared beforehand in the workshops, cut and ready to be put together; and such was the perfection of the system that, on the day when Henri III. of France came to see the arsenal (1574), while Lhe Arsenal of Venice. 51 he was attending a banquet in the Great Hall, in two hours, a galley was put together and launched. It is needless to say that this was a prodigious feat, and that the governors would hardly have trusted the life of the Doge to this improvised vessel; but it was a way of exhibiting the powerful means at their disposal. In times of sharp political crisis, the activity here displayed surpassed all imagination. During the famous League which was crowned by the victory of Lepanto, a new galley left the arsenal every morning for the space of a hundred days continuously. To give, by a single authentic detail, an idea of the means employed to secure this degree of efficiency, the State laid a permanent requisition on all crops of hemp grown upon its territories, and opened special storehouses for its sale, to which all purchasers were compelled to have recourse, and to buy what they needed at a price regulated by law, after the government had first appro- Model of the Galleys of the Venetian fleet. priated sufficient for the wants of the public service. Hence the superior quality of the cordage of the Venetian over that of any other navy. The second department of the arsenal included the armament of the galleys, the manufacture, preservation, and repair of small arms, etc., as in our modern arsenals, the serving out of fresh armaments to each branch of the service as required. The artillery department included the foundries, parks, gunners’ training-schools, all under the responsible superintendence of the provveditore of artillery. In the sixteenth century the foundries were under the direction of the famous brothers Alberghetti, who had formed a regular school of cannon foundry; artists like these impressed a stamp of their own on every piece which came from their hands, and hence it is that whenever one finds a gun of Venetian make in the modern artillery-museums or historical armouries of Europe, it is almost always a masterpiece not only of casting but of design. Besides these branches of the service, there was also a Chief Constructor of military machines, lah Ws be Venice. who was bound to keep himself acquainted with the progress of mechanical inventions pertaining to the art of war. Moreover, the Venetians were the first to introduce the use of cannon of any kind into Italy; this they did about the year 1376, in the course of the war declared against them by Francesco Carrara, Lord of Padua. In a chronicle of Andrea Redusio da Quero, printed in the ‘Rerum Italicarum Scriptores,’ we read as follows: “It (the cannon) is a ereat instrument made of iron, having a wide mouth, and hollow along the whole of its length. You load it with a round stone rammed upon a portion of black powder made of sulphur, saltpetre, and charcoal; you light this powder by a hole, and the stone is driven forth with such violence that never a wall can stand against it. You would ” think it was the very thunder of God.” We see by this passage that we are still in the days of stone-shot, and that the pieces in question are guns of position and not field- guns. It was in 1380, during the defence of Chioggia against the Genoese, that bombards or mortars were used for the first time. These pieces were only fired once a day. Danieli Chinazzo, in his chronicle of the war of Chioggia, gives the names of the two of highest calibre. One was fa Tyrevisana, the other fa Vittoria; the former shot stones of 195 pounds weight, the second of 140. It was on the 11th of April 1512, the day when the battle of Ravenna was fought against the Venetians by Gaston d’Orleans (who fell in the fight) for the French, Fabricio Colonna for the Romans, and Peter of Navarre for the Spaniards—it was on this day that the Spaniards for the first time turned the cannon into a field-arm, by mounting it on carriages and driving it to the front among the attacking lines. From that time, the Venetians adopted the same system, and substituted light artillery for heavy, for use in the open field. The famous condottiere Bartolommeo Colleoni, whose equestrian statue stands upon the Piazza San Giovanni e Paolo, was the first to use these deadly engines for the advantage of the Republic in her campaigns. BR VERE TIA BPPRESOO Linowrce Fira TT: 89% ey in “te uy Tce The Doge and the Signory in Council. (Facsimile of a woodcut attributed to Vecellio, 1560.) GeieAt Rel Beh eV. THE DOGE OF VENICE. HOSEN by the Grand Council, the Doge of Venice was elected by a system of successive ballotings designed to guarantee the integrity of the vote. He bore the title of Most Serene Prince. He enjoyed rights and privileges presently to be de- scribed, but was bound to duties and obligations innumerable, and, in spite of the authority attaching to his name, possessed only the shadow of real power. He was essentially a symbolical personage, the personification or incarnation of the Republic before all the powers of the world as represented by their ambassadors. This true practical ruler was the Senate; and the action of a chief magistrate having other than nominal power, and capable of antagonism with the policy of the Grand Council and the Senate, would have opened the door'to conflict and embarrassment. In appointing their Prince, his electors imposed upon him, with the robe of gold and ermine, conditions harsh and difficult of fulfilment. A doge must forego political initiative for the rest of his days; he must move beneath the ever-jealous observation 54 Venice. of men; he is covered with horours but kept close in sight; he is no longer a free agent, he has, so to speak, to lay by his individual existence. He must not answer a question without the advice of his councillors; he must not open, still less answer, a despatch without communicating it to those who are set to attend, assist, and keep eye over him by night and day, in his private as well as his public life, and even within the chambers of his palace. True, he is the official president of the College or Council of Ministers, but the Wisemen wait for the Doge and his Privy Council to withdraw, before they discuss the proposition which he has laid before them; and when their resolution is taken, submit it to the vote of the Senate; and in this vote, the voice of the Doge counts for no more than that of any other of his brother members of the high chamber, but is taken on equal terms with those of all the rest. The coinage of Venice however, was stamped with the effigy of the Doge, and every possible outward sign of royal dignity was granted him. Following after the Pope, Emperor, and King, he took precedence of princes of royal blood. Yet, once become the gilded idol, the majestic image of St. Mark, all power of will, all aspiration, all liberty, was for ever gone. From a kind of Machiavellism in policy, the Senate never chose the man of strong individuality, of prompt and resolute spirit, of profound political capacity, for the head of the government; all these qualities would be nullified by the very conditions of the office, and those who possessed them could turn them to much better account in less exalted offices. The direct action of the Doge could not be injurious to the Republic; he had no power to compromise a negotiation, to raise a conflict, or to take a dangerous decision; for if he happened to drop an imprudent word, to give way to a movement of irritation or a moment of weakness, the Senate solemnly disavowed him without pity. By an irrevocable decree, of which we have frequent examples in history, the sovereignty given could be taken from him. And yet this state of complete dependence did not lower the dignity of the office in the eyes of the Venetians, a fact much to their credit. There was on the part of the people an innate feeling of deference and respect for the office, as well as of personal regard for the citizen who accepted the stern law of the Republic and sacrificed to it, in the decline of his days, and despite so many hard conditions, what remained of the sinking fire of his spirit. In a word, the Doge is generally for the State an ensign, a symbol of glory, and in himself a stately ruin yet erect. According to the traditional ideas of the governing caste, the qualifications most befitting the Ducal dignity are a renowned old age, an honoured name, the yet unforgotten fame of some great victory or successful treaty, high birth and public services, and all these united at a stage in life’s career which bespeaks its not too remote termination. On closely examining the statutes regulating the office, which we should now call the Charter or Ducal Constitution, and which were then called the Promzssiones or Promissi, the number of restrictions that surrounded the Serene Prince are almost incredible. Following the growth of these restrictions in history, we see how, little by little, the ° circle contracted round the Chief of the State. At the dawn of the Republic he was a real sovereign, but at the height of its power he had become a slave, till the day when, by a movement of true patriotism, the commissioners appointed to study and revise the Dv(issa PS | “ e Ducde Ves Yerbog 3u Gerebig Dv ‘Cenetis. ve du Coen Kh firs Bee NG 5 Gendt ? 3u Syertogm Bs IN STATE APPARE DOGARESS THE DOGE AND THE oissart, 1581.) Jacques B & by 5 (Facsimile of an engravin The Liprary of the Untrereity of ilinete. : det 7 aie > 7 iV The Doge of Venice. 55 ducal constitution, with the object of depriving the Prince of the last right which yet remained to him, declared before the Council that if the great days of the Republic were no more, if each year that passed saw the prosperity of Venice fading away, the cause might perhaps be found in these very restrictions set upon the initiative of the Doge. The Committee of Revision found no opposition in the Grand Council, and tried to restore to the Doge that prestige which the nobility had done thejr best to diminish on the occasion of every successive vacancy for the last eleven centuries; but it was too late; in a few years more the Venetian Republic had ceased to exist. Let us try, with the help of contemporary documents, to reconstitute the mse en scene, the splendid ceremonial, with which the Republic of Venice surrounded its Serene Prince. The Doge is elected, he enters St. Mark’s, which is the ducal church; there he receives the consecration of the Church, and from thence goes to receive the sanction of the people. Carried this investiture, he by the workmen of signs a solemn deed the arsenal in that in the chamber called singular chair which the Piongo, receives was called “the well,” the flag of the Re- he scatters largesse to public from the hands the people assembled in St. Mark’s Place. of the Primate of St. Marks and at. Jast Having entered the retires to his private palace, he clasps the apartments, where he ducal corno round his gives a banquet to head at the top of the Giants’ Staircase, the gold and ermine cloak is thrown over his shoulders, and the all his electors. In public acts he is called ‘“ Messer il Doge, but in- de- spatches the ambas- statutes to which he sadors call him, ‘‘2/ Leonardo Loredano, Doge 1570. (From the portrait by Giovanni Bellini in the National Gallery.) read to him. After and these same de- swears obedience are serenissimo Principe ; spatches, which he has not the right to read alone, are addressed to him personally. He sits on a throne, presides by right at the great Councils of State, and receives the ambas- sadors from foreign courts. When he enters, whether it be the Grand Council, the Senate or the College, the whole assembly rises. Many engravings of the time, some of which are now very rare, show us the Doge in the exercise of his functions and in the brilliancy and splendour of great public ceremonies. Let us look at him first in a drawing of the year 1560, signed C. V. (Cesare Vecellio?) which represents him presiding over the College (see p.- 53). He is there shown in the exercise of the ordinary duties of his office ; it is the daily sitting where business is transacted, and we may see the whole arrangement of this chamber of the Ducal Palace in which the Council of Ministers was held: it is the very life of the time, the habitual course of affairs drawn from nature by a contemporary artist, no doubt the nephew of Titian himself. Despatches are being read, the secretaries stand in their places, the Lf | - WLIPITI ES a Mlle H H [Total length ZL nll ; me ,/,OSs///) W7 Wuyi MY MULL) t 4 RNS KANE Sa BADLY, ¥, oF . 4 is Lhe SO AL ee Le EEL ELL yy ee ; < E f x jot ; if sous iN WITT J We (3 THE PROCESSION Wood Engraving in eight blocks. iy, Ce ps The Chaplain, SP Wy, My, ld teen n \ x Baty LY yyy, Bc. sie day, ied yyy ILLVSTRISSIMVM yy . The Signory. The Chair and.Cushion, rd a a Wi fs i) Z Sil i mt EY GR Cc NCIPIS Canons of St. Mark. Esquires of the Doge. OD oy elds fas meals ce tie vad a2 bee eite: aS | TVBA ARGENT Six Silver Trumpets. THE PROCESSIO! Wood Engraving in eight block [Total leng' ae TVBA ET BARB|L|TON = LUIMBASCLATORE: Retinues of the Ambassadors. Heralds, The eight Standards, OF THE DOGE, '3y Matteo Pagani, 1550. ! 34 feet.] 60 Venice. Grand Savii and the Savii of the distant provinces are listening, discussing and noting. Now let us look at the Duke and Duchess of Venice in great robes of State, after Messer Jacques Boissard of Besancon (1581). We may mistrust this evidence, singular as it is; Boissard is really a Frenchman, he has not the blood of Venice in his veins, and as, in art, a man always betrays his origin, there is something strange and far-fetched in the character of the two figures to the right and left of the throne which we see in his St. Mark’s Place. The Doge about to start for the ceremony of t? picture; in which also three inscriptions in three different languages bear witness to the cosmopolitan character of the work. Nevertheless the print has a historical value. I should wish to call the attention of amateurs to the ducal chair; the shape is peculiar, and recalls the style of decoration which belonged to Vittoria and Nicolo del Abbate. Of quite a different character is the precious memorial, engraved on eight blocks, the means of repro- ducing which we owe to the kindness of the Didot family, called ‘The Procession of the The original consists of 40 © The Doge of Venice. 61 Doge.” The sale catalogue attributes the design of this print to Titian, but this we think doubtful because of a certain stiffness, a want of firmness in the setting of the heads, and a woodenness of action in the figures. The engraving, which is marked “extremely rare,” is by a certain Matteo Pagani; it is of the highest historical value for the costumes and manners of Venice. In it we seem to take part, on St. Mark’s Place,—from which the balconies of the Procuratie can be seen filled with beautiful and noble ladies,—in a Is of the Sea. (From an engraving on wood by Jost Amman, 1565.) il length 8 feet 9 inches. ceremony so frequent then, the triumphal procession of the Doge, on some great Venetian holiday. In it the art of plastic representation supplies a living commentary on the ceremonial as prescribed by official authority in those days. In front are the eight standards with their ribbons floating in the wind (o¢to stendardz), the heralds (commendator?), after them six silver trumpets (sez ¢vomée) so long and heavy that young pages have to support them near the mouth. The ambassadors and their retinues follow, then more 62 Venice. music, bass instruments and flutes (¢romde, pifferart), the Esquires of the Doge (scudiert) the Canons of St. Mark and the Patriarchs of the basilica, (canonzce, patriarca); the silver candelabra carried by a page which preceded the ducal coronet (corno) carried by a squire on a gold dish. The Secretaries, the Chaplain, the chair covered with cloth of gold, and the cushion, special belongings of the Doge, precede one of the highest dignitaries of the State, the Grand Chancellor (22 Canzzller Grande); finally the most Serene Doge, over whose head is carried the omérela. In front of the Prince walks a child splendidly dressed like a little Signor; this is 22 allottino, and his business is to receive the ballot balls. In the suite of the Prince walks the Pope’s Legate, Monsieur l Ambassadeur,—thus the ambassador of France is styled without even adding the name of his coun- us evidences and try),—and the En- memorials of all voys of the dif- kinds to tell us ferent European of historical facts, Courts. Between of ceremonies, and the ambassadors public and private festivals; though and the College, “_ -_ the sword of State, there are few to la Spada, is carried, ech \ N vero Rirrato del Sc. \ awl \ eulimo ANTONIO) PRIVLI Prencipe di be found of such Veneua, Elettcli 7, di Maggio 1618. Dieta diana 7¢.Givr a7 an emblem of the importance as this power conferred by Pope Alexander III. The proces- sion was closed by which we have just described. safely be affirmed It may that from Carpaccio the Signory, that to Longhi, there is thrice illustrious no break in the body, composed of chain of evidence its three several that we possess ; orders of Wisemen. the sixteenth cen- Every period, from tury, however, can the fifteenth cen- boast of giving us the fullest details ; tury down to our ANTONIO PriuLi. Doge 1618. (From an old woodcut.) | own days, has left and more, the artists of that age having lost the awkwardness of their predecessors, who knew little of perspective, yet have enough natural freshness left to preserve the truth of the evidence. From this point of view, where—after the procession attributed to Titian—could be found a memorial of more pre-eminent importance than the print in fourteen blocks by Jost Amman, a German who lived about the middle of the sixteenth century ? This piece, which the catalogues of the most celebrated cabinets of Europe also mark as “extremely rare,” measures over four yards square, and represents the view of St. Mark's Place at Venice, with the cortége of the Duke at the ceremony of the marriage of the sea. We are fortunate’ in being able to make public so singular a memorial ; a privilege for which we are once more indebted to the Didot family. The reader can see The Doge of Venice. 63 the procession deploy its sumptuous length; in the above we had a series of details, here we have the whole; the same procedure is followed in the cortége, but the Bucentaur is already alongside, and the Doge is about to embark. On the waves of the lagoon, quaintly tossed by the wind and rendered with a peculiar touch, we see gondolas thrown into collision, State gondolas carrying companies of richly-appareled women, official gondolas carrying Turkish and Dalmatian visitors. Other processions of a religious character pass along the Riva bearing sacred relics ; some come from San Zaccaria, others enter St. Mark’s. But what really attracts us most, in this great composition, no doubt the largest woodcut known next to the “ Passage of the Red Sea” after Titian, is not so much the representation of a State ceremonial, for we have in fact just ee ae es joined into one) seen all that in the Libreria Vec- Vecellio’s picture ; chia of San- but the accessory sovino did not yet episodes which set exist at the corner before us the life of the Piazzetta, of the quays, the and we could retail | commerce see in the angle going on in the WF os fide gio schimyo, WE one of those small | q \ Gndarvcdrem, carch di spoglie lad =| al 4) f Ay Sy Tale «purer di Cofiantine al aide. ~ < ground-floors, the @ Ks sig Buin i iced b Vee and characteristic : bo ; Prntge ct foarfangoigeelity aa ladies on the ter- Way 4 fg ee i actphace gig stih P houses of which races, over the there are still two balustrades of or three remaining which they have near the Sotto thrown rich orien- Portico San Zac- tal carpets to lean caria. upon. I _ notice This ceremony that at the time of the marriage Amman engraved with the sea is his fourteen blocks certainly the most (which for the con- characteristic of all venience of the niteck” couse ~ the public ceremo- Luici Mocenico. Doge 1570. (From an old woodcut.) reader I have nies peculiar to Venice. It is held on the day of the Sensa; to it all the great dignitaries of the State repair in their robes of office, accompanied by the ambassadors of foreign powers who have their place of honour in the cortége. The embarking of the Doge takes place to the sound of bells, and the noise of trumpets and guns, on the Quay of the Piazzetta itself, exactly between the two granite columns. The company takes its place on board the floating palace, all bright with gold and decorated with rich arras and hangings; the six standards float at the bow. The Doge occupies a small saloon in the stern, with the Patriarch of Venice at his side. The Bucentaur is towed along by twenty boats, and rowed besides by a crew of dockyard workmen. The gilded keel glides slowly over the lagoon, and moves towards 64 Venice. the channel of the Lido, steered by the “high admiral.” A thousand small boats follow in the wake, a motley flotilla carrying all the population of Venice. As soon as the point of the Lido is doubled, where is the entrance to the open sea, the Bucentaur lays her head to the Adriatic; the forts thunder in full salvo; the great Bissonne, holiday gondolas with bands on board, make the air of heaven resound; the bells peal out together from all the bell-towers of Venice; and the whole multitude, from the mightiest to the humblest, uncover and rise to their feet. The Patriarch blesses the marriage-ring,— a gold ring of which the signet is made of three materials, onyx, lapis-lazuli and malachite, and which is engraved with a book as emblem of St. Mark. He then presents the ring to the Doge; an assistant priest, standing by with a great vase of holy water, pours this of the Great into the sea, Council, and in and into the the evening ripples where it there is dancing at the Ducal Palace. ihe workmen from falls the Doge drops the mar- riage-ring with these sacramen- the arsenal have tal words, ‘Sea, a dinner of their we espouse thee, own, also at the in sign of true Palace, under and everlasting the presidency of their “high admiral ” as- dominion.” The return to Venice is effected in the sisted by the same order, and gastaldo; the with the same Doge sends them four flasks a head of Greek Muscat wine, a ceremonial ; the Doge giving a prodigious ban- Casket made to contain the Corno. Sixteenth century. quet in the hall box of comfits bearing the ducal arms, a bag of medicines intended to cure them in case of accidents in their trade, and a parcel of silver medals. The custom of the day—a custom repeated to the last—required that each workman should be free to carry home the drinking-cups, napkin, knife and fork and everything which had served him at his dinner on that day. Of two of the most celebrated Doges, Luigi Mocenigo, and Antonio Priuli, portraits have been left us by two anonymous painters, one of the sixteenth and the other of the seventeenth century. The portrait of Mocenigo has a special interest, as setting before us the Doge in full armour, breast-plated and sword in hand; while Priuli wears the gold robe of office. Mocenigo is surrounded by vanquished Turks, bound in the midst of trophies ; Glory reaches him her laurel, and Victory blows a point upon her trump; while the less warlike Priuli has no attributes but those of Peace and Plenty. A portrait of a (‘euosry asIy oy} ye 2 po ; poarosaid yapout ay} w Ol 1) ry d WAV.LN? Naong aH], The Library of the ; S Untversity of {Iltnots The Doge of Venice. 65 more penetrating character than these is that which has been left us by Giovanni Bellini of Leonardo Loredano, who was Doge for the twenty years from 1501 to 1521. This admirable work was formerly an ornament of the Grimani Palace at Venice, and is now in the National Gallery in London. It would be easy to multiply examples of portraits of the several Doges; for the whole series, with the single exception of Marino Faliero, figure along the frieze of the hall of the Grand Council. But we must limit our illustrations, and may hope that those we have given are enough to convey to the reader Tron helmet of repoussé work, sixteenth century.—Ziani family (now in the Belvedere, Vienna). Armour of the Doge. Formerly kept in the Hall of the Council of Ten (now at the Belvedere, Vienna). a right idea of the costume and character of the Doges about the fifteenth and sixteenth centuries. In order to complete our picture, in the matters which concern their Serenities the Doges, we have sought out some of the examples of arms and armour which can with certainty be identified as having belonged to them; and first of all, in the admirable collection of sixteenth century treasures, belonging to Baron A. de Rothschild in Paris, the magnificent sword which that famous amateur had the taste to single out, at the sale . K 66 Venice. of the Séchan collection, and the spirit to make his own undaunted by the hottest fire of bidding. No price can be too high for so incomparable a work of art. We have attempted to give an idea of this marvellous weapon by such means of reproduction as were at our disposal. We have no doubt that it belonged to some illustrious Venetian captain (possibly to Sebastian Venier the victor of Lepanto) ; thus much is proved by the character of the weapon, the exquisite taste of the design, and especially by the appro- priateness of certain attributes, as for example the silver crescent on the hilt, which is the emblem of a victory over the Turks. The other sword, which in our illustration serves as a pendant to M. de Rothschild’s, is vastly inferior to it, and furnishes, in its vulgar rococo design, a_ striking example of the art of the decadence in contrast with that of the sixteenth century. Nevertheless this second example has a great historical interest. It is the sword of Morosini, the famous conqueror of the Peloponnese. The weapon is _pre- served in the treasury of St. Mark’s. It is a State or show weapon, and as the reader will see by the attributes worked upon it, a pontifical present made by Pope Alexander VIII. to the Doge who had driven the Turk from the Morea. Inas- much as the great dignitaries of the Republic were forbidden by law to receive presents from strangers, and as, on the other hand, such a tribute from a sovereign pontiff could not be refused, the present was made national property. Our illustra- tion is taken from a photograph which Signor Naya had the kindness to make at our request. The shield, helmet, and sword figured on the preceding page belonged to the family of the Ziani, and were formerly included in the Museum in the hall of the Council of Ten. In 1866 the Austrians carried off these trophies to Vienna, where they are still preserved in the Imperial Palace, although nearly all the other treasures removed from Venice at this time, public documents, works of art, and historical memorials of all kind, have since been restored to the kingdom of Italy. Strange mistakes have been made concerning these pieces of armour. They have been put down as belonging to the Doge Ziani. Now as the date of Sebastian Ziani is 1173, and that of Pierro 1205, it is plain that neither Sheath of the Sword of State presented by the Pontiff to the one nor the other can have had anything to do with a buckler Doge Morosoni, and headpiece which, by their character, clearly belong to the sixteenth century, nor yet with a sword patterned with fleurs-de-lys, which, though much older than the other two, yet cannot be later than the end of the fourteenth century. But what gives a real value to these relics is that, mistaken attributions apart, they certainly did have a place in the hali of the Council of Ten, and therefore must have belonged to The Doge of Venice. 67 some illustrious owner. We conclude our chapter on the Doge with an illustration represent- ing the attributes of his authority arranged in the form of a trophy—the crown—the throne —the sword—the trumpets—the torches—as they appear engraved in a magnificent volume Hilt of the Sword presented to the Doge Morosoni. familiar to bibliographers, which was printed at Venice in the seventeenth century as a monument to the glory of the family of Barbadigo, “ xamismatica Barbadica gente.” We have also had the luck to find in the possession of a painter whose name is well known and his person popular in France, M. Florent Williams, the precious casket of which we also here give an engraving. It was certainly intended to hold the corvo or horned Keune 68 Venice. cap of the Doge; it bears the symbol of the lion, and the iron-work is worthy of the It is a thing to bring the water to the mouth of Barozzi, finest time of Venetian art. the courteous director of the Municipal Museum at Venice. ; Nh SL it oes te Venetian Scimitar attributed to Sebastian Venier. Let us remind the reader of the origin of these symbolic attributes of the Doge. The most Serene Prince enjoyed in perpetuity, after the year 1173, certain privileges granted by the Pope Alexander III. to the then Sebastiano Ziani. The Pope, driven The Doge of Venice. 69 from his states by the Emperor Barbarossa, had sought the help of the Venetians, who encountered the imperial fleet in a sea-fight and destroyed it. Hereupon, wishing to show his gratitude to the Republic and to honour Venice in the person of her chief magistrate, the Pope ordained that the Doge should walk henceforward preceded by officers carrying a lighted candle, a sword in its sheath, a chair of state, and a cushion covered in gold, and by heralds bearing the standards of St. Mark unfurled to the wind to the sound of silver trumpets. This is the very pageant so scrupulously reproduced by our great engraving. The Doge also received from the Holy Father that singular and poetical privilege of wedding the Adriatic Sea upon Ascension-day, in commemoration of the victory won by the Venetians on the day of that festival. From this victory the ceremony we have described drew its origin. Here are the words in which the privilege was granted by the Holy Father, and which constituted the one technical title of the Venetians to their claim of possession over the waters of the Adriatic: ‘Receive from my hand,” so runs the privilege, “this ring, and let it be the sign of the lordship which you hold over the sea. Take her in marriage every year, you and your successors, in order that posterity may know that she, the sea, belongs to you by right of victory, and shall be subject unto you as the wife unto the husband.” SS... \ Y Z Y YW 4 x S The Attributes of the Doge. oo° i f } ?20Q90000 ITE WUC eg GUHA Paitehes Viele THE ART OF MEDAL ENGRAVING. T is a difficult but not uninteresting task to attempt to give an idea of Venetian numismatics by framing a sketch of the catalogue of the medals struck by Venetians or having special reference to Venice. Great reserve is necessary in such an undertaking. Venice has the right to claim a large share in the whole art of Italian medal-engraving. If the pieces directly illustrating Venetian history are not, as specimens, so fine as those ‘connected with the history of Milan or of the Florentine Republic, still the majority of the designers who illustrated the history of Italy on medals, if not actually Venetians, were at least subjects of the Republic and born in her territory. Venice can in fact claim as her own Vittor Camelio, one of the greatest medal engravers of the Renaissance, and Vittor Pisanello, an admirable The Art of Medal Engraving. 71 painter, a yet more admirable sculptor, and an incomparable engraver. Pisanello was a subject of the Republic, born at Verona. It was there that this beautiful art took its rise; a whole group of skilful medallists formed themselves there and went out to become famous in the different cities of Italy: Matteo de Pasti, Della Torre, J.-M. Pomedello, J. Carotto, were also Veronese; Sperandeo, whose signature we find at the foot of some of the medals of the Doges, came from Mantua; Guidisani and Boldt, again, belong to Venice, and the Bellini themselves, who hold such a great place in the Venetian school, did not remain strangers to this movement. However, except the medals of the Doges, which are historical monuments of the highest value, the art of Venice proper in this field is not so rich as one would expect, and we find at the foot of the specimens but few signatures of the great men such as Camelio, Pomedello, Guidisani and Sperandeo. It is fair matter for surprise that the subjects of the Republic should have had to carry their talents into foreign countries and so seldom devoted them to reproducing the features of their Doges and nobles. The name of Pisanello, for instance, appears but once or twice in the list of Venetian works of this kind. I should more willingly find the reason for this anomaly in the very instincts of the people than in certain restrictive laws decreed by a Senate jealous of letting distinguished personalities predominate in the State. Where was so little homage ever rendered by the State to individuals, no matter how great the public debt to them for some crowning victory? Where are there fewer statues erected to special persons, nobles, statesmen, soldiers or artists? Even when the times changed and the laws became less jealous and the Republic less austere, a quite exceptional value was set upon any public homage rendered to a single person. The funeral monuments are there no doubt, to protest against this by their pomp and grandeur; but tombs are only erected for the dead, and the dead do not conspire: accordingly the Republic did not oppose display of this kind. If the statue of Colleoni stands proudly on the Piazza of San Giovanni e Paolo, it was not there till the great Captain had been in his grave for some years; and even so, the Senate discussed passionately whether it should accept the legacy he left to the Republic, because this legacy implied a contract between the dead man and the State, and when the Pregadi did decide to accept it, instead of erecting the bronze statue on St. Mark’s Place they relegated it to that of San Giovanni e Paolo. We shall now attempt to draw up a catalogue of the Venetian medals; though this is a difficult task it is not an impossible one; and however’ imperfect the result of our efforts may be, others will come after us who will rectify and complete a labour of which we do not exaggerate the value, and which in its illustrations does not altogether correspond with our hopes; but we cannot leave out this attempt in a book which has for its title, ‘Venice—History, Art, Industry, the City and its Life.’ As a curiosity and for instruction, imagine two coins, one which is the type of the Zecchin and the other which is a rarity, since it bears the name and image of the Doge Marino Faliero. The speci- mens we have reproduced to illustrate this section are after the originals preserved in the National Medal-room, to which MM. Chabouillet and 72 Venice. Lacroix have kindly given us access, and after the types of the fine collections of MM. His de la Salle and Dreyfus. M. Armand, an ardent collector of drawings and medals by the Old Masters, has been good enough to communicate his documents to corroborate ours. Our thanks are also due to M. Hoffmann for his suggestions. SKETCH OF "A CATATR@G@E TOR "VEIN DIR AIN@eyE lL ole THE DOGES. FRANCIsCcUS FoscartI, Dux, — Francesco Foscari, Doge. — Bust to right — Rev. : Venetia magna (Venice the Great)— A woman on a throne ornamented with lions’ heads, holding in one hand a naked sword, and in the other a shield, on which is the head of St. Mark; she tramples two men under foot. Ex.: the signa- ture of the engraver A. N. Francesco Foscari was elected Doge in 1423. He was deposed in 1457, because his son Giacomo was accused of having received presents from several princes. PAscaAL MaArip. VENETUM DiGNus Dux. — Bust to right of the Doge Malipieri wearing the corno, — Rev.: Pax Augusta—Opus M, Guidisani — Figure of Peace half-draped, standing holding a palm branch (cabinet of Turin). | Pasquale Malipieri was elected Doge in 1457. PascaLis MARIPETRUS. VENETUM Dicnus Dux. — Bust to left of the Doge Pasquale Malipieri wearing the corno.—Rev.: the dogaressa, bust to left of an aged woman wearing a low cap with a veil falling behind. — Ex., the inscription: Jnchtae Fohannae Almae Urbis Venetiae. Ducissae (cabinet of Turin), 1457. CHRISTOPHORUS MAuRO, Dux, — Cristoforo Moro, Doge. — Bust to left. — Rev.: Religionis et justiciae cultor (Friend of religion and justice). — The inscription is in the centre of the piece and encircled by a wreath. | Cristoforo Moro, elected in 1462, died in 1471. CHRISTOPHORUS MAuRvu, Dux. — The same bust and inscription as the preceding. — Rev. repeated from the Foscari Medal: Venetia Magna. NicoLtaus MARCELLUS, Dux, — Nicolo Marcello, Doge. — Bust to left, with the ducal mantle and corno.—Ex.: G. T. fecit. — Rey.: A cross surrounded by a sun with the legend: In nomine Patris omne genu flectitur celestium terrestrium infernorum (At the name of the Father every knee shall bow, of things in heaven and things on earth, and things under the earth), (cabinet of Vienna), 1473. ALoysius MocEntco Dux VENETIARUM. — Head to left. — Rev.: Sve sola gloriatur Venetia. JOHANNES MocenrGco Dux, — Giovanni Mocenigo, Doge, — Bust of the Doge with the corno to left. No rev. Elected 1478 ; died 1485. ALoIs—E MocEenico Dux VENETIAR. — Bust of Doge to left. — Rev., inscription : Si sola gloriatur Vene (cabinet of France). Atoy Mocenico. — The Doge kneeling before St. Mark. — Rev.: Domini est assumtio Vostra. AucGustTus BARBADICUS VENETOR. Dux. — Bust to left wearing the corno. No rev. (1501). AuGustTus BARBADICUS VENET. Dux. — Bust to =e : : = left.—Rev. : Venice seated, holding a sword in the right hand. AuUGUSTUS BARBADICUS, VENETORUM Dux, — Agos- tino Barbadigo, Doge of Venice. Three-quarters bust of Agostino Barbadigo wearing the corno.—Rey.: The Doge dressed in his official robes, holding with both hands the standard of Venice, kneeling before the winged lion of St. Mark. — Ex. : Opus Sperandio. — Work of Sperandeo (royal cabinet of Munich). Avcustus BARBADICUS. — Bust to left. — Rev.: Zuitatis et innocentiae cultor (Opus Victoris Camelio). The Art of Medal F:ngraving. O Marcus BARBADIGO Dux VENETIAR. — Bust to right of the Doge Marco Barbadigo with the corno. — Rev.: Servavi Bello Patriam Morbogue fameque, justitiam fovi, plus dare non potui.—The inscription in the centre of an ivory wreath. AuGuUSTINUS BARBADIGO, DrEt GRATIA Dux VeENEcIARUM, E. T. C. — Agostino Barbadigo, by the grace of God, Doge of Venice, etc. — The bust to left. — Rev.: Optima Principis Memoria. ‘The best memorial of the prince. LEONARDUS LAUREDANUS, D. V.— Head to right. — Rev. : Two horses galloping, drawing a car on which the Doge is on his knees at the foot of the figure of Venice sitting ona lion. Signed ‘*‘ Agripp. Fac.” LEONARDUS LAUREDANUS Dux VENETIAR. — Rev. Oftimi Principis Memoria, written in the centre (1501). LEONARDUS LAUREDANUS DuUX VRNETIARUM, etc.,—Leonardo Loredano, Doge of Venice, etc. — Bust of Leonard Loredan to left, wearing the corno. — Rev.: guitas Principis (Equity of the prince). Equity standing, holding her scales in one hand (cabinet of Vienna), I501. ANTONIUS GRIMANUS Dux VENETIARUM, — Antonio Grimani, Doge of Venice. — The bust to left. — Rev. : Pustitia et Pax osculate sunt (Justice and Peace have kissed each other). Two allegorical figures holding each other by the hand (1521-1523). ANDREAS GRITI DUX VENETIARUM. MDXXIIII. Drvt Franciscr. (Church) of St. Francis, 1524. — View of the facade of the Church of St. Francis at Venice, A. N.S. P. F. (These initials represent the signature of Andrea Spinelli, engraver of Parma.) ANDREAS GRiTr Dux VENETIARUM, — Andrea Gritti, Doge of Venice. — The bust to left.— Rev. : Francisci Divi, (Church) of St. Francis. — Facade of the church of St. Francis at Venice. ANDREAS GRITI VENETIARUM PRINCEPS ANNO LX XXII, — Andrea Gritti, prince of Venice, the year (of his age) eighty-two. — The bust to right. — Rev.: Dez Optimi Maximi Ope (by the help of God the good and great), — ‘‘A nude Fortune holds in one hand a horn of plenty, with the other a rudder; she stands on a globe which a dragon encircles with his coils.” — Johannes Zacchus Fecit (signature of Giovanni Zacchi). ANDREAS GRiTTI. Dux VENET. — Bust of the Doge wearing the corno.— Without rev. — Ex.: Equitas Principis (cabinet of France). ANDREAS GRITTI Dux VENETIAE, etc. — Bust to left. — Rev.: Venice seated on a throne, the head encircled by a wreath, at the right hand a horn of plenty, on the left the lion of St. Mark, on the right arms. — Ex.: Veet (cabinet of Vienna). ANDREAS GRITTI. — Head of the Doge almost full face with the mantle. — Legend: Anxdr. Grittus Venet, Prim. — No rev. Marcus ANTONIUS TREVISANUS, Dux. — Marc- antonio Trevisani, Doge. — The bust to right. — Rev. : Marcus ANTONIUS TREVIXANO DEI GRATIA Dux VENETIARUM, ETC. VIXIT, ANO, I. IN PRINCIPATU. OsutT MDLIIII (Marcantonio Trevisani, by the grace of God, doge of Venice, etc., lived one year as Doge and died in the year 1554). HIERONIMUS. PRIOLUS. VENETIARUM Dux ANNO iTATIS LXXV, — Jerome Prioli, Doge ot Venice in the ITI, the seventy-fifth of his age. — The bust to left. — Rev.: ANNO SALuUTIS _MDLXI. Dux LXXXVI VRBE Conpita MCXLI (in the year of our Lord 1561, the year 1141 from the founding of Venice). — Legend ApDRIA REGI Maris (the Queen of the Adriatic). — Venice sitting on the shores of the lagoon holding a palm in her hand, near her a galley. Jerome Prioli, elected Doge in 1559, died in 1567. HIERON. PRIoL. VENE. Dux ANo III. Principatus VIII “Atratis LXXX, — Jerome Prioli, Doge of Venice, in the eighth year of his reign, the eightieth of his age. — Bust to right ; in the field is the date 1566. — Rev. : Justicia et Pax osculate sunt (Justice and Peace kiss each other). HIERONIMUS. PRIOLUS VEN. Dux, — Jerome Prioli, Doge of Venice. — Bust to right of Jerome Prioli wearing the corno, — Rev.: I. P. V. AN. VIII ME, II. DI. III OB. AN. MDLXVII. M. N. D. IIII (he reigned for eight years, two months and four days, died in the year 1567, the fourth day of the month of November), (cabinet of Vienna). NicoLtaus DA PoNTE Dux VENETIARUM. — His bust. — Rev.: Venice, holding a laurel in her hand, crowns a lion. — In the background a perspective view of St. Mark’s Place and the Campanile (1585). (See the cut at the end of this Chapter.) MAUROCENA MAUROCENA. — Bust of the dogaressa wearing corno. No rev. Marinus GRIMANUS. DuUX VENETIARUM.— Marin Grimani, Doge of Venice, — Bust to right of Marin Grimani wearing the corno, Rev. : Sydera Cordis (the stars of his heart), The Lion of St. Mark, rampant, holding a cross in one of its paws. — Ex.: 1595 (cabinet of M. Rollin). 74 Venice. LEONARDO Donato Dux VENETIARUM, 1606. Bust to left. — Rev.: Sola Virgo intacta manet (signed Lothar) (cabinet of France). Marcus ANTONIUS. MEMMO, Dux. VENETIARUM. — Bust to right; corno ornamented with nielli, ducal robe with brocade, large buttons (Medal of Francois Dupré), 1612. Marco ANTONIO MEMmMo,. — Oval medal with a raised wreath for border. — Bust to right encircled by a wreath of fruit. — Rev. : The lion of St. Mark upright holds the corno and the scutcheon of the Memmo. CorRNELUS. Dux. VENET. OBIIT ANNO DOMINI 1629. Jn patrem optimum (Cabinet of France). CorneELIUS. Dux. VENET. OsriT A. D. MDCXXIX.—Bust to left of the Doge Giovanni Cornaro. — Two rev.: The first bears the inscrip- tion: ALTERNA? IN PATREM OPTIMUM OBSERVANTI& MEMORI EXTARE VOLUIT IN Hoc METALLO VuLtTu EjJus Excuso, FEDERICUS Carp. CORNELIUS Roma@&. ANN. Dom. MDCLXXXVII. — Second rev.: FEpERICUS S. R. E. (Sancte Rome Eeclesi@é) CARDINALIS CORNELIUS FRAN. — Signed: TRAVANUS (Z7ivani). — Bust to right of the Cardinal Federico Cornaro, son of the Doge Giovanni Cornaro. — 1625. POPES—NOBLES—CARDINALS. = JOHANNES AEMO VENET, VERONAE PRAETOR. — Bust to left of Emo, bearded, wearing = a skull-cap. — Rev.: Minerva standing reaches her hand to an olive-tree; beside her Mars standing leaning against a horse, holding a lance and shield. — £¢ Paci et Bello. — 10. Maria — Pomedellus Veronensis E. GrorGius HEMo. PROVE, VENETORUM. MAXIMIL, Dux. AUSTRIAE. M.DVII. — Bust to left of Emo, bearded, with a skull-eap.—Rev.: Alter alterius Vice. Maximilianus et Maria Aust. Rex et Regina Bohemiz, The inscription in sunk letters is written backwards in two circles. Ant. Muta Dux CreETAE Xvir Com. IIII.— Rev. : Fratrum Concordia, 1538. And. Sprin. (Med. of Andrea Spinelli of Parma). This Ant. Mula was made Duke of Crete in 1536. . PETRUS BARBUS VENETUS. CARDINALIS SANCTI MArcI, — Pietro Barbo, Venetian, cardinal of St. Mark’s. — Rev.: Has /AZDES CONDIDIT ANNO CHRISTI. M.CCCC.LV. (he founded that edifice in the year of Christ 1455). This is Pope Paul III., who died in 1471, the founder of the palace of Venice which was the residence of the Ambassador of the Republic at Rome. ANTONIUS CONTARENUS,. — Bust to left of Contarinii PAaTAvrumM MDXI, seated figure with helmet, turned to the right, holding in the left hand a horn of plenty and in the right the scales. This Contarini was ambassador of the Republic to Charles V. and Paul III. M. A. ConTARENUS. IVLIENS. PReses. MDXXX. — Bust to right of Contarini. — Rev.: a nude female figure standing holding a spear ; beside her a shield and helmet with the inscription : CONFECTA PACE. FRANCESCO COMENDUNI. — Bust to left of Francesco Comendone at the age of thirty. — Rev.: A woman with two faces standing on a pedestal, the left hand on the breast, a distaff in the right; near her on the right} a little winged genius holding a wreath with the legend AmicITIA. Born at Venice in 1523, this Comendone was made cardinal in 1565 ; he died in 1584. ORSATUS JUSTINIANUS VENETUS. Er. D, EQuEs. — Bust to right of Orsato Justiniani, a noble of Venice. — Rev. : A bear climbs on a palm-tree near a couching lion with the inscription: VOLONTAS SENATUS. The piece is signed: Opus M. GUISANI. This Justiniani was procurator of St. Mark’s in 1459; he died in 1464. DoMINIcus, CARDINALIS. GRIMANUS, — Bust to right of the Cardinal with bare head. — Rey.: Theology standing, holding by the hand Philosophy seated, with the inscription : THEOLOGIA PHILOSOPHIA (V. Camelio). This is the Grimani of the famous breviary of St. Mark ; he was born in 1463. Cardinal in 1493, and died in 1523. STEPHANUS MAGNUS DoMINI ANDREA Fixius. — Bust to left of Stefano Magno, — Rey.: Neptune sitting on a dolphin, the right foot resting on a reversed horse, on the left a crown and trident.— The piece is signed: JOHANES MARIA POMEDELIUS VERONENSIS. F. M. DXIX. This Stefano Magno, Venetian noble, was governor of Treviso in 1527. IOANNES. DELPHINO. ORATOR, VENETUS.— The bust to right with the inscription, — Rev.: The same inscription with the three dolphins one over the other on the field of an oval escutcheon with wreaths, The Art of Medal Engraving. 75 LITERARY MEN—PAINTERS—MUSICIANS—PRINTERS—ARCHITECTS— ENGRAVERS. F. Diepus. LITERAR ET JUSTITI“@ CuLTor, SE. VE. — Bust to left of Francis Diedo, The head covered with a cap. — Rev.: Duce virtute MCCCCLXXV. — On the top of a rock a semi-nude figure leaning against a lion. — At the foot the Centaur Nessus carrying away Deianira and pursued by Hercules (Col- lection Dreyfus). Philosopher and lawyer, was ambassador of Venice in 1470 and 1481. Died at Vienna in 1483. GENTILIS BELLINUS VENETUS EQuES COMESQUE. — Bust of G, Bellini. — Rev.: Gentili tribuit quod potuit viro natura hoc potuit Victor et addidit (by V. Camelio). JOHANNIS BELLINUS VENET PicToR Op. — Bust of Giovanni Bellini. — Rev.: Virtutis et ingenii Victor Camelius faciebat. — An owl on the rev. P. Diepus. — Bust to left of P, Diedus. — Medal without rev. — 1507. Atoysius Drepo Prim. S. Marcr VENE. — His bust, and on the rev. that of the Doge Girolamo Priuli. 1566. Scholar, poet, orator ; he was Primate of St. Mark’s. FRANC. Qurrinus. — His bust, on the rev. the inscription: Perpetua Soboles. Venetian poet, orator; lived about 1544. HapriA Divi Petri ARETINI FILIA. — Adria, daughter of the divine Pietro Aretino, — Bust to left of Adria of Arezzo, bare head, the hair plaited. — Rev. : CATARINA MATER (Catherine her mother). — Bust to right of Catherine Sandella, hair dressed like her daughter. She was born in 1537 and married in 1549. Mazuchelli points out another medal of Catherine Sandella, dedicated to her alone. Divus Perrus ARETINUS. — The divine Pietro Aretino. — Bust to right of Aretino, bare head, wearing a gold chain round the throat. — A.V. (these letters are doubtless the initials of the engraver). — Rev.: I PRINCIPI TRIBUTATI DA I Popout. IL SERVO LORO TRIBUTANO (princes who levy taxes from the people deposit them at the feet of their servant). — Aretino with bare head, clothed in antique style and seated on a curule chair on a platform; he holds a book under one arm and bows to salute personages clothed after the antique manner who lay at his feet precious vessels and gems (cabinet of Vienna). Divus PETRUS ARETINUS. FLAGELLUM PRINCIPUM, — the divine Pietro Aretino, scourge of princes. — Bust of Aretino to left, head bare ; he wears a gold chain round the throat. — Rev.: VERITAS ODIUM PARIT (Truth begets hatred). Truth naked, sitting on a rock, rests one foot on the body of a demon half kneeling at her feet ; a winged woman placed behind Truth, supports a crown on her head ; above, Jupiter carried by the eagle and holding a thunderbolt (cabinet of Vienna). There exists another with the same legend: VERITAS ODIUM PARIT; the difference is in the inscription of the name, which is abridged. Div. Perrus. ARETIN. FLAGEL. PRINCIPUM. — Rev.: Head of satyr wearing the phallus, with the inscription: Torus In Toto ET TOTUS IN QUALIBET PARTE. Div. Petrus. ARETIN. Same medal, with the word FLAGELLUM entire. TiciANUS CHADUBRIUS. PicTor, — Titian of Cadore, painter. — Bust to left of Titian. Medal without rev. (cabinet of Vienna). TITIANUS PicToR ET EQUES CAESAREUS, — Titian, painter and knight of the Empire. — A head of Titian to left, bearded and wearing a skull-cap, — Rey. : A bacchante playing on the double flute, followed by a little Cupid carrying a thyrsus. PuILippo. MASERANO VENETO. MusiIs. DILEcTO, —to Philip Maserano, Venetian, dear to the Muses, — Rev. : VIRTUTI. OMNIA. PARENT (all obey talent), — The front represents the bust bare-headed ; on the reverse Arion on a dolphin. In the field is written: ARIONI (to Arion), — Ex., the following inscription : M.CCCC,LVII. Opus. JoHANNIS BoLpu Picroris. Work of Giovanni Boldu, painter. We have not met with this medal in any of the collections we have visited. The musical artist it represents is unknown; but it is interesting, as it is engraved by a Venetian painter whose existence is only proved by his medals, BoLpu GIovANNI. — The bust of Giovanni Boldu, the head covered with a cap ; the legend half in Greek, half in Hebrew. — Rev.: A young boy naked, seated, the head leaning on his hand turned to the left ; behind him an aged woman beating herself with a whip; before him a winged genius, the head raised to the sky, holding a chalice.—Signed : OpuS JOHANNES BoLpDu PicToris VENETI M.CCCC * VIII. (The intermediate cypher which would give the exact date is missing.) GiovaANNI Boipu. — Bust of Giovanni Boldt to left, the head wreathed with ivy. — Rev.: Opus JOHANNIS BoLpDU PIcToris. VENETUS xoGRAFI. MCCCCLVIII, — Two mourning genii weeping over a skull. The works of Boldt are dated from 1447 to 1458. 76 Venice. JAcoBus SANSOVINUS SCULPTOR ET ARCHITECT.—Bust of Jacopo Sansovino to right, bearded, wearing a hat, and covered by a cloak with large fur collar (1477-1570). — No rev. This is the great Sansovino, director of public buildings to the Republic. VicToR CAMELIUS SUI IPSIUS EFFIGIATOR. Bust of Camelio to right: — Rey.: the inscription FAavAr. For. SACRIF. This is the great medallist, a subject of the Re- public, and born at Venice ; the medal is of 1508. SEBASTIANUS RHENERUS. JAcoBI. F. ANNO XLVII. — Bust to right, with bare head and long hair. —Rev.: A woman on an islet, holding in her hand a standard with the legend: MEMoRIAE, ORIGINIS, VENET. Aupus. Prius. MANuTIUS, — Aldus Pius Manutius. — The bust to left. — Rev.: BPAAEQS SIEYAE (hasten slowly). — A dolphin twines round an anchor. This is the famous printer of Venice (see the chapter on Typography) ; he died about 1515. He had taken for his mark an anchor with a dolphin, CAPTAINS—CONDOTTIERI. HIERONIMUS. SAORNIANUS. OsopI. Dominus, — Jerome Savorniano, lord of Osopo. — The bust to left, bareheaded, the hair floating on the shoulders. — Rey. : OsopuM. IN, IEsu. DEFENSUM (Osopo defended in Jesus Christ). This Savorniano defended the territory of Friuli for the Venetians against the Emperor Maximilian ; the defence of Osopo dates from 1513. The general was not a Venetian, he came from Udine; but he was first given civic rights, and then entered the Senate after his victory over Maximilian. The Republic gave him the title of Count of Belgrade. He was twice Ambassador to Switzerland and died in 1529. BARTHOLOMAUS. CApuT. LEONIS. MAGNUS CAPITANEUS VENETUS. SENATOR, — Bartolomeo Colleoni (lion head), great captain, senator of Venice. — The bust to left, the head covered with the cap like that of Piccinino. — Rev. : JUSTITIA. AUGUSTA ET BENEGNITAS. PUBLICA (justice of the government and public favour). — A naked man seated on a cuirass, holding a flail. In the field: Opus. MARctI. GUIDISANI. (work of Mark Guidisani.) This is the famous Colleoni, the great condottiere whose life we shall sketch in the chapter on ‘‘ Sculpture.” We have not reproduced his medal, as we shall elsewhere give two portraits of him in the course of this work. This medal dates from the end of the fifteenth century. NICOLAUS. PICCININUS. VICECOMES. MARCHIO. CAPITANEUS. MAXIMUS AC. Mars. ALTER, — Nicola Piccinino, Viscount, Marquess, very great captain and rival of Mars. — Rev.: A griffin sucklinz two children, with the inscription Braccius Piccininus. We have reproduced the features of the great enemy of Venice, that famous condottiere in opposition with Colleoni, who defeated the Venetians several times in their struggle against Visconti. This medal, which is of a large module and of which we have had to reduce the size, is signed on the revy.: Opus. PISANI. Picroris. It must date from 1438. MAGNI. SULTAN. MAHomeETI II. IMPERATORIS, — portrait of the great Sultan Mahomet II. - Emperor. — Bust to left of Mahomet II. — On the rev.: GENTILIS BELENUS. VENETUS. EQUES. AurRAtTus, CoMES, QUE PALATINUS. FECIT (work of Gentile Bellini, Venetian knight, decorated with the gold chain and count palatine. — In the field are three crowns placed over each other, which allude to the principal sovereignties of Mahomet II., Constantinople, Trebizond and Iconium. This piece is, as we see, by Gentile Bellini, who was sent by the Republic to Mahomet II. We have in the legend the titles with which the Republic and the Emperor of Germany had honoured him, Gentile was also a pensioner of the Republic. The medal must be of the last quarter of the fifteenth century. Reverse of the medal of Nicolo da Ponte, Doge (1578). E. ARCHITECTUR The Library al the University of tints ~~ —? AW ts il Santa Maria della Salute-—Entrance of the Grand Canal. Constructed by Longhena, Catala Dahesy alpl: ARCHITECTURE—ITS SUCCESSIVE TRANSFORMATIONS. Scala Minelli, San Paternian. AFTER the purely Roman remains existing on Venetian territory in the shape of altars, sepulchral urns, tombs, walls, and fragments of ruined triumphal arches—after these the earliest architectural monument of the district is the cathedral of the island of Torcello, which belongs to the period styled by the Italians . Romano-Christian. Its foundation dates from 641. Naturally, the lapse of twelve centuries has left its mark upon these ancient memorials of the devotion of the first settlers among the lagoons. The church has been tampered with and restored, but its original form has not been seriously altered, and it constitutes even now a very complete and very interesting example of the art of Venice in the days just preceding the influence of the Byzantine style. The island town of Torcello owes its origin to the destruction of the mainland town 78 Venice. of Altinum by the barbarians. The people of Altinum sought a refuge from the devasta- Vr | 7 | / i ps LEAT | tion constantly wrought upon their homes by the violence of these hordes as they passed to and fro; they found what they wanted in the islands of the lagoon, and to that new moe Presbytery and Episcopal throne, at Torcello. home where they settled in nakedness and desolation, they transported their manners and customs, the tastes and _ in- stincts of architectural con- struction. They were people of Latin race, and they built in the Roman style. Selvatico is even of opinion that, in the boats which had served them for their flight, they plied afterwards between their new home and the ruins of their old, and brought away the dismembered friezes and capitals “E re) ue nell Gilded mouldings from the Cathedral, Torcello. and precious marbles to build and decorate their new house of worship. The only other building at Torcello of the same antiquity as the Cathedral, is its dependency the HY a i Carving from the chancel of the Cathedral Torcello. Baptistry. thedral The Ca- belongs to the type of building of which there are such beautiful speci- mens at Rome—with the three aisles, the central one ending above the altar in a demi-cupola adorned with mosaics, the steps in the form of a semicircular amphi- theatre, the episcopal chair of Peter sur- mounting these steps Throne, given to the Patriarch of Grado by Heraclius. in the middle, and all this part of the church separated from the rest by a stone barrier or railing carved out of the solid, and generally pierced with open work. A rchitecture—Its, Successive Transformations. 79 Santa Fosca in Torcello is a church of another period, and a period interesting to students because it exhibits the transition between JRomano-Christian and Byzantine a ltl Nay i " ty yf | pili Hei \ \ | i i MM = =] Pie BO FS Apse.—Cathedral, Torcello. Apse.—Santa Fosca, Torcello. architecture at Venice. From internal evidence, the building might be ascribed to the ninth century, but the only documentary evidence of its antiquity is a deed of gift executed by the sisters Maria and Buona, making over an annual payment to this church as the church of their parish; and this deed is dated 1011. It is needless to say that here as everywhere else the builders have turned to account fragments of ancient work- manship. The characteristic feature of the style is the use of the Roman arch, with a new richness and curiosity in decoration, with incipient influences of Oriental exuberance, the overloaded friezes of Arab art, the fretted pendentives, and similar enrichments. The design is no longer on the old Roman plan, it has the Oriental characteristics of the cupola, and of the Greek cross for ground- plan. Sometimes, indeed, the local architects do not understand the new style sufficiently to give regular construction and complete- ness to the cupola, or to make its external form correspond with and explain its internal; but in prin- Bee et ciple this feature always forms re C ae Cathedral, Torcello. ; piscopal throne.—Torcello, part of the design. San Donato of Murano is another church belonging to the Byzantine period, with the Arab influence already asserting itself; the exterior adornment of its apse, and a double tier 80 Venice. of open arcades,—the openings of the upper tier filled in with balustrades, and the arches, approaching horse-shoe shape, carried on double columns,—recall the arcading system of the Arab mosques. We give a drawing which, although too small to illustrate these features in detail, will nevertheless enable the reader to realise the Oriental character of their general aspect. The end of the tenth century is generally given by the chroniclers as the date of this church. The great Basilica of St. Mark is a_ building essentially Oriental. The splendour of Byzan- tium proclaims itself in every stone of this prodigious reliquary, this sumptuous monument raised to God by a people of merchants, soldiers, lawgivers, who became the envy of the world by their wealth no less than by their fourteen centuries of inviolate freedom. Some chroniclers give the year 828, others 831, as that in which the body of St. Mark was transported, by means of a surprise or pious theft, from Constantinople to Venice. The Cloister ot Santa Fosca.—Torcello. Doge Partecipazio decreed that a church should be built in honour of the saint, to which his relics should be transported. The decree was carried into effect before the end of the ninth century; but this first church of St. Mark was burnt, along with the Ducal Palace, on the occasion of a revolt against the Doge Candiano in 976. It was rebuilt, more sumptu- ously than before, by Pietro Orseolo. Additions made in Apse of San Donato, Murano. 1043 by Domenico Contarini gave it very nearly its definitive and present form. Its enrichment was the special work of Domenico Selvo, at whose bidding all captains, travellers, and merchants sailing ‘MUVIL “LS JO VOLIISVG AHL AO LNOUT LSTA nN HAT Ila II] Wl HHH Hi} HHA (HH | | | | | HK | | Whi a The Library of the Untversity of IIlInols A rchitecture—Its Successive Transformations. 81 between Venice and Greece or the East, brought back for the adornment of St. Mark’s the spoils of numberless monuments of antiquity. This task of ornamenting the church was completed in not without warmth TT aif aah : Sonia (i ro7t. It has been (Or TE | maintained that the hnitte- the. greater the interest be- comes, as you get liar type that is passing, or idle in the little streets looking at Courtyard of the Palazzo dei Mori. The Scala Antica. to cross the threshold of palaces and to enter in if you want What noble and delightful courts, what breadth of style, and out of the well- known and com- monplace parts of Venice. We give a drawing of a porch in good style at the Ponte di Sacca; at the Zattere, all painters know the court of the Cal- cina, a charming restaurant fre- quented by artists. And lastly outside official Venice, what things to be seen! Even after all I have written here, how much more remains to be said ! Whether we would follow some pecu- the view, or plunge into Tabacchina of Santa Croce. those noisy, busy, animated places near the Rialto where the people jostle and press, nothing can be more seductive, and every- thing is new and _ fresh. To watch the passers by, old women wrapped up in their brown shawls, or those bright, elegant Vene- tian girls with their well- set figures, poor but con- tented, walking away down. the street independently, or chatting under doorways — vai \ / | Sartorella of Dorso Duro, verted into an immortal Virgin. Oe i \ aw oa 47 WW . : . yes \\ ia M7 4 She Girl of St. Mark’s. Lavandaia of San Giacomo dell’ Orio. and laughing heartily. It is quite a study to recognise in these different types the four or five different races to which the whole population can be reduced. (Ehes painter *stellay has drawn for us five portraits which may serve as types ; among these bright and attractive countenances there is a model whom a Bellini, transfiguring her with his sweet and gentle grace, would have con- Laworatrice nelle Vele (sail-mender).— Canareggio- is a simple washerwoman of San Giacomo dell’ Orio, NO aes 288 Venice. who only needed to be draped in the first veil that came to hand to make a Madonna of her, while the brunette beneath her in the picture, the Lavoratrice nelle vele of Canareggio, with her twisted hair and tortoise-shell dagger in her chignon, will never pass for an angel. The Sartorella of Dorso Duro, the Tabacchina of Santa Crove, and the last, who is simply a pretty waiter-girl of San Marco, complete the charming specimens of these young girls of the people whom we see passing in the street. If they pass before a traghetto, all the Beppos call them and the /azzz begin. These merry stalwart gondoliers, waiting under the trellis for customers, are gallant, and graceful in their gallantries. They are there in their open-air clubs relating the gossip of the town; for two centimes they take you across from one side to the other, to save going round by the bridges, and in this heaven-favoured country the poor always cross for nothing. The gondola too is one of the great charms of Venice: it alone, without art, without the genius of artists which arrests one at every step, would be enough to fascinate the stranger. In that gentle swinging like the swinging of a hammock, that light plash of the oar which caresses the The Zraghetto de San Vitale—F¥rom a drawing by Stella. ear, that incredible sensibility of the boat itself, which seems to move like a living being, in these and in the surrounding silence there is from the first moment a charm which no one can escape. At the hour of which Victor Hugo speaks in the Cafpézve, Alors que, pale et blonde, La lune ouvre dans l’onde Son éventail d’argent, there is no other sensation like that of being cradled softly on that mirror shimmering in the calmness of a night which the song of the gondolier alone disturbs. Embark at the Piazzetta at eleven o’clock on a clear sweet starlight evening, and tell the gondolier to go into the canal of the Giudecca. The gondola enters on the golden track, you have left the custom-house on your right. The stars touch with light the gold ball which carries Fortune on it, and the lamp at the foot of the portico, the steps of which run down into the water, lights up the white facade and makes it reflect itself in the slightly rippled waters. The faubourg of the Giudecca is on our left—a red- brown by daylight and dark by night; a few scattered lanterns alone break this black } We! = q © a I] inges \ it ; =) | : \, ' i) x | i} ill " : | LEAVING THE THEATRE.—LA FENICE. ry] 5 a : University of {Itheode. St. Mark's Place Lhe Carnival—Types of the People. 289 ground, like the gold sparkles which appear and disappear on a piece of burning paper, and sometimes under the stars, as in the picture of the English painter Orchardson, two lovers exchange their soft vows “in the pale light of the stars” under the brightly spangled sky. The Giudecca is long and low, and becomes faint and almost blueish as it prolongs itself towards the horizon. The black keels of some boats at anchor, their masts and fine cordage, outline themselves distinctly against the clear sky; the dome of the Redentore, the church of the faubourg, rounds itself above the houses. On the right we have the Zattere and their quays with polished flagstones, looking white in the rays of the moon, with the great palaces, regular and noble, the little deserted jetties, and here and there the bridges at the openings of the canals. Moonlight on the Lagoon.—From a picture by Orchardson. The Giudecca is dark; the Zattere are as light as day, but with that veiled illumination which the moon throws over everything it floods with its rays. The silence is profound and the calmness undisturbed; the distant echoes, the solemn striking of the hour by the clock of St. Mark’s, the song of a solitary sailor guarding his felucca which he has brought timber-laden from Dalmatia, the voice of a belated gondolier who sits swinging his legs in that nocturnal reverie which is like the ef of the East: who can render this impression at once sweet and solemn, the incomparable charm which lulls all longings, and attaches us to Venice with an imperishable love ? The skill of the gondoliers is perfectly marvellous, and the visitor can have no better proof of this than by being present at the emptying of the Fenice on an opera night. It is curious to notice the usages, habits and rules that they have among themselves. At evel Venice. the turning of these narrow canals, where they could be taken by surprise and cut in two by the prow of a gondola coming in the other direction, they have a cry which they give mechanically, and which at a distance and long before the turning warns the comrade who may be coming the other way; accidents in fact are more than rare. It is said that the piece of iron at the prow, in the shape of the handle of a violin, is no longer made; old prows are polished and fitted to new gondolas. A curious detail is that if one want to carry away as a remembrance one of those prettily-formed and picturesque lanterns which the gondoliers hold in their hands, more to facilitate the getting in and out of passengers than to light them on their way, it is very difficult to procure them. This getting in and out is indeed a rather delicate operation, when the pretty Venetian ladies come out of the palaces in their satin shoes, muffled up in their opera cloaks. These lanterns, to which we gladly return because they are much sought after by Parisians, are generally large and heavy; they are of hammered brass; those belonging to the great houses, often highly ornamented with niello, are gilt; some of them are very beautiful curiosities, worthy to be put in a collection. They are transmitted as heirlooms; the finest are of the eighteenth century; those of earlier date are more scarce, the curiosity-vendors of Venice, the most famous brokers in the world, have laid violent hands on all that were for sale. It is needless to say that those still remaining in the great families do not leave them. The Gondola.—From a photograph. View of the Lido from the Lagoon. Gale e pele Daly mae xeeXe CHURCHES—THE LIDO—THE ISLE SAN LAZZARO—THE ARMENIANS—CONCLUSION. N the eighteenth century, Venice could still number a hundred churches in which mass was celebrated, and the statistics of that time show that there was a priest to every fifty-four inhabitants. Things are much changed since then; scarcely more than fifty- nine churches are now to be counted, among which some, however, are of the greatest possible interest, as much for the treasures they contain as for their architecture. We: have of course mentioned the majority of these and given drawings of a certain number, either as a whole or in detail, inasmuch as architecture forms the subject of a large part of our work: we shall therefore only delay here over four of these, of which we give the interior and the great entrance. | San Zaccaria stands close to the Riva; it is reached on this side by a small doorway opening opposite San Giorgio Maggiore. This is a church of very beautiful style; the ! facade and interior are attributed to one of the Lombardi, we have already characterised | the details which make this building one of the most interesting in Venice. San Zaccaria plays an important part in all the ceremonies of the Republic; the pictures of Guardi and Canaletto represent the processions winding along the Piazza in front of the church, and the convent which used to be connected with it and is now converted into barracks, Venice. was one of the richest and most dramatic incident. The Doge Pietro Gradenigo was as- sassinated there one day when he came to be present at the of the saint to whom annual feast the church is dedi- cated. There too lies Alessandro Vit- toria the great sculptor, the last great artist of the ra) sixteenth century. The church is very rich in paintings, and possesses a in Venice. ancient Giovanni Bellini of the highest import- ance amongst the of works that master. Principal entrance of Sau Giovanni e Paolo. there is a retrospective monument The. Piazza is> famous from, a San Giorgio Maggiore, of which we have already given the facade, and also a view of the interior, is by the famous Andrea Palladio (1566) ; and Scamozzi was its This is a classical church, charged with completion. of a grand and noble design, but a “little \colamamn effect. The majo- rity of Venetian churches are pan- theons ; several doges are buried Interior of San Zaccaria. erected in Leo- in this one: léo- renzo Veniero, and nardo Dona, Interior of San Giorgio Maggiore. 1637 to the famous Michieli the Doge of TLC 1 EAL i M emia Ei al i i i} 1 nt ==: THE IsLE AND CHURCH OF SAN GIORGIO MAGGIORE. Churches. 293 the Crusades. There is a legend about this island of San Giorgio Maggiore: it is said that it was inhabited by Benedictines in other days; the Doge Ziani is related to have seen his own son die there, torn by wild dogs before his eyes, and thereupon to have had the primitive church destroyed. To redeem this impulse of anger and despair, he had a residence built for him in the island itself; and later, as the chapel of this residence threatened to fall into ruin, Palladio is supposed to have been commissioned to build the present church and convent. We have spoken at length of the churches of the Frari and of San Giovanni e Paolo, of which we give on the opposite page the great doorway that opens on the Piazza where Interior of Santa Maria Gloriosa dei Frari. Colleoni stands; but we have not had occasion to show the interior of that vast pantheon of the /yrarz, one of the grandest buildings in Venice, where the tombs of the most illustrious persons, from artists to doges and condottieri, show the visitor the most splendid specimens of that sepulchral architecture for which Venice is specially renowned. The church itself dates from 1250; in it the Gothic style is blended with that of the Renaissance, and succeeding generations have also left traces of their passage. We have illustrated singly the greater number of the tombs in the Frari; that which occupies the foreground in our present engraving is Canova’s; the pendant on the other side contains the remains of the prince of painters, and painter of princes, the great Titian. to O 204 Venice. PES TIVAL OF Pah ED) NO ale Tue church of the Redentore, which stands on the island of the Giudecca and was built by Palladio in fulfilment of a vow made by the Venetians at the time of the plague in 1575, which robbed Venice of forty thousand inhabitants, has been the object of a pious pilgrimage on the day of the Sagra every year since its opening. The Doge and all the Signory used to be present, and from every quarter of Venice, from the islands of the lagoon to Chioggia, all the fishermen came in crowds to pay their devotions at the Redentore. To facilitate communication between the town and the Giudecca, separated as we know them to be by a broad canal, a large bridge of boats used to be and is still constructed, Public amusements.—The /rittole. Peasants of Friuli selling mulberries. on that day, to unite the Zattere to that tongue of land which used at one time to be called Punta Lunga on account of its form. Little by little, year by year, the first object of the foundation was forgotten; if there was still question of returning thanks to Heaven and hearing a solemn mass, question of vows or of the plague there was none; people came from far, and it was but natural that they should amuse and refresh themselves; booths in the open air were established ; but the Doge and the Signory were no longer there to keep up the solemn character of the ceremony. In short, the Sagrva became a fair, and this fair still exists. I have been present at it and found myself much reminded (the horizons excepted) of the open- air fétes held in the suburbs of Paris. The /v7z¢éole play an important part; cooking-stoves smoke in the open air, spreading strong odours abroad; improvised dressers exhibit those large shining copper dishes which we call Dinanderies and which among the sellers of frittura in Venice are very numerous and very fine. There is a special sale of mulberries, Churches. 295 which are then in season, and the peasants from the mainland erect their little garlanded booths on the piazza, and the people stain their faces with the bacchanalian-coloured juice of the fruit. Deep draughts are taken of Coneghano, Chianti and all the native wines; the fun is great, people go from booth to booth, from theatre to theatre; musicians, blind folks, charlatans, improvise concerts and representations; the crowd is immense, the movement perpetual, and really for a stranger it is a great piece of good luck to find himself in Venice at such a time. When night is come, all the open-air booths adorn themselves with little coloured lanterns, and the flow of comers and goers is incessant. This Venetian crowd moreover is gentle and peaceable, and the impression made on the traveller of the sweetness of the Venetian character is always true and deep; I have often recurred to Interior of the Sacristy of the Convent. Distribution of water by the Capuchins. this impression, for the reason that in it lies the source of the sympathy which is engendered by a sojourn in this city. Some years ago the upper classes used to frequent the Sagra, coming in parties with their gondolas; a cold supper was brought on board, and a gondola with musicians followed behind; this is disappearing like all the old customs; but people still sup under the starlight, and it is not rare to see gondolas gliding about on the canal, provided with a striped awning, and adorned with coloured lamps, while within persons feast at their ease. The common people, however, make no such ado, they sup under trellised vines, or seat themselves a@//a éuona, in a corner, and the merriment is none the less frank. Sometimes I have seen the /é¢e more animated than at others, according to the season and circumstances, and it often takes quite the air of a carnival; the illuminations are sometimes brilliant, explosions are heard, the canal is lighted up with the reflections of the Bengal lights set aflame by the gondoliers, who place themselves in 2 O32 — ee ee = = —= = == SS == —— = — == = = SS = == = | | | } SUN La = = = —— | = ———— a ql t tu FESTIVAL OF THE REDENTORE. —Bridge of boats across the Giudecca Canal. Lhe Lido and the Isles. 297 the front of the boat and throw powder into a kind of tripod arranged for the purpose ; the liquid level is furrowed with traffic like Paris boulevards on the return from the races; and there is a come-and-go, a movement, a concert of songs, cries, and repartees, which bespeak an enjoyment without afterthought. In reality it is but a promenade with the Sagra for pretext; nothing is done but to go up and down on the scene of the /é¢e, with no very definite object except that of being amused without any special spectacle; and it is the concourse of the people itself which constitutes the Sunzione. It is not necessary to say that, profane as is the wind-up of this religious festival, it is still a piece of good fortune to the church: all who wish can be served with pure water from a particular fountain in the interior of the convent, water endowed with some virtue no doubt, to judge by the avidity with which the good people of the mainland swallow it. The relics of saints are shown also in the sacristy from behind an iron grating. We did not wait for the opportunity of the Sagra to visit the Redentore: it is perhaps, from a certain point of view, Palladio’s masterpiece for nobility of proportion. The high altar has been overladen with ornament in too rococo a style; it is a curious example of late eighteenth-century art, and is in strong contrast with the noble simplicity of this beautiful building. iehel @iMBIG) WNEDe TM ete SRS Piste, HoweEVER well acquainted we are with things Venetian, we shall never quite understand what secret fibres vibrate in the pure Venetian to this name of Lido, which seems to awaken in him the idea of pleasure, of charm, and a whole world of associations and sensations. Is it the contrast between a town of stone and a garden? Is it the view of the Adriatic? Is it simply a factitious reputation acquired from Gozzi, Goldoni, Byron, from all romance writers and poets and rhymesters? Or last of all, is it a tradition of the festivities of olden times, or has the Lido changed its aspect and do we see it now under a less seductive light than it once wore? However that may be, the Lido is in reality a low tongue of land with one shore towards the lagoon and the other to the Adriatic, a flat piece of almost marshy ground, with large vegetable gardens intersected here and there by little canals; and all this stirs in the stranger a purely literary association, for the feeling is awakened not by the sight of the place itself but by the memories created in connection with it by poets. Byron wished to be buried there, and no doubt found a poetry in the place which filled his heart. What we ordinary men go there for especially is to look at and to plunge into the sea. A bathing establishment has been set up of late years on the barren beach ; this has been very successful; and in the course of time may probably enough make a fortune for the town of Venice. The only part of the Lido which is accessible for walking extends from San Andrea towards San Nicolo; the popular /fétes are held within the actual enclosure of the 298 Venice. esplanades of the fort. The first Monday in September a Bacchanale is celebrated; this is an antique name applied to what is the most modern of amusements. It is the Sagra again, on other ground and without the religious motive ; the general paraphernalia of the festival are the same—strolling players, clowns, punches, /z¢fole as usual; for there cannot be a good holiday at Venice without fried fish, without singers male and female, without musical brotherhoods and societies, kindly folk, who come for the occasion from far and near. In spring, if you walk from the baths in the direction of San Nicolo, you pass between two green hedges which are not without charm, and before arriving at the village which lies at the point facing San Andrea (see the fort of San Andrea of the Lido, page 110) a flat and desolate region must be crossed; this is an ancient Jewish burial-ground, and you still perceive tombstones here and there, some of them bearing Hebrew inscrip- tions, under the brambles and among the plants and grass. Past the cemetery is the church, and the immense barrack into which an ancient convent has been converted. San Nicolo is separated from this by a little canal, spanned by a bridge, in the arch of which the Riva The shore of the Adriatic.—The Baths in the distance. of Venice frames itself so picturesquely that we were tempted, walking there last autumn, to make the sketch of it opposite inserted. If just now we threw some doubt upon the attraction the mere natural features of the Lido, apart from the charms of association, might possess for the stranger, let us add that we ourselves are fully awake to its spell, as we instinctively repeople in imagination that deserted ground. It was here that Henry III. landed, and the triumphal arches were erected, decorated by the great artists of the greatest epoch of Venice; there, at the point ending at the Castle, was wont to issue the Aucentaur/ And who knows whether in the depths of the sea, covered with sacrilegious rust, the marriage rings of the doges—two hundred and seventy-six rings thrown in from 1520 to 1796—are not still tossed to and fro among sand and sea-weed with the movement of the Adriatic waves ? The Lido and the Isles. 299 POP eISCANDS— AS VIEEA ON THER MAINLAND: TWENTY-FIVE islands scattered over the lagoon compose the Venetian archipelago, some stretching in the direction of the mainland, others lying in the open, so that it takes some hours to reach them from the city. San Michele is now used as the cemetery of Venice, and this island has been joined to its neighbour, San Cristoforo della Pace. It takes scarcely a quarter of an hour to _reach it by gondola from the Arsenal, and is the first halting-place on the excursion to Murano. A fifteenth-century convent, built by Tagliapietri and bereft of its monks, still exists at the extremity of the island. You go to see in the cemetery the tomb of Leopold Robert, the painter of the Mozssonneurs and the Pécheurs de l Adriatigue, whose suicide caused such a profound sensation in the world of art. LI OMNI Tee ae zea WY Bridge over the Canale San Nicolo, Lido,—Sketched by C. Yriarte. We have devoted a whole chapter to Murano. One can almost dispense with seeing Burano, for the island has no special character; the women make lace, and the men are all fishers. The canal which traverses the island is large enough to make believe that it is a small port. We give on the next page a view of the island with a tower which dates from the earliest times of the Republic. Torcello has already supplied us with a drawing by Canaletto; and in the chapter on Architecture we have reproduced its chief buildings, for each one of them is a precious relic of art. It is one of the first islands in which the Venetians took refuge: nature allies itself happily with art, and the island is as picturesque as it is singular; the visitor must not omit seeing the Duomo and the church of Santa Fosca. San Francesco del Deserto has nothing left but an old deserted cloister, and some 300 Venice. large trees of fine outline which give a character to the island. It is supposed in old days to have been to the Venetians, when they sought a favourable field for settling their disputes, what the Pré aux Clercs was to Paris. On the enclosure wall of the convent garden an edict, surmounted by the winged lion of St. Mark let into the stone, reminds those whom it may concern, in the name of the Council of Ten, that it is forbidden to blaspheme at games of hazard. These shoreward islands are especially to be admired, they are almost all picturesque, but rather in their general aspect than in details. After the Lido, of which we have just spoken, we have still to see Malamocco, Chioggia, and, Brondolo, with the Mzurazzi: but this is a much longer excursion. A steamboat starts daily from the Riva, and plies between Chioggia and Venice, and this gives one a good opportunity of realising the prodigious effort made in the fourteenth View in the Island of Burano. century by the Genoese and Venetians during their great war—the former to make themselves masters of Chioggia by forcing the passages, the latter by chasing these from the lagoon, where they had gained a strong position, establishing their communications with the mainland by the bridge which unites it to Chioggia. After these excursions to the islands the traveller can wander also on the mainland, and visit the famous old villas which were dependent on the Republic and subject to its laws. A private partiality has induced us to give a general view of the Villa Masere, or Villa Manin, or Villa Barbaro, for all three names are given to it. This Villa had been to the present writer the occasion of prolonged studies, and the subject of a work entitled La Vie d'un Patricien de Venise au seizioéme siecle. We set it before the reader as a unique specimen of those beautiful villas in which the nobles of Venice took refuge from the heats of summer. You reach it after three or four hours’ journey, by San Lazzaro. 301 way of Treviso and Asolo. Besides the charm of the journey through a rich country with splendid views, you finds on arriving at the door not only the friendly countenance of your host Signor Giacomelli, the fortunate possessor, but a brilliant display of the genius of three of the greatest artists of the Renaissance; Palladio, Paola Veronese, and Alessandro Vittoria, who joined their forces to build and adorn this house of the brothers Barbaro, Daniele, Patriarch of Aquileia, and Marcantonio, Procurator of St. Mark’s and Ambassador of the most serene Republic. ULE AR MEN TANS: San Lazzaro is the smallest and the nearest to Venice of all the islands in the lagoon; it is reached by gondola in three quarters of an hour. It was at first inhabited General view of the Villa Barbaro, near Asolo, by poor fishermen, and in the twelfth century served as a refuge for the lepers who came from the East, whence its name of San Lazzaro, which it has kept to the present time. When leprosy had entirely disappeared from Venice, the island of San Lazzaro was deserted, and in 1715 the Republic handed it over to the Armenian monks whom Mekhitar had brought with him from the Morea in his flight before the formidable Turkish invasion which robbed the Venetians of their possessions on the Greek continent. From the beginning of the eighteenth century San Lazzaro has been permanently inhabited by the Mekhitarist congregation; there the community has formed itself; has been developed by the successors of the founder, and has acquired the influence and celebrity it now enjoys. to ve) 302 Venice. From the traghetto of the Piazzetta the traveller embarks in the gondola which will convey him by the Orfano Canal to the convent of San Lazzaro. He passes close to the monastery of San Servolo and the old lazaretto, without losing sight of Venice, the Lido, and the long chain of the Julian Alps, whose snow-covered summits lose themselves in the azure sky. As soon as the steel spur of the gondola touches the steps, the door of the monastery opens, and the visitor is introduced into a hall adorned with flowers and evergreens. One of the fathers of the monastery, dressed in a long flowing black robe, bids the traveller welcome and receives him with that delightful courtesy which reminds one of Eastern hospitality. All parts of the monastery. are shown to the visitor; first the library, which contains thirty thousand printed volumes, two thousand Armenian MSS., a few of which are very ancient, also a museum of antiquities and coins. Leaving the library, you pass on to the refectory, which is decorated with a picture of the Last Supper by Novelli. Then comes the church, of a tame Gothic. Here, under the flags of this building, are buried the founders and his successors, the Archbishops of Siounic. The church is of the simplest style, and is not in any way like the sumptuous religious buildings which the piety of the Venetians raised during the Middle Ages in the islets of the Adriatic. The visitor is then introduced to the printing and reading rooms, where several of the brothers are at work under the direction of one of the fathers of the monastery. Here the visitor can take up those editions which bear comparison with the richest works of European printers and through which the monastery gained the prize medals at the Paris, London, and Florence Exhibitions. The traveller always buys some gem of typography, a prayer or the like printed in thirty-three different languages each in its proper characters. But the objects most especially interesting are the first editions of the Armenian classics, the translations of the masterpieces of modern European literature, among which are the tragedies of Corneille and Racine, the poetry of Byron and Goethe, the works of Chateaubriand and Bossuet, and many other writings which bring the lights of the Western world to the East. The monastery of San Lazzaro is not in any respect like the other monasteries of Italy; it is a veritable phalanstery of the Benedictines, and has been in fact, since its foundation in the last century, a regular national academy, where all work together without ceasing at the object the founder of the order proposed to himself, that is to say, at the propagation of Western culture among the Armenians dispersed throughout the whole of Asia, and in Africa, Europe, and even America. The work of the Mekhitarist community is then a national work, and in so far highly meritorious; the Armenians, too, look with justice upon the island of San Lazzaro as the torch which shall one day illuminate Armenia, when the hour comes for her to live again in history and to take her place once more among free nations. The Mekhitarist congregation is composed of about sixty members, placed under the authority of a Principal who has the title of Archbishop of Siounic. This prelate is assisted by a council of six members forming the Chapter. The brothers are all either charged with responsible duties within the establishment or else with foreign missions. Those who live in the monastery have the direction of the school intended to recruit the San Lazzaro. 303 novices, while others compose and translate educational, scientific, or religious works for the use of their fellow countrymen. It is these books which, distributed in great numbers in all the Armenian centres of population, keep alive reverence and_ faith among the people and de- velope within them a spirit of nationality and patriotism. Not content with distri- buting every year among their fellow-countrymen in the East the useful books which come from their printing presses, the Mekhitarists have under- stood the necessity of devot- ing themselves also to the education of the young, and with this view have founded two colleges by the help of considerable legacies which have been made to them by several of their fellow-coun- trymen who had enriched themselves in commerce. One of these colleges is es- tablished in Venice, the other in Paris; every year fifty pupils are brought up in these establishments, under The Island of San Lazzaro and the Armenian Monastery. the direction of brothers of the monastery assisted by French professors. It has been affirmed that the Euro- pean training the pupils re- ceive in these colleges has produced the most fruitful results. Many among them on returning to their own country have entered the ser- vice of the Turkish, Persian, and Russian governments, and some have raised them- selves to the highest positions in the army, the civil services, and in finance, showing great superiority from their thorough education If the visitor has the good fortune to find himself at San Lazzaro on a high festival, Qe ee 304 Venice. he can be present at the solemn mass performed by the Principal, and can then judge of the imposing grandeur of a religious ceremony celebrated according to the Armenian ritual. The Archbishop of Siounic. Nothing is more fitted to strike the stranger than a ceremonial of this kind, when the pontiff and his clergy, clothed in their sacerdotal vestments, intone the sacred chants preserved for centuries by the national tradition. The robes worn by the Archbishop and clergy are of the richest materials and most deli- cate colours, enriched with embroideries, pearls, and silk, the work of the Armenian ladies of Con- stantinople and Smyrna. Imagine these person- ages on the steps of the altar surrounding the cele- brant who disappears in a cloud of myrrh and in- cense. The costume of the Archbishop consists of a pontifical robe, hidden under the large folds of a The Vicar-General. The Archdeacon. Byzantine dalmatic, re- sembling those worn by the. Emperor of Constantinople in church paintings and mosaics and in the miniatures of Greek MSS. He wears the mitre ornamented with the San Lazzaro. 305 emblematic triangle, on the ground of which stands out the mystic eye of the Deity. He holds in his hand the episcopal staff, the symbol of his dignity. The second personage is the Vartalud Ananias, Vicar-General of the monastery. He Acolytes. wears the dress of the Armenian Doctors; the Greek cap on his head; he holds the doctoral staff of which the top is in the form of two serpents. Then follows the Archdeacon dressed in the alb, wearing the stole and the sacerdotal cap; his function during the service is to hold the censer. ‘iewenects pie allthis yis™ €x- tremely grand. The Deacon also wears the alb and stole as a scarf; it is his duty to hold the gospel to be kissed by the clergy and assistants. The Sub-deacon wears the alb; the stole rests only on his left arm; during the ceremony he swings a metal instrument (Aechoth, in Latin fla- bellum) which is in the shape of a disk ornamented in the centre with the head of a_ winged angel, Eight acolytes, dressed in Sub deacon long albs, carry the insignia of the archiepiscopal office, the mitre and pallium; others hold the cross, the Latin cross, the doctoral staff, and the staff surmounted with the globe and cross, the 306 Venice. badge of the diocese of Siounic of which the Principals of the Mekhitarists are the titularies. The Archbishop of Siounic, Principal of the Mekhitarist congregation, was at the time of our last visit, Monsignor George Hurmuz, fourth successor of Mekhitar, the founder of the order, a fine noble-looking old man with a black beard streaked with silver, whose refined and intelligent head recalls some speaking portrait of Rembrandt. The scene enjoyed in returning from this excursion adds much to its charm; as it is generally at sunset that one re-enters Venice, the city is all ablaze with purple and gold, the radiance of the descending orb; the lagoon is a pearly grey studded with the black points of the piles, and all the campaniles, domes and warehouses along the bank seem crowned with halos of gold. These are the spectacles,—these, and such as are presented to us by everyday life, which, after a long sojourn in Venice, end by engrossing our interest above all others: as though man soon tired of the works of men, and kept his appetite and desire always keen, always alive for the works of God only, for nature and for life. In truth, however passionate a man may be for the things of art, he is soon surfeited in so colossal a museum as is the city of Venice; he comes at last to the pass of looking at ‘Tintoret without attention, he stands before a Giovanni Bellini without emotion ; masterpiece crowds upon masterpiece, Titian on Carpaccio, Pordenone on Palma; bronzes, enamels, triptychs, marbles, figures of doges lying on their biers, famous condottieri buried in their armour and standing proud and valorous in the garb of war upon their sepulchres, all these sights and glories leave us indifferent. I remember the courteous keeper of the museum making me touch with my finger, in his own private room, a marvellous Veronese which he was engaged in restoring, so that I could follow the method of the great painter on the canvas, and yet not feeling moved. I can recall having handled without surprise an autograph letter of Galileo to the Inquisition, and read without interest, like a weary sight-seer, the signature of Lucrezia Borgia at the foot of another document. The truth is, the air of Venice, the sky and its varying moods, the extraordinary colouring which the atmosphere throws over everything, offer a charm which surpasses all others; and the open air, the lagoon, the life of the port, with the changing aspect of the pearly waves, that glimmering surface which Guardi has so well rendered, the trembling light upon the silvery field all barred by tongues of sand and dotted by the black points of the piles, are beyond the highest inspirations of man. To sit in front of a café on the Riva, with no other object but that of looking before you, is a keen pleasure for anyone who has the love of the picturesque. The incessant movement; the never ungentle pranks. of the motley crowd; those singular colloquies of which the meaning unfortunately escapes the ear unfamiliar with the Venetian dialect; the colouring, the sunshine: the changing effects, the seductive distances; the constant arrivals of great ships, the entrance or departure of the Chioggiotes or the Greeks of Zante, or sailors of the Sporades, with their ruddy sails making blots of colour on the lagoon, and when stretched like a bow by the wind, showing in the transparent air the great Virgin rudely painted on their surface; the caravans of strangers that pass, Conclusion. 307 with the special character peculiar to each nationality,—methodical Englishmen,—American ladies with their long loose hair,—southern Italians high-coloured and vehement,—blond Germans in spectacles,—quick Frenchmen running with their noses in the air,—lItalian soldiers with helmets of grey canvas; lastly the quaint industries sheltered under immense umbrellas; chance singers, who fling upon the echoes of the lagoon an air of Verdi or Gordigiani; all this is what one never wearies of at Venice. And what constant new surprises in the streets, and on the open places great and small! Here you go up some steps to cross a canal, there the way is barred, and a little staircase descends right into the water; old women, worthy copies of the old woman with the basket of eggs in Titian’s Presentation of the Virgin, brush along the wall, their heads covered up in their shawls; tall, well-made girls, with carefully-dressed hair, glass beads round their throats, and sandals on their feet, trail their dresses on the flagstones. The Venetians idle about, the street boys pursue you, a woman offers you a lottery ticket, a long-bearded Armenian priest passes, letting his cassock float bellying like a sail in the wind, and you come out on a quay or under a trellis where gondoliers sleep on benches waiting for customers. Nature, the warm air, the limpid and transparent atmosphere in which Venice is bathed,—it is the emotion of this which after all remains the strangest among your impressions. After a visit to that prodigious Ducal Palace, where masterpieces are heaped upon masterpieces, you long to breathe the clear air and hurry away to the gardens. You pass along the whole length of the Riva dei Schiavoni, you get among the shipping, and the farther you go the better you can see the long front of Venice composing itself into a single view. You turn from time to time to enjoy the panorama, for it is the most admirable scene ever dreamt of by a Desplechin, a Thierry, a Cambon, a Chapron, a Nolau, or a Rubbé, and when you lean on the terrace you soon forget the great works of art on which you have but now been gazing, in presence of this mighty work of the Master of masters!—The man of letters and the critic in you give way to the painter, and you are held enchanted by the spell of these wonderful harmonies. The grounds of the garden are a light grey, the grass is green, the trees in the foreground, still bare of leaves, cut out against the sky the delicate tracery of their boughs, the water is pearly with diamond spangles and shifting facets of light as bright as stars; the tongues of sand and dry places of the lagoon come cutting here and there with bars of brown that silver mirror; San Giorgio Maggiore, red and white, catches a luminous reflection; the Grand Canal and its palaces close the horizon. All is solitary in the gardens, the green lizards glide quiveringly from sight, a gondolier cries alla barca, a pretty little girl passes with bare head, her hair deftly dressed and draped in her shawl; stretched on the scanty grass all round, the gondoliers sleep ‘a the sunshine. All this would no doubt not satisfy the desires and aspirations of practical minds and natures hungry for life and change, for sensations ever new and spectacles ever varied. But for us it is a world sufficient, and we are not alone in feeling ‘t to be so. ‘You dwell there in delight,” says Paul de St. Victor, “and you look back to the days of your sojourn with emotion. Venice casts about you a charm as tender as the 308 Venice. charm of woman. The rosy atmosphere in which she lies steeped, the shimmer of her lagoons, the jewelled hues that change with the changing hour upon her domes, her fascinating vistas, the masterpieces of her radiant painting, the gentle temper of her men and women, the sweet and pensive gladness that you breathe with her very air—all these are so many divers but interlinked enchantments. Other cities have admirers, Venice alone has lovers.” : The Library ‘ol the University of Iitinots IN IDS XS The pages where the illustrations of each subject will be found, are indicated by the figures placed in parentheses. Academy of Fine Arts, 150, 159, 162, 168, 169, 170. Acton, Admiral, 282. Alberegno, 158. Alberghetti, 51, 133, 151, (155). Alberti, 99, 116, 155. Albertina Museum, 149. Albrizzi, 143. Aldus Manutius, early Venetian printer, 205, (206), 216. Alemannus, 159. Alencon, 250. Alexander ITI., 68. Alexis Comnenus, Gratitude of, to the Venetians, 38. Algardi, 130. Altichieri, 159. Altinum, Spoils from, at St. Mark’s, (81), 36. Alunno, Francesco, 217. Ambassadors of the Republic, 8. Ambassadors’ relazion?, 34. Andrea, 159. Andrea, Zoan, 218. Andrea-Andriani, 172. Andreini, Isabella, 209. Angelico, Fra Beato, 166. Aquileia, Spoils from, at St. Mark’s, 86. Architecture.—The Renaissance Period, 97-110. Architecture—I ts successive transformations, 77, seg. “ Architettura Lombardesca,” 104. Archives of the Republic, 27-34. Aretino, Pietro, 142, 186, (207), 217. Argenton, 250. Arlosto, 162, 169, 217. Aristophanes, 206, Aristotle, 206. Armani, Vicenza, 209. Armenians, Monastery of, St. Lazzare, 300, (303). Armenians, 300, (304), seg. Arnoldo, 116. Arsenal, (46, 47), 262, 264, 283. —-, Probable date of, (49), 93, 94. Artillery, field, 52. Asolo, 300, Aspetti, Tiziano, 151. Ateneo Veneto, 146, Athenzeus, 206, Augustus IIT., 198, Avaux, Count d’, 249. tO op; 2 J LO Index. Baccio Bandinelli, 257. Badile, 182. Baffo, 208. Bagen, 195. Baglioni, Orazio, 126. Balbi Palace, 146. Baldu, Albisio, 113. Balestra, Antonio, 191. Ballerini, Giorgio, 232. Baratta, Pietro, 129. Barattieri, 112. Barbarelli, Giorgio, see Giorgione. Barbaria, Giorgio, 238. Barbarigo, 168. Barbaro-Villa, Masere (141), 146, 181, 300. Barbaro, The Brothers, 300. Daniele, ‘ Commentaries’ of, 99. Barbarossa, 3, 22, 69. Barettieri, Nicolo, erects the columns of St. Mark’s Place, 89. Baroccio, 192. Baroque period, 108, 116, ——-——,, Sculpture, 126. Barozzi, Nicolo, 155. Barthel, Marchio, 129. Bartolozzi, (259), 260. Basaiti, Marco, 164. Baschel, Armand, historian, 178. Basegzio, Pietro, 93. Basil, 222. Basilika, 259. Bassano (see Ponte, da). — Francesco, 187. Battista, Giovanni, 125. Baudouin, 199. Bayeu, 195. Bedford, 250. Bellotto, Bernardo, 198. Bellini, The brothers Giovanni and Gentile, 160, 161, (162), 162, 163, 164, (164), 169, 187, 201, 217, 227, 232, 264, 287, 292, 306. Bellini, Jacopo, 160. Belluno, 168, 190. Bembo, Cardinal, 162, 203. , Bernardo, 131. , Pietro, 206. Benoni, Giuseppe, 107. Bergamesco, Guglielmo, architect, 104. Bermini, 130. Bernardino, 107, 159, 160. Bernardo, 154. Palace, 96. , Pietro (124), 125. Berni, 207. Bernini, 128. Beroviero, 232, 233, 234, 239. Berri, Duchess of, 134. Bertelli, 242, 243, 251, (251 252) 254. Bertuccio, Israél, 93. Bessarion, Cardinal, 205, 213. Bigolante, The, at the wells of the court of the palace, 280, (279). Blanc, Charles, 174. Boldrini, 172, (173). Boldu, Giovanni, 155. Bonaventuri, Piero di Zenobia, 257. Boncio, 125. Bonifazio, 187, 201. Bonincontro, Bishop of Torcello, 118. Bono, tribune of Malamocco, 82. Bordone, Paris, 172, 175 (177). Borgia, Lucretia, 257, 306. Boschini, Marco, 208. Bossuet, 302. Boucher, Frangois, 191. Bourlie, M. de la, 246. Bragadino, Bartolomeo, 125. Bramante, 107, I41. Bregno, Lorenzo, 123. Brescia, 195. Briati, 237. Bridge of Sighs, (15), 280, 281. British Museum, 251. Brondolo, 299. Bronzes, 115. Bronzino, 256. Brown, Mr. Rawdon, 200. Bruges, 250. Brugnolo, Pasqualigo, 125. Brule, Alberto de, 129. Brunelleschi, 107. Brusasorci, 201. Brussels, 250. Brustolon, Andrea, 129. Bucentaur, 63. Buckingham, Duke of, 237. 5, AXE Buonarroti, 107. Asay WOrence. ms lis. Buono, Bartolomeo, architect, 104, 139. Burano, 299, (300). Buratti, Pietro, 208. Burchiella, 208, 256. Burgos, 115. Byron, 262, 297, 302. Byzantine Greeks, early treaties with, 37, 38. Period, sculpture, 116. Ca da Mosto, 204. Cadore, 168, 169. Cadorin, Giuseppe, 172. Cagliari (see Veronese, Paul). ———-, Benedetto, 182. — , Carletto, 182, (251). ——,, Gabriele, 182. Calcar, Von, Jean, 174. , Giovanni del, 172. Calcina, Court of the, 286. Calendario, Filippo, architect, engineer, and sculptor, 1720, gI, 264. , Chief master of the public palace, 92. Calergi, Count Vendramin, 84. Calmo, Andrea, 208, 209. Camelio, Vittor, engraver, 70. Camerlenghi Palace, 104, 113. Campagna, Girolamo, 146. Campagnola, 172. Campane, della, 133. Campanile, (261), 273. Campo, San Paolo, (81), 286. Canale, Bernardo, 197. , Girolamo, 125. Canaletto, (Antcnio Canale,) 191, 194, (194, 195, 196), 197, 264, 291, 299. Index. aT Canareggio, 114, 264. Candiano, Doge, 80. Cane, Mastino, 116. Canova, (129), 130, 274, 293. Capello, Bianca, 256. Caravia, Alessandro, 208. Carmagnola 152, 282. Carnival of Venice, 275, (276, 277.) Carnero, Matteo, 128. Carpaccio, artist, 112, 164, 165, (165, 166, 167), 200, 227, 243, 264, 306. Carracci, 185. Carré, Salon, 171. Carriera, Rosalba, 191, (193.) Casa Bembo, (96.) Casa al Campo dei Mori, 90, Doro Palace, 95, (267). — Falier, 90. — Guisetti, (103.) Casanova of Seingalt, 280, 282. Casket made to contain the corno, 64. Cassandra Fidele, 211. Castella Nuova, 189. Castiglioni, Benedetto, 195. Cavalli, Jacopo, 116. , Francesco, 210, Palace, (94), 96. Chardin, 199. Charles III., 195. Vinal 7207 O,1LOO. 207. VI., Emperor, 193. Chateaubriand, 302. Chelsea Hospital. Paintings by Ricci, rgr. Cherrea, Francesco, 20a. Chimney-sweeper of the Riva, 281. Chioggia, 294, 299. Chioggiotti, 277, (284), 306. Chioggiotto (Marinetti), 195. Church of SS. Giovanni e Paulo, 41. Cicogna (112), 154, 253. Cicognara, Count, 85. —, Venetian writer on art, 81. Cima da Conegliano, 164. City, The, and its life, 261. Clementi of Padua, printer, 214. Crivelli, Carlo, 160, (162), 164. Cochin, 210. Coignet, Leon, 185, 186. Colberts, M. de, 237, 247, 249. Colleoni, Bartolomeo, 152, (153.) Statue, (115-117), 119, 127, 152, 293 Cologne, John of, printer, 214. , Colomb de Battines, 219. Colonna, Francesco, ‘The Dream of Poliphilos,’ or ‘ Hypne- rotomachia,’ 99, IOI. ——, Jacopo, Architect, 104. Columbus, 204. Columns, Twin, in St. Mark’s Place, 89. Contarini, 144. , Domenico, Doge, 80, 243. ———.,, Girolamo, 129. ———., Alois, 259. ——_——,, Pier, 155. ————,, Jacopo, 178. Fasan Palace, 105, 268. Conti, Nicolo, 154. Cooper, Fenimore, 280. Cornaro, Pietro, 117. ———., Flaminio, artist, 84. -, Marco, Doge, 116. Corneille, 302. Corner-Spinelli Palace, (98, 99), 134. Corner Palace, Grand Canal, (266.) Corradini, Antonio, 129. Correr Museum, 40, 42, 150, 155,’ 166, 243. Costume, 240, 251 (251-260). Cozzi Palace, 96. Council of Ten, Antechamber of, (10), 16, (18). Crozat, 193. Crusades : Compact with the French, 39. Cyprus, War in, 203. Dandolo, Vinciguerra, 125. , Henrico, Doge, (5), 39. , Andrea, 117. Danieli Palace, 96. Dante, 219. —— Chapel, Ravenna, 131. Daria, 176. Dario Palace, (102.) David, 130. Decadence, Architects of the, 107. Delacroix, Eugene, Historical picture by, 92, 278. Delfin, Doge, 128. Del Fiore, 160. Demosthenes, 206. Denmark, King of, 102. Diamantino, 192. Didot, 206, 251. Didron, Edouard, 226. Diedo, Antonio, 84. Dioscorides, 206. Dogana, The Custom House, (35), 107. — Pinnacle, 105. Dogaressa, The, (27) 241. Doge, Nature of the office of, 53-69. , Armour of, (65.) ——, Attributes of, (69.) Dolce, Ludovico, 207, 209. Dolfini Palace, 195. Dolfui, Giovanni, 117. Domenico, 155. Domenichino, 207. Dominicans produced the most distinguished Renaissance architects, IOI. Dona, Leonardo, 292. Donatello, 127. Doni, Francesco, 207. Ducal Palace, Ceiling of the Hall of Four Doors, 143, Scala D’Oro, (144, 145). Ducal Palace, Court of, 100, , Giants’ Staircase, (1), 104,'278, 282. —__— ——,, Gothic front of, 91, (91), (261) 262, 264. ——__—_—_—., Arcade, (270.) —__—__—__, Hall of Great Council, (5.) , Ceiling of the Council of Ten, (19.) , Sala dei Capi, (10). —____———, Hall of the Senate, (6.) —___——_, Porta della Carta, (1, 87), 278. , Details of architecture of, 89. Dupont d’Auberville, 246, Diirer, Albert, 159. to mn NO Rie L[ndex. Eloquence, by Veronese, (8.) Escurial, 169. Esegrenio, 158. Este, Cardinal d’, 189. Euhler, Jost, 60, (258). Fabbriche Nuove, 113, 275. Faliero Marino, Doge.—His conspiracy and death, 14-22, (21), 92, 278. , Ordelaso, Doge, 93. , Vital, Doge, 38. Farnesina, 158. Fatti (see Il Sansovino), architect. Federico, 215. Fenice, 276, 289. Ferdinand, Archduke, 186. I., 109. Ferrara, 169, 215, 241. —-, Benedetto, 210. Filiasi, Count, 84. Fiorilli, Agostino, 209. Fisherman of the Marina, (281). Fleury, Mr. Robert, Historical pictures by, (21), 92, 185, 278. Florence, 115, 224. Florian, 274, 278. Fondaco dei Tedeschi, 43, 113, 135, 168, —-—- dei Mori, 4o. — dei Turchi, (Correr Museum) 40, 42, (42), 88, (266). Fondachi, 40, 43. Fortebracchio, 218. Fosca, Giovanni Maria, 155. Foscari, Francesco, Doge, (6). Palace, 96. Foscarini, Marco, Doge, 84, 213. —-, Michele, 203. Fossombrone, 218. Fra Beato Angelico, 166, Francis I., 207. Franco, Giacomo, picture of the arsenal, (49), 94, 243-258 (253-257). , Niccolo, 207. Frangipani, Cornelio, 210. Frari, Church of, 90, The Choir, a fine specimen of Renais- sance, (91), 100, 116, 117, 123, 155, 170, 293. ——- Monastery of, 27-33, (28, 29), 280. Frederic Barbarossa, 3, 22. Frederick III., 211. Frittole, 294. Friuli, 280. Fust, Jean, 214. Gabriel di Piero, printer, 214. Galileo, 306. Galleys of the Venetian Fleet, 51. , Building of, 47, 50, 51. Gallo, Domenico del, 236. , Andrea del, 236. Gardane, Antoine, printer, 219 (220). Garden Point, 282. Garnier M., 239. Garzoni, Pietro, 203. Gattamelata, 127. Gautier, 275. Genoese of Candia, 275. Contests with, 12-14, 15. j | Gerspach, 239. Gesu, Church of, 195. Giacomelli, 300. Giacomo Franco (see Franco’. Giants’ Staircase, Ducal Palace, 1. Giocondo, Fra. Venetian architect, 101, 104, 113, 137. Giolito, Brothers, 217. Giorgione, (Barbarelli), (156), 167, (168), 168, 169, 201. —_——.,, Frescoes by, 43, 161. Giotto, 158, 160. Giovane (see Palma Jacopo). Giovanni, 232. , Bartolomeo, 160. Girolamo d’Adda, 242. Giudecca, 273, 288, 289, 293. Giustinani, Matteo, Monument of, 125. Giustiniani, Marco, 117. Palace, 96. Glass, 221, (229-237). Glass, names of different varieties, 231. Goethe, 302. Goldoni, 208, 211, 242, 286, 297. Goltzius, 242, 256. Gothic period in basilica of St. Mark’s, go. period, sculpture, 116. Gozzi, Count Carlo, 211, 275, 297. Gradenigo, Doge, 93, 292. , Palazza, 140. Grand Canal, 262, 264. Grecché, Della, 172. Greek Ornamentation at St. Mark’s, 86. Grimani, Doge, 189, 210. — Palace, 105, (106). Chapel, 148. Gritti, 208. Grotto, Luigi, 209. Guardi, 156, 191, 194, 197, 198, 264, 276, 277, 291, 306. Guarino, 6. Guasco, 242. Guggenheim, Mr., 146, 253. Gutenberg, 213. Halevy, 211. Henry III., 209, 242, 298. IV., 209. Herodotus, 206, (212), 215. Hesychius, 206, Honiton, 250. Hubert, designer of Mosaics, 8:. Hugo, Victor, 280, 288. Hurmuz, Mgr. George, 305. India, commerce with, 39. Ingres, 187. Isabel d’Este, Marquise of Mantua, 205. Isoletto, 84. “ Ttalo-Byzantine ” style in architecture, $8. Ivanovich, Canon, 211. Jacopo, 141. , of Verona, 159. Jacquemart, 243. Jenson, Nicholas, Venetian printer, 213, 215, 218. Jews, position of, in Venice, 41. Juan, Don, of Austria, 254. Jubinal, Achille, 250, 255. Junte, Antonio, 216, 217. Kensington Museum, 239. Labbia, 208. Palace, 195. Labrador, 204. Lace, 240-249. Lagoon, 289. Lancret, 199. Lando, Hortensio, 207. Lapidario Aquilense at Trieste, 86. Lazzari, Vincenzo, 221, 223, 232. Lazzarini, 194. Lefebvre, Valentin, 172. NECOR Nee 5, Leopardi, The, 125, 128, 131, 264. , Alessandro, architect and metal founder, 104, 119, 133, (134), 141, 151. Lepanto, Victory of, 44, 254. Levilapide, 215. Liani, Sebastian, Doge, 66, 68. Liardo, M., (279), 282. Libreria Vecchia, 42, (99, 104), 104, 189. Lido, 262, 282, 283, (291), 297, 301. Lion of St. Mark, Column of, the lion mutilated while in France, 89, (90). Lionardo, 141. Lisa, Gerard de, 215. Lombard element, introduced in Venetian architecture, 88. Lombardi Family, 131-140, 264. ——, 128, 291. , Pietro, architect, 101 seg., (131, 133). —-——,, Martino, architect, 101 seg., 136. ——, Tullio, architect, 101 seg., (134), 137- ——-—, Antonio, architect, 1o1 seg., 133, 137- ————,, Sante, architect, 1oI seg., 139. ,» Moro, architect, 101, 104, 139. Longhena, 105, (124), 128. Longhi, Alessandro, 194, (199), 200. , Pietro, 191, 194, 198, (199), (200), 242. Loredano, Leonardo, Doge, (55), 65, 168. ——, Paolo, 116, 128. Lorenzo Veneziano, 158, 160. di Credi, 154. — Lotto, 175. Loschi, A., 208. Louis le Debonnaire, 222. —— XI, 213. —- XIV., 180, 234, 260. XV., 260. Louvre, 169, 180, 193. Lucca, 176. Macaruzzi, 107. Madonna of the Gondoliers, (281), 283. Madonna della Salute, 197. Madonna delle Grazie, 138. Madonna del Orto, 176 Madrid, 169, 195. Maélla, 195. Magagnati, 236. Maganza, 201. [ndex. Oo — Or Magdalene, 108. Maggiotto, Domenico, 195. Mahomet, Sultan, 163. Maiolica, (239). Malamocco, 299. Malines, 250. Malipieri, Pasquale, Monument of, 125. Malombra, Pietro, 144, 201. Malte Brun, 204. Manchester, 246. Manelli, Francesco, 210. Manin, Daniel, President of the Republic, 1848, 22, (24, 25) 26. Mantegna, Andrea, 159, (161), 217. Mantua, Duke of, 184. Marc-Antonio, 217. Marcello, Jacopo, 125. Marchioni, Giovanni, 129. Marciana, 150, 213. Marco Polo, 204. Marcolini, Francesco, (208), 217. Marinetti, (Chioggiotto), 195. Marino Sanuto, 203. Grimani, Doge, 83. Mario, 232. Marosini, Michele, 116. Marsand, Professor, 219. Martinello, 158. Masere, Villa, (Barbaro, Manin), (141), 146, 181, 300. Mastino, 137. Masts, doorway of St. Mark, metal bases of, 119. Mathias Corvinus, 215. Mazarin, Cardinal, 210. Mazza, Camillo, 129. Medal engraving, art of, 70, (70-76). Medals catalogue of, 72. Medici, 257. Meduna, engineer, 85. Memmo, Marco Antonio, Doge, (7). Mengs, 195. Merceria, 135, 259. Messina, Antonella, 160. Antonio of, 159, 232. Micheli, Angelo, 92. Michelangelo, 113, 115, 141, 170. Michieli, Doge, 292. Milesi, Signor, 85. Miotti, 238. Miracoli, Nostra Donna dei, Church of, 104, 132, 137, 138. Mirecourt, 250. Miretto, Giovanni, 159. Mocenigo, Thomas, Doge, 44, 117, 138. , Pietro 116, 133. , Alviseo, 213. ——., Luigi, Doge, (63), 64. Mocetto, Girolamo, 234. Mole, the, 264. Moli, Clementé, 129. Molino, Antonio, 209. Molza, 207. Monteverde, Claudio, 210. Moreau, 199. Morelli, 186, 237. Moretto, 164. Moro, Giulia del, 128. Morosini, Michele, 116. ————,, Andrea, Doge, hilt of his sword, 66, (67), 117, 203. a 314 Index. Morosini Palace, 200. Mosaics, 221, (224, 228). Mortadella, 239. Motta, Liberale, 237. Muntz, 239. Muziano, 189. Murano, 117, 158, 160, 221, (221), 246, 247, 249, 298. , San Donato, Byzantine Church at, 79, (80, 81). Murazzi, 299. Musato, Alberto, 208. Musset, 262. Naldo, Luigi, monument of 124. Nani, Battista, 203. Nardi, Jacopo, 257. National Library, 251. Naya, 195, 226. Nicola da Friuli, 160. d@Axandrii, 232. , da Pietro, 158. Norway, 204. Novelli, 301. Olivieri, 151. Orchardson, 289. Ordnance, 47, 52. Orseolo, Pietro, Doge, builder of St. Mark’s, 37, 38, 80, 93, 992 Orsini, Generosa, 125. Ospedaletto, Facade of, (108). Otho, Emperor, 222. Otway, 262. Oxford, 250. Padua, 127, 169, 215. , University of, 7. Pagan, Matteo, 218, 256. Paganini, 275. Paganino, 218. Painting, The Venetian School, 156. Palais Royale, 181. Palazzo dei Mori, 285, (286). Palladio, his architectural publications, 100, 104, 113, 141, 256 292 293, 297, 300. Palla D’Oro, 160. Palma, Vecchio, (the elder) 172, 175, 176, (179, 180), 264, 306. , Jacopo-Giovane, (the younger) 144, (180, 190), 264. Pantaloon, 256, 277, 278. Paolo Godi de Pergola, 232. Paper Gate, (Porta della Carta), 88, (89). Parasole, la, 250. Parenzo Cathedral, 227. Paris, 169. Partecipazio, Doge, 80, 82, 222. Paruta, Paolo, 128, 203. Pater, 199. Patricians : their responsibilities, 10, 11. Paul of Heraclea, Doge, 4. Paulus, Magister, 159. Peacocks drinking from a cup, an oriental design, (82), 86. Pellegrini, 191, 193. ————,, Chapel, 105. Peranda, 201. Pesaro Monument at the Frari, 123, (124), 128. Pesaro Palace, (107, 267). Petrarch, 207, 213, 219. Petrucci, 218. Philip II. of Spain, 186. Piazza 258, 275, 277, 278, 291, 292, 293. Piazzetta, 191, (191), 194, 195, 259, 262, 275, 278, 288, 301. Piccinino, Nicolo, 152, 218. Piccolomini, Alessandro, 207. Piero di Cosimo, 257. Pietro, 251. de Nova, 160. Pievano, Stefano, 158. Piot, 193, 243. Piranesi, 262. Pisani, Andrea, architect, 93. , Vittor, 12-14. Palace, San Paolo, 96. Pisanello, Vittor, painter, etc., 71. Pius IV., 189. Plato, 206. Plutarch, 206. Poleastro, Countess, 275. ‘ Poliphilos, Dream of,’ 216. Pollux, 206. Polutone, Sicco, 208. Pompe, la, 250. Ponte, Jacopo da, (Il Bassano), 168, 175, 187, (190), 260. —-, Francesco and Leandro, 188. ——, Antonio da 95, 113, 155. ——, Leandro da, 190. ——, Nicolo da, 104. , della Paglia, 282. ——-, di Sacca, ,286. —,, Ca di Dio, 283. del Paradiso, (90), 94. Pontormo, 257. Pordenone, :71, 175, (178), 306. Porta, Giuseppe, 175, 189, 190. , della Carta, Ducal Palace, (1). Potozzo, Francesca, 195. Pozzo, Andrea, 190. Printing, Venetian supremacy in, contributes to the revival of architecture, 97, 99, 202, 213. Priuli, Antonio, Doge, (62), 64, 128. Procuratie, 273, 275. Provveditori alle Pompe, 240. Wes: ——_————,, al sale, 36, 37. “«______ a] Arsenale,” 48. Punta Lunga, 294. Quadri, 274, 278. Quirico, 159. Quirino, 160. Racine, 302. Ramusio, 205. Raphael, 141, 217, 228. Ravenna, 131, 224. , battle of, 52. Redentore, (94-96), 104, 264, 289, 293, 294, 297. Regillo, (Pordenone), (see Pordenone). Renaissance period, 97, (102, 103), IIo. printing helps the revival, 99, 293. period, sculpture, 116, 119. Discovery of Index. 315 Renaissance architects, not mere plagiarists of antiquity, 100. Renner of Halbrunn, printer, 214. Rezonnico Palace, (108), 195. Rialto, 111, (113, 114), 247, 287. Ricci, Sebastian, 190, (191), 194. , Felici, 182. Riccio, Andrea, 150. Ridolfi, 185, 189. Ridotti, 277. Riva, (261), 262, (263), 277, 280, 282, 291, 298, 306, Rizzo, Antonio, architect, 104, 120, 134. Robert, Leopold, 298. Robusti, Jacopo, (see Tintoret). Rocco Marcone, 164. Rodario, 133. Roman period, sculpture, 116. Romanelli, 191. Rome, 115, 169, 224. Rosalba, (see Carriera). Rosso, Giovanni, 216. Rost, Adam, printer, 214. Roxburgh, Duke of, 214. Rubens, 144. Rucellai, Girolamo, 207. Rusticiano, 204. Rustico da Torcello, 82. Ruzante, 208, 209. Sabellico, Antonio, 203, (215), 216, 235. Sacco, Antonio, 209. Sacrati, 210. Sagormino, 222. Sagra, the, 294. Sagredo Palace, 199. St.-André, 247. ‘St. Benedict, 191. St. Didier, 242, 243. St. George, 211, 273, (283). St. Isidore, 117. St. Mark’s, 226, 251, (272). , Byzantine architecture of, 8o. St. Mark, Chroniclers’ account respecting the transport of his body to Venice, 80. St. Mark’s, Crypt of, 81, (84, 85). , Spoils of Roman antiquity form part of enrich- ments, 86, 116. , details of architectural ornament at, 82, 83. Ring, 3. ——-—— Place, (60, 61, 271, 273), 276. Sansovino, 147. St. Peter’s, Rome, 228. St. Saba, Acre, ornaments from, (83), 88. St. Sebastian, 176, 179, 180. St. Simon, 107. St. Sophia, Church of, at Damascus, 86. , Constantinople, $1, (82). St. Theodore, Statue and column of, 89. St. Theotocos, Church of, at Damascus, 86. San Andrea del Lido, 105, (110), 297, 298. —— della Cestosa, 133. San Antonio del Castello, 176. , Padua, 138, San Cassiano, 210. San Christophoro della Pace, 298. San Christoforo, Murano, 133. San Donato, Murano, 80. San Fantino, 125. San Francesco del Deserto, 299. della Vigna, 104, 148, 188. San Giacomo, Rialto, 148. San Giorgio Maggiore, 104, (105), 118, 148, 180, 283, 291, 292, 293. San Giovanni Crisostomo, 138. e Paolo, Church of,90. The gate an important example of Renaissance, IoI, 116, 119, 126, (127), 131, 138, 146, 152, 170, 180, (292), 293. —___—_——_—__, Theatre, 210. San Giuliano, 147, 148. San Lazzaro, Site of, 291, 300, (303). San Martino, 138. San Michieli, cemetery, 298. San Michele, 140. San Mose, 176. San Moisé, 210. San Nicolo, 297, 298, (299). San Paternian, D. Manin’s house at, 23, (25). San Pietro Samaldi, Lucca, 176. San Rocco, 104, 264. San Samiele, 140. San Salvatore, Basilica, 104. ——., Church of, 138, 148. San Sepulcro, 146, 277. San Servolo, 301. San Stefano, 125, 135, 176. San Vitale, 288. ——,, Church of, at Ravenna, 86, 191. San Zaccaria, 147, 150. , carved altar fronts at, 117, 125, 136, 137, 140, 162, 291, (292). San Zeno, 155. Santa Croce, I14. Santa Fosca, Church of, Torcella, 79, 99. Santa Helena of Monte Oliveto, 176. Santa Maria Gloriosa dei Frari, 90, (91), 147, 172, (293). , Monastery of, 27, (28, 29), 33 (91). Santa Maria Formosa, 139, 176, 264. Santa Maria della Salute, (church), (35, 77). Santa Maria Maggiore, (149), 189, 262, 264. Santa Maria in Organo, 191. Santa Maria dell ’Orto, 187. Santa Maria dei Miracoli, Ravenna, 132, (133). Santi Apostoli Palace, 88, (109). Salt, ancient traffic in, 36. Salute, Church of the, 105, 262. Salva, 108. Salvetico, 119. Salviati, 189, 217, 224, 227, 238, 256. Salvoldo, Girolamo, 175. Sammicheli, 104, 142, 150. Sand George, 262. Sansovino, Jacopo, (Fatti), 104, 109, 113, (123), 141, 208, 256, 264. , Francesco, 207. Sanudo, 125. Scala Flaminio, 209. Scala Minelli or Antica, (77), 286. Scalfarotto, 107. Scalzi, 195. Scamozzi, 105, 113, 292. Scarpaccio, 166, Scarpagnino, Antonio, architect, 104, (135), 139. Schiavone, (157), 175, 189, (190). 210 Schoeffer, 214. Scotti, Ottaviano, 216. Sculpture, Venetian, 115. Scuola di San Marco, (115, 134) 136, 140. Scuola della Misericordia, (100), 152. Scuola di San Rocco, (135), 139, 184. Sebastian del Piombo, (169), 169, 172, 175, 187, 201. Sebastian of Lugano, r4o. Sedan, 250. Seguin, 250. Selvatico, Pietro Marquis, 81, 137, 140, 153, 155. Selvo, Domenico, 8o. Semitecolo, 158, 160. Senator, his duties, (9) 10, If. Sepulchral Monuments, 115. Serinalta, 176. Serlio, his architectural publications, 100. Servi, Church of, go. Sforza, 215. Simon de Casiche, 160. Siounic, Archbishop of, 301-304. Slabs, monumental, 117, 118. Sophocles, 206. Soranzo, 251. Spavento, 138. Spaventi, Giorgio, 113. Spérone Speroni, 207. Spires, John of, Venetian printer, 213. Sporza, 218. Squarcione, 159. Standard of the Republic, (4). Stanga, 136. Stefani, Chevalier, 281. Stella, 287 (288). Steno, Luca, 125. Steno, Michel, 15, 16, 92, 125. Stephanus of Byzantium, 206. Strada, Jacopo, 185. Suriano, 125. Suttil, 274. Tabernacles at St. Mark’s, 117. Tagliapietra, Alvisio, (127), 129, 130. Tagliente, 218. Taglioni, Madame, restores the Casa Doro, 95. Teatino, Vicenza, 176. Temanza, 108, 131, 133, 140, 152, 153. Teofano, 158. Terence of 1499, facsimiles from, (218). Thomas of Modena, 158. Thucydides, 206. Tiepolo, 156, (194), 201. , Giambattista, 194. ~———, Giovanni Domenico, 195. , Lorenzo, Doge, 88, 112, 191, 232. Tintoret, 104, 172, 174, 175, 180, 182, 184, (187, 188), 201, 253, 260, 264, 305. ———, Maria, 185, (180). -, Domenico, 187 (190). Tirali, 107. Titian, 143, 156, 161, 168, 169, (171-173), 174, 175, 176, 182, 189, 201, (201), (205), 208, 217, 242, 244, 256, 260, 264, 306. —, Monument to, 109, 293. ——, Portrait and pictures by, 169, 207. ——, Masterpiece of Peter the Martyr, destroyed by fire, go. Tommasino, d’Axandrii, 232. Index. Tommasino, Tommaso, 118. Toppan Palace, 96. Torcello, (78, 79) 299. Torcello, Baptistry at, 78. —, Cathedral on Island of, 77, 232. Torelli, 210. , Commendatore, 85. Torretti, Giuseppe, 129, 130. Traghetto dei Santi Apostoli, 88. Trapolini, 209. Tremignan, Alessandro, 128. Treviso, 138, 215, 301. Trevisani, Melchior, 125. , Palazzo, 139, Trieste, Garden at, containing relics of old Aquileia, 86. Tullio, 136. Turchi, Alessandro, 182, Turla, Cardinal, 205. Tuscany, Duke of, 193. Types of the People of Venice.—7adbacchina of Santa Croce, —Lavandaia of San Giacomo.— Girl of St. Mark’s.— Sartorella of Dorso Duro.—Lavoratrice nelle Vele (sail- mender), (287). Urbino, 169, 215. Urcole, Duke of Ferrara, 176. Valdarfer, Christopher, 214 Valdezonio, 215. Valiero, Silvestro, 213. Van Eyck, 159, 164. Vanutelli, 275. Vasari, 165. Vatican, 158. Vecellio, Marco, 172. —, Orazio, 172. Ss} (CRE, CHE OIG, Dior , Francisco, 172, 242, Velano, 153. Velasquez, 144. Veludo, 251. Vendramin, Doge, tomb of, 119, 120, (120), 121, 152, 229. Palace, 139. Vendramin-Calergi Palace, 104, 134, 138, 139. Venetian constitution, 9-11. Glass, 219, (229, 237). — Sailor offering an antique from Naxos, (97). ——- Art, partly oriental, 81. —-—- Binding, Illustrations of, (219). ——- Sculpture, 115-130, (116-130). —-— Wine shop, (282). Veneziono, Bartolomeo, 189. ——-, Antonio, 160. Venice, Characteristics of, 2. —, Foundation of, 2, 35. Venier, Sebastian, 66, 254. ——, Scimitar attributed to, (68). , Maeffo, 208. --——, Antonio, Doge, 116. ~ ——, Lorenzo, Doge, (124) 292. -, Agnese, Dogaressa, 117. Verrochio, Andrea, 119, 153, 264. Verona, I9I, 215. Veronese, Paul, (Cagliari), 175, 177-182, (181-186), 194, 201, 243, (251), 260, 264, 300, 306. L[ndex. Versailles, 181. Vesalius, Andreas, 174. Vescovi, Marco dei, 185. Vicenza, 176, 215. Vidaore, Andrea, 235. Villa Barbaro, (Manin Masero) 146, 181, (141), 300, (301). Vinciolo, 250. Vindelin, 214. Vis Domini, 40. Vitalba, 209. Vitali, Michele, Doge, 232. Vitruvius, the ten books of architecture, 99, 142. Vittoria, Alessandro, list of his works, 141, (141), (145), (148), 149, (150), 254, 264, 292, 300. Vivarini, 156, 159, 164. ———-, Antonio, 159. , Giovanni Bartolomeo, 159, 160. ———., Luigi, 160, 264. Volto Santo, Church of, go. Waddington, 251. Xenophon, 206. Zanetti, Bishop of, 138. Zattere, 195, 289, 294. Zelasio, Ferraresa, 158. Zelotti, (19), 179, 182. Zeni Niccolo, 204. , Antonio, 204. } ; | Hitt i iS Ns OT fy ty Ai \, SZ SE | B= \ i l i | TN | 1.) 7 i | a Zeno, Cardinal, monument, (131), 133, 139. Ziani, Doge, 293. Zoppino, 218. Zuccato, 209, 228. at LONDON: PRINTED BY WILLIAM CLOWES AND SONS, STAMFORD STREET AND CHARING CROSS. ITY OF ILLINOIS-URBANA | 249605 73