Chapter XV: Appendix: 1. Architect of the Ducal Palace (4)

Labor, manual, ornamental value of, i. 407; evils of its division,
ii. 165; is not a degradation, ii. 168.
Labyrinth, in Venetian streets, its clue, ii. 254.
Lagoons, Venetian, nature of, ii. 7, 8.
Landscape, lower schools of, i. 24; Venetian, ii. 149; modern love
of, ii. 175, iii. 123.
Laws of right in architecture, i. 32; laws in general, how
permissibly violated, i. 255, ii. 210; their position with respect to
art, iii. 96; and to religion, iii. 205.
Leaves, use of, in ornamentation, i. 232 (see "Vegetation");
proportion of, ii. 128.
Liberality, how symbolized, ii. 333.
Life in Byzantine architecture, ii. 133.
Lilies, beautiful proportions of, ii. 128; used for parapet
ornaments, ii. 242; lily capitals, ii. 137.
Limitation of ornament, i. 254.
Lines, abstract use of, in ornament, i. 221.
Lintel, its structure, i. 124, 126.
Lion, on piazzetta shafts, iii. 238.
Load, of arches, i. 133.
Logic, a contemptible science, iii. 105.
Lombardic architecture, i. 17.
Lotus leaf, its use in architecture, i. 233.
Love, its power over human life, iii. 137.
Lusts, their power over human nature, how symbolized by Spenser, ii.
328.
Luxury, how symbolized, ii. 342; how traceable in ornament, iii. 4;
of Renaissance schools, iii. 61.

M

Madonna, Byzantine representations of, ii. 53.
Magnitude, vulgar admiration of, iii. 64.
Malmsey, use of, in Feast of the Maries, iii. 117.
Marble, its uses, iii. 27.
Maries, Feast of the, iii. 117.
Mariolatry, ancient and modern, ii. 55.
Marriages of Venetians, iii. 116.
Masonry, Mont-Cenisian, i. 132; of walls, i. 61; of arches, i. 133.
Materials, invention of new, how injurious to art, iii. 42.
Misery, how symbolized, ii. 347.
Modesty, how symbolized, ii. 335.
Monotony, its place in art, ii. 176.
Months, personifications of, in ancient art, ii. 272.
Moroseness, its guilt, iii. 130.
Mosaics at Torcello, ii. 18, 19; at St. Mark's, ii. 70, 112; early
character of, ii. 110, iii. 175, 178.
Music, its relation to color, iii. 186.
Mythology of Venetian painters, ii. 150; ancient, how injurious to
the Christian mind, iii. 107.

N

Natural history, how necessary a study, iii. 54.
Naturalism, general analysis of it with respect to art, ii. 181, 190;
its advance in Gothic art, iii. 6; not to be found in the encrusted
style, ii. 89; its presence in the noble Grotesque, iii. 144.
Nature (in the sense of material universe) not improvable by art, i.
350; its relation to architecture, i. 351.
Niches, use of, in Northern Gothic, i. 278; in Venetian, ii. 240; in
French and Veronese, ii. 227.
Norman hatchet-work, i. 297; zigzag, i. 339.
Novelty, its necessity to the human mind, ii. 176.

O

Oak-tree, how represented in symbolical art, iii. 185.
Obedience, how symbolized, ii. 334.
Oligarchical government, its effect on the Venetians, i. 5.
Olive-tree, neglect of, by artists, iii. 175; general expression of,
iii. 176, 177; representations of, in mosaic, iii. 178.
Order, uses and disadvantages of, ii. 172.
Orders, Doric and Corinthian, i. 13; ridiculous divisions of, i. 157,
370; ii. 173, 249; iii. 99.
Ornament, material of, i. 211; the best, expresses man's delight in
God's work, i. 220; not in his own, i. 211; general treatment of, i.
236; is necessarily imperfect, i. 237, 240; divided into servile,
subordinate, and insubordinate, i. 242, ii. 158; distant effect of,
i. 248; arborescent, i. 252; restrained within limits, i. 255; cannot
be overcharged if good, i. 406.
Oxford, system of education at, i. 391.

P

Paganism, revival of its power in modern times, iii. 105, 107, 122.
Painters, their power of perception, iii. 37; influence of society
on, iii. 41; what they should know, iii. 41; what is their business,
iii. 187.
Palace, the Crystal, merits of, i. 409.
Palaces, Byzantine, ii. 118, 391; Gothic, ii. 231.
Papacy. See "Popery."
Parapets, i. 162, ii. 240.
Parthenon, curves of, ii. 127.
Patience, how symbolized, ii. 334.
Pavements, ii. 52.
Peacocks, sculpture of, i. 240.
Pedestals of shafts, i. 82; and see Venetian Index under head
"Giorgio Maggiore."
Perception opposed to knowledge, iii. 37.
Perfection, inordinate desire of, destructive of art, i. 237; ii.
133, 158, 169.
Perpendicular style, i. 190, 253; ii. 223, 227.
Personification, evils of, ii. 322.
Perspective, aerial, ridiculous exaggerations of, iii. 45; ancient
pride in, iii. 57; absence of, in many great works, see in Venetian
Index the notice of Tintoret's picture of the Pool of Bethesda, under
head "Rocco."
Phariseeism and Liberalism, how opposed, iii. 97.
Philology, a base science, iii. 54.
Piazzetta at Venice, plan of, ii. 283; shafts of, ii. 233.
Pictures, judgment of, how formed, ii. 371; neglect of, in Venice,
ii. 372; how far an aid to religion, ii. 104, 110.
Picturesque, definition of term, iii. 134.
Piers, general structure of, i. 71, 98, 118.
Pilgrim's Progress. See "Bunyan."
Pine of Italy, its effect on architecture, i. 152; of Alps, effect in
distance, i. 245. See "Fir."
Pinnacles are of little practical service, i. 170; their effect on
common roofs, i. 347.
Play, its relation to Grotesque art, iii. 126.
Pleasure, its kinds and true uses, iii. 189.
Popery, how degraded in contest with Protestantism, i. 34, iii. 103;
its influence on art, i. 23, 34, 35, 384, 432, ii. 51; typified in
ornament, i. 316; power of Pope in Venice, i. 362; arts used in
support of Popery, ii. 74.
Porches, i. 195.
Portraiture, power of, in Venice, iii. 164.
Posture-making in Renaissance art, iii. 90.
Prayers, ancient and modern, difference between, ii. 315, 390.
Pre-Raphaelitism, iii. 90; present position of, iii. 168, 174, 188.
Pride, how symbolized, ii. 343, iii. 207; of knowledge, iii. 35; of
state, iii. 59; of system, iii. 95.
Priests, restricted power of, in Venice, i. 366.
Proportions, subtlety of, in early work, ii. 38, 121, 127.
Protestantism, its influence on art, i. 23; typified in ornament, i.
316; influence of, on prosperity of nations, i. 368; expenditure in
favor of, i. 434; is incapable of judging of art, ii. 105; how
expressed in art, ii. 205; its errors in opposing Romanism, iii, 102,
103, 104; its shame of religious confession, ii. 278.
Prudence, how symbolized, ii. 340.
Pulpits, proper structure of, ii. 22, 380.
Purism in art, its nature and definition, ii. 189.
Purity, how symbolized, iii. 20.

Q

Quadrupeds, use of in ornamentation, i. 234.
Quantity of ornament, its regulation, i. 23.

R

Rationalism, its influence on art, i. 23.
Realization, how far allowable in noble art, iii. 182, 186.
Recesses, decoration of, i. 278.
Recumbent statues, iii. 72.
Redundance, an element of Gothic, ii. 206.
Religion, its influence on Venetian policy, i. 6; how far aided by
pictorial art, ii. 104, 109; contempt of, in Renaissance times, iii.
122.
Renaissance architecture, nature of, iii. 33; early, iii. 1;
Byzantine, iii. 15; Roman, iii. 32; Grotesque, iii. 112;
inconsistencies of, iii. 42, etc.
Reptiles, how used in ornamentation, i. 230.
Resistance, line of, in arches, i. 126.
Restraint, ornamental, value of, i. 255.
Reverence, how ennobling to humanity, ii. 163.
Rhetoric, a base study, iii. 106.
Rigidity, an element of Gothic, ii. 203.
Rivers, symbolical representation of, i. 419, 420.
Rocks, use of, in ornamentation, i. 224; organization of, i. 246;
curvatures of, i. 58, 224.
Roll-mouldings, decoration of, i. 276.
Romance, modern errors of, ii. 4; how connected with dress, iii. 192.
Romanesque style, i. 15, 19, 145; ii. 215. See "Byzantine," and
"Renaissance."
Romanism. See "Popery."
Roofs, analysis of, i. 46, 148; ii. 212, 216; domed, i. 149; Swiss,
i. 149, 345; steepness of, conducive to Gothic character, i. 151, ii.
209; decoration of, i. 343.
Rustication, is ugly and foolish, i. 65; natural objects of which it
produces a resemblance, i. 296.

S

Salvia, its leaf applied to architecture, i. 287, 306.
Sarcophagi, Renaissance treatment of, iii. 90; ancient, iii. 69, 93.
Satellitic shafts, i. 95.
Satire in Grotesque art, iii. 126, 145.
Savageness, the first element of Gothic, ii. 155; in Grotesque art,
iii. 159.
Science opposed to art, iii. 36.
Sculpture, proper treatment of, i. 216, &c.
Sea, symbolical representations of, i. 352, 421; natural waves of, i.
351.
Sensualism in art, its nature and definition, ii. 189; how redeemed
by color, ii. 145.
Serapeum at Memphis, cusps of, ii. 220.
Sermons, proper manner of regarding them, ii. 22; mode of their
delivery in Scotch church, ii. 381.
Serrar del Consiglio, ii. 291.
Shafts, analysis of, i. 84; vaulting shafts, i. 145; ornamentation
of, i. 300; twisted, by what laws regulated, i. 303; strength of, i.
402; laws by which they are regulated in encrusted style, ii. 82.
Shields, use of, on tombs, ii. 224, iii. 87.
Shipping, use of, in ornamentation, i. 215.
Shops in Venice, ii. 65.
Sight, how opposed to thought, iii. 39.
Simplicity of life in thirteenth century, ii. 263.
Sin, how symbolized in Grotesque art, iii. 141.
Slavery of Greeks and Egyptians, ii. 158; of English workmen, ii.
162, 163.
Society, unhealthy state of, in modern times, ii. 163.
Sorrow, how sinful, ii. 325; how symbolized, ii. 347.
Soul, its development in art, iii. 173, 188; its connection with the
body, i. 41, 395.
Spandrils, structure of, i. 146; decoration of, i. 297.
Spirals, architectural value of, i. 222, ii. 16.
Spurs of bases, i. 79.
Staircases, i. 208; of Gothic palaces, ii. 280.
Stucco, when admissible, iii. 21.
Subordination of ornament, i. 240.
Superimposition of buildings, i. 200; ii. 386.
Surface-Gothic, explanation of term, ii. 225, 227.
Symbolism, i. 417; how opposed to personification, ii. 322.
System, pride of, how hurtful, iii. 95, 99.

T

Temperance, how symbolized, ii. 338; temperance in color and
curvature, iii. 420.
Theology, opposed to religion, iii. 216; of Spencer, iii. 205.
Thirteenth century, its high position with respect to art, ii. 263.
Thought, opposed to sight, iii. 39.
Tombs at Verona, i. 142, 412; at Venice, ii. 69; early Christian,
iii. 67; Gothic, iii. 71; Renaissance treatment of, iii. 84.
Towers, proper character of, i. 204; of St. Mark's, i 207.
Traceries, structure of, i. 184, 185; flamboyant, i. 189; stump, i.
189; English perpendicular, i 190, ii. 222; general character of, ii.
220; strength of, in Venetian Gothic, ii. 234, iii. 253; general
forms of tracery bars, iii. 250.
Treason, how detested by Dante, ii. 327.
Trees, use of, in ornamentation, i. 231.
Trefoil, use of, in ornamentation, ii. 42.
Triangles, used for ornaments at Murano, ii. 43.
Tribune at Torcello, ii. 24.
Triglyphs, ugliness of, i, 43.
Trunkmakers, their share in recovery of Brides of Venice, iii. 117, 118.
Truth, relation of, to religion, in Spenser's "Faërie Queen," iii,
205; typified by stones, iii. 31.
Tympanum, decoration of, i. 299.

U

Unity of Venetian nobility, i. 10.

V

Vain glory, speedy punishment of, iii. 122.
Vanity, how symbolized, ii. 346.
Variety in ornamental design, importance of, ii. 43, 133, 142, 172.
Vegetation, use of, in ornamentation, i. 232; peculiar meaning of, in
Gothic, ii. 199; how connected with cusps, ii. 219.
Veil (wall veil), construction of, i. 58; decoration of, i. 294.
Vine, Lombardic sculpture of, i. 375; at Torcello, ii. 15; use of, in
ornamentation, ii. 141; in symbolism, ii. 143; sculpture of, on Ducal
Palace, ii. 308.
Virtues, how symbolized in sepulchral monuments, iii. 82, 86; systems
of, in Pagan and Christian philosophy, ii. 312; cardinal, ii. 317,
318, 320; of architecture, i. 36, 44.
Voussoirs defined, i. 125; contest between them and architraves, i.
336.

W

Walls, general analysis of their structure, i. 48; bases of, i. 52,
53; cornices of, i. 63; rustication of, i. 61, 338; decoration of, i.
294; courses in, i. 61, 295.
Water, its use in ornamentation, i. 226; ancient representations of,
i. 417.
Weaving, importance of associations connected with, ii. 136.
Wells, old Venetian, ii. 279.
Windows, general forms of, i. 179; Arabian, i. 180, ii. 135;
square-headed, ii. 211, 269; development of, in Venice, ii. 235;
orders of, in Venice, ii. 248; advisable form of, in modern
buildings, ii. 269.
Winds, how symbolized at Venice, ii. 367.
Wooden architecture, i. 381.
Womanhood, virtues of, as given by Spenser, ii. 326.

Z

Zigzag, Norman, i. 339.

IV.

VENETIAN INDEX.

I have endeavored to make the following index as useful as possible to the traveller, by indicating only the objects which are really worth his study. A traveller's interest, stimulated as it is into strange vigor by the freshness of every impression, and deepened by the sacredness of the charm of association which long familiarity with any scene too fatally wears away,[71] is too precious a thing to be heedlessly wasted; and as it is physically impossible to see and to understand more than a certain quantity of art in a given time, the attention bestowed on second-rate works, in such a city as Venice, is not merely lost, but actually harmful,--deadening the interest and confusing the memory with respect to those which it is a duty to enjoy, and a disgrace to forget. The reader need not fear being misled by any omissions; for I have conscientiously pointed out every characteristic example, even of the styles which I dislike, and have referred to Lazari in all instances in which my own information failed: but if he is in any wise willing to trust me, I should recommend him to devote his principal attention, if he is fond of paintings, to the works of Tintoret, Paul Veronese, and John Bellini; not of course neglecting Titian, yet remembering that Titian can be well and thoroughly studied in almost any great European gallery, while Tintoret and Bellini can be judged of _only_ in Venice, and Paul Veronese, though gloriously represented by the two great pictures in the Louvre, and many others throughout Europe, is yet not to be fully estimated until he is seen at play among the fantastic chequers of the Venetian ceilings.

I have supplied somewhat copious notices of the pictures of Tintoret, because they are much injured, difficult to read, and entirely neglected by other writers on art. I cannot express the astonishment and indignation I felt on finding, in Kugler's handbook, a paltry cenacolo, painted probably in a couple of hours for a couple of zecchins, for the monks of St. Trovaso, quoted as characteristic of this master; just as foolish readers quote separate stanzas of Peter Bell or the Idiot Boy, as characteristic of Wordsworth. Finally, the reader is requested to observe, that the dates assigned to the various buildings named in the following index, are almost without exception conjectural; that is to say, founded exclusively on the internal evidence of which a portion has been given in the Final Appendix. It is likely, therefore, that here and there, in particular instances, further inquiry may prove me to have been deceived; but such occasional errors are not of the smallest importance with respect to the general conclusions of the preceding pages, which will be found to rest on too broad a basis to be disturbed.

A

ACCADEMIA DELLE BELLE ARTI. Notice above the door the two bas-reliefs
of St. Leonard and St. Christopher, chiefly remarkable for their rude
cutting at so late a date as 1377; but the niches under which they
stand are unusual in their bent gables, and in little crosses within
circles which fill their cusps. The traveller is generally too much
struck by Titian's great picture of the "Assumption," to be able to
pay proper attention to the other works in this gallery. Let him,
however, ask himself candidly, how much of his admiration is
dependent merely upon the picture being larger than any other in the
room, and having bright masses of red and blue in it: let him be
assured that the picture is in reality not one whit the better for
being either large, or gaudy in color; and he will then be better
disposed to give the pains necessary to discover the merit of the more
profound and solemn works of Bellini and Tintoret. One of the most
wonderful works in the whole gallery is Tintoret's "Death of Abel," on
the left of the "Assumption;" the "Adam and Eve," on the right of it,
is hardly inferior; and both are more characteristic examples of the
master, and in many respects better pictures, than the much vaunted
"Miracle of St. Mark." All the works of Bellini in this room are of
great beauty and interest. In the great room, that which contains
Titian's "Presentation of the Virgin," the traveller should examine
carefully all the pictures by Vittor Carpaccio and Gentile Bellini,
which represent scenes in ancient Venice; they are full of interesting
architecture and costume. Marco Basaiti's "Agony in the Garden" is a
lovely example of the religious school. The Tintorets in this room are
all second rate, but most of the Veronese are good, and the large ones
are magnificent.

ALIGA. See GIORGIO.

ALVISE, CHURCH OF ST. I have never been in this church, but Lazari
dates its interior, with decision, as of the year 1388, and it may be
worth a glance, if the traveller has time.

ANDREA, CHURCH OF ST. Well worth visiting for the sake of the
peculiarly sweet and melancholy effect of its little grass-grown
campo, opening to the lagoon and the Alps. The sculpture over the
door, "St. Peter walking on the Water," is a quaint piece of
Renaissance work. Note the distant rocky landscape, and the oar of the
existing gondola floating by St. Andrew's boat. The church is of the
later Gothic period, much defaced, but still picturesque. The lateral
windows are bluntly trefoiled, and good of their time.

ANGELI, CHURCH DELGLI, at Murano. The sculpture of the "Annunciation"
over the entrance-gate is graceful. In exploring Murano, it is worth
while to row up the great canal thus far for the sake of the opening
to the lagoon.

ANTONINO, CHURCH OF ST. Of no importance.

APOLLINARE, CHURCH OF ST. Of no importance.

APOSTOLI, CHURCH OF THE. The exterior is nothing. There is said to be
a picture by Veronese in the interior, "The Fall of the Manna." I have
not seen it; but, if it be of importance, the traveller should compare
it carefully with Tintoret's, in the Scuola di San Rocco, and San
Giorgio Maggiore.

APOSTOLI, PALACE AT, II. 253, on the Grand Canal, near the Rialto,
opposite the fruit-market. A most important transitional palace. Its
sculpture in the first story is peculiarly rich and curious; I think
Venetian, in imitation of Byzantine. The sea story and first floor are
of the first half of the thirteenth century, the rest modern. Observe
that only one wing of the sea story is left, the other half having
been modernized. The traveller should land to look at the capital
drawn in Plate II. of Vol. III. fig. 7.

ARSENAL. Its gateway is a curiously picturesque example of Renaissance
workmanship, admirably sharp and expressive in its ornamental
sculpture; it is in many parts like some of the best Byzantine work.
The Greek lions in front of it appear to me to deserve more praise
than they have received; though they are awkwardly balanced between
conventional and imitative representation, having neither the severity
proper to the one, nor the veracity necessary for the other.

B

BADOER, PALAZZO, in the Campo San Giovanni in Bragola. A magnificent
example of the fourteenth century Gothic, circa 1310-1320, anterior to
the Ducal Palace, and showing beautiful ranges of the fifth order
window, with fragments of the original balconies, and the usual
lateral window larger than any of the rest. In the centre of its
arcade on the first floor is the inlaid ornament drawn in Plate VIII.
Vol. I. The fresco painting on the walls is of later date; and I
believe the heads which form the finials have been inserted afterwards
also, the original windows having been pure fifth order.

The building is now a ruin, inhabited by the lowest orders; the first
floor, when I was last in Venice, by a laundress.

BAFFO, PALAZZO, in the Campo St. Maurizio. The commonest late
Renaissance. A few olive leaves and vestiges of two figures still
remain upon it, of the frescoes by Paul Veronese, with which it was
once adorned.

BALBI, PALAZZO, in Volta di Canal. Of no importance.

BARBARIGO, PALAZZO, on the Grand Canal, next the Casa Pisani. Late
Renaissance; noticeable only as a house in which some of the best
pictures of Titian were allowed to be ruined by damp, and out of which
they were then sold to the Emperor of Russia.

BARBARO, PALAZZO, on the Grand Canal, next the Palazzo Cavalli. These
two buildings form the principal objects in the foreground of the view
which almost every artist seizes on his first traverse of the Grand
Canal, the Church of the Salute forming a most graceful distance.
Neither is, however, of much value, except in general effect; but the
Barbaro is the best, and the pointed arcade in its side wall, seen
from the narrow canal between it and the Cavalli, is good Gothic, of
the earliest fourteenth century type.

BARNABA, CHURCH OF ST. Of no importance.

BARTOLOMEO, CHURCH OF ST. I did not go to look at the works of
Sebastian del Piombo which it contains, fully crediting M. Lazari's
statement, that they have been "Barbaramente sfigurati da mani
imperite, che pretendevano ristaurarli." Otherwise the church is of no
importance.

BASSO, CHURCH OF ST. Of no importance.

BATTAGIA, PALAZZO, on the Grand Canal. Of no importance.

BECCHERIE. See QUERINI.

BEMBO, PALAZZO, on the Grand Canal, next the Casa Manin. A noble
Gothic pile, circa 1350-1380, which, before it was painted by the
modern Venetians with the two most valuable colors of Tintoret, Bianco
e Nero, by being whitewashed above, and turned into a coal warehouse
below, must have been among the most noble in effect on the whole
Grand Canal. It still forms a beautiful group with the Rialto, some
large shipping being generally anchored at its quay. Its sea story and
entresol are of earlier date, I believe, than the rest; the doors of
the former are Byzantine (see above, Final Appendix, under head
"Jambs"); and above the entresol is a beautiful Byzantine cornice,
built into the wall, and harmonizing well with the Gothic work.

BEMBO, PALAZZO, in the Calle Magno, at the Campo de' due Pozzi, close
to the Arsenal. Noticed by Lazari and Selvatico as having a very
interesting staircase. It is early Gothic, circa 1330, but not a whit
more interesting than many others of similar date and design. See
"Contarini Porta de Ferro," "Morosini," "Sanudo," and "Minelli."

BENEDETTO, CAMPO OF ST. Do not fail to see the superb, though
partially ruinous, Gothic palace fronting this little square. It is
very late Gothic, just passing into Renaissance; unique in Venice, in
masculine character, united with the delicacy of the incipient style.
Observe especially the brackets of the balconies, the flower-work on
the cornices, and the arabesques on the angles of the balconies
themselves.

BENEDETTO, CHURCH OF ST. Of no importance.

BERNARDO, PALAZZO, on the Grand Canal. A very noble pile of early
fifteenth century Gothic, founded on the Ducal Palace. The traceries
in its lateral windows are both rich and unusual.

BERNARDO, PALAZZO, at St. Polo. A glorious palace, on a narrow canal,
in a part of Venice now inhabited by the lower orders only. It is
rather late Central Gothic, circa 1380-1400, but of the finest kind,
and superb in its effect of color when seen from the side. A capital
in the interior court is much praised by Selvatico and Lazari, because
its "foglie d'acanto" (anything by the by, _but_ acanthus), "quasi
agitate de vento si attorcigliano d'intorno alla campana, _concetto
non indegno della bell'epoca greca_!" Does this mean "epoca
Bisantina?" The capital is simply a translation into Gothic sculpture
of the Byzantine ones of St. Mark's and the Fondaco de' Turchi (see
Plate VIII. Vol. I. fig. 14), and is far inferior to either. But,
taken as a whole, I think that, after the Ducal Palace, this is the
noblest in effect of all in Venice.

BRENTA, Banks of the, I. 354. Villas on the, I. 354.

BUSINELLO, CASA, II. 391.

BYZANTINE PALACES generally, II. 118.

C

CAMERLENGHI, PALACE OF THE, beside the Rialto. A graceful work of the
early Renaissance (1525) passing into Roman Renaissance. Its details
are inferior to most of the work of the school. The "Camerlenghi,"
properly "Camerlenghi di Comune," were the three officers or ministers
who had care of the administration of public expenses.

CANCELLARIA, II. 293.

CANCIANO, CHURCH OF ST. Of no importance.

CAPPELLO, PALAZZO, at St. Aponal. Of no interest. Some say that Bianca
Cappello fled from it; but the tradition seems to fluctuate between
the various houses belonging to her family.

CARITÀ, CHURCH OF THE. Once an interesting Gothic church of the
fourteenth century, lately defaced, and applied to some of the usual
important purposes of the modern Italians. The effect of its ancient
façade may partly be guessed at from the pictures of Canaletto, but
only guessed at; Canaletto being less to be trusted for renderings of
details, than the rudest and most ignorant painter of the thirteenth
century.

CARMINI, CHURCH OF THE. A most interesting church of late thirteenth
century work, but much altered and defaced. Its nave, in which the
early shafts and capitals of the pure truncate form are unaltered, is
very fine in effect; its lateral porch is quaint and beautiful,
decorated with Byzantine circular sculptures (of which the central one
is given in Vol. II. Plate XI. fig. 5), and supported on two shafts
whose capitals are the most archaic examples of the pure Rose form
that I know in Venice.

There is a glorious Tintoret over the first altar on the right in
entering; the "Circumcision of Christ." I do not know an aged head
either more beautiful or more picturesque than that of the high
priest. The cloister is full of notable tombs, nearly all dated; one,
of the fifteenth century, to the left on entering, is interesting from
the color still left on the leaves and flowers of its sculptured
roses.

CASSANO, CHURCH OF ST. This church must on no account be missed, as it
contains three Tintorets, of which one, the "Crucifixion," is among
the finest in Europe. There is nothing worth notice in the building
itself, except the jamb of an ancient door (left in the Renaissance
buildings, facing the canal), which has been given among the examples
of Byzantine jambs; and the traveller may, therefore, devote his
entire attention to the three pictures in the chancel.

1. _The Crucifixion._ (On the left of the high altar.) It is
refreshing to find a picture taken care of, and in a bright though not
a good light, so that such parts of it as are seen at all are seen
well. It is also in a better state than most pictures in galleries,
and most remarkable for its new and strange treatment of the subject.
It seems to have been painted more for the artist's own delight, than
with any labored attempt at composition; the horizon is so low that
the spectator must fancy himself lying at full length on the grass, or
rather among the brambles and luxuriant weeds, of which the foreground
is entirely composed. Among these, the seamless robe of Christ has
fallen at the foot of the cross; the rambling briars and wild grasses
thrown here and there over its folds of rich, but pale, crimson.
Behind them, and seen through them, the heads of a troop of Roman
soldiers are raised against the sky; and, above them, their spears and
halberds form a thin forest against the horizontal clouds. The three
crosses are put on the extreme right of the picture, and its centre is
occupied by the executioners, one of whom, standing on a ladder,
receives from the other at once the sponge and the tablet with the
letters INRI. The Madonna and St. John are on the extreme left,
superbly painted, like all the rest, but quite subordinate. In fact,
the whole mind of the painter seems to have been set upon making the
principals accessary, and the accessaries principal. We look first at
the grass, and then at the scarlet robe; and then at the clump of
distant spears, and then at the sky, and last of all at the cross. As
a piece of color, the picture is notable for its extreme modesty.
There is not a single very full or bright tint in any part, and yet
the color is delighted in throughout; not the slightest touch of it
but is delicious. It is worth notice also, and especially, because
this picture being in a fresh state we are sure of one fact, that,
like nearly all other great colorists, Tintoret was afraid of light
greens in his vegetation. He often uses dark blue greens in his
shadowed trees, but here where the grass is in full light, it is all
painted with various hues of sober brown, more especially where it
crosses the crimson robe. The handling of the whole is in his noblest
manner; and I consider the picture generally quite beyond all price.
It was cleaned, I believe, some years ago, but not injured, or at
least as little injured as it is possible for a picture to be which
has undergone any cleaning process whatsoever.

2. _The Resurrection._ (Over the high altar.) The lower part of this
picture is entirely concealed by a miniature temple, about five feet
high, on the top of the altar; certainly an insult little expected by
Tintoret, as, by getting on steps, and looking over the said temple,
one may see that the lower figures of the picture are the most
labored. It is strange that the painter never seemed able to conceive
this subject with any power, and in the present work he is
marvellously hampered by various types and conventionalities. It is
not a painting of the Resurrection, but of Roman Catholic saints,
_thinking_ about the Resurrection. On one side of the tomb is a bishop
in full robes, on the other a female saint, I know not who; beneath
it, an angel playing on an organ, and a cherub blowing it; and other
cherubs flying about the sky, with flowers; the whole conception being
a mass of Renaissance absurdities. It is, moreover, heavily painted,
over-done, and over-finished; and the forms of the cherubs utterly
heavy and vulgar. I cannot help fancying the picture has been restored
in some way or another, but there is still great power in parts of it.
If it be a really untouched Tintoret, it is a highly curious example
of failure from over-labor on a subject into which his mind was not
thrown: the color is hot and harsh, and felt to be so more painfully,
from its opposition to the grand coolness and chastity of the
"Crucifixion." The face of the angel playing the organ is highly
elaborated; so, also, the flying cherubs.

3. _The Descent into Hades._ (On the right-hand side of the high
altar.) Much injured and little to be regretted. I never was more
puzzled by any picture, the painting being throughout careless, and in
some places utterly bad, and yet not like modern work; the principal
figure, however, of Eve, has either been redone, or is scholar's work
altogether, as, I suspect, most of the rest of the picture. It looks
as if Tintoret had sketched it when he was ill, left it to a bad
scholar to work on with, and then finished it in a hurry; but he has
assuredly had something to do with it; it is not likely that anybody
else would have refused all aid from the usual spectral company with
which common painters fill the scene. Bronzino, for instance, covers
his canvas with every form of monster that his sluggish imagination
could coin. Tintoret admits only a somewhat haggard Adam, a graceful
Eve, two or three Venetians in court dress, seen amongst the smoke,
and a Satan represented as a handsome youth, recognizable only by the
claws on his feet. The picture is dark and spoiled, but I am pretty
sure there are no demons or spectres in it. This is quite in
accordance with the master's caprice, but it considerably diminishes
the interest of a work in other ways unsatisfactory. There may once
have been something impressive in the shooting in of the rays at the
top of the cavern, as well as in the strange grass that grows in the
bottom, whose infernal character is indicated by its all being knotted
together; but so little of these parts can be seen, that it is not
worth spending time on a work certainly unworthy of the master, and in
great part probably never seen by him.

CATTARINA, CHURCH OF ST., said to contain a _chef-d'oeuvre_ of Paul
Veronese, the "Marriage of St. Catherine." I have not seen it.

CAVALLI, PALAZZO, opposite the Academy of Arts. An imposing pile, on
the Grand Canal, of Renaissance Gothic, but of little merit in the
details; and the effect of its traceries has been of late destroyed by
the fittings of modern external blinds. Its balconies are good, of the
later Gothic type. See "BARBARO."

CAVALLI, PALAZZO, next the Casa Grimani (or Post-Office), but on the
other side of the narrow canal. Good Gothic, founded on the Ducal
Palace, circa 1380. The capitals of the first story are remarkably
rich in the deep fillets at the necks. The crests, heads of
sea-horses, inserted between the windows, appear to be later, but are
very fine of their kind.

CICOGNA, PALAZZO, at San Sebastiano, II. 265.

CLEMENTE, CHURCH OF ST. On an island to the south of Venice, from
which the view of the city is peculiarly beautiful. See "SCALZI."

CONTARINI PORTA DI FERRO, PALAZZO, near the Church of St. John and
Paul, so called from the beautiful ironwork on a door, which was some
time ago taken down by the proprietor and sold. Mr. Rawdon Brown
rescued some of the ornaments from the hands of the blacksmith, who
had bought them for old iron. The head of the door is a very
interesting stone arch of the early thirteenth century, already drawn
in my folio work. In the interior court is a beautiful remnant of
staircase, with a piece of balcony at the top, circa 1350, and one of
the most richly and carefully wrought in Venice. The palace, judging
by these remnants (all that are now left of it, except a single
traceried window of the same date at the turn of the stair), must once
have been among the most magnificent in Venice.

CONTARINI (DELLE FIGURE), PALAZZO, on the Grand Canal, III. 17.

CONTARINI DAI SCRIGNI, PALAZZO, on the Grand Canal. A Gothic building,
founded on the Ducal Palace. Two Renaissance statues in niches at the
sides give it its name.

CONTARINI FASAN, PALAZZO, on the Grand Canal, II. 244. The richest
work of the fifteenth century domestic Gothic in Venice, but notable
more for richness than excellence of design. In one respect, however,
it deserves to be regarded with attention, as showing how much beauty
and dignity may be bestowed on a very small and unimportant
dwelling-house by Gothic sculpture. Foolish criticisms upon it have
appeared in English accounts of foreign buildings, objecting to it on
the ground of its being "ill-proportioned;" the simple fact being,
that there was no room in this part of the canal for a wider house,
and that its builder made its rooms as comfortable as he could, and
its windows and balconies of a convenient size for those who were to
see through them, and stand on them, and left the "proportions"
outside to take care of themselves; which, indeed, they have very
sufficiently done; for though the house thus honestly confesses its
diminutiveness, it is nevertheless one of the principal ornaments of
the very noblest reach of the Grand Canal, and would be nearly as
great a loss, if it were destroyed, as the Church of La Salute itself.

CONTARINI, PALAZZO, at St. Luca. Of no importance.

CORNER DELLA CA' GRANDE, PALAZZO, on the Grand Canal. One of the worst
and coldest buildings of the central Renaissance, It is on a grand
scale, and is a conspicuous object, rising over the roofs of the
neighboring houses in the various aspects of the entrance of the Grand
Canal, and in the general view of Venice from San Clemente.

CORNER DELLA REGINA, PALAZZO. A late Renaissance building of no merit
or interest.

CORNER MOCENIGO, PALAZZO, at St. Polo. Of no interest.

CORNER SPINELLI, PALAZZO, on the Grand Canal. A graceful and
interesting example of the early Renaissance, remarkable for its
pretty circular balconies.

CORNER, RACCOLTA. I must refer the reader to M. Lazari's Guide for an
account of this collection, which, however, ought only to be visited
if the traveller is not pressed for time.

D

DANDOLO, PALAZZO, on the Grand Canal. Between the Casa Loredan and
Casa Bembo is a range of modern buildings, some of which occupy, I
believe, the site of the palace once inhabited by the Doge Henry
Dandolo. Fragments of early architecture of the Byzantine school may
still be traced in many places among their foundations, and two doors
in the foundation of the Casa Bembo itself belong to the same group.
There is only one existing palace, however, of any value, on this
spot, a very small but rich Gothic one of about 1300, with two groups
of fourth order windows in its second and third stories, and some
Byzantine circular mouldings built into it above. This is still
reported to have belonged to the family of Dandolo, and ought to be
carefully preserved, as it is one of the most interesting and ancient
Gothic palaces which yet remain.

DANIELI, ALBERGO. See Nani.

DA PONTE, PALAZZO. Of no interest.

DARIO, PALAZZO, I. 370; III. 211.

DOGANA DI MARE, at the separation of the Grand Canal from the Giudecca.
A barbarous building of the time of the Grotesque Renaissance (1676),
rendered interesting only by its position. The statue of Fortune,
forming the weathercock, standing on the world, is alike
characteristic of the conceits of the time, and of the hopes and
principles of the last days of Venice.

DONATO, CHURCH OF ST., at Murano, II. 31.

DONA', PALAZZO, on the Grand Canal. I believe the palace described under
this name as of the twelfth century, by M. Lazari, is that which I
have called the Braided House, II. 132, 392.

D'ORO CASA. A noble pile of very quaint Gothic, once superb in general
effect, but now destroyed by restorations. I saw the beautiful slabs
of red marble, which formed the bases of its balconies, and were
carved into noble spiral mouldings of strange sections, half a foot
deep, dashed to pieces when I was last in Venice; its glorious
interior staircase, by far the most interesting Gothic monument of the
kind in Venice, had been carried away, piece by piece, and sold for
waste marble, two years before. Of what remains, the most beautiful
portions are, or were, when I last saw them, the capitals of the
windows in the upper story, most glorious sculpture of the fourteenth
century. The fantastic window traceries are, I think, later; but the
rest of the architecture of this palace is anomalous, and I cannot
venture to give any decided opinion respecting it. Parts of its
mouldings are quite Byzantine in character, but look somewhat like
imitations.

DUCAL PALACE, I. 29; history of, II. 282, etc.; III. 199; plan and
section of, II. 282, 283; description of, II. 304, etc.; series of its
capitals, II. 332, etc.; spandrils of, I. 299, 415; shafts of, I. 413;
traceries of, derived from those of the Frari, II. 234; angles of, II.
239; main balcony of, II. 245; base of, III. 212; Rio Façade of, III.
25; paintings in, II. 372. The multitude of works by various masters,
which cover the walls of this palace is so great, that the traveller
is in general merely wearied and confused by them. He had better
refuse all attention except to the following works:

1. _Paradise_, by Tintoret; at the extremity of the Great Council
chamber. I found it impossible to count the number of figures in this
picture, of which the grouping is so intricate, that at the upper part
it is not easy to distinguish one figure from another; but I counted
150 important figures in one half of it alone; so that, as there are
nearly as many in subordinate position, the total number cannot be
under 500. I believe this is, on the whole, Tintoret's
_chef-d'oeuvre_; though it is so vast that no one takes the trouble
to read it, and therefore less wonderful pictures are preferred to it.
I have not myself been able to study except a few fragments of it, all
executed in his finest manner; but it may assist a hurried observer to
point out to him that the whole composition is divided into concentric
zones, represented one above another like the stories of a cupola,
round the figures of Christ and the Madonna, at the central and
highest point: both these figures are exceedingly dignified and
beautiful. Between each zone or belt of the nearer figures, the white
distances of heaven are seen filled with floating spirits. The picture
is, on the whole, wonderfully preserved, and the most precious thing
that Venice possesses. She will not possess it long; for the Venetian
academicians, finding it exceedingly unlike their own works, declare
it to want harmony, and are going to retouch it to their own ideas of
perfection.

2. _Siege of Zara_; the first picture on the right on entering the
Sala del Scrutinio. It is a mere battle piece, in which the figures,
like the arrows, are put in by the score. There are high merits in the
thing, and so much invention that it is possible Tintoret may have
made the sketch for it; but, if executed by him at all, he has done it
merely in the temper in which a sign-painter meets the wishes of an
ambitious landlord. He seems to have been ordered to represent all the
events of the battle at once; and to have felt that, provided he gave
men, arrows, and ships enough, his employers would be perfectly
satisfied. The picture is a vast one, some thirty feet by fifteen.

Various other pictures will be pointed out by the custode, in these
two rooms, as worthy of attention, but they are only historically, not
artistically, interesting. The works of Paul Veronese on the ceiling
have been repainted; and the rest of the pictures on the walls are by
second-rate men. The traveller must, once for all, be warned against
mistaking the works of Domenico Robusti (Domenico Tintoretto), a very
miserable painter, for those of his illustrious father, Jacopo.

3. _The Doge Grimani kneeling before Faith_, by Titian; in the Sala
delle quattro Porte. To be observed with care, as one of the most
striking examples of Titian's want of feeling and coarseness of
conception. (See above, Vol. I. p. 12.) As a work of mere art, it is,
however, of great value. The traveller who has been accustomed to
deride Turner's indistinctness of touch, ought to examine carefully
the mode of painting the Venice in the distance at the bottom of this
picture.

4. _Frescoes on the Roof of the Sala delle quattro Porte_, by
Tintoret. Once magnificent beyond description, now mere wrecks (the
plaster crumbling away in large flakes), but yet deserving of the most
earnest study.

5. _Christ taken down from the Cross_, by Tintoret; at the upper end
of the Sala dei Pregadi. One of the most interesting mythic pictures
of Venice, two doges being represented beside the body of Christ, and
a most noble painting; executed, however, for distant effect, and seen
best from the end of the room.

6. _Venice, Queen of the Sea_, by Tintoret. Central compartment of the
ceiling, in the Sala dei Pregadi. Notable for the sweep of its vast
green surges, and for the daring character of its entire conception,
though it is wild and careless, and in many respects unworthy of the
master. Note the way in which he has used the fantastic forms of the
sea weeds, with respect to what was above stated (III. 158), as to his
love of the grotesque.

7. _The Doge Loredano in Prayer to the Virgin_, by Tintoret; in the
same room. Sickly and pale in color, yet a grand work; to be studied,
however, more for the sake of seeing what a great man does "to order,"
when he is wearied of what is required from him, than for its own
merit.

8. _St. George and the Princess._ There are, besides the "Paradise,"
only six pictures in the Ducal Palace, as far as I know, which
Tintoret painted carefully, and those are all exceedingly fine: the
most finished of these are in the Anti-Collegio; but those that are
most majestic and characteristic of the master are two oblong ones,
made to fill the panels of the walls in the Anti-Chiesetta; these two,
each, I suppose, about eight feet by six, are in his most quiet and
noble manner. There is excessively little color in them, their
prevalent tone being a greyish brown opposed with grey, black, and a
very warm russet. They are thinly painted, perfect in tone, and quite
untouched. The first of them is "St. George and the Dragon," the
subject being treated in a new and curious way. The principal figure
is the princess, who sits astride on the dragon's neck, holding him by
a bridle of silken riband; St. George stands above and behind her,
holding his hands over her head as if to bless her, or to keep the
dragon quiet by heavenly power; and a monk stands by on the right,
looking gravely on. There is no expression or life in the dragon,
though the white flashes in its eye are very ghastly: but the whole
thing is entirely typical; and the princess is not so much represented
riding on the dragon, as supposed to be placed by St. George in an
attitude of perfect victory over her chief enemy. She has a full rich
dress of dull red, but her figure is somewhat ungraceful. St. George
is in grey armor and grey drapery, and has a beautiful face; his
figure entirely dark against the distant sky. There is a study for
this picture in the Manfrini Palace.

9. _St. Andrew and St. Jerome._ This, the companion picture, has even
less color than its opposite. It is nearly all brown and grey; the
fig-leaves and olive-leaves brown, the faces brown, the dresses brown,
and St. Andrew holding a great brown cross. There is nothing that can
be called color, except the grey of the sky, which approaches in some
places a little to blue, and a single piece of dirty brick-red in St.
Jerome's dress; and yet Tintoret's greatness hardly ever shows more
than in the management of such sober tints. I would rather have these
two small brown pictures, and two others in the Academy perfectly
brown also in their general tone--the "Cain and Abel" and the "Adam
and Eve,"--than all the other small pictures in Venice put together,
which he painted in bright colors, for altar pieces; but I never saw
two pictures which so nearly approached grisailles as these, and yet
were delicious pieces of color. I do not know if I am right in calling
one of the saints St. Andrew. He stands holding a great upright wooden
cross against the sky. St. Jerome reclines at his feet, against a
rock, over which some glorious fig leaves and olive branches are
shooting; every line of them studied with the most exquisite care, and
yet cast with perfect freedom.

10. _Bacchus and Ariadne._ The most beautiful of the four careful
pictures by Tintoret, which occupy the angles of the Anti-Collegio.
Once one of the noblest pictures in the world, but now miserably
faded, the sun being allowed to fall on it all day long. The design of
the forms of the leafage round the head of the Bacchus, and the
floating grace of the female figure above, will, however, always give
interest to this picture, unless it be repainted.

The other three Tintorets in this room are careful and fine, but far
inferior to the "Bacchus;" and the "Vulcan and the Cyclops" is a
singularly meagre and vulgar study of common models.

11. _Europa_, by Paul Veronese: in the same room. One of the very few
pictures which both possess and deserve a high reputation.

12. _Venice enthroned_, by Paul Veronese; on the roof of the same
room. One of the grandest pieces of frank color in the Ducal Palace.

13. _Venice, and the Doge Sebastian Venier_; at the upper end of the
Sala del Collegio. An unrivalled Paul Veronese, far finer even than
the "Europa."

14. _Marriage of St. Catherine_, by Tintoret; in the same room. An
inferior picture, but the figure of St. Catherine is quite exquisite.
Note how her veil falls over her form, showing the sky through it, as
an alpine cascade falls over a marble rock.

There are three other Tintorets on the walls of this room, but all
inferior, though full of power. Note especially the painting of the
lion's wings, and of the colored carpet, in the one nearest the
throne, the Doge Alvise Mocenigo adoring the Redeemer.

The roof is entirely by Paul Veronese, and the traveller who really
loves painting, ought to get leave to come to this room whenever he
chooses; and should pass the sunny summer mornings there again and
again, wandering now and then into the Anti-Collegio and Sala dei
Pregadi, and coming back to rest under the wings of the couched lion
at the feet of the "Mocenigo." He will no otherwise enter so deeply
into the heart of Venice.

E

EMO, PALAZZO, on the Grand Canal. Of no interest.

ERIZZO, PALAZZO, near the Arsenal, II. 262.

ERIZZO, PALAZZO, on the Grand Canal, nearly opposite the Fondaco
de'Turchi. A Gothic palace, with a single range of windows founded on
the Ducal traceries, and bold capitals. It has been above referred to
in the notice of tracery bars.

EUFEMIA, CHURCH OF ST. A small and defaced, but very curious, early
Gothic church on the Giudecca. Not worth visiting, unless the
traveller is seriously interested in architecture.

EUROPA, ALBERGO, ALL'. Once a Giustiniani Palace. Good Gothic, circa
1400, but much altered.

EVANGELISTI, CASA DEGLI, II. 265.

F

FACANON, PALAZZO (ALLA FAVA). A fair example of the fifteenth century
Gothic, founded on Ducal Palace.

FALIER, PALAZZO, at the Apostoli. Above, II. 253.

FANTINO, CHURCH OF ST. Said to contain a John Bellini, otherwise of no
importance.

FARSETTI, PALAZZO, on the Grand Canal, II. 124, 393.

FAVA, CHURCH OF ST. Of no importance.

FELICE, CHURCH OF ST. Said to contain a Tintoret, which, if untouched,
I should conjecture, from Lazari's statement of its subject, St.
Demetrius armed, with one of the Ghisi family in prayer, must be very
fine. Otherwise the church is of no importance.

FERRO, PALAZZO, on the Grand Canal. Fifteenth century Gothic, very
hard and bad.

FLANGINI, PALAZZO, on the Grand Canal. Of no importance.

FONDACO DE' TURCHI, I. 328; II. 120, 121, 236. The opposite plate,
representing three of its capitals, has been several times referred
to.

FONDACO DE' TEDESCHI. A huge and ugly building near the Rialto,
rendered, however, peculiarly interesting by remnants of the frescoes
by Giorgione with which it was once covered. See Vol. II. 80, and III.
23.

FORMOSA, CHURCH OF SANTA MARIA, III. 113, 122,

FOSCA, CHURCH OF ST. Notable for its exceedingly picturesque
campanile, of late Gothic, but uninjured by restorations, and
peculiarly Venetian in being crowned by the cupola instead of the
pyramid, which would have been employed at the same period in any
other Italian city.

FOSCARI, PALAZZO, on the Grand Canal. The noblest example in Venice of
the fifteenth century Gothic, founded on the Ducal Palace, but lately
restored and spoiled, all but the stone-work of the main windows. The
restoration was necessary, however: for, when I was in Venice in 1845,
this palace was a foul ruin; its great hall a mass of mud, used as a
back receptacle of a stone-mason's yard; and its rooms whitewashed,
and scribbled over with indecent caricatures. It has since been
partially strengthened and put in order; but as the Venetian
municipality have now given it to the Austrians to be used as
barracks, it will probably soon be reduced to its former condition.
The lower palaces at the side of this building are said by some to
have belonged to the younger Foscari. See "GIUSTINIANI."

FRANCESCO DELLA VIGNA, CHURCH OF ST. Base Renaissance, but must be
visited in order to see the John Bellini in the Cappella Santa. The
late sculpture, in the Cappella Giustiniani, appears from Lazari's
statement to be deserving of careful study. This church is said also
to contain two pictures by Paul Veronese.