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110

Piano

the right end of the W. façade, among the tracery of the upper arcade, and the high-reliefs over the corner-columns on the Molo (Adam and Eve, at the S. W. angle, Noah's Transgression, at the S.E. angle) are remarkable achievements of Lombard sculpture (15th cent.) Mr. Ruskin, who gives an elaborate description of the sculptures in his 'Stones of Venice', affirms that the capital under the Adam and Eve, 'in the workmanship and grouping of its foliage', is, on the whole, the finest he knows in Europe. On the corner-pillar next the portal are interesting figures of Numa Pompilius, Scipio, Emperor Trajan judging the cause of a widow, Justice, etc., all with inscriptions. The group above these is the *Judgment of Solomon, by two unknown Florentines (1438; injured). All these are Gothic.

Among the sculptures of the *Porta della Carta the figure of Temperance, below to the left, the charming Putti climbing among the Gothic foliage of the tympanum, and the figure of Strength, above, are especially attractive. The relief of the Lion of St. Mark with the kneeling figure of Doge Franc. Foscari, above the portal, and the similar relief over the balcony on the W. façade are modern reproductions of works destroyed by the Radicals in 1797.

The COURT (Corte; comp. the Plan, p. 360), with its picturesque combination of Gothic and Renaissance styles, is very magnificent. In the centre are two Well Heads in bronze, of 1556 and 1559. In the Renaissance niches of the N. façade, adjoining the entrance, are antique statues (freely restored), a statue of the Venetian general Duke Francis Maria I. of Urbino (d. 1538) by Giovanni dall' Opera (p. 571), and the statue of a shield-bearer by Ant. Rizzo. The beautiful statues of *Adam and Eve, on the so-called Arco Foscari, opposite the Scala dei Giganti, also are by Rizzo (1464).

The richly ornamented Scala dei Giganti, the flight of steps leading to the palace, derives its name from the colossal statues of Mars and Neptune at the top, by Sansovino (1554). It was built by Ant. Rizzo. On the highest landing of these steps, in the later period of the Republic, the doges were crowned.

The *Interior (admission, see p. 347; office on the first floor, to the right) includes the residence of the Doges and the apartments in which the authorities of the Republic held their meetings. The latter retain much of their ancient splendour. Since the fires of 1574 and 1577, which destroyed most of the interior, the palace has become a museum mainly of later masters, such as Tintoretto, Paolo Veronese, and Palma Giovane, and presents a most brilliant display of Venetian painting, so far as executed for the service of the state. The excellent condition of most of the paintings is noteworthy; the gorgeous colouring of P. Veronese is nowhere better illustrated. Lists of the pictures are placed in the principal rooms on week-days. We ascend the Scala dei Giganti, not forgetting to notice the tasteful Renaissance ornamentation of the steps.

FIRST FLOOR (Piano delle Logge, comp. the Plan, p. 361). In the upper colonnade are modern busts of Venetian scholars, artists, and doges. To the right, beside the ticket-office, is the richly decorated Scala d'Oro, built by Sansovino and restored in 1577, once accessible to those only whose names were entered as 'Nobili' in the Golden Book (p. 404). The stucco-work is by Al. Vittoria, the paintings by G. B. Franco. This staircase ascends direct to the third story. The next staircase, the Scala dei Censori, is the entrance to the second floor (p. 364).

THIRD FLOOR (Terzo Piano on the Plan, p. 361). We first enter a small anteroom, the

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I. ATRIO QUADRATO, with ceiling-paintings by Tintoretto, Doge Priuli receiving the sword of justice. On the walls, portraits of procurators (p. 354), also by Tintoretto. To the right is the

II. SALA DELLE QUATTRO PORTE, restored in 1869; architectonic decorations by Palladio (1575). Entrance-wall, in the centre: *Doge Ant. Grimani kneeling before Religion, by Titian (a late work; ca. 1555), brought hither after the fire of 1574; the figures at the sides are by Marco Vecelli. The side pictures are by Titian's pupils: left, Verona conquered by the Venetians in 1459, by Giov. Contarini. Over the windows in the E. wall: Neptune strewing the treasures of the deep at the feet of Venetia, by Tiepolo. Exit-wall: Arrival of Henri III of France at Venice in 1574, by Andrea Vicentino; Doge Marino Grimani receiving the Persian ambassadors in 1603, by Gabriele Caliari, son of P. Veronese. Magnificent ceiling with stucco-work; painting by Iac. Tintoretto.

III. ANTICOLLEGIO, opposite the Atrio Quadrato. The decoration and fine chimney-piece were designed by Scamozzi. Opposite the windows, Jacob's return to Canaan, by Iac. Bassano; *Rape of Europa, by P. Veronese. Also, four paintings by Tintoretto: Forge of Vulcan, Mercury with the Graces, Minerva driving back Mars, and Ariadne and Bacchus. On the ceiling, Venetia enthroned (faded), a fresco by P. Veronese.·

IV. SALA DEL COLLEGIO. On the left, chimney-piece with statues of Hercules and Mercury, by Girol. Campagna. Over the door and on the exit-wall: Doge Andrea Gritti praying to the Virgin, Nuptials of St. Catharine (with a portrait of Doge Franc. Donato), Virgin in glory (with Doge Niccolò da Ponte), Adoration of the Saviour (with Doge Alvise Mocenigo), all by Iac. Tintoretto. Over the throne, a *Memorial picture of the Battle of Lepanto (1571; p. 349), Christ in glory (below, Doge Venier and St. Justina; left, Religion; right, St. Mark; at the back, Venetia), by P. Veronese. Ceiling-paintings (considered the finest in the palace), Neptune and Mars, Religion, *Venetia on the globe with Justice and Peace, all by P. Veronese.

V. SALA DEL SENATO. On the W. wall, over the throne, Descent

from the Cross, by Iac. Tintoretto, with portraits of the Doges Pietro Lando and Marc' Antonio Trevisano; on the wall, to the left, Doge Seb. Venier before Venetia, Doge Pasquale Cicogna in presence of the Saviour, Venetia with the Lion against Europa on the Bull (an allusion to the League of Cambrai, see p. 349), all by Palma Giovane; Doge Pietro Loredan imploring the aid of the Virgin, by Iac. Tintoretto. On the S. end-wall, Christ in glory, with Doges Lorenzo and Girolamo Priuli, by Palma Giovane. Central ceiling-painting: Venice, Queen of the Sea, by Iac. Tintoretto. Beyond this room (to the right of the throne) is the ANTICHIESETTA, or vestibule to the chapel of the Doges, containing two pictures by Iac. Tintoretto, SS. Jerome and Andrew, and SS. Louis, Margaret, and George. The CHAPEL (Chiesetta) contains pictures (*Giov. Bellini, Madonna); over the altar, Statue of the Madonna by Tomm. Lombardi (1536; not Sansovino).

We return to the Sala delle Quattro Porte and thence pass through an anteroom (left) to the

VI. SALA DEL CONSIGLIO DEI DIECI (comp. p. 348). Entrance wall: Pope Alexander III., the Patriarch of Grado, and Doge Seb. Ziani (p. 364), by Leandro Bassano; opposite, the Peace of Bologna between Pope Clement VII. and Emp. Charles V., 1529, by Marco Vecelli. Back-wall: Adoration of the Magi, by Aliense. Ceiling-paintings, partly copies of Veronese and partly by Batt. Zelotti and others; the *Old Man supporting his head with his hand (at the back) is by P. Veronese himself.

VII. SALA DELLA BUSSOLA, antechamber of the three Inquisitors of the Republic (view into the courtyard of the Carceri, p. 367). On the exit-wall (the former entrance) is an opening, formerly adorned with a lion's head in marble, into the mouth of which (Bocca di Leone) secret denunciations were thrown. This room contains two pictures by Aliense: on the entrance-wall, Taking of Brescia, 1426, opposite, Taking of Bergamo, 1427; chimney-piece by Sansovino; opposite, Doge Leon. Donato kneeling before the Madonna, by Marco Vecelli. On the ceiling, St. Mark surrounded by angels, by Paolo Veronese (a copy; original in the Louvre). The room to the right is the

VIII. SALA DEI CAPI DEL CONSIGLIO (the three heads of the Council of Ten). Central ceiling-painting, an angel driving away the vices, of the school of Paolo Veronese; chimney-piece by Sansovino, with caryatides by Pietro da Salò. On the right wall: Madonna and Child, two saints, and Doge Leon. Loredan, by Vinc. Catena. We now return through the Sala della Bussola and from the staircase enter the PIOMBI, the garret-prisons immediately under the leads (piombi) of the palace, which were rendered accessible again in 1911. The reputation of these cells is worse than the reality. We descend the staircase to the