Venice

by Clara Erskine Clement Waters

The second is a much smaller composition, divided by columns. On one side there is light; on the other, shadow. The subject is the "Embassy from the Pope and the Republic to Frederick II. at Pavia." The groups are animated, and the costumes varied, as senators, soldiers, and priests are all represented.

Above a window Leandro Bassano has painted a picture of "the Doge receiving a lighted taper from the Pope," commemorating this act which conferred on all future Doges the privilege of having a taper borne before them.

The fourth, by Jacopo Tintoretto, presents the scene at Pavia, when Barbarossa declares that if the Pope is not surrendered to him, he will "plant his eagles above the portal of San Marco." Both the good and the bad in Tintoretto's manner are displayed in this work, but the figures of the two ambassadors are admirable. The more his pictures are studied, the better is the saying of the Venetians understood, "There are three Tintorettos,—one of bronze, a second of silver, and a third of gold."

The fifth painting, by Francesco Bassano, represents "the Pope presenting a consecrated sword to the Doge." It is a most interesting study, it being a representation of the Piazza as it appeared at the end of the sixteenth century. The scene is actually in the Piazzetta, between the landing and the column of the Lion. In perspective, on one side the Ducal Palace appears, and on the other the Campanile and the angle of the Procuratorie, while in the distance is the Clock-Tower. The Piazza is full of people. Priests in fine vestments, Senators in their robes, soldiers with nodding plumes in their hats, trumpeters and drummers, all witness the ceremony. The Doge, wearing the ducal crown, in his crimson velvet dress, beneath the mantle of the cloth of gold, is most impressive, as he slightly bends his knee when receiving the sword.

Francesco Bassano excelled in giving an air of reality to his paintings, and in his aptness in invention; and while this scene actually occurred in 1172, he has surrounded it with the Piazza of four centuries later, which greatly adds to its value for us,—he wrought better than he knew.

Above a window Fiammingo painted "The Doge receiving the Parting Benediction of the Pope;" and next that is the "Battle of Salboro," in which Otho, the son of Barbarossa, was taken prisoner. This is the work of Domenico Tintoretto, who showed himself at his best, and seemed a worthy son of his father, in his pictures of naval battles. When we are told that the battle of Salboro was never fought, and that the whole story is but a piece of Venetian boasting, it is impossible to feel the same interest in the work that a representation of a well attested fact would arouse; but this does not prevent the study of the details of costume, armor, and naval equipments, which are very curious.

Above a door Andrea Vicentino painted a picture of "The Doge presenting Prince Otho to the Pope;" and in the next scene Palina Giovane represented the "Release of Otho by the Pope." After Veronese and Tintoretto, and among the secondary artists who were honored by commissions in the decoration of the Ducal Palace, Palma Giovane may well claim attention. Domenico Tintoretto alone rivals him in their class. He was skilful in design, but lacked sentiment and intensity of spirit. He knew all the optical effects in painting. He used his brush dexterously. He had studied and copied from Michael Angelo until he had mastered foreshortening. He handled his colors after Titian's manner. In short, he only lacked soul, in order to have been a great painter. But through the friendship and influence of Alexander Vittoria he became the fashion, and his pictures are seen in all the churches, and other edifices of honor in Venice, as well as in many galleries of the chief cities of Italy, and other European countries. His drawings and engravings were much valued, and were sold for nearly as large sums as were paid for his pictures in oil.

"The Emperor submitting to the Pope" affords one of the most interesting scenes and best artistic opportunities in the series. It is by Federigo Zucchero, who was by no means a great artist; yet this work is very attractive.

Above another door Girolamo Gamberato painted "The Doge landing at Ancona with the Pope and the Emperor after the Reconciliation." Tradition teaches that on this occasion the people of Ancona came out to meet their visitors bringing umbrellas or canopies for the Pope and the Emperor only, and Alexander ordered a third to be brought for Ziani, who, under God, had been the means of establishing this peace.

The series ends with the scene in St. John Lateran in Rome, when "Pope Alexander III. presents consecrated banners to the Doge Ziani." It is the work of Giulio dal Moro, and so badly done that it merits no attention here nor when one stands beneath it. We need not be surprised when we remember that this "Jack at all trades" signed himself "painter, sculptor, and architect."