A Wanderer in Venice

by E. V. Lucas

The first palace beyond the bridge, now a decaying congeries of offices, has very rich decorative stone work, foliation and festoons. It was once the head-quarters of the Camerlenghi, the procurators-fiscal of Venice. Then come the long fruit and vegetable markets, and then the new fish market, one of the most successful of new Venetian buildings, with its springing arches below and its loggia above and its iron lamp at the right corner and bronze fisherman at the left.

A fondamenta runs right away from the Rialto bridge to a point just beyond the new fish market, with some nice houses on it, over shops, the one on the left of the fish market having very charming windows. The first palace of any importance is the dull red one on the other side of the Calle dei Botteri, the Donà. Then a decayed palace and the Calle del Campanile where the fondamenta ends. Here is the very attractive Palazzo Morosini, or Brandolin, which dates from the fourteenth century. Next is a dull house, and then a small one with little lions on the balustrades, and then the Rio S. Cassiano. Next is a tiny and very ancient palace with an inscription stating that the Venetian painter Favretto worked there; then a calle, and the great pawnshop of Venice, once the Palazzo Corner della Regina, is before us, with a number of its own boats inside the handsome blue municipal posts with S. Mark's lion on each. The Queen of Cyprus was born here; other proud and commanding Corners were splendid here; and now it is a pawnshop!

The Calle della Regina, two rather nice, neglected houses (the little pink one quite charming), and we come to the Rio Pesaro and the splendid Palazzo Pesaro, one of the great works of Longhena. Note its fluted pillars and rich stonework. This palace we may enter, for it is now the Tate Gallery of Venice, housing, below, a changing exhibition of contemporary art, and, above, a permanent collection, to which additions are constantly being made, of modern Italian painting. Foreign artists are admitted too, and my eyes were gladdened by Mr. Nicholson's "Nancy," a landscape by Mr. E.A. Walton, a melon-seller by Mr. Brangwyn, a lady in pink by Mr. Lavery, and a fisherman by Mr. Cayley Robinson. A number of Whistler's Venetian etchings may also be seen here, and much characteristic work by Mr. Pennell. Here too are the "Burghers of Calais" and the "Thinker" of Rodin, while a nude by Fantin Latour should be sought for. One of the most interesting pictures so far as subject goes represents the bridge of boats to the Redentore on a recent All Souls' day.

I have been absolutely alone in this building, save for the custodians. The Venetian can live very easily without picture galleries, ancient or modern.

The Rio della Pergola washes the other side of the Pesaro palace, and then come two or three houses, once Foscarini homes, given up to antiquity dealers, and then the florid white stone façade of the church of S. Stae (or S. Eustachio) with a delightful little Venetian-red annex on the left. There is a campo and steamboat station here too. The next palace has pretty little Gothic windows, and then a small brown house stands in its garden on the site of a burnt Contarini palace. A good red brick fifteenth-century palace, now a wine store, is next, and then the Tron, now an institution, with a garden and well-head seen through the open door. Great scenes have been witnessed in this building, for the Trons were a famous and powerful Venetian family, supplying more than one Doge, and here in 1775 was entertained the Emperor Joseph II.

Then the Rio Tron and then the Palazzo Battagia, with two rich coats of arms in relief, which is also by Longhena, but I hope that it was not he who placed the columns on the roof. The tiny Calle del Megio, and we reach the venerable piece of decay which once was the granary of the Venetian Republic—one of the most dignified and attractive buildings on the canal, with its old brick and coping of pointed arches. The Rio del Megio divides the granary from the old Fondaco dei Turchi, once, after a long and distinguished life as a palace, the head-quarters of the Turks in Venice, and now, admirably restored, the civic museum.

It is necessary to visit the collections preserved here, but I cannot promise any feelings of exultation among them. The Museo Civico might be so interesting and is so depressing. Baedeker is joyful over the "excellent illustrative guide (1909), 1 franc," but though it may have existed in 1909 there is no longer any trace of it, nor could I obtain the reason why. Since none of the exhibits have descriptive labels (not even the pictures), and since the only custodians are apparently retired and utterly dejected gondoliers, the visitor's spirits steadily fall.

One enters to some fine well-heads and other sculpture, not very different from the stock-in-trade of the ordinary dealer in antiquity who has filched a palace. On the next floor is a library; but I found the entrance barred. On the next is a series of rooms, the museum proper. In the first are weapons, banners, and so forth. In the second is a vast huddle of pictures, mostly bad copies, but patience may discover here and there an original by a good hand not at its best. I noticed a Tiepolo sketch that had much of his fine free way in it, and a few typical Longhis. For the rest one imagines that some very indifferent churches have been looted.

Follow four rooms of miscellaneous articles: weapons, ropes, a rather fascinating white leather suit in a case, and so forth. Then a room of coins and medals and ducats of the Doges right away from 1279. Then two rooms (VIII and IX) which are more human, containing costumes, laces, fans, the death masks of two Doges in their caps, a fine wooden balustrade from a fifteenth-century palace, a set of marionettes with all their strings, a Vivarini Madonna on an easel.