CHAPTER V. — THE DUCAL PALACE.
SECTION I. It was stated in the commencement of the preceding chapter that the Gothic art of Venice was separated by the building of the Ducal Palace into two distinct periods; and that in all the domestic edifices which were raised for half a century after its completion, their characteristic and chiefly effective portions were more or less directly copied from it. The fact is, that the Ducal Palace was the great work of Venice at this period, itself the principal effort of her imagination, employing her best architects in its masonry, and her best painters in its decoration, for a long series of years; and we must receive it as a remarkable testimony to the influence which it possessed over the minds of those who saw it in its progress, that, while in the other cities of Italy every palace and church was rising in some original and daily more daring form, the majesty of this single building was able to give pause to the Gothic imagination in its full career; stayed the restlessness of innovation in an instant, and forbade the powers which had created it thenceforth to exert themselves in new directions, or endeavor to summon an image more attractive.
SECTION II. The reader will hardly believe that while the architectural invention of the Venetians was thus lost, Narcissus-like, in self-contemplation, the various accounts of the progress of the building thus admired and beloved are so confused as frequently to leave it doubtful to what portion of the palace they refer; and that there is actually, at the time being, a dispute between the best Venetian antiquaries, whether the main façade of the palace be of the fourteenth or fifteenth century. The determination of this question is of course necessary before we proceed to draw any conclusions from the style of the work; and it cannot be determined without a careful review of the entire history of the palace, and of all the documents relating to it. I trust that this review may not be found tedious,—assuredly it will not be fruitless,—bringing many facts before us, singularly illustrative of the Venetian character.
SECTION III. Before, however, the reader can enter upon any inquiry into the history of this building, it is necessary that he should be thoroughly familiar with the arrangement and names of its principal parts, as it at present stands; otherwise he cannot comprehend so much as a single sentence of any of the documents referring to it. I must do what I can, by the help of a rough plan and bird's-eye view, to give him the necessary topographical knowledge:
Opposite is a rude ground plan of the buildings round St. Mark's Place; and the following references will clearly explain their relative positions:
A. St. Mark's Place.
B. Piazzetta.
P. V. Procuratie Vecchie.
P. N. (opposite) Procuratie Nuove.
P. L. Libreria Vecchia.
I. Piazzetta de' Leoni.
T. Tower of St. Mark.
F F. Great Façade of St. Mark's Church.
M. St. Mark's. (It is so united with the Ducal Palace, that the
separation cannot be indicated in the plan, unless all the walls had
been marked, which would have confused the whole.)
D D D. Ducal Palace. g s. Giant's stair.
C. Court of Ducal Palace. J. Judgement angle.
c. Porta della Carta. a. Fig-tree angle.
p p. Ponte della Paglia (Bridge of Straw).
S. Ponte de' Sospiri (Bridge of Sighs).
R R. Riva de' Schiavoni.
The reader will observe that the Ducal Palace is arranged somewhat in the form of a hollow square, of which one side faces the Piazzetta, B, and another the quay called the Riva de' Schiavoni, R R; the third is on the dark canal called the "Rio del Palazzo," and the fourth joins the Church of St. Mark.
Of this fourth side, therefore, nothing can be seen. Of the other three sides we shall have to speak constantly; and they will be respectively called, that towards the Piazzetta, the "Piazzetta Façade;" that towards the Riva de' Schiavoni, the "Sea Façade;" and that towards the Rio del Palazzo, the "Rio Façade." This Rio, or canal, is usually looked upon by the traveller with great respect, or even horror, because it passes under the Bridge of Sighs. It is, however, one of the principal thoroughfares of the city; and the bridge and its canal together occupy, in the mind of a Venetian, very much the position of Fleet Street and Temple Bar in that of a Londoner,—at least, at the time when Temple Bar was occasionally decorated with human heads. The two buildings closely resemble each other in form.