The façade which looks on the Piazzetta is very nearly like this to the Sea, but the greater part of it was built in the fifteenth century, when people had become studious of their symmetries. Its side windows are all on the same level. Two light the west end of the Great Council Chamber, one lights a small room anciently called the Quarantia Civil Nuova; the other three, and the central one, with a balcony like that to the Sea, light another large chamber, called Sala del Scrutinio, or "Hall of Enquiry," which extends to the extremity of the palace above the Porta della Carta.
SECTION IX. The reader is now well enough acquainted with the topography of the existing building, to be able to follow the accounts of its history.
We have seen above, that there were three principal styles of Venetian architecture; Byzantine, Gothic, and Renaissance.
The Ducal Palace, which was the great work of Venice, was built successively in the three styles. There was a Byzantine Ducal Palace, a Gothic Ducal Palace, and a Renaissance Ducal Palace. The second superseded the first totally; a few stones of it (if indeed so much) are all that is left. But the third superseded the second in part only, and the existing building is formed by the union of the two.
We shall review the history of each in succession. [Footnote: The reader
will find it convenient to note the following editions of the printed
books which have been principally consulted in the following inquiry. The
numbers of the manuscripts referred to in the Marcian Library are given
with the quotations.
Sansovino. Venetia Descritta. 410, Venice, 1663.
Sansovino. Lettera intorno al Palazzo Ducale, 8vo, Venice, 1829.
Temanza. Antica Pianta di Venezia, with text. Venice, 1780.
Cadorin. Pareri di XV. Architetti. Svo, Venice,1838.
Filiasi. Memorie storiche. 8vo, Padua, 1811.
Bettio. Lettera discorsiva del Palazzo Ducale, 8vo, Venice, 1837.
Selvatico. Architettura di Venezia. 8vo, Venice, 1847.]
1st. The BYZANTINE PALACE.
In the year of the death of Charlemagne, 813, the Venetians determined to make the island of Rialto the seat of the government and capital of their state. [Footnote: The year commonly given is 810, as in the Savina Chronicle (Cod. Marcianus), p. 13. "Del 810 fece principiar el pallazzo Ducal nel luogo ditto Brucio in confin di S. Moise, et fece riedificar la isola di Eraclia." The Sagornin Chronicle gives 804; and Filiasi, vol. vi. chap. I, corrects this date to 813.] Their Doge, Angelo or Agnello Participazio, instantly took vigorous means for the enlargement of the small group of buildings which were to be the nucleus of the future Venice. He appointed persons to superintend the raising of the banks of sand, so as to form more secure foundations, and to build wooden bridges over the canals. For the offices of religion, he built the Church of St. Mark; and on, or near, the spot where the Ducal Palace now stands, he built a palace for the administration of the government. [Footnote: "Ampliò la città, fornilla di casamenti, e per il culto d' Iddio e l' amministrazione della giustizia eresse la capella di S. Marco, e il palazzo di sua residenza."—Pareri, p. 120. Observe, that piety towards God, and justice towards man, have been at least the nominal purposes of every act and institution of ancient Venice. Compare also Temanza, p. 24. "Quello che abbiamo di certo si è che il suddetto Agnello lo incomminciò da fondamenti, e cosi pure la capella ducale di S. Marco.">[
The history of the Ducal Palace therefore begins with the birth of Venice, and to what remains of it, at this day, is entrusted the last representation of her power.
SECTION X. Of the exact position and form of this palace of Participazio little is ascertained. Sansovino says that it was "built near the Ponte della Paglia, and answeringly on the Grand Canal," towards San Giorgio; that is to say, in the place now occupied by the Sea Façade; but this was merely the popular report of his day. [Footnote: What I call the Sea, was called "the Grand Canal" by the Venetians, as well as the great water street of the city; but I prefer calling it "the Sea," in order to distinguish between that street and the broad water in front of the Ducal Palace, which, interrupted only by the island of San Giorgio, stretches for many miles to the south, and for more than two to the boundary of the Lido. It was the deeper channel, just in front of the Ducal Palace, continuing the line of the great water street itself which the Venetians spoke of as "the Grand Canal." The words of Sansovino are: "Fu cominciato dove si vede, vicino al ponte della paglia, et rispondente sul canal grande." Filiasi says simply: "The palace was built where it now is." "Il palazio fu fatto dove ora pure esiste."—Vol. iii. chap. 27. The Savina Chronicle, already quoted, says: "in the place called the Bruolo (or Broglio), that is to say on the Piazzetta.">[
We know, however, positively, that it was somewhere upon the site of the existing palace; and that it had an important front towards the Piazzetta, with which, as we shall see hereafter, the present palace at one period was incorporated. We know, also, that it was a pile of some magnificence, from the account given by Sagornino of the visit paid by the Emperor Otho the Great, to the Doge Pietro Orseolo II. The chronicler says that the Emperor "beheld carefully all the beauty of the palace;" [Footnote: "Omni decoritate illius perlustrata."—Sagornino, quoted by Cadorin and Temanza.] and the Venetian historians express pride in the buildings being worthy of an emperor's examination. This was after the palace had been much injured by fire in the revolt against Candiano IV., [Footnote: There is an interesting account of this revolt in Monaci, p. 68. Some historians speak of the palace as having been destroyed entirely; but, that it did not even need important restorations, appears from Sagornino's expression, quoted by Cadorin and Temanza. Speaking of the Doge Participazio, he says: "Qui Palatii hucusque manentis fuerit fabricator." The reparations of the palace are usually attributed to the successor of Candiano, Pietro Orseolo I.; but the legend, under the picture of that Doge in the Council Chamber, speaks only of his rebuilding St. Mark's, and "performing many miracles." His whole mind seems to have been occupied with ecclesiastical affairs; and his piety was finally manifested in a way somewhat startling to the state, by absconding with a French priest to St. Michael's in Gascony, and there becoming a monk. What repairs, therefore, were necessary to the Ducal Palace, were left to be undertaken by his son, Orseolo II., above named.] and just repaired, and richly adorned by Orseolo himself, who is spoken of by Sagornino as having also "adorned the chapel of the Ducal Palace" (St. Mark's) with ornaments of marble and gold. [Footnote: "Quam non modo marmoreo, verum aureo compsit ornamento."—Temanza] There can be no doubt whatever that the palace at this period resembled and impressed the other Byzantine edifices of the city, such as the Fondaco de Turchi, &c., whose remains have been already described; and that, like them, it was covered with sculpture, and richly adorned with gold and color.