Stones of Venice [introductions]

by John Ruskin

SECTION XXII. "Therefore they set themselves with all diligence and care to repair and adorn sumptuously, first God's house; but in the Prince's house things went on more slowly, for it did not please the Doge [Footnote: Tomaso Mocenigo.] to restore it in the form in which it was before; and they could not rebuild it altogether in a better manner, so great was the parsimony of these old fathers; because it was forbidden by laws, which condemned in a penalty of a thousand ducats any one who should propose to throw down the old palace, and to rebuild it more richly and with greater expense. But the Doge, who was magnanimous, and who desired above all things what was honorable to the city, had the thousand ducats carried into the Senate Chamber, and then proposed that the palace should be rebuilt; saying: that, 'since the late fire had ruined in great part the Ducal habitation (not only his own private palace, but all the places used for public business) this occasion was to be taken for an admonishment sent from God, that they ought to rebuild the palace more nobly, and in a way more befitting the greatness to which, by God's grace, their dominions had reached; and that his motive in proposing this was neither ambition, nor selfish interest: that, as for ambition, they might have seen in the whole course of his life, through so many years, that he had never done anything for ambition, either in the city, or in foreign business; but in all his actions had kept justice first in his thoughts, and then the advantage of the state, and the honor of the Venetian name: and that, as far as regarded his private interest, if it had not been for this accident of the fire, he would never have thought of changing anything in the palace into either a more sumptuous or a more honorable form; and that during the many years in which he had lived in it, he had never endeavored to make any change, but had always been content with it, as his predecessors had left it; and that he knew well that, if they took in hand to build it as he exhorted and besought them, being now very old, and broken down with many toils, God would call him to another life before the walls were raised a pace from the ground. And that therefore they might perceive that he did not advise them to raise this building for his own convenience, but only for the honor of the city and its Dukedom; and that the good of it would never be felt by him, but by his successors.' Then he said, that 'in order, as he had always done, to observe the laws,... he had brought with him the thousand ducats which had been appointed as the penalty for proposing such a measure, so that he might prove openly to all men that it was not his own advantage that he sought, but the dignity of the state.'" There was no one (Sanuto goes on to tell us) who ventured, or desired, to oppose the wishes of the Doge; and the thousand ducats were unanimously devoted to the expenses of the work. "And they set themselves with much diligence to the work; and the palace was begun in the form and manner in which it is at present seen; but, as Mocenigo had prophesied, not long after, he ended his life, and not only did not see the work brought to a close, but hardly even begun."

SECTION XXIII. There are one or two expressions in the above extracts which if they stood alone, might lead the reader to suppose that the whole palace had been thrown down and rebuilt. We must however remember, that, at this time, the new Council Chamber, which had been one hundred years in building, was actually unfinished, the council had not yet sat in it; and it was just as likely that the Doge should then propose to destroy and rebuild it, as in this year, 1853, it is that any one should propose in our House of Commons to throw down the new Houses of Parliament, under the title of the "old palace," and rebuild them.

SECTION XXIV. The manner in which Sanuto expresses himself will at once be seen to be perfectly natural, when it is remembered that although we now speak of the whole building as the "Ducal Palace," it consisted, in the minds of the old Venetians, of four distinct buildings. There were in it the palace, the state prisons, the senate-house, and the offices of public business; in other words, it was Buckingham Palace, the Tower of olden days, the Houses of Parliament, and Downing Street, all in one; and any of these four portions might be spoken of, without involving an allusion to any other. "Il Palazzo" was the Ducal residence, which, with most of the public offices, Mocenigo did propose to pull down and rebuild, and which was actually pulled down and rebuilt. But the new Council Chamber, of which the whole façade to the Sea consisted, never entered into either his or Sanuto's mind for an instant, as necessarily connected with the Ducal residence.

I said that the new Council Chamber, at the time when Mocenigo brought forward his measure, had never yet been used. It was in the year 1422 [Footnote: Vide notes in Appendix.] that the decree passed to rebuild the palace: Mocenigo died in the following year, and Francesco Foscari was elected in his room. [Footnote: On the 4th of April, 1423, according to the copy of the Zancarol Chronicle in the Marcian Library, but previously, according to the Caroldo Chronicle, which makes Foscari enter the Senate as Doge on the 3rd of April.] The Great Council Chamber was used for the first time on the day when Foscari entered the Senate as Doge,—the 3rd of April, 1423, according to the Caroldo Chronicle; [Footnote: "Nella quale (the Sala del Gran Consiglio) non si fece Gran Consiglio salvo nell' anno 1423, alli 3, April, et fu il primo giorno che il Duce Foscari venisse in Gran Consiglio dopo la sua creatione."—Copy in Marcian Library, p. 365.] the 23rd, which is probably correct, by an anonymous MS., No. 60, in the Correr Museum; [Footnote: "E a di 23 April (1423, by the context) sequente fo fatto Gran Conscio in la salla nuovo dovi avanti non esta piu fatto Gran Conscio si che el primo Gran Conscio dopo la sua (Foscari's) creation fo fatto in la sala nuova, nel qual conscio fu el Marchese di Mantoa," &c., p. 426.]—and, the following year, on the 27th of March, the first hammer was lifted up against the old palace of Ziani. [Footnote: Compare Appendix I. Vol. III.]

SECTION XXV. That hammer stroke was the first act of the period properly called the "Renaissance" It was the knell of the architecture of Venice,—and of Venice herself.

The central epoch of her life was past; the decay had already begun: I dated its commencement above (Ch. I., Vol. I.) from the death of Mocenigo. A year had not yet elapsed since that great Doge had been called to his account: his patriotism, always sincere, had been in this instance mistaken; in his zeal for the honor of future Venice, he had forgotten what was due to the Venice of long ago. A thousand palaces might be built upon her burdened islands, but none of them could take the place, or recall the memory, of that which was first built upon her unfrequented shore. It fell; and, as if it had been the talisman of her fortunes, the city never flourished again.

SECTION XXVI. I have no intention of following out, in their intricate details, the operations which were begun under Foscari and continued under succeeding Doges till the palace assumed its present form, for I am not in this work concerned, except by occasional reference, with the architecture of the fifteenth century: but the main facts are the following. The palace of Ziani was destroyed; the existing façade to the Piazzetta built, so as both to continue and to resemble, in most particulars, the work of the Great Council Chamber. It was carried back from the Sea as far as the Judgment angle; beyond which is the Porta della Carta, begun in 1439, and finished in two years, under the Doge Foscari; [Footnote: "Tutte queste fatture si compirono sotto il dogade del Foscari, nel 1441."—Pareri, p. 131.] the interior buildings connected with it were added by the Doge Christopher Moro, (the Othello of Shakspeare) [Footnote: This identification has been accomplished, and I think conclusively, by my friend Mr. Rawdon Brown, who has devoted all the leisure which, during the last twenty years his manifold office of kindness to almost every English visitant of Venice have left him, in discovering and translating the passages of the Venetian records which bear upon English history and literature. I shall have occasion to take advantage hereafter of a portion of his labors, which I trust will shortly be made public.] in 1462.

SECTION XXVII. By reference to the figure the reader will see that we have now gone the round of the palace, and that the new work of 1462 was close upon the first piece of the Gothic palace, the new Council Chamber of 1301. Some remnants of the Ziani Palace were perhaps still left between the two extremities of the Gothic Palace; or as is more probable, the last stones of it may have been swept away after the fire of 1419, and replaced by new apartments for the Doge. But whatever buildings, old or new, stood on this spot at the time of the completion of the Porta della Carta were destroyed by another great fire in 1479, together with so much of the palace on the Rio that, though the saloon of Gradenigo, then known as the Sala de' Pregadi, was not destroyed, it became necessary to reconstruct the entire façades of the portion of the palace behind the Bridge of Sighs, both towards the court and canal. This work was entrusted to the best Renaissance architects of the close of the fifteenth and opening of the sixteenth centuries; Antonio Ricci executing the Giant's staircase, and on his absconding with a large sum of the public money, Pietro Lombardo taking his place. The whole work must have been completed towards the middle of the sixteenth century. The architects of the palace, advancing round the square and led by fire, had more than reached the point from which they had set out; and the work of 1560 was joined to the work of 1301-1340, at the point marked by the conspicuous vertical line in Figure II on the Rio Façade.

SECTION XVIII. But the palace was not long permitted to remain in this finished form. Another terrific fire, commonly called the great fire, burst out in 1574, and destroyed the inner fittings and all the precious pictures of the Great Council Chamber, and of all the upper rooms on the Sea Façade, and most of those on the Rio Façade, leaving the building a mere shell, shaken and blasted by the flames. It was debated in the Great Council whether the ruin should not be thrown down, and an entirely new palace built in its stead. The opinions of all the leading architects of Venice were taken, respecting the safety of the walls, or the possibility of repairing them as they stood. These opinions, given in writing, have been preserved, and published by the Abbé Cadorin, in the work already so often referred to; and they form one of the most important series of documents connected with the Ducal Palace.

I cannot help feeling some childish pleasure in the accidental resemblance to my own name in that of the architect whose opinion was first given in favor of the ancient fabric, Giovanni Rusconi. Others, especially Palladio, wanted to pull down the old palace, and execute designs of their own; but the best architects in Venice, and to his immortal honor, chiefly Francesco Sansovino, energetically pleaded for the Gothic pile, and prevailed. It was successfully repaired, and Tintoret painted his noblest picture on the wall from which the Paradise of Guariento had withered before the flames.