The Stones of Venice, Volume 2 (of 3),

by John Ruskin

§ XII. 2nd. The Gothic Palace. The reader, doubtless, recollects that the important change in the Venetian government which gave stability to the aristocratic power took place about the year 1297,[110] under the Doge Pietro Gradenigo, a man thus characterized by Sansovino:—“A prompt and prudent man, of unconquerable determination and great eloquence, who laid, so to speak, the foundations of the eternity of this republic, by the admirable regulations which he introduced into the government.”

We may now, with some reason, doubt of their admirableness; but their importance, and the vigorous will and intellect of the Doge, are not to be disputed. Venice was in the zenith of her strength, and the heroism of her citizens was displaying itself in every quarter of the world.[111] The acquiescence in the secure establishment of the aristocratic power was an expression, by the people, of respect for the families which had been chiefly instrumental in raising the commonwealth to such a height of prosperity.

The Serrar del Consiglio fixed the numbers of the Senate within certain limits, and it conferred upon them a dignity greater than they had ever before possessed. It was natural that the alteration in the character of the assembly should be attended by some change in the size, arrangement, or decoration of the chamber in which they sat.

We accordingly find it recorded by Sansovino, that “in 1301 another saloon was begun on the Rio del Palazzo, under the Doge Gradenigo, and finished in 1309, in which year the Grand Council first sat in it.”[112] In the first year, therefore, of the fourteenth century, the Gothic Ducal Palace of Venice was begun; and as the Byzantine Palace was, in its foundation, coeval with that of the state, so the Gothic Palace was, in its foundation, coeval with that of the aristocratic power. Considered as the principal representation of the Venetian school of architecture, the Ducal Palace is the Parthenon of Venice, and Gradenigo its Pericles.

§ XIII. Sansovino, with a caution very frequent among Venetian historians, when alluding to events connected with the Serrar del Consiglio, does not specially mention the cause for the requirement of the new chamber; but the Sivos Chronicle is a little more distinct in expression. “In 1301, it was determined to build a great saloon for the assembling of the Great Council, and the room was built which is now called the Sala del Scrutinio.”[113] Now, that is to say, at the time when the Sivos Chronicle was written; the room has long ago been destroyed, and its name given to another chamber on the opposite side of the palace: but I wish the reader to remember the date 1301, as marking the commencement of a great architectural epoch, in which took place the first appliance of the energy of the aristocratic power, and of the Gothic style, to the works of the Ducal Palace. The operations then begun were continued, with hardly an interruption, during the whole period of the prosperity of Venice. We shall see the new buildings consume, and take the place of, the Ziani Palace, piece by piece: and when the Ziani Palace was destroyed, they fed upon themselves; being continued round the square, until, in the sixteenth century, they reached the point where they had been begun in the fourteenth, and pursued the track they had then followed some distance beyond the junction; destroying or hiding their own commencement, as the serpent, which is the type of eternity, conceals its tail in its jaws.

§ XIV. We cannot, therefore, see the extremity, wherein lay the sting and force of the whole creature,—the chamber, namely, built by the Doge Gradenigo; but the reader must keep that commencement and the date of it carefully in his mind. The body of the Palace Serpent will soon become visible to us.

The Gradenigo Chamber was somewhere on the Rio Façade, behind the present position of the Bridge of Sighs; i.e. about the point marked on the roof by the dotted lines in the woodcut; it is not known whether low or high, but probably on a first story. The great façade of the Ziani Palace being, as above mentioned, on the Piazzetta, this chamber was as far back and out of the way as possible; secrecy and security being obviously the points first considered.

§ XV. But the newly constituted Senate had need of other additions to the ancient palace besides the Council Chamber. A short, but most significant, sentence is added to Sansovino’s account of the construction of that room. “There were, near it,” he says, “the Cancellaria, and the Gheba or Gabbia, afterwards called the Little Tower.”[114]

Gabbia means a “cage;” and there can be no question that certain apartments were at this time added at the top of the palace and on the Rio Façade, which were to be used as prisons. Whether any portion of the old Torresella still remains is a doubtful question; but the apartments at the top of the palace, in its fourth story, were still used for prisons as late as the beginning of the seventeenth century.[115] I wish the reader especially to notice that a separate tower or range of apartments was built for this purpose, in order to clear the government of the accusations so constantly made against them, by ignorant or partial historians, of wanton cruelty to prisoners. The stories commonly told respecting the “piombi” of the Ducal Palace are utterly false. Instead of being, as usually reported, small furnaces under the leads of the palace, they were comfortable rooms, with good flat roofs of larch, and carefully ventilated.[116] The new chamber, then, and the prisons, being built, the Great Council first sat in their retired chamber on the Rio in the year 1309.