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

by John Ruskin

Cadorin quotes two of great importance, to which we shall return in due time, made during the progress of the work in 1342 and 1344; then one of 1349, resolving that the works at the Ducal Palace, which had been discontinued during the plague, should be resumed; and finally one in 1362, which speaks of the Great Council Chamber as having been neglected and suffered to fall into “great desolation,” and resolves that it shall be forthwith completed.[122]

The interruption had not been caused by the plague only, but by the conspiracy of Faliero, and the violent death of the master builder.[123] The work was resumed in 1362, and completed within the next three years, at least so far as that Guariento was enabled to paint his Paradise on the walls;[124] so that the building must, at any rate, have been roofed by this time. Its decorations and fittings, however, were long in completion; the paintings on the roof being only executed in 1400.[125] They represented the heavens covered with stars,[126] this being, says Sansovino, the bearings of the Doge Steno. Almost all ceilings and vaults were at this time in Venice covered with stars, without any reference to armorial bearings; but Steno claims, under his noble title of Stellifer, an important share in completing the chamber, in an inscription upon two square tablets, now inlaid in the walls on each side of the great window towards the sea:

“Mille quadringenti currebant quatuor anni Hoc opus illustris Michael dux stellifer auxit.”

And in fact it is to this Doge that we owe the beautiful balcony of that window, though the work above it is partly of more recent date; and I think the tablets bearing this important inscription have been taken out and reinserted in the newer masonry. The labor of these final decorations occupied a total period of sixty years. The Grand Council sat in the finished chamber for the first time in 1423. In that year the Gothic Ducal Palace of Venice was completed. It had taken, to build it, the energies of the entire period which I have above described as the central one of her life.

§ XX. 3rd. The Renaissance Palace. I must go back a step or two, in order to be certain that the reader understands clearly the state of the palace in 1423. The works of addition or renovation had now been proceeding, at intervals, during a space of a hundred and twenty-three years. Three generations at least had been accustomed to witness the gradual advancement of the form of the Ducal Palace into more stately symmetry, and to contrast the works of sculpture and painting with which it was decorated,—full of the life, knowledge, and hope of the fourteenth century,—with the rude Byzantine chiselling of the palace of the Doge Ziani. The magnificent fabric just completed, of which the new Council Chamber was the nucleus, was now habitually known in Venice as the “Palazzo Nuovo;” and the old Byzantine edifice, now ruinous, and more manifest in its decay by its contrast with the goodly stones of the building which had been raised at its side, was of course known as the “Palazzo Vecchio.”[127] That fabric, however, still occupied the principal position in Venice. The new Council Chamber had been erected by the side of it towards the Sea; but there was not then the wide quay in front, the Riva dei Schiavoni, which now renders the Sea Façade as important as that to the Piazzetta. There was only a narrow walk between the pillars and the water; and the old palace of Ziani still faced the Piazzetta, and interrupted, by its decrepitude, the magnificence of the square where the nobles daily met. Every increase of the beauty of the new palace rendered the discrepancy between it and the companion building more painful; and then began to arise in the minds of all men a vague idea of the necessity of destroying the old palace, and completing the front of the Piazzetta with the same splendor as the Sea Façade. But no such sweeping measure of renovation had been contemplated by the Senate when they first formed the plan of their new Council Chamber. First a single additional room, then a gateway, then a larger room; but all considered merely as necessary additions to the palace, not as involving the entire reconstruction of the ancient edifice. The exhaustion of the treasury, and the shadows upon the political horizon, rendered it more than imprudent to incur the vast additional expense which such a project involved; and the Senate, fearful of itself, and desirous to guard against the weakness of its own enthusiasm, passed a decree, like the effort of a man fearful of some strong temptation to keep his thoughts averted from the point of danger. It was a decree, not merely that the old palace should not be rebuilt, but that no one should propose rebuilding it. The feeling of the desirableness of doing so was too strong to permit fair discussion, and the Senate knew that to bring forward such a motion was to carry it.

§ XXI. The decree, thus passed in order to guard against their own weakness, forbade any one to speak of rebuilding the old palace under the penalty of a thousand ducats. But they had rated their own enthusiasm too low: there was a man among them whom the loss of a thousand ducats could not deter from proposing what he believed to be for the good of the state.

Some excuse was given him for bringing forward the motion, by a fire which occurred in 1419, and which injured both the church of St. Mark’s, and part of the old palace fronting the Piazzetta. What followed, I shall relate in the words of Sanuto.[128]

§ 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[129] 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.”

§ 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.