936. THE FARNESE THEATRE, PARMA.
Ferdinando Bibiena (Bolognese: 1657-1743).
Ferdinando Galli, called Bibiena, was one of a family of artists who came from a place of that name in the Bolognese State. He was a celebrated architect and scenic artist. He was engaged at many of the European courts in the arrangement of state pageants. He executed several works for Ranuccio Farnese, Duke of Parma. His architectural and perspective views are to be seen in the principal galleries in Italy. In these the figures are usually painted by his brother Francesco. Ferdinando, who published several works on architecture, became blind in his old age.
A scene in the theatre with Othello being played. The pit is unseated; it is a kind of "promenade play."
937. VENICE: SCUOLA DI SAN ROCCO.
Canaletto[198] (Venetian: 1697-1768). See 127.
The principal building is the Scuola of the religious fraternity of St. Roch—"an interesting building of the early Renaissance (1517), passing into Roman Renaissance," and, "as regards the pictures it contains (by Tintoret), one of the three most precious buildings in Italy" (Stones of Venice, Venetian Index). From the adjoining Church of St. Roch, the Holy Thursday procession of the Doges and Officers of State, together with the members of the Fraternity, is advancing under an awning on its way to St. Mark's. Notice the carpets hung out of the windows—a standing feature, this, in Venetian gala decorations from very early times (see, for instance, No. 739).[199] Notice, also, the pictures displayed in the open air—a feature which well illustrates the difference between the later "easel pictures" and the earlier pictures intended to serve as architectural decorations. "A glance at this picture is sufficient to show how utterly the ordinary oil painting fails when employed as an architectural embellishment. Pictures which were to adorn and form part of a building had to consist of figures, separated one from another, all standing in simple and restful attitudes, and all plainly relieved against a light ground" (Conway: Early Flemish Artists, p. 270). Apart from one of the conditions of early art thus suggested, the picture is interesting as showing how in the eighteenth century in Italy, as in the thirteenth, art was part and parcel of the life of the people. Cimabue's pictures were carried in procession; and here in Canaletto's we see Venetian "old masters" hung out to assist in the popular rejoicing.
938. VENICE: REGATTA ON THE GRAND CANAL.
Canaletto (Venetian: 1697-1768). See 127.
A state regatta—a pastime which owes its origin to Venice—in honour of the visit to the city of the King of Denmark in 1709. In the centre of the canal are the gondoliers, racing; to the sides are moored the spectators, the gala barges of the nobles conspicuous amongst them. The variegated building on the left is a temporary pavilion for the distribution of prizes. These regattas at Venice took the place of our royal processions here. "Wherever the eye turned, it beheld a vast multitude at doorways, on the quays, and even on the roofs. Some of the spectators occupied scaffoldings erected at favourable points along the sides of the canal; and the patrician ladies did not disdain to leave their palaces, and, entering their gondolas, lose themselves among the infinite number of the boats" (Feste Veneziane: quoted in Howells's Venetian Life, ii. 69). Another custom in which we have begun to imitate the Venetians, and which may be seen in this picture, is that of hanging out carpets and stuffs by way of decorations. "The windows and balconies," says the same account, "were decked with damasks, stuffs of the Levant, tapestries, and velvets;" a very old Venetian custom: see under 937.