Old Continental Towns

by Walter M. Gallichan

“The Legend of San Marco” is the design in the Cappella Zen, adjoining the baptistery. Here are the tomb of Cardinal Zen, a Renaissance work in bronze, and a handsome altar.

In his rapturous description of the interior of San Marco, Ruskin continues: “The mazes of interwoven lines and changeful pictures lead always and at last to the Cross, lifted and carved in every place and upon every stone; sometimes with the serpent of eternity wrapt round it, sometimes with doves beneath its arms, and sweet herbage growing forth from its feet.”

Venetian architecture has a character of its own. We find the Oriental influence in most of the buildings of Venice; the ogee arch is commonly used, and the square billet ornament is a distinguishing mark. The first Church of San Marco was built in 830.

The Palace of the Doge is in the Piazza. Its architecture has been variously described and classified. It has strong traces of Moorish influence, while in many respects it is Gothic. The decorated columns of the arcades are very beautifully designed. Archangels and figures of Justice, Temperance, and Obedience adorn the building, and there is an ancient front on the south side. Enter through the Porta della Carta, and you will find a court of wonderful interest, with rich façades and the great staircase, which is celebrated as the crowning-place of the Doges.

The architecture of the interior of the palace is of a later date than that of the exterior. In the big entrance hall are Tintoretto’s portraits of legislators of Venice. From here enter the next apartment, which contains a magnificent painting of “Faith” by Titian. In another hall are four more of Tintoretto’s works, and one by Paolo Veronese. The Sala del Collegio is one of the principal chambers of the palace and its ceiling was painted by Veronese. Here is the Doge’s throne.

Tintoretto and Palma were the artists who executed the paintings in the Hall of the Senators. The adjoining chapel is decorated with another of Tintoretto’s pictures. Pass to the Hall of the Council of Ten, where the rulers of the city sat, and note the gorgeous ceiling by Paolo Veronese.

A staircase leads to the Hall of the Great Council below. From the window there is an inspiriting view. The walls are hung with portraits, but the glory of this hall is Tintoretto’s “Paradise,” an immense painting.

Before leaving the Palace of the Doges, I will devote a few lines to the Schools of Venice of the sixteenth century. Unfortunately most of the works of Giorgione, the most characteristic painter of Venice, have disappeared. He was the founder of a tradition, and the teacher of many painters, including Palma, while his work influenced a number of his contemporaries. Titian, born in 1477, was one of Giorgione’s admirers, and his early work shows his influence. The pictures of the great Venetian master are one of the glories of the city. Some of his paintings are in the Academy, in the Church of Santa Maria dei Friari—where there is a monument to the artist—in the Church of Santa Maria della Salute, and in the private galleries of the city.

In the Academy collection, in a large building in the square of St Mark’s, are Titian’s much-restored “Presentation” and the “Pieta,” among the finest specimens of the Venetian School of painters. The celebrated “Assumption” has been also restored.

“There are many princes; there is but one Titian,” said Charles V. of Spain, who declared that through the magic of the Venetian painter’s pencil, he “thrice received immortality.” Forty-three examples of the art of Titian are in the Prado Gallery of Madrid. Sanchez Coello, Court artist to Philip II. was one of the students of the Italian master; indeed several of the great painters of Spain were influenced by Titian, and none of them revered him more than Velazquez.