Venice and its Story Part 16

[Ill.u.s.tration: S. FOSCA AND PALAZZO GIOVANNELLI.]

We take our way along the Merceria, past the church of S. Zulian, until we come in sight of the tall apse of S. Salvatore. We enter from the Merceria by the door of the L. aisle. S. Salvatore is one of the most important examples of ecclesiastical Renaissance architecture in Venice.

Spavento, four of the Lombardi, Sansovino, Scamozzi and Longhena all contributed at various periods to the building and decoration, not to speak of more modern restorers. Here in the R. transept is the ma.s.sive memorial to unhappy Queen Catherine Cornaro by Bernardini Contino. A finer specimen of monumental art is Sansovino's tomb of Doge Franc.

Venier (1556), beyond the second altar in the R. aisle. The figures of Faith and Charity, the former said to have been almost wholly carved by the master in his eightieth year, are among the greatest achievements of later Renaissance sculpture. Over the third altar is t.i.tian's Annunciation and at the high altar his Transfiguration, both painted when he was approaching ninety years of age; the latter, however, by some critics is depreciated to a school painting. In the chapel L. of choir is a most interesting, Christ at Emmaus, generally attributed to Giovanni Bellini, but by Crowe and Cavalcaselle confidently a.s.signed to Carpaccio. Another critic (Molmenti) is convinced it is by no other hand than that of Benedetto Diana.

Leaving by the front entrance we find ourselves on the Campo S.

Salvatore, where in olden times stood a water trough, and a fig tree to which horses were tied, after the law of 1287 forbade equestrian traffic along the Merceria. We turn R. by the new Merceria due Aprile, pa.s.s the Goldoni statue, and cross the Ponte dell' Olio to the church of S.

Giovanni Grisostomo. Before we enter, a slight deviation by the calle Ufficio della Seta and the calle del Teatro (over a fruiterer's shop will be seen the inscription: PROVISORES SIRICI, p. 117) will bring us on the R. to the entrance to the Corte Milione. On the N. side of this court stood the house of the Polo family which Marco, then a lad of seventeen, left in 1271, with his uncles Nicolo and Maffeo, for the East. A quarter of a century later three travel-stained wanderers, dressed in coa.r.s.e garb of Tartar cut and speaking broken Venetian with a Tartar accent, were at first refused admission by their kinsmen. The three, to warm the affection of their relatives, invited them to a sumptuous banquet, and when all were seated entered arrayed in flowing crimson robes of satin. Having washed their hands, they retired and returned clothed in crimson damask, and ordered the first dresses to be cut up and distributed among the servants. After a few dishes a similar change was made into crimson velvet and similarly disposed of. Again they changed into dresses of ordinary fas.h.i.+on. When the nine suits had been divided among the servants, Marco rose, went to his chamber, and appeared with the old Tartar coats, and ripping them open with a knife, showered on the table before his amazed guests a glittering and inestimable treasure of jewels and precious stones. The thirteenth century arched doorway and various fragments of sculptured stonework imbedded in the walls of the neighbouring houses almost certainly formed part of the original Polo mansion (p. 99).

[Ill.u.s.tration: WELL-HEAD: CAMPO S. GIOVANNI GRISOSTOMO.]

[Ill.u.s.tration: THE RIALTO BRIDGE]

We return to the church of S. Giov. Grisostomo by Tullio or Moro Lombardo. The finely proportioned interior holds one of the most precious of Venetian paintings--the altar-piece by Giov. Bellini, over the first chapel to the R., SS. Jerome, Christopher, and Augustine, dated 1513. It is the last of his signed works, and was painted three years before his death. At the high altar is Sebastiano del Piombo's sensuous painting of the patron saint, with the Baptist, SS. Augustine, Liberale, Catherine of Alexandria, Agnes, and the Magdalen. Over the second altar, L., is a fine relief by Tullio Lombardo. We note the fine Renaissance well-head in the Campo, and retrace our steps to the foot of the Rialto bridge and the pier on the Rio del Carbon.

SECTION XI

_S. Moise--S. Stefano--Site of the Aldine Press--Il Bovolo--S.

Vitale--S. Vio--The Salute--The Seminario_

From the S.W. angle of the Piazza a bustling street leads W. past S.

Moise, a late seventeenth century church by A. Tremignan, whose amazing facade was once thought beautiful. Traversing the Campi S. Maria Zobenigo and S. Maurizio, we reach the large Campo Franc. Morosini. At the N. end of the campo is the fine Gothic brick church of S. Stefano (1294-1320). The princ.i.p.al portal and the windows of the W. front are by the Ma.s.segne. The s.p.a.cious interior contains several good Renaissance monuments, the best being that of Jac. Suriano, L. of entrance; P.

Lombardo's statues of SS. Jerome and Paul stand either side of the third altar, L. aisle; those of the Baptist and St Anthony at either side of the altar in the sacristy. The last is one of the master's most perfect works in Venice. Near these statues are Bart. Vivarini's SS. Nicholas and Lawrence. Morosini's tomb is on the pavement of the nave. We quit the church by the L. aisle, and enter the cloister, with some fragmentary remains of Pordenone's frescoes.

Crossing the cloister we emerge on the Campo S. Angelo, which we traverse and walk along the Calle della Mandola to the Campo Manin, at the farther end of which is the _Ca.s.sa di Risparmio_ (Savings Bank), on the site of the old Aldine Press.

We retrace our steps, and before leaving the campo turn L. by the Calle della Vida, again to the L., and on the R. down the Calle and Corte Contarini del Bovolo reach a beautiful early Renaissance spiral staircase and a Byzantine well-head. We return to the Campo Morosini, at the farther end of which, on the R., is the church of S. Vitale (Vidal), which has a late Carpaccio, S. Vitale on horseback, accompanied by Valeria his wife, his sons Gervasius and Protasius, and other saints. We cross the Grand Ca.n.a.l by the iron bridge, leave the Accademia to the R., turn E. by the calle Nuova S. Agnese, and, after crossing a bridge, reach the church of S. Vio, demolished in 1813 and rebuilt in 1864. A few of the fragments of Tiepolo's house were incorporated in the new building (p. 109). The church is only open once a year, S. Vio's day, but admission at other times may be obtained by applying at the stone mason's, next door. The Campo S. Vio is a.s.sociated with one of the most charming legends of Venice. Here lived the blessed Contessa Tagliapietra, whose insistent devotion and frequent visits to a priest at S. Maurizio, on the opposite side of the Grand Ca.n.a.l, were deemed unseemly by her family. Entreaties proving vain, the ferrymen were forbidden to row her across; whereupon the Countess took a thread, laid it upon the waters, and crossed to her devotions without human aid.

[Ill.u.s.tration: PALAZZO CONTARINI, WITH SPIRAL STAIRCASE AND BYZANTINE WELL-HEAD]

[Ill.u.s.tration: S. MARIA DELLA SALUTE]

We continue E. and after some turning of corners, pa.s.s a picturesque little shrine at the end of the calle Barbaro. We cross the Ponte S.

Gregorio and at length reach the great plague church of the Salute. The interior contains over the third altar L., t.i.tian's somewhat faded but still beautiful Descent of the Holy Ghost. The Virgin is drawn from the same model as that of the a.s.sumption in the Accademia. The small ceiling medallions behind the high altar, the four Evangelists and four Fathers of the Church are also by t.i.tian. The St Matthew is the artist's own portrait. Over the altar of the sacristy is t.i.tian's St Mark enthroned, attended by SS. Sebastian, Roch, Cosimo, and Damian (1513), sadly spoilt by restoration. The ceiling paintings--the Death of Abel, Abraham's Sacrifice (Isaac is a lovely child), and David and Goliath are in t.i.tian's later manner (1543). The s.p.a.ce between the windows on the R.

wall is covered by Tintoretto's Marriage at Cana. It is described at length by Ruskin in the Venetian index and is esteemed by the great critic to be "perhaps the most perfect example which human art has produced of the utmost possible force and sharpness of shadow united with richness of local colour." In the sacristy are also a St Sebastian by Paris Bordone, and two small oval paintings to the R. of the altar, SS. Augustine and Nicholas, usually a.s.signed to Ant. and Bart. Vivarini, attributed, however, by Mr Berenson to Giambono. In the ante-sacristy is a fifteenth century pieta in relief and an early painting (1339), The Virgin and Child with the kneeling donors, Doge Francesco Dandolo, and the Dogeressa Elisabetta, with their name saints.

E. of the Salute is the Seminario with a small collection of sculpture and pictures. Ascending Longhena's n.o.ble staircase we enter the Galleria Manfredini, which contains works by Filippino Lippi and Veronese, and Giorgione's Apollo and Daphne (p. 202), probably painted for the panel of a _ca.s.sone_ (bridal chest). The ferry from the Salute or the Dogana point will land us near the Piazza.

SECTION XII

_SS. Apostoli-Palazzo Falier--I Gesuiti--I Crociferi--S.

Caterina--S. Maria dell' Orto--S. Marziale--Palazzo Giovanelli._ (Admission to this last by application to the British Consul, traghetto S. Felice, Grand Ca.n.a.l.)

From the Ca' d'Oro Pier on the Grand Ca.n.a.l a narrow calle leads into the broad Corso Vitt. Emanuele, which we follow to the R. and reach the church of the SS. Apostoli. Admirers of Tiepolo will find his St Lucy receiving the Sacrament before her Martyrdom, at the altar of the Cappella Corner to R. of entrance where are also two family monuments in the best style of the Lombardi school. A Veronese school painting, the Fall of Manna, is at the L. of the choir. The remains of Marino Falier's house are incorporated in the palazzo over the Ponte SS. Apostoli opposite the church.

N.E. from the campo stands the church of the Gesuiti, built (1715) on the site of the ruined church of the Crociferi in the base style of the age. The interior, lavishly decorated with marble and inlay of _verde antico_, is incredibly vulgar in taste and contains, first chapel L., t.i.tian's martyrdom of St Lawrence, painted in 1558 when the old painter was under Michael Angelo's influence. The work, which was generally esteemed one of the most rare and remarkable of his creations, is now so darkened by time as to be barely legible. The church possesses also an a.s.sumption by Tintoretto.

Nearly opposite the Gesuiti is the oratory of the Crociferi, with Palma Giovane's, Doge Cigogna visiting the Oratory, and six other paintings in the artist's best style. The room contains also a Flagellation by Tintoretto and a ceiling painting, the a.s.sumption, by t.i.tian. The large monastery buildings opposite, still bearing the device of the order (three crosses), are now a barrack. We retrace our steps across the campo. About a hundred yards along the fondamenta Zen is the entrance to the little church of S. Caterina, which contains Veronese's admirably preserved Marriage of St Catherine (p. 211). The church has works by Palma Giovane and the inevitable Tintoretto, but we have eyes alone for the St Catherine, one of the most satisfying examples of the later glories of the Venetian school.

In an outlying part of the city to the N.W. is the church of S. Maria dell' Orto. Cima's Baptist with SS. Peter, Mark, Jerome and Paul, in a marble setting by Leopardi (p. 200) stands over the first altar, R.

aisle. In the third chapel L., is Tintoretto's Presentation at the Temple, and in the Cappella Contarini, the same master's St Agnes. Both have been freely restored, the former, says Ruskin, "has been so daubed as to be a ghastly ruin and a disgrace to modern Venice." We turn to the choir, R. and L. of which are Tintoretto's huge canvases, the Last Judgment, and the Wors.h.i.+p of the Golden Calf. These are very highly appreciated by Ruskin but "demand resolute study if the traveller is to derive any pleasure from them." Vasari, who saw them shortly after they were painted, was impressed by the terrible yet capricious invention displayed in the Last Judgment, but lamented the lack of care and diligence which marred what might have been a stupendous creation.

Closely scrutinised, however, both seemed to him painted _da burla_ (in jest). The first chapel L. of entrance has (R. wall) a Pieta by Lorenzo Lotto, and over the altar an early Virgin and Child by Giov. Bellini disastrously repainted. Over the sacristy door is a miracle-working half-figure of the Virgin and Child (restored), which was discovered in a garden in 1577 and gave the present name to the church (Our Lady of the Garden). Verocchio, Leopardi and Tintoretto were buried in the sacristy, but most of the tombs were defaced or destroyed by the Austrians when the church was used as a military magazine in 1855.

Making our way southward we reach the church of S. Marziale, which contains t.i.tian's Tobias, and Tintoretto's last work, the Patron Saint with SS. Peter and Paul. From the Campo S. Marziale we cross the Ponte Zancani and the Ponte S. Fosca, noting the marble footmarks on the crown (p. 305), and pa.s.s the statue of Paolo Sarpi erected near the spot where the friar was stabbed. We continue our way by the church, and a short distance to the L. along the Corso Vitt. Emanuele is the Palazzo Giovanelli, one of the best examples of a restored patrician mansion of the period of the Ducal Palace. The interior is sumptuously decorated, and contains the most precious Giorgione in Venice, the so-called Family of Giorgione (p. 202), referred to by a late contemporary as "a stormy landscape with a gipsy and soldier." Vasari complained that Giorgione's subjects were difficult to characterise by a phrase. In the foreground on the L., with the characteristic Giorgione pose, stands a figure in the flower of manhood holding a staff. The dress, suggesting both knight and peasant, seems to typify the defender and sustainer of maternity symbolised by the young mother sitting, to the R., on a sloping, sunlit meadow, giving suck to her babe, both modelled with perfect naturalness and beauty. Through the centre of the picture flows a mountain stream crossed by a rustic bridge. In the background of the landscape, with its graceful trees, rises the walled city of Castelfranco, Giorgione's birthplace, darkened by storm clouds rent by a flash of lightning. The sunny foreground and the louring sky seem to tell of the vicissitudes of human existence. A cla.s.sic remain with two broken columns adds to the pathetic beauty of this, one of the earliest paintings in which landscape is transfused with human emotion and poetic sentiment.

Among other attractions the gallery possesses a portrait by Antonello, a Santa Conversazione by Paris Bordone, a battle scene by Tintoretto, a portrait by t.i.tian, and a doubtful Giovanni Bellini, attributed by Mr Berenson to Catena. In the ballroom are some very fine Venetian mirrors.

[Ill.u.s.tration: RIO S. Ca.s.sIANO.]

[Ill.u.s.tration: PALAZZO GIOVANELLI--GIPSY AND SOLDIER

BY GIORGIONE]

SECTION XIII

_The Rialto--S. Giacomo di Rialto--S. Giovanni Elemosinario--S.

Ca.s.siano--S. Maria Mater Domini--Museo Civico_

We cross the Rialto bridge, and in the campo on the farther side find the little church of S. Giacomo di Rialto, according to tradition (p. 6) the oldest in Venice. This spot, Shakespeare's Rialto, was the focus of the commercial life of the old Republic. The colonnade was covered with frescoes, and possessed the famous planisphere or _mappa mondo_ showing the routes of Venetian commerce over the world. Here the patricians were wont to meet before noon to discourse together of private and public affairs. The church, rebuilt and altered more than once, no longer stands on its original site. It was removed in 1322, when the Rialto was enlarged and a loggia made, that the merchants might meet under cover.

The beautiful relief of the Virgin and Child over the portico is fourteenth-century work. The six columns of the nave are the sole remains of the eleventh-century church, rebuilt by Doge Dom. Selvo. On the exterior of the apse will be found the (Latin) inscription whose discovery so delighted Ruskin: AROUND THIS TEMPLE LET THE MERCHANT'S LAW BE JUST, HIS WEIGHT TRUE, AND HIS COVENANTS FAITHFUL.[111]

[Ill.u.s.tration: EDICT STONE, RIALTO.]

On the farther side of the campo, opposite the W. front, is the Hunchback of the Rialto (Il Gobbo di Rialto), restored in 1892, whence in olden times the decrees of the Republic were promulgated. Beyond the market is the church of S. Giovanni Elemosinario, early sixteenth century, by Scarpagnino. The picturesque campanile has an interesting relief below the cella of the bells. The high altar painting is by t.i.tian, the Patron Saint (St John the Almsgiver). In the chapel to the R. is an altar-piece by Pordenone, SS. Sebastian, Roch and Mary Magdalen. Above on the L. wall is a quaint relief, saved from the fire which destroyed the old eleventh-century church.

We follow the hand pointing to the Museo Civico, and soon reach S.

Ca.s.siano, containing three Tintorettos. The Crucifixion, held by Ruskin to be one of the finest paintings in Europe by the master, is a most remarkable and original treatment of the subject--a great and solemn picture in excellent condition. The church has an altar-piece by Palma Vecchio, The Baptist and four saints, said to be the first painted by him at Venice, and three paintings by L. Ba.s.sano.

Following the indicator, we reach the little church of S. Maria Mater Domini by one of the Lombardi: the facade by Sansovino. It is situated in an interesting campo, where may be seen a few early Gothic houses with some beautiful Byzantine reliefs and crosses. The church possesses, second altar to the R., Catena's S. Cristina. The angel to the left holding the millstone is one of the most sweet and guileless of the master's creations (p. 201). In the R. transept is Tintoretto's Invention of the Cross. Opposite is a Last Supper attributed to Bonifazio.

We at length reach the Museo Civico in the restored Fondaco de' Turchi.

The original palace, the Ca' Pesaro, was built for Giac. Palmieri, a rich Guelf refugee from Pesaro, about 1230. In 1861 it was an imposing and picturesque ruin, with a cherry tree growing and fruiting on one of the turrets. In 1869 it was wholly restored (_Guasto e profanato_, says Boni), all the beautiful capitals and columns were recut and sc.r.a.ped, and subsequently anointed with oil to bring out the veining.

[Ill.u.s.tration: BYZANTINE CROSSES--CAMPO S. MARIA MATER DOMINI]

In the court are some fine examples of Venetian well-heads. 2nd Floor, Room I. contains a collection of arms and banners, some of them captured from the Turks, and fine standards of the Republic. In Room II.

are:--31, A late work by Carpaccio, The Visitation; 41, Lotto, The Virgin and Child with SS. George and Jerome and kneeling donor; and a number of characteristic scenes of Venetian life by Longhi and Guardi.