Stones of Venice [introductions]

CHAPTER V.

THE DUCAL PALACE

SECTION I. It was stated in the commencement of the preceding chapter that the Gothic art of Venice was separated by the building of the Ducal Palace into two distinct periods; and that in all the domestic edifices which were raised for half a century after its completion, their characteristic and chiefly effective portions were more or less directly copied from it. The fact is, that the Ducal Palace was the great work of Venice at this period, itself the principal effort of her imagination, employing her best architects in its masonry, and her best painters in its decoration, for a long series of years; and we must receive it as a remarkable testimony to the influence which it possessed over the minds of those who saw it in its progress, that, while in the other cities of Italy every palace and church was rising in some original and daily more daring form, the majesty of this single building was able to give pause to the Gothic imagination in its full career; stayed the restlessness of innovation in an instant, and forbade the powers which had created it thenceforth to exert themselves in new directions, or endeavor to summon an image more attractive.

SECTION II. The reader will hardly believe that while the architectural invention of the Venetians was thus lost, Narcissus-like, in self-contemplation, the various accounts of the progress of the building thus admired and beloved are so confused as frequently to leave it doubtful to what portion of the palace they refer; and that there is actually, at the time being, a dispute between the best Venetian antiquaries, whether the main façade of the palace be of the fourteenth or fifteenth century. The determination of this question is of course necessary before we proceed to draw any conclusions from the style of the work; and it cannot be determined without a careful review of the entire history of the palace, and of all the documents relating to it. I trust that this review may not be found tedious,—assuredly it will not be fruitless,—bringing many facts before us, singularly illustrative of the Venetian character.

SECTION III. Before, however, the reader can enter upon any inquiry into the history of this building, it is necessary that he should be thoroughly familiar with the arrangement and names of its principal parts, as it at present stands; otherwise he cannot comprehend so much as a single sentence of any of the documents referring to it. I must do what I can, by the help of a rough plan and bird's-eye view, to give him the necessary topographical knowledge:

Opposite is a rude ground plan of the buildings round St. Mark's Place; and the following references will clearly explain their relative positions:

A. St. Mark's Place.

B. Piazzetta.

P. V. Procuratie Vecchie.

P. N. (opposite) Procuratie Nuove.

P. L. Libreria Vecchia.

I. Piazzetta de' Leoni.

T. Tower of St. Mark.

F F. Great Façade of St. Mark's Church.

M. St. Mark's. (It is so united with the Ducal Palace, that the separation cannot be indicated in the plan, unless all the walls had been marked, which would have confused the whole.)

D D D. Ducal Palace. g s. Giant's stair.

C. Court of Ducal Palace. J. Judgement angle.

c. Porta della Carta. a. Fig-tree angle.

p p. Ponte della Paglia (Bridge of Straw).

S. Ponte de' Sospiri (Bridge of Sighs).

R R. Riva de' Schiavoni.

[Illustration: FIG. I. The Ducal Palace—Ground Plan.]

[Illustration: FIG. II. The Ducal Palace—Bird's eye View.]

The reader will observe that the Ducal Palace is arranged somewhat in the form of a hollow square, of which one side faces the Piazzetta, B, and another the quay called the Riva de' Schiavoni, R R; the third is on the dark canal called the "Rio del Palazzo," and the fourth joins the Church of St. Mark.

Of this fourth side, therefore, nothing can be seen. Of the other three sides we shall have to speak constantly; and they will be respectively called, that towards the Piazzetta, the "Piazzetta Façade;" that towards the Riva de' Schiavoni, the "Sea Façade;" and that towards the Rio del Palazzo, the "Rio Façade." This Rio, or canal, is usually looked upon by the traveller with great respect, or even horror, because it passes under the Bridge of Sighs. It is, however, one of the principal thoroughfares of the city; and the bridge and its canal together occupy, in the mind of a Venetian, very much the position of Fleet Street and Temple Bar in that of a Londoner,—at least, at the time when Temple Bar was occasionally decorated with human heads. The two buildings closely resemble each other in form.

SECTION IV. We must now proceed to obtain some rough idea of the appearance and distribution of the palace itself; but its arrangement will be better understood by supposing ourselves raised some hundred and fifty feet above the point in the lagoon in front of it, so as to get a general view of the Sea Façade and Rio Façade (the latter in very steep perspective), and to look down into its interior court. Fig. II. roughly represents such a view, omitting all details on the roofs, in order to avoid confusion. In this drawing we have merely to notice that, of the two bridges seen on the right, the uppermost, above the black canal, is the Bridge of Sighs; the lower one is the Ponte della Paglia, the regular thoroughfare from quay to quay, and, I believe, called the Bridge of Straw, because the boats which brought straw from the mainland used to sell it at this place. The corner of the palace, rising above this bridge, and formed by the meeting of the Sea Façade and Rio Façade, will always be called the Vine angle, because it is decorated by a sculpture of the drunkenness of Noah. The angle opposite will be called the Fig-tree angle, because it is decorated by a sculpture of the Fall of Man. The long and narrow range of building, of which the roof is seen in perspective behind this angle, is the part of the palace fronting the Piazzetta; and the angle under the pinnacle most to the left of the two which terminate it will be called, for a reason presently to be stated, the Judgment angle. Within the square formed by the building is seen its interior court (with one of its wells), terminated by small and fantastic buildings of the Renaissance period, which face the Giant's Stair, of which the extremity is seen sloping down on the left.

SECTION V. The great façade which fronts the spectator looks southward. Hence the two traceried windows lower than the rest, and to the right of the spectator, may be conveniently distinguished as the "Eastern Windows." There are two others like them, filled with tracery, and at the same level, which look upon the narrow canal between the Ponte della Paglia and the Bridge of Sighs: these we may conveniently call the "Canal Windows." The reader will observe a vertical line in this dark side of the palace, separating its nearer and plainer wall from a long four-storied range of rich architecture. This more distant range is entirely Renaissance: its extremity is not indicated, because I have no accurate sketch of the small buildings and bridges beyond it, and we shall have nothing whatever to do with this part of the palace in our present inquiry. The nearer and undecorated wall is part of the older palace, though much defaced by modern opening of common windows, refittings of the brickwork, etc.

SECTION VI. It will be observed that the façade is composed of a smooth mass of wall, sustained on two tiers of pillars, one above the other. The manner in which these support the whole fabric will be understood at once by the rough section, Fig. III., which is supposed to be taken right through the palace to the interior court, from near the middle of the Sea Façade. Here a and d are the rows of shafts, both in the inner court and on the Façade, which carry the main walls; b, c are solid walls variously strengthened with pilasters. A, B, C are the three stories of the interior of the palace.

[Illustration: FIG. III.]

The reader sees that it is impossible for any plan to be more simple, and that if the inner floors and walls of the stories A, B were removed, there would be left merely the form of a basilica,—two high walls, carried on ranges of shafts, and roofed by a low gable.

The stories A, B are entirely modernized, and divided into confused ranges of small apartments, among which what vestiges remain of ancient masonry are entirely undecipherable, except by investigations such as I have had neither the time nor, as in most cases they would involve the removal of modern plastering, the opportunity, to make. With the subdivisions of this story, therefore, I shall not trouble the reader; but those of the great upper story, C, are highly important.

SECTION VII. In the bird's-eye view above, Fig. II., it will be noticed that the two windows on the right are lower than the other four of the façade. In this arrangement there is one of the most remarkable instances I know of the daring sacrifice of symmetry to convenience, which was noticed in Chap. VII. as one of the chief noblenesses of the Gothic schools.

The part of the palace in which the two lower windows occur, we shall find, was first built, and arranged in four stories in order to obtain the necessary number of apartments. Owing to circumstances, of which we shall presently give an account, it became necessary, in the beginning of the fourteenth century, to provide another large and magnificent chamber for the meeting of the senate. That chamber was added at the side of the older building; but, as only one room was wanted, there was no need to divide the added portion into two stories. The entire height was given to the single chamber, being indeed not too great for just harmony with its enormous length and breadth. And then came the question how to place the windows, whether on a line with the two others, or above them.

The ceiling of the new room was to be adorned by the paintings of the best masters in Venice, and it became of great importance to raise the light near that gorgeous roof, as well as to keep the tone of illumination in the Council Chamber serene; and therefore to introduce light rather in simple masses than in many broken streams. A modern architect, terrified at the idea of violating external symmetry, would have sacrificed both the pictures and the peace of the council. He would have placed the larger windows at the same level with the other two, and have introduced above them smaller windows, like those of the upper story in the older building, as if that upper story had been continued along the façade. But the old Venetian thought of the honor of the paintings, and the comfort of the senate, before his own reputation. He unhesitatingly raised the large windows to their proper position with reference to the interior of the chamber, and suffered the external appearance to take care of itself. And I believe the whole pile rather gains than loses in effect by the variation thus obtained in the spaces of wall above and below the windows.

SECTION VIII. On the party wall, between the second and third windows, which faces the eastern extremity of the Great Council Chamber, is painted the Paradise of Tintoret; and this wall will therefore be hereafter called the "Wall of the Paradise."

In nearly the centre of the Sea Façade, and between the first and second windows of the Great Council Chamber, is a large window to the ground, opening on a balcony, which is one of the chief ornaments of the palace, and will be called in future the "Sea Balcony."

The façade which looks on the Piazzetta is very nearly like this to the Sea, but the greater part of it was built in the fifteenth century, when people had become studious of their symmetries. Its side windows are all on the same level. Two light the west end of the Great Council Chamber, one lights a small room anciently called the Quarantia Civil Nuova; the other three, and the central one, with a balcony like that to the Sea, light another large chamber, called Sala del Scrutinio, or "Hall of Enquiry," which extends to the extremity of the palace above the Porta della Carta.

SECTION IX. The reader is now well enough acquainted with the topography of the existing building, to be able to follow the accounts of its history.

We have seen above, that there were three principal styles of Venetian architecture; Byzantine, Gothic, and Renaissance.

The Ducal Palace, which was the great work of Venice, was built successively in the three styles. There was a Byzantine Ducal Palace, a Gothic Ducal Palace, and a Renaissance Ducal Palace. The second superseded the first totally; a few stones of it (if indeed so much) are all that is left. But the third superseded the second in part only, and the existing building is formed by the union of the two.

We shall review the history of each in succession. [Footnote: The reader will find it convenient to note the following editions of the printed books which have been principally consulted in the following inquiry. The numbers of the manuscripts referred to in the Marcian Library are given with the quotations.

Sansovino. Venetia Descritta. 410, Venice, 1663.

Sansovino. Lettera intorno al Palazzo Ducale, 8vo, Venice, 1829.

Temanza. Antica Pianta di Venezia, with text. Venice, 1780.

Cadorin. Pareri di XV. Architetti. Svo, Venice,1838.

Filiasi. Memorie storiche. 8vo, Padua, 1811.

Bettio. Lettera discorsiva del Palazzo Ducale, 8vo, Venice, 1837.

Selvatico. Architettura di Venezia. 8vo, Venice, 1847.]

1st. The BYZANTINE PALACE.

In the year of the death of Charlemagne, 813, the Venetians determined to make the island of Rialto the seat of the government and capital of their state. [Footnote: The year commonly given is 810, as in the Savina Chronicle (Cod. Marcianus), p. 13. "Del 810 fece principiar el pallazzo Ducal nel luogo ditto Brucio in confin di S. Moise, et fece riedificar la isola di Eraclia." The Sagornin Chronicle gives 804; and Filiasi, vol. vi. chap. I, corrects this date to 813.] Their Doge, Angelo or Agnello Participazio, instantly took vigorous means for the enlargement of the small group of buildings which were to be the nucleus of the future Venice. He appointed persons to superintend the raising of the banks of sand, so as to form more secure foundations, and to build wooden bridges over the canals. For the offices of religion, he built the Church of St. Mark; and on, or near, the spot where the Ducal Palace now stands, he built a palace for the administration of the government. [Footnote: "Ampliò la città, fornilla di casamenti, e per il culto d' Iddio e l' amministrazione della giustizia eresse la capella di S. Marco, e il palazzo di sua residenza."—Pareri, p. 120. Observe, that piety towards God, and justice towards man, have been at least the nominal purposes of every act and institution of ancient Venice. Compare also Temanza, p. 24. "Quello che abbiamo di certo si è che il suddetto Agnello lo incomminciò da fondamenti, e cosi pure la capella ducale di S. Marco."]

The history of the Ducal Palace therefore begins with the birth of Venice, and to what remains of it, at this day, is entrusted the last representation of her power.

SECTION X. Of the exact position and form of this palace of Participazio little is ascertained. Sansovino says that it was "built near the Ponte della Paglia, and answeringly on the Grand Canal," towards San Giorgio; that is to say, in the place now occupied by the Sea Façade; but this was merely the popular report of his day. [Footnote: What I call the Sea, was called "the Grand Canal" by the Venetians, as well as the great water street of the city; but I prefer calling it "the Sea," in order to distinguish between that street and the broad water in front of the Ducal Palace, which, interrupted only by the island of San Giorgio, stretches for many miles to the south, and for more than two to the boundary of the Lido. It was the deeper channel, just in front of the Ducal Palace, continuing the line of the great water street itself which the Venetians spoke of as "the Grand Canal." The words of Sansovino are: "Fu cominciato dove si vede, vicino al ponte della paglia, et rispondente sul canal grande." Filiasi says simply: "The palace was built where it now is." "Il palazio fu fatto dove ora pure esiste."—Vol. iii. chap. 27. The Savina Chronicle, already quoted, says: "in the place called the Bruolo (or Broglio), that is to say on the Piazzetta."]

We know, however, positively, that it was somewhere upon the site of the existing palace; and that it had an important front towards the Piazzetta, with which, as we shall see hereafter, the present palace at one period was incorporated. We know, also, that it was a pile of some magnificence, from the account given by Sagornino of the visit paid by the Emperor Otho the Great, to the Doge Pietro Orseolo II. The chronicler says that the Emperor "beheld carefully all the beauty of the palace;" [Footnote: "Omni decoritate illius perlustrata."—Sagornino, quoted by Cadorin and Temanza.] and the Venetian historians express pride in the buildings being worthy of an emperor's examination. This was after the palace had been much injured by fire in the revolt against Candiano IV., [Footnote: There is an interesting account of this revolt in Monaci, p. 68. Some historians speak of the palace as having been destroyed entirely; but, that it did not even need important restorations, appears from Sagornino's expression, quoted by Cadorin and Temanza. Speaking of the Doge Participazio, he says: "Qui Palatii hucusque manentis fuerit fabricator." The reparations of the palace are usually attributed to the successor of Candiano, Pietro Orseolo I.; but the legend, under the picture of that Doge in the Council Chamber, speaks only of his rebuilding St. Mark's, and "performing many miracles." His whole mind seems to have been occupied with ecclesiastical affairs; and his piety was finally manifested in a way somewhat startling to the state, by absconding with a French priest to St. Michael's in Gascony, and there becoming a monk. What repairs, therefore, were necessary to the Ducal Palace, were left to be undertaken by his son, Orseolo II., above named.] and just repaired, and richly adorned by Orseolo himself, who is spoken of by Sagornino as having also "adorned the chapel of the Ducal Palace" (St. Mark's) with ornaments of marble and gold. [Footnote: "Quam non modo marmoreo, verum aureo compsit ornamento."—Temanza] There can be no doubt whatever that the palace at this period resembled and impressed the other Byzantine edifices of the city, such as the Fondaco de Turchi, &c., whose remains have been already described; and that, like them, it was covered with sculpture, and richly adorned with gold and color.

SECTION XI. In the year 1106, it was for the second time injured by fire, [Footnote: "L'anno 1106, uscito fuoco d'una casa privata, arse parte del palazzo."—Sansovino. Of the beneficial effect of these fires, vide Cadorin.] but repaired before 1116, when it received another emperor, Henry V. (of Germany), and was again honored by imperial praise. [Footnote: "Urbis situm, aedificiorum decorem, et regiminis sequitatem multipliciter commendavit."—Cronaca Dandolo, quoted by Cadorin.]

Between 1173 and the close of the century, it seems to have been again repaired and much enlarged by the Doge Sebastian Ziani. Sansovino says that this Doge not only repaired it, but "enlarged it in every direction;" [Footnote: "Non solamente rinovo il palazzo, ma lo aggrandi per ogni verso."—Sansovino. Zanotto quotes the Altinat Chronicle for account of these repairs.] and, after this enlargement, the palace seems to have remained untouched for a hundred years, until, in the commencement of the fourteenth century, the works of the Gothic Palace were begun. As, therefore, the old Byzantine building was, at the time when those works first interfered with it, in the form given to it by Ziani, I shall hereafter always speak of it as the Ziani Palace; and this the rather, because the only chronicler whose words are perfectly clear respecting the existence of part of this palace so late as the year 1422, speaks of it as built by Ziani. The old "palace of which half remains to this day, was built, as we now see it, by Sebastian Ziani." [Footnote: "El palazzo che anco di mezzo se vede vecchio, per M. Sebastian Ziani fu fatto compir, come el se vede."—Chronicle of Pietro Dolfino, Cod. Ven. p. 47. This Chronicle is spoken of by Sansovino as "molto particolare, e distinta."—Sansovino, Venezia descritta, p. 593.—It terminates in the year 1422.]

So far, then, of the Byzantine Palace.

SECTION 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, [Footnote: See Vol. I. Appendix 3, Stones of Venice.] 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. [Footnote: Vide Sansovino's enumeration of those who flourished in the reign of Gradenigo, p. 564.] 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." [Footnote: Sansovino, 324, I.] 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.

SECTION 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." [Footnote: "1301 fu presa parte di fare una sala grande per la riduzione del gran consiglio, e fu fatta quella che ora si chiama dello Scrutinio."—Cronaca Sivos, quoted by Cadorin. There is another most interesting entry in the Chronicle of Magno, relating to this event; but the passage is so ill written, that I am not sure if I have deciphered it correctly:—"Del 1301 fu preso de fabrichar la sala fo ruina e fu fata (fatta) quella se adoperava a far e pregadi e fu adopera per far el Gran Consegio fin 1423, che fu anni 122." This last sentence, which is of great importance, is luckily unmistakable:—"The room was used for the meetings of the Great Council until 1423, that is to say, for 122 years."—Cod. Ven. tom. i. p. 126. The Chronicle extends from 1253 to 1454.

Abstract 1301 to 1309; Gradenigo's room—1340-42, page 295-1419. New proposals, p. 298.] 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.