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Home , Baldassare Longhena, Barbarigo family, Francesco Maffei, Gaspare Diziani, Giorgio Massari, Italian Parliament

Fondazione Musei Civici di Venezia — Ca’ Rezzonico

ENG This magnificent palace, now Museum Count Lionello Hirschell de Minerbi, of 18th century , was designed a member of the Italian , The by the greatest architect of who, after lengthy and complex the city, for the negotiations, sold it to the Venice Town aristocratic Bon family, and works Council in 1935. Palace. began in 1649. Longhena’s death in — 1682, almost at the same time as that Museum of the 18th Century Venice HISTORY of his noble client, with the financial problems of the Bon family, After some restoration work, the brought work to a halt, leaving the palace was adapted to serve as the palace incomplete. museum of 18th century Venice and In the meantime, the Rezzonico family opened to the public on April 25th – originally from – moved 1936. The designers of the museum to Venice and purchased a title in 1687. layout, Nino Barbantini and Giulio Giambattista Rezzonico, merchant Lorenzetti, aimed to exploit the and banker, bought the palace in 1751 character of Ca’ Rezzonico, arranging and appointed , one the works as if they were the palace’s of the most highly esteemed and original furnishings. To achieve eclectic artists of the day, to complete this result, numerous 18th century the works, which proceeded rapidly works that belonged to the other and in 1756 the building was finished. museums of Venice were moved to Ca’ While the magnificent facade on the Rezzonico, together with paintings, and the second floor furnitures, and frescoes from other followed Longhena’s original project, civic-owned buildings and many works Massari was responsible for the purchased for the occasion. audacious inventions towards the rear The final effect was undeniably of the palace: the sumptuous land- striking; the quality of the numerous entrance, the ceremonial staircase works exhibited, together with and the unusual grandiose ballroom the extraordinary quality of the obtained by eliminating the second architecture and the setting, made floor in this portion of the building. As Ca’ Rezzonico a veritable temple soon as the building was completed, of the Venetian 18th century: an the most important painters in Venice age of splendour, dissipation, and were called upon to decorate it: decadence, but undoubtedly one of Giambattista Crosato, who painted the most lively and fertile seasons of the frescoes in the ballroom together modern art in Europe. with the trompe l’oeil painter Pietro — Visconti; Giambattista Tiepolo, who painted two ceilings in celebration of the marriage between Ludovico Rezzonico and Faustina Savorgnan; the young Jacopo Guarana and Gaspare Diziani. The building was fully complete by 1758, when Giambattista Rezzonico’s younger brother, Carlo, Bishop of , was elected Pope under the name Clement XIII: this was the peak of the family’s fortunes and the palace at San Barnaba celebrated the event in grand . But by 1810 no family members were left. For the palace and its great heritage of art and history this was the beginning of a long, troubled period of sales and dispersions. Stripped of its furnishings, which were subdivided among the heirs and then sold, the palace passed through the hands of various owners in the 19th century; purchased by the English painter, Robert Barrett (“Pen”) Browning, it was used as a Baldassarre Longhena, Ca’ Rezzonico residence by his father, the writer Facade Robert Browning, who died there. It was subsequently taken over by

1 Ferruccio Mestrovich Collection paintings are the result of his research and studies; indeed, his suggestions 0/1. The collection contains a nucleus of and indications have assisted several sixteen paintings, all of high quality. scholars on many occasions in the There are two major works by Iacopo publication of his paintings and other BROWNING , an altar-piece of striking collections. MEZZANINE intensity and an austere portrait. — Particularly noteworthy is a glowing and intimate “Sacra Conversazione” by Bonifacio de’ Pitati; in addition, there are other works by Benedetto Diana, Lelio Orsi, Jacopo Amigoni, and Alessandro Longhi, two “soprarchi” (paintings above an arch) by Benedetto Carpaccio, son and follower of Vittore and a small panel by Cima da Conegliano. The Mestrovichs belong to an ancient Dalmatian family originally from Zara and have lived in Venice since 1945. The head of the family, Aldo (1885-1969) was persecuted during the Austrian rule for his Italian patriotism; his assets were confiscated by the Yugoslav Jacopo Amigoni, Portrait of a Young government and never returned. His Woman (the ‘debutante’), oil on canvas son Audace worked for many years in Venice as a lawyer. His youngest son, Ferruccio, a passionate scholar of Ferruccio early painting, is the donor of Mestrovich Collection this collection: the attributions of the

2 Ballroom arms appears in the gilded drapes at the centre of the main wall. The The grand ballroom of Palazzo two grandiose chandeliers in gilded 1. Rezzonico is markedly original with wood and metal with floral motifs respect to other Venetian buildings. were part of the original furnishings of FIRST Massari created it by eliminating the the palace. Along the walls there are floor of the upper piano nobile and some of the works that the sculptor FLOOR closing an order of windows, thus Andrea Brustolon produced for the doubling the height of the room; it Venier family in the early years of the gives the palace a truly “regal” effect, 18th century. Among these works you and expresses the spirit of the mid- find the so-called Ethiopian Warriors, 18th century. The room itself gives the imposing nudes armed with heavy illusion of being the centre of a much clubs and shown with vividly staring larger space that can be glimpsed eyes in white glass paste; at the feet of beyond the trompe l’oeil architecture each there is a horse’s head. Perhaps painted on the walls. These illusionistic the series – most of the statues are effects were created by Pietro Visconti, Primo piano in the room 10, which is named after a Lombard artist who specialized in 1. Ballroom the sculptor – was inspired by the such works and collaborated with 2. Nuptial Allegory Room Egyptian statues in porphyry and the most famous Venetian “figure” 3. Chapel basalt that Brustolon saw during his painters of the day; the ceiling fresco 4. The Pastel Room time in . is by Giovanni Battista Crosato and 5. Tapestry Room — represents the chariot of Phoebus with 6. Throne Room Nuptial Allegory Room Europe, Asia, America and Africa on 7. Tiepolo Room the four sides. All of these decorations On the ceiling there is the great 8. Passage-way – fully restored in 2000-2001 – refer fresco that gives the room its name. 9. Library to allegorical and celebratory themes It was painted in the winter of 1757 10. Lazzarini Room linked with Apollonian myths: a kind by Giambattista Tiepolo, together 11. Brustolon Room of figurative poem in honour of the with his son Giandomenico and 12. Portego Rezzonico family, whose coat-of- the trompe l’oeil painter Gerolamo

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3 Mengozzi Colonna, on the occasion The Pastel Room of the wedding between Ludovico Rezzonico and Faustina Savorgnan. The ceiling-fresco, by the Belluno Against a brilliant sky that opens up painter Gaspare Diziani, dates beyond the false balustrade, four from 1757 and represents Poetry impetuous white horses are pulling surrounded by Painting, Architecture, Apollo’s chariot, which bears the two Music and Sculpture, while a putto, spouses preceded by the blindfolded armed with a torch, is casting out Cupid and surrounded by allegorical ignorance. On the walls are numerous figures. These are Fame, the three portraits in pastel, a technique in which Graces and Wisdom. A bearded old Venetian painters excelled, especially man crowned with laurel (Merit), with , who taught the a Lion at his feet, symbol of the city, skill to French artists during her stay is holding a sceptre and a banner in Paris, 1720-1721. Her activity is Ballroom with the coats-of-arms of the two represented in this room by works families. The solar quality of the light, of high quality, created during the the stupendous symphony of colours 1830s, when Rosalba, in addition to her and the dynamic vigour of the figures capacity to investigate the psychology make this fresco, one of the last works of her subjects, revealed all her artistic painted by Tiepolo in Venice, one of his delicacy and refinement, enlivened greatest masterpieces. The furniture in by a scintillating skill in colours. She the room comprises carved and gilded also painted the two small miniatures pieces that date from the early 18th on ivory, remarkable examples of a century. The walls are hung in modern kind of work to which she devoted red damask and above the table you herself assiduously during the early can find a portrait of Francesco Falier years of the century. The room also in the robes of a Procurator da Mar; it contains works by other painters: was painted by Bernardino Castelli in Gian Antonio Lazzari, traditionally 1786, the year in which the nobleman considered Rosalba’s first master, was elected to this important office. Marianna Carlevarijs, daughter of the Rosalba Carriera, Portrait of a Gentleman, Opposite hangs a small painting by Friulan view-painter Luca, and Lorenzo pastel on paper Pietro Longhi which shows Pope Tiepolo, who painted the fine portrait Clement XIII (Carlo Rezzonico) of Cecilia Guardi Tiepolo (Giambattista granting an audience to his nephews Tiepolo’s wife and sister of Antonio Carlo and Lodovico and his niece and Francesco Guardi), painted in 1757. Faustina. On the easel another portrait The room contains carved and gilded of the same pope stands. This has furniture of Venetian workmanship, recently be recognised as one of the dating from the middle years of the earliest that the German neoclassical century. The boisierie, like the fine artist Anton Raphael Mengs painted sixteen-candle Murano chandelier, of Clement XIII; it was produced in dates from the second half of the the period July-December 1758, in the century. months immediately after the pope’s — election (on July 16). Tapestry Room — Chapel The fresco on the ceiling was painted by Jacopo Guarana in 1757 On the right wall, which runs alongside and represents the Triumph of the the San Barnaba canal, there is a small Virtues. The room takes its name chapel commissioned in the second from the three large Flemish wall- half of the eighteenth century, either tapestries from the late 17th century by Aurelio Rezzonico or by cardinal which narrate episodes from the Cardinal Carlo Rezzonico, the nephew Biblical story of King Solomon and of pope Clement XIII. The sole survivor the Queen of Sheba. Like the carved of the original interior is the elegant and gilded furniture, they come from gilded stuccowork against a white Palazzo Balbi Valier at Santa Maria background; the small painting of Formosa. The fine workmanship, the Madonna and Saints is by Francesco graceful lines and the quality of the Zugno, a pupil of Giambattista Tiepolo. gilding make this one of the most The elegant prie-dieu in walnut is a fine remarkable suites of furniture in the example of inventive Venetian furniture Venetian style to have survived making; it dates from the middle of the complete. The yellow lacquered door eighteenth century and is unusual in with chinoiseries, which is original that it can be ‘raised’ to form a seat. to the room, is worth attention. Each — side of the door is divided into two

4 compartments, each one containing Donà delle Rose family and in 1934 was an oriental scene, painted in gold and purchased by the Venice Town Council brown. It is a very rare example, dating to be exhibited in this room. The from around 1760; it is quite possible splendid figures of Nobility and Virtue that the designs were provided by in rich robes stand out against the Giambattista or Giandomenico Tiepolo, bright sky; they are surrounded by the working at the time on the frescoes in usual cohort of exquisite winged putti, the palace. together with two elegant pages as — train-bearers. Perfidy, dressed in grey Throne Room tones, is tumbling downards followed by a bat that a putto has caught on The ceiling is occupied by a large a string. The page is depicted with a fresco, painted by Giambattista Tiepolo delicate attention to detail and appears during the period he was working on to have the artist’s child, Giuseppe Throne, Corradini atelier the Nuptial Allegory, together with Maria, as a model. Other paintings his collaborator, the trompe l’oeil adorn the walls, while the furniture is artist, Gerolamo Mengozzi Colonna. of various provenance and high quality: It represents an Allegory of Merit, the impressive bureau in walnut-root depicted as a bearded old man, is perhaps original to the palace; in crowned with laurel, rising to the its size, workmanship and state of Temple of Glory, accompanied by conservation, it is a unique example Nobility (the winged figure holding a of its kind, dating from the mid-18th spear) and by Virtue (the figure to the century. Particularly noteworthy is the right of the old man, in rich vestments), large table in the centre of the room, while Fame blows her trumpet. The link with its eight carved legs. It is a fine with the Rezzonico family is supplied example of Venetian baroque furniture, by the winged putto beneath the figure probably dating from the end of the of Merit, who holds the Golden Book 17th or early 18th century. On the wall of the Venetian Nobility, to which they to the left of the entrance is a cabinet had been admitted in 1687. It is a work adapted to serve as a coffer, a work Giambattista Tiepolo, The Nobilty and of superb quality, marked by a dazzling of the German school (Augsburg) of Virtue overthrowing Perfidy, oil on canvas play of colours and compositional the 17th century; it is placed on a table ingenuity. The rich gilded furniture is with baroque scrolls of a later period. worthy of note. It originally belonged to — the Barbarigo family, and subsequently Passage-way and Library passed, by line of inheritance, to the Donà delle Rose family. It also The doors of this narrow passageway includes an imposing picture-frame through to the Library are in 18th (now containing the Portrait of Pietro century embossed leatherwork and Barbarigo by Bernardino Castelli), come from Palazzo Carminati at San with exuberant allegorical decoration, Stae. The tempera-decorated display whose complex iconography is cases are also of the same period and designed to exalt the virtues of the contain pieces from the museum’s rich Barbarigo family. Traditionally, this set collection of 18th century porcelain. of furniture is attributed to Antonio The first contains work produced by Corradini, a sculptor from Este active the Venetian Giovanni Vezzi, who is in Venice up to the 1720s. The throne, to be credited with having brought which gives the room its name, is of to the city the secret of porcelain different provenance but nonetheless manufacture, a chemical process is undoubtedly a creation of the same developed by Johann Friedrich Böttger, workshop. Crossing the portego, one an alchemist at the service of the passes to the Tiepolo room. royal court in . In the brief — period that Vezzi’s porcelain factory Tiepolo Room was in operation – from 1720 to 1727 – it produced a sizeable quantity Here one can admire the third of of works, primarily tea services but Giambattista Tiepolo’s four ceilings also more limited numbers of vases, in Ca’ Rezzonico: this is a modelled plates and coffee pots. Amongst the canvas representing Nobility and works on display note the elegant Virtue Defeating Perfidy. Unlike the bell-shaped cups decorated in iron- frescoes in the other rooms of the based red, blue and gold with various lower piano nobile, this work was not mythological scenes, and the splendid painted for the palace, but was created round tea-pot decorated with plum between 1744 and 1745 for Pietro blossom, again in iron-based red. The Barbarigo; it was then inherited by the second display case contains various

5 works produced at the factory of the three large canvases on mythological Modena-born Geminiano Cozzi, which subjects on the walls, believed to opened in 1764 and was in operation be by Gregorio Lazzarini, a Venetian until the early years of the 19th painter, who was Giambattista century. One of its early products was Tiepolo’s first teacher. Later studies the splendid coffee service donated have revealed that the only one by to Ca’ Rezzonico in 1938 by Umberto Lazzarini is Orpheus Massacred by di Savoia. The other pieces – some the Bacchantes, on the left, painted decorated with chinoiserie designs – in 1698. These three paintings, equal date from later. Between the windows in height, were originally part of the of the wall opposite there is a small furnishings of the San Stae home of painting of The Martyrdom of Saint Abbot Teodoro Correr, whose bequest Eurosia. Part of the Gatti Casazza to the city constituted the original collection, it was donated to the nucleus of the collections of the Antonio Corradini, Bust of a Lady museum in 1962; at the time it was Musei Civici Veneziani. At the centre “La Velata”, marble attributed to Giambattista Piazzetta, of the room stands a splendid desk of but it is now recognised as the work of precious woods with ivory inlays and Giulia Lama. gilded bronze rods. Signed and dated 1741, it is the work of the Turin-born This reconstruction of a Library of the cabinet-maker Pietro Piffetti. Among period contains display-cases with the furniture in this room, you notice the interesting collection of 18th and the six chairs upholstered in leather 19th century glass objects that was painted with allegorical figures. donated to the museum in 1962 by — Gatti Casazza. The fine lectern and Brustolon Room the leather chests on display within the cases also came from the same The ceiling-decoration consists of collection. The splendid marble bust eleven canvases of various shapes of a Veiled Woman is the work of the and sizes. Together with the five Geminiano Cozzi atelier, Blue and gold decorated Tray, porcelain Este-born sculptor Antonio Corradini in the Lazzarini Room, they were and is probably an allegory of Purity. originally part of a decorative complex The extraordinary technical mastery of painted by Francesco Maffei for a the artist is clear in his rendering of the country villa that belonged to the Nani transparent veil and the details of the family, later divided up and placed in face beneath. The furnishings of the two different rooms of the family’s room are completed by simple chairs principal town-palace in Cannaregio. upholstered in gilded leather painted The four monochrome tondi at with floral motifs – typical examples of the corners of the ceiling are by a Venetian cuoridoro work – and a large different hand: they also come from early 18th century grandfather clock Palazzo Nani and are by Gerolamo by the clockmaker Williamson. Brusaferro. The room takes its name The ceiling is now adorned with a from the furnishings carved by Andrea painting of An Allegory of Triumph, an Brustolon, the ebonist from Belluno; early work by the Baroque painter- this set of works, a portion of which decorator Mattia Bortoloni. we have already seen in the ballroom, — is the greatest example of early 18th Lazzarini Room century woodcarving in the Veneto. It consists of large chairs, vase-stands The ceiling consists of five ovals, a and statues in ebony and boxwood work by the seventeenth-century carved for the Venier family before painter Francesco Maffei from : 1706. There are as many as 40 items; in the centre is Prometheus with the the most famous piece is undoubtedly Mirror and the Eagle, on the sides the console-cum-vase-stand, the Daedalus and Icarus, Prometheus lower part of which represents an Unbound, Perseus with the Head Allegory of Strength, personified by of Medusa and Andromeda Tied to Hercules. The work – like the others the Rock. Painted around 1657-1658, in the series – is highly imaginative they are perhaps the artist’s greatest in conception and meticulous in masterpiece. This ceiling was not execution. The chromatic contrast part of the original decorations of Ca’ between the different components Rezzonico; it comes, together with is exploited to the full: the gleaming, the one now in the Brustolon room, almost metallic black of the ebony, the from Palazzo Nani on the Cannaregio warm reddish-brown of the boxwood Canal. The room owes its name to and the splendidly luminous white of the 19th century attribution of the the oriental porcelain vases, decorated

6 with airy chinoiserie patterns. The Langetti. This is one of the first works same virtuosity can be appreciated produced in Venice by the Genoa- in the other pieces that complete the born artist, who would subsequently splendid series of vase-stands. They become the leading figure of the are 25 items, all different from one so-called Tenebrosi. The doorway another: blackamoors, putti, caryatids to the staircase to the second floor in ebony with vitreous-paste eyes, has the form of a triumphal arch and allegories of the four Seasons and at the top bears the coat-of-arms of the five Elements. There are also a the Rezzonico family. It undoubtedly number of interesting paintings, all derives from an invention of Giorgio from the 17th or early 18th century. Massari and dates from the years In the middle of the room the superb when he was completing the palace. chandelier in polychrome glass hangs, On either side of the doorway there are Lazzarini Room with twenty candle-holders in two two vigorous sculptures by the 16th orders; it was produced around 1730 century artist Alessandro Vittoria. by the Murano factory of Giuseppe — Briati, undoubtedly the most extraordinary example of its kind to survive intact. — Portego

The “portego de mezo” is the wide atrium which, on the ground floor of Venetian palaces, usually links the canal entrance with the land- entrance; it is repeated on the floors above, providing access to all the side-rooms. Traditionally the Andrea Brustolon, Ethiopian Warrior portego is decorated with frescoes (detail), engraved and carved ebony or large canvases in stucco frames: the portego of Ca’ Rezzonico had the same characteristics but the original paintings were dispersed in the nineteenth century and the stucco deteriorated; during the restoration-work before the museum was opened in 1936 the appearance of the room was changed, the walls being coated with false pink marble, which survives today. The decoration consists of a group of 18th century marble busts, portraits or allegorical figures, some of them by the sculptor, Orazio Marinali, from Bassano. The furnishings are completed by four Portego large divans “da portego” and a gilded sedan-chair, upholstered in red silk. On the easel stands the altarpiece of Mary Magdalene at the Foot of the Cross, painted for the Church of the Terese in 1663-1664 by Giambattista

7 Picture-gallery Portego Pisani Moretta at San Polo, is one of his masterpieces in the historical 2. The second floor Portego acts as genre to which the artist devoted the traditional Venetian “quadreria”, himself especially in his late years. SECOND containing the most important Gian Antonio Pellegrini’s painting paintings of the museum. The tour of Muzius Scaevola and Porsenna, FLOOR follows a clockwise direction, from the painted between 1706 and 1708, is a left of the entrance. The first painting is fine example of this rococo artist’s an imaginary view by Luca Carlevarijs, mature style. The next stretch of wall is dating from the early years of the devoted to two youthful masterpieces 18th century, rich in scenographic by , the View of the Rio dei effects and Roman features. Next to Mendicanti and The Grand Canal it there is an Architectural Caprice, from Ca’ Balbi Looking towards Rialto, an autograph replica of the one that recently acquired by the Venice Canaletto donated to the Venetian Town Council (1983), the only view- Academy of Painting and Sculpture paintings by the artist in the city’s in 1765. The next painting shows public collections. Together with two a Diplomatic Congress, a youthful paintings that were originally part of Secondo Piano work by Francesco Guardi. On the the same series and are now in the 13. Picture gallery Portego wall opposite, on the left, there is Thyssen collection in Madrid, there 14. Giandomenico Tiepolo’s Frescoes from the Villa at Zianigo the Portrait of Marshal Matthias von are the finest works of his youthful 15. Spinet Room Schulenburg, by Antonio Guardi, period, around the 1720s, when he 16. Passage-way who worked for many years for the decided to abandon the practice 17. Room of the ‘Parlour’ commander of the Venetian land- of theatrical scenography, which 18. LonghiRoom troops, a great art-collector; the he had been engaged on till then in 19. Green Lacquer Room work was done between 1737 and his father’s employment, in order 20. Guardi Room 1742. Beside it, the large canvas to devote himself to view-painting. by Giambattista Piazzetta, painted Beyond the door there are a few works 21. Alcove around 1746 for the salon of Palazzo by pupils of Piazzetta, while three

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8 notable 17th century portraits occupy a small village near Mirano, in the the corresponding wall opposite. The countryside to the west of Venice. next area is devoted to an important Almost all of them were removed in collection of works by the most 1906 in order to be sold in France; important landscape-painters active but their exportation was blocked in the Veneto during the 18th century. by the Ministry of Education and The “founder” of Venetian landscape- the works were purchased by the painting is unanimously considered Venice Town Council and by the to be Marco Ricci from Belluno; Italian State. They were transferred two small early works are displayed in 1936 to Ca’ Rezzonico, using a here, painted between the end of the layout that attempted to reconstruct seventeenth and the beginning of the – although with a few differences eighteenth century. Half a century and superimpositions – the original later, in a different cultural context, arrangement. The frescoes – restored Antonio da Canal known as Canaletto, Rio dei Mendicanti, oil on canvas dominated by the poetics of Arcadia, in 1999 by Ottorino Nonfarmale thanks the Tuscan artist to the generous contribution of the led the field, with highly refined works, members of the Venice International rich in surface vibrancy; his large Foundation – are some of the most Pastoral Scene hangs here, together fascinating and striking works in Ca’ with four Landscapes with Peasants Rezzonico – indeed, of the second half by Giuseppe Zais from Agordo (near of the century. Belluno), a more spontaneous and — realistic artist. The stucco-framed The corridor oval paintings above the doors that lead into the rooms off the portego In the entrance-corridor is the scene are also of interest. Above the door from Tasso’s poem, Gerusalemme into the so-called Longhi Room Liberata, with Rinaldo abandoning the is Nicolò Cassana’s Portrait of a garden of Armida, originally situated Gentlemean in Red; above that into on the ground-floor of the villa of the Sala del Ridotto, a Portrait of the Zianigo; it can be dated in 1770. On Giandomenico Tiepolo, Mondo Novo Senator Giacomo Correr, again dating the far wall is the scene of the Falcon (detail), fresco from the early 18th century but of swooping down on a flock of fleeing uncertain attribution; above that sparrows: almost a snapshot for its leading into the reconstructed interior immediacy and realism. In the villa this of Villa di Zianigo, there is a painting fresco was in a small room together of an elegant noblewoman who has with the splendid image of the Parrot been identified as Renier Donà delle now in the next corridor. The elegant Rose, the work of the Brescian artist figure of Abundance on the right-hand Lodovico Gallina, who is said to have side of the corridor probably dates produced the painting ‘from memory’ from 1771; it was originally on the some thirty years after the woman’s staircase-landing in the villa of Zianigo. death in 1751; finally, above the door in — the Guardi Room there is a Portrait of The portego the Senator Giovanni Correr, attributed to . The furniture in the The next room is the largest, portego comprises four simple sofas reproducing the decorations of the in walnut, some ‘Indian wickerwork’ ground-floor salon of the villa with chairs, four stands and an elegantly- some of the most famous works shaped sideboard in walnut. From the of the cycle. On the longest wall is picture-gallery portego one enters the the New World, signed and dated corridor which leads to the superb 1791. The scene is a striking one: collection of dazzling frescoes from it represents, seen from the rear, a the Villa Tiepolo at Zianigo. small crowd waiting to peer into a — kind of “cosmorama” or “diorama” Giandomenico Tiepolo’s Frescoes to see pictures and scenes of a from the Villa at Zianigo. distant world. To modern eyes the painting has an unsettling power: the From this point on, starting with the air of expectation, the lack of faces, scenes of Rinaldo Abandoning the the metaphysical simplicity of the Garden of Armida and the Falcon, landscape and the huckster’s booth one enters the area of the museum all make this painting an emblematic devoted to the recomposition of the and moving testimony to a state of cycle of frescoes by Giandomenico foreboding, mingled with curiosity and Tiepolo, painted from 1759 to 1797 for amazement aroused by a new world his villa which still exists at Zianigo, still unknown. Some have recognised,

9 in the two figures in profile on the right, Reciting the Rosary in front of a group Giambattista Tiepolo, with folded arms of young people gathered in prayer. and, further back, Giandomenico with St. Jerome Miani is also the subject of the eyeglass. Opposite the New World the curved canvas (IRE deposit), while are two contemporary works: the all the other furnishings of the chapel Minuet at the Villa strikes one by its are Venetian workmanship of the 18th ironic attitude towards ridiculous and century. Crossing the portego again vacuous formalities and all the most to the left, one enters the Room of the ephemeral aspects of fashion and Centaurs. behaviour; the Promenade suggests — a stage-exit, a formal farewell. The Room of the Centaurs ceiling with the Triumph of the Arts is a much earlier work, which can On the ceiling is an image in red be dated before 1762. The four monochrome of a Rhapsody (maybe a Giandomenico Tiepolo, Pulcinella and the monochrome sovraporte (decorations Homage to Homer) signed and dated acrobats, fresco over the doors) in green appear to be 1791; the numerous tondi in grey contemporary with the New World, monochrome date from about twenty although thematically linked with the years ealier; they show episodes from ceiling (Astronomy, The Faun’s Family, the lives of centaurs and satyresses; Pagan Sacrifice, Bonfire). of the same period is a tondo with a — Pagan Sacrifice. The Punchinello Room — Room of the Satyrs The next room contains frescoes with scenes from the life of Punchinello On the ceiling is the large rectangular or Punch (“Pulcinella” in Italian): frieze with Scenes from Roman Punchinello and the Tumblers, History dated 1759, while the other Punchinello in Love, Punchinellos monochrome scenes date from 1771. Carousing (1797); on the ceiling is The two other monochrome works the famous oval with Punchinellos on the walls represent Satyrs on a on a Swing (1793). The smaller Swing (the scene anticipates the one Giandomenico Tiepolo, Pulcinella’s Swing, chiaroscuro paintings also contain painted twenty years later with the fresco scenes with Punchinello. In the end the Punchinellos) and A Centaur Bearing Punchinellos dominate Giandomenico off a Satyress; the decorations over the Tiepolo’s human comedy at Zianigo: door, which have large lion-heads in they seem to turn up gradually in all stucco, also bear images of Satyrs and the scenes, slowly taking over every Satyresses. From the area devoted to role, substituting every individual. the Villa of Zianigo one passes to the The timeless story of Punchinello Spinet Room. reached its epilogue and its apex — simultaneously. A via crucis that is Spinet Room and passage-way blasphemous but also tragic and dolorous; a heroic poem and an This room reproduces the atmosphere obscene quip; a heartfelt prayer or a of the country-villas in which the novel, a portrait, a curse. rich Venetian families spent their — leisure-time. The wardrobes and The Chapel doors come from Villa Mattarello at Arzignano near Vicenza. The two large Return to the portego of the New wardrobes, with double-doors, have World and take the door on the left into tempera paintings in chiaroscuro on the Chapel of Zianigo. The frescoes pink tonalities representing Allegories that decorate this small room were of the Four Seasons; the style recalls probably the first ones Giandomenico that of Giuseppe Nogari; the doors painted in the villa in 1759. The altar- to the room have views with rustic painting bears a delicate image of and hunting scenes, also painted in the Virgin and Child Adored by St. tempera on the same tonalities. The Jerome Miani and by St. James the elegant furnishings also include a rare Apostle; on the sides, above the example of early eighteenth-century doors, are two Old Testament scenes spinet, with richly carved and gilded in monochrome representing the legs; the decoration on the sides is Sacrifice of Melchisedech and Moses in “sham lacquer”. The room also Breaking the Tablets of the . Two contains two interesting paintings. splendid monochromes with St. The first, The Banquet of Abigail and Jerome Miani Causing Water to Gush Nabal, is one of the numerous results from a Rock and St. Jerome Miani of the collaboration between the

10 figure-painter Francesco Zugno and Longhi’s “genre” pictures, on the walls. the perspective-painter Francesco On the ceiling, the canvas by Tiepolo Battaglioli; the second – the work comes from Ca’ Pesaro and belongs of Gaspare Dizioni, born in Belluno to an early phase of the artist’s career, – is a devotional work that frames a in the 1730s. The combined presence 16th century icon; this earlier image of Zephyr – one of the four winds – appears crowned by the figures of St. and the goddess of flowers alludes Joseph and St. John between cherubs. to spring and thus to fecundity. The From the Spinet Room one enters the colours are brilliant and transparent; small passageway leading into the the virtuoso skill of the brushwork Room of the “Parlour”. Here are a few brings out the sensuous flesh-tones small paintings of great value, works and emphasises pleasing contrasts by Pietro Longhi, Francesco Guardi and in the colour effects. The series of Giuseppe Zais; in addition, in the niche, paintings by Pietro Longhi on the walls Pietro Longhi, Conversation between is a splendid Torch-Holder in Murano presents amorous encounters and dominoes, oil on canvas glass (donated by Gatti Casazza), scenes from everyday life: he shows probably from Giuseppe Briati’s us patricians and peasants, a visit to factory. the painter’s study, a barber at work, — scenes of domestic conversation, Room of the “Parlour” “exotic and monstrous” curiosities, family-groups and concerts; a whole On the ceiling is a fresco from Palazzo repertoire of ordinary situations, Nani in Cannaregio, placed there events and entertainments. In them, in the 1930s; it representsConjugal Longhi’s investigative eye seeks out Harmony crowned by the Virtues in the modes and manners of a highly the presence of Justice, Prudence, cultivated civilisation but is far from Temperance, Fame, Abundance and being indulgent with the world he Divinity. On the walls are two of the represents: he almost ruthlessly most famous paintings by Francesco dissects the empty customs and Guardi, The Nuns’ Parlour at San pompous foibles of his characters Zaccaria and the Ridotto of Palazzo and their world. He excels above all Giambattista Tiepolo, The Triumph of Dandolo at San Moisè , painted in the in domestic interiors, as lucid and Zephyrus and Flora, oil on canvas second half of the 1740s. They are two rational in their own way as Canaletto’s “interior views” which anticipate the exterior views. The fine furniture in the views of the city that Francesco would room in yellow lacquer with patterns begin to produce around the end of the of flowers and red curls comes from following decade: note the liveliness Palazzo Calbo Crotta. of the miniature figures, which have — the same freshness of touch and the Green Lacquer Room same lightness of colour as those in his innumerable views of Venice. In On the ceiling is a fresco with the addition to these two masterpieces, Triumph of Diana by Antonio Guardi, there are other paintings of great from Palazzo Barbarigo-Dabalà interest. The Parlour is flanked by at the Angelo Raffaele, which was two late portraits by Pietro Longhi, mounted on a canvas after removal. while the ones on either side of the This allegorical-mythological work is mirror are youthful works. Next to a fine example of the painter’s skill in the Ridottoare two sketches, one by the typically Venetian rocaille style of Giambattista Tiepolo and the other airy, refined fantasy; it dates from a by Bartolomeo Nazari. Notice the late stage of his career, in the . furniture in green-yellow lacquer with On the walls are views and landscapes, floral patterns, from Palazzo Calbo but the most striking feature in the Crotta at the Scalzi. room is undoubtedly the furniture in — dark green lacquer with decorative Longhi Room elements in gilded pastiglia from Palazzo Calbo Crotta in Cannaregio. The room provides an interesting It is a suite of furniture of a single chance to compare two different design, finely decorated in the taste spirits of the Venetian Settecento: the of the 1750s, when chinoiseries were lively, sensuous rococo of Giambattista very appreciated. The tiny polychrome Tiepolo’s allegorical-mythological figures of Chinamen with moving works, represented in the canvas on heads are in lacquered papier-maché; the ceiling with Zephyr and Flora, and they are 18th century oriental works. the keenly ironic and critical spirit of — the Venetian Enlightenment in Pietro

11 Guardi Room the furnishings consist of a chest with lid (bureau-trumeau), probably Three more frescoes by Antonio Guardi of Lombard origin, and a lacquered from Palazzetto Dabalà, formerly cradle with neo-classical decorations. Barbarigo, are on the wall here, part On either side of the bed, two small of the same series as the ceiling in doors lead to parallel corridors: the the Green Lacquer Room. Although one on the right has a door opening in a precarious state on account of onto the alcove and, at the far end, is a their removal, these works – the only show-case containing the fine toilette- examples of frescoes by Antonio set formerly of the Pisani family, Guardi known to us – still reveal the consisting of 58 silver items, finely Chest of drawers, Green Laquer room artist’s lively skill in decoration. The gilded and chased, inset with onyx. room contains furniture in green The coffer on the lower shelf of the lacquer with polychrome flower show-case bears the twinned crests of patterns, a bequest of the Savorgnan the Pisani and Grimani families, which Brazzà family. The furnishings are suggests that the set was a wedding- completed by the fireplace in red present for a marriage between marble, from Palazzo Carminati these two families. It is a work by the at San Stae, whose hood bears the celebrated craftsmen of Augsburg and original stucco-work, with delicate dates from the end of the 17th century: Antonio Guardi, Minerva, fresco chromatic tones: in the centre, within it includes all the toilette-items a lady an oval, is a figure of Abundance. The could need. The door to the left of fine chandelier with faceted crystal the alcove gives onto another narrow drops is a Murano work of the second passageway, which, after passing half of the 18th century, in imitation of through the wardrobe, leads into the similar Bohemian products. intimate Stucco Chamber, transferred — here from Palazzo Calbo Crotta. This Alcove is an octagonal room, whose walls are coated in the original 18th century In this room, and in the small ones polychrome stucco. On the ceiling are beyond, an 18th century bedchamber illusionist frescoes by Jacopo Guarana. has been reproduced with its dressing- — rooms, wardrobe-room and boudoir. The alcove comes from Palazzo Carminati at San Stae and dates from the second half of the 18th century. In Rosalba Carriera, Madonna, the centre of the headboard is a Holy pastel on paper Family with St. Anne and the Infant St. John. Above, in the beautiful, original gilded frame is a Madonna in pastel by Rosalba Carriera, dating from the late 1720s. On the ceiling is a small round canvas, an anonymous work, with the Virgin and Child. Outside the alcove

12 The Ai do San Marchi Pharmacy to alembics in fine glass, from the Murano furnaces. Beyond is the back- 3. Until 1908 the pharmacy was in room of the pharmacy. Its walls are Campo San Stin in Venice, in the completely covered by a boiserie in THIRD building on the corner of Calle Donà. painted fir-wood, enriched with carved The furnishings, most of the majolica capitols and other decorative features. FLOOR vases and the objects in exquisite Its original colours have been restored Murano glass all date from the mid- thanks to the recent restoration 18th century. In 1908 the furnishings sponsored by the French association of the pharmacy were bought by a Rallye San Marco. On the shelves are Parisian antiquarian, who then chose vases in majolica and glass in addition to donate them to the Musei Civici di to two large mortars, used for grinding Venezia. In 1936 the furniture and the the raw materials. objects were transferred to the third — floor of Ca’ Rezzonico. The pharmacy Egidio Martini Picture Gallery consists of three intercommunicating rooms. The first one is the shop Egidio Martini’s donation is the most itself and has 183 vases in decorated important that has been made to the majolica,coming from the Venetian city of Venice since the beginning of Cozzi factory. The two largest vases, the 20th century, for the number of placed symmetrically in the corners works, their high quality and their of the far wall, bear the sign of the philological and historical importance. The Egidio Martini Collection pharmacy: two facing lions holding It is a collection of paintings, almost the open Gospel, symbol of the all of the Venetian school, ranging protector of Venice, St. Mark the from the 15th century to the beginning Third floor Evangelist. Notice the elegant desk of the 20th. It includes works by The Egidio Martini Picture Gallery with exquisite curved lines. The second important masters as well as paintings room contains the laboratory, with by artists who owe their place in the 22. The Ai do San Marchi Pharmacy a fire-place and stove, in addition history of Venetian art to the studies

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13 of Martini himself. Egidio Martini, an Bernardino Bison, Natale Schiavoni, eclectic scholar, began his activity Ippolito Caffi, Mancini, Emma Ciardi: of restoring ancient paintings in the but this is only a partial list of the 1940s. He discovered works by artists artists represented in the gallery. The not fully appreciated by the critics or collection had become an important by the market, identifying and re- reference-point for scholars when evaluating their role. At the same time, Martini conceived the idea of donating with great acumen and many personal it to the city. The Picture Gallery, thanks sacrifices, he began to assemble a to this enlightened and generous collection of works which made a major gesture, is now open to the public and contribution to our understanding of offers a fascinating itinerary to round 17th and 18th century painting in the off the panorama of Veneto painting Veneto. His gallery faithfully reflects offered by the other museums in the his work as a critic. It throws an city. The Pharmacy entirely new light on many aspects, — episodes and protagonists of Venetian art. The range of works is very wide genre-scenes, mythological works, marine landscapes, portraits, religious subjects and allegories – and it includes a number of highly significant masterpieces. The names represent the very best of Venetian art over a prolific period, which starts well before the 17th century and concludes long afterwards. They include Cima da Conegliano, Alvise Vivarini, Bonifacio de’ Pitati; Tintoretto, Schiavone, Bassano, Paolo Fiammingo, Sustris; and Carpioni, Pietra Vecchia and Giovanni Segala, Palma il Giovane, , Francesco Maffei, Langetti, ; Balestra, Niccolò Bambini and on up to Piazzetta, Nicola Grassi, the Tiepolo family, Longhi, Rosalba, Sebastiano and Marco Ricci, Pellegrini, Amigoni, Diziani, Antonio Marini, Zuccarelli and Zais. After the 18th century we come to Giuseppe

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