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The Grand Canal from the Steps of S. Maria Della Salute a Wanderer in Venice

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The Grand Canal from the Steps of S. Maria Della Salute a Wanderer in Venice THE GRAND CANAL FROM THE STEPS OF S. MARIA DELLA SALUTE A WANDERER IN VENICE BY E.V. LUCAS WITH SIXTEEN ILLUSTRATIONS IN COLOUR BY HARRY MORLEY AND THIRTY-TWO PHOTOGRAPHS FROM PAINTINGS AND A MAP New York THE MACMILLAN COMPANY 1914 All rights reserved COPYRIGHT, 1914, BY THE MACMILLAN COMPANY. Set up and electrotyped. Published November, 1914. Norwood Press: Berwick & Smith Co., Norwood, Mass., U.S.A. "In like manner I say, that had there bin an offer made unto me before I took my journey to Venice, eyther that foure of the richest manors of Somerset- shire (wherein I was borne) should be gratis bestowed upon me if I never saw Venice, or neither of them if I should see it; although certainly these manors would do me much more good in respect of a state of livelyhood to live in the world than the sight of Venice, yet notwithstanding I will ever say while I live, that the sight of Venice and her resplendent beauty, antiquities, and monuments, hath by many degrees more contented my minde, and satisfied my desires, than those foure Lordships could possibly have done."—THOMAS CORYAT. Map: A Bird's Eye View Of Venice PREFACE For a detailed guide to Venice the reader must go elsewhere; all that I have done is invariably to mention those things that have most interested me, and, in the hope of being a useful companion, often a few more. But my chief wish (as always in this series) has been to create a taste. For the history of Venice the reader must also go elsewhere, yet for the sake of clarity a little history has found its way even into these pages. To go to Venice without first knowing her story is a mistake, and doubly foolish because the city has been peculiarly fortunate in her chroniclers and eulogists. Mr. H.F. Brown stands first among the living, as Ruskin among the dead; but Ruskin is for the student patient under chastisement, whereas Mr. Brown's serenely human pages are for all. Of Mr. Howells' Venetian Life I have spoken more than once in this book; its truth and vivacity are a proof of how little the central Venice has altered, no matter what changes there may have been in government or how often campanili fall. The late Col. Hugh Douglas's Venice on Foot, if conscientiously followed, is such a key to a treasury of interest as no other city has ever possessed. To Mrs. Audrey Richardson's Doges of Venice I am greatly indebted, and Herr Baedeker has been here as elsewhere (in the Arab idiom) my father and my mother. E.V.L. June, 1914. CONTENTS PAGE Preface VII CHAPTER I The Bride of the Adriatic 1 CHAPTER II S. Mark's. I: The Exterior 6 CHAPTER III S. Mark's. II: The Interior 17 CHAPTER IV The Piazza and the Campanile 31 CHAPTER V The Doges' Palace. I: The Interior 46 CHAPTER VI The Doges' Palace. II: The Exterior 65 CHAPTER VII The Piazzetta 78 CHAPTER VIII The Grand Canal. I: From the Dogana to 91 the Palazzo Rezzonico, Looking to the Left CHAPTER IX The Grand Canal. II: Browning and Wagner 100 CHAPTER X The Grand Canal. III: From the Rio Foscari 110 to S. Simeone, Looking to the Left CHAPTER XI The Grand Canal. IV: From the Station to 119 the Mocenigo Palace, Looking to the Left CHAPTER XII The Grand Canal. V: Byron in Venice 130 CHAPTER XIII The Grand Canal. VI: From the Mocenigo 143 Palace to the Molo, Looking to the Left CHAPTER XIV Island Afternoons' Entertainments. I: 151 Murano, Burano and Torcello CHAPTER XV On Foot. I: From the Piazza to San Stefano 162 CHAPTER XVI The Accademia. I: Titian, Tintoretto, and 168 Paul Veronese CHAPTER XVII The Accademia. II: The Santa Croce 179 Miracles and Carpaccio CHAPTER XVIII The Accademia. III: Giovanni Bellini and 187 the Later Painters CHAPTER XIX The Canale di S. Marco and S. Giorgio 195 Maggiore CHAPTER XX On Foot. II: Three Churches and Carpaccio 206 again CHAPTER XXI On Foot. III: The Merceria and the Rialto 217 CHAPTER XXII S. Rocco and Tintoretto 231 CHAPTER XXIII The Frari and Titian 245 CHAPTER XXIV Ss. Giovanni E Paolo 254 CHAPTER XXV S. Elena and the Lido 263 CHAPTER XXVI On Foot. IV: From the Dogan to S. 270 Sebastiano CHAPTER XXVII Churches Here and There 279 CHAPTER XXVIII Giorgione 287 CHAPTER XXIX Island Afternoons' Entertainments. II: S. 299 Lazzaro and Chioggia LIST OF ILLUSTRATIONS IN COLOUR The Grand Canal from the Steps of Frontispiece S. Maria Della Salute S. Mark's from the Piazza. The Facing page 10 Merceria Clock on the Left The Campanile and the Piazza from " 28 Cook's corner The corner of the Old Library and the " 54 Doges' Palace The Ponte di Paglia and the Bridge of " 66 Sighs, with a corner of the Doges' Palace and the Prison The Dogana (with S. Giorgio Maggiore " 88 just visible) Doorway of S. Maria della Salute " 112 The Rialto Bridge from the Palazzo dei " 126 Dieci Savii The Rio Torreselle and back of the " 152 Palazzo Dario Traghetto of S. Zobenigo, Grand Canal " 198 The Grand Canal, Showing S. Maria " 218 della Salute S. Maria Gloriosa dei Frari " 228 The Colleoni Statue and Ss. Giovanni e " 240 Paolo The Palazzo Pesaro (Orfei), Campo S. " 276 Benedetto " The Armenian Monastery and the " 300 Lagoon View from the Dogana At Night " 308 LIST OF ILLUSTRATIONS IN MONOTONE ONE OF THE NOAH MOSAICS. In Facing page 18 the Atrium of S. Mark's From a Photograph by Naya. THE PRESENTATION. From the Painting by " 36 Titian in the Accademia From a Photograph by Brogi. BACCHUS AND ARIADNE. From the Painting " 48 by Tintoretto in the Doges' Palace From a Photograph by Naya. S. CHRISTOPHER. From the Fresco by Titian " 62 in the Doges' Palace From a Photograph by Naya. THE ADAM AND EVE CORNER OF THE DOGES' " 70 PALACE From a Photograph by Naya. S. TRIFONIO AND THE BASILISK. From the " 76 Painting by Carpaccio at S. Giorgio degli Schiavoni From a Photograph by Anderson. S. JEROME IN HIS CELL. From the Painting " 82 by Carpaccio at S. Giorgio degli Schiavoni From a Photograph by Anderson. THE MARRIAGE AT CANA. From the Painting " 96 by Tintoretto in the Church of the Salute From a Photograph by Anderson. VENICE WITH HERCULES AND CERES. From " 102 the Painting by Veronese in the Accademia From a Photograph by Naya. S. JOHN CHRYSOSTOM WITH SAINTS. From " 116 the Painting by Piombo in the Church of S. Giov. Crisostomo From a Photograph by Naya. THE DREAM OF S. URSULA. From the " 120 Painting by Carpaccio in the Accademia From a Photograph by Brogi. THE BAPTISM OF CHRIST. From the " 136 Painting by Cima in the Church of S. Giovanni in Bragora From a Photograph by Anderson. MADONNA AND SLEEPING CHILD. From the " 144 Painting by Giovanni Bellini in the Accademia From a Photograph by Naya. VENUS, RULER OF THE WORLD. From the " 158 Painting by Giovanni Bellini in the Accademia From a Photograph by Anderson. THE ASSUMPTION OF THE VIRGIN. From the " 164 Painting by Titian in the Accademia From a Photograph by Brogi. THE MIRACLE OF S. MARK. From the " 170 Painting by Tintoretto in the Accademia From a Photograph by Anderson. THE FEAST IN THE HOUSE OF LEVI. From " 176 the Painting by Veronese in the Accademia From a Photograph by Naya. THE DEPARTURE OF THE BRIDEGROOM AND " 182 HIS MEETING WITH URSULA. From the Painting by Carpaccio in the Accademia From a Photograph by Naya. S. GEORGE. From the Painting by " 190 Mantegna in the Accademia From a Photograph by Brogi. MADONNA AND CHILD. From the Painting " 192 by Giovanni Bellini in the Accademia From a Photograph by Brogi. MADONNA AND CHILD WITH SAINTS. From " 208 the Painting by Giovanni Bellini in the Church of S. Zaccaria From a Photograph by Naya. S. GEORGE AND THE DRAGON. From the " 212 Painting by Carpaccio at S. Giorgio degli Schiavoni From a Photograph by Anderson. S. CHRISTOPHER, S. JEROME AND S. " 224 AUGUSTINE. From the painting by Giovanni Bellini in the Church of S. Giov. Crisostomo From a Photograph by Naya. THE CRUCIFIXION (CENTRAL DETAIL). From " 236 the Painting by Tintoretto in the Scuola di S. Rocco From a Photograph by Anderson. THE MADONNA OF THE PESARO FAMILY. " 246 From the Painting by Titian in the Church of the Frari From a Photograph by Naya. THE MADONNA TRIPTYCH. By Giovanni " 252 Bellini in the Church of the Frari From a Photograph by Naya. BARTOLOMMEO COLLEONI. From the Statue " 256 by Andrea Verrocchio From a Photograph by Brogi. MADONNA WITH THE MAGDALEN AND S. " 260 CATHERINE. From the Painting by Giovanni Bellini in the Accademia From a Photograph by Brogi. MADONNA AND SAINTS. From the Painting " 266 by Boccaccino in the Accademia From a Photograph. THE PRESENTATION. From the Painting by " 282 Tintoretto in the Church of the Madonna dell'Orto From a Photograph by Anderson. THE TEMPEST. From the Painting by " 288 Giorgione in the Giovanelli Palace From a Photograph by Naya. ALTAR-PIECE. By Giorgione at Castel " 296 Franco From a Photograph by Naya. A WANDERER IN VENICE {1} CHAPTER I THE BRIDE OF THE ADRIATIC The best approach to Venice—Chioggia—A first view—Another water approach—Padua and Fusina—The railway station—A complete transformation—A Venetian guide-book—A city of a dream. I have no doubt whatever that, if the diversion can be arranged, the perfect way for the railway traveller to approach Venice for the first time is from Chioggia, in the afternoon.
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