300 Route 47. VENICE. a. Piazza of St. Mark:
windows to the left of the main facade was the prison of the poet
Count Silvio Pellico in 1822, before he was removed to the Spiel-
berg at Brünn (comp. p. 45). In the centre of the court are two
Well Heads in bronze, of 1556 and 1559. On the facade of the
Clock Tower, to the right, is a statue of the Venetian general Duke
Francis Maria I. of Urbino (d. 1538) by the Florentine Sculptor
G. Bandini. Most of the other statues are antique, but freely restored.
TherichlyornamentedScaJa dei Giganti, the flight of steps leading
to the palace, derives its ñame from the colossal statues of Mars and
Neptune at the top, by Sansovino (1554). On the highest landing of
these steps, in the later period of the Republic, the doges were
crowned. Opposite, on the so-called Arco Foscari, are beautiful
statues of *Adam and Eve, by Antonio Rizzo (1464).
The "Interior (admission, see p. 288; office on the flrst floor,
to the right) is another prominent specimen of Venetian art,
although it was robbed of many treasures by the French in 1797.
While the earliest native painters devoted their energies to the
church of St. Mark, the great masters of the 15th and 16th cent.
were chiefly engaged in the Palace of the Doges. As, however,
their works were destroyed by the great flre of 1577, the palace
now forms a museum of later masters only, such as Tintoretto,
Paolo Veronese, and Palma Giovane, but it still presents a most
brilliant display of Venetian painting, so far as executed for behoof
of the state. The excellent condition of the paintings is note-
worthy; the gorgeous colouring of P. Veronese is nowhere better
illustrated. Lists of the pictures are placed in the principal rooms
(except on Sun. and holidays; printed description 50 c).
We ascend the Scala dei Giganti. Around the upper colonnade
are modern busts of Venetian scholars, artists, and doges, and a
few antiques from the Archaological Museum (p. 303; Dionysus
and a satyr, Apollo resting, two Muses). Tickets of admission are
sold opposite the staircase (see p. 288). To the right is the richly
decorated Scala d'Oro oí Sansovino, completed in 1577, once
accessible to those only whose ñames were entered as 'Nobili' in
the Golden Book. The stucco-work is by Al. Vittoria, the paintings
by G. B. Franco. By this staircase we ascend on week-days direct
to the upper story. — The next staircase, the Scala dei Censori, is
the entrance on Sundays and festivals (p. 302).
The TJppkb. Floor contains the apartments in which the author-
ities of the Republic held their meetings, and which retain much
of their ancient splendour. We first enter a small anteroom, the —
I. Atrio Quadrato, with ceiling-paintings by Tintoretto, Doge
Priuli receiving the sword of justice. On the walls, portraits of pro-
curators (p. 293), also by Tintoretto. — To the right is the —
II. Sala dellb Quattro Porte, restored in 1869 ; architectonic
decorations by Palladio, 1575. Entrance-wall, in the centre : *Doge
Ant. Grimani kneeling before Religión, by Titian (a late work; ca.