Pal. of the Doges. VENICE. 47. Route. 303
On the walls are 21 large scenes from the history of the Republic by
Leandro and Francesco Bassuno, Paolo Veronese, Jacopo and Domenico Tinto¬
retto, etc. These pictures consist of two series- The first illustrates in
somewhat boastful fashion the life of Doge Sebastiano Ziani (1173-79), who
accorded an asylum to Pope Alexander III. during his strife with Fre¬
derick Barbarossa (comp. p. 302) and (in league with the towns of Lom¬
bardy) resisted the imperial demands; the second depicts the exploits of
Doge Enrico Dándolo (p. 289). The final scene of the former series, by
Giulio dai Moro (on the end wall) depicts the Pope presenting gifts to
the Doge, including the ring, the symbol of supremacy with which the Doge
annually 'wedded the Adriatic', 1177 (comp. p. 329).
The Corridoe contains a bust of the Emp. Francis I. and por¬
traits of several senators. — The Sala dello Scrutinio, or Voting
Hall, used at the election of the doges and other officials, is dec¬
orated similarly to the preceding room. The balcony affords a good
view of Sansovino's Library.
On the frieze are portraits of the last 39 doges, from Pietro Loredan
(1567-70) down to Lod. Manin (1797). Entrance-wall: Last Judgment, by
Palma Giovane; above, Prophets, by A. Vicentino. — On the other wall3
and on the ceiling are scenes from the history of the Republic, by Marco
Vecelli, Alíense, Andrea Vicentino, Jac. Tintoretto, and others. — Opposite
the entrance: Monument erected in 1694 to Doge Francesco Morosini'Pelo-
ponnesiacus', who in 1684-90 conquered the Morea and Athena (p. 289); the
bronze half-figure of the doge in front ia attributed to G. F. Alberghetti.
We return, to the right, through the Sala di Quaeantia Civil
Nova, the civil court, which contains some unimportant paintiugs.
The Sala Bessarione, formerly the vestibule of St. Mark's
Library (p. 298), contains the remains of Guariento's (p. 291) large
fresco of Paradise, brought hither from the Sala del Maggior Con¬
siglio, where it was concealed by Tintoretto's Paradise. Guarien¬
to's work is said to have been freely retouched as early as 1524
(comp. also Jacobeilo del Fiore's copy, mentioned at p. 308). On
the ceiling, *Adoration of the Magi, by Paolo Veronese, from the
now demolished church of San Nicoletto dei Frari. — To the left
is the Sala di Quarantia Civil Vecchia, or former room of the
civil appeal court..
The Arch^ological Museum occupies the rooms not injured
by the flre of 1577, in which the doges resided down to the cióse
of the 16th century. It contains ancient Greek and Román sculp¬
tures in marble, most of tbem brought home as booty by the Vene¬
tians from their campaigns.
I. Room (Galleria d'Ingresso). Two pictures of the Lion of St. Mark,
by Jacobeilo del Fiore (1415), and Vitt. Curpuccio (1516). Busts of Doges, in¬
cluding Andrea Vendramin and Francesco Foscari, the latter a fragment
of the relief over the Porta della Carta (p. 2991 demolished by the Ra¬
dicáis in 1797.
II. Boom (Camera degli Scarlatti; originally the doges' bedroomj.
Fine early-Renaissance wooden ceiling. Chimney-piece by Ant. and Tullio
Lombardo. Over the entrance is a relief of the Doge León. Loredan
kneeling before the Virgin, perhaps by Ant. RizzoH); the relief of the
Madonna, opposite, dates from 1528. Portraits of Dogea.
III. Room (Sala dello Scudo). In front of the entrance to the Sala
dei Filosofi (p. 304), the famous "Map of the world by the Camaldulensian