THE ACCADEMIA; CHURCHES AND SCUOLE.
The Accademia delle Belle Arti, although on the Grand Canal, may be
reached by a short walk from the Piazza, passing San Moisè and Santa
Maria Zobenigo, and through the Campo San Stefano to the ugly bridge
which leads directly to the Campo della Carità. The Convent of
Charity was one of the edifices upon which Palladio lavished the
greatest care and study. Much, of it was burned in 1630, and the
pride of the old architect no longer remains. After the suppression
of the convent it was used as a barrack; but in 1807 Napoleon decreed
the establishment of an Academy of Art, and the spacious buildings of
La Carità were devoted to its use.
Here are pictures from the very earliest days in which even the
glimmerings of a Venetian Art could be discerned; and this was as
late as the middle of the fifteenth century, when the Vivarini of
Murano painted their dry, meagre Virgins and other figures in colors
so rich as even then to foreshadow the glorious blooming time which
followed.
As we are not writing of Art with any special method, we will speak
only of a few works of interest to all,--to the picture-lover as well
as to the connoisseur and student,--merely saying, _en passant_, that
one who has time will do well to spend a good share of it here.
It is to be expected that, as in other portions of Italy, the early
pictures should almost without exception be {357} devoted to
religious subjects; and none could be more sweet and attractive in
sentiment than are those of Giovanni Bellini, whose Madonnas are good
and simple, self-effacing mothers, anxious only to show the sacred
Child to all beholders, and offer him for the world to worship. How
many of these pure, grave, reverential mothers the good Zuan painted!
and we can never see them too often. We are sure that he who
represented this Divine Mother, with the "splendid column of her
throat, holding her head high in a noble and simple abstraction," and
the Infant King, with his lovely angelic children in attendance,
tenderly respected women, and idolized children. We are almost sure
that he reproduced on his canvas the inmates of his own home. One of
these Madonnas, in the Contarini collection of the Academy, is an
exquisite example of this younger and most excellent Bellini.
Two unusually interesting works by Gentile Bellini are "Miracles of
the Holy Cross," and were painted in 1466 and 1500 for the School of
St. John the Evangelist. The first represents a scene in the Piazza
when a miraculous cure is made by a fragment of the True Cross there
displayed. This Bellini could not confine himself to an endless
repetition of Madonnas and Saints; his interest in the humanity about
him was far too strong for him to turn from it to paint the ideal,
and we rejoice in his realistic picturing of the Venice of his day.
He shows us San Marco with but a single mosaic that still remains;
the bell-turrets of the façade; the Corinthian (?) horses; the
statues, less numerous than now; and the foliage-like decorations,
all brilliant with gold and color. The loggietta was not yet built;
but the Campanile was there, not, however, unattached as now. The
Clock-Tower was not in existence, and the Procuratie were so
different from those of to-day as to be scarcely recognizable.
{358}
The procession has entered the Piazza through a gateway between San
Marco and the Ducal Palace. Groups of idlers here and there are
watching the ceremony, and are composed of Oriental merchants,
Venetian gallants, and an occasional magistrate in his toga, or
perhaps some women and children. Mrs. Oliphant says:--
"The picture is like a book, more absolutely true than any chronicle,
representing not only the looks and customs of the occasion, but the
very scene. How eagerly the people must have traced it out when it
first was made public, finding out in every group some known faces,
some image all the more interesting because it was met in the flesh
every day! Is that perhaps Zuan Bellini himself, with his hair
standing out round his face, talking to his companions about the
passing procession, pointing out the curious effects of light and
shade upon the crimson capes and berettas, and watching while the
line defiles with its glimmer of candles and sound of psalms against
the majestic shadow of the houses?"
The fragment of the True Cross which performs, in this first
painting, the miracle of a great cure, was presented to the
Brotherhood of the Scuola di San Giovanni Evangelista by the Grand
Chancellor of Cyprus, who had in turn received it from the Patriarch
of Constantinople. This relic had performed so many wonders that the
Confraternity felt the importance of recording them, so to speak, on
these enormous canvases, that all the world might see and believe.
A second picture commemorates an occasion when the sacred relic was
carried in procession to the Church of San Lorenzo, and when on the
bridge near the church it was dropped into the canal. Many persons
among the profane crowd which followed the procession leaped into the
water, and are seen in the picture swimming about in search of the
relic. Some boats also have come near for the same purpose; but not
until Andrea Vendramini, the {359} chief warden of the Scuola,
descended into the canal in his full habit, could the precious object
be found. For him it floated upright, because, as the tradition
teaches, of his being granted this great privilege by miraculous
favor.
This scene is even more characteristic of Venetian life than the
first. The houses near the bridge are ornamented with draperies; and
heads of women in coifs and hoods are seen in the windows. The
bridge is crowded densely by the procession arrested to watch the
search for the relic, and the light is thrown on the faces of the
priests and monks who chiefly compose it. All along the Fondamenta
is a concourse of richly dressed ladies in magnificent costumes and
gorgeous jewels, whose shoulders and faces are increased in beauty by
the thin veils that soften but do not conceal their features or their
rich necklaces and coronets. They kneel closely together, and no
doubt will follow the procession when it moves. They are not young,
but in the height of womanly dignity and grace; and it is said that
she who wears a crown is Caterina Cornaro, who has come from Asolo to
see this ceremony at San Lorenzo. In one of the boats stands the
priest of San Lorenzo, his hands clasped in prayer; and Ridolli
declares that Gentile introduced his own portrait in the crowd at the
side of the canal. Charles Blanc places great value on this picture
on account of its accurate representation of the costumes and manners
of the time, the ceremonials, buildings, bridges, and quays of
Venice; but as a work of art he finds it inferior to the "Procession
in the Piazza of St. Mark."
We have not space to speak with any justice of that marvellous series
of nine pictures by Carpaccio, which tell the story of Saint Ursula
with such power as to strike all beholders with astonishment. We can
mention but one work by this master,--a work in the same vein as
{360} the two by Gentile Bellini of which we have spoken. It is
called the "Patriarch of Grado;" and the bridge of the Rialto, then
built of wood, is seen, as well as the gondolas, which were open,
decked with garlands, and painted in colors, as if ready for a fête.
I can scarcely equal Mr. Ruskin in enthusiasm for Carpaccio; but it
is certain that this man, whose origin is unknown and the date of
whose death cannot be given, whose whole history, in fact, is
enveloped in impenetrable shadows, was a great poetic artist; and
Blanc well says: "His works are not precious to Venetians only; they
have an infinite charm for all the world, because they reveal the
imagination of an artist. In them one admires the ingenuousness of a
precursor, and feels the soul of a poet; and nothing is more true
than the saying of Zanetti, 'Carpaccio bears the truth in his heart.'"
The "Assumption" and "The Presentation of the Virgin" by Titian are
among the invaluable treasures of the Accademia. As we gaze on the
magnificent Assumption, we can but wonder, and even feel indignant,
at the dense stupidity of those monks of the Frari for whom it was
painted. They were like buzzing, stinging gnats about him while the
work was going on, and only accepted it at last because a minister of
Charles V. offered a goodly sum for it, and wished to take it away
from Venice. Its only worth in their eyes depended on the fact that
others wished to have it.
It is really in three parts. At the top is the Eternal Father, in
resplendent glory, with arms open to receive the Holy Virgin, who
ascends to him surrounded by an aureole of cherubim. Below the
grand, colossal figures of the Apostles are grouped. The Virgin is
modest, and yet triumphant. She has no mystic expression, but is of
the same healthy, vigorous race which Titian saw all about him. She
might be a sister or daughter of one of {361} the bronzed apostles
below. Her double mantle of red and blue, in its many folds, does
not disguise the athletic grace of her superb form, in which there is
neither languor nor effeminacy.
In this picture, in which the climax of Venetian painting was
reached,--which is by its position and arrangement in the Academy the
acknowledged Queen of Pictures,--a wonderful power of invention is
displayed, and a boldness of execution is shown which Titian had not
before employed, and which was much criticised at the time of its
completion; but it has endured the chances and changes of almost four
centuries only to be placed in the first rank of existing paintings.
In the "Presentation of the Virgin" we have a truly Venetian
treatment of a subject which has been made of small effect in the
hands of other masters. The nice little girl, with her plump face
and blue gown, can have no possible conception of the meaning of her
pale aureole. She is childishly innocent of what is to be done, and,
in fact, has simply been used by Titian as an excuse for bringing
together fifty people, an obelisk, a portico, the façade of a temple,
a long flight of gray stone steps; and not content with these, he has
added hillsides, mountains, and trees, with banks of clouds above all.
The Pontiff and a group of priests are above the child at the top of
the steps. She raises her hand towards them. Below are her father
and mother, and near the steps the famous old countrywoman, with her
basket of eggs. There are also men and women of quite another class,
dressed in long garments, who make a sort of passing procession. It
is as if one were in the midst of a city where people of various
classes are occupied with their personal affairs,--a city in the
midst of a noble landscape, which is glowing with sunlight,--a city,
too, on which its people have bestowed the riches of art, and {362}
everything that money can produce to make life luxurious and
attractive. It is no wonder that Titian lived without a rival; that
his works were sought by emperors and kings, and that in his power of
portraiture he has not been surpassed.
"The Supper in the House of Levi" was painted by Paul Veronese for
the Refectory of SS. Giovanni and Paolo, in 1572; and a year later
the artist was summoned before the Sacred Tribunal to answer to the
charge of irreverence, based upon his having painted "dwarfs,
buffoons, drunkards, Germans, and similar indecencies" at supper with
Our Lord. Veronese defended himself on the ground that Michael
Angelo, "in the Papal Chapel at Rome, painted Our Lord Jesus Christ,
His Mother, Saint John, and Saint Peter, and all the court of heaven,
from the Virgin Mary downwards, naked, and in various attitudes, with
little reverence." Veronese was dismissed with a command to correct
his picture within three months; but more than three hundred years
have passed, and it remains untouched.
The suppers of Christ and his disciples and friends were so often
painted by Veronese, that he could scarcely vary them very much.
That in the house of Levi is subject to criticism on account of the
prominence given to the architecture, which is of too florid a type
to please a severe taste, although it may correspond with the
disorder and movement of the peculiar figures of the composition to
which the Sacred Tribunal objected.
Rich in masterpieces as the Ducal Palace and the Academy are, one
must still go elsewhere for some of the grandest works of the
Venetian school. For example, the Santa Barbara of Palma Vecchio is
in the Church of S. Maria Formosa, which I always remember was built
in 1492, that important year in which our part of the world may be
said to have been born. This church is very near {363} the Piazza;
and the walk from the Academy, where one so often is, after crossing
the bridge, leads through a maze of _calli_ in the very heart of the
city.
Santa Barbara was the patroness of soldiers, and this picture was
painted for the Bombardieri. She makes the centre of an altarpiece,
having two male saints on each side, and a Pietà above. The whole
work is excellent, and were the central figure not seen, the Virgin
above would attract much attention; but the Saint Barbara fills the
place.
She stands there in full majesty, a beautiful young girl, proud in
her bearing, but full of human attraction. She is not saint-like,
and wears her crown with no humility, and holds her palm as it might
be a sceptre. Her rich brown robe, carelessly held about her waist
by a knotted ribbon, is in exquisite contrast with her crimson
mantle. A white veil is twisted in her golden crown, falls on one
side, and crosses her breast; while her magnificent hair falls in
wavy tresses on each side her throat, and rests on her bosom. Cannon
are at her feet, and her tower is seen behind her. It is a splendid,
lovable woman who is here portrayed in a marvellous manner.
Charles Blanc tells us that when he first entered this church with
his friend, Mass was being said before the altar of Santa Barbara;
but in spite of the ceremony and the place they were both surprised
into cries of admiration as they saw the picture. Naturally the
priests and worshippers were scandalized, and our author was publicly
reproved.
Tradition teaches us that this Barbara was a portrait of Palma's
daughter, Violante, who was passionately loved by Titian. So good an
authority as Blanc tells us that "it is certain" that Palma's
daughter was the mistress of Titian late in his life. Both these
masters made several portraits of her, introducing her into a variety
of scenes. {364} One knows her by her limpid, wide-open eyes, her
voluptuous mouth and peculiar nose. She is often represented in
dishabille, with her large shoulders and beautiful bosom half bare.
When attired, she is much decorated, with puffs and slashes in her
gowns, with bows of ribbon, and numerous chains and other ornaments.
Just at the left of the western front of Santa Maria Formosa is the
entrance to the Ponte del Paradiso, with its exquisite Gothic
archway.--one of the most charming bits of old architecture in Venice.
A very short walk takes one to the Campo of SS. Giovanni and Paola,
on which are situated the grand Dominican church of the same name;
the Scuola of San Marco, now a hospital; and the chapel of Santa
Maria della Pace, in which the Falieri were buried, and where, in
1815, the skeleton of the unhappy Doge was found with the head
between the knees.
Here too is the splendid statue of Verrochio's, of which Ruskin says,
"I do not believe that there is a more glorious work of sculpture
existing in the world than the equestrian statue of Bartolommeo
Colleoni,"--which to me seems rather extreme praise.
The church, best known as San Zanipolo, is in the cheerful Italian
Gothic, and with its broad arches and white windows does not at all
suggest its grand sepulchral character. But it is crowded with
monuments and tombs. Here many Doges were laid in state, and here
their funeral services were held. While living they also came here
on the 7th of October, in all their bravery and dignity, to celebrate
the anniversary of the victory over the Turks in the Dardanelles.
But now, these pageants being over, it is essentially a great tomb;
and taken together with Santa Maria Gloriosa dei Frari, we have the
double Mausoleum of Venice.
San Zanipolo was founded because of a dream which {365} the Doge
Giacomo Tiepolo dreamed in 1226. Were dreams of more consequence in
those days, or are we less attentive to them? The Doge saw in his
sleep the little chapel of the Dominicans surrounded with the most
lovely red roses, so fragrant that all the air was sweet with their
perfume; and in the midst of the roses white doves with gold crosses
on their heads were flying all about. Then angels descended, bearing
smoking golden censers, and they passed through the chapel, and out
among the flowers, and the incense was like clouds, and a voice said,
"This is the place I have chosen for my preachers."
Instantly the Doge awoke and went to the Senate to tell his dream;
and at once a large plot of ground was added to the domain of the
Dominicans, and after eight years the foundation of the church was
laid under the supervision of the Doge and the Senators.
The two great pictures of this church--the "Death of Saint Peter
Martyr" by Titian, and a beautiful work by Giovanni Bellini--were
burned, and the remaining paintings are scarcely as interesting as
are the monuments, some of which are very curious, and many of which
perpetuate the names and deeds of the greatest men of the Republic.
The most absurd, perhaps, is the monument to the two Doges Valier,
and to the Dogaressa, the wife of the younger. The effect of the
enormous curtain, perhaps seventy feet high, with ropes, fringes, and
tassels galore, and sustained by cherubs, thus making a background
for the effigies of the three figures, is something indescribable.
Victory, Fame, the Virtues, Genii, a lion, and a dragon have all been
made to contribute to the glory of this family; and the inscription
tells us that this ugly Dogaressa, with her jewels, laces, furs,
ruffs, and embroidery, was "Distinguished by Roman virtue, Venetian
piety, and the Ducal Crown." One wonders what she could have asked
for in her prayers. Having all this, {366} what could be added unto
her? Would beauty have been worth while?
The two Bellini and Palma Giovane are entombed at San Zanipolo, while
the tombs of Titian and Canova are at the Frari, all of them being in
most masterful company; but in the last-named church there exists a
beautiful Madonna and Saints by Giovanni Bellini, and the splendid
altarpiece by Titian called "La Pala dei Pesari." It is a Madonna
with Saints and some of the Pesari family. It is the finest
_ex-voto_ picture in the world. It was ordered in 1519, and Titian
was paid ninety-six ducats for it.
We have barely mentioned Tintoretto, his "Paradiso" and his "Miracle
of Saint Mark." He is to many the most unusual man among the
Venetian painters of his time, and to others an artist who was not
surpassed. He seized and still holds his own domain in the Church of
Santa Maria dell' Orto and the Scuola di San Rocco. "Boiling with
thoughts," having means to live without earning, he but desired space
and opportunity to paint; and these he secured when he offered to
work without price for the fathers of the Orto.
The two enormous pictures of the "Last Judgment" and "The Israelites
worshipping the Golden Calf" still remain to prove that he was no
vain boaster when he proposed to satisfy himself and win a glorious
fame; and these two great pictures finished, he proceeded, so to
speak, to decorate the whole church.
It was not alone in the palaces and churches of Venice that the
artists found opportunities for the indulgence of their imagination
in depicting historical and ideal religious subjects. The Scuole, of
which there were five, were associations of private individuals for
benevolent purposes. They are remarkable monuments to the people,
not to the government, and are all the more interesting {367} because
in this regard they are unique. They were largely endowed; and their
edifices, built by voluntary gifts, are among the chief ornaments of
Mediæval Venice. Among their objects were the provision of
occupation for boys, and the gift of dowries to maidens, fifteen
hundred of these being annually married by the aid of these
confraternities.
Perhaps the Scuola di San Marco on the Campo of the same name, was as
remarkable as any one of these institutions. For this brotherhood
Tintoretto painted the "Miracle of Saint Mark," now in the Academy.
No words can describe this picture, of which Taine says: "No
painting, in my judgment, surpasses or perhaps equals his Saint Mark
in the Academy; at all events, no painting has made an equal
impression on my mind." And Blanc says: "Tintoretto has here
employed all his knowledge, all his love. It is the work of a
colorist, who could be made to pale by no other, even in Venice....
By this resplendent painting Tintoretto attained to the highest rank,
and he could no longer be ignored in the decoration of the Ducal
Palace."
Vasari and Ridolfi concur in the account of the bold manner in which
Tintoretto bore off the prize in a contest at the Scuola di San
Rocco. This was the most interesting and the richest of the Scuole;
and the Brotherhood, having obtained the relics of the saint, albeit
in a manner not to be commended, had built their fine church and
Scuola in his honor. From Antonio Grimani to the fall of the
Republic, the Doges were enrolled in this order, and the
Confraternity of San Rocco was a liberal patron of art. Mrs. Jameson
gives this account of the acquisition of the relics:--
"In the year 1485 the Venetians, who from their commerce with the
Levant were continually exposed to the visitation of the plague,
determined to possess themselves of the relics of {368} S. Roch. The
conspirators sailed to Montpellier, under pretence of performing a
holy pilgrimage, and carried off the body of the saint, with which
they returned to Venice, and were received by the Doge, the Senate,
the clergy, and all the people with inexpressible joy."
When on one occasion the Brotherhood of San Rocco demanded cartoons
for a picture they wished to have painted from five celebrated
artists, Tintoretto secretly measured the space, and painted the
scene in a few days. When the day of competition arrived, he managed
to fasten his canvas in the place for the intended decoration and
covered it; and when the other designs had been displayed, he
snatched the covering from his picture, and electrified all present.
The judges were as angry as the competitors, and told the painter
that they had met to judge of cartoons, and not to have a picture
forced on them. Tintoretto replied that this was his only method of
design; that designs and models should always be so executed that the
full effect of the completed work could be seen; and, finally, he
said that he set no price on his picture, which he wished to present
to them. As they were not permitted to refuse a gift to their saint,
they were forced to keep it.
At length, the excitement having passed, the larger number of votes
was cast in favor of Tintoretto, and he was formally appointed to do
all that was necessary for the decoration of the Scuola, receiving a
hundred ducats a year during his life, and promising to paint for it
one picture annually. The picture which he nailed to the roof while
his rivals made their drawings may still be seen there. It was
executed in 1560, and represents "The Apotheosis of Saint Roch."
Thus it happened that the Lower and Upper Halls, the Staircase and
the Albergo of the Scuola became galleries of the works of
Tintoretto, while still others are in the {369} Church of San Rocco.
When the Scuola was finished, it became, in a sense, a school of
painting. Ridolfi says it was--
"the resort of the studious in painting, and in particular of all the
foreigners from the other side of the Alps who came to Venice at that
time: Tintoretto's works serving as examples of composition, of
grace, and harmony of design, of the management of light and shade,
and force and freedom of color; and, in short, of all that can be
called most accurate, and can best exhibit the gifts of the ingenious
painter."
All over Venice his works exist,--in the humblest chapels and
sacristies, as well as in the Hall of the Great Council; and yet many
have been burned, have perished by neglect, or have become
indistinguishable with time.
It is a curious fact that of all the Venetian school of painters
there were but two born in Venice,--Giovanni Bellini and Tintoretto;
and yet, so perfectly have the others suited themselves to her
atmosphere that we feel their art to be hers individually, in perfect
accord with her spirit and her needs.
So, in architecture, Scamozzi, Palladio, Sansovino, and San Micheli
were all born on the mainland; not one of them first saw the light in
Venice. But who that stands in the Piazza, or passes up and down the
Grand Canal, feels for a moment that any other architecture would
have suited Venice, or that this would please us were it reproduced
elsewhere? Assuredly Mediæval Venice possessed a charm which worked
its spell on all who dwelt within her borders, which enabled her to
impress them with her own signet, and draw out in her service the
best that was in them. Venice was of old an enchantress; and in
spite of years and the many maladies from which she has suffered, she
has not yet lost her spell. The charm is still there. It is over
you while within her borders, and fills you with delight. It surges
around you from time to {370} time when you are far, far away, and
you long to be with her again as you long for the beloved faces into
which you cannot look, and which distance and time make no less dear.
You shut your eyes on what is near you, and you think of the shimmer
of her lagoons, the pearly tints of the cool hours of day, and the
rosy, golden atmosphere of the warmer time. Her domes and palaces
rise before you. You almost feel the motion of the gondola as you
sweep around a curve, and a new and fascinating vista reveals itself.
You hear a soft, musical language, or listen to the well-known cries
of the gondoliers and the distant song or serenade, and you echo the
words of Saint Victor: "Other cities have admirers; Venice alone has
lovers."
{371}
INDEX.
A.
Abano, Baths of, 192, 194, 195.
Abbiati, 187.
Abydos, 47.
Academy of Fine Arts, 347, 363, 367.
Accademia delle Belle Arti, 356, 360.
Adams, Charles Kendall, 254.
Adda, The river, 192, 194, 275, 281.
Adrian IV, Pope, 3.
Adrianople, 67, 68.
Adriatic, The, 48, 70, 167, 237, 266.
Ægean, The, 48, 70.
Alberti, Pietro, 61.
Aldus the Printer, 255, 326-332.
Alexander III., Pope, 3-9, 11, 13, 31, 90, 347, 350.
Alexandria, 227, 233, 263, 278, 304.
Alexius, 44-47, 49, 50, 52-58.
Alexius III., 68.
Alexius Ducas, 56.
Alexius the Elder, 48, 51.
Alfonso of Naples, 231, 233, 234.
Aliense, 341, 350.
Altina, 167.
Amadeo, Duke of Savoy, 188.
Anafesto, Luca, 25.
Ancona, 31, 149, 349, 350.
Andata alli due Castelli, 9.
Angeli, The, 55, 59.
Angels, Church of the, 134.
Anna of Padua, 325.
Antelao, 168.
Anti-Doge, The, 10, 11.
Aquileia, 149, 167.
Archipelago, The, 48.
Armenia, 313, 314.
Armenia, Queen of, 229.
Armenians, 68, 69.
Arqua del Monte, 207, 208.
Arrengo, The, 28, 29.
Arsenal, The, 30, 161, 202, 213-216, 251, 325.
Arsenalotti, The, 215.
Arundel, Lady, 290.
Ascension Day, 6, 11, 12.
Asolo, 236-239, 280, 359.
Asolo, Lady of, 237.
Athens, 285.
Aucher, Dr., 315.
Austria, 149.
Austria, Emperor of, 293, 294, 301.
Avignon, 140.
B.
Badoer, 109, 110.
Badoer II., 305.
Badoer III., 210.
Badoeri, The, 208.
Bagnolo, Peace of, 276.
Bajumonte, 108-113.
Baldwin, Emperor, 65-68.
Ballerini, Giorgio, 138.
Bandello, 212.
Bank of Venice, 31.
Barbara's Day, St., 121.
Barbaria, Giorgio, 130.
Barbaro, Daniel, 95.
Barbarossa, 3-5, 7, 31, 347.
Barberigo, 154.
Barberigo, Doge, 124.
Barbo, Paolo, 263.
Barbolano, Pietro, 309, 310.
Basaiti, Marco, 212.
Baschet, M. Armand, 118.
Bassanio, 326.
Bassano, Francesco, 348.
Bassano, Jacopo, 342.
Bassano, Leandro, 344, 347.
Beauharnais, Eugene, 293, 333.
Bedmar, Marquis of, 288.
Belegno, Filippo, 110.
Bellini, 236.
Bellini, The, 219, 366.
Bellini, Gentile, 70, 357, 359, 360.
Bellini Giovanni, Juan or Zuan, 124, 205, 357, 365, 366, 369.
Beltramo, 143, 145.
Bembo, Marco, 231.
Bembo, Pietro, 238, 324.
Benedict III., Pope, 204, 312.
Benevolent Institutions, Early, 258.
Beretta, The, 25, 28, 204.
Bergamo, 195, 198, 199, 275, 282.
Bernini, 121.
Beroviero, Angelo, 129, 131-135, 137, 138.
Beroviero, Marino, 138, 139.
Berri, Duchesse de, 337.
Bessarion, Cardinal, 332.
Béthune, Conon de, 55.
Bibliotheca di San Marco, 345.
Blachernæ, Palace of, 52, 55, 61.
Blanc, Charles, 344, 352, 359, 360, 363.
Blois, Count of, 33, 46, 69.
Boccaccio, 206.
Bocconio, Marino, 101, 106, 108.
Boniface Marquis, of Monteferrato, 36, 43, 44, 46, 47, 49, 65-67.
Bordone, Paris, 307.
Borgia, Lucrezia, 238.
Bosphorus, The, 48, 49, 51, 54, 58.
Boucoleon, Palace of, 61, 65, 67, 69.
Boulogne, 33.
Bourienne, 293.
Bragadin, Giambattista, 289.
"Bravo, The," 114.
Brenta, The, 197, 237, 241, 297, 314.
Brescia, 191-193, 195, 239, 275, 282.
Bresciano, The, 194.
Briati, Giuseppe, 130.
"Brides of Venice," 210.
Bridge of Sighs, 203.
Broglio, The, 142, 177, 181.
Broletto, The, 186.
Brondolo, 149, 155, 297.
Bronze Horses, 269.
Brown, H. F., 112, 164, 233, 236, 276, 277.
Brown, Mr. Rawdon, 326.
Brunswick, Duke of, 337.
Brussels, Peace of, 281, 282.
Bucentaur, The, 9-11, 13, 140, 180, 216, 225, 229, 236, 306.
Buckingham, Duke of, 130.
Bulgaria, King of, 68.
Buono of Malamocco, 304.
Buranelli, The, 163.
Burano, 163, 164.
Byron, Lord, 80, 315.
C.
Cagliari, Carl or Carletto, 342, 347.
Cagliari, Gabriele, 347.
Caledonian Boar, 55.
Calendario, 143.
"Calza, Compagnia della," 177-179.
Cambray, League of, 240, 279, 280, 282, 287, 343.
Campania, 127.
Campanile, The, 150, 152, 159, 160, 209, 211, 265, 266, 296, 299,
310, 348.
Campo della Carità, 356.
Campo Fornio, 293.
Campo di San Agostino, 113, 326.
Campo dei SS. Giovanni e Paolo, 364.
Campo di San Marco, 367.
Campo di San Polo, 113.
Campo di San Stefano, 356.
Canabes, Nicholas, 57.
Canale, Martino da, 102, 131, 132.
Candia, 67, 146, 153, 181, 182, 263, 266, 284.
Cane, Facino, 185.
Canea, 154.
Canova, 337.
Cape of Good Hope, 277.
Capo d' Istria, 94.
Cappelari, 122.
Carceri, The, 203, 206.
Cardona, 280, 281.
Carita, La, Convent of, 347, 356.
Carmagnola, 175, 184-198, 245, 281.
Carnival Thursday, 141.
Carpaccio, 359, 360.
Carrara, Francesco da, 161.
Carriera, Andrea de Costantino, 241.
Carriera, Rosalba, 218, 241-244.
Casa degli Spiriti, 172, 173.
Casalsecco, 194.
Casal Maggiore, 193.
Castellani, The, 83.
Castello, The, 83.
Castelnuovo, Count of, 192.
Castenedolo, 194.
Cattaro, 159.
Cavalli, 155.
Cavour, 299.
Cephalonia, 123, 311.
Chambord, Comte de, 337.
Champagne, Count of, 33.
Chancellerie Secrète, Histoire de la, 118.
Charles Albert, 296, 298.
Charles V., 281, 360.
Charlotte Lusignan, 226, 227, 230, 232.
Chartres, Count of, 33.
Chicago, 125.
Chioggia, 98, 140, 149, 150, 152-158, 160, 167, 212.
Chios, 311.
Chiozzotti, The, 163.
Christina, St., 312.
Clerc, Le, 350.
Clough, Arthur Hugh, 266.
Colbert, 130.
Colleoni, 175, 198-201, 364.
Columbian Exposition, 125.
Columbus, Christopher, 251-254.
Columns of Executions, 140, 149, 197, 267, 208, 288-290, 351.
Comans, The, 68-70.
Como, Lake, 113.
Confederacy of the Lombards, 4.
Conon de Béthune, 55.
Constantine, 67.
Constantine, Prefect, 51.
Constantine, Square of, 55.
Constantinople, 32, 42, 45-49, 53, 56, 57, 60, 62, 63, 65, 66, 71,
262, 283, 309, 313.
Contarini, 91, 332.
Contarini, Doge Andrea, 145, 154-157.
Contarini, Arrigo, 304, 310.
Contarini, Giovanni, 341.
Contarini, Lucrezia, 177.
Contarini Palace, 179, 180, 183.
Cooper, 114.
Corbaro, 152, 158.
Corfu, 46, 47, 292.
Cornaro, 155.
Cornaro, Andrea, 226, 228, 229.
Cornaro, Caterina, 218, 226, 228-241, 245, 359.
Cornaro, Giorgio, 235, 236, 240.
Cornaro, Marco, 232.
Corpus Domini, 72.
Council of Three, 114, 115.
Council of Ten, 111-120, 126, 129, 143-145, 152, 161, 177, 181, 182,
197, 216, 219, 235, 245, 246, 281, 286-292, 323, 325, 330, 340, 351.
Credi, Lorenzo di, 200.
Crema, 280.
Croatia, 67.
Crozat Hotel, 242.
Crozat, Pierre, 242, 243.
Curzola, 96.
Custom House, 83.
Custoza, 300.
Cyclades, The, 67.
Cyprus, 147, 161, 226-235, 263, 282, 283.
Cyprus, King of, 226, 227, 231.
Cyprus, Queen of, 218, 226, 228, 229, 232.
D.
Dalmatia, 67, 115.
Dandolo, 91, 98.
Dandolo, Andrea, 96, 97, 320.
Dandolo, Enrico, 32, 35, 40-45, 47, 49, 51, 57, 58, 65-71, 184, 262.
Dandolo, Giovanni, 93.
Dandolo, Raniero, 39, 46.
Dardanelles, The Straits of, 48.
Deacon John, 26.
Decameron, The, 206.
Decemvirs, The, 116, 117.
Diaz, 277.
Didymotichos, 67.
Dogado, The, 121.
Dogana, The, 80, 209.
Dogaressa, The, 9, 104, 105, 113, 141, 219, 225, 365.
Dolomitic Alps, 168.
Donatello, 199.
Donato, Marco, 108, 110.
Donato, St., 311.
Donato, San, Cathedral of, 123, 124.
Don John of Austria, 283.
Doria, 153, 155.
Doria, Lampa, 96, 97, 99.
Doria, Luciano, 146-148.
Doria, Pietro, 149-151.
Ducal Chapel, 159, 208.
Ducal Palace, 8, 27, 41, 71, 76, 103, 105, 106, 134, 159, 179-183,
202, 209, 215, 219, 221, 223, 228, 248, 256, 257, 268, 280, 332, 340,
349, 352, 358, 362, 367.
Ducas, Alexius, 56.
Durazzo, 46, 67.
Dürer, Albert, 247.
E.
Elena, Queen, 227.
Elena, St., 2.
Elenora of Portugal, 134.
Elisabetta, Sant', 23.
Emo, Governor, 313.
Emo, Pietro, 149, 150.
Erasmus, 330.
Ethereals, The, 178.
Euganean Hills, 167, 207, 237.
Evorea, Bishop of, 311.
F.
Falieri, The, 364.
Faliero, Marino, 140-144, 207, 245, 351, 352.
Famagosta, 230, 231, 233, 235, 283.
Fassone, 156.
Fenice, La, 317.
Ferdinand of Naples, 228, 230.
Fergusson, 204.
Ferrara, 238.
Ferrara, Peace of, 195, 276.
Festa delle Marie, 211.
Fiammingo, 348.
Fieschi, Admiral, 146.
Filippo Maria, Duke, 186.
Flanders, Count of, 46, 58, 61-63, 65.
Florence, 188-190, 200.
Florentines, The, 176, 188, 189, 191, 278.
Florian Café, 317.
Fondachi, The, 247, 248.
Fondaco dei Turchi, 236, 326.
Fondamenta Nuove, 121.
Forty, The, 175.
Fortunato, Patriarch, 27.
Fosca, Saint, 311.
Fosca, St., Church of, 169.
Foscari, The, 175.
Foscari, Doge Francesco, 175, 177, 182-186, 196, 286.
Foscari, Jacopo, 177-184, 222, 282.
Foscari Palace, 76, 283.
Foscarini, Antonio, 289, 290.
Foscarini, Doge Marco, 319, 321.
Foulkes of Neuilly, 32.
Fountain Amorous, 235.
Fourth Crusade, 347, 350.
Francis I., 183, 281.
Francis Joseph, Emperor, 301.
Frari, The, 289, 366.
Frari, Convent of the, 245, 360.
Frederick Barbarossa, 3, 4, 6.
Frederick III., Emperor, 132-135.
Free Lances, 185.
Furber, Mr. H., 125.
G.
Galata, Tower of, 50, 59.
Gama, Vasco di, 277, 278.
Gambarare, 241.
Gamberato, Girolamo, 349.
Garibaldi, 84, 298, 299.
Gautier, 342.
Geminiano, San, Church of, 31.
Genoa, 106, 115, 146, 149, 151, 158, 186, 187, 226, 232.
Ghost Stories, 170-173.
Giants' Staircase, 295, 351.
Giardini Pubblici, 3, 209.
Gibbon, 43, 48, 50, 60, 62, 63.
Giblet, Tristan, 334.
Gibraltar, Straits of, 278.
Giorgio (Ballerino), 132, 134-136.
Giorgio, San, 76, 79, 83, 84.
Giorgio Maggiore, San, 14, 203, 209, 307.
Giorgione, 219, 308.
Giudecca, La, 74, 75, 84, 153, 209.
Giustina, Rosso, 110.
Giustiniani, 109, 152, 153, 284.
Giustiniani, Casa, 74.
Giustiniani, Niccolo, 73.
Giustiniani, Pietro, 309.
Giustiniani, Taddeo, 151.
Goethe, 262.
Golden Horn, The, 48, 50, 58, 70, 154, 309.
Golden Rose, The, 9, 225.
Gondolier's Cries, 173, 174.
Gonzago, Duchess Isabella, 330.
Good Friday, 88.
Goro, 4.
Gradenigo, 90, 94, 95, 101, 106, 108, 109, 111-113, 212.
Grand Canal, 76, 81, 229, 236, 239, 247, 301, 334, 347, 369.
Grassi, Giovanni, 268.
Great Council, The, 12, 13, 286, 287, 290-292, 330, 345.
Great Council-Chamber, 144, 346, 350, 369.
Gregory XVI., Pope, 122.
Grimani, Antonio, 367.
Grimani, Cardinal, 332.
Grimani, Doge Marino, 225.
Gritti, Doge Andrea, 344.
Guattemalata, 199.
Guy, Abbot of Vaux-Cernay, 41, 42.
H.
Hagia Sophia, 63.
Hall of the Great Council, 228, 295.
Hawkwood, Sir John, 157.
Hazlitt, 7, 33, 64, 112, 115, 149, 176.
Hellespont, The, 67.
Henry III., 215, 222, 257, 283, 345.
Hippodrome, 55.
Histoire de la Chancellerie Secrète, 118.
Holy Land, 33.
"Holy League," 280.
Horses of St. Mark, 64, 262.
Hospital, Public, 27.
Hotels, Ancient, of Venice, 257.
Howells, Mr., 121, 203, 259.
Hungary, 149.
Hungary, Ring of, 43.
Hunt, Helen, 170.
I.
Ibrahim, Sultan, 284.
Illumination, The, 79.
Illyric Islands, 67.
Immortelles, The, 178.
Inner Temple, 115.
Innocent III., 32, 35, 42, 43, 45, 65, 66.
Inquisitori dei Dieci, 117.
Inquisitors of the Ten, 117, 281, 287-292.
Ionian Sea, 48.
Irene, 51.
Irene, Empress, 271.
Iron Crown of Lombardy, 300.
Isaac, Emperor, 44, 49, 62, 56-58.
Isidore, St., 311.
Istria, 167.
J.
James Lusignan, 227-231.
Jameson, Mrs., 367.
Jenson, Nicolas, 254.
Jerusalem, 34, 40, 45, 66, 161.
Jerusalem, Queen of, 229.
John of Venice, 26.
John, King, 69, 70.
Julius II., Pope, 280.
Justina, Saint, 312.
K.
Knights of Malta, 284.
Knights of Rhodes, 227.
Knights Templars, 80.
L.
Lace and Lace-making, 164-166.
Lace-work Goblet, 133.
Lago di Garda, 192.
Lago d' Iseo, 194.
Lascaris, Theodore, 68, 69.
La Sensa, Feast of, 12.
Lateran, St. John, 350.
Lazzaro, San, 39, 312, 313.
Legnano, Battle of, 4.
Leopardo, Alessandro, 200, 264, 271.
Lepanto, 215, 283, 342.
Levant, The, 70, 247, 276, 282, 284.
Library of St. Mark, 122, 345.
Libreria Vecchia, 332, 333.
Libro d' Oro, 92.
Lido, The, 23, 36, 73, 76, 122, 142, 146, 149, 151, 152, 156, 215,
229, 235, 236.
Lido, Porto di, 2, 153.
Lioni, 143.
Lion of St. Mark, 8, 9, 99, 157, 267, 292.
Lion's Mouth, The, 341.
Lisbon, 253, 278, 279.
Lombardo, 271.
Lombardo, Moro, 121.
Lombardo, Santi, 336.
Lombards, The, 167.
Lombards, Confederacy of, 4.
Lombardy, 193, 197, 280.
Longfellow, 24.
Loredan, Andrea, 337.
Loredano, 182.
Loredano, Doge Leonardo, 2, 64.
Louis XI., 254.
Louis XII., 281.
Louis XIV., 166.
Louis, Count of Blois and Chartres, 33.
Louis of Savoy, 227.
Lucrezia Contarini, 179, 180, 182.
Luke, Saint, 64.
Lusignan, Caterina Veneta, 229.
Lusignan, James, 226, 228.
M.
Macalo, 194.
Mahomet the Second, 64.
Malamocco, 2, 149, 153, 288.
Malatesta, Pandolfo, 239.
Malpaga, 199.
Malpasso, Bridge of, 108.
Manfredonia, 157, 158.
Manin, Daniele, 294-298, 301.
Manin, Ludovico, 293.
Mannucci or Manutio, 326.
Mappamondo, The, 122, 352.
March of Treviso, The, 108.
Marcello, Countess of, 164.
Marciana, The, 345.
Marco Milione, 96, 340.
Marco Polo, 96-100, 338-340.
Marghera, 297.
Mark, St., Horses of, 64.
Mark, St., Library of, 122, 345.
Marmora, Sea of, 48.
Marne, The, 33.
Marriage of the Adriatic, 9, 216.
Marsh, John B., 133, 251.
Martin IV., Pope, 93.
Marzoufle, 56-59.
Mastichelli, 228.
Mauro, Frate, 122, 352.
Mazzorbo, 163, 164.
Mechitar, 312-314.
Mechitaristican Society, 313, 314.
Medici, 91.
Memmo, Jacopo, 183.
Memmo, Marin, 183.
Merceria, The, 108, 110.
Mestre, 197, 239, 295.
Metternich, 293, 294.
Michael Angelo, 349.
Michieli, 91.
Michieli, Anna, 73.
Michieli III., 29.
Michieli, Doge Domenico, 270, 311.
Michieli, Giovanni, 304, 310.
Michieli, Doge Vitale I., 128.
Michieli, Doge Vitale II., 27, 153, 257, 304.
Milan, 157, 160, 176, 181, 186, 188, 189, 191, 193, 195-197, 199,
232, 299, 344.
Milan, Cathedral of, 129.
Milan, Duke of, 181, 185-187, 192, 195, 216, 281.
Milnes, Monckton, 173.
Minerva, Statue of, 56.
Minio, Bartolommeo, 251, 252.
Mocenigo, 131, 132, 137, 139, 230, 231.
Mocenigo, Admiral, 230, 231.
Mocenigo, Lazzaro, 285.
Mocenigo, Sebastiano, 313.
Mocenigo, Doge Tommaso, 175.
Mocetto, Girolamo, 129.
Molo, The, 140, 202, 203, 267, 317.
Montagnana, F. di F. da, 238.
Monté di Pietà, 236.
Monteferrato, Boniface, Marquis of, 36, 41, 43-45, 62.
Montferrat, 61.
Montfort, Simon of, 43.
Montmorency, Baron de, 41.
Morea, The, 67, 70, 263, 285, 351.
Moro, Doge Cristoforo, 270.
Moro, Giulio dal, 350.
Morosini, 65, 66, 218, 225.
Morosini, Domenico, 262.
Morosini, Francesco, 285, 286, 351.
Municipal Museum, 10, 236.
Murano, 2, 77, 112, 121-131, 135, 137, 311, 356.
Muscorno, Giulio, 289.
Museo Civico, 248.
Music, Publishing of, 255.
Mutinelli, 248.
N.
Nani, 332.
Naples, 4, 149, 181.
Naples, Viceroy of, 288.
Napoleon, 209, 210, 292-294, 356.
Nauplia, 285.
Navagero, Andrea, 240, 321, 322, 324.
Negropont, 153.
Niccolo il Barattiere, 268.
Nicetas, 61.
Nicholas Canabes, 57.
Nick the Blackleg, 268.
Nicosia, 227, 231, 235, 283.
Nicosia, Archbishop of, 226, 230.
Nola, 127.
Novara, 296.
Novello, Francesco Carrara, 207.
O.
Oliphant, Mrs., 73, 144, 184, 200, 321, 326, 327, 358.
Olivolo, 210, 305.
Olivolo, Bishop of, 210.
Orio, Malipiero, 30
Orologio, Torre dell', 264.
Orseolo I., 27.
Orseolo, Pietro, 12, 270.
Oelle, 30.
Ossuna, Duke of, 288.
Otho the Great, 123.
Otho, son of Barbarossa, 6.
P.
Padua, 149, 160, 199, 233, 237, 324, 343.
Paglia, The, 203.
Pala dei Pesari, La, 366.
Pala d' Oro, 270.
Palazzo Bembo alla Celestia, 338.
Palazzo Contarini, 338.
Palazzo Cornaro, 228, 229.
Palazzo Corner della Regina, 236.
Palazzo delle due Torri, 205.
Palazzo Farsetti, 337.
Palazzo Ferrara, 236.
Palazzo Foscari, 76.
Palazzo Imperiale, 333.
Palazzo Loredan, 337.
Palazzo dei Poli, 338.
Palazzo Vendramin Calergi, 336.
Paleologo, Michele, 212.
Paleologus, Elena, 226.
Palestine, 32, 36, 45, 52.
Palladio, 283, 356, 369.
Pallium, The, 28.
Palma, Giovane, 337, 345, 349, 352, 366.
Palma Vecchio, 219, 362, 363.
Palm Sunday, 72.
"Paradise," The, 61.
Paris, 205
Paris Opera House, 125.
Parthenon, The, 285, 351.
Paterniano, St., 301.
Patmos, 204.
Paul V., Pope, 122, 288.
Paulus, Bishop of Altina, 167.
Peacocks, The, 178.
Pears, 63.
Pelestrina, 155.
Pellegrini, Antonio, 242, 243.
Pelmo, 168.
Pentapolis, 167.
Pera, Quarter of, 53, 55.
Perkins, Mr. C. C., 166.
Persano, Admiral, 301.
Pesari, The, 366.
Peter of Capua, 37.
Peter II. of Cyprus, 147.
Petrarca, Casa del, 205.
Petrarch, 205-207, 282, 320, 329, 332.
Petrucci, Ottaviano, 255.
Philip, Duke, 189, 190-192.
Philip, Emperor of Suabia, 44-46, 66.
Phinea, 58.
Piane, The, 237.
Piazza of St. Mark, 3, 6, 7, 31, 37, 74, 79, 81, 93, 102, 105, 108,
141, 150, 179, 199, 204, 211, 225, 236, 259, 265-268, 272-274, 280,
295, 310, 328, 333, 348, 356-358, 363, 369.
Piazzetta, The, 3, 5, 24, 79, 180, 197, 202, 216, 267, 268, 288, 301,
317, 348.
Piccinino, 199.
Pico, Count, 327.
Piedmont, 160, 187, 296, 298.
Pierre, Giacomo, 288.
Pietra del Bando, 267.
Pietro, 129.
Pietro in Castello, San, 12.
"Pilgrim," The, 61.
Pisa, 32.
Pisani, The beautiful, 176, 218.
Pisani, Giorgio, 291.
Pisani, Vettore, 145-148, 152-158, 160, 245.
Pizzighettone, 280.
Pol, St., Count of, 46, 62, 66.
Polo, 176.
Ponte della Paglia, 203.
Ponte del Paradiso, 364.
Ponte del Sepolcro, 205.
Pordenone, 163.
Porto d' Anzo, 146, 218.
Portugal, 252.
Presburg, 298.
Priuli, 235, 236, 278.
Procuratie, The, 79.
Procuratie, Nuove, 333.
Pyrenees, The, 23.
Q.
Querini, Angelo, 291.
Quirini, 97, 108-110.
Quirini, Marco, 107.
Quirini, Pietro, 107.
Quinta Valle, 210.
R.
Radetzky, 298.
Ravenna, 167, 275, 276, 311.
Redentore, Church of the, 74, 80, 82, 209.
Redentore, Féte of the, 74, 75.
Regatta, The, 76.
Renier, Doge Paolo, 291.
Renouard, 331.
Rhodes, 227.
Rhœtian Alps, 237.
Rialto, The, 164, 303, 360.
Riccio, 187.
Ridolfi, 189, 191, 359, 367, 369.
Rio, 352.
Rio di Sant' Anna, 210.
Riva di San Marco, 307.
Riva degli Schiavoni, 14, 76, 202, 203, 205-208.
Riviera, The, 154.
Rizzo, 269.
Rizzo, Marin, 234.
Romagna, The, 275.
Romanian Empire, 67.
Rome, 227, 232, 299.
Rosso, Giustina, 110.
Royals, The, 178.
Ruskin, Mr., 122, 168, 261, 272, 332, 335, 337, 360, 364.
Rusticiano, 100.
Rustico of Torcello, 304.
S.
Sabellico, Marco Antonio, 196, 320, 321.
Sadowa, 300.
Sagornino, Giovanni, 26, 320.
Sagra, The, 85.
Saint Victor, 370.
Sala del Anticollegio, 342.
Sala della Bussola, 341.
Sala del Collegio, 342.
Sala del Consiglio dei Dieci, 344.
Sala del Maggior Consiglio, 345.
Sala dei Pregardi, 343.
Salla delle Quattro Porte, 341.
Sala dello Scrutinio, 159, 286, 351.
Sala dello Scudo, 352.
Sala del Senato, 343.
Salboro, Battle of, 5, 348, 349.
Salute, Madonna della, 80.
Salute, Maria della, Church of, 79, 209.
Salviati, 124, 125, 128.
San Andrea, 153.
San Antonio, Church of, 159.
San Antonio di Castello, 158, 309, 310.
San Apostoli, 140, 240.
San Barnaba, 179.
San Donato, Cathedral of, 123, 124.
San Eustachio, 194.
San Fantino, 152, 159.
San Gervasio e Protasio, 244.
San Giacomo dell' Orio, 326.
San Gian Crisostomo, 338.
San Giorgio, 76, 79, 83, 84.
San Giorgio Maggiore, 203, 209, 307.
San Giovanni e Paola, 129, 362.
San Giovanni in Bragora, 208.
San Lazzaro, 312, 313.
San Lorenzo, 358, 359.
San Luca, Campo of, 109.
San Marco, 3-6, 9, 24, 27, 32, 34, 37, 38, 40, 64, 79, 81, 103, 127,
128, 144, 145, 155, 159, 184, 210, 215, 225, 229, 236, 267-269, 272,
273, 283, 295, 301, 303, 305, 306, 308, 311, 332, 358.
San Marcuola, 173.
San Michele, 21, 121, 122, 297.
San Moisé, 356.
San Niccolo, 2, 4, 11, 36, 73, 83, 151, 153, 236, 307.
San Niccolo di Bari, 311.
San Niccolo del Lido, 311.
San Pietro, 210, 212.
San Pietro di Castello, 210.
San Pietro, Island of, 210, 217.
San Salvadore, 240, 304.
San Silvestro, 4.
Sansovino, 208, 269, 332, 369.
Santa Maria Formosa, 211, 362.
Santa Maria Gloriosa dei Frari, 364.
Santa Maria dell' Orto, 366.
Santa Maria della Pace, Chapel of, 364.
Santa Maria Zobenigo, 356.
San Teodoro, 310.
Santo Spirito, 151, 153.
Sanudo II., Doge, 211.
Sanudo or Sanuto, Marino, 263, 280, 309, 321-326, 337.
San Vio, 72.
San Vito, 110, 243.
San Zaccaria, 204, 205, 208, 218, 312, 325.
San Zaccaria, Quarter of, 216.
San Zanipolo, 199, 364.
Saracens, 32.
Sarpi, Fra Paolo, 121.
Savoy, 194, 232.
Savoy, Duke of, 227.
Scamozzi, 369.
Scuola di S. Giovanni Evangelista, 326, 358.
Scuola di San Marco, 199, 364, 367.
Scuola di San Rocco, 366, 367.
Scutari, 48, 49.
Selim the Drunkard, 282.
Selvo, Doge, 224.
Serenade, The, 78.
Serrata del Consiglio Maggiore, 95, 100.
Servia, 67.
Sforza, 199, 200.
Sforza, Francesco, 178.
Sforza Palace, 180.
Simon of Montfort, 43.
Sixtus IV., Pope, 276.
Soissons, Bishop of, 61.
Solferino, 299.
Solomon, Temple of, 271.
Sophia, St., 32, 53, 57, 64-67, 70, 270, 271.
Soranzo, 231, 232.
South Kensington Museum, 125.
Spalato, Archbishop of, 240.
Spanish Conspiracy, 288.
Spanish Succession, War of, 282.
Spinelli, 288.
Spires, John of, 254.
Sporades, The, 87.
Sposalizio, The, 11, 12.
Star Company of Milan, 157.
Steno, Michele, 141, 147.
Stocking, Company of the, 177.
Straits of Gibraltar, 278.
Strike of the Gondoliers, 20-22.
Suabia, Philip, Emperor of, 44.
Suleiman the Magnificent, 282.
Syria, 47.
T.
Taine, 260, 345, 353, 367.
Tard Venus, The, 157.
Ten, Chief of the, 175.
Ten, Council of, 111, 112, 114-117, 119, 120, 126, 129, 143-145, 152,
161, 177, 181, 182, 197, 216, 219, 235, 245, 246, 281, 286-292, 323,
325, 330, 340, 351.
Ten, Inquisitors of the, 117, 175, 287-292.
Thayer, W. R., 294, 295.
Theobald, Count of Champagne, 33, 36.
Theodora, Dogaressa, 224.
Theodore, St., 267, 303-306.
Thessaly, 67.
Thessalonica, King of, 70.
Thrace, 51.
Three, Council of, 114, 115.
Tiepolo, 73, 91, 93, 109, 111, 113.
Tiepolo, Bajamonte, 107, 326.
Tiepolo, Doge Giacomo, 365.
Tiepolo, Lorenzo, 103, 266.
Tintoretto, Domenico, 348-350.
Tintoretto, Jacopo, 219, 224, 283, 307, 332, 333, 343, 345-347, 349,
350, 352, 366-369.
Titian, 219, 229, 333, 343, 349, 360-363, 365, 366.
Tofano, 168.
Torcello, 166-170, 311, 312.
Tradenigo, Doge, 204.
Trajanople, 67.
Treasury of St. Mark, 271.
Trebizond, Emperor of, 226.
Treviso, 140, 181, 189, 197.
Treviso, March of, 108.
Trieste, 2, 33, 181, 211.
Troyes, Bishop of, 61.
True Cross, 271.
Turin, 159, 299.
Tyre, 270, 311.
V.
Valdemarino, Count of, 140.
Valier, The Doges, 365.
Valle dei Sette Morti, 172.
"Valli," The, 167.
Valtelline, War of the, 282.
Vaporetti, The, 20.
Varangians, The, 50, 52, 55, 57, 67.
Vasari, 367.
Vassilacchi, Antonio, 341.
Vatican, The, 66.
Vaux Cernay, Abbot Guy of, 41, 42.
Vecelli, Marco, 343, 344.
Vendramini, Andrea, 358.
Venier, Sebastian, 283, 342.
Verocchio, 200, 201, 364.
Verona, 140, 282, 291.
Veronese, 224, 283, 332, 342, 345, 349, 362.
Vicentino, Andrea, 159, 341, 349, 350.
Vicenza, 237, 282.
Victor Emmanuel, 300-302.
Vidaore, Andrea, 129.
Vienna, 294, 301.
Vienna, Royal Academy at, 325.
Villafranca, Peace of, 299.
Villa Marocco, 108.
Villehardouin, 33, 34, 47, 52, 63, 69.
Vio, San, 72.
Visconti, 91, 186, 189, 193, 195.
Visconti, Filippo Maria, 185.
Visconti, Galeazzo, 160.
Visconti, Gian Maria, 185.
Visconti, Valentina, 147.
Vittoria, Alessandro, 205, 349.
Vivarini, The, 356.
Y.
Yriarte, 128, 220.
Z.
Zanetti, 360.
Zanipolo, The, 144, 199, 364.
Zara, 37, 41-44, 66.
Zaratines, The, 41, 42, 46, 99, 115.
Zarla Lusignan, 231, 233.
Zattere, The, 23, 317.
Zeno, Cardinal, 271.
Zeno, Carlo, 145, 147, 149, 150, 154, 156, 157, 160, 161, 320.
Zeno, Donato, 148.
Zeno, Jacopo, 160.
Zeno, Marino, 71.
Zeno, Pietro, 161.
Zeno, Doge Renier, 102, 103.
Zeno the Unconquered, 162.
Ziani, 91.
Ziani, Doge Sebastiano, 4, 5, 13, 30-32, 268, 350.
Zonta, The, 286.
Zucchero, Federigo, 349.
Zurla, Placido, 122.