_The Rialto--S. Giacomo di Rialto--S. Giovanni Elemosinario--S.
Cassiano--S. Maria Mater Domini--Museo Civico_
We cross the Rialto bridge, and in the campo on the farther side find
the little church of S. Giacomo di Rialto, according to tradition (p. 6)
the oldest in Venice. This spot, Shakespeare’s Rialto, was the focus of
the commercial life of the old Republic. The colonnade was covered with
frescoes, and possessed the famous planisphere or _mappa mondo_ showing
the routes of Venetian commerce over the world. Here the patricians were
wont to meet before noon to discourse together of private and public
affairs. The church, rebuilt and altered more than once, no longer
stands on its original site. It was removed in 1322, when the Rialto was
enlarged and a loggia made, that the merchants might meet under cover.
The beautiful relief of the Virgin and Child over the portico is
fourteenth-century work. The six columns of the nave are the sole
remains of the eleventh-century church, rebuilt by Doge Dom. Selvo. On
the exterior of the apse will be found the (Latin) inscription whose
discovery so delighted Ruskin: AROUND THIS TEMPLE LET THE MERCHANT’S LAW
BE JUST, HIS WEIGHT TRUE, AND HIS COVENANTS FAITHFUL.[111]
[Illustration: EDICT STONE, RIALTO.]
On the farther side of the campo, opposite the W. front, is the
Hunchback of the Rialto (Il Gobbo di Rialto), restored in 1892, whence
in olden times the decrees of the Republic were promulgated. Beyond the
market is the church of S. Giovanni Elemosinario, early sixteenth
century, by Scarpagnino. The picturesque campanile has an interesting
relief below the cella of the bells. The high altar painting is by
Titian, the Patron Saint (St John the Almsgiver). In the chapel to the
R. is an altar-piece by Pordenone, SS. Sebastian, Roch and Mary
Magdalen. Above on the L. wall is a quaint relief, saved from the fire
which destroyed the old eleventh-century church.
We follow the hand pointing to the Museo Civico, and soon reach S.
Cassiano, containing three Tintorettos. The Crucifixion, held by Ruskin
to be one of the finest paintings in Europe by the master, is a most
remarkable and original treatment of the subject--a great and solemn
picture in excellent condition. The church has an altar-piece by Palma
Vecchio, The Baptist and four saints, said to be the first painted by
him at Venice, and three paintings by L. Bassano.
Following the indicator, we reach the little church of S. Maria Mater
Domini by one of the Lombardi: the façade by Sansovino. It is situated
in an interesting campo, where may be seen a few early Gothic houses
with some beautiful Byzantine reliefs and crosses. The church possesses,
second altar to the R., Catena’s S. Cristina. The angel to the left
holding the millstone is one of the most sweet and guileless of the
master’s creations (p. 201). In the R. transept is Tintoretto’s
Invention of the Cross. Opposite is a Last Supper attributed to
Bonifazio.
We at length reach the Museo Civico in the restored Fondaco de’ Turchi.
The original palace, the Ca’ Pesaro, was built for Giac. Palmieri, a
rich Guelf refugee from Pesaro, about 1230. In 1861 it was an imposing
and picturesque ruin, with a cherry tree growing and fruiting on one of
the turrets. In 1869 it was wholly restored (_Guasto e profanato_,
says Boni), all the beautiful capitals and columns were recut and
scraped, and subsequently anointed with oil to bring out the veining.
[Illustration: BYZANTINE CROSSES--CAMPO S. MARIA MATER DOMINI]
In the court are some fine examples of Venetian well-heads. 2nd Floor,
Room I. contains a collection of arms and banners, some of them captured
from the Turks, and fine standards of the Republic. In Room II.
are:--31, A late work by Carpaccio, The Visitation; 41, Lotto, The
Virgin and Child with SS. George and Jerome and kneeling donor; and a
number of characteristic scenes of Venetian life by Longhi and Guardi.
Rooms III., IV., V., VI. are wholly dominated by Francesco Morosini and
contain spoils of war, personal relics, among which are a book of hours
(concealing a pistol), a bust, a portrait, costumes, pictures of his
victories, models of galleys. Room VII. has an interesting and complete
set of oselle,[112] beginning (2200) from Doge Ant. Grimani to (2716)
Doge Ludovico Manin. Venetian coins, among which are cases of gold
Zecchini with a unique Marïn Falier, and medals of the Carraresi. Rooms
VIII. and IX. display some beautiful Venetian lace and rich stuffs;
costumes, fans, stilted shoes, and miniatures, a diagram showing the
method of electing a Doge, and a remarkable fifteenth-century wooden
staircase. Room X., besides some furniture, has, No. 14, a portrait of
Goldoni, and some paintings by Longhi. Room XI. has a miscellaneous
collection of reliefs from the burnt chapel of the Rosary at S.
Zanipolo; bronze works and ornaments. Room XII. contains a fine
collection of majolica ware and porcelain, and some glass, among which,
912, is a deep blue wedding goblet by the famous Berovieri of Murano.
Room XIV. has a precious collection of illuminated MSS. No. 70
(fifteenth century), (Leggenda dell’ apparizione di S. Marco) shows the
pillar near St Clement’s altar from which the hand of the saint is said
to have protruded. Here are also a number of Mariegole or guild
statutes, one of which (9) shows the Master of the Carpet-makers
submitting the statutes to Doge Foscari. A specimen of the manufacture
which has been presented to the Doge according to usage is hanging on
the balcony; 166 is a portrait of Paolo Sarpi and the dagger with which
he was stabbed. Room XV., 43, Basaiti, Virgin and Child with donor. 35,
Jac. Bellini, Crucifixion. Room XVI., 2, Alvise Vivarini, St Anthony of
Padua. 5, Carpaccio,[113] Two Courtezans with their pets: the stilted
shoes then worn by ladies are seen in this picture.[114] Four early
works by Giov. Bellini, (6) a Transfiguration, (3) a Pietà with a forged
signature of Dürer; (8) a Crucifixion, and (II) Christ mourned by Three
Angels. Portraits of Doge Giov. Mocenigo (16) by Gentile Bellini and
(19) a Bellini school painting of Doge Franc. Foscari.
The curious old church of S. Giacomo dall’ Orio stands S. of the Museo
Civico. The timber coved roof dates from the fourteenth century. On the
wall R. of the entrance is a fine picture (1511) SS. Sebastian, Lawrence
and Roch by Giov. Buonconsiglio, a Vicenzian painter of the early
sixteenth century, sometimes known as Marescalco. In the R. aisle is a
richly carved and gilded vaulted frieze beneath which is Franc.
Bassano’s Preaching of the Baptist, one of his most beautiful works:
opposite is an Ionic column of _verde antico_ of wonderful size and
beauty, one of the “jewel shafts”[115] referred to by Ruskin. In a
chapel in the L. aisle is a Lorenzo Lotto, Coronation of the Virgin with
SS. Andrew, James, Cosimo and Damian (1546). The picture, which has been
much restored, brought the artist 130 gold ducats.