_Palazzo Labia--S. Giobbe--The Ghetti--Gli Scalzi_
From the S. Geremia Pier on the Grand Canal we turn along the W. bank of
the Cannareggio and quickly reach the Pal. Labia. A hall on the first
floor is decorated by the finest of Tiepolo’s work existing in Venice.
We continue along the fondamenta and at length reach the grass-grown
campo, opposite the Ponte Tre Archi, on which stands the Franciscan
church of S. Giobbe attributed to Pietro Lombardo. The chief pictures of
interest are in the sacristy: the portrait of Doge Cristoforo Moro with
a careful representation of a ducal cap is a Bellini school painting; a
well-preserved Marriage of St Catherine is by Previtati in the master’s
most suave and gracious manner; there is also a not very convincing
tryptich by Ant. Vivarini. In the Ante-Sacristy is a much-restored
Savoldo, the Birth of Christ. Moro’s tomb is on the ground before the
altar in the beautiful chapel erected by the Doge to his personal friend
S. Bernardino. The chapel is a fine example of Pietro Lombardo’s
decorative genius and power.
[Illustration: FISHING BOATS ON THE GIUDECCA.]
[Illustration: CANNAREGGIO.]
The Ghetto Vecchio and the Ghetto Nuovo may be reached by crossing the
Ponte Tre Archi and following the E. bank of the Cannareggio to a
portico which gives access to the Jewry of Venice. The term Ghetto is
said to have originated from the fact that here were located the old and
new foundries for casting (_gettando_) the ordnance of the Republic. The
sites of the old and the new foundries (the Ghetto Vecchio and the
Ghetto Nuovo) were in 1516 assigned to the Jews for their quarter.
Little that is characteristic now remains. On the L. as we enter the
quarter is an inscription declaring the “firm intention of the
magistrates of the Republic to severely repress the sin of blasphemy
whether committed by Jews or converted Jews. They therefore have ordered
this proclamation to be carved in stone in the most frequented part of
the Ghetti, and threaten with the cord, stocks, whip, galleys or prisons
all who are guilty of blasphemy. Their Excellencies offer to receive
secret denunciations and to reward informers by a sum of a hundred
ducats to be taken from the property of the offender on conviction.”
We return to the fondamenta and pursue our way to the fine bridge on the
R. which spans the Cannareggio and leads to the railway station. We
cross the bridge and reach the church of S. Maria agli Scalzi (1648-89),
designed by Longhena. The façade by Sardi was restored by the Austrians
in 1853-62. The interior is condemned by Ruskin as a vulgar abuse of
marble in every way. The ceiling is frescoed by Tiepolo in his most
flamboyant style. This heavily decorated edifice (p. 195) was erected,
as its name implies, for Our Lady of the Shoeless Friars. Behind the
high altar is a doubtful Giov. Bellini. The last of the Doges, Ludovico
Manin, lies in this church.