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The Basilica in Venice
The palace's astounding 15thcentury entrance way is called the Porte Della Cart (Paper Gate), because the doge's decrees were nailed to it. Just to the left are the mys¬terious Tetrarchs, known a'i the Four Moors. Some experts assert that the embracing Redstone figures represent Diocle¬tian and associates; others say they're four Saracen robbers who tried to loot the basilica's treasury through the wall behind them. Sculpted in the 4th century, this curious ensemble came to Venice 900 years later from Acre (in present day Israel).
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In front of them, at the cor¬ner of the basilica, is another bit of 13thcentury booty from Acre: a pillar stump known as the Pieta del Bando. Here, the republic's new laws were proclaimed and, during the republic's more gruesome periods, traitors' heads were displayed to encourage good civic behavior. I nside the courtyard is the impressive Scale dei Gigantic, a stairway named after Sansovi¬no's colossal statues of Nep¬tune and Mars, symbolizing Venice's land and sea power. Tourists normally use the only slightly less glamorous Scale Doro.
Upstairs, you'll see the lux¬urious apartments where the doges lived and the beautifully decorated rooms where the Serenissima's business was conducted. In the AntiCoIlegio, art lovers cluster in front of Paolo Veronese's Rape of Europe and Jacopo Tintoret¬to's Bacchus and Arianne. Oth¬er notable works by Veronese adorn the meeting room of the Council often where horrible punishments were meted out to wrongdoers.
In the armory, amid ranks of fierce weapons, stands a complete suit of armour for a small child, which gives rise to sobering thoughts.And then, the room of , it rooms, the Sale del Maggior 4 Consigliore (Great Council, Chamber). Here, in the early days of genuine democracy, Venice's citizens assembled to elect doges and argue out state policies. Later, only the nobles convened in the vast hall. This was also the scene of a sump¬tuously appointed banquet for Henry JJJ of France in 1574; 3,000 aristocrats were invited.
Finally, in this room in 1797, the last doge abdicated, and the Venetian republic fell to Napoleon. Covering the wall behind the doge's throne is the largest oil painting on earth, Tintoret¬to's Paradise. This monumen¬tal work, undertaken by the artist at the age of 70, is based on Dante's Paradiso.The portraits of 76 doges, many simply artistic guesswork, line the cornice beneath the ceiling. The place of Marin Faliero, however, contains a black curtain with the notice that this 14thcentury doge was beheaded for treason. The palace's infamous pri¬sons, which Charles Dickens among others professed to find so dreadful, are disap¬pointing. For the most part, they held only common crimi-nals. Though dark and some¬what evocatively gloomy, the cells are neatly swept out today. Former torture cham¬bers are not on view. Watch your head as you move through the narrow corridors.
The most elaborate prisons are in another building, con¬nected to the palace by the sto¬ried Ponte dei Suspire (Bridge of Sighs). Venetians will tell you that the bridge was unfair¬ly named by anti Venetian writers who claimed that pri¬soners sighed as they were led over the enclosed, escape proof bridge to torture or ex¬ecution. The Baroque stone bridge, built in the early 17th century, has two parallel pas sage ways', so that prisoners going to the Council of Ten wouldn't meet those who'd al¬ready been through the inqui-sitorial process. From the bridge's grilled windows, prisoners got their only glimpse of the lagoon and that, according to a varia¬tion on the legend, is why they sighed.
If you visit the palace on your own, you may be able to rent a portable recorder at the entrance. Otherwise, many guided tours are offered, and custodians are pleased to de¬scribe the rooms. (See the spe¬cial section on HOURS on p. 113 for the palace's current schedule.)A four minute ride takes you to that in¬viting little island in the mid¬dle of St. Mark's basin, a trip no visitor to Venice should miss. The island and the church are both called San Giorgio Maggiore. For the very best view of W' Venice proper, go up to they'd top of the campanile. (The 200¬ year old tower tilts slightly, but you probably won't even notice.) From here, you can see the canals and, of course, the incomparable Venice sky , line.
Andrea Palladio designed both the church and the adja¬cent monastery buildings in 1565, creating a masterpiece of proportion and harmonious space. Paintings by Tinto¬retto, The Last Supper and Gathering oj Manna (1592-¬94), grace either side of the chancel, while the high altar is dominated by Girolamo Champagne's large bronze group of the Evangelists sustaining the world, a work that took two years to create (1591-93). A small, winding staircase behind the altar leads to a fas-cinating room. Here, on March 14, 1800, 35 cardinals met in secret conclave to elect Pope Pius VII. Each cardinal's wooden seat is marked as if they had just left the chamber. The red hat preserved in the display case belonged to the newly elected pope.
At the en¬trance stands the stove where the chamberlain burned the ballot slips.
The monastery, which was an Austrian army barracks during the occupation, now houses the Cini Foundation for study of Venetian civiliza¬tion. Special permission may be obtained from the founda¬tion to visit the refectory, cloisters and other buildings which are among Palladio's finest achievements.
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