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Updated: July 14, 2025
There was a grandmother's armchair; white chairs; and on the table painted cups and Venetian glasses. In all the corners were screens of colored paper, whereon were masks, grotesque figures, the light soul of Florence, of Bologna, and of Venice in the time of the Grand Dukes and of the last Doges. A mirror and a carpet completed the furnishings. He closed the window and lighted the fire.
It is hoped, if such is the case, that the beautiful queen of the Adriatic will be spared a scene of devastation, and that no new Haynau will be found to renew the deeds of Brescia and Vicenza. The king has not yet arrived, and it seems probable he will not come for some time, until indeed the day comes for Italian troops to make their triumphal entry into the city of the Doges.
There is a relief of graceful boys on the Rio del Palazzo side of the Doges' Palace; there is a S. George and Dragon on a building on the Rio S. Salvatore just behind the Bank of Italy; there is a doorway at 3462 Rio di S. Margherita; there is the Campo S. Maria Mater Domini with a house on the north side into whose courtyard much ancient sculpture has been built.
The first structure probably dates from the seventh century; the present is fifteenth century, and beneath it is the ancient crypt adjoining the chapel of S. Tarasio, where in the twelfth century a hundred nuns seeking refuge from a fire were suffocated. In the chapel are ecclesiastical paintings, but no proper provision is made for seeing them. Eight Doges lie in S. Zaccaria.
Titian undertook to do this, but he did not keep his word, for he painted only five doges, though many more followed. He had no sooner received his commission from the council of his native place than he began to neglect it, and to paint for the husband of the wicked poisoner Lucretia Borgia whose name was Alfonso d'Este, the Duke of Ferrara.
Christopher" of the doges' palace as "the only known fresco of Titian," forgetting the celebrated one in the Scuola del Santo at Padua, of which he has spoken in a previous volume. He occasionally makes an assertion to which many will demur; as, for instance, that "The real glory of the Italian towns consists not in their churches, but in their palaces."
It may contain no Titian's ashes, but both Giovanni and Gentile Bellini lie here; and its forty-six Doges give it a cachet. We come at once to two of them, for on the outside wall are the tombs of Doge Jacopo Tiepolo, who gave the land for the church, and of his son, Doge Lorenzo Tiepolo.
The Grimaldi family which gave Genoa many doges, came early into the sovereignty of Monaco, by the hook or crook those days, but whether it was they who fostered its piracy in the fourteenth century, does not distinctly appear, though it seems certain that one of the Grimaldi princes served against the English under Philip of Valois, and was wounded at Crecy.
The critic may say he has seen them all before, he knows them off by heart; but then so does he know Raphael's infants, and Botticelli's madonnas, and Fra Angelico's angel trumpeters, and Vecelli's blue hills, and Robusti's doges, and Lionardo's smiling, enigmatic ladies. He does not say he is tired of these, but that is only his eternal affectation.
The first room shown, the Sala degli Scarlatti, is the bedroom of the Doges, with a massive and rather fine chimney piece and an ornate ceiling. The next room, the Sala dello Scudo, has a fine decorative, if inaccurate, map of the world, made by a monk in the fifteenth century.
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