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Howells S. Giovanni Crisostomo Piombo and Giorgione A Sacristan artist Marino Faliero's house SS. Apostoli and Tiepolo Venetian skittles A broad walk Filled in canals The Rialto Bridge S. Giacomo di Rialto The two Ghettos The Rialto hunchback Vegetables and fruits The fish market Symmetrical irony S. Giovanni Elemosinario A busy thoroughfare Old books The convivial gondoliers.
Especially that great hall and Marino Faliero's place: there's an inscription: decapitati pro criminibus. I've been in the famous prisons too; that threw me into indignation, you may fancy. I've always, you remember perhaps, taken an interest in social questions, and taken sides against aristocracy well, that's where I should like to send the champions of aristocracy to those dungeons.
No prisoner, whose name is worth remembering, or whose sorrow deserved sympathy, ever crossed that "Bridge of Sighs," which is the centre of the Byronic ideal of Venice; no great merchant of Venice ever saw that Rialto under which the traveller now passes with breathless interest: the statue which Byron makes Faliero address as of one of his great ancestors was erected to a soldier of fortune a hundred and fifty years after Faliero's death; and the most conspicuous parts of the city have been so entirely altered in the course of the last three centuries, that if Henry Dandolo or Francis Foscari could be summoned from their tombs, and stood each on the deck of his galley at the entrance of the Grand Canal, that renowned entrance, the painter's favorite subject, the novelist's favorite scene, where the water first narrows by the steps of the Church of La Salute, the mighty Doges would not know in what spot of the world they stood, would literally not recognize one stone of the great city, for whose sake, and by whose ingratitude, their gray hairs had been brought down with bitterness to the grave.
Lamb's great treasure was a print from Da Vinci, which he called "My Beauty," and its exhibition to a literal Scotchman gave rise to one of the richest jokes in Elia's record. The pen-drawing Andre made of himself the night before his execution, the curtain painted in the space where Faliero's portrait should have been, in the ducal palace at Venice, and the head of Dante, discovered by Mr.
We talked of the countless great ones of the world who had lived and died in Venice, and loved it well; of Byron, who slept in Marino Faliero's dreadful cell before he wrote his tragedy; of Browning, whose funeral had passed in solemn state of gondolas down the Grand Canal; of Wagner, who found inspiration in this sea and sky, and died looking upon them from his window in the Palazzo Vendramin.
No prisoner, whose name is worth remembering, or whose sorrow deserved sympathy, ever crossed that "Bridge of Sighs," which is the centre of the Byronic ideal of Venice; no great merchant of Venice ever saw that Rialto under which the traveller now passes with breathless interest: the statue which Byron makes Faliero address as of one of his great ancestors was erected to a soldier of fortune a hundred and fifty years after Faliero's death; and the most conspicuous parts of the city have been so entirely altered in the course of the last three centuries that if Henry Dandolo or Francis Foscari could be summoned from his tomb, and stood each on the deck of his galley at the entrance of the Grand Canal, that renowned entrance, the painter's favorite subject, the novelist's favorite scene, where the water first narrows by the steps of the Church of La Salute the mighty doges would not know in what spot of the world they stood, would literally not recognize one stone of the great city, for whose sake, and by whose ingratitude, their gray hairs had been brought down with bitterness to the grave.
One of Faliero's party was Calendario, an architect, employed on the part of the Doges' Palace in which we are now standing. He was hanged or strangled between the two red columns in the upper arches of the Piazzetta façade. Of Obelerio little good is known. He married a foreigner whom some believe to have been an illegitimate daughter of Charlemagne, and her influence was bad.
The boy whose highest ambition had been to become a village stone-cutter, and whose home had been in his poor old grandfather's cottage, became at once a member of Signor Faliero's family, living in his palace, having everything that money could buy at his command, and daily receiving instruction from the best sculptors of Venice.
The united tenderness and dignity of Faliero's words to Angiolina, before he goes to the meeting of the conspirators, would, if there were nothing else, be enough to show how rightly in his better moods the poet appreciated the conditions of the family.
Faliero's inability to induce the judges to punish Steno sufficiently was the beginning of that rage against the State which led to his ruin. It was during Steno's reign that Carlo Zeno was so foolishly arrested and imprisoned, to the loss of the Republic of one of its finest patriots.
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