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Updated: June 19, 2025
At the same time, the shallowness of Sansovino's inspiration as a sculptor is patent in his masterpieces of parade the "Neptune" and the "Mars," guarding the Scala d'Oro. Separated from the architecture of the court and staircase, they are insignificant in spite of their colossal scale.
Morley's picture, until we reach Sansovino's Palazzo Manin, now the Bank of Italy, a fine building and the home of the last Doge. The three steamboat stations hereabouts are for passengers for the Riva and Lido, for Mestre, and for the railway station, respectively. The palace next the Ponte Manin, over the Rio San Salvatore, is the Bembo, with very fine windows.
Vasari says that Sansovino built for Dom João a beautiful palace with four towers, and that part of it was decorated by him with paintings, and it was because Haupt believed that this castle was built round an arcaded court a regular Italian feature, but one quite unknown in Portugal that he thought it must be Sansovino's lost palace.
Nothing of importance a palace with red and gold posts and an antiquity store before the next rio, the beautiful Rio del Santissimo o di Stefano; nor after this, until the calle and traghetto: merely two neglected houses, one with a fondamenta. And then a pension arises, next to which is one of the most coveted abodes in the whole canal the little alluring house and garden that belong to Prince Hohenlohe. The majestic palace now before us is one of Sansovino's buildings, the Palazzo Corner della C
His was no lifeless or pedantic imitation of antique fragments, but a real expression of the fervour with which the modern world hailed the discoveries revealed to it by scholarship. This is said advisedly. The most beautiful and spirited pagan statue of the Renaissance period, justifying the estimate here made of Sansovino's genius, is the "Bacchus" exhibited in the Bargello Museum.
Looking back from the foot of the stairs we see Sansovino's Loggetta, framed by the door; looking back from the top of the stairs we have in front of us Rizzo's statues of Adam and Eve. This Antonio Rizzo, or Ricci, who so ably fortified Sansovino as a beautifier of Venice, was a Veronese, of whom little is known. He flourished in the second half of the fifteenth century.
And all most gaily coloured, with the signs of the Zodiac added. The little building under the campanile is Sansovino's Loggetta, which he seems to have set there as a proof of his wonderful catholicity to demonstrate that he was not only severe as in the Old Library, and Titanic as in the Giants, but that he had his gentler, sweeter thoughts too.
While the mundane splendour of Venice gave body and fulness to Sansovino's paganism, he missed the self-restraint and purity of taste peculiar to the studious shades of Florence. In his style, both architectural and sculptural, the neo-pagan sensuality of Italy expanded all its bloom. For the artist at this period a Greek myth and a Christian legend were all one.
In this same year Titian painted on the ceiling of the ante-chamber to Sansovino's great Library in the Piazzetta the allegorical figure Wisdom, thus entering into direct competition with young Paolo Veronese, Schiavone, and the other painters who, striving in friendly rivalry, had been engaged a short time before on the ceiling of the great hall in the same building.
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