VENICE
334
VENICE
number of openings for the passage of ships, being del Rosario (Massari, 1726; pictures by Tintoretto
thus broken up into the several Lidi of Pellestrina, and Tiepolo); S. IMaria della Salute (by Longhena,
Malmocco, and S. Erasmo. There is a tide in the built after the plague of 1630; plan, octagonal with
"live" lagoon, rising at certain times to a height of cupola; pictures by Luca Giordano, Titian, Tinto-
between 9 and 10 feet, when it floods the pavements of retto, and Giusto le Court). These churches are in
Venice. The city is a commercial and miUtary port
girdled by six forts distributed about the Laguna Viva.
Churches. — St. Mark's, which, since 1807, has also
been the cathedral, was built in 829, when V'enetian
merchants purchased the relics of St. Mark at Alex-
andria. In the eleventh century it was remodelled
in imitation of the Basilica of the Apostles at Con-
.stantinople. The succeeding centuries, especially the
fourteenth, all contributed to its adornment, and sel-
dom did a Venetian vessel return from the Orient
the Barocco style with a profusion of man3'-coloured
marbles in which all the magnificence of \'enice is dis-
played. In the Gothic .style are: S. Stefano (four-
teenth century, restored in 1904; contains marble
balustrade with statues by Lombardi; Madonna dell'
Orto [1460; pictures by Tintoretto, who is buried there,
Dan. van Dyck, the younger Palma (Giovane), Giov.
Bellini, Cima cla Conegliano, etc.]; SS. Giovanni e
Paolo (1333; the largest church after St. Mark's. It
contains pictures by Vivarini and Lorenzo Lotto;
without bringing a column, capitals, or friezes, taken statues and other sculpture by Vittoria and Bartolo
from some ancient building, to add to the fabric of di Francesco; wood-carving by Andrea Brustolon.
the basilica. Its whole pavement is mosaic; it con- In it are also important monuments of the doges)
tains gold, bronze, and the
greatest variety of stones.
The facade is decorated with
mosaics of different periods,
Byzantine sculptures, and
statues of the Evangelists and
the Saviour. The four horses
of gilded bronze above the
great doorway once adorned
the Arch of Trajan; they were
transferred to the Hijjpodrome
at Constantinople, and in 1204
Enrico Dandolo brought them
to Venice. The mosaics of the
atrium and the interior belong
partly to the tenth century.
The plan of the interior con-
sists of three longitudinal and
three transverse naves. Over
the high altar is a baldacchino
on columns decorated with
eleventh-century reliefs; the
altarpiece is the famous Pain
d'oro (Golden Pall), Byzantine
metal-work of the year 1105,
originally designed for an ante-
pendium. Behind the high
altar is another altar with ala-
baster colunms. The choir
stalls are embellished with
inlaying by Fra Sebastiano
Schiavone, and above them
on both sides are three reliefs
by Sansovino. On the two
marble pulpits of the ambo are
statuettes by the Massegne brotners (1394). Also in
the choir are Sansovino's bronze statues of the Evan-
gelists and Caliari's of the Four Doctors. The crypt
is underneath the choir. In the baptistery is a beau-
tiful font with a bronze cover by Tiziano Minio, Desi
The Winged Lion of St. Mark, scrmountinq
THE Ghey Column in the Piazbett-k di
S. Marco. Venice
Also of Gothic was S. Maria
del Carmine, but modernized
in the seventeenth century
(pictures by Cima da Coneg-
liano, Tintoretto, Lorenzo
Lotto, bronze relief by Vcr-
rocchio), as also S. Maria dei
Frari (1250; statues of Al.
Vittoria, Andrea Vincentino,
Donatello, Sansovino; and
numerous tombs). In the
Renaissance style are S. Fan-
tino di Scarpagnino (1.507;
choir by Sansovino) ; S. Giobbe
(by Ant. Gambello and Pietro
Lombardi, 1451; pictures by
Paris Bordone, Previtah, Gio-
vanni Bellini, Savoldo; ma-
jolica by Luca dclla Robbia);
S. Alvise (pictures bj' Tiepolo) ;
S. Giuliano (the work of San-
sovino) ; S. Salvatore (by
Ciiorgio Spaventa and Tullio
Lombardi, 1506; the fiw^ade,
l(i63; pictures by (iirolamo
Campagna, Titian, Giovanni
Bellini; statues by Al. Vittoria
and Danese Cattaneo; impor-
tant tombs); S. Bartolomeo
(j)ictures by Sebastiano del
Pionibo); S. Giovanni Cri.s-
ostomo (Mario Carducci, 1497;
pictures by Giovanni Bellini
ancl Seb. del Piombo; relief
by TulUo Lombardi); Santi
Apostoli (the Communion of St. Lucia, by
Tiepolo); S. Zaccaria (which still keeps much of
its Gothic character; on its facade is a statue
of the saint by Al. Vittoria; pictures by Giov. Bellini
and Tintoretto; the altars carved in wood in the chapel
derio da Fircnze, and Francesco Segala (sixteenth of S. Tarasio); S. Maria Formosa (pictures by Palina
century). The CapcUa Zeno (mausoleum of Cardinal Vecchio, Vivarini, I-eandro da Bassano, Sassof errato) ,
Zeno, 1501) is the work of Al. Leopardi, Ant. Lom- S. Maria dei Miracoh (by Tullio Lombardi. vaulting
bardi, and Paolo Savino. In the treasury of St . painting by Pennacchi) ; S. Francesco dclla \'igna (liy
Miirk's is an episcopal chair of the seventh century. Sansovino and Fra Francesco di (Siorgio, lias jiictures
The campanile, 321 J feet high, was built in 900 aiid by Girol. da S. Croce, Fra Ant. da N'egroponte, Giov.
repeatedly restored. Sansovino added the graceful Bellini, Paolo Vrnnicse; statues by .\1. \'ittoria); the
liKjt/tttn in 1540. In 1902 the campanile fell, damag-
ing the library of St. Mark's; it has now (1912) risen
again to its ancient splendour.
S. Moise (1668); S. Maria del Giglio (by Sardi, 11)80, with statues of the Barbaro family) ; the church of the Discalced (Longhena, 1649; fagade by Sardi, 1693; frescoes by Tiepolo; high altar by Pozzo); S. Maria of the Jesuits (Ro.s.si, 1750; facade by Fattor- etto; high altar by Pozzo; pictures by Titian and Tin- toretto; tomb by Girolamo Campagna); S. Panta- leone (pictures by Fumiani, Solari, Vivarini, Gio
xCKiila. or guild, of S. ( iiorgio degli Schiavoni (pictures
by Viltcirio Carpaccio and \'inc. Catena); S. (iiorgio
dei Greci di Scrate (iconostasis with Byzantine paint-
ings by Lombardi); S.Giuseppe di Castello (pictures
by Tintoretto and Paolo Veronese); S. Pietro di
Castello (one of the oldest churches in Venice, con-
tains the relics of St. Lawrence Giustiniani) ; S.
Giovanni Elemosinario (1525; pictures by Titian and
Pordenone); S. Cassiano (Palma Vecchio and Tin-
toretto), the guild of S. Rocco (works of Tintoretto,
Titian, and others); S. Sebastiano (1.506; works of
Alemanno; relief by Marino Cedrino); the Madonna Paolo Veronese, who is buried in the church; tomb by
