important undertakings, and other similar things worthy to be represented in picture, and to be had in remembrance by those who should come after, in order that to the pleasure and advantage derived from the reading of history, might be added the gratification of the eyes and equally of the intellect, from seeing delineated the images of so many illustrious nobles, with the admirable works of so many great men, all most worthy of eternal renown and remembrance.
It was therefore commanded by those who then governed, that the commission for this work should be accorded to Giovanni and Gentile, whose fame increased from day to day, and it was further ordered that the undertaking should be entered on as soon as possible.[1] But we must here remark that Antonio Veneziano had long before commenced the painting of this Hall, as we have said in his life:[2] he had even finished a large historical picture there, when he was compelled to depart from Venice by the envy of malicious persons, and could no longer continue that most honourable enterprise.[3]
Now Gentile, either because he had more experience and a better manner on canvas than in fresco, or for whatever else may have been the cause, proceeded in such sort that he readily obtained permission to execute that work, not in fresco, but on canvas, and thus, having set hand thereto, in the first story, he delineated the Pope, who presents a waxen taper to the Doge, that the latter may carry it in the processions which are about to take place. The whole exterior of San Marco appears in this picture, the Pope is standing in full pontificals, with numerous prelates behind him. The Doge is likewise standing, accompanied by many senators. In another part of this story the master has depicted the emperor Frederick Barbarossa: first, where he receives the
- ↑ The admirable paintings of Bellini, Vivarino and other masters, in the Hall of Council of the Ducal Palace, now the Library of St. Mark, were destroyed in the fatal conflagration of 1577. German and Italian editions.
- ↑ See vol. i. of the present work.
- ↑ These works were described by Sansovino (contemporary of Vasari), in a little work, republished, with illustrations, in 1829. The same writer enumerates the men of eminence whose likenesses figured there, and makes them number more than 150.
