Page:Catholic Encyclopedia, volume 15.djvu/386

 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