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2.

To the right is the entrance to the

"SALA DELLE QUATTRO PORTE" ("HALL of the FOUR DOORS").

Wall of entrance,

Titian. *The Doge Antonio Grimani kneeling before Faith (the "Fede ").

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On March 22nd, 1555, the Doge F. Venier obtained an order from the Council for Titian to paint a votive picture of his predecessor Antonio Grimani. As early as the following July Titian had made such progress with the work that an advance of fifty ducats was granted him, but for some reason Titian abandoned it, and it is related that after his death his disciples finished it. But Boschini, distinctly says that all that Marco Vecelli did was to add the side figures. According to the "Anonimo," it was originally placed in the "Anti-Collegio," and Zanetti says that after the fire in 1577 it was taken from thence and placed in its present position, whence the necessities of the space forced Marco Vecelli to introduce the side figures of a prophet (1.) and a standard-bearer (r.).

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Biography of Antonio Grimani :

Grimani acquired enormous wealth by trading in the ports of the Mediterranean. At Rome, in 1493, he gave his son 25,000 ducats to buy a cardinal's hat. He was elected a procurator" and captain-general of the Venetian fleet in 1494. In the latter capacity he served with distinction against the Turks. In 1499, contrary to his wish, he was again elected captain-general, and in August of that year occurred the Battle of Lepanto. According to some authorities, Grimani allowed his subordinates to fight alone; according to others, Grimani was paralyzed by the disobedience of his subordinates, and thus the Venetians lost the battle, and a Turkish squadron sailed victoriously into Patras.

When the news of this defeat reached Venice the people were wild with anger against Grimani, and Marc Antonio Trevisiani was appointed to take his place. Grimani was brought back to Venice in irons, and was imprisoned for a long time, but finally in 1502 he escaped to Rome, where he lived with his son, the cardinal, several years. The part which he took in reconciling Venice with the Papal See after the League of Cambrai entitled him to a pardon, and on the 26th of July, 1509, he appeared publicly in the Senate. In 1510 he was re-elected Procurator of San Marco, and in 1521 became Doge.

Lorenzi, u.s. 2 Boschini, u. s.

pp. 280-290.

R. Min. S. di S. Marco, p. 10.

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Grimani is represented kneeling to the right on a cushion, his head in profile, and raised to look up at a vision of a female bearing a cup and cross, generally supposed to personify Faith (" Fede"), but some say that the cross and cup symbolize Grimani's defeat and captivity. A page in red holds up the ducal cap, the ugly white cloth on which it was placed being left on his head. His figure seems to be too long. To the left St. Mark, in red tunic and blue mantle, turns from his book to look at the vision, beneath which is seen the Venetian fleet at anchor and the Doges' Palace and the campanile.

This picture has been restored more than once. The study for it is in a private collection in England

"The expression of this figure is perhaps the most elevated and the most noble of all those which were produced by this vigorous brush." (Pontès, p. 79.)

"To be observed with care, as one of the most striking examples of Titian's want of feeling and coarseness of conception. As a work of mere art, it is, however, of great value." (Ruskin.)

"The 'Fede' deserves to rank among the most magnificent and effective palatial pieces that Titian composed in his later years. Nature itself is reproduced in the flesh; the colours are full of surprising richness and variety of harmonic contrasts." (C. & C.)

Same wall, to left,

Giov. Contarini. Capture of Verona by the Venetians in

1439.

Opposite Titian's "Fede,"

Andrea Vicentino. Reception of Henry III., of France, in Venice.

"This is his masterpiece." (Mrs. Clement.)

In 1574, Henry III., the third son of Henry II., and Catherine de' Medici, when escaping from his throne of Poland to succeed his brother, Charles IX., and wishing to avoid passing through Protestant countries, went to France by way of Venice. He was received with great pomp by the Doge Alvise Mocenigo I., first at Murano, which was then the fashionable suburb of Venice, and later was escorted to Venice and lodged in the Casa Foscari. A triumphal arch was erected for the occasion by Paladio, which was decorated by the prominent painters of the time. There are many portraits of men of the time near the King. On the left are the Cardinals-San Sisto, Paolo Tiepolo, Jacopo Foscarini, etc.

Tintoretto painted a likeness of Henry III., formerly in the "Sala dei Stucchi."

Carletto Caliari. The Reception of the Persian Ambassadors by Doge Cicogna in 1585.

The ceiling is by,

Tintoretto.

"Once magnificent beyond description, now mere wrecks, yet deserving of the most earnest study." (Ruskin.)

3.

The door opposite that by which we enter leads to the
"ANTI-COLLEGIO" (" ANTE-College”).1
Opposite the windows,

Paolo Veronese. *The Rape of Europa.

"One of the very few pictures which both possess and deserve a high reputation." (Ruskin.)

Jupiter, enamoured of Europa, a Phoenician princess, transformed himself into a white bull, and mingled with her father's herds, whilst she was gathering flowers with her attendants. Europa, struck with the beauty and gentleness of the beast, mounted on his back. Two of her attendants assist her, and the amorous bull licks her foot. The story goes that as soon as Europa had seated herself on his back, Jupiter crossed the sea and carried her safely to the island of Crete, and from this Europa comes the name of the continent where she resided.

The tunic of white and gold brocade is the favourite colour with Paolo Veronese. The landscape background and the little Cupids are in the manner of Albano, and the figures show already some of the mannerism which later on degenerated into the style called "rococo." On the left is Paolo's inevitable hunting dog.

"This picture has not its equal for refinement and colouring." (Taine.)

"In my opinion this is one of the least successful pictures of the master, and void of expression. The heroine is badly posed on the bull, which looks like a calf." (Chas. Blanc.)

"Nothing can be fresher than this painting, nothing more gracious than this composition. The delicate opal tone of the dress of the principal figure is inimitable.” (Lecomte.)

Adjoining the above,

Leandro Bassano. The return of Jacob to Canaan. Tintoretto. **Bacchus and Ariadne (near window). *Minerva driving back Mars (other side of door). *Mercury with the Graces (opposite, near window). The Forge of Vulcan (other side of entrance door). The more Tintoretto's pictures are studied, the better is the saying of the Venetians understood, that he had three manners-one of bronze, one of silver, and one of gold. Here the latter is most apparent. It has been said that

1 This was a waiting-room for the distinguished personages who desired to have an audience with the Doge.

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