Doge's Palace

About

The Doge's Palace (Doge pronounced ; Italian: Palazzo Ducale; Venetian: Pałaso Dogal) is a palace built in Venetian Gothic style, and one of the main landmarks of the city of Venice in northern Italy. The palace included government offices, a jail, and the residence of the Doge of Venice, the elected authority of the former Republic of Venice. It was originally built in 810, rebuilt in 1340 and extended and modified in the following centuries. It became a museum in 1923 and is one of 11 museums run by the Fondazione Musei Civici di Venezia.

Main article: History of the Doge's Palace in Venice

In 810, Doge Agnello Participazio moved the seat of government from the island of Malamocco to the area of the present-day Rialto, when it was decided a palatium duci ( Latin for "ducal palace") should be built. However, no trace remains of that 9th-century building as the palace was partially destroyed in the 10th century by a fire set by citizens rebelling against Doge Pietro IV Candiano. The following reconstruction works were undertaken at the behest of Doge Sebastiano Ziani (1172–1178). A great reformer, he would drastically change the entire layout of the St. Mark's Square. The new palace was built out of fortresses, one façade to the Piazzetta, the other overlooking the St. Mark's Basin. Although only few traces remain of that palace, some Byzantine-Venetian architecture characteristics can still be seen at the ground floor, with the wall base in Istrian stone and some herring-bone pattern brick paving.

Political changes in the mid-13th century led to the need to re-think the palace's structure due to the considerable increase in the number of the Great Council 's members. The new Gothic palace's constructions started around 1340, focusing mostly on the side of the building facing the lagoon. Only in 1424 did Doge Francesco Foscari decide to extend the rebuilding works to the wing overlooking the Piazzetta, serving as law-courts, and with a ground-floor arcade on the outside, open first-floor loggias running along the façade, and the internal courtyard side of the wing, completed with the construction of the Porta della Carta (1442).

In 1483, a violent fire broke out in the side of the palace overlooking the canal, where the Doge's Apartments were. Once again, an important reconstruction became necessary and was commissioned from Antonio Rizzo, who would introduce the new Renaissance language to the building's architecture. An entire new structure was raised alongside the canal, stretching from the Ponte della Canonica to the Ponte della Paglia, with the official rooms of the government decorated with works commissioned from Vittore Carpaccio, Giorgione, Alvise Vivarini and Giovanni Bellini.

Another huge fire in 1574 destroyed some of the rooms on the second floor, but without undermining the structure as a whole. Refurbishment works were being held at the palace when in 1577 a third fire destroyed the Scrutinio Room and the Great Council Chamber, together with works by Gentile da Fabriano, Pisanello, Alvise Vivarini, Vittore Carpaccio, Giovanni Bellini, Pordenone, and Titian. In the subsequent rebuilding work it was decided to respect the original Gothic style, despite the submission of neo-classical alternative designs by the influential Renaissance architect Andrea Palladio. However, there are some classical features – for example, since the 16th century, the palace has been linked to the prison by the Bridge of Sighs.

As well as being the ducal residence, the palace housed political institutions of the Republic of Venice until the Napoleonic occupation of the city in 1797, when its role inevitably changed. Venice was subjected first to French rule, then to Austrian, and finally in 1866 it became part of Italy. Over this period, the palace was occupied by various administrative offices as well as housing the Biblioteca Marciana and other important cultural institutions within the city.

By the end of the 19th century, the structure was showing clear signs of decay, and the Italian government set aside significant funds for its restoration and all public offices were moved elsewhere, with the exception of the State Office for the Protection of Historical Monuments, which is still housed at the palace's loggia floor. In 1923, the Italian State, owner of the building, entrusted the management to the Venetian municipality to be run as a museum. Since 1996, the Doge's Palace has been part of the Venetian museums network, which has been under the management of the Fondazione Musei Civici di Venezia since 2008.

The oldest part of the palace is the wing overlooking the lagoon, the corners of which are decorated with 14th-century sculptures, thought to be by Filippo Calendario and various Lombard artists such as Matteo Raverti and Antonio Bregno. The ground floor arcade and the loggia above are decorated with 14th- and 15th-century capitals, some of which were replaced with copies during the 19th century.

In 1438–1442, Giovanni Bon and Bartolomeo Bon built and adorned the Porta della Carta, which served as the ceremonial entrance to the building. The name of the gateway probably derives either from the fact that this was the area where public scribes set up their desks, or from the nearby location of the cartabum, the archives of state documents. Flanked by Gothic pinnacles, with two figures of the Cardinal Virtues per side, the gateway is crowned by a bust of Mark the Evangelist over which rises a statue of Justice with her traditional symbols of sword and scales. In the space above the cornice, there is a sculptural portrait of the Doge Francesco Foscari kneeling before the Lion of Saint Mark. This is, however, a 19th-century work by Luigi Ferrari, created to replace the original destroyed in 1797.

Today, the public entrance to the Doge's Palace is via the Porta del Frumento, on the waterfront side of the building.

The north side of the courtyard is closed by the junction between the palace and St Mark's Basilica, which used to be the Doge's chapel. At the centre of the courtyard stand two well-heads dating from the mid-16th century.

In 1485, the Great Council decided that a ceremonial staircase should be built within the courtyard. The design envisaged a straight axis with the rounded Foscari Arch, with alternate bands of Istrian stone and red Verona marble, linking the staircase to the Porta della Carta, and thus producing one single monumental approach from the Piazza into the heart of the building. Since 1567, the Giants' Staircase is guarded by Sansovino 's two colossal statues of Mars and Neptune, which represents Venice's power by land and by sea, and therefore the reason for its name. Members of the Senate gathered before government meetings in the Senator's Courtyard, to the right of the Giants' Staircase.

Over the centuries, the Doge's Palace has been restructured and restored countless times. Due to fires, structural failures, and infiltrations, and new organizational requirements and modifications or complete overhaulings of the ornamental trappings there was hardly a moment in which some kind of works have not been underway at the building. From the Middle Ages, the activities of maintenance and conservation were in the hands of a "technical office", which was in charge of all such operations and oversaw the workers and their sites: the Opera, or fabbriceria or procuratoria.

After the mid-19th century, the palace seemed to be in such a state of decay that its very survival was in question; thus, in 1876 a major restoration plan was launched. The work involved the two façades and the capitals belonging to the ground-floor arcade and the upper loggia: 42 of these, which appeared to be in an especially dilapidated state, were removed and replaced by copies. The originals, some of which were masterpieces of Venetian sculpture of the 14th and 15th centuries, were placed, together with other sculptures from the façades, in an area specifically set aside for this purpose: the Museo dell'Opera.

After undergoing thorough and careful restoration works, they are now exhibited, on their original columns, in these six rooms of the museum, which are traversed by an ancient wall in great blocks of stone, a remnant of an earlier version of the palace. The rooms also contain fragments of statues and important architectural and decorative works in stone from the façades of the palace.

The rooms in which the Doge lived were always located in this area of the palace, between the Rio della Canonica – the water entrance to the building – the present-day Golden Staircase and the apse of St. Mark's Basilica. The disastrous fire in this part of the building in 1483 made important reconstruction work necessary, with the Doge's apartments being completed by 1510. The core of these apartments forms a prestigious, though not particularly large, residence, given that the rooms nearest the Golden Staircase had a mixed private and public function. In the private apartments, the Doge could set aside the trappings of office to retire at the end of the day and dine with members of his family amidst furnishings that he had brought from his own house (and which, at his death, would be promptly removed to make way for the property of the new elected Doge).

- The Scarlet Chamber possibly takes its name from the colour of the robes worn by the Ducal advisors and counsellors for whom it was the antechamber. The carved ceiling, adorned with the armorial bearings of Doge Andrea Gritti, is part of the original décor, probably designed by Biagio and Pietro da Faenza. Amongst the wall decoration, two frescoed lunettes are particular worthy of attention: one by Giuseppe Salviati, the other by Titian.

- The "Scudo" Room has this name from the coat-of-arms of the reigning Doge which was exhibited here while he granted audiences and received guests. The coat-of-arms currently on display is that of Ludovico Manin, the Doge reigning when the Republic of St. Mark came to an end in 1797. This is the largest room in the Doge's apartments and runs the entire width of this wing of the palace. The hall was used as a reception chamber and its decoration with large geographical maps was designed to underline the glorious tradition that was at the very basis of Venetian power. The two globes in the centre of the hall date from the same period: one shows the sphere of the heavens, the other the surface of Earth.

- The Erizzo Room owes its name to Doge Francesco Erizzo (1631–1646) and is decorated in the same way as the preceding ones: a carved wood ceiling, with gilding against a light-blue background, and a Lombardy-school fireplace. From here, a small staircase leads up to a window that gave access to a roof garden.