Giacobbe Giusti, GIOVANNI BELLINI: Allégorie chrétienne, Galerie des Offices

Giacobbe Giusti, GIOVANNI BELLINI: Allégorie chrétienne, Galerie des Offices

Giacobbe Giusti, GIOVANNI BELLINI: Allégorie chrétienne, Galerie des Offices

Artiste	Giovanni Bellini
Date	Années 1490
Dimensions (H × L)	73 × 119 cm
Localisation	Galerie des Offices

Cette Allégorie chrétienne, aussi connue comme Allégorie sacrée (en italien, Allegoria sacra), est une des œuvres de la période de maturité du peintreitalien de la RenaissanceGiovanni Bellini. De 73 × 119 cm et réalisée dans les années 1490a tempera sur panneau, elle est conservée au musée des Offices, à Florence.

Description

L’œuvre a pu être commandée par Isabelle d’Este. Il s’agit peut être d’une allégorie du Purgatoire, inspiré du poèmeLe Pèlerinage de l’Âme, de Guillaume de Deguileville.

Dans un cadre architectural avec un paysage coloré au fond, on voit diverses figures de saints, dont l’union ou le sens général n’est pas très clair. L’œuvre est d’interprétation difficile. La terrasse est décorée de carreaux de marbre élaborés. La profondeur du paysage n’est pas tant remarquable par la perspective, mais surtout par son chromatisme.

Cette allégorie est en relation avec les œuvres maîtresses que Bellini élaborait à la fin du xv^e et au début du xvi^e siècle, comme la Conversation Sacrée, la Piéta, la Madonna del prato, Le Baptême du Christ ou encore ses Quatre Allégories.

Référence

• Ballarin, À., « Bellini », Dans le Dictionnaire Larousse de la peinture, tome I, Éditorial Planeta-De Agostini, S.À., 1987. ISBN 84-395-0649-X.
• Negrini, S., La Galerie des Offices de Florence et ses peintures, Coll. Les Grands Musées, Éditorial Noguer, S.À., 1974, ISBN 84-279-9203-3
• Walther, I.F. (dir.), Les maîtres de la peinture occidentale, Taschen, 2005. ISBN 3-8228-4744-5, pág. 121

https://fr.wikipedia.org/wiki/All%C3%A9gorie_chr%C3%A9tienne_(Bellini)

http://www.giacobbegiusti.co
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Giacobbe Giusti, GIOVANNI BELLINI: Dead Christ Supported by the Madonna and St John

Giacobbe Giusti, GIOVANNI BELLINI: Dead Christ Supported by the Madonna and St John

Dead Christ Supported by the Madonna and St John dettaglio

 

Giacobbe Giusti, GIOVANNI BELLINI: Dead Christ Supported by the Madonna and St John

 The Dead Christ Supported by the Virgin Mary and St John the Evangelist

Pietà Giacobbe Giusti, GIOVANNI BELLINI: Dead Christ Supported by the Madonna and St John
Artist	Giovanni Bellini
Year	1455–1460
Medium	tempera on panel
Dimensions	86 cm × 107 cm (34 in × 42 in)
Location	Pinacoteca di Brera, Milan

Pietà or The Dead Christ Supported by the Virgin Mary and St John the Evangelist is a tempera on panel painting by Giovanni Bellini, now in the Pinacoteca di Brera in Milan.

It dates to around 1470, when the painter was beginning to outgrow the influence of Andrea Mantegna, his brother-in-law. Via the Sampieri collection in Bologna (catalogue number), it entered its present home in 1811 as a gift to the Kingdom of Italy by Eugene de Beauharnais^[1].

References

1. Jump up^ Armando Besio, Giovanni Bellini. Maria piange davvero e il tempo si ferma nella Pietà più bella, La Repubblica, 1º giugno 2014, pag. 46,47

Bibliography

• AA.VV., Brera, guida alla pinacoteca, Electa, Milano 2004. ISBN 978-88-370-2835-0
• Mariolina Olivari, Giovanni Bellini, in AA.VV., Pittori del Rinascimento, Scala, Firenze 2007. ISBN 88-8117-099-X
• Pierluigi De Vecchi ed Elda Cerchiari, I tempi dell’arte, volume 2, Bompiani, Milano 1999. ISBN 88-451-7212-0

https://en.wikipedia.org/wiki/The_Dead_Christ_Supported_by_the_Virgin_Mary_and_St_John_the_Evangelist

http://www.giacobbegiusti.com

Giacobbe Giusti, Palais des Doges

Giacobbe Giusti, Palais des Doges

 

Giacobbe Giusti, Palais des Doges

Drunken Noah (Palazzo Ducale, Venice)

 

Giacobbe Giusti, Palais des Doges

Peter Broster – Bridge of Sighs

The Bridge of Sighs is a bridge located in Venice, northern Italy. The enclosed bridge is made of white limestone and has windows with stone bars. It passes over the Rio di Palazzo and connects the New Prison to the interrogation rooms in the Doge’s Palace. It was designed by Antoni Contino and was built in 1602. The view from the Bridge of Sighs was the last view of Venice that convicts saw before their imprisonment.

Doge’s Palace

Palazzo Ducale Giacobbe Giusti, Palais des Doges
Established	1340
Location	Piazza San Marco 1, 30124 Venice, Italy
Type	Art museum, Historic site
Director	Camillo Tonini
Website	palazzoducale.visitmuve.it

The Doge’s Palace (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 was the residence of the Doge of Venice, the supreme authority of the former Republic of Venice, opening as a museum in 1923. Today, it is one of the 11 museums run by the Fondazione Musei Civici di Venezia.

History

Drawing of the Doge’s Palace, late 14th century

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. 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 architecturecharacteristics can still be seen at the ground floor, with the wall base in Istrian stoneand 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 1547 destroyed some of the rooms on the second floor, but fortunately without undermining the structure as a whole. Refurbishment works were being held at the palace when on 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 a 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.

Description

Exterior

Giacobbe Giusti, Palais des Doges

Facing the Grand Canal on the Piazzetta San Marco, with Doge’s Palace on the left.

Palazzo Ducale, south colonnade, Venice, Italy. Brooklyn Museum Archives, Goodyear Archival Collection

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 Gothicpinnacles, with two figures of the Cardinal Virtues per side, the gateway is crowned by a bust of St. Mark 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 St. Mark’s Lion. This is, however, a 19th-century work by Luigi Ferrari, created to replace the original destroyed in 1797.

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

Courtyard

Giacobbe Giusti, Palais des Doges

Courtyard of the Doge’s Palace, facing the San Marco basilica.

Giacobbe Giusti, Palais des Doges

The Scala dei Giganti, flanked by Mars and Neptune.

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 center 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 Marsand 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.

Museo dell’Opera

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 under way 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 from 1876 a major restoration plan was launched. The work involved the two facades and the capitals belonging to the ground-floor arcade and the upper loggia: 42 of these, which appeared to be in a specially 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 facades, 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 6 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 facades of the Palace.

Doge’s apartments

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 color 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 center of the hall date from the same period: one shows the sphere of 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.
• The Stucchi or Priùli Room has a double name due to both the stucco works that adorn the vault and lunettes, dating from the period of Doge Marino Grimani(1595–1605), and the presence of the armorial bearings of Doge Antonio Priùli(1618–1623), which are to be seen on the fireplace, surmounted by allegorical figures. The stucco-works on the walls and ceiling were later commissioned by another Doge Pietro Grimani (1741–1752). Various paintings representing the life of Jesus Christ are present in this room, as well as a portrait of the French King Henry III (perhaps by Tintoretto) due to his visit to the city in 1574 on his way from Poland to take up the French throne left vacant with the death of his brother Charles IX.
• Directly linked to the Shield Hall, the Philosophers’ Room takes its name from the twelve pictures of ancient philosophers which were set up here in the 18th century, to be later replaced with allegorical works and portraits of Doges. To the left, a small doorway leads to a narrow staircase, which enabled the Doge to pass rapidly from his own apartments to the halls on the upper floors, where the meetings of the Senate and the Great Council were held. Above the other side of this doorway there is an important fresco of St. Christopher by Titian.
• The Corner Room’s name comes from the presence of various paintings depicting Doge Giovanni Corner (1625–1629). The fireplace, made out of Carrara marble, is decorated with a frieze of winged angels on dolphins around a central figure of St. Mark’s Lion. Like the following room, this served no specific function; set aside for the private use of the Doge.
• The Equerries Room was the main access to the Doge’s private apartments. The palace equerries were appointed for life by the Doge himself and had to be at his disposal at any time.

Institutional chambers

Interior of the Doge’s Palace (Venice) by zone.

Palazzo Ducale, Sala del Senato, Venice, Italy. Brooklyn Museum Archives, Goodyear Archival Collection

• The Square Atrium served as a waiting room, the antechamber to various halls. The decoration dates from the 16th century, during the reign of Doge Girolamo Priuli (1486–1567), who appears in Tintoretto’s ceiling painting with the symbols of his office, and accompanied by scenes of biblical stories and allegories of the four seasons, probably by Tintoretto’s workshop, Girolamo Bassano and Veronese.
• The Four Doors Room was the formal antechamber to the more important rooms in the palace, and the doors which give it its name are ornately framed in precious Eastern marbles; each is surmounted by an allegorical sculptural group that refers to the virtues which should inspire those who took on the government responsibilities. The present decoration is a work by Antonio da Ponte and design by Andrea Palladio and Giovan Antonio Rusconi. Painted by Tintoretto from 1578 onwards, the frescoes of mythological subjects and of the cities and regions under Venetian dominion were designed to show a close link between Venice’s foundation, its independence, and the historical mission of the Venetian aristocracy. Amongst the paintings on the walls, one that stands out is Titian’s portrait of Doge Antonio Grimani (1521–1523). On the easel stands a painting by Tiepolo portraying Venice receiving the gifts of the sea from Neptune.

Neptune Offering Gifts to Venice(1748–1750) by Giovan Battista Tiepolo

• Antechamber to the Hall of the Full College was the formal antechamber where foreign ambassadors and delegations waited to be received by the Full College, delegated by the Senate to deal with foreign affairs. This room was restored after the 1574 fire and so was its decorations, with stucco-works and ceiling frescoes. The central fresco by Veronese shows Venice distributing honors and rewards. The top of the walls is decorated with a fine frieze and other sumptuous fittings, including the fireplace between the windows and the fine doorway leading into the Hall of the Full College, whose Corinthian columns bear a pediment surmounted by a marble sculpture showing the female figure of Venice resting on a lion and accompanied by allegories of Glory and Concord. Next to the doorways are four canvases that Tintoretto painted for the Square Atrium, but which were brought here in 1716 to replace the original leather wall panelling. Each of the mythological scenes depicted is also an allegory of the Republic’s government.
• The Council Chamber: the Full College was mainly responsible for organizing and coordinating the work of the Venetian Senate, reading dispatches from ambassadors and city governors, receiving foreign delegations and promoting other political and legislative activity. Alongside these shared functions, each body had their own particular mandates, which made this body a sort of “guiding intelligence” behind the work of the Senate, especially in foreign affairs. The decorations were designed by Andrea Palladio to replace that destroyed in the 1574 fire; the wood panelling of the walls and end tribune and the carved ceiling are the work of Francesco Bello and Andrea da Faenza (it). The paintings in the ceiling were commissioned from Veronese, who completed them between 1575 and 1578. This ceiling is one of the artist’s masterpieces and celebrates the Good Government of the Republic, together with the Faith on which it rests and the Virtues that guide and strengthen it. Other paintings are by Tintoretto and show various Doges with the Christ, the Virgin and saints.
• The Senate Chamber was also known as the Sala dei Pregadi, because the Doge asked the members of the Senate to take part in the meetings held here. The Senate which met in this chamber was one of the oldest public institutions in Venice; it had first been founded in the 13th century and then gradually evolved over time, until by the 16th century it was the body mainly responsible for overseeing political and financial affairs in such areas as manufacturing industries, trade and foreign policy. In the works produced for this room by Tintoretto, Christ is clearly the predominant figure; perhaps a reference to the Senate ‘conclave’ which elected the Doge, seen as being under the protection of the Son of God. The room also contains four paintings by Jacopo Palma il Giovane, which are linked with specific events of the Venetian history.
• The Chamber of the Council of Ten takes its name from the Council of Ten which was set up after a conspiracy in 1310, when Bajamonte Tiepolo and other noblemen tried to overthrow the institutions of the State. The ceiling decoration is a work by Gian Battista Ponchino, with the assistance of a young Veronese and Gian Battista Zelotti. Carved and gilded, the ceiling is divided into 25 compartments decorated with images of divinities and allegories intended to illustrate the power of the Council of Ten that was responsible for punishing the guilty and freeing the innocent.
• The Compass Room is dedicated to the administration of justice; its name comes from the large wooden compass surmounted by a statue of Justice, which stands in one corner and hides the entrance to the rooms of the Three Heads of the Council of Ten and the State Inquisitors. This room was the antechamber where those who had been summoned by these powerful magistrates waited to be called and the decoration was intended to underline the solemnity of the Republic’s legal machinery, dating from the 16th century. The ceiling paintings are by Veronese and the large fireplace was designed by Sansovino. From this room, one can pass to the Armoury and the New Prisons, on the other side of the Bridge of Sighs, or go straight down the Censors’ Staircase to pass into the rooms housing the councils of justice on the first floor.
• In the Venetian language, Liagò means a terrace or balcony enclosed by glass. This particular example was a sort of corridor and meeting-place for patrician members of the Great Council in the intervals between their discussions of government business.
• The Chamber of Quarantia Civil Vecchia: originally a single 40-man-council which wielded substantial political and legislative power, the Quarantia was during the course of the 15th century divided into three separate councils. This room was restored in the 17th century; the fresco fragment to the right of the entrance is the only remnant of the original decorations.
• The Guariento Room’s name is due to the fact it houses a fresco painted by the Paduan artist Guariento around 1365. Almost completely destroyed in the 1577 fire, the remains of that fresco were, in 1903, rediscovered under the large canvas Il Paradiso which Tintoretto was commissioned to paint.
• Restructured in the 14th century, the Chamber of the Great Council was decorated with a fresco by Guariento and later with works by the most famous artists of the period, including Gentile da Fabriano, Pisanello, Alvise Vivarini, Vittore Carpaccio, Giovanni Bellini, Pordenone and Titian. 53 meters long and 25 meters wide, this is not only the largest chamber in the Doge’s Palace, but also one of the largest rooms in Europe. Here, meetings of the Great Council were held, the most important political body in the Republic. A very ancient institution, this Council was made up of all the male members of patrician Venetian families over 25 years old, irrespective of their individual status, merits or wealth. This was why, in spite of the restrictions in its powers that the Senate introduced over the centuries, the Great Council continued to be seen as bastion of Republican equality. Soon after work on the new hall had been completed, the 1577 fire damaged not only this Chamber but also the Scrutinio Room. The structural damage was soon restored, respecting the original layout, and all works were finished within few years, ending in 1579–80. The decoration of the restored structure involved artists such as Veronese, Jacopo and Domenico Tintoretto, and Jacopo Palma il Giovane. The walls were decorated with episodes of the Venetian history, with particular reference to the city’s relations with the papacy and the Holy Roman Empire, while the ceiling was decorated with the Virtues and individual examples of Venetian heroism, and a central panel containing an allegorical glorification of the Republic. Facing each other in groups of six, the twelve wall paintings depict acts of valor or incidents of war that had occurred during the city’s history. Immediately below the ceiling runs a frieze with portraits of the first 76 doges (the portraits of the others are to be found in the Scrutinio Room); commissioned from Tintoretto, most of these paintings are in fact the work of his son. Each Doge holds a scroll bearing a reference to his most important achievements, while Doge Marin Faliero, who attempted a coup d’étatin 1355, is represented simply by a black cloth as a traitor to the Republic. One of the long walls, behind the Doge’s throne, is occupied by the longest canvas painting in the world, Il Paradiso, which Tintoretto and his workshop produced between 1588 and 1592.
• The Scrutinio Room is in the wing built between the 1520s and 1540s during the dogate of Francesco Foscari (1423–57), facing the Piazzeta. It was initially intended to house the precious manuscripts left to the Republic by Petrarch and Bessarione (1468); indeed, it was originally known as the Library. In 1532, it was decided that the Chamber should also hold the electoral counting and/or deliberations that assiduously marked the rhythm of Venetian politics, based on an assembly system whose epicenter was the nearby Great Council Chamber. After the construction of Biblioteca Marciana though, this room was used solely for elections. The present decorations date from between 1578 and 1615, after the 1577 fire. Episodes of military history in the various compartments glorify the exploits of the Venetians, with particular emphasis on the conquest of the maritime empire; the only exception being the last oval, recording the taking of Padua in 1405.
• The Quarantia Criminale Chamber and the Cuoi Room were used for the administration of justice. The Quarantia Criminal was set up in the 15th century and dealt with cases of criminal law. It was a very important body as its members also had legislative powers.
• The Magistrato alle Leggi Chamber housed the Magistratura dei Conservatori ed esecutori delle leggi e ordini degli uffici di San Marco e di Rialto. Created in 1553, this authority was headed by three of the city’s patricians and was responsible for making sure the regulations concerning the practice of law were observed.
• The State Censors were set up in 1517 by Marco Giovanni di Giovanni, a cousin of Doge Andrea Gritti (1523–1538) and nephew of the great Francesco Foscari. The title and duties of the Censors resulted from the cultural and political upheavals that are associated with Humanism. In fact, the Censors were not judges as such, but more like moral consultants, their main task being the suppression of electoral fraud and protection of the State’s public institutions. On the walls of the Censors’ Chamber hang a number of Domenico Tintoretto’s portraits of these magistrates, and below the armorial bearings of some of those who held the position.
• The State Advocacies’ Chamber is decorated with paintings representing some of the Avogadori di Común venerating the Virgin, the Christ and various saints. The three members, the Avogadori, were the figures who safeguarded the very principle of legality, making sure that the laws were applied correctly. They were also responsible for preserving the integrity of the city’s patrician class, verifying the legitimacy of marriages and births inscribed in the Golden Book.
• The « Scrigno » Room: the Venetian nobility as a caste came into existence because of the “closure” of admissions to the Great Council in 1297; however, it was only in the 16th century that formal measures were taken to introduce restrictions that protected the status of that aristocracy: marriages between nobles and commoners were forbidden and greater controls were set up to check the validity of aristocratic titles. There was also a Silver Book, which registered all those families that not only had the requisites of “civilization” and “honor”, but could also show that they were of ancient Venetian origin; such families furnished the manpower for the State bureaucracy – and particularly, the chancellery within the Doge’s Palace itself. Both books were kept in a chest in this room, inside a cupboard that also contained all the documents proving the legitimacy of claims to be inscribed therein.
• Chamber of the Navy Captains: made up of 20 members from the Senate and the Great Council, the Milizia da Mar, first set up in the mid-16th century, was responsible for recruiting crews necessary for Venice’s war galleys. Another similar body, entitled the Provveditori all’Armar, was responsible for the actual fitting and supplying of the fleet. The furnishings are from the 16th century, while the wall torches date from the 18th century.

Old Prison or Piombi

Prior to the 12th century there were holding cells within the Doge’s Palace but during the 13th and fourteenth centuries more prison spaces were created to occupy the entire ground floor of the southern wing. Again these layouts changed in c.1540 when a compound of the ground floor of the eastern wing was built. Due to the dark, damp and isolated qualities of they came to be known as the Pozzi (the Wells).^[1] In 1591 yet more cells were built in the upper eastern wing. Due to the position of their position, directly under the lead roof, they were known as Piombi.^[2] Among the famous inmates of the prison were Silvio Pellico and Giacomo Casanova. The latter in his biography describes escaping through the roof, re-entering the palace, and exiting through the Porta della Carta.

Bridge of Sighs and the New Prisons

 

Giacobbe Giusti, Palais des Doges

Capital #12 in the porch (counting as #0 the one at the corner near the Bridge of Sighs): « Allegories of Virtues and Vices » – « Falsa fides in me semper est ».

A corridor leads over the Bridge of Sighs, built in 1614 to link the Doge’s Palace to the structure intended to house the New Prisons.^[3] Enclosed and covered on all sides, the bridge contains two separate corridors that run next to each other. That which visitors use today linked the Prisons to the chambers of the Magistrato alle Leggi and the Quarantia Criminal; the other linked the prisons to the State Advocacy rooms and the Parlatorio. Both corridors are linked to the service staircase that leads from the ground floor cells of the Pozzi to the roof cells of the Piombi.

The famous name of the bridge dates from the Romantic period and was supposed to refer to the sighs of prisoners who, passing from the courtroom to the cell in which they would serve their sentence, took a last look at freedom as they glimpsed the lagoon and San Giorgio through the small windows. In the mid-16th century it was decided to build a new structure on the other side of the canal to the side of the palace which would house prisons and the chambers of the magistrates known as the Notte al Criminal. Ultimately linked to the palace by the Bridge of Sighs, the building was intended to improve the conditions for prisoners with larger and more light-filled and airy cells. However, certain sections of the new prisons fall short of this aim, particularly those laid out with passageways on all sides and those cells which give onto the inner courtyard of the building. In keeping with previous traditions, each cell was lined with overlapping planks of larch that were nailed in place.

Madonna col bambino, the painting stolen on 9 October 1991 by Vincenzo Pipino after he hid in a cell in the New Prisons

The only art theft from the Doge’s Palace was executed on 9 October 1991 by Vincenzo Pipino, who hid in one of the cells in the New Prisons after lagging behind a tour group, then crossed the Bridge of Sighs in the middle of the night to the Sala di Censori. In that room was the Madonna col bambino, a work symbolic of « the power of the Venetian state » painted in the early 1500s by a member of the Vivarini school.^[4]By the next morning, it was in the possession of the Mala del Brenta organized crime group. The painting was recovered by the police on 7 November 1991.^[5]

Influences

Azerbaijan

The Ismailiyya building in Baku, which at present serves as the Presidium of the Academy of Sciences of Azerbaijan, was styled after the Doge’s Palace.^{[citation needed]}

Romania

The Central rail station, in Iași, built in 1870, had as a model the architecture of the Doge’s Palace. On the central part, there is a loggia with five arcades and pillars made of curved stone, having at the top three ogives.

United Kingdom

The western façade of Templeton’s Carpet Factory

There are a number of 19th-century imitations of the palace’s architecture in the United Kingdom, for example:

• the Wool Exchange, Bradford,
• the Wedgwood Institute, Burslem,
• the Scottish National Portrait Gallery, Edinburgh
• the Templeton’s Carpet Factory, Glasgow.

These revivals of Venetian Gothic were influenced by the theories of John Ruskin, author of the three-volume The Stones of Venice, which appeared in the 1850s.

United States

19th-century imitations

National Academy of Design (1863–65), one of many Gothic Revival buildings modeled on the Doge’s Palace

The Montauk Club in Park Slope, Brooklyn (1889) imitates elements of the palace’s architecture, although the architect is usually said to have been inspired by another Venetian Gothic palace, the Ca’ d’Oro.

The elaborate arched facade of the 1895 building of Congregation Ohabai Shalome in San Francisco is a copy in painted redwood of the Doge’s Palace.

20th-century imitations

The ornate gothic style of the Doge’s Palace (and other similar palaces throughout Italy) is replicated in the Hall of Doges at the Davenport Hotel in Spokane, Washington by architect Kirtland Cutter.

The facade of the building is replicated at the Italy Pavilion in Epcot at the Walt Disney World Resort in Orlando, Florida.

Along with other Venetian landmarks, the palace is imitated in The Venetian, Las Vegas and its sister resort The Venetian Macao.

21st-century imitations

The Doge’s Palace was recreated and is playable in the 2009 video game, Assassin’s Creed II. In the game, one of the objectives is to get protagonist Ezio Auditore da Firenze to fly a hang-glider built for him by Leonardo da Vinci into the Palazzo Ducale in order to prevent a Templar plot to kill the current Doge, Giovanni Mocenigo. Though he arrives too late to prevent the Doge from being poisoned, he does manage to kill the assassin, Carlo Grimaldi, who was a member of the Council of Ten.

The interior of the Doge’s Palace taken c. 1900.

Giacobbe Giusti, Palais des Doges

A « Lion’s Mouth » postbox for anonymous denunciations at the Doge’s Palace. Text translation: « Secret denunciations against anyone who will conceal favors and services or will collude to hide the true revenue from them ».

References

1. Jump up^ Geltner, G., 2008. The Medieval Prison: A Social History. Princeton: Princeton University Press. (pp.12)
2. Jump up^ Geltner, G., 2008. The Medieval Prison: A Social History. Princeton: Princeton University Press. (pp.12)
3. Jump up^ Geltner, G., 2008. The Medieval Prison: A Social History. Princeton: Princeton University Press (pp. 13)
4. Jump up^ Davis & Wolman 2014.
5. Jump up^ Davis, Joshua; Wolman, David (26 October 2014). Bearman, Joshuah, ed. « Pipino: Gentleman Thief ». Epic Magazine. Retrieved 20 January 2015.

External links

Doge’s Palace (Venice).

• Official website
• Palazzo Ducale on Smarthistory

Palais des Doges

Palazzo Ducale.

Palais des Doges
Palazzo Ducale

Giacobbe Giusti, Palais des Doges

Le palais des Doges.

Présentation

Type	Palais
Destination initiale	Siège de l’administration vénitienne
Style	Architecture gothique/Byzantine
Architecte	Nicolò Barattieri (en)
Construction	1340
Reconstruction	1340
Site web	www.palazzoducale.visitmuve.it

Localisation

Pays	Italie
Région	Vénétie
Commune	Venise

Coordonnées	45° 26′ 02″ N, 12° 20′ 25″ E

Le palais des Doges ou palais Ducal est un palais vénitien de styles gothique et Renaissancesitué sur la place Saint-Marc. Ce bâtiment fut la résidence officielle des doges de la République de Venise, ainsi que le lieu de représentation de ses institutions majeures.

Géographie

Le palais des Doges est situé entre le Rio della Paglia, la petite place Saint-Marc (Piazzetta San Marco), la basilique Saint-Marc et les canaux de San Marco. Il borde l’entrée du Grand Canal. Visible depuis la mer Adriatique, il est situé sur le côté méridional de la place Saint-Marc.

Histoire

Plan du palais des Doges, en italien.

Cour du palais des Doges, avec au fond la basilique Saint-Marc

L’escalier des géants, et les statues de Mars et Neptune.

Un premier palais des Doges exista durant la République de Venise. Il fut détruit par un grand incendie en 976, qui détruisit également la première basilique Saint-Marc.

Le 28 décembre 1340, débute la construction de la Sala Nuova du Grand Conseil qui ne sera achevée qu’en 1366. En 1365 le doge Marco Cornaro avait fait venir Guariento di Arpo de Padoue pour la décorer. Ce peintre avait réalisé autour du tribunal un monumental Couronnement de la Vierge au Paradis qui fut malheureusement gravement endommagé par l’incendie de 1577 et tomba dans l’oubli. On en retrouva des fragments en 1903, derrière Le Paradisdu Tintoret. Ils furent alors détachés et placés dans la salle d’Armes¹.

Après l’incendie de 1577, les autorités vénitiennes décidèrent d’ouvrir un concours pour l’exécution d’une représentation du Paradis. Le programme iconographique fut élaboré par deux patriciens de Venise : Jacopo Marcello et Jacopo Contarini. Ce concours eut lieu entre 1578 et 1582. Les artistes vénitiens les plus importants tels que Le Tintoret et Palma le jeuney participèrent. C’est Véronèse qui fut déclaré lauréat avec Francesco Bassano. Il ne réalisa pas ce projet, et un nouveau concours fut organisé à la mort de Véronèse. C’est Jacopo Tintoretto qui réalisa le travail « in situ » avec son fils².

Les doges de Venise y ont habité jusqu’en 1797. Ce palais fut pendant de nombreux siècles le siège de l’administration vénitienne. Les pouvoirs législatif, exécutif et judiciaire y étaient centralisés entre les mains du doge.

Jusqu’au xvi^e siècle, le palais abritait les prisons de Venise situées sous les toits. Elles sont appelées les plombs (i piombi) car leur couverture était faite de plaques de plomb. En été, leur visite est d’ailleurs interdite à certaines heures de la journée car les visiteurs ne pourraient supporter la température qui y règne (plus de 50 °C). C’est dans cette prison que fut détenu Giacomo Casanova. Le 1^er novembre 1756, il s’en évada avec l’aide de son voisin de cellule, un prêtre nommé Marino Baldi. Ce fut l’unique évasion qu’ait connu cette prison.

Puis une autre prison de 19 cellules fut construite à côté du palais (la prison des puits) appelée comme cela car elle était non plus sous les toits, mais au rez-de-chaussée et en sous-sol. Les conditions de détention n’y étaient pas meilleures car, si les prisonniers ne souffraient plus de la chaleur intense, ils étaient constamment dans l’humidité et le froid, voire dans l’eau lors des crues, avec tout ce que de telles conditions entraînent en termes d’hygiène. Cette nouvelle prison et le palais ne sont séparés que par le Rio della Paglia, le seul lien entre ces deux bâtiments étant le pont des Soupirs, un petit pont de pierre entièrement fermé que les prisonniers traversaient après leur jugement pour gagner leurs geôles.

Les prisons des plombs faisaient partie d’une aire cachée du palais dont personne ne connaissait l’existence. Toute une administration secrète y réglait les affaires politiques et judiciaires de la République. De nombreux hauts fonctionnaires y travaillaient et leurs activités se déroulaient souvent la nuit. On considère d’ailleurs que c’est là que le pouvoir s’exerçait réellement, qu’il s’agisse d’affaires d’espionnage, de fiscalité, de législation, de commerce ou de bonnes mœurs, tout était du ressort de ces fonctionnaires et de leur police secrète.

Pour éviter que les ambassadeurs et hauts dignitaires ne découvrent cette administration cachée, la République de Venise avait installé ses bureaux dans des demi-étages du palais. De l’extérieur, on ne distinguait que de grandes fenêtres fermées semblables à celles des grandes salles du palais, mais en fait un plancher avait été installé à mi-hauteur de ces fenêtres; abritant ainsi de nombreux bureaux, salles de conseils, salle de torture, cachots en toute confidentialité^{[réf. nécessaire]}.

Architecture

Ce palais représente la plus grande œuvre d’imagination de Venise. Il est une réussite du mariage de l’art gothique et de l’art byzantin dans un décor coloré qui dissout les surfaces (art vénitien). Pendant une longue série d’années, les meilleurs architectes dirigèrent sa construction, les meilleurs peintres sa décoration. Le chantier du palais débute dans le courant de l’année 1340, sous la direction de l’architecte Pietro Baseggio (?-1354)³. Celui-ci s’entoure de Filippo Calendario (avant 1315-1355) , un ancien tailleur de pierre devenu architecte et sculpteur, et c’est ensemble qu’ils travaillèrent à la construction d’un bâtiment donnant sur la Riva degli Schiavoni (Rive des Esclaves). Calendario éleva d’autre part les six premières arcades en retour d’équerre sur la Piazzetta et, en tant que sculpteur, réalisa deux œuvres statuaires d’angle : Adam et Ève, côté Piazzetta et L’Ivresse de Noé, côté Rio della Paglia⁴.

Les façades, l’une donnant sur la mer et l’autre sur la Piazzetta se composent d’une épaisseur de murs massifs et polis soutenus par deux étages de piliers posés l’un sur l’autre.

La cour intérieure du palais ne présente aucune unité, contrairement aux façades extérieures. La salle du Grand Conseil, qui comporte la plus ancienne façade, fut commencée dès 1340. C’est lors de sa reconstruction, de 1400 à 1410, que fut aménagée la grande fenêtre gothique centrale, située côté lagune, au-dessus de la porta Frumento . Cette réalisation, ainsi que celle du balcon central, est due aux frères Jacobello et Pierpaolo dalle Masegne. L’aile du Scrutin fut construite à partir de 1424, elle fut complétée quelques décennies plus tard par les structures qui remplissent l’espace entre le Palais et la Basilique. Située entre la Basilique Saint-Marc et le palais, la porte della Carta fut élevée pour l’essentiel par les architectes Giovanni Bon et son fils Bartolomeo auxquels se joignit Antonio Bregno (vers 1400-1457) . Ce dernier collabora par la suite avec Antonio Rizzo (vers 1440-1499) à l’édification du passage Foscari. Ce même Antonio Rizzo eut à remanier l’aile orientale, à la suite d’un incendie ayant endommagé en 1483 cette partie du bâtiment riveraine du Rio della Paglia. C’est à cette occasion qu’il réalisa l’Escalier des Géants, qui permettait l’accès à l’édifice nouvellement créé⁵. Cependant le chantier ne fut achevé que vers le milieu du siècle suivant. En raison des variantes du projet et des nouveaux architectes, la façade devint un mélange composite de style Renaissance et de style gothique. Cela se traduisit par de nombreuses fenêtres et plusieurs sculptures sur la façade mais la loge supérieure conserva son style gothique afin de respecter la tradition. Enfin, en 1577, le palais eut à subir un nouvel incendie. Pour assurer sa restauration, on fit appel à l’architecte-ingénieur suisse-italien Antonio da Ponte. La réalisation de cette entreprise donna au palais son aspect d’aujourd’hui.

Pour monter vers les appartements du doge et les salles institutionnelles, on emprunte l’escalier d’Or : les stucs de la voûte y sont entièrement recouverts de feuilles d’or. L’ouvrage fut réalisé par Jacopo Sansovino, cependant c’est son fils Francesco qui en acheva la décoration. Les scènes peintes au plafond représentent Vénus, Neptune (dieu de la mer donc lié aux Vénitiens) et les vertus nécessaires pour gouverner. On y trouve également des grotesques réalisés par Battista Franco, un peintre maniériste.

Les appartements du doge sont situés contre l’abside de la basilique Saint-Marc. La proximité des salles institutionnelles accordait peu de place à la vie privée du doge.

Décoration intérieure

Le palais est surtout un musée magnifique avec ses salles entièrement décorées par les plus grands peintres en particulier Véronèse, installé à Venise en 1553, et Le Tintoret. Certaines œuvres sont aujourd’hui déplacées dans des musées.

Œuvres de Véronèse 

Années 1554-1556 :

• Salles du conseil des Dix : Junon dispensant ses dons à Venise, 1554-1556 de 365 × 147 cm
• Salle des audiences : Jupiter foudroyant les Vices un médaillon qui décorait, en son centre, le plafond
• Salle de la Boussolla : Saint Marc couronnant les Vertus à présent au musée du Louvre

Années 1575-1578 :

• Salle du Grand Conseil : Triomphe de Venise
• Salle du Collège :
  • Les Allégories de la Vertu
  • Mars et Neptune de 250 × 180 cm
  • La Dialectique ou L’Industrie de 150 × 120 cm
  • Venise, la Justice et la Paix de 250 × 180 cm
• Salle du Magistrato : Venise recevant l’hommage d’Hercule et de Cérès⁶ de 309 × 328 cm conservée aux Gallerie dell’Accademia de Venise

On peut y voir également aujourd’hui L’Enlèvement d’Europe⁷, peint par Véronèse en 1580, toile de 240 × 303 cm qui provient du Palais Contarini à San Samuele⁸

• 

  Cheminée du palais ducal

   

Giacobbe Giusti, Palais des Doges

• 

  Junon dispensant ses dons
  Salle du Conseil

Giacobbe Giusti, Palais des Doges

• 

  Triomphe de Venise
  Salle du Grand Conseil

Giacobbe Giusti, Palais des Doges

• 

  Mars et Neptune
  Salle du Collège

Giacobbe Giusti, Palais des Doges

 

• 

  Dialectique
  Salle du Collège

Giacobbe Giusti, Palais des Doges

• 

  Justice et paix
  Salle du Collège

Giacobbe Giusti, Palais des Doges

• 

  Ariane, Vénus et Bacchus
  Le Tintoret

Giacobbe Giusti, Palais des Doges

• 

  Le Paradis, par Le Tintoret

Œuvres du Tintoret 

• Quatre Allégories à la gloire des doges de Venise, 1577
• Ariane, Vénus et Bacchus
• l’immense toile du Paradis, datée de 1588, réalisée avec l’assistance de son fils Domenico Tintoretto, dans la salle du Grand Conseil (Maggior Consiglio), passant pour être le plus grand tableau au monde, avec ses 22 m de long

Photographies

Giacobbe Giusti, Palais des Doges

• 

  Façade donnant sur le bassin de saint Marc.

   

Giacobbe Giusti, Palais des Doges

• 

  Une « bouche de lion »⁹.

   

Giacobbe Giusti, Palais des Doges

• 

  Puits du palais. Photo de Domenico Anderson.

   

Giacobbe Giusti, Palais des Doges

• 

  Pozzo dell’Alberghetti

   

Giacobbe Giusti, Palais des Doges

• 

  Détail du toit du Palais des Doges.

Cliquez sur une vignette pour l’agrandir.

Vu par les peintres

• Le palais des Doges vu par les peintres

 

Giacobbe Giusti, Palais des Doges

• 

  Venise (Le Palais des Doges), Anonyme vers le xviii^e ou xix^e siècle.

   

Giacobbe Giusti, Palais des Doges

• 

  Vue sur le palais des Doges, la place Saint-Marc et le campanile de Johann Gottfried Steffan(de)vers le xviii^e ou xix^e siècle

   

Giacobbe Giusti, Palais des Doges

• 

  Vue de Venise (Le Palais des Doges), Pierre-Auguste Renoir, 1881.

   

Giacobbe Giusti, Palais des Doges

• 

  Vue sur Venise par Alfred Pollentine, 1885.

   

Giacobbe Giusti, Palais des Doges

• 

  Le Palais des Doges, Claude Monet, 1908.

   

Giacobbe Giusti, Palais des Doges

• 

  Venise de Marco Grubacs vers 1910

Voir aussi

Sur les autres projets Wikimedia :

• Le Palais des Doges, sur Wikimedia Commons

Bibliographie

• Luigi Serra, Le Palais des Doges de Venise, La libreria dello Stato, Rome, 1952.

Articles connexes

• Doge de Venise
• République de Venise
• Chronologie de Venise

Liens externes

• Site officiel [archive]
• Fiche sur le site Structurae [archive]
• Reportage culturel sur le Palais des Doges [archive]
• Catalogue photographique de tous les chapiteaux du palais des doges [archive]

Notes et références

1. ↑ Giovanna Nepi Sciré, La Peinture dans les Musées de Venise, Editions Place des Victoires, 2008 (ISBN 978-2-8099-0019-4), p. 24 et 582
2. ↑ Marie-Hélène Lavallée, Guides Collections : Palais des Beaux Arts de Lille, Réunion des Musées Nationaux, 1997 (ISBN 2-7118-3516-2), p. 158
3. ↑ Elena Bassi: Dizionari Biografico degli Italiani – Volume 7 – 1970
4. ↑ http://www.campiello-venise.com/artistes-venitiens/filippo-calendario.htm [archive]
5. ↑ http://www.campiello-venise.com/artistes-venitiens/antonio-rizzo.htm [archive]
6. ↑ Hommage à Venise, Gallerie dell’Accademia
7. ↑ L’Enlèvement d’Europe, Véronèse
8. ↑ Giovanna Nepi Sciré, La Peinture dans les Musées de Venise, Editions Place des Victoires, 2008, 605 p. (ISBN 978-2-8099-0019-4), p.316-340
9. ↑ boîte aux lettres pour les dénonciations anonymes. Traduction de l’inscription dans la pierre : « Dénonciations secrètes contre toute personne qui dissimule des faveurs ou des services, ou qui cherche à cacher ses vrais revenus »

https://fr.wikipedia.org/wiki/Palais_des_Doges

http://www.giacobbegiusti.com

 

 

 

 

 

Giacobbe Giusti: ANDREA MANTEGNA – GIOVANNI BELLINI: Presentation at the Temple

Giacobbe Giusti: ANDREA MANTEGNA – GIOVANNI BELLINI: Presentation at the Temple

Artist	Andrea Mantegna

Giacobbe Giusti: ANDREA MANTEGNA – GIOVANNI BELLINI: Presentation at the Temple

Artist	Giovanni Bellini

Giacobbe Giusti: ANDREA MANTEGNA – GIOVANNI BELLINI: Presentation at the Temple
Artist	Andrea Mantegna
Year	c. 1455
Medium	Tempera on canvas
Dimensions	68.9 cm × 86.3 cm (27.1 in × 34.0 in)
Location	Gemäldegalerie, Berlin

The Presentation at the Temple is a painting by the Italian Renaissanceartist Andrea Mantegna. Dating to c. 1455, it is housed in the Gemäldegalerie, Berlin, Germany.

History

The date of the painting is unknown, but it belongs to the painter’s youth in Padua. Date ranges from 1453, when Mantegna married Nicolosia Bellini, daughter Jacapo Bellini painter and the sister of Giovanni and Gentile, both painters as their father, and 1460 when he left for Mantua. Bellini’s Presentation at the Temple, explicitly inspired by Mantegna’s, dates to around the latter year.

Description

The scene is set within a marble frame. The cushion on which the Child lies stands on it and partially juts out.

The Virgin Mary, in the foreground, is holding the Child while a bearded priest is near her. At the center, in penumbra, is Joseph with an aureola. Also in the background, at the sides, two spectators without aureola have been identified as possibly Mantegna’s self-portrait and a portrait of his wife.

 

Giacobbe Giusti: ANDREA MANTEGNA – GIOVANNI BELLINI: Presentation at the Temple
Artist	Giovanni Bellini
Year	c. 1460
Medium	Tempera on panel
Dimensions	80 cm × 105 cm (31 in × 41 in)
Location	Fondazione Querini Stampalia, Venice

The Presentation at the Temple is a painting of the Presentation of Jesus at the Temple by the Italian master Giovanni Bellini, dating to c. 1460. It is housed in the Fondazione Querini Stampalia, in Venice, Italy.

History

The dating of the work is uncertain, though it is usually considered to be subsequent to the Presentation at the Temple by Andrea Mantegna(Berlin, c. 1455), from which Bellini took a very similar placement of the figures.

The commission of the two works is unknown, as well as if the figures, as is sometimes suggested, portrayed members of the Mantegna and Bellini families.

Description and style

The main characters are nearly the same as those in Mantegna’s work: the Virgin is holding the Child, whose feet are lying on a cushion, while the bearded figure of Simeon is coming to take him. In the front is Saint Joseph, which, according to some scholars, would be a portrait of Bellini’s father, Jacopo. On the sides the painter added two further figures, which make the picture rather crowded. Apart his father, other identifications include the author’s self-portrait and Mantegna (or his brother Gentile Bellini) for the two men on the right; and Nicolosia, sister of Giovanni and Gentile, and wife of Mantegna, together with their mother Anna for the women on the left.

Bellini also replaced Mantegna’s bronze frame with a parapet, making the characters nearer to the observer, and omitted their haloes.

https://en.wikipedia.org/wiki/Presentation_at_the_Temple_(Mantegna)

https://en.wikipedia.org/wiki/Presentation_at_the_Temple_(Bellini)

http://www.giacobbegiusti.com

Giacobbe Giusti: Paolo Uccello

Giacobbe Giusti: Paolo Uccello

Paolo Uccello, The Battle of San Romano, demonstrates the preoccupation with the development of linear perspective, in a secular subject

http://www.giacobbegiusti.com