John Ruskin: The Stones of Venice - "Venetian Index" - C

 



20 Camerlenghi, Palace of the

A graceful work of the early Renaissance (1525) passing into Roman Renaissance. Its details are inferior to most of the work of the school. The "Camerlenghi," properly "Camerlenghi di Comune," were the three officers or ministers who had care of the administration of public expenses.

 

21 Cappello, Palazzo

at St. Aponal.
Of no interest. Some say that Bianca Cappello fled from it; but the tradition seems to fluctuate between the various houses belonging to her family.

 

22 Carita, Church of the

Once an interesting Gothic church of the fourteenth century, lately defaced, and applied to some of the usual important purposes of the modern Italians. The effect of its ancient facade may partly be guessed at from the picture of Canaletto, but only guessed at; Canaletto being less to be trusted for renderings of details, than the rudest and most ignorant painter of the thirteenth century.

 

23 Carmini, Church of the

A most interesting church, of later thirteenth century work, but much altered and defaced. Its nave, in which the early shafts and capitals of the pure truncate form are unaltered, is very fine in effect; its lateral porch is quaint and beautiful, decorated with Byzantine circular sculptures, and supported on two shafts whose capitals are the most archaic examples of the pure Rose form that I know in Venice.
There is a glorious Tintoret over the first altar on the right in entering; the "Circumcision of Christ." I do not know an aged head either more beautiful or more picturesque than that of the high priest. The cloister is full of notable tombs, nearly all dated; one, of the fifteenth century, to the left on entering, is interesting from the colour still left on the leaves and flowers of its sculptured roses.

 

24 Cassiano, Church of St.

This church must on no account be missed, as it contains three Tintorets, of which one, the "Crucifixion," is among the finest in Europe. There is nothing worth notice in the building itself, except the jamb of an ancient door (left in the Renaissance building, facing the canal), which has been given among the examples of Byzantine jambs; and the traveller may therefore devote his entire attention to the three pictures in the chancel.

 

25 Cattarina, Church of St.

said to contain a chef-d'oeuvre of Paul Veronese, the "Marriage of St. Catherine." I have not seen it.

 

26 Cavalli, Palazzo

opposite the Academy of Arts.
An imposing pile, on the Grand Canal, of Renaissance Gothic, but of little merit in the details; and the effect of its traceries has been of late destroyed by the fittings of modern external blinds. Its balconies are good, of the later Gothic type. See Barbaro.

See also Palazzo Cavalli Franchetti for the current state of the building

 

27 Cavalli, Palazzo

Good Gothic, founded on the Ducal Palace, circa 1380. The capitals of the first story are remarkably rich in the deep fillets at the necks. The crests, heads of sea-horses, inserted between the windows, appear to be later, but are very fine of their kind.

See also Palazzo Corner Contarini dei Cavalli for the current state of the building

 

28 Cicogna, Palazzo

at San Sebastiano,
Near the Church of San Sebastiano, in the quarter called "of the Archangel Gabriel", in which a large space above the windows is occupied by an intricate but rude tracery of involved quatrefoils.

See also Palazzo Cicogna for the current state of the building

 

29 Clemente, Church of St.

On an island to the south of Venice, from which the view of the city is particularly beautiful. See "Scalzi."

 

30 Contarini, Porta di Ferro, Palazzo

near the Church of St. John and Paul,
so called from the beautiful ironwork on a door, which was some time ago taken down by the proprietor and sold. Mr. Rawdon Brown rescued some of the ornaments from the hands of the blacksmith who had bought them for old iron. The head of the door is a very interesting stone arch of the early thirteenth century, already drawn in my folio work. In the interior court is a beautiful remnant of staircase, with a piece of balcony at the top, circa 1350, and one of the most richly and carefully wrought in Venice. The palace, judging by these remnants (all that are now left of it, except a single traceried window of the same date at the turn of the stair), must once have been among the most magnificent in Venice.

See also Palazzo Contarini dalla Porta di Ferro for the current state of the building

 

31 Contarini (delle Figure), Palazzo

on the Grand Canal,.
In the reach of the Grand Canal between Casa Foscari and the Rialto there are several palaces, of which Casa Contarini (called "della figure") is the principal, belonging to the same group, though somewhat later, and remarkable for the Byzantine principles of colour with the severest lines of the Roman pediment, gradually superseding the round arch.

See also Palazzo Contarini dalle Figure for the current state of the building

 

32 Contarini Fasan, Palazzo

The richest work of the fifteenth century domestic Gothic in Venice, but notable more for riches than excellence of design. In one respect, however, it deserves to be regarded with attention, as showing how much beauty and dignity may be bestowed on a very small and unimportant dwelling-house by Gothic sculpture. Foolish criticisms upon it have appeared in English accounts of foreign buildings, objecting to it on the ground of its being "ill-proportioned;" the simple fact being, that there was no room in this part of the canal for a wider house, and that its builder made its rooms as comfortable as he could, and its windows and balconies of a convenient size for those who were to see through them, and stand on them, and left the "proportions" outside to take care of themselves; which indeed they have very sufficiently done; for though the house thus honestly confesses its diminutiveness, it is nevertheless one of the principal ornaments of the very noblest reach of the Grand canal, and would be nearly as great a loss, if it were destroyed, as the Church of La Salute itself.

See also Palazzo Contarini Fasan for the current state of the building

 

33 Corner della Ca' grande, Palazzo

on the Grand Canal.
One of the worst and coldest building of the central Renaissance. It is on a grand scale, and is a conspicuous object, rising over the roofs of the neighbouring houses in the various aspects of the entrance of the Grand Canal, and in the general view of Venice from San Clemente.

 

34 Corner della Regina, Palazzo

A late Renaissance building of no merit or interest.

 

35 Corner Spinelli, Palazzo

on the Grand Canal.
A graceful and interesting example of the early Renaissance, remarkable for its pretty circular balconies.

See also Palazzo Corner Spinelli for the current state of the building

 

36 Correr, Raccolta

[Carpaccio's portrait-study of the two ladies with their pets is the most interesting piece of his finished execution existing in Venice. The Visitation, slight but lovely. The Mantegna? or John Bellini? (the Transfiguration), of the most pathetic interest. And there are many other curious and some beautiful minor pictures. 1877.]

 
Jan-Christoph Rößler