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


37 Dandolo, Palazzo

on the Grand Canal.
Between the Casa Loredan and Casa Bembo is a range of modern buildings, some of which occupy, I believe, the site of the palace once inhabited by the Doge Henry Dandolo. Fragments of early architecture of the Byzantine school may still be traced in many places among heir foundations, an two doors in the foundation of the Casa Bembo itself belong to the same group. There is only one existing palace, however, of any value, on this spot. A very small but rich Gothic one of about 1300, with two groups of fourth-order windows in its second and third stories, and some Byzantine circular mouldings built into it above. This is still reported to have belonged to the family of Dandolo, and ought to be carefully preserved, as it is one of the most interesting and ancient Gothic palaces which yet remain.


38 Danieli, Albergo

See Nani.


40 Dogana di Mare

A barbarous building of the time of the Grotesque Renaissance (1676), rendered interesting only by its position. The statue of Fortune forming the weathercock, standing on the world, is alike characteristic of the conceits of the time, and of the hopes and principles of the last days of Venice.


42 Dona', Palazzo

on the Grand Canal.
I believe the palace described under this name as of the twelfth century, by M. Lazari, is that which I have called the Braided House.


43 D'Oro, Casa

A noble pile of very quaint Gothic, once superb in general effect, but now destroyed by restorations. I saw the beautiful slabs of red marble, which formed the bases of its balconies, and were carved into noble spiral mouldings of strange sections, half a foot deep, dashed to pieced when I was last in Venice; its glorious interior staircase, by far the most interesting Gothic monument of the kind in Venice, had been carried away, piece by piece, and sold for waste marble, two years before. Of what remains, the most beautiful portions are, or were, when I last saw them, the capitals of the windows in the upper story, most glorious sculpture of the fourteenth century. The fantastic window traceries are, I think, later; but the rest of the architecture of this palace is anomalous, and I cannot venture to give any decided opinion respecting it. Parts of its mouldings are quite Byzantine in character, but look somewhat like imitations.

See also Ca'd'Oro for the current state of the building


44 Ducal Palace

The multitude of works by various masters which cover the walls of this palace is so great that the traveller is in general merely wearied and confused by them. He had better refuse all attention except to the following works:*
*[I leave this notice of the Ducal Palace as originally written. Everything is changed or confused, now, I believe; and the text will only be useful to travellers who have time to correct it for themselves to present need. For fuller account of Tintoret's Paradise, see my pamphlet on Michael Angelo and Tintoret. 1877.]
The roof is entirely by Paul Veronese, and the traveller who really loves painting ought to get leave to come to this room whenever he chooses; and should pass the sunny summer mornings there again and again, wandering now and then into the Anti-Collegio and Sala dei Pregadi, and coming back to rest under the wings of the couched lion at the feet of the "Mocenigo." He will no otherwise enter so deeply into the heart of Venice.
See also Ducal palace

Jan-Christoph Rößler