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


50 Facanon, Palazzo (alla Fava)

A fair example of the fifteenth century Gothic, founded on Ducal Palace.

See also Ca'Giustinian Faccanon for the current state of the building


51 Falier, Palazzo

at the Apostoli.
The balcony is of course, modern, and the series of windows has been of greater extent, once terminated by a pilaster on the left hand, as well as on the right; but the terminal arches have been walled up. What remains is however enough, with its sculptured birds and dragons, to give the reader a very distinct idea of the second order window in its perfect form.

See also Ca'Falier for the current state of the building


52 Fantino, Church of St.

Said to contain a John Bellini, otherwise of no importance.


53 Farsetti, Palazzo

on the Grand Canal.
Near to the Casa Grimani will be recognized two rich and massive expanses of building, which form important objects in almost every picturesque view from the Rialto Bridge. Of these, that farthest from the Rialto retains great part of its ancient materials in a dislocated form. It has been entirely modernized in its upper stories, but the ground floor and the first floor have nearly all of their original shafts and capitals, only they have been shifted hither and thither to give room for the introduction of many small apartments, and present, in consequence, marvelous anomalies in proportion. This building is known in Venice as Casa Farsetti.

See also Ca'Farsetti for the current state of the building


54 Ferro, Palazzo

on the Grand Canal.
Fifteenth century Gothic, very hard and bad.


56 Fondaco de' Tedeschi

A huge and ugly building near the Rialto, rendered, however, peculiarly interesting by remnants of the frescoes by Giorgione with which it was once covered.


58 Fosca, Church of St.

Notable for its exceedingly picturesque campanile, of late Gothic, but uninjured by restorations, and peculiarly Venetian in being captured by the cupola instead of the pyramid, which would have been employed at the same period in any other Italian city.


59 Foscari, Palazzo

on the Grand Canal.
The noblest example in Venice of the fifteenth century Gothic, founded on the Ducal Palace, but lately restored and spoiled, all but the stonework of the main windows. The restoration was necessary, however; for, when I was in Venice in 1845, this palace was a foul ruin; its great hall a mass of mud, used as the back receptacle of a stonemason's yard; and its rooms whitewashed, and scribbled over with indecent caricatures. It has since been partially strengthened and put in order; but as the Venetian municipality have now given it to the Austrians to be used as barracks, it will probably soon be reduced to its former condition. The lower palaces at the side of this building are said by some to have belonged to the younger Foscari. See "Giustiniani."

See also Ca' Foscari for the current state of the building


60 Francesco della Vigna, Church of St.

Base Renaissance, but must be visited in order to see the John Bellini in the Cappella Santa. The late sculpture, in the Cappella Giustiniani, appears from Lazari's statement to be deserving of careful study. This church is said also be contain two pictures by Paul Veronese.


61 Frari, Church of the

Founded in 1250, and continued at various and subsequent periods. The apse and adjoining chapels are the earliest portions, and their traceries have been above noticed as the origin of those of the Ducal Palace. The best view of the apse, which is a very noble example of Italian Gothic, is from the door of the Scuola di San Rocco.* The doors of the church are all later than any other portion of it, very elaborate Renaissance Gothic. The interior is good Gothic, but not interesting, except in its monuments. Of these, the following are noticed in the text of this volume:
That of Duccio degli Alberti, at pages 74, 80; of the unknown knight, opposite that of Duccio, III. 73; of Francesco Foscari, III. 84; of Giovanni Pesaro, 91; of Jacopo Pesaro, 90.
Besides these tombs, the traveller ought to notice carefully that of Pietro Bernardo, a first-rate example of Renaissance work; nothing can be more detestable or mindless in general design, or more beautiful in execution. Examine especially the griffins, fixed in admiration of bouquets at the bottom. The fruit and flowers which arrest the attention of the griffins may well arrest the traveller's also; nothing can be finer of their kind. The tomb of Canova, by Canova, cannot be missed; consummate in science, intolerable in affectation, ridiculous in conception, null an void to the uttermost in invention and feeling. The equestrian statue of Paolo Savelli is spirited; the monument of the Beato Pacifico, a curious example of Renaissance Gothic with wild crockets (all in terra cotta). There are several good Vivarinis in the church, but its chief pictorial treasure is the John Bellini in the sacristy, the most finished and delicate example of the master in Venice.
[1877. The Pesaro Titian was forgotten, I suppose, in this article, because I thought it as well known as the Assumption. I hold it now the best Titian in Venice; the powers of portraiture and disciplined composition, shown in it, placing it far above the showy masses of commonplace cherubs and merely picturesque men, in the Assumption.]

Jan-Christoph Rößler