Venetian Painted Ceilings of the Renaissance

By Juergen Schulz

This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1968.

• Language: English
• Publisher: University of California Press
• Release date: Nov 15, 2023
• ISBN: 9780520322196

Juergen Schulz

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CALIFORNIA STUDIES IN THE HISTORY OF ART

WALTER HORN, General Editor

Advisory Board: H. W. Janson, Bates Lowry, Wolfgang Stechow

I The Birth of Landscape Painting in China BY MICHAEL SULLIVAN

II Portraits by Degas

BY JEAN SUTHERLAND BOGGS

III Leonardo da Vinci on Painting: A Lost Book (Libro A) BY CARLO PEDRETTI

IV Images in the Margins of Gothic Manuscripts BY LILIAN M. C. RANDALL

V The Dynastic Arts of the Kushans

BY JOHN ROSENFIELD

VI A Century of Dutch Manuscript Illumination

BY L. M. J. DELAISSE

VII George Caleb Bingham: The Evolution of an Artist and A Catalogue Raisonné TWO VOLUMES

BY E. MAURICE BLOCH

VIII Claude Lorrain: The Drawings—Catalog and Illustrations TWO VOLUMES

BY MARCEL ROETHLISBERGER

IX Venetian Painted Ceilings of the Renaissance

BY JUERGEN SCHULZ

X The Drawings of Edouard Manet BY ALAIN DE LEIRIS

VENETIAN PAINTED CEILINGS

OF THE RENAISSANCE

VENETIAN

PAINTED CEILINGS

OF THE

RENAISSANCE

Juergen Schulz

UNIVERSITY OF CALIFORNIA PRESS

Berkeley and Los Angeles 1968

UNIVERSITY OF CALIFORNIA PRESS

Berkeley and Los Angeles, California

CAMBRIDGE UNIVERSITY PRESS

London, England

Copyright © 1968, by The Regents of the University of California

Library of Congress Catalog Card Number: 67-63005

VENETIAN PAINTED CEILINGS OF THE RENAISSANCE

is a volume in the

California Studies in the History of Art

sponsored in part by the Samuel H. Kress Foundation

Designed by Adrian Wilson

Printed in the United States of America

For Christoph,

Ursula,

and

Catherine

PREFACE

It is only recently that students of modern art have begun to notice decorative systems. In the nineteenth century the little pictures set into Pompeiian mural decorations were often cut out by their excavators, framed, and sent to museums for exhibition. The treatment expressed an attitude and taste that did not notice a picture’s context, but fastened on its representational values alone. The practice has ceased, and archaeologists and historians of ancient art have learned to look at the picture fields in ancient mural and vault decorations as parts of larger wholes. But in the field of Renaissance and Baroque art, something of this approach persisted until very recently, and there were still scholars who examined and categorized the parts of larger decorative systems as if they were independent works. To be sure, a tradition of studies of the decorative system of the Sistine Ceiling has existed since Wölfflin’s day. And H. Posse analyzed the schemes of Baroque ceiling painting in a brilliant article on Pietro da Cortona’s Palazzo Barberini vault, written as long ago as 1919. But only since the Second World War has the study of mural and ceiling decoration become sufficiently common to bring about a general recognition that they have requirements and histories of their own. Significantly, the most active field of research has been the Renaissance revival of ancient Roman decorative systems, which has been the subject of important studies by I. Bergström, A. F. Blunt, and others

The present book seeks to sketch the history of one particular type of decoration, the Venetian painted ceiling of the Renaissance, or soffitto veneziano. All three of the great trio of Venetian Renaissance painters—Titian, Tintoretto, and Veronese—painted pictures for these ceilings. For the most part they are well-known works and have often been written about. But here especially it is true that the previous literature has dealt with them always as simple paintings and not as paintings destined for a particular kind of setting and thus raising particular kinds of aesthetic problems. On this count alone it should be worthwhile to study Venetian ceilings as a type, because of the light that may be shed on the works of great artists.

There are strictly philological considerations which make such a study desirable as well. On the one hand, the soffitto veneziano became extremely popular outside Venice and influenced ceiling painting in other schools and epochs, giving it added historical importance and a claim to fuller treatment than it has ever received. On the other hand, a great number of Venetian ceilings have been dismembered and their paintings dispersed. Clearly, without an effort to reconstruct the original decoration, the membra disjecta cannot be fully appreciated. This is most easily done in the context of a monographic treatment of soffitti as a class. Because of the quantity and special nature of the topographical and historical evidence that must be considered to establish the history and appearance of the larger ceilings, I have thought it best to collect all this matter together at the end of the book. The volume is accordingly divided into an Introduction that gives an account of the history of Venetian ceilings and ceiling painting, and a Catalogue that summarizes the history of individual soffitti.

In one book I cannot hope to exhaust all aspects of a subject that cuts through the richest century in Venetian art, history, and culture. My own limitations set limits to the undertaking right from the start. Many of the ceilings, for instance, are decorated with difficult allegorical cycles which it has not been possible for me to unravel. Beyond some occasional suggestions I have had to leave their exegesis to someone more skilled in iconographical studies than myself. I can only hope to have made his task easier by collecting the material. The lack of important ceilings on the Venetian mainland, furthermore, suggested confining the account to the city of Venice. Ceilings on the terraferma are mentioned wherever appropriate, but the Catalogue lists those of metropolitan Venice alone. By metropolitan Venice I mean the city and the surrounding islands of the Lagoon.

My interest in Venetian Renaissance ceilings was roused by the Titian lectures of Johannes Wilde when I was a student at the Courtauld Institute of Art, London. The first version of this book was written under his supervision as a doctoral thesis, presented at the University of London in 1958.1 am indebted to him for many ideas—which I have tried to acknowledge each in their place—and more important, for the contact with a truly distinguished mind which has been an inspiration to me ever since. I am more grateful to him than I know how to express.

Many persons have given me assistance in more specific ways, and I should like to thank them as well. I owe some of my information and many photographs to the kind offices of: Mme. Sylvie Béguin, Musee du Louvre, Paris; Dr. Alessandro Bettagno, Fondazione Giorgio Cini, Venice; Dr. Jan Bialostocki, National Museum, Warsaw; Oliver Millar, Esq., Office of the Lord Chamberlain, London; Dr. Michelangelo Muraro, Soprintendenza alle Gallerie, Venice; Dr. Peter Murray, Courtauld Institute of Art, London; Mr. Ernest Nash, Fototeca di Architettura e Topografia dellìtalia Antica, Rome; Dr. Giovanni Paccagnini, Soprintendenza alle Gallerie, Mantua; Dr. Terisio Pignatti, Direzione dei Musei Civici Veneziani, Venice; Mr. Michael Rinehart, Clark Art Institute, Williamstown, Mass; Count Antoine Seilern, London; Dr. Francesco Valcanover, Soprintendenza alle Gallerie, Venice; and Mr. Wolfgang Wolters, Kunsthistorisches Institut, Florence. Mrs. Margaret Uridge and her staff in the Library of the University of California were endlessly resourceful in finding the obscure topographical works that were required for the compilation of the catalogue. Mr. Rudolf Saenger prepared the technical drawings.

The final manuscript was read by Sir Anthony Blunt and Dr. John Shearman, whose comments were extremely valuable and have been embodied in revisions that are acknowledged wherever they occur.

Completion of the book would not have been possible without the generous support of several institutions that underwrote the purchase of photographs and the expense of travel and maintenance for myself. I am most grateful to the Central Research Fund of the University of London and the Committee on Research of the University of California for the former, and to the American Council of Learned Societies and the Samuel H. Kress Foundation for the latter.

Berkeley, December 1967

CONTENTS 1

CONTENTS 1

LIST OF ILLUSTRATIONS

INTRODUCTION

INTRODUCTION

A CATALOGUE OF PAINTED CEILINGS OF THE RENAISSANCE IN METROPOLITAN VENICE

Abbreviations Used in the Catalogue

CHURCHES AND MONASTERIES

CONFRATERNITIES

PUBLIC BUILDINGS

PRIVATE BUILDINGS

PROVENANCE UNKNOWN

LOST: CHURCHES AND MONASTERIES

LOST: CONFRATERNITIES

LOST: PUBLIC BUILDINGS

LOST: PRIVATE BUILDINGS

PLATES

INDEX

LIST OF

ILLUSTRATIONS

Figures in the Text and Catalogue

Following page 16 of the text

i Giuliano da Sangallo, sacristy vestibule, designed 1493. Florence, Santo Spirito. Photo Alinari.

2 Sodoma and Raphael, frescoed vault, 1508-1509. Rome, Palazzo Vaticano, Stanza della Segnatura. Photo Anderson.

3 Pinturicchio (workshop), frescoed vault, 1494. Rome, Palazzo Vaticano, Appartamento Borgia, Sala delle Sibille. Photo Anderson.

4 Cubiculum from the villa of Fannio Senestor, Boscoreale, southeast comer, ca. 40-30 B.C. New York, Metropolitan Museum of Art. Photo Metropolitan Museum.

5 School of Andrea Mantegna, vault decoration, ca. 1487. Destroyed; formerly Mantua, San Francesco. Photo Calzolari.

6 Andrea Mantegna, mural decoration (The Marquis Lodovico Gonzaga with his Family and Court), completed 1474. Mantua, Castello, Camera degli Sposi. Photo Alinari.

7 Andrea Mantegna, vault decoration, before 1474. Mantua, Castello, Camera degli Sposi. Photo Soprintendenza alle Gallerie, Mantua.

8 Coffered vault with apotheosis of the Divus Titus, after A.D. 81 Rome, Arch of Titus. Photo Fototeca Unione, Rome.

9 Coffered ceiling, before 1451. Florence, Palazzo Medici-Riccardi. Photo Wolfgang Wolters.

10 Coffered ceiling, ca. 1496. Venice, Accademia, Gallery XXIV (formerly Albergo of the Scuola della Carità). Photo Accademia.

11 Coffered ceiling, detail. Venice, Accademia, Gallery XXIV. Photo Anderson.

12 Guariento, The Choir of Thrones, ca. 1345, from the chapel of the Carrara Palace, Padua. Padua, Museo Civico. Photo Museo Civico.

13 Giovanni Bellini, The Assassination of St. Peter Martyr, ca. 1509. London, National Gallery. Photo National Gallery.

14 Titian, The Assassination of St. Peter Martyr, 1525-1530. Destroyed; formerly Venice, Santi Giovanni e Paolo. Engraving from V. Lefevre, Opera selectiora quae Titianus Vecellius … et Paulus Calliari… inventarunt…, Venice, 1682 (reproduced in the direction of the original painting).

15 Jacopo Sansovino, St. Mark Drawn Through the Streets of Alexandria, 1537. Venice, San Marco. Photo Alinari.

16 Bonifazio Veronese, The Massacre of the Innocents, ca. 1540. Venice, Accademia. Photo Soprintendenza alle Gallerie.

17 Giulio Romano and assistants, Episodes from the Trojan War, 1538. Mantua, Palazzo Ducale, Sala di Troia. Photo Calzolari.

18 Sala di Troia, detail, A Fallen Warrior. Photo Alinari.

19 Sala di Troia, detail, Ceranos Draggedfrom the Chariot of Meriones. Photo Alinari.

20 Pordenone, David and Goliath, ca. 1532. Venice, Santo Stefano. Engraving by Jacopo Picino. Photo Museo Correr.

21 Sebastiano Serlio, coffered ceiling, before 1531. Formerly Venice, Palazzo Ducale, Sala della Libreria. Woodcut from Serlio, Regoli generali di architettura…, Venice, 1537.

22 Michelangelo, Medici Madonna, 1524-1532. Florence, San Lorenzo, Sagrestia Nuova. Photo Alinari.

23 Tintoretto, Sacra Conversazione, 1540. New York, Private Collection.

24 Giulio Romano and assistants, vault decoration (The Marriage of Cupid and Psyche and other episodes from their tale), 1528. Mantua, Palazzo del Te, Sala di Psiche. Photo Calzolari.

25 Pierino da Vinci, The Restoration of Pisa by Cosimo I, after 1549. Rome, Museo Vaticano. Photo Alinari.

Following page 48 of the text

26 Palma Giovane, Christ in Glory, ca. 1599. Destroyed; formerly Vicenza, Oratorio del Gonfalone. Photo Fiorentini.

27 Cornelis Cort, The Cyclops at Their Forge, 1572. Copy of the octagonal ceiling painting by Titian formerly at Brescia, Palazzo Comunale. Photo British Museum.

28 Cesare Vecellio, The Marriage of the Virgin, 1577-1578. Lentiai, Santa Maria Assunta. Photo A.F.I.

29 Florence, Palazzo Vecchio, Salone dei Cinquecento, view. Paintings by Giorgio Vasari and assistants, 1563-1565. Photo Brogi.

30 Giuseppe Cesari, The Ascension of Christ, ca. 1592. Rome, San Prassede, Cappella Olgiati. Photo Alinari.

31 Naples, San Pietro a Maiella, ceiling of the nave with scenes from the life of St. Celestine by Mattia Preti, 1656-1661. Photo Soprintendenza alle Gallerie, Naples.

32 Pietro da Cortona, The Triumph of Providence, 1633-1639. Rome, Palazzo Barberini. Photo Anderson.

3 3 Matthias Kager, Peter Candid, and others, ceiling of the Golden Room, 1619-1621. Destroyed; formerly Augsburg, Town Hall. Photo Deutscher Kunstverlag.

34 Peter Paul Rubens, The Annunciation, 1620 (sketch of a projected painting for the Jesuit Church in Antwerp). Vienna, Akademie der Bildenden Künste. Photo Akademie.

35 Peter Paul Rubens, The Sacrifice of Abrahatn, 1620 (sketch for one of the paintings of the Jesuit Church in Antwerp). Paris, Louvre. Photo Archives Photographiques.

36 London, Banqueting House, view of ceiling. Paintings by Rubens, completed 1634. Photo Ministry of Works.

37 Peter Paul Rubens, The Union of the Crowns of England and Scotland, completed 1634. London, Banqueting House. Photo Ministry of Works.

38 Nicolas Poussin, Time Rescuing Truth, 1641. Paris, Louvre. Photo Archives Photographiques.

39 Bernardo Strozzi, The Parable of the Uninvited Wedding Guest, after 1636 (sketch for the ceiling painting formerly at the Incurabili, Venice). Genoa, Accademia Ligustica. Photo Gabinetto Fotografico Nazionale.

40 Alessandro Varottari (il Padovanino), The Parable of the Wise and Foolish Virgins, after 1636, from the Incurabili. Venice, Accademia. Photo Soprintendenza alle Gallerie.

41 Camillo Ballini, Venice Crowned by Glory, early seventeenth century. Venice, Palazzo Ducale, Andito della Sala dello Scrutinio. Photo Fiorentini.

42 Venice, Palazzo Pesaro, salotto on the piano nobile, view of ceiling. Paintings by Nicolò Bambini, 1682. Photo Fiorentini.

43 Scuola di San Fantin (Ateneo Veneto), Albergo Nuovo, view of ceiling. Painting by Antonio Zanchi, 1674. Photo Museo Correr.

44 Sebastiano Ricci, Allegory of Science, ca. 1710. Venice, Seminario Patriarcale, Library. Photo Böhm.

45 Sebastiano Ricci, The Miraculous Transport of the Image of the Virgin, ca. 1700-1705. Venice, San Marciliano. Photo A.F.I.

46 Antonio Zanchi, The Burning of Heretical Books, 1705. Venice, Seminario Patriarcale, Library. Photo Böhm.

47 Giovanni Battista Tiepolo, Apotheosis of Spain, 1762-1764, detail. Madrid. Palacio Nacional, Throne Room. Photo Instituto Fotografico de Arte Español.

Following page 80 of the catalogue

48 Santa Maria della Visitazione, view of ceiling. Paintings by Pietro Paolo Agapiti, ca. 1524. Photo Fondazione Giorgio Cini.

49 Nicolò Rondinelli, Virgin and Child on Clouds, before 1495. Santa Maria della Salute, Sagrestia Maggiore; from Murano, Santa Maria degli Angeli. Photo Anderson.

50 Nicolò Rondinelli, An Adoring Angel, before 1495, from Murano, Santa Maria degli Angeli. Murano, San Pietro Martire. Photo Fiorentini.

51 Alvise Vivarini, God the Father Blessing, after 1495, from the Scuola di San Girolamo. Venice, Accademia. Photo Accademia.

52 Titian, St. Matthew, 1542-1544, from Santo Spirito in Isola. Santa Maria della Salute, Sagrestia Maggiore. Photo Fiorentini.

53 Titian, St. John the Evangelist, 1542-1544, from Santo Spirito in Isola. Santa Maria della Salute, Sagrestia Maggiore. Photo Fiorentini.

54 Assistant of Veronese, Balustrade with Garland-Bearing Putti, 1556, detail. San Sebastiano. Photo Fondazione Giorgio Cini.

55 Assistant of Veronese, Balustrade with Garland-Bearing Putti, 1556. San Sebastiano. Photo Fondazione Giorgio Cini.

56 Assistant of Veronese, Balustrade with Masks, 1556. San Sebastiano. Photo Fondazione Giorgio Cini.

57 Veronese, Peace, ca. 1553-1555, from an unidentified ceiling. Rome, Pinacoteca Capitolina. Photo Fiorentini. (Reproduced in the original format.)

58 Veronese, An Allegory, ca. 1553-1555, from an unidentified ceiling. Rome, Pinacoteca Vaticana. Photo Musei Vaticani.

59 Veronese, Hope, ca. 1553-1555, from an unidentified ceiling. Rome, Pinacoteca Capitolina. Photo Fiorentini. (Reproduced in the original format.)

60 Veronese, Putti with a Tambourine and Swallow, ca. 1556-1560, from Palazzo Pisani a Santo Stefano. Berlin, Staatliche Museen zu Berlin. Photo Staatliche Museen.

61 Veronese, Putti with Apples, Iris, Grapes, and Grain, ca. 1556-1560, from Palazzo Pisani a Santo Stefano. Berlin, Staatliche Museen zu Berlin. Photo Staatliche Museen.

62 Veronese, Putti with a Fish and Dove, ca. 1556-1560, from Palazzo Pisani a Santo Stefano. Berlin, Staatliche Museen zu Berlin. Photo Staatliche Museen.

63 Veronese, Putti with a Scepter and Laurel Crown, ca. 1556-1560, from Palazzo Pisani a Santo Stefano. Berlin, Staatliche Museen zu Berlin. Photo Staatliche Museen.

64 Veronese, Jupiter, Juno, Neptune, and Cybele, ca. 1556-1560, from Palazzo Pisani a Santo Stefano. Destroyed; formerly Berlin, Kaiser Friedrich Museum. Photo Staatliche Museen zu Berlin.

65 Giuseppe Salviati, Elijah Fed by the Angel, ca. 1550, from Santo Spirito in Isola. Santa Maria della Salute, sanctuary. Photo Fondazione Giorgio Cini.

66 Giuseppe Salviati, The Gathering of the Manna, ca, 1550, from Santo Spirito in Isola. Santa Maria della Salute, sanctuary. Photo Fondazione Giorgio Cini.

67 Giuseppe Salviati, Habakkuk Brought to Daniel, ca, 1550, from Santo Spirito in Isola. Santa Maria della Salute, sanctuary. Photo Fondazione Giorgio Cini.

68 Giovanni Battista Zelotti, Cupid Receiving the Apple from the Graces, ca, 1551, from an unidentified ceiling. London, Lancaster House. Photo Ministry of Works.

69 Damiano Mazza, St. Mark, ca, 1573, from the Scuola dei Sarti. Gallerie dell’Accademia. Photo Museo Correr.

70 Damiano Mazza, St, Matthew, ca, 1573, from the Scuola dei Sarti. Gallerie dell’Accademia. Photo Museo Correr.

71 Veronese (after), Ceres Before Venice, Peace, and Hercules, ca. 1570. Copy by Anthony van Dyck. London, British Museum. Photo British Museum.

72 Veronese (after), Hercules and Neptune Before Venice, ca, 1575. Anonymous copy. Budapest, Musee des Beaux Arts. Photo Musée des Beaux Arts.

73 Palma Giovane, Adam and Eve, ca, 1582, from Scuola di San Fantin, Albergo. Whereabouts unknown. Photo source unknown.

74 Palma Giovane, The Four Evangelists and the Eucharist, ca, 1575. San Giacomo dall'Orio, Sagrestia Vecchia. Photo Böhm.

75 Lodovico Pozzoserrato, Jacob’s Dream of the Heavenly Ladder, ca, 1590. Palazzo Loredan. Photo Museo Correr.

76 Lodovico Pozzoserrato, The Fall of Man, ca, 1590. Palazzo Loredan. Photo Museo Correr.

77 Lodovico Pozzoserrato, The Sacrifice of Isaac, ca, 1590. Palazzo Loredan. Photo Museo Correr.

78 Lodovico Pozzoserrato, God Appearing to Moses, ca, 1590. Palazzo Loredan. Photo Museo Correr.

79 Paolo dei Franceschi, An Allegory of the Mortality of Earthly Things, ca, 1590, from an unidentified ceiling. Warsaw, Muzeum Narodowe. Photo Muzeum Narodowe.

80 Marco Vecellio, The Virgin and Sts, Dominic and Francis Interceding Before Christ the Judge, ca, 1595. Santi Giovanni e Paolo, sacristy. Photo Fondazione Giorgio Cini.

81 Titian, The Sacrifice of Abraham, study, ca, 1542, for Santo Spirito in Isola. Paris, Ecole des Beaux Arts. Photo Giraudon.

82 Tintoretto, Faith, study, 1576, for the Retrostanza dei Tre Capi del Consiglio dei Dieci. Schloss Fachsenfeld bei Aalen, Württemberg. Photo W. R. Deusch.

83 Tintoretto, The Fall of Man, study, 1577, for the Scuola di San Rocco, Sala Superiore. Rotterdam, Museum Boymans-van Beunigen. Photo Museum Boymans-van Beunigen.

84 Veronese, The Repulse of the Turkish Attack on Scutari, study, ca. 1579, for Palazzo Ducale, Sala del Maggior Consiglio. Oxford, Ashmolean Museum. Photo Ashmolean Museum.

85 Antonio Vassilacchi (Aliense), Carlo Zeno Routs the French Fleet, study, ca. 1579, for Palazzo Ducale, Sala del Maggior Consiglio. Milan, Tito Rasini. Photo: Disegni antichi… dalla collezione Rasini, Milan, 1930, pl. XXL

86 Palma Giovane, St. Gregory, study, ca. 1600, for Scuola di San Fan tin, Sala Terrena. New York, Metropolitan Museum of Art. Photo Metropolitan Museum.

87 Cristoforo Sorte, design for a ceiling, 1578, for Palazzo Ducale, Sala del Senato. London, Victoria and Albert Museum. Photo Victoria and Albert Museum.

88 Veronese, The Apotheosis of Venice, modello, ca. 1579, for Palazzo Ducale, Sala del Maggior Consiglio. Harewood Park, Yorks., Earl of Harewood. Photo Fiorentini.

89 Palma Giovane, Venice Enthroned Above Her Conquered Provinces, study, ca. 1579, for Palazzo Ducale, Sala del Maggior Consiglio. London, C. R. Rudolf. Photo Courtauld Institute of Art.

90 Palma Giovane, Venice Enthroned Above Her Conquered Provinces, study, ca. 1579, for Palazzo Ducale, Sala del Maggior Consiglio. Milan, Tito Rasini. Photo: Disegni antichi… dalla collezione Rasini, Milan, 1930, pl. XXXVII.

Plans

A San Sebastiano, nave. Plan of ceiling. 76

B Scuola di San Rocco, Sala Superiore. Plan of ceiling. 88

C Libreria di San Marco, reading room. Plan of ceiling. 93

D Palazzo Ducale, Sala del Consiglio dei Dieci. Plan of ceiling. 97

E Palazzo Ducale, Sala del Collegio. Plan of ceiling. 105

F Palazzo Ducale, Sala del Maggior Consiglio. Plan of ceiling. 107

G Palazzo Ducale, Sala del Senato. Plan of ceiling. 112

H Palazzo Ducale, Sala dello Scrutinio. Plan of ceiling. 114

Plates

1 Santa Maria degli Angeli (Murano), view of ceiling. Paintings by Nicolò Rondinelli, before 1495. Photo Fondazione Giorgio Cini.

2 Nicolò Rondinelli, The Coronation of the Virgin, Doctors of the Church, and Evangelist Symbols. Santa Maria degli Angeli, Murano. Photo Fiorentini.

3 Pier Maria Pennacchi and assistants, Malachi, Elijah, Elisha, Nahum, Solomon, and Zadok. Santa Maria dei Miracoli. Photo Alinari.

4 Santa Maria dei Miracoli, view of interior. Ceiling paintings by Pier Maria Pennacchi and assistants, before 1515. Photo Anderson.

5 Scuola di San Francesco (formerly), ceiling of Stanza Terrena. Paintings by Pordenone, ca. 1532. Photos Budapest, Musee des Beaux Arts, and London, National Gallery.

6 Palazzo Corner-Spinelli (formerly), ceiling of an unidentified room. Paintings by Giorgio Vasari, 1542. Photos Fiorentini, Cooper, and Kunsthaus Lempertz.

7 Pordenone, St. Luke, from the Scuola di San Francesco. Budapest, Musée des Beaux Arts. Photo Musée des Beaux Arts.

8 Giorgio Vasari, Faith, from Palazzo Comer-Spinelli. Whereabouts unknown. Photo Kunsthaus Lempertz.

9 Tintoretto, Athena and Arachne, from an unidentified ceiling, ca. 1545. Florence, Count. A. A. Contini Bonacossi. Photo Rodolfo Reali.

10 Tintoretto, Apollo and Marsyas, from the house of Pietro Aretino, 1545. Hartford, Conn., Wadsworth Atheneum. Photo Wadsworth Atheneum.

11 Santo Spirito in Isola (formerly), ceiling. Paintings by Titian, 1542-1544. Photos Fiorentini.

12 Titian, Cain and Abel, from Santo Spirito in Isola. Venice, Santa Maria della Salute, Sagrestia Maggiore. Photo Fiorentini.

13 Titian, The Sacrifice of Abraham, from Santo Spirito in Isola. Venice, Santa Maria della Salute, Sagrestia Maggiore. Photo Fiorentini.

14 Titian, The Victory of David, from Santo Spirito in Isola. Venice, Santa Maria della Salute, Sagrestia Maggiore. Photo Fiorentini.

15 Titian, The Sacrifice of Abraham, detail. Photo Fiorentini.

16 Titian, The Vision of St.John on Patmos, from the Scuola di San Giovanni Evangelista. Washington, National Gallery, Kress Collection. Photo National Gallery.

17 Scuola di San Giovanni Evangelista, Albergo Nuovo (formerly), ceiling. Paintings by Titian and assistants, ca. 1544-1547. Photos Washington, National Gallery; Venice, Soprintendenza alle Gallerie; and Fiorentini.

18 Studio of Bonifazio Veronese, An Allegory of Night, from the Palazzo Barbarigo della Terrazza, ca. 1554. Sarasota, Fla., J. and M. Ringling Museum. Photo Ringling Museum.

19 Studio of Bonifazio Veronese, An Allegory of Harvest, from the Palazzo Barbarigo della Terrazza, ca. 1554. Sarasota, Fla., J. and M. Ringling Museum. Photo Ringling Museum.

20 Palazzo Ducale, Sala del Consiglio dei Dieci, view. Ceiling paintings by Veronese, Giovanni Battista Zelotti, and Giovanni Battista Ponchino, ca. 1553-1554. Photo Direzione del Palazzo Ducale.

21 Veronese, Jove Expelling Crimes and Vices, from the Sala del Consiglio dei Dieci. Paris, Louvre. Photo Alinari.

22 Veronese, Juno Shotvering Riches over Venice, Sala del Consiglio dei Dieci. Photo Fiorentini.

23 Veronese, " Youth and Age," Sala del Consiglio dei Dieci. Photo Anderson.

24 Veronese, Liberty Beneath the Heaven of Mercury, Sala del Consiglio dei Dieci. Photo Direzione del Palazzo Ducale.

25 Giovanni Battista Zelotti, Venice Between Neptune and Mars, Sala del Consiglio dei Dieci. Photo Direzione del Palazzo Ducale.

26 Giovanni Battista Zelotti, Venice Seated on the Globe, Sala del Consiglio dei Dieci. Photo Direzione del Palazzo Ducale.

27 Giovanni Battista Ponchino, Mercury and Peace, Sala del Consiglio dei Dieci. Photo Direzione del Palazzo Ducale.

28 Giovanni Battista Zelotti, Candía, Sala del Consiglio dei Dieci. Photo Direzione del Palazzo Ducale.

29 Veronese, Cyprus," Sala del Consiglio dei Dieci. Photo Direzione del Palazzo Ducale.

30 Giovanni Battista Zelotti, Male Nude, Sala del Consiglio dei Dieci. Photo Direzione del Palazzo Ducale.

31 Veronese, Male Nude, Sala del Consiglio dei Dieci. Photo Direzione del Palazzo Ducale.

32 Palazzo Ducale, Sala della Bussola, view. Ceiling paintings by Veronese, ca. 1554. Photo Alinari.

33 3 Veronese, Fama, Sala della Bussola. Photo Direzione del Palazzo Ducale.

34 Veronese, Fama, Sala della Bussola. Photo Direzione del Palazzo Ducale.

35 Veronese, Scenes of War, Sala della Bussola. Photo Direzione del Palazzo Ducale.

36 Veronese, St, Mark Crowning the Theological Virtues, from the Sala della Bussola. Paris, Louvre. Photo Alinari.

37 Veronese, Triumphal Procession, Sala della Bussola. Photo Direzione del Palazzo Ducale.

38 Palazzo Ducale, Stanza dei Tre Capi del Consiglio dei Dieci, view. Ceiling paintings by Veronese, Zelotti, and Ponchino, ca, 1554. Photo Direzione del Palazzo Ducale.

39 Giovanni Battista Zelotti, Time, Truth, and Innocence Rescued from Envious Attacks by the Expulsion of Evil, Stanza dei Tre Capi. Photo Direzione dei Palazzo Ducale.

40 Veronese, An Allegory of Victory, Stanza dei Tre Capi. Photo Direzione del Palazzo Ducale.

41 Veronese, An Allegory of Nemesis, Stanza dei Tre Capi. Photo Fiorentini.

42 Giovanni Battista Ponchino, An Allegory of Justice, Stanza dei Tre Capi. Photo Direzione del Palazzo Ducale.

43 San Sebastiano, sacristy, view of ceiling. Paintings by Veronese, 1555. Photo Soprintendenza ai Monumenti.

44 Veronese, St, Matthew, San Sebastiano, sacristy. Photo Alinari.

45 Veronese, The Coronation of the Virgin, San Sebastiano, sacristy. Photo Alinari.

46 Veronese, St, Mark, San Sebastiano, sacristy. Photo Alinari.

47 San Sebastiano, view of ceiling (before cleaning). Paintings by Veronese and assistants, 1556. Photo Fondazione Giorgio Cini.

48 San Sebastiano, ceiling, detail (after cleaning). Photo Soprintendenza alle Gallerie.

49 Veronese, Esther Led to Ahasuerus, San Sebastiano. Photo Soprintendenza alle Gallerie.

50 Veronese, Esther Crowned by Ahasuerus, San Sebastiano. Photo Soprintendenza alle Gallerie.

51 Veronese, The Triumph of Mordecai, San Sebastiano. Photo Anderson.

52 Veronese, Esther Crowned by Ahasuerus, detail. Photo Fondazione Giorgio Cini.

53 Veronese, The Triumph of Mordecai, detail. Photo Fondazione Giorgio Cini.

54 Libreria di San Marco, reading room, view. Ceiling paintings by Giuseppe Salviati, Andrea Schiavone, Veronese, Giovanni Battista Zelotti, and others, 1556-1557. Photo Böhm.

55 Libreria di San Marco, reading room, ceiling, detail. Painting of The Theological Virtues and the Gods by Giovanni Fratino (De Mio). Photo Alinari.

56 Giuseppe Salviati, Mercury and Pluto with the Arts, Libreria di San Marco. Photo Böhm.

57 Giuseppe Salviati, Pallas and Prudence Between Fortune and Fortitude, Libreria di San Marco. Photo Böhm.

58 Battista Franco, Diana and Actaeon, Libreria di San Marco. Photo Böhm.

59 Giulio Licinio, Glory and Beatitude, Libreria di San Marco. Photo Böhm.

60 Giovanni Battista Zelotti, An Allegory of Study (The Choice Between Study and Distraction), Libreria di San Marco. Photo Fiorentini.

61 Giovanni Battista Zelotti, An Allegory of Modesty, Libreria di San Marco. Photo Fiorentini.

62 Veronese, An Allegory of Honor, Libreria di San Marco. Photo Fiorentini.

63 Veronese, An Allegory of Geometry and Arithmetic, Libreria di San Marco. Photo Fiorentini.

64 Veronese, An Allegory of Music, Libreria di San Marco. Photo Fiorentini.

65 Andrea Schiavone, The Principato, Libreria di San Marco. Photo Fondazione Giorgio Cini.

66 Andrea Schiavone, The Priesthood, Libreria di San Marco. Photo Böhm.

67 Andrea Schiavone, The Military Estate, Libreria di San Marco. Photo Böhm.

68 Santa Maria dell’Umiltà (formerly), ceiling. Paintings by Veronese, before 1566. Photos Fiorentini and Gabinetto Fotografico Nazionale.

69 Veronese, The Annunciation, from Santa Maria dell'Umiltà. Venice, Santi Giovanni e Paolo, Cappella del Rosario. Photo Gabinetto Fotografico Nazionale.

70 Veronese, The Annunciation, detail. Photo Fiorentini.

71 Veronese, The Assumption of the Virgin, detail. Photo Gabinetto Fotografico Nazionale.

72 Veronese, Ceres Before Venice, Peace, and Hercules, from the Magistrato alle Biade, ca. 1570. Venice, Gallerie dell’Accademia. Photo Soprintendenza alle Gallerie.

73 Palazzo Ducale, Sala del Collegio, ceiling. Paintings by Veronese, 1576-1578. Photo Alinari.

74 Veronese, Mars and Neptune, Sala del Collegio. Photo Direzione del Palazzo Ducale.

75 Veronese, Justice and Peace Before Venice Enthroned on the Globe, Sala del Collegio. Photo Anderson.

76 Veronese, Purity, Sala del Collegio. Photo Anderson.

77 Veronese, Industry, Sala del Collegio. Photo Direzione del Palazzo Ducale.

78 Libreria di San Marco, vestibule, view of ceiling. Murals by Cristoforo and Stefano Rosa, painting by Titian, 1559-after 1560. Photo Böhm.

79 Titian, An Allegory of Wisdom, Libreria di San Marco. Photo Fiorentini.

80 Tintoretto, An Allegory of Dreams, from Casa Barbo, ca. 1556. Detroit, Institute of Arts. Photo Institute of Arts.

81 Palazzo Ducale, Salotto Quadrato (Atrio), detail of ceiling. Paintings by Tintoretto, 1562 or after. Photo Soprintendenza alle Gallerie.

82 Tintoretto, Doge Girolamo Priuli with Peace, Justice, and St. Jerome, Salotto Quadrato. Photo Anderson.

83 Studio of Tintoretto, The Judgment of Solomon, Salotto Quadrato. Photo Böhm.

84 Scuola di San Rocco, Albergo, view of ceiling. Paintings by Tintoretto, 1564-1565. Photo Soprintendenza alle Gallerie.

85 Tintoretto, The Apotheosis of St. Roch, Scuola di San Rocco. Photo Anderson.

86 Tintoretto, Faith, Scuola di San Rocco. Photo Anderson.

87 Tintoretto, The Virgin of Mercy, Scuola di San Rocco. Photo Anderson.

88 Tintoretto, Liberality, Scuola di San Rocco. Photo Anderson.

89 Palazzo Ducale, Retrostanza dei Tre Capi del Consiglio dei Dieci (Sala degli Inquisitori di Stato), view. Ceiling paintings by Tintoretto, 1575-1576. Photo Direzione del Palazzo Ducale.

90 Tintoretto, The Return of the Prodigal Son, Retrostanza dei Tre Capi. Photo Direzione del Palazzo Ducale.

91 Tintoretto, Faith, Retrostanza dei Tre Capi. Photo Direzione del Palazzo Ducale. (Reproduced in the original format.)

92 Scuola di San Rocco, Sala Superiore, view. Ceiling paintings by Tintoretto, 1575-1578. Photo Ferruzzi.

93 Scuola di