398 VENETIAN INDEX

object, as the traveller sees it from the narrow canal which passes beneath the Porte San Paternian. The two arched lights of the belfry appear of very early workmanship, probably of the beginning of the thirteenth century.

PESARO, PALAZZO, on the grand Canal [XI. 150]. The most powerful and impressive in effect of all the palaces of the Grotesque Renaissance. The heads upon its foundation are very characteristic of the period, but there is more genius in them than usual. Some of the mingled expressions of faces and grinning casques are very clever.

[PIAZZETTA, IX. 52, X. 359.]

PIAZZETTA, pillars of, see Final Appendix, under head “Capitals.”¹ The two magnificent blocks of marble, brought from St. Jean d’Acre, which form one of the principal ornaments of the Piazzetta, are Greek sculpture of the sixth century, and will be described in my folio work.

PIETA, CHURCH OF THE. Of no importance.²

PIETRO, CHURCH OF ST., at Murano [X. 41]. Its pictures, once valuable, are now hardly worth examination, having been spoiled by neglect.³

PIETRO DI CASTELLO, CHURCH OF ST., IX. 26, 419. It is said to contain a Paul Veronese, and I suppose the so-called “Chair of St. Peter” must be worth examining.⁴

PISANI, PALAZZO, on the Grand Canal. The latest Venetian Gothic, just passing into Renaissance. The capitals of the first-floor windows are, however, singularly spirited and graceful, very daringly undercut, and worth careful examination. The Paul Veronese, once the glory of this palace, is, I believe, not likely to remain in Venice.⁵ The other picture in the same room, the “Death of Darius,” is of no value.

PISANI, PALAZZO, at St. Stefano. Late Renaissance, and of no merit, but grand in its colossal proportions, especially when seen from the narrow canal at its side, which, terminated by the apse of the Church of San Stefano, is one of the most picturesque and impressive little pieces of water scenery in Venice.

[PISTOR, CALLE DEL, X. 294.]

POLO, CHURCH OF ST. Of no importance, except as an example of the advantages accruing from restoration. M. Lazari says of it, “Before this church was modernized, its principal chapel was adorned with mosaics, and possessed a pala of silver gilt, of Byzantine workmanship, which is now lost.”

¹ [Above, p. 275. In the “Travellers’ Edition” the reference was altered to “See St. Mark’s Rest’’-§§ 14 seq. For the Jean d’Acre pillars, see Vol. IX. p. 105 n. The intended Plates in the Examples were not published.]

² [In a gallery over the entrance, there is a fine work of Moretto, “Supper in the House of the Pharisee.”]

³ [They include one by Giovanni Bellini.]

⁴ [The Veronese, on the west wall to the left on entering, is “The Agony in the Garden.” The so-called “Chair of St. Peter” is an ancient episcopal seat, given by the Emperor Michael III. to the Doge of Venice in the middle of the ninth century; the back of it, inscribed with Arabic characters, seems to have been a gravestone.]

⁵ [“The family of Darius at the feet of Alexander after the battle of Issus.” It was purchased in 1857 by the English Government, and now hangs in London in the National Gallery, No. 294: see above, p. 359 n.]

[Version 0.04: March 2008]