VENERITO. — The entire region lying between the Alpine arc, Lake Garda, the Mincio, the Po, and the Adriatic. It is divided into three distinct units: Trentino-Alto Adige; V. O VENEZIA EUGANEA; Friuli-Venezia Giulia.
I. GEOGRAPHY.
I. THE TRENTINO-ALTO ADIGE
It comprises the basin of the Adige upstream from the Salorno gorge, the Sarca valley with a strip of Lake Garda and the headwaters of some Lombard (Chiese) and Venetian (Astico, Cimone, Piave) rivers; besides being divided into two provinces, it is further subdivided into numerous small units formed by some of its major valleys (Val di Non, Val di Sole, Val di Fassa, Val di Fiemme, Val Sugana, Val Pusteria, etc.).It is Italy’s northernmost and most mountainous region: of its total area (13,602 sq. km, of which 602 in Trentino), half is covered by woods, predominantly coniferous, and a quarter by pastures, while crops occupy the valley floors, especially in the larger valleys (Val d’Adige), where the population is concentrated. Wheat and maize prevail in Trentino, rye in Alto Adige, and potatoes are grown throughout. Fruit orchards are widely spread, particularly in the Merano and Bolzano basins, as is the vine; the olive tree is found only in the
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### Trentino
Livestock farming has only modest importance here. Mineral resources are not lacking, but they are of small scale; however, industry has been spurred by the major development of hydroelectric plants.
The population (729,000 inhabitants) is entirely Italian in Trentino, mixed in Alto Adige, where there are 195,000 German speakers and 17,000 Ladin speakers. On 28 November 1948, the region officially called Trentino-Alto Adige received a special Statute, which recognizes equal rights for the Italian and German languages. Of the 48,000 Germans who in 1939 opted for Austria and emigrated there, although they are authorized to return to Alto Adige, only 5,000 have actually resettled there (up to 1951). Besides the two provincial capitals, Merano (28,000 inhabitants), one of the most renowned climatic resorts in Europe, and Rovereto (22,000 inhabitants), a notable industrial town, should be mentioned.
| Bolzano | 7400 | 334.0 | 45 | Bolzano (70) | 1 |
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### Venezia Euganea
It comprises the north-eastern part of the Po Valley, watered by rivers independent of the Po, with most of the lagoons stretching east of it, from a belt of pre-Alpine and sub-Alpine reliefs existing from Garda to Livenza; and from the southern slopes of the Dolomites. Of its territory (18,385 sq. km.; Udine province, or Friuli, having passed to Venezia Giulia), half is flat, the other half formed by mountains and hills. Agriculture is flourishing, especially in the low plain, i.e., below the resurgence zone, yielding mainly cereals (wheat and maize), forage, grapes, fruit, and particularly in the Polesine (between Po and Adige), sugar beets, hemp, and tobacco. Mulberry trees, which support an intense silkworm breeding industry, are widespread. The hills, where olive trees thrive in places, are rich in orchards and vineyards, while in the mountainous areas, covered with forests and abundant in pastures, the main resources come from forestry and livestock (cattle), along with the dairy industry (butter and cheese). In recent years, industry has made notable progress (especially textiles), thanks to the development of hydroelectric plants and the impetus given to the large center of Porto Marghera (extractive, steel, mechanical industries, shipyards), which lies near Venice, the city towards which most of the region's traffic converges and which is in fact its only maritime emporium.
The population (nearly 4 million inhabitants), which has a density far above the Italian average, lives largely concentrated in urban centers, many of which, of ancient origin, such as Verona, at the outlet of the great Brenner route, and Padua, the most populous mainland city, at the center of a thriving agricultural district. Founded in the High Middle Ages, Venice, after a period of great prosperity (trade with the Levant), followed by a slow decline, has revived thanks to its still favorable geographical position, though challenged by the growing competition of other Adriatic ports.
Besides the provincial capitals, Venezia Euganea has about ten cities each with over 20,000 inhabitants, all inland—except Chioggia (49,000 inhabitants), a fishing port.
| Bolzano | 4685 | 2368 | 64 | Belluno (29) | 1 |
| Trento | 2142 | 7140 | 33 | Padova (166) | 1 |
| Trentino-Alto Adige | 1804 | 3551 | 197 | Rovigo (46) | 1 |
| Trentino-Alto Adige | 2458 | 7399 | 301 | Venezia (316) | 1 |
| Trentino-Alto Adige | 3097 | 6448 | 208 | Verona (178) | 1 |
| Trentino-Alto Adige | 2722 | 6077 | 223 | Vicenza (80) | 1 |
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### Venezia Giulia
Within the limits of physical Italy, Venezia Giulia extends over about 9,000 sq. km. and includes the inner slopes of the Julian Alps, the Karst plateau, the Istrian peninsula, and the Quarnero Islands. After the Second World War, Italy retained only a small strip on the left bank of the Isonzo, with the city of Gorizia, itself touched by the Yugoslav border. To these 469 sq. km. of the old County of Gorizia and Gradisca (which alone measures about 3,000 sq. km.), the Friuli or Province of Udine is added in the current regional toponym, which essentially reproduces the characteristics of the neighboring Venezia Euganea.
The population (928,000 inhabitants) is almost entirely Italian (speaking a Ladin dialect), with small Slovenian minorities. Besides the provincial capitals, only two inhabited centers exceed 20,000 inhabitants: Pordenone (27,000 inhabitants), the largest industrial center of Friuli (textile mill), and Monfalcone (24,000 inhabitants), at the foot of the Karst plateau, also important for its industries (shipyards).
| Bolzano | 469 | 133.2 | 283 | Gorizia (41) | 1 |
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### Veneto
The Celts entered Veneto and halted at the Adige. The Veneti, remaining masters of Vicenza and Ateste, their advanced outposts, were able to provide valuable assistance to the Romans by fighting their fierce neighbors while other hordes of these were advancing towards central Italy as far as attacking Rome. "Only at a later time do we find the region of the Carnic Alps also in the power of the Celts; from Germany, where numerous Gallic tribes were settled, they infiltrated into the valleys of present-day Carnia, Carniola, and Carinthia; they are known precisely by the names of Taurisci and Carni, and from the side of the Alps that were later called Julian, they came to be near the Istrians and the Iapydes, while they were able to press upon the Veneti living in the plain. However, when they might have attempted a conquest from this direction, they found themselves facing a much stronger adversary than the Veneti: the Romans, who in 222 BC defeated the Celts in Cisalpine Gaul and took Milan, and thus the Cenomani and the Veneti, whether by love or by force, had to accept their alliance" (P. Paschini, *Storia del Friuli. I*, Udine 1934, p. 10).
In 181 BC, the Romans founded the Latin colony of Aquileia in Carnian-Illyrian territory, destined to become a great emporium of the Roman world; from Aquileia they marched victoriously against the Istrians (178-177 BC) and with the consul Gaius Sempronius Tuditanus against the Carni (129 BC); after the Social War (89 BC), Aquileia became a municipality with administrative autonomy, and the cities of Veneto, by the *Lex Pompeia*, were assimilated to colonies of Latin right, such as Padua, Este, and Vicenza.
After Augustus’ conquests and victories over the transalpine peoples and the Pannonians, the Empire’s frontier was extended to the Danube. In Augustus’ division of Italy into eleven regions, Aquileia became the capital of the Tenth Region, “Venetia and Histria,” which encompassed the territory from the Adda River to the Carnic and Julian Alps, shifting Italy’s borders from the Formicone River (modern Risano) to the Arsa, thereby including nearly the entire Istrian peninsula with Pola. Within the territory of the Tenth Region, already occupied by the Gallic Cenomani, arose the cities of Brescia, Cremona, Trent, Verona, and Mantua. Among the Veneti, between the Po and the Livenza Rivers, lay Padua, Vicenza, Este, Altino, Adria, Oderzo, Belluno, and Feltre. Between the Livenza and the Risano Rivers were Concordia (a Roman colony founded in 41 BC), Aquileia, Trieste (Tergeste), Cividale (Forum Iulii), Zuglio (Iulium Carnicum), Longatico, Nauporto, and Ljubljana. In Istria itself were Pola, Parenzo, and Nesazio, while the remainder of Istria, including Albona, Fianona, and the coast along the Quarnaro (Liburnia), continued to belong to Illyricum (q.v.; see individual entries).
After Augustus, the history of the Veneto was subordinate to that of the Empire. Notable events include the invasion of the Quadi and Marcomanni (AD 169), who destroyed Oderzo (q.v.); various fortification works; the “Bellum Aquileiense,” which ended with the Roman Senate’s victory and the killing of Emperor Maximinus and his son beneath the walls of Aquileia (AD 238); Constantine’s victory at Verona over Ruricius Pompeianus, a general of Maxentius (AD 312); and Theodosius’ victorious war against the rebels Magnus, Eugenius, and Arbogastes in the Frigidus Valley (AD 395). The Visigoths under Alaric inflicted severe damage and destruction upon the Veneto (AD 401–410), as did various barbarian incursions, particularly that of Attila (AD 452), who sacked and burned cities. Theodoric defeated Odoacer east of Verona (AD 489) and later established his court there. Aquileia, along with the Veneto and Istria, became part of the Ostrogothic Kingdom, whose capital was Ravenna. Theodoric entrusted the defense of Italy to Alemanic populations, but they failed to prevent the Bavarians, settled in Raetia (Bavaria), from penetrating the Venosta, Isarco, and Pusteria valleys.
Christianity in the Veneto, at least east of the Adige, was centered in Aquileia, though secure evidence of this dates only to the mid-3rd century. Before the Constantinian Peace, the episcopal sees of Verona, Padua, and Parenzo in Istria (q.v.; see ITALY, History, no. 10) are considered to have been linked to Aquileia. During the 4th century, the sees of Altino, Trent, Concordia (recent discoveries of early Christian burial grounds and cemetery basilicas attest to its importance in the 4th and 5th centuries), Iulium Carnicum, and possibly Mantua, Oderzo, Feltre, Belluno, Asolo, Treviso, Vicenza, Trieste, and beyond the Alps—Scarabantia, Sabaria, and Emona in Pannonia Savensis—were gradually established. In the 5th century, Aquileia became the metropolitan see for the bishoprics of “Venetia and Histria” and the territories of Raetia Secunda with Vindelicia, Noricum, and Upper Pannonia, excluding Brescia. The list of sees is preserved in the subscriptions of the Synod of Grado (579), which was attended not only by Elias, residing in Grado but styled “bishop of the holy Church of Aquileia” and who convened and presided over the synod, but also by the aforementioned bishops, as well as those of Pola, Cissa (a now-vanished Istrian diocese), Parenzo, and Pedena in Istria; of Celeia (Cilli), Aguntum (Innichen in Carinthia), and Tiburnia (Spittal) in Noricum; and of Sabiona (Säben, later Brixen, in Raetia Secunda).
In the 6th century, political and religious disputes, particularly the condemnation of the Three Chapters (q.v.) decreed by Emperor Justinian and confirmed by the Fifth Ecumenical Council (Second Council of Constantinople, AD 553), brought radical changes to the internal organization of Venetia and Histria. The metropolitan of Aquileia, along with his suffragans, refused to accept the condemnation, opposing not only the emperor but also the Pope. Despite the efforts of Pelagius II and Gregory I to persuade them that the definition of the Council of Chalcedon had not been compromised, as they claimed, even the harsh measures taken by the Exarch of Ravenna at the end of the 6th century proved ineffective against the schismatics, who sought to exploit the upheavals caused by the Lombard invasion.
The Lombards, having crossed the Julian Alps into Italy (AD 568), established their first duchy at Cividale. Secure in their rear, they advanced through Regio X, seized Bolzano and Merano from the Bavarians, and established the Duchy of Trent, as well as those of Verona and Ceneda, aiming to replace Byzantine institutions with those more in keeping with their national customs. Though Arians by religion and not particularly fanatical, they faced distrust from the Catholic hierarchy. As a result, the Venetian bishops abandoned their cities closer to the sea, along with at least part of the urban population, seeking refuge in the lagoons opposite, which remained within the boundaries of their dioceses and under Byzantine jurisdiction: Concordia to Caorle, Oderzo to Cittanova, and Altino to Torcello. As for Aquileia, Bishop Paul (AD 557–69), according to Paul the Deacon, “fearing the barbarity of the Lombards, fled to the island of Grado, taking with him all the treasure of his church” (Hist. Langob., II, 10). Istria, over which the Lombards could not maintain stable control, remained subject to Byzantine authority until the arrival of the Franks. The unity of the Aquileian metropolitan see was shattered in AD 607 when Byzantine authority imposed a Catholic bishop (Candidianus) in Grado. The schismatics on the mainland, under the protection of the Lombard king Agilulf, then secured a bishop of their own party in Aquileia (John), resulting in two metropolitan sees: Aquileia for Lombard-held territory and Grado, which later proclaimed itself the New Aquileia, encompassing Istria and the lagoon sees as they were established—Caorle, Cittanova, Equilio, Torcello, Malamocco (later Chioggia). Both metropolitans assumed the title of patriarch. The schism persisted on the mainland until the late 7th century, when the bishop of Aquileia formally abjured it at Pavia, and his suffragans followed suit. Little is known of these latter bishops, and doubts remain as to whether the episcopal succession in some sees was uninterrupted. In any case, Concordia and Ceneda (as successor to Opitergium) retained their bishops.
It played a part in the defence of the borders, and particularly stood out with the title of marquis, extending for a moment its rule over the transalpine territories of the East recently annexed to the Frankish Kingdom. The disintegration of the Frankish Empire and the invasions of the Hungarians at the beginning of the 10th century subjected the Venetian populations to severe trials: the seat of the march was moved to Verona and the feudal system was established in the country, particularly under the Italian kings, among whom Berengar I was forced to be generous with his vassals in granting them political concessions. But alongside that of the counts, the power of the bishops was affirmed thanks to the grants of immunities, possessions and privileges by the Saxon and Frankish sovereigns, so that, for example, the Patriarch of Aquileia held the county of Carniola, the march of Istria, and direct feudal authority over the diocese of Concordia and the dioceses of Istria. Meanwhile, the episcopal principality of Trent was established with Bolzano, the Venosta Valley passed to the Bishopric of Chur, and the valleys of the Rienza and Isarco to Bavaria. Since the power of the bishops had its centre in the city, in the 5th century, as indeed in neighbouring Lombardy, this power favoured the urban populations, which, growing in number and wealth, were able to resist the pressure of the lords of the countryside and establish themselves as communes, even limiting the powers of the bishop, until they were able to form free associations among themselves, as happened in 1164 with the Veronese League. The most important communes were Verona first of all, Treviso, which was at the head of the *Marca gioiosa* at the beginning of the 13th century, Padua, Mantua; while Vicenza, eagerly sought after by powerful neighbours, Feltre, Belluno had rather secondary importance; a special historical physiognomy, more long-lasting feudal, was maintained by Friuli, still lacking important urban centres.
To contain the power of the communes at the decline of imperial power, Ezzelino III da Romano, strengthened by a vicariate granted by Frederick II, attempted to establish a state with Verona, Vicenza and Padua, while his brother Alberico settled in Treviso, but their downfall in 1260 left the field open to the Signorie; that of the della Scala in Verona, which had its centre of action in
With the end of Venetian rule in 1797, the mainland territory east of the Adige was assigned to Austria by the Treaty of Campoformio. But after the victory of Austerlitz in December 1805, this territory as far as the Isonzo was united with the Kingdom of Italy; after Wagram (6 July 1809) it was enlarged by the addition of Trentino and the Illyrian provinces of Gorizia, Trieste, Istria, the Dalmatian littoral and other non-Italian lands. With the fall of the Kingdom of Italy on 7 April 1815, the Veneto, together with Lombardy, became part of the Kingdom of Lombardy-Venetia, under the rule of an Austrian archduke resident in Milan. It comprised the ancient Venetian mainland territories, with modified eastern borders; Trentino, the Dalmatian littoral and the so-called Littoral (*Küstenland*), which included Gorizia, Gradisca with the Isonzo valley, Trieste and Istria, remained under direct Austrian rule, governed by a lieutenant resident in Trieste. Ecclesiastical relations were regulated in 1818 through negotiations between Pius VII and Francis I (v. VENEZIA). In 1866 the Veneto became part of the Kingdom of Italy, but the Littoral remained subject to Austria and ecclesiastical arrangements were unchanged; however, the anti-clerical laws enacted in the Kingdom were soon applied.
The war of 1915–18 reunited Trentino with Alto Adige and the Littoral with Italy, modifying the borders of the dioceses of Gorizia and Trieste; but with the peace imposed on Italy in 1943, the borders were pushed back to the Isonzo and the Free Territory of Trieste was created, which could not have an autonomous existence, while almost all of Istria was assigned to Yugoslavia. Ecclesiastical relations in this part have not yet been given a stable arrangement.
### III. CONCILIAR REGION
In the small church of St Benedict at Malles there are precious frescoes of the 9th century, already imbued with the plastic sense of Romanesque art. At Tubre (upper Venosta Valley) is the church of St John, founded by the Knights Hospitaller, and at San Candido the collegiate church of SS. Candido and Corbinian (13th century), with a solemn interior and vigorous examples of wooden and stone sculpture. There are also many examples of Romanesque-Gothic architecture, such as St Apollinaris in Trent, St Peter in Cembra (Gothic interior), the Assumption in Malé in Val di Sole, the cathedral of Bolzano (first half of the 14th century). Gothic art lasted a long time in this region, with Italian forms that exceptionally reached as far as Alto Adige, where, however, models from beyond the Alps prevailed. The Gothic-Italian current includes the oldest part of the Buonconsiglio Castle in Trent (13th–14th century), with the large Romanesque Torre Grande. At Fiera di Primiero, the church of the Assumption, with an imposing three-aisled Gothic interior, and St Francis in Bolzano with a fine cloister.
The 15th-century art of Trentino is almost entirely still Gothic: characteristic of this region are the castles, typical constructions that often retain the medieval character of their original structure, with superimposed Gothic and Renaissance elements; they often preserve frescoes of the international profane and chivalric current, of great quality and rare interest, such as Castel San Pietro near Calliano, the Castle of Rovereto (enlarged by the Venetians in the 15th century), the Castle of Avio (with the first cycle of profane frescoes in Trentino) at Merano, the Castle of San Zeno and Tyrol Castle (12th–13th century, ceded to the Habsburgs in 1363) with fine Romanesque reliefs, Churburg Castle in Val Venosta (13th and 16th centuries) and also that of Périgne in Valsugana (late 15th century) and that of Appiano (12th and 16th centuries, now in ruins). In Castel Roncolo, north of Bolzano, 15th-century frescoes with the Tristan cycle.
In painting, in addition to the aforementioned examples of the international current, to which must be added the cycle of the months on the walls of the Buonconsiglio (Torre dell’Aquila), the work of an artist from beyond the Alps, a Romagnol Giottesque current reaches as far as Bolzano, where in the chapel of St John in the Dominican church it leaves an outstanding complex of frescoes (1340). Of great importance is the German influence, deep especially in popular art, as seen in the frescoes of the Romanesque cloister of the cathedral of Brixen (14th and 15th centuries), where, however, Jacopo Sunter, the last Alto Adige Gothic painter, is also to be found.
Also worthy of mention are the singular frescoes of the Romanesque church of St James in Termeno (13th century) and those most elegant with the Stories of St Daniel (15th century) in the church of the same name in Ora. In St Proculus at Naturno, frescoes of the 8th and 9th centuries derived from Irish miniatures.
The Renaissance current slowly penetrated toward the end of the 15th century, and its development, with the exception of the area around Trent and a few other rare cases, was always opposed by the Gothic element. The flowering of the Renaissance in Trent was initially due to the bishop of Trent from 1514 to 1539; in 1520, the beautiful church of Santa Maria Maggiore by A. Medaglia of Como was built; within a few decades, the city was adorned with palaces of distinctly Venetian character, including the Town Hall (16th century), the houses of Geremia, Salvadori, and Rella (the latter with frescoes attributed to Fogolino), and Palazzo Tabarelli, of Lombard school. In Brixen, where northern elements often blend with Renaissance ones, the Prince-Bishops' Palace features a fine courtyard with three tiers of loggias. Yet the most important Renaissance architecture is undoubtedly the Buonconsiglio complex. The first Roman construction was modified with Venetian variations by Bishop Hinderbach in 1475; then, between 1528 and 1536, Bernardo Clesio added the Magno Palace to the south, worthy of comparison with the finest Italian royal residences of the time.
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**VENETO - Church of the Blessed Virgin of Succour, known as 'La Rotonda', architect F. Zamberlano (1594) - Rovigo.**
The architect's name is unknown. The loggia was frescoed by Romanino; Lotto, the two Dosso painters, Fogolino, and Zuccari were also called upon to decorate the Castle. This was a moment of great artistic fervor; the city was open to the best that was produced in neighboring regions. The Lodron Palace at Ponte Caffaro is an example of Brescian architecture. In Rovereto, under Venetian rule, the Town Hall was rebuilt in 1476 (with a frieze by Fogolino). Michele Pacher of Brunico (second half of the 15th century), sculptor and painter, is the most notable and refined artist of Alto Adige (old parish church of Gries).
The Baschenis family, popular Bergamasque painters, also worked in some locations in Trentino (frescoes in the church of Sant'Antonio at Pelugo in Val Rendena and in the church of San Vigilio near Pinzolo, featuring the famous Dance of Death painted on the façade by Simone Baschenis: V. tav. xlvii). Many churches are frescoed by anonymous Trentino folk painters and adorned with statues, altars, and wooden choir lofts of local craftsmanship (with tendencies between Gothic and Baroque). The Baroque period is not of great importance; mention may be made of the Seminary church in Trent, designed by P. Pozzo, a native of the city, the chapel of the Crucifix in Trent Cathedral, and, also in Trent, the churches of the Annunciation and San Martino (decorated by Knoller and Cignaroli). In the 18th century, painting gained great importance due to its connections with nearby Viennese Rococo art. The Guardi family originated from Val di Non (in Vigo, in the parish church, paintings by Antonio and Francesco Guardi). This was the moment when a group of notable painters flourished who often found fame in other Italian cities: Alberti, Unterpergher, and Lampi.
In the 19th century, all artistic activity stagnated. Still noteworthy is the painting of Segantini and, at the end of the century, that of Umberto Moggioli.
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II. VENEZIA EUGANEA.
With the establishment of Roman civilization in the region, monuments began to appear that bear admirable witness to it, and these multiplied throughout the period that ended, roughly, with the Lombard invasion. These are sepulchral monuments, of which splendid examples are found especially in Aquileia; statues and reliefs, notable products of provincial art; amphitheaters still in good condition, such as those in Pula, Verona, and, to a lesser extent, Padua; theaters like those in Trieste and Verona; temples and arches like those in Pula and Verona, while in Aquileia significant parts of the Forum have been discovered. Remains of lesser buildings and villas are scattered throughout the region. Numerous mosaics, especially in Aquileia, also survive. The first Christian basilicas arose in Aquileia (v. from the first decades of the 4th to the 6th century, but only their mosaic-covered plans remain, as in Giulio Carnico, while those of the Vergine and San Eufemia in Grado (v), of Eufrasio in Poreč (v.), of LICENZA (v.), Trieste (v.) are preserved in their outlines.
Early Venetian Christian art can be described as late Roman art with Byzantine influences absorbed through Ravenna. The artistic heritage of the classical world, through barbarian influence, prepared the new Romanesque art, which later developed more freely on the mainland: the Santo in Padua, and, a masterpiece of Venetian Romanesque, San Zeno in Verona, derived from the splendid Lombard cathedrals of Lanzarote (1120–38). Along the coast, more closely tied to ancient tradition, stand the splendid examples of the cathedral of Torcello, with its three naves in the exarchal style, and, on the same island, San Fosca, probably rebuilt on a pre-existing martyrion (Bettini), with a Greek-cross interior and an exterior featuring arcades following a polygonal perimeter. The apse, richly articulated with niches and brickwork, recalls that of Saints Mary and Donatus in Murano (rebuilt in 1140), sharing the same tendency toward color and the delicate interplay between surfaces and atmosphere. The prototype of these lagoon churches was the cathedral of Caorle (1038), with three naves, Romanesque-Byzantine capitals, and small slit windows. The first Doge’s Basilica of the Participazio family (828) must have been similar; this was the moment when Byzantine craftsmen arrived in Venice, summoned precisely to work there. The second San Marco, attributed to Pietro Orseolo, was entirely decorated with Byzantine marbles and sculptures, which were later reused in the third Basilica, built by Domenico Contarini, which absorbed and obliterated the previous structures (1063). According to some scholars, the structure of San Marco is thus Romanesque and owes its Oriental appearance to the decoration, which gradually enriched itself with the rich spoils that Venetian merchants brought back from the East; according to Fiocco, it is the work of Byzantine craftsmen inspired by the example of the Apostoleion, renewed under Basil, with domes projecting on a deliberately archaic plan. San Marco influenced the architecture of the Santo in Padua, where, however, the domes do not harmonize with the Romanesque-Gothic basilica body. In Venice, in the oldest part, especially in the Rialto area, Byzantine-style civil buildings still exist.
In painting, the influence of the East in the Veneto was continuous, and Venetian painting was shaped by this relationship between ancient Eastern and Western civilization. In Venice and along the coasts, the Byzantine element long predominated, producing the splendid mosaics of San Marco during the dogeship of Domenico Selvo (11th century), while in the Venetian hinterland, Romanesque-Northern forms spread, with notable Germanic contributions in Verona. By the mid-13th century, some mosaicists of San Marco showed connections with Romanesque art and assumed a dramatic intensity previously achieved only by sculpture: it seemed almost as though Venice was breaking away from the East (mosaics of the atrium).
Veneto (v.) inherited late Roman forms from Ravenna: St Mark’s was adorned with early Christian bas-reliefs, capitals and statues (the throne of St Mark, the Nativity, etc.). In the hinterland Lombard-Carolingian forms appear in decorative sculpture. In the 13th century Byzantine art again exerted great influence on the maritime Veneto: many bas-reliefs and more specifically decorative works (transennae) adorn the churches, and many Byzantine craftsmen worked there, forming their own school that nevertheless took account of the new Romanesque art. On the mainland, in Verona, the Lombard current asserted itself with Niccolò, who decorated the façade of S. Zeno, reworking Hellenistic and Byzantine motifs; the bronze panels of the portals of the same church are of the Romanesque-German school. The new Gothic current was not immediately accepted in the Venetian environment, which absorbed it slowly; it then developed greatly in the first three decades of the 15th century, increasingly accentuating decorative elements. On the mainland there are S. Anastasia and the cathedral of Verona, S. Fermo and the Eremitani in Padua; in Venice the Gothic churches of the Mendicant Orders, whose construction extended into the 15th century: SS. Giovanni e Paolo and the Frari, almost contemporary, and then S. Stefano, simpler, the Madonna dell’Orto, the Carmine and S. Zaccaria (interior), all three-aisled, with ribbed vaults. Characteristic elements are the columns, the tie-rods that reduce the function of the buttresses, and the arches that widen out. Later, single-aisled, are S. Maria della Carità and S. Gregorio. Of this period is the definitive construction of the Doge’s Palace, which, originally a castle, began to assume its present form around 1340, after various rebuildings, and received the importance of that florid Gothic, characterized by the predominance of voids over solids, which long dominated in Venice. Another splendid example of this light architecture, in harmony with the light and entirely resolved in surface, is the Ca’ d’Oro; among the civil buildings are also to be remembered Ca’ Foscari, Ca’ Pisani, the Palazzi Priuli, Soranzo, Van Axel, Contarini-Fasan. In the 14th century Giotto worked in Padua (Scrovegni Chapel), whose art exercised a profound influence in the region. To understand, however, the subsequent developments of painting in the Veneto, one must underline the importance of the school of the Rimini and Romagna miniaturists. Here is Tommaso da Modena (with Gothic and Sienese influences) who worked especially in Treviso; Althiero al Santo in Padua, and then Stefano da Verona. In Verona Pisaniello operated, the highest genius of the International Gothic in Italy (frescoes in S. Fermo and S. Anastasia). In Venice, Paolo Veneziano is still imbued with Byzantine modes and influences the Paduan Guariento; but Lorenzo Veneziano is already drawn into the Gothic world, and so is Jacobello del Fiore, who is fascinated by Pisaniello. With the great contributions that Gentile da Fabriiano’s painting gives to Jacopo Bellini and Alvise Vivarini, one is now on the threshold of the Renaissance.
In sculpture some Byzantinism still persists (sarcophagus of SS. Sergio and Bacco), but otherwise the Venetian-Gothic current is entirely under the influence of Antelami and perhaps, indirectly, also of French art: notable, in Padua, the portal of S. Giustina; in Venice, the Dream of St Mark (St Mark’s Basilica) and the decoration of the main portal of the same Basilica, in which Byzantine influences are still noted in the pictorial sensibility. In Padua Giovanni Pisano is present (Madonna and Angels at the Scrovegni), Nino Pisano worked in Venice on the Corner monument at S. Giovanni e Paolo. Both Tuscans left a deep mark in Venice and Padua on a school that, as always, elaborated their contribution and transformed it into a Venetian idiom. Many masters belonged to this school who left works throughout the region; the best known are the brothers Jacobello and Pier Paolo dalle Masagne, who were also active in Mantua, Bologna and Lombardy and are the authors of the statues of the iconostasis of S. Marco. Balduccio da Pisa brought the teaching of the Pisani to Verona and influenced those Campionese masters to whom we owe the Scaliger tombs.
At the beginning of the 15th century some great Tuscan artists were called to the Veneto; after the fire that devastated S. Marco in 1479, Paolo Uccello and Andrea del Castagno were summoned by the Republic to infuse new life into the now decadent mosaic school. And the two masters, although not renewing the facts of the ancient decoration, brought it to a high level. Thus in Padua Filippo Lippi (works at the Santo) brought the new word of the Renaissance, influencing some local masters. From the school of Squarcione came Mantegna (Ovetari Chapel at the Eremitani), and from 1443 Donatello worked in Padua for ten years; this city is now the most vital and fruitful artistic centre for the spread of Renaissance problems and art in the north. Mantegna (v.) it can be said that all the Renaissance schools of the Veneto and Lombardy derive and take new vigour. The winds will increasingly resolve the problems of form and space in colour, their natural, essential element, a consequence of mosaic painting. Then it can be said that in every city of the Veneto a school flourished: in Padua, in Verona, where Mantegna’s influence was also very strong, with F. B. Bonsignori, D. and F. Morone, G. dei Libri, Liberale and F. and G. Caroto. The Venetian school is about to bear Bellini (v.). Besides Donatello, other Tuscan sculptors worked in Padua such as Dello Delli, Michele da Firenze, Pietro Lamberti and Agostino di Duccio, who with their example freed Venetian sculpture from Gothic influences. From them were formed Niccolò Pizzolo, author of the altarpiece of the Eremitani (terracotta), Bartolomeo Bellano (who left works at the Santo, S. Giustina, the Eremitani, S. Francesco, etc.) and also Andrea Briosco known as Il Riccio, a famous bronze-smith distinguished by witty realism. In Venice, from the workshop of Bartolomeo Bon, author of the Porta della Carta, came sculptors (tailapietra) Tuscan, Venetian and Lombard, such as Matteo Raverti, who worked in the Doge’s Palace, and Andrea da Milano. Great fame also had the workshop of Pietro Lombardo, who worked with his sons Antonio and Tullio and was influenced by Agostino di Duccio; the Lombardi also left works in Padua (Santo) and Treviso (Cathedral). In the second half of the 15th century the genius of Antonio Rizzo appeared in Venice, creating his masterpiece in the statues of Adam and Eve in the Doge’s Palace; in which every Gothicism ends and a new plastic sense is born, characterized by flowing and luminous masses.
Pietro Lombardo was also an architect, with a marked tendency towards decoration rather than creating definite structures (church of the Miracoli, Palazzo Dario), while Mauro Codussi is sustained by a true architectural genius and organizes spaces and gives to the ribs their functional purpose (façade of S. Zaccaria, S. Maria Formosa, S. Giovanni Grisostomo, S. Michele in Isola). In 1527, after the sack of Rome, Sansovino arrived in Venice where he had great success; among his main works are to be remembered the Mint, the Library of S. Marco, the church of S. Francesco della Vigna, the Palazzo Corner, the loggetta of the bell tower. He knew how to adapt his classical and Roman experiences to the particular atmosphere of Venice, giving to his constructions rhythms marked by the predominance of voids over solids, with evident pictorial research. Towards the middle of the 16th century flourished the greatest Venetian architect, PALLIO (v.). In the Veneto there also worked Falconetto, who derives from Bramante and Peruzzi, Serlio, particularly known as a theorist, Fra Giocondo (loggia in Piazza dei Signori in Verona) and, so
