becauseitwasat Venicealone thatthis expressionattainedperfection. Elsewhere, particularlyin Florence, itdiedawaybefore itfoundcomplete utterance.

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1 The followingessayowesitsorigintothe author's belief that Venetian painting is the most complete expression in art of the Italian Renaissance. The Renaissance isevenmore important typically than historically. Historically itmaybelookeduponasanageof gloryor of shame according to the different views entertained of European events during the past fivecenturies. Buttypicallyitstandsforyouth, and youthaloneforintellectualcuriosityand energygraspingat the wholeof life asmaterial whichithopestomouldtoanyshape.

2 Italianpaintinginterestsmanyof usmore thanthe paintingof anyotherschoolnot becauseof itsessentialsuperiority, but becauseitexpressedthe Renaissance; and Venetianpaintingisinterestingaboveall becauseitwasat Venicealone thatthis expressionattainedperfection. Elsewhere, particularlyin Florence, itdiedawaybefore itfoundcomplete utterance.

3 Bernard Berenson(nato Bernhard Valvrojenski), Butrimonys, 26 giugno 1865 Firenze, 6 ottobre 1959

4 The Venetian Painters of the Renaissance. New York: G. P. Putnam, 1894; Lorenzo Lotto: An The Venetian Painters of the Renaissance. New York: G. P. Putnam, 1894; Lorenzo Lotto: An Essay in Constructive Art Criticism(1894); The Florentine painters of the Renaissance. London: G.P. Puitnam, 1896; The Central Italian Painters of the Renaissance. London: G. P. Putnam, 1897; The Study and Criticism of Italian Art. 2d series. London: George Bell, 1902 [containing the essay "Rudiments of Connoisseurship"]; The Drawings of Florentine Painters Classified, Criticised and Studied as Documents in the History and Appreciation of Tuscan Art. 2 vols. New York: Dutton, 1903; North Italian Painters of the Renaissance. New York: G.P. Putnam's Sons, 1907; Three Essays in Method. Oxford: Clarendon, 1926; [first combined printing of all four texts] Italian Painters of the Renaissance, Oxford: Clarendon Press, 1930; Italian Pictures of the Renaissance: A List of Principal Artists and their Works. Oxford University Press, 1932

5 RespectVenice

6 Leo, mascotte of Venice Tourism Office

7 Venice has launched a list of 10 guidelines to encourage tourists to respect the city and blend in like the locals do. Called Veneziaè anchetua, rispettala! (Venice is yours too, respect it!), the initiative suggests ways visitors can respect the city. Posters listing the guidelines printed in Italian, English, Spanish, Japanese, French, Russian and German will be posted around the city. The campaign has its own mascot in the form of a cartoon of the city s symbol of winged lion.

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9 She-Wolf, bronze, XII-XV Century, Rome, Musei Capitolini

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13 C.E.

14 4 Evangelists: Luke (ox), John (eagle), Mark (lion), Matthew (angel)

15 Andrea del Castagno, Saint Mark, 1442, fresco, Venezia, San Zaccaria

16 Giovanni BELLINI, Frari Triptych, 1488, oil on panel, Santa Maria Gloriosa dei Frari, Venice

17 Doge Francesco Foscari kneeling before the lion of Saint Mark(nineteenth Century reconstruction after destroyedoriginalbybartolomeo Bon), Porta della Carta, San Marco

18 Jacobellodel Fiore (Venezia, ca ), Justice with the Archangels Michael and Gabriel, 1421, tempera on wood, Venice, Gallerie dell Accademia

19 Giovanni di Baronzioda Rimini, Allegory of Juzstice, second half of 14th Century, Tolentino, Basilica of the Saint Giotto, Allegory of Juzstice, , Padova, Cappella dell Arena

20 Raffaello, Allegory of Justice, 1510, fresco, Roma, Stanze Vaticane

21 P. Batoni, Allegory of Justice, ca., oil on canvas, private collection

22 A. Canova, Allegory of Justice, , plastercast, Milano, Gallerie di Piazza Scala

23 Todaythe onehome of liberty, peace and justice, the onerefugeof honorable men[ ]. Richin goldbutricherin fame, builton solidmarblebutstanding more solidon a foundationof civic concord, surroundedbysaltwatersbut more securewiththe saltof good council. Francesco Petrarca, Epistualae seniles, IV, )

24 Bartolomeo Bon, The judgment of Salomon, 15th Century, Palazzo Ducale Bartolomeo Bon, Justice, 15th Century, Porta della Carta, Palazzo Ducale

25 Filippo Calendario (?), Venecia, Palazzo Ducale, facciata ovest

26 J. Sansovino, Venice as Justice, , marble, Loggetta di San Marco

27 Jacopo Palma il Giovane, Allegory of the League of Cambrai, Sala del Senato, 590 ca., oil on canvas, Venice, Palazzo Ducale

28 G. Reni, Virgin Mary and Saints (Pala del Voto), 1631, oil on wood, Bologna, Pinacoteca Nazionale

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30 Paolo Veronese, Trionfo di Venezia, 1582, oil on canvas, Venice, Palazzo Ducale

31 Tintoretto, Paradise, Venezia, Palazzo Ducale

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33 Jacopo de Barbari, View of Venice, woodcut, 1500, Venice, Museo Correr

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36 A. Rizzo, Scala dei Giganti, , marble, Venice, Palazzo Ducale

37 Jacopo Sansovino, Marsand Neptune, marble, 1566

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39 J. Sansovino, Apollo, Mercury, Minerva, Peace, Loggetta di San Marco

40 Paolo VERONESE, Venice, Hercules, and Ceres, 1575, oil on canvas, 309 x 328 cm, Venezia, Gallerie dell'accademia

41 Veronese, Venice enthroned with Justice and Faith, Sala del Collegio, Palazzo Ducale

42 Giambattista Tiepolo, Venice receiving gifts from Neptune, Venezia, palzzo Ducale

43 Map of Italy, before 1498

44 Mapof NorthernItaly, XV Century

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47 Raffaello, Ritratto di Baldassarre Castiglione, , oil on canvas, Paris, Louvre B. Castiglione, Il Libro del Cortegiano, Venezia, 1528, (written in Urbino between 1513 e il 1524)

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49 Marco Boschini(Venezia, 1613 post 1704) La Carta del navegar pitoresco, 1660 Dialogo tra un Senator Venetian deletantee un Professor de Pitura, comparti in otoventi con i quali la Nave venetianavien condutain l'alto Mar de la Pitura, come assoluta dominante de "" queloa confusionde [ chi non intende el bossolo dela calamita Le miniere della pittura veneziana, 1664 Le ricche miniere della pittura veneziana, 1674

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51 Carlo Ridolfi, Lonigo(Vi) 1594 Venezia 1658) Meraviglie dell arte, 1646 (I volume), 1648 (II volume)

52 Schoolof Painting Luigi Lanzi(Treia, 14 giugno 1732 Firenze, 31 marzo 1810)

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