Dublin Core
Title
Scala dei Giganti
Description
The Scala dei Giganti, which is depicted, is an entrance to the Doge’s Palace. Made of limestone and marble, this staircase is one of many representations of Venetian power and wealth. Although the staircase itself was commissioned to Antonio Rizzo, it is important to recognize that its title is derived from the two sculptures that stand tall at the top of the staircase. Translated into English, Scala dei Giganti literally means “staircase of giants” and refers to the two mythological figures at the top.
Standing at the base of the staircase, immediately the quatrefoil design in the base in front of the steps is noticed. When approaching the staircase as depicted in the image, it is important to recognize the role of the two statues at the top: Mars and Neptune. While their symbolic meaning is important, we shall focus on the image for now. Both sculptures create vertical lines, creating a space in between in which the viewer’s eyes follow. As the viewer climbs the steps, the eyes follow the railing of the staircase (which are embedded with high relief imagery) to the two arches flanking the staircase that are below the feet of the sculptures. In their own niches, a coat of arms is shown on each arch, with two divine figures pointing to the coat of arms in high relief. Upon reaching the top of the flight, the viewer is overcome by the two sculptures, Mars (left) and Neptune (right), which stand in contrapposto, another characteristic of Roman art that had made its way into Venetian culture. Mars, the Roman god of war, is depicted as muscular, with a shield behind his right leg and a Roman war helmet on his head. Adjacent to him stands Neptune, the god of the sea, who is also depicted as muscular, with great detail being put into his hair, almost giving the sculpture and sense of animation and fluidity. Both vertical lines of the sculptures lead up to a sculpture of St. Mark’s lion, embedded into the arcade behind the two Roman gods. Each arch has a mixture of high and low relief motifs that lead down towards the doric pilasters which are assimilated into the facade.
Given that Venice was an expanding state, with its foreign interests ranging from Milan to the Eastern Mediterranean, it was important that Venice built on this concept of power and righteousness. By incorporating the Roman gods--Mars and Neptune--not only does Venice make the statement that they are powerful on both land and sea, but Venice also makes the statement that they have a seat at the international table with just as much, if not more, authority and power than Rome. This, in conjunction with the fact that this staircase was used for royal processions as well as welcoming honorary guests from foreign lands, serves as strong evidence for the self-promotion of the Venetian state.
Standing at the base of the staircase, immediately the quatrefoil design in the base in front of the steps is noticed. When approaching the staircase as depicted in the image, it is important to recognize the role of the two statues at the top: Mars and Neptune. While their symbolic meaning is important, we shall focus on the image for now. Both sculptures create vertical lines, creating a space in between in which the viewer’s eyes follow. As the viewer climbs the steps, the eyes follow the railing of the staircase (which are embedded with high relief imagery) to the two arches flanking the staircase that are below the feet of the sculptures. In their own niches, a coat of arms is shown on each arch, with two divine figures pointing to the coat of arms in high relief. Upon reaching the top of the flight, the viewer is overcome by the two sculptures, Mars (left) and Neptune (right), which stand in contrapposto, another characteristic of Roman art that had made its way into Venetian culture. Mars, the Roman god of war, is depicted as muscular, with a shield behind his right leg and a Roman war helmet on his head. Adjacent to him stands Neptune, the god of the sea, who is also depicted as muscular, with great detail being put into his hair, almost giving the sculpture and sense of animation and fluidity. Both vertical lines of the sculptures lead up to a sculpture of St. Mark’s lion, embedded into the arcade behind the two Roman gods. Each arch has a mixture of high and low relief motifs that lead down towards the doric pilasters which are assimilated into the facade.
Given that Venice was an expanding state, with its foreign interests ranging from Milan to the Eastern Mediterranean, it was important that Venice built on this concept of power and righteousness. By incorporating the Roman gods--Mars and Neptune--not only does Venice make the statement that they are powerful on both land and sea, but Venice also makes the statement that they have a seat at the international table with just as much, if not more, authority and power than Rome. This, in conjunction with the fact that this staircase was used for royal processions as well as welcoming honorary guests from foreign lands, serves as strong evidence for the self-promotion of the Venetian state.
Creator
Antonio Rizzo
Source
Fenlon, Iain, Piazza San Marco, (Cumberland: Harvard University Press, 2009), Accessed September 13, 2020, ProQuest Ebook Central.
Muir, Edward, "Images of Power: Art and Pageantry in Renaissance Venice," The American Historical Review 84, no. 1 (1979): 16-52, doi:10.2307/1855658.
Rizzo, Antonio, (Italian architect and sculptor, born before 1440, died 1499 or after) sculptors. 1486-1497 (creation). Scala dei Giganti, View: full, View from inside the passage. stairs. Place: Palazzo Ducale (Venice, Italy)Venice, Venezia, Veneto, Italy. https://library.artstor.org/asset/HUCB_SHARE_109913123485.
Wiebke Pohlandt, "Antonio Rizzo," Jahrbuch Der Berliner Museen 13, (1971): 162-207, doi:10.2307/4125724.
Wolters, Wolfgang, "Rizzo, Antonio," Grove Art Online, 2003; Accessed 13 Sep. 2020. https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000072338.
Muir, Edward, "Images of Power: Art and Pageantry in Renaissance Venice," The American Historical Review 84, no. 1 (1979): 16-52, doi:10.2307/1855658.
Rizzo, Antonio, (Italian architect and sculptor, born before 1440, died 1499 or after) sculptors. 1486-1497 (creation). Scala dei Giganti, View: full, View from inside the passage. stairs. Place: Palazzo Ducale (Venice, Italy)Venice, Venezia, Veneto, Italy. https://library.artstor.org/asset/HUCB_SHARE_109913123485.
Wiebke Pohlandt, "Antonio Rizzo," Jahrbuch Der Berliner Museen 13, (1971): 162-207, doi:10.2307/4125724.
Wolters, Wolfgang, "Rizzo, Antonio," Grove Art Online, 2003; Accessed 13 Sep. 2020. https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000072338.
Publisher
Doge Foscari
Date
c. 1486-1497
Contributor
Muhib Methani
Rights
© Loren Partridge
Format
Limestone and colored marble, originally partially gilt
Type
Sculpture/Architecture
Coverage
Palazzo Ducale, Venice, Italy