Veronese's "Apotheosis of Venice"

Here we are looking at the ceiling painting of the Piazza Venice, painted by Paolo Veronese circa 1580. It measures about 30 by 19 feet. This painting is one of three large paintings located on the ceiling of the Great Council Hall of the Palazzo di Palli. The Palazzo di Palli is the center of local power in Venice, and it was this room that housed the largest group of Venetian government. Every Sunday after church, the councilmen and the Doge would meet. It also housed special events such as the election of the Doge. This painting we are looking at now is after his election. The Doge thanks the Grand Council of Doge's Palace, painted by Francesco Gordi circa 1766-1780. It exemplifies how the room would have been arranged while it was in use. The three large paintings in the center of the ceiling tell the allegorical victories of Venice. Veronese's in particular depicts the personification of Venice at the top of the painting being crowned by Victory herself. Venetia is the embodiment of the city of Venice, and is identified by her white and gold regal dress. Victory hovers over her in order to place a crown upon her head. The rest of the figures directly surrounding Venetia are the other virtues. Honor, peace, security, felicity, abundance, liberty, and fame is flying over Victory. These personified virtues embody what Venice represents, or at least what they want to appear to represent. Below them is an assembly of people of all ages, classes, and race, representing the diverse populace Venice had. By depicting diversity, the city of Venice says to the viewer that Venice is the protector of the young and old, male and female alike. The message Veronese communicates is the power of Venice. The personification of Venice has been crowned by Victory, surrounded by virtues, while being celebrated by a large, diverse group of people. In 1527, Rome, the previous center of political power in the Italian peninsula, is sacked and no longer the empire it used to be. By commissioning paintings such as this, Venice presents themselves as the new Rome, the new and improved center of political power. Veronese even features the spiral columns that resemble the columns Constantine the Great brought to Rome for St. Peter's Basilica. Veronese's figures feature deep muscle definition akin to those figures by Michelangelo. This is easiest seen in the back of one of the virtues sitting next to Venetia, in the back of the man at the bottom of the painting, and the intense musculature of the dog sitting next to him. To contrast the number of references to Rome, Veronese features the sculpture of the Lion of St. Mark, a predominant symbol used for the city of Venice, and the coat of arms belonging to Doge Niccolo da Fonte, the Doge during the 1580s. By referencing known images associated with Rome in the juxtaposition with the images of Venice, the city declares themselves as the new center of the Italian peninsula. Another interesting juxtaposition here is the comparison between how men and women are depicted. As the scholar Holly Holbert describes in her research, men and women are depicted differently in art, and these depictions reflect the roles men and women play in society. By looking at this painting, the difference between men and women can be seen in the images they are associated with. Here the noble women leaning over the railing are accompanied by children and small dogs. These images present women as the caretakers of the family. There is an interesting contrast between the dog sitting next to the woman on the railing and the dog standing next to the man at the bottom of the painting. The woman's dog is small and soft, whereas the man's dog is strong, muscular, and powerful. The contrast between the man and woman depicted underline the contrast between men and women in society. Venice saw themselves as an authoritative, righteous, and powerful leader, one that would serve as the powerhouse of the Italian peninsula and a frontrunner of the empires of the world. In this painting of the Great Council Hall of Piazza di Calo, the city of Venice presents the literal and allegorical history. The apotheosis of Venice brings together the ideas of political authority, virtuous rule, and societal dynamics. By commissioning grandiose paintings displaying their historical victories through the faith and dedication to the city, the men of Venice create a visage of a strong republic, one that despite doubt and loss will continue on inevitably.