CALENDARIO, Filippo

The oldest part of the Doge’s Palace is now the fa�ade facing the quay, with its 13th-century sculptures at the corners of the building. They are attributed to Filippo Calendario or certain Lombard artists, like the Raverti or Bregno families. On the side facing the Ponte della Paglia they represent Tobias and the Angel Raphael and the Drunkenness of Noah; towards Piazzetta San Marco are the Archangel Michael and Adam and Eve.

The biblical first couple are placed diagonally across the corner. Between them stands a figtree along which the serpent is coiled. They are turned toward the observer, showing their differing degrees of complicity in this key event. Eve holds a fig (rather than an apple) in her right hand and points with the index finger of her left hand toward Adam, whose behaviour is contradictory: while he is himself reaching for a fig, he is holding up his right hand in front of his breast, as though to fend off misfortune.

Calendario’s works, executed between the beginning of construction of the Palazzo in 1340 and his death, are among the finest late Gothic works in Venice.

Twelve capitals with anthropomorphic decoration from the Doge’s Palace outside date from the 1340s transferred to the museum of the Palace and replaced with copies during restoration in 1876-87. They are now generally attributed to Filippo Calendario. The picture shows one these capitals representing Aristotele Dialecticus.

Twelve capitals with anthropomorphic decoration from the Doge’s Palace outside date from the 1340s transferred to the museum of the Palace and replaced with copies during restoration in 1876-87. They are now generally attributed to Filippo Calendario. The picture shows one these capitals.

This is the Stonemason’s Capital, from the series of the crafts.

The ground floor of the Doges’ Palace houses a museum of fragments of the original fabric of the building. They include some fourteenth-century capitals from the arcading that was replaced by copies during the restoration in the nineteenth century. The quality of execution suggests they are the work of the Venetian sculptor Filippo Calendario. The carvings represent a variety of subjects, such as animal heads and allegorical figures.

The oldest part of the Doge’s Palace is now the fa�ade facing the quay, with its 13th-century sculptures at the corners of the building. They are attributed to Filippo Calendario or certain Lombard artists, like the Raverti or Bregno families. On the side facing the Ponte della Paglia they represent Tobias and the Angel Raphael and the Drunkenness of Noah; towards Piazzetta San Marco are the Archangel Michael and Adam and Eve.

The inebriated Noah stands swaying next to a tree that forms the corner. His drinking cup is slipping from his hand. On the other side of the tree are two of his sons, one helping his old father, the other showing his horror at his drunken state.

Calendario’s works, executed between the beginning of construction of the Palazzo in 1340 and his death, are among the finest late Gothic works in Venice.

The oldest part of the Doge’s Palace is now the fa�ade facing the quay, with its 13th-century sculptures at the corners of the building. They are attributed to Filippo Calendario or certain Lombard artists, like the Raverti or Bregno families. On the side facing the Ponte della Paglia they represent Tobias and the Angel Raphael and the Drunkenness of Noah; towards Piazzetta San Marco are the Archangel Michael and Adam and Eve.

Calendario was responsible for the first allegorical depiction of the Republic. His Venetia, a large circular relief in the tracery of the west side of the Palazzo Ducale, holds aloft in her right hand the sword that symbolizes power and justice. Beneath her feet, separated only by a boardwalk, a sea full of fishes rises in huge waves. To the right and the left, at Venetia’s feet, two small figures represent Anger and Pride.