RIZZO, Antonio

This statue was originally on the fa�ade of the Arco Foscari (Foscari Arch), a crucible of Venetian architecture and sculpture in the Palazzo Ducale courtyard. Now it has been substituted by bronze copy.

Rizzo was the architect and sculptor in charge of the second phase of the Foscari Arch (1478-85). While supervising the arch, he contributed only two sculptures, the Adam and Eve, which originally stood in lower niches of the main fa�ade. Traces of priming suggest that the figures were painted to imitate bronze. They attempt to conceal their nudity with leaves and Eve with a “Venus pudica” pose. The Adam is related to works by Antonio Rossellino and Mantegna, while Eve is almost identical to a nude in painting by Giovanni Bellini. Rizzo, indeed, worked from the drawings of Giovanni’s brother, Gentile Bellini.

In this representation, Adam has already tasted the forbidden fruit and, frightened, turns his eyes heavenward as if seeking help. His mouth is open, his right hand clutches his chest as if he is short of breath. Rizzo takes Adam’s body from nature without idealizing it.

This statue was originally on the fa�ade of the Arco Foscari (Foscari Arch), a crucible of Venetian architecture and sculpture in the Palazzo Ducale courtyard. Now it has been substituted by bronze copy.

Rizzo was the architect and sculptor in charge of the second phase of the Foscari Arch (1478-85). While supervising the arch, he contributed only two sculptures, the Adam and Eve, which originally stood in lower niches of the main fa�ade. Traces of priming suggest that the figures were painted to imitate bronze. They attempt to conceal their nudity with leaves and Eve with a “Venus pudica” pose. The Adam is related to works by Antonio Rossellino and Mantegna, while Eve is almost identical to a nude in painting by Giovanni Bellini. Rizzo, indeed, worked from the drawings of Giovanni’s brother, Gentile Bellini.

This statue was originally on the fa�ade of the Arco Foscari (Foscari Arch), a crucible of Venetian architecture and sculpture in the Palazzo Ducale courtyard. Now it has been substituted by bronze copy.

Rizzo was the architect and sculptor in charge of the second phase of the Foscari Arch (1478-85). While supervising the arch, he contributed only two sculptures, the Adam and Eve, which originally stood in lower niches of the main fa�ade. Traces of priming suggest that the figures were painted to imitate bronze. They attempt to conceal their nudity with leaves and Eve with a “Venus pudica” pose. The Adam is related to works by Antonio Rossellino and Mantegna, while Eve is almost identical to a nude in painting by Giovanni Bellini. Rizzo, indeed, worked from the drawings of Giovanni’s brother, Gentile Bellini.

Three full-length marble statues by Rizzo stood originally in niches in the Arco Foscari in the Palazzo Ducale courtyard. They are a man in antique Roman armour, usually called Mars, and Adam and Eve, two of the earliest nude statues of the Venetian Renaissance. Now they have been substituted by bronze copies.

Adam and Eve are elegant, softly modelled figures, the Eve in a pose deriving from a Venus Pudica and the Adam gazing upwards with raised head and parted lips.

This statues were originally on the fa�ade of the Arco Foscari (Foscari Arch), a crucible of Venetian architecture and sculpture in the Palazzo Ducale courtyard. Now they have been substituted by bronze copies.

There is evidence that in 1465 Rizzo was in Venice, where Doge Cristoforo Moro gave him a prestigious commission to carve three marble altars (completed 1469) in San Marco. The altars of St James and St Paul have survived virtually unchanged, but that of St Clement was altered in the 16th century. The slender proportions of the tabernacles decorated with all’antica ornament put Rizzo in the vanguard of Venetian artists who took their inspiration from the Antique.

The standing figures of the saints, framed in the tabernacles, show the influence of Mantegna’s early style in their unornamented, angular drapery and severe demeanour.

This statue was originally on the fa�ade of the Arco Foscari (Foscari Arch), a crucible of Venetian architecture and sculpture in the Palazzo Ducale courtyard. Now it has been substituted by bronze copy.

Rizzo was the architect and sculptor in charge of the second phase of the Foscari Arch (1478-85). While supervising the arch, he contributed only two sculptures, the Adam and Eve, which originally stood in lower niches of the main fa�ade. Traces of priming suggest that the figures were painted to imitate bronze. They attempt to conceal their nudity with leaves and Eve with a “Venus pudica” pose. The Adam is related to works by Antonio Rossellino and Mantegna, while Eve is almost identical to a nude in painting by Giovanni Bellini. Rizzo, indeed, worked from the drawings of Giovanni’s brother, Gentile Bellini.

This statue was originally on the fa�ade of the Arco Foscari (Foscari Arch), a crucible of Venetian architecture and sculpture in the Palazzo Ducale courtyard. Now it has been substituted by bronze copy.

Rizzo was the architect and sculptor in charge of the second phase of the Foscari Arch (1478-85). While supervising the arch, he contributed only two sculptures, the Adam and Eve, which originally stood in lower niches of the main fa�ade. Traces of priming suggest that the figures were painted to imitate bronze. They attempt to conceal their nudity with leaves and Eve with a “Venus pudica” pose. The Adam is related to works by Antonio Rossellino and Mantegna, while Eve is almost identical to a nude in painting by Giovanni Bellini. Rizzo, indeed, worked from the drawings of Giovanni’s brother, Gentile Bellini.

This statue was originally on the fa�ade of the Arco Foscari (Foscari Arch), a crucible of Venetian architecture and sculpture in the Palazzo Ducale courtyard. Now it has been substituted by bronze copy.

Rizzo was the architect and sculptor in charge of the second phase of the Foscari Arch (1478-85). While supervising the arch, he contributed only two sculptures, the Adam and Eve, which originally stood in lower niches of the main fa�ade. Traces of priming suggest that the figures were painted to imitate bronze. They attempt to conceal their nudity with leaves and Eve with a “Venus pudica” pose. The Adam is related to works by Antonio Rossellino and Mantegna, while Eve is almost identical to a nude in painting by Giovanni Bellini. Rizzo, indeed, worked from the drawings of Giovanni’s brother, Gentile Bellini.

This statue was originally on the fa�ade of the Arco Foscari (Foscari Arch), a crucible of Venetian architecture and sculpture in the Palazzo Ducale courtyard. Now it has been substituted by bronze copy.

Rizzo was the architect and sculptor in charge of the second phase of the Foscari Arch (1478-85). While supervising the arch, he contributed only two sculptures, the Adam and Eve, which originally stood in lower niches of the main fa�ade. Traces of priming suggest that the figures were painted to imitate bronze. They attempt to conceal their nudity with leaves and Eve with a “Venus pudica” pose. The Adam is related to works by Antonio Rossellino and Mantegna, while Eve is almost identical to a nude in painting by Giovanni Bellini. Rizzo, indeed, worked from the drawings of Giovanni’s brother, Gentile Bellini.

This statue, now in the Museo dell’Opera in the Palazzo Ducale, was originally on the southern side of the Arco Foscari (the inner face of the Porta della Carta) where he may have held Doge Moro’s coat of arms. He is wearing antique, body-molded armour. His clothes cling in ridged layers to his body. His young face is framed by unruly curls, and his lips are creased into a slightly bitter expression, reminiscent of Mantegna.

The picture shows the statue after the recent restoration. The restored statue of Eve is in the background.

This statue, now in the Museo dell’Opera in the Palazzo Ducale, was originally on the southern side of the Arco Foscari (the inner face of the Porta della Carta) where he may have held Doge Moro’s coat of arms. He is wearing antique, body-molded armour. His clothes cling in ridged layers to his body. His young face is framed by unruly curls, and his lips are creased into a slightly bitter expression, reminiscent of Mantegna.

The picture shows the statue before restoration.

The picture shows the statue during restoration.

Niccolò Tron was the Doge of Venice between 1466 and 1473. His funeral monument is on the left wall of the presbytery of the Frari’s Basilica. A rich merchant, Tron donated his wealth to the Venetian Republic to help it in time of crisis, meriting, beyond the dogate, an everlasting memorial. He was the first Doge to be represented as in life, standing on his funeral monument, whereas previously all had been portrayed lying in death. The monument, in size and structure, is the grandest work of the Venetian Renaissance. It was conceived and executed by the Veronese Antonio Rizzo.

22 statues, divided into four orders, lighten the bulk of the monument. In the first order, at the centre, is the Doge, standing, with Faith on his left and Charity on his right. These two are exquisitely worked, worthy sisters to the famous Eve by the same Rizzo in the Ducal Palace. In the second, at the sides, two warriors hold the shield of the Tron family with the epigraph in the centre and two bas-reliefs on either side. In the third the Doge rests on the sarcophagus that is adorned by the three statues of Prudence, Wisdom and Fortitude, and on the sides are Song and Harmony. In the fourth are seven other statues embodying other virtues or allegories. The great round arch cuts off any upward line and encloses in solemn grandeur the entire new Renaissance concept.

In the lunette is the Risen Christ, with the Annunciation at the sides.

Tron is represented lifesize and full length twice in the monument: once as an effigy, lying on his bier, and then again standing in his robes of office, facing outward, as if to accept the homage of the viewer. In both representations his garments were originally polychromed and his features portrayed with a powerful realism.

The picture shows Charity, one of the two virtues flanking the figure of the doge on the funerary monument.

To his Charity Rizzo has given the same body as that of his Eve, but her face is idealized and impassive, more suited to an allegorical figure. The skill with which he conveys the feeling of finely pleated fabric revealing the body beneath was undoubtedly much appreciated by experts, many of whom was also collectors of classical works.

The Scala dei Giganti (Giant’s Staircase) in the courtyard of the Palazzo Ducale was designed by Antonio Rizzo. The structure is dressed with marble and decorated with bas-relief in full Renaissance style. The name comes from the two huge stone statues of Mars and Neptune carved by Jacopo Sansovino and set on the upper parapet in 1567. The statues symbolize the Republic’s authority over land and sea; it was here that the Doge’s crowning took place.

This majestic staircase is the principal entrance to the main floor and the state chambers of the Doge’s Palace. It was designed by Antonio Rizzo between 1483 and 1485. It received its name thanks to Sansovino, who carved the colossal statues of Mars and Neptune, the gods of was and the sea, at the top.

This majestic staircase is the principal entrance to the main floor and the state chambers of the Doge’s Palace. It was designed by Antonio Rizzo between 1483 and 1485. It received its name thanks to Sansovino, who carved the colossal statues of Mars and Neptune, the gods of was and the sea, at the top.

The picture shows the Arco Foscari (Foscari Arch) with the three bronze copies of Mars, Adam and Eve. The original marbles (recently restored) are in the museum inside the Palazzo Ducale.