Revival in Venice is a separate and peculiar part of Italian revival. It began here later, lasted longer, and the role of ancient trends in Venice was the smallest. The position of Venice among other Italian regions can be compared with the provision of Novgorod in medieval Russia. It was a rich, prosperous patrician and merchant Republic, which keys from marine trading paths. All the fullness of power in Venice belonged to the "Council of Nine", elected by the ruling caustment. The actual power of the oligarchy was carried out secretly and cruelly, through espionage and secret murders. The outside of Venetian life looked like it is impossible more festive.

In Venice, they were not interested in excavating antique antiquities, her Renaissance had other origins. Venice has long supported close trade relations with Byzantium, with the Arab East, traded with India. The culture of Byzantium lasted deep roots, but there was not the Byzantine rigor, and its colorful, golden shine. Venice recycled and gothic, and oriental traditions (they say the stone lace of Venetian architecture, resembling Mauritania Alhambra).

St. Mark's Cathedral is an unprecedented architectural monument, the construction of which began in the X century. The uniqueness of the cathedral is that the convincedations exported from Byzantium, the Byzantine mosaic, ancient Roman sculpture, gothic sculpture are harmoniously connected here. Favoring the traditions of different cultures, Venice has developed its own style, secular, bright and colorful. The short period of early Renaissance has come here not earlier than the second half of the XV century. It was then that the pictures of Wittor Carpaccio appear, Giovanni Bellini, excitingly depicting life in Venice in the context of religious stories. V. Karpaccho in the cycle "The Saint Ursula" cycle in detail and poetically depicts his native city, his landscape, inhabitants.

The first master of high rebirth in Venice is considered to be Georgeon. His "Sleeping Venus" is a work of amazing spiritual purity, one of the most poetic images of a naked body in global art. Georgeon's composition is balanced and clear, and its drawing is characterized by a rare smoothness of lines. Georgeon is inherent in the quality characteristic of the entire Venetian school - Colorism. Venetians did not consider the color of the secondary element of painting as Florentin. Love for the beauty of the color leads venetian artists to a new picturesque principle, when the materiality of the image is achieved not so much lightness as color graduations. The work of Venetian artists is deeply emotionally, the directness plays a big role here than the painters of Florence.

Titian lived legendaryly a long life - presumably ninety-nine years, and his very late period is the most significant one. Brospopriceing with Georgeon, experienced his influence in many ways. This is especially noticeable in the paintings "Love earth and Heaven", "Flora" - works, serene in the mood, deep in paints. Compared with Georgeon, Titian is not so lyric and sophisticated, his female images are more "landed", but they are not less charming. Calm, gold-haired, women of Titian, naked or in rich outfits - this is how unperturbed nature itself, "shining by eternal beauty" and in its frank sensuality absolutely chaste. The promise of happiness, hope for happiness and full pleasure of life is one of the foundations of Titian's creativity.

Titian is intellectual, according to the testimony of the contemporary, he was "a magnificent, smart interlocutor who miserable to judge everything in the world." All his long life Titian remained, faithful to high ideals of humanism.

Titian is written a lot of portraits, and each of them is unique, because it conveys an individual uniqueness laid in each person. In the 1540s, the artist writes a portrait of Pope Paul III, the main patron of the Inquisition, with his grandchildren of Alessandro and Ottavio Farnes. At the depth of character analysis, this portrait is a unique work. The predatory and thiegeh elder in the papal mantle reminds drunk in the corner of the rat, which is ready to dart somewhere aside. Two young men hold the utility, but the subdirection is fake: we feel the atmosphere of the brewing betrayal, cunning, intrigue. Terrible portrait of his adamant realism.

In the second half of the XVI century, the shadow of the Catholic reaction falls on Venice; Although it remained a formally independent state, the Inquisition penetrates and here, and after all, Venice has always been famous for both light-spirits and a secular spirit of art. The country is comprehended by another disaster: it devoids the plague epidemic (Titian died from the plague). In this regard, the globility of Titian also changes, there is no trace from its former serenity.

In his later works, deep mental sorrow is felt. Among them are especially allocated by "entering Maria Magdalene" and "Saint Sebastian". The picturesque technique of the master in the "Saint Sebastian" is brought to perfection. Near it seems that the whole picture is chaos smears. Painting late Titian should be considered at a distance. Then chaos disappears, and among the darkness we see the young man dying under arrows, on the background of the blazing fire. Large sweeping strokes completely absorb the line and summarize the details. Venetians and more than all Titian made a new huge step, putting a dynamic painting in the place of statuationality, replacing the domination line to the domination of the color stain.

Major and strict Titian on his last self-portrait. Wisdom, complete temptation and consciousness of their creative power breathe in this proud face with an eagle nose, a high forehead and a look, spiritualized and insightful.

The last large artist of Venetian high revival is Tintoretto. It writes a lot and fast - monumental compositions, plafoons, large paintings, crowded in dizzying angles and with the most spectacular promising constructions, unceremoniously destroying the structure of the plane, forcing closed interiors to push and breathe with space. The cycle of his paintings dedicated to the wonders of St. Mark (St. Mark frees the slave). His drawings and paintings are a whirlwind, pressure, fire energy. Tintoretto does not tolerate calm, frontal figures, so sv. Mark literally collapsed from the sky on the heads of the pagans. His favorite landscape - thunderstorm, with stormy clouds and flashes of lightning.

Interesting interpretation of Tintoretto plot of a secret evening. In his picture, the case happens, most likely, in a huge tavern, with a low ceiling. The table was diagonally and takes the eye into the depths of the room. With the words of Christ, entire sleeps of transparent angels appear under the ceiling. There is a bizarre triple lighting: the ghostly glow of the angels, the hesitating light of the lamp, the light of the haloes around the heads of the apostles and Christ. This is a real magic phantasmagoria: bright outbreaks in the twilight, sebacious and consigned by the rays light, the game of shadows create an atmosphere of fruitality.

Revival in Italy.

Periods of history of Italian culture are customary to denote the names of the centuries: Dusto (XIII century) - PRASTORESANS (end of the century), cracks (XIV century) - continuation of the PRATORENESANSA, Quatrocherto (XV century) - Early Renaissance, Chinkovitto (XVI century) - High Renaissance (the first 30 years of the century). Until the end of the XVI century. It continues only in Venice; The term is more often used to this period. "Late Renaissance."

Special heyday reached Venetian painting, distinguished by wealth and saturation of color. The pagan worship before the beauty of physical was combined here with interest in human spiritual life. The sensual perception of the world was more directly than the Florentine, and caused the development of the landscape.

Georgeon. The high rebirth stage in Venice opens the art of George Barbarelli Yes Castelfranco, nicknamed Georgeon (about 1477-1510), who played the same role as Leonardo for the medium-caliran.

Compared with the clear rationality of the art of Leonardo, Georgeon's painting is permeated with deep lyrism and contemplation. The disclosure of the poetry and harmony of his perfect images contributes to the landscape, which occupies a prominent place in his work. Harmonic communication of a person with nature is an important feature of the work of Georgeon. Formed in the environment of humanists, musicians, poets, an outstanding musician himself, Georgeon finds the finest musicality of rhythms in his compositions. A huge role plays flavoring. Long paints put on transparent layers soften the outlines. The artist masterfully uses the properties of oil painting. The variety of shades and transition tones helps him achieve the unity of volume, light, colors and spaces. Among his early works attracts tender dreamence, thin lyrism "Judith" (about 1502, St. Petersburg, Hermitage). The biblical heroine is depicted by a young beautiful woman against the background of the critical nature. However, a strange anxious note contributes to this, it would seem that the harmonious composition of the sword in the hand of the heroine and the chopped head of the enemy, she was filthy.

In the pictures of "Thunderst" (about 1505, Venice, the Gallery of the Academy) and the "Rural Concert" (about 1508-1510, Paris, Louvre), the plots of which remain unidentified, the mood is created not only people, but also nature: prey - in the first and calm and radiant, solemn - in the second. Against the background of the landscape, people immersed in thought, as if waiting for something or musitating, constituting the inseparable integer with their surrounding nature.

The combination of perfect harmonious with the specific individual in the characteristic of a person is distinguished by Georgeon's portraits. Attracts the depth of thought, the nobility of character, dreaminess and spirituality of Antonio Brocardo (1508-1510, Budapest, Museum of Fine Arts). The image of the perfect sublime beauty and poetry receives its perfect embodiment in the "Sleeping Venus" (about 1508-1510, Dresden, Picture Gallery). It is represented against the background of a rural landscape, immersed in peaceful sleep. The smooth rhythm of the linear outlines of her shape subtlyly harmonizes with the soft lines of gentle hills, with thoughtful calmness of nature. All contours are mitigated, the plastic is perfectly beautiful, proportionally proportionately gently modified forms. Thin nuances of golden tone transmit the warmth of the naked body. Georgeon died in the flourishing of the creative forces from the plague, and without completing his most perfect picture. The landscape in the picture added Titian, who finished other orders, charged by Georgeon.

Titian. For many years, it determined the development of the Venice School of Painting Art of her chapter - Titian (1485/1490-1576). Along with the art of Leonardo, Rafael and Michelangelo, it seems to be a top of high rebirth. The loyalty of Titian by the humanistic principles, faith in the will, mind and human opportunity, powerful colorism inform him of a huge attractive force. In his work, the originality of the realism of the Venice school of painting is finally revealed. The globility of the artist is full, knowledge of life is deep and multifaceted. The versatility of his talent was manifested in the development of various genres and those lyrical and dramatic.

Unlike early deceased Georgeon, Titian lived a long lucky life, full of inspired creative work. He was born in the town of Kador, lived in Venice all his life, he studied there - first from Bellini, and then Georgeon. Only for a while, already achieving fame, he traveled at the invitation of customers to Rome and Augsburg, preferring to work in the situation of his spacious hospitable house, where his humanists and artists and artists were gathered, among them - Writer Aretino, the architect Sansovino.

The era of the Renaissance gave the world a large number of truly talented artists, sculptors and architects. And walking in Venice, visiting her Palazzo and Churches everywhere you can admire their creations. By this material with brief notes for memory of some of the artists of the Venetian school found on the Internet, I finish our trip to Venice.

It is believed that the period of the heyday of the arts, called the Renaissance or Renaissance Epoch, originates from the second half of the XIII century. But I will not make a full review, but I will limit the information about some Venetian masters, the works of which are mentioned in my reports.

Bellini Gentile (1429-1507).

Gentile Bellini (Gentile Bellini) Venetian artist and sculptor. Bellini Famous creative last name, his father Jacopo Bellini and Brother Giovanni Bellini were also artists. In addition, that was born in Venice, other information about youth and early stages of artist's creativity was not preserved.

In 1466, Jentyl Bellini ended the painting of San Marco Scales, begun his father. The first known independent work is the painting of the sash of the body of the San Marco Cathedral, dated 1465. In 1474, he began working on large monumental canvases in the Palace of the Doings. Unfortunately, they died in a fire of 1577.

From 1479 to 1451 he worked in Istanbul as a court painter Sultan Mehmed II, created a series of paintings in which he tried to combine the aesthetics of the Italian Renaissance with the traditions of Eastern Art. After returning to his homeland, the artist continued the creation of genre-historical canvases with species of Venice, including in collaboration with other masters.

Having gave tribute to the undoubted talent and infractions of the painter, specialists of the London National Gallery, believe that he is noticeably inferior to his brother Giovanni Bellini.

Having gave tribute to the undoubted talent and infractions of the painter, specialists of the London National Gallery, believe that he is noticeably inferior to his brother Giovanni Bellini.

Bellyni Giovanni (1430-1516).

Giovanni Bellini (Giovanni Bellini) became a recognized master of life, had many prestigious orders, but his creative fate, as well as the fate of its most important works, poorly documented and dating most paintings is approximate.

An early period of artist's creativity includes a few Madonn, one of them "Greek Madonna" from the Brera Gallery (Milan) was decorated with the Palace of the Doge, and in Milan, "thanks to Napoleon. Another topic of his creativity is the mourning of Christ or Petain, reading the artist of this scene has become a prototype of a whole series of paintings with a semi-imaging of the Dead Christ, towering over the sarcophagus.

Between 1460 and 1464, Jovani Bellinion participated in the creation of altars for the Church of Santa Maria della Carita. His works "Triptych St. Lawrence "," Triptych St. Sebastian "," Triptych Madonna "and" Triptych of Christmas "are now in the Gallery of the Academy, Venice. The next major work of the Master - Polypties of St. Vincenzo Ferrer in the Cathedral of Santi Giovanni e Paolo, consisting of nine paintings.

Over time, by the 1470s, Painting Bellini is less dramatic, but softer and touching. This affected the painting of the altar from Pesaro scenes "Coronation of Mary". Around 1480, Giovanni writes the painting "Madonna with a baby and six saints" for the altar of the Venetian Church of San Jobbe (St. Job), which immediately became one of his most famous works. The next major work of the artist is Triptych with Madonna and Saints Nikolai and Peter in the Cathedral of Santa Maria Dei Frari.

1488 Dated "Madonna and Baby, Saint Mark and Augustine and Crankshadnogo Barbarigo" for the Church of San Pietro Martir on Murano. The researchers consider it to be a turning point in the work of Bellini, the first experience of the master in the field of tonal painting, which will be the basis of the creativity of Georgeon and other later Venetian masters.

The continuation and development of this creative line is the painting "Holy Interview" (Venice, Gallery of the Academy). It can be seen on it, as of the darkness of space, light snaps the figures of Madonna, St. Catherine and St. Magdalene, united by silence and sacred thoughts.

Giovanni Bellini wrote and portraits, they are few, but significant in their results.

Georgeon (1476-1510).

Georgio Barbarelli Yes Castelfranco (Giorgio Barbarelli Da Castelfranco), more famous for Georgione (Giorgione) Another famous representative of the Venice School of Painting was born in the small town of Castel Franco-Veneto near Venice.

His creative path was very short - in 1493 he moved to Venice, becoming a student Giovanni Bellini. In 1497, his first independent work appeared - "Christ, carrying the Cross," in 1504 performed the altar image of the "Madonna Castelfranco" in the hometown of Castelfranko, the only picture for Cerevi. In 1507-1508 was brought to the fresco paintings of the German compound. Died in October-November 1510 during the plague epidemic.

From the earliest works of the master manifests the main feature of the art of Georgeon - the poetic idea of \u200b\u200bthe wealth of melting in the world and the person of vitality, the presence of which is disclosed not in action, but in a state of universal silent spirituality.

Georgeon paid a lot of attention to the landscape, which was not simply background for figures in the foreground, and played an important role in the transfer of the depth of space and creating an impression from the picture. In the late works of Georgeon, the main theme of the artist's creativity was fully determined - the harmonious unity of man and nature.

Artistic heritage Georgeon had a great influence on many Italian artists, some unfinished works by Georgeon were addressed after his death by Titian.

Jacopo Sansovino (1486-1570).

Jacopo Sansovino (Jacopo Sansovino) - Sculptor and Architect of the Renaissance. Born in Florence, worked in Rome, made a huge contribution to the architecture of Venice.

In 1527, Sansovino left Rome, intending to go to France, but delayed in Venice. Here he took him in turnover Titian, and in a row to restore the main domation of Basilica San Marco forced him to abandon his plans. Soon, Sansovino becomes the chief architect of the Venice Republic.

Sansovino made a huge contribution to the architecture of Venice. Under his leadership, the Library Library Library was built on St. Mark's Square, Lodgetta, Church of San Gimignano, Church of San Francesco Della Vinya, Church of San Juliano, Facade Palazzo Corner on the Bolshniy Canal, gravestone Dzujko Francesco Venier in San Salvador church.

As a sculptor, Sansovino praised the statue of Mars and Neptune, mounted on the front palace of the Palace of the Doge. Died Sansovino in November 1570 in Venice.

Titian (1490-1576).

Tizian Vecellio is an Italian painter, the largest representative of the Venice School of the Epoch of the High and Late Revival. The name of Titian is in one row with such artists of Renaissance, like Michelangelo, Leonardo da Vinci and Rafael.

Titian wrote pictures on biblical and mythological plots, he became famous and as a portraitist. He was ordered kings and Roman dads, cardinals, dukes and princes. Titian was not and thirty years old when he was recognized as the best painter Venice.

This wizard deserves a lot more than a few lines in this article. But I have an excuse. Firstly, I write primarily about the artists of the Venetian, and Titian is not only an Italian phenomenon, but also a global scale. Secondly, I write about Venetian artists worthy, but whose names may even be known to be too famous in a wide range, but about Titian know everything, a lot is written about him.

And it would not be enough to mention it somehow strange. I chose the paintings at random, I just liked it.

Andrea Palladio (1508-1580).

Andrea Palladio (Andrea Palladio), the present name Andrea di Pietro is the Venetian architect of the late Renaissance. The founder of the direction "Palladianism" as an early stage of classicism. At the heart of his style, there is a strict adherence of symmetry, accounting for the prospects and borrowing the principles of the classical temple architecture of ancient Greece and ancient Rome. Probably the architect that had the greatest influence in the history of architecture.

Born in Padua, in 1524 he moved to Vicenza, worked as a sharp, sculptor. As an architect worked throughout the region. I got acquainted with many outstanding monuments of Roman antique and Renaissance architecture during travel to Verona (1538-1540), Venice (1538-1539), Rome (1541-1548; 1550-1554) and other cities. The experience and creative principles of Palladio have developed as a result of the study of Vitruvia and the study of architecture and treatises of architects of the XV century. Since 1558, Paladio works mainly in Venice.

In Venice Palladio on the orders of the Church completed several projects and built a number of churches - Santa Pietro in Castello, Santa Maria Della Carita Clorter (now Museums of the Academy), Facade of Churches San Francesco Della Vinya, San George Maggiore, Il Replantor, Santa Maria Della Presentation, Santa Lucia. The facades of the modern churches of Palladio worked as an example of the ancient Roman temples. The influence of temples, in terms of usually having the shape of the cross, later became its business card.

In the city and the surrounding area Palladio built Palazzo and Villas. Designed palladio always takes into account the features of the surrounding environment, the structure from all sides should look equally well. In addition, the Palladio architecture provides portico or loggias, giving the owners to contemplate their lands or surroundings.

For early palladium, special windows are characterized, which in his honor is usually called Palladian. They consist of three lumen: a large central lumen with an arc from above and two small lateral lumen separated from the central pilasters.

In 1570, Palladio issued his "four books about architecture", which had a great influence on many architects throughout Europe.

Palma younger (1544-1628).

Jacomo Palma Jr. (Palma Il Giovine) An obvious venetian artist with a significantly developed technique, no longer had the talent of his predecessors. Originally worked under the influence of Tintoretto, then for eight years he studied in Rome Raphael, Michelangelo and Caravaggio.

Nevertheless, he is a Venetian artist and his paintings decorate the Palazzo and the temples of Venice, they are in private collections and in the museums of the world. His best works are considered "Christ on the hands of the Most Holy Virgin" and "Apostles in the coffin of the Virgin Mary."

Thipolo (1696-1770).

Giovanni Battista Tiepolo (Giovanni Battista Tiepolo) lived and worked already in another era, but also left a trace in the culture of Venice. Tapolo, the largest artist of Italian Rococo, specializing in the creation of frescoes and engraving, perhaps the last of the pleiades of the great representatives of the Venetian school.

Thipolo was born in March 1696 in Venice, the family is far from creativity. His father was a skipper, a man of simple origin. He managed to learn paintings, art historians noted that the most severe influence on him was the Master of Renaissance, in particular Paolo Veronese and Giovanni Bellini.
At the age of 19, Tapolo fulfilled his first picturesque order - the picture "Bring Isaac to the sacrifice."

From 1726 to 1728, Tapolo worked on the order of the aristocrat from Udine, painting the frescoes of the chapel and the palace. This work brought him fame and new orders by making a fashionable painter. In subsequent years, he worked a lot in Venice, as well as in Milan and Bergamo.

By 1750, pan-European fame came to the Venetian painter, and he created his central European work - the painting of the frescoes of the Würzburg Residence. Upon returning to Italy, Tapolo was elected president of the Paduan Academy.

Thipolo's career completed his career in Spain, where in 1761 he was invited by King Carl III. Thipolo died in Madrid in March 1770.

And I complete the cycle of articles about Venice, its attractions and artistic works. I really hope that in the next foreseeable future I will visit Venice again, I will use my notes with your notes and with interest, I did not have time to do on this trip.

The work of masters worked in Venice has gained a completely special color - one of the most important centers of the mental and artistic life of Italy XVI century. Here by this time there was solely peculiar and high architectural culture, inextricably linked with the history of the city, the specifics of its construction and the peculiarities of Venetian life.

Venice Amazed many visitors and foreigners with latitude of international relations, a huge number of ships that were anchored in the lagoon and at the berths in the middle of the city, exotic goods on the Embankment of Dei Schyaboni and further, in the Venezia shopping center (at the Rialto Bridge). I am hit the magnificity of church festivals and civil ceremonies that turned into fantastic marine parades.

Volong Air of Renaissance and Humanism was not bought in Venice to the regime of counter-process. Throughout the XVI century. Freedom of religion remained here, science has developed more or less freely and has expanded typography.

After 1527, when many Humanists and artists left Rome, Venice became their refuge. Aretino, Sansovino, Serlio arrived here. As in Rome, and before that in Florence, Urbino, Mantua, etc., the medacy and passion for collecting manuscripts, books, works of art has increasingly developed here. Venetian to know competed in the decoration of the city with excellent public buildings and private palaces, painted and decorated sculpture. The overall passion of science was expressed in the publication of scientists of treatises, for example, labor on the applied mathematician Luke Pachet "On the divine proportion", published in 1509. The most different genres flourished in the literature - from epistolary to dramatic.

Wonderful heights reached in the XVI century. Venetian painting. It is here in the Multifiguric compositions of Karpaccho (1480-1520), one of the first genuine landscape players, in the grand festive canvases of Veronese (1528-1588) an art of color originated. The inexhaustible treasury of human images created a brilliant Titian (1477-1576); High drama reached tintoretto (1518-1594).

The shifts that occurred in the Venetian architecture were equally significant. In the period under review, the system of artistic and expressive agents in Tuscany and Rome was adapted to local needs, and local traditions were combined with Roman monumentality. So staggering in Venice is a completely peculiar version of the classical rebirth style. The nature of this style was determined, on the one hand, the stability of the Byzantine, oriental and gothic traditions, originally recycled and firmly learned by conservative Venice, and on the other hand, the unique features of the Venetian landscape.

The exclusivity of the location of Venice on the islands among the lagoon, the construction is closely, only in places interrupted by small areas, the rawness of the distribution network of channels and narrow, sometimes less than the meter of the width, the streets connected by numerous bridges, the departure of the waterways and the gondola, as the main type of transport, is the most The characteristic features of this unique city, in which even a small area acquired the value of the open room (Fig. 23).

His appearance, preserved and before our time, was finally developed throughout the XVI century, when a large channel is the main water arterier - was decorated with a number of majestic palaces, and the development of the main public and shopping centers of the city was finally determined.

Sansovino, correctly understood the town-planning value of San Marco Square, opened it on the canal and lagoon, finding the necessary means for expression in the architecture of the very essence of the city as the capital of a powerful sea power. Worked after Sansovino Palladio and Longen completed the formation of a city silhouette, putting several churches in the decisive planning points of the city (Monastery San George Maggiore, Churches Il Replantor and Santa Maria Della Salute. In the main mass of urban development, which is the background for many unique structures, the most persistent features a peculiar and very high architectural culture of Venice (Fig. 24, 25, 26).

Fig.24. Venice. House on the embankment of Ross; Right - one of the channels
Fig.25. Venice. Canal Oneji Santi; On the right palacetto on the Cort of Sold
Fig.26. Venice. Residential houses XVI century.: 1 - house on Calle Dei Furlani; 2 - house on Salidzada Dei Gling; 3 - house on the embankment of Ross; 4 - houses on Campo Santa Marina; 5 - House on the Embankment of San Juseppe; 6 - Palacetto on the Cort of Solda; 7 - Palacetto on Calle Del Olio

In ordinary housing construction of Venice XVI century. Mostly the types developed in the preceding century or even earlier. For the poorest segments of the population, complexes of multisective corps located in parallel to the sides of a narrow courtyard containing individual premises and apartments for families of the lower employees of the republic are continued (a house on Campo Santa Marina; see Fig. 26.4); built two- and multisective houses with apartments in one or in two floors each, with independent entrances and stairs; Houses of richer developers with two apartments, located one above the other and isolated on the same principle (house on Calle, see Fig. 26,1); The dwellings of nonsense, which have already approaching the plan to the palaces of Venetian nobility, but in the nature and scale of architecture still remaining in the circle of ordinary buildings.

By the XVI century, apparently, there were finally and planning techniques, and constructive techniques, and the composition of the facade of buildings. They formed an architectural appearance of ordinary residential development of Venice, preserved to the present day.

Characteristic features of the houses of the XVI century. There were primarily an increase in the floors from two to three to three or four floors and the expansion of the enclosures; So, the width is virtied in the XII and XIII centuries. equal, as a rule, the depth of one room; In the XV century The residential buildings usually had two rows of rooms, now it has become a rule, and in some cases even whole apartments are focused on one side of the facade (complex on Campo Santa Marina). These circumstances, as well as the desire for the indispensable isolation of each apartment, led to the development of extremely sophisticated sections planning.

Unknown builders showed great ingenuity, arranging lightweight courtyards, making entrances to the first and upper floors from different sides of the body, entering one over the other marches of stairs leading to different apartments (as it can be seen in some pictures of Leonardo da Vinci), painting separate marches of stairs on double longitudinal walls of the case. From the XVI century In residential construction, as in the palaces, there are sometimes screw-like stairs; The most well-known example is the outer staircase treated with arcades in the Palazzo Contarini Minleley (XV-XVI centuries).

The locked houses were given a flooring device of the lobby (the so-called "Aul"), serving two or three rooms or apartments - a feature, widespread earlier in richer individual houses or in the palaces. This planning feature has become typical in the next century in residential buildings for the poor who had a compact plan with apartments and facilities that were grouped around a closed light yard.

By the XV-XVI centuries. Forms and techniques of construction equipment were also established. With the water-saturated water, Venetian soils, a decrease in the weight of the building was of great importance. Wooden piles served for a long time, but if short piles were used (about a meter length), which served only for the soil seal, and: not to transmit the pressure of the construction to the underlying latter layers, then from the XVI century. Started the real long piles (9 pcs per 1 m2). On top of them were arranged painted out oak or larch, on which a stone foundation was laid on a cemetery solution. Bearing walls made a thickness of 2-3 bricks.

The floors were wooden, since the vaults with a significant weight required a more massive masonry of the walls capable of perceiving the space. The beams laid quite often (the distance between them was one and a half-two widths of the bar) and were usually left unscrew. But in richer homes, palaces and public buildings they were laid, painted and decorated with a carving on a tree and a knock. The floors of stone tiles or bricks laid on a plastic layer provided the designs of some flexibility and the ability to resist the uneven drainage of the walls. The premises of the premises were determined by the length of the bridal forest (4.8-7.2 m), which was usually not cut. The roofs were made by scattered, with roofing roofs on wooden rafters, sometimes with a stone drain along the edge.

Although at home, as a rule, they were not heated, but a fireplace arranged in the kitchens and the main residential room or the hall. The houses had a sewer, albeit primitive, - the restrooms did in the kitchen, in the niches over the stands on the walls with the channels. Water poured output holes at high tides, and when they were lowered, it carried out the impurities in the lagoon. Such a method met in other cities of Italy (for example, in Milan).

Fig.27. Venice. Wells. In the yard Volto Santo, the XV century; In the courtyard of the Church of San Giovanni Crisostomo; Plan and cutting of the courtyard with a well (water collection diagram)

Water supply in Venice has long been (from the XII century) occupied urban authorities, since even the deepler aquifer was given salted water, suitable only for economic needs. Drinking wells - the main source of water supply was filled with atmospheric precipitation, collecting from roofs of buildings and from the surface of the courtyards required very complex devices (Fig. 27). Rainwater was collected from the entire surface of the crucible yard that had slopes to four holes. Through them, she penetrated into the peculiar gallery caissons, immersed in the sand layer, which served as a filter, and leaks on the bottom of the extensive, smelled of the clay reservoir (the shape and dimensions of it depended on the shape and size of the yard). Wells usually built urban authorities or famous citizens. Watershed stone, marble or even the bronze bowls of wells, coated with thread and decorated by the coat of arms of the donor, were real works of art (a bronze well in the courtyard of the Doge Palace).

The facades of ordinary residential houses of Venice were visual evidence that high aesthetic and artistic quality structures can be achieved by skillful use of elementary, functionally or constructive necessary forms, without the introduction of complex additional parts and the use of expensive materials. Brick walls of houses were sometimes shuffled and stained in gray or red. Against this background, white stone coats of doors and windows were distinguished. Marble facing was used only in homes of more wealthy people and in the palaces.

The artistic expressiveness of the facades was determined by the workshop, sometimes the virtuoso grouping of window openings and protruding from the front plane of fireplace pipes and balconies (the latter appeared in the XV century. Only in richer housing). Often, there was a floor alternation of windows and stenovkov - the location of them is not one vertical (as, for example, the end facades of houses on Campo Santa Marina or the facade of the house on the Naberezhnye San Juseppe, see Fig. 26). The main residential rooms and public premises (Aul) were highlighted on the facade of dual and archned arched openings. Contrast opposition of openings and walls - reception, traditional for Venetian architecture; He received excellent development in richer houses and palaces.

For ordinary housing construction in the XVI, as in the XV century, the shops occupying sometimes in the house are all the first floors outside the street. Each shop or artisans workshop had an independent entrance with a showcase, blocked by wooden architect on slender square pillars, squeezed from one piece of stone.

In contrast to the gallery becks in the first floor of ordinary houses arranged only in the absence of another opportunity to make a pass along the house. But they were a distinctive feature of public buildings and ensembles - arched galleries are available in all facilities of the Central Venetian Ensemble: in the Palace of the Doings, the library of Sansovino, old and new prosecutions; In the commercial premises of Fabrick Nooj near Rialto, in the palace of Savi Palace. In richer houses, wooden terraces were spread over the roofs, called (as in Rome) by Altans, which were almost not survived, but are well known for painting and drawings.

Residential complex on Campo Santa Marina (Fig. 26.4), consisting of two four-storey, parallel housings connected in the end of a decorative arch, can serve as an example of construction for the poor. The center of each typical section here was repeated on the floors of the hall, around which residential premises were grouped, intended in the third and fourth floors for the twisted settlement. The premises of the second floor could be highlighted in an independent apartment thanks to the device of individual entrances and stairs. The first floor was busy shops.

House on Calle Dei Furlan (Fig. 26.1) - an example of a somewhat richest housing. As in many other Venetian houses, located on a narrow stretched in the depths of the plot, the main premises of the second and third floor occupied the entire width of the hull around the facade. Two isolated apartments were composed each in two floors. The staircase in the second apartment began in a small light courtyard.

House on the Embankment of San Giuseppe (Fig. 26.5) was fully belonged to one owner. Two shops handed over. In the middle part of the house there was a lobby with a staircase, on the sides of which the rest of the premises were grouped.

Palacetto on Cort Sold(Fig. 26.5; precisely dated 1560) belonged to the merchant Alaiz of Solta, who lived here with a family of 20 people. This building with the central hall allocated on the facade of the group of arched windows is approaching the type of palace, although all rooms are small in it and are intended for housing, and not for the festivities and lush ceremonies. The facades of the building are appropriately modest.

The features that have developed in the ordinary housing construction of Venice are also characteristic of the palaces of nobility. The yard is not in them the center of the composition, but will be moved into the depths of the site. Among the main premises in the second floor allocated aul. All means of architectural expressive are focused on the main facade focused on the channel; The side and rear facades are left unordered and often untreated.

It should be noted the constructive lightness of the palace architecture, the relatively large area of \u200b\u200bthe openings and the venice specific for Venice (a group of richly treated openings along the facade axis and two symmetric windows - accent - along the edges of the facade plane).

The new course that penetrated into the architecture of Venice at the end of the XV century, who received a pronounced local color in the work of Pietro Lombardo with sons and Antonio Rizzo, who performed various works in the Palace of the Doings and San Marco Square, in the first decades of the XVI century. continued to develop. In the same vein worked their contemporary Spavena and the Master of the Junior Generation - Bartolomeo Bon Jr. , Scarpagnino and etc.

Bartolomeo Bon Jr. (He died in 1525), who replaced the Pietro Lombardo as the chief architect of the Palace of the Doge, at the same time continued the construction of old prosecutors in San Marco Square, laid San Rocco and began the construction of Palazzo Dei Camelengi at Rialto Bridge. Both of these, like many other structures, in the future completed Scarpanino (died in 1549).

Palazzo Dei Challengi (Fig. 28) - the location of the Venetian tax collectors - despite the external similarity with the Palaces of the Venetian nobility, it is characterized by the planning and orientation of the main facade, which is not addressed to the large channel, but to the Rialto Bridge. Such a location of Palazzo provided his connection with the shopping buildings located around. The rooms are grouped symmetrically on the sides of the corridor, along the entire body. Gothic facades in their structure, completely cut in the second and third floors dual and archived arched windows, and they acquired, however, thanks to order memberships, a purely renaissance ordering is already (see Fig. 39).

Skol di San Rocco (1517-1549) - a characteristic example of facilities with a clear classical warrant structure of the facade, combined with the traditional Venice with rich marble inlays. In the appearance of it, however, thanks to the excavation of antablempants and the introduction of frontons, uniting pairs of arched openings, there were features characteristic of the architecture of the next era, which also owns the interiors of two large halls, painted tintoretto (Fig. 29).

Skarpagnino along with Spavento (mind in 1509) reconstructed a major warehouse building of German merchants of Fondankodaei Tedeski (1505-1508) - a multi-storey Carre with a spacious courtyard and leaving a large jacket of a loggia (Georgeon and Titian decorated the walls of the building outside the frescoes However, they are not preserved). The same two masters built the so-called Fabrick Vasty - buildings for trading offices, equipped with shops and arcades in the first floors (see Fig. 39, 41).

In the cult archity began the XVI century. must be marked church of San Salvatore, Jorgio Sauvetto, which completes an important line in the development of a basilical type of temple. In all its three neophes (of which the average twice wider than the side) was carried out by a consistent alternation of square, overlapped by hemispherical dips, and narrow, overlapped with semi-curvous arches, cell cells, which achieved a large clarity of spatial construction, in which, however, the center is weaker (see. Fig. 58).

The new stage in the development of the Renaissance architecture in Venice began with the arrival of Roman masters. To them first treated Sebastiano Serlio , architect and theorist.

Serlio (Born in 1475 in Bologna, died in 1555 in Fontainebleau in France) until 1527 lived in Rome, where he worked with Peruszi. From there moved to Venice. Here he advised the project of the Church of San Francesco della Vinya (1533), performed drawings for the ceiling of the Church of the Library of San Marco (1538) and drawings of the scene for the theater in the House of Colloni Porto in Vicenza (1539), as well as the Basilica Reconstruction Model .

By serving the French king Francis I, Serlio in 1541 was appointed chief architect of the Palace in Fontainebleau. Its most important building in France was the castle of D'Lawy Da Fran.

Serlio is mostly known for its theoretical works. His treatise on architecture began to go from 1537 by individual books.

Serlio has largely contributed to the revival of the interest of Venetian society to the theory of architecture, in particular to the problems of harmony and proportions, as evidenced by the discussion and a kind of competition, conducted in 1533 in connection with the design of the San San Francesco Church of San San Frances (see. Fig. 58). The facade of the church, in which the large order of the central part was combined with a small warrant corresponding to the side nepham, was performed only in 1568-1572. According to the Palladio project.

Serlio is attributed to Venice only the completion of palaces of prices, but many plans and facades of the buildings depicted in his treatise, for which he used the heritage of Peruszi, had a great influence not only on his contemporaries, but also for many subsequent generations of architects in Italy and in other countries .

The largest master that determined the development of Venetian architecture in the XVI century. Was Jacopo Sansovino , Pharmant student, settled in Venice after the looting of Rome.

Jacopo Tatti (1486-1570), who accepted the nickname Sansovino, Born in Florence and died in Venice. The first half of his life was held in Rome (1503-1510 and 1518-1527) and in Florence (1510-1517), where he worked mainly as a sculptor.

In 1520, he participated in the competition for the church of San Giovanni Dei Fiorentine. In 1527, Sansovino moved to Venice, where in 1529 he became the head of the Procurators of San Marco, that is, the head of all construction works of the Venice Republic.

Its most important architectural work in Venice include: restoration of the Cathedral of the Cathedral of San Marco; Construction of Skoluy Della Miserikordia (1532-1545); Building a public center of the city - San Marco and Piazzetta Square, where they were over the old prosecution and the library was erected (1537-1554. Construction of the Mint - Dzekka (from 1537); Finishing the Golden Stairs at the National Palace (1554); Palazzo Corner della Ka Grande (from 1532); Projects of Palace Grimani and Dolphin Mannin; Completion of the shopping center of the city built by Fabrick Nuovo and Rialto market (1552-1555); Building Churches San Pantino (1549-1564), San Maurizio, etc.

It was Sansovino who made decisive steps on the way of applying the "classic" style established in Rome to the architectural traditions of Venice.

Palazzo Corner Della Ka Grande (Fig. 30) is a sample of processing a composite type of Florentine and Roman palaces in accordance with the Venetian requirements and tastes.

Unlike most Venetian palaces, built in small areas, in Palazzo Corner it turned out to be possible to arrange a large courtyard. However, if in the Florentine Palaces of the XV century. and Roman XVI century. Residential premises static were located around the courtyard, which made the center of a closed life of a rich citizen and the core of the whole composition, then here is composed of all the premises in accordance with one of the most important functions of the aristocratic Venetian life: magnificent festivities and receptions. Therefore, the room of the premises solemnly unfolds through the movement of the guests from the entrance loggia (pier) through the spacious lobby and the staircase to the receiving rooms on the main thing (the second, and in fact - the third) floor with windows on the facade, on the aqueous channel of the channel.

The first and intermediate (service) floors raised on the basement are combined with a strong rustic masonry forming the lower tier of the main and courtyard facades. The following floors (the receiving rooms in them correspond to two floors of residential premises) are expressed on the main facade by two tiers of three-quarter columns of an ionic and composite order. Rich plastic, underlined rhythm in pairs of columns and wide arched windows with balconies give the building exceptional splendor.

The allocation of the central entrance loggia, the pyramidal staircase, hospitably descending to water, the ratio of narrowed simpleness and extended openings is all specific to the Venice Palace Architecture of the XVI century.

Sansovino did not limit himself by the palaces. And although his lifetime fame was associated with a more sculpture (in which his role was compared with the role of Titian in painting), the main merit of Sansovino is the completion of the central ensemble of the city (Fig. 31-33).

The reconstruction of the Palace of the City of the City, between San Marco and Pier, began in 1537. The construction of three structures at once - dzeks, a new library (on the site of breadmbarbing) and loggarettes (on the site of the destroyed zipper of the construction of the campaign). Sansovino, correctly appreciating the possibilities of expanding and completing San Marco Square, began to demolish the chaotic building that separated it from the lagoon, by creating charming Piazzettu.

Thus, he opened great opportunities for the organization of lovers of the festivities and solemn state ceremonies who approved the power of the Venice Republic and played on the water, in front of the Palace of the Doge and Cathedral. The Northern Facade of the Library predetermined the third side and the general form of San Marco Square, then completed by the construction of new prosecution and the building on the Western side (1810). Flagpoles installed in 1505 A. Leopard and Marble Power constitute a significant element of this grand opening room (length 175 m, width 56-82 m), which became the center of public life Venice and facing a fantastically rich five-water facade of the cathedral.

Fig.36. Venice. Library San Marco. Drawings and end facade, library and logglytte. Ya. Sansovino

Library San Marco (Fig. 35, 36), intended for the collection of books and manuscripts, presented in 1468 by the Venice Republic by Cardinal Vissarion, is a long (about 80 m) building, entirely made of white marble. It is deprived of its own composite center. Its facade is a bunk arcade (with three-fourth columns of the Tuscan order at the bottom and ionic - at the top), unusually rich in plastic and lighting. The lower arcade forms deep, in the width of the loggia width. It is a number of commercial premises and the entrance to the library marked by the Caryiats. The solemn staircase in the middle of the building leads to the second floor, in the lobby (decorated later Skamoti) and through it to the main hall of the library.

Sansovino tried to apply the new design of the suspended vaulted ceiling in the hall, having completed it from the brick, but the arch and part of the wall collapsed (1545). The existing elliptical arch, decorated with painting Titian and Veronese, is made of a knock.

Arched openings of the second floor, perceived in aggregate as a solid gallery, rest on dual ionic columns, developing plastic facade into depth. Due to this, the whole thickness of the wall participates in the formation of the appearance of the structure. The high triglyphic frieze between the floors and even more developed, covered with reliefs of the top antablemmer, hiding behind the third floor of a building with utility rooms and is crowned with a rich eaves with balustrade and sculptures, combine both tiers of the library into a holistic composition, unsurpassed for festive magnificence and solemnity.

At the foot of Campalais San Marco Master elevated a richly decorated sculpture Lodgite.Binding a medieval tower with later structures of the ensemble (Lodgetta was destroyed when the campaign was falling in 1902; in 1911, both structures were restored). During public ceremonies and festivities, the Ljetta terrace was somewhat raised above the level of the area served as the Tribune for Venetian Nobirls. Located at the junction of San Marco Square and Piazzetta, this small construction with a white facade with high attic plates covered with reliefs and crowned balustrade is an important element of the brilliant ensemble of the Venetian center.

Located behind the library next to its end facade of the Dzekka (Mint) is characterized by a more closed, almost harsh external appearance. The core of the building is the courtyard, which serves in the first floor with the only means of communication between the surrounding rooms, occupying the entire depth of the housings (Fig. 37). The building is made of gray marble. Plastic walls are complicated by Rust and window platbands, whose weddings are heavy and argued with a light horizontal of the underlying alone archite. A strongly protruding eaves of the second floor, apparently, was to be wary of the whole building (the third floor was discharged later, but in the life of Sansovino); Now he deprives wholeness composition of the facade, overloaded with detail.

Remote freedom with which the floors of the Dzekka, lower than the floors of the library, are adjacent to the latter, emphasizing the difference in the appointment and external appearance (see Fig. 36).

In the second half of the XVI century. In Venice, Architectors Ruscona, Antonio da Ponte, Skamoti and Palladio worked.

Ruscona (Ok. 1520-1587) began in 1563. Construction of a prison put on the Embankment of Dei Schyaboni and separated from the Palace of the Doings Only a narrow canal (Fig. 33, 38). The core of the building was the ranks of single chambers, real stone bags separated from the outer walls by the corridor who did not leave the prisoners of any communication with the outside world. The stern facade of the gray marble was performed by A. Yes Ponte after the death of Rusconi.

Antonio da Ponte. (1512-1597) belongs to the completion of the Venezia Shopping Center, where he built a rock bridge Rialto (1588-1592), one-time arch of which is framed by two rows of shops (Fig. 40).

Fig.38. Venice. Prison, from 1563 Ruscona, from 1589 A. Yes Ponte. Plan, western facade and southern fragment; Bridge of sighs
	Fig. 43. Sabbionet. Theater and Town Hall, 1588 Skamoti

Vincenzo Skamoci , the author of theoretical treatises, was at the same time the last large architect of Ginkvice in Venice.

Vincenzo Skamoci (1552-1616) - Son of architect Giovanni Skamoti. In Vicenza, they built numerous palaces, including the ports (1592) and Trissino (1592); He completed the Olympico Theater, Palladio (1585) and others. In Venice, Skamoti was built by new prosecutions (started in 1584), Palaisites of the City Council (1558), Contarini (1606), etc., fulfilled the interiors in National Palace (1586), Rialto Bridge Projects (1587). He completed the construction and decoration of the premises of the Sansovino library (1597), participated in the end of the facade of the Church of San George Maggiore (1601) and others. They were built Villas Villato near Vicenza (1574), Pisani near Lonigu (1576), Trevisan on Piapa (1609) and others. Its activities also extended to other cities in Italy: Padova - Church of San Gaertano (1586); Bergamo - Palazzo Public (1611); Genoa - Ravaskiery Palace (1611); Sabbioneta is the Ducal Palace, Town Hall and theater (1588; Fig. 43).

Skamocci also visited Hungary, Moravia, Silesia, Austria and other states, designed in Poland Palaces for the Duke of Sbaras (1604), in Bohemia Cathedral in Salzburg (1611), in France to strengthen Nancy and others.

Skamotii participated in a number of fortifications and engineering works (Bookmark Palma Fortress, 1593; Project Bridge through Pialation).

The result of the study and sketches of the ancient monuments (travel to Rome and Naples in 1577-1581) was published by Skamoti in 1581 in the book "Conversations about Roman antiquities."

The conclusion of its activities was theoretical treatise "General concepts of architecture", published in Venice (1615).

Early structures of Skamoti are characteristic of the well-known dryness of forms and the desire for a plane interpretation of the facade (Villa Villato near Vicenza). But the most important Venetian work of Skamoti - New prosecution (1584), where he built 17 Arches (the rest ended his student Longen), built in the spirit of Sansovino (Fig. 42). This composition is based on a strong rhythm and a rich plastic of arched portico library. In turning on the third floor in the composition, he naturally and convincingly allowed the problem of adjusting the three-storey prosecutors to the library, alleviating the crowning cornice and subtly consider that the joints of the buildings partly hidden campaign. In this way, he managed to tie well both buildings with an ensemble of San Marco.

Although Skamoti's time is the last major architect of the Renaissance, but its authentic end was Palladio - The deepest and most peculiar master of the north-Italian architecture of the middle of the XVI century.

The head of "Architecture of Northern Italy", subsection "Architecture of Italy 1520-1580", section "Architecture of the Renaissance in Italy", Encyclopedia "Universal history of architecture. Volume V. Architecture of Western Europe of the XV-XVI centuries. Renaissance". Responsible editor: V.F. Marcuse. Authors: V.F. Marcuse (Introduction, J. Romano, Sanmikels, Venice, Palladio), A.I. Ostochinskaya (residential buildings of Venice), A.G. Cipsa (Palladio Theater, Alesi). Moscow, Stroyzdat, 1967

Description of the presentation on individual slides:

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"King of the painters and painter of the kings" Titian Veverielio (1477-1576). MOBU SOSH № 4 PGT Raugorsk of the Pozhasky Municipal District of Primorsky Krai, teacher history and social studies of the fence V. 2014

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Flora about 1515. Uffizi Gallery, Florence. As if from the inside glows the wonderful mysterious fire face of a young woman holding a bouquet of flowers in hand. Pensive eyes asked aside, the smile barely touches his lips, she seems to be alone with her thoughts. The girl's peach blush shaves the velvet of dark eyes, emphasizes the dairy white neck and feminine shoulders. Chestnut curls covering small ears, neck, wave falls on flirtyly ajoyed chest. Flora in Roman mythology is a freezing goddess of blossoms of ears, gardens and flowers. The holiday in her honor, flora, was accompanied by a cheerful miscondence and passed with the participation of the simpleness, as well as selling women.

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"Love earthly and heavenly" (1515) is one of the first works of Titian, in which the originality of the artist is brightly revealed. The plot of the picture is still mysterious. Regardless of whether we depict the dressed and nude female a meeting of Medele and Venus, the goal of Titian is to transfer a certain mental state. Soft and calm tones of landscape, freshness of the naked body, the clear sound of the color of beautiful and somewhat cold in tone of the clothes (the golden yellowness of the color is the result of time) create the impression of calm joy. The movements of both figures are greatly beautiful and at the same time full of life charm. Calm rhythms of the spread behind the landscape, as it were, the naturalness and nobility of the movement of excellent human bodies.

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In "Venus Urbinskaya" finds his vivid expression approval of the joy of being. It may be less elevated noble, than "Venus" Georgeon, but this price is achieved more direct viability of the image. Specific, almost genre interpretation of the plot motive, strengthening the immediate vitality of the impression, does not reduce the poetic charm of the image of a beautiful woman. In the pictures of the 1530s, Titian organically combines the legends and realities of modern life in the spirit of the traditions of Venetian early Renaissance in the pictures of the 1530s on religious and mythological topics. The artist transfers the goddess (her appearance partly inspired by the "Sleeping Venus" Georgeon) to the cozy peace of the Venetian house of the 16th century.

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Dana, 1545. Customer - Philip II Spanish, 1553-1562. Titian boldly takes color and tonal ratios, combining them with as if glowing shadows. Due to this, it transmits the moving unity of the shape and color, clear contour and soft modeling of the volume, which help to reproduce nature, complete movement and complex variable relationships. In Danae, the Master still claims the beauty of human happiness, but the image has already been deprived of the former stability and calm. Happiness is no longer a permanent condition of a person, it is observed only in minutes of a bright impulse of feelings.

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"Venus with a mirror" (about 1555) is one of the best works of the Italian artist. Titiano Vevero creates a gallery of beautiful paintings, chanting sensuality and charm of female beauty. Its shrouded flicker of warm tones with restrained red-hot outbreaks of red, golden, cold blue - Rather, a poetic dream, charming and exciting a fairy tale of beauty and happiness. Tizian Venus, as the personification of femininity, fertility, motherhood is beautiful mature beauty of the earth woman.

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He has a deep philosophical meaning of the "Allegory of Time" (1565). In antique mythology, the language of the symbols used, to more accurately designate certain concepts, strengthen the expressiveness of the image. The age of a mature man Titian compares with Lvom - everything in his power, he rules the world, and the age of a young man with the trustful willingness of a young dog to carry the service, the old age gets wisdom, deep knowledge of life, loneliness and physical displacement.