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The Doge’s Palace (Palazzo Ducale) was the home of the Doge of Venice. It’s located off Piazza San Marco in the UNESCO World Heritage city of Venice, Italy.
History of the Doge’s Palace
The original palace was built in 810 under Doge Agnello Participazio (d. 827), who moved it to the current location from Malamocco. It was partially destroyed in the 10th century in a fire set by Venetians rebelling against Doge Pietro IV Candiano (925-976). Construction on another palace began around 1172 under Doge Sebastiano Ziani (d. 1178), but only traces of the original design exist today.
The current palace dates back to a reconstruction beginning in 1340. It was further expanded starting in 1424 under Doge Francesco Foscari (1373-1457). After a fire in 1483 destroyed the section overlooking the canal side, another reconstruction took place, this time designed by architect Antonio Rizzo (c. 1430-c. 1499) in the Renaissance style. It was during this reconstruction that the official government rooms were decorated.
After the Fall of the Republic of Venice in 1797, the Doge’s Palace ceased to function as an official residence. It hosted administrative offices and various cultural institutions, including the Library of St. Mark in 1811. The offices moved out in 1821 followed by the library in 1904 and a museum in 1918. The building was restored during the early 20th century, and the Italian State turned it over to the City of Venice in 1923 to run it as a museum.
Visiting the Doge’s Palace
Visitors can retrace the steps of the Doges for a €25 ticket purchased online at least 30 days in advance, or €30 otherwise (as of August 2024). The ticket also gives access to other museums on St. Mark’s Square. Holders of the Museum Pass get free entry. The tourist entrance is on the south side of the building through the from the Porta del Frumento. Check the official website for more info.
Two special guided tours are available. The Secret Itineraries Tour takes visitors deeper into the palace into rooms where administrative work of the Venetian government took place. The Doge’s Hidden Treasures Tour visits the Doge’s private rooms in the wing of the Doge’s Palace adjacent to the St. Mark’s Basilica. Both are very popular and should be booked online well ahead of time. They both cost €32 (as of August 2024) and include admission to the rest of the palace. The tours lasts about 75 minutes and is presented in English several times a day. Unfortunately, they were fully booked on our days in Venice.
When we visited, the Doge’s apartments were closed to the public. The rest of this post breaks down what we were able to see in the order of our visit.
Exterior of the Doge’s Palace
The exterior of the Doge’s Palace has two main façades: the west side overlooking the Piazzetta di San Marco and the south side overlooking the lagoon. Both of the main façades are made up of two colonnaded levels topped with a larger level decorated with inlaid marble. A central balcony is flanked by three large windows on each side. A third façade on the east side faces the Rio di Palazzo, which is a canal crossed by the Bridge of Sighs (Ponte dei Sospiri).
On the northwest corner of the building is a relief sculpture of Archangel Gabriel, symbolizing politics. A sculpture of Archangel Michael is attached to the southwest corner and symbolizes war. A third sculpture, depicting Archangel Raphael, is situated on the southeast corner symbolizing commerce.
Each corner also features a lower sculpture underneath the archangels. The northwest corner depicts the Judgment of Solomon while Adam and Eve are on the southwest corner. On the southeast corner is the Drunkenness of Noah. The sculptures on the northwest corner are attributed to Bartolomeo Bon (d. after 1464).
Lagoon Side
The façade overlooking the lagoon, which measures 71.5 meters, is the oldest part of the palace. The capitals date back to the 14th century although some were replaced with copies in the 19th century. Each corner is decorated with relief sculptures attributed to Filippo Calendario (d. 1355).
The balcony in the center is attached to the Chamber of the Great Council (Sala del Maggior Consiglio). It was built between 1400 and 1404. The balcony is crowned by three niches featuring statues of St. Mark, St. Peter and St. Paul, topped by a statue of Justice created by Alessandro Vittoria (1525-1608) in 1579. The oculus above the window contains a statue of Charity, flanked by niches with statues representing the four cardinal virtues: Temperance, Justice, Fortitude, and Prudence. The lower statues depict St. Theodore and St. George. Most of the statues had been removed for care during my visit.
Piazzetta Side
The façade facing the Piazzetta di San Marco is 75 meters long. It was commissioned by Doge Francesco Foscari (1373-1547) and built starting in 1424, using the façade facing the lagoon as a model.
Notice two red columns on the loggia. They represent the death sentences carried out between the columns of St. Mark and St. Theodore. Also, the 13th column from the lagoon contains a representation of Justice by Bartolomeo Bon (d. after 1464).
The balcony, designed by Jacopo Sansovino (1486-1570), was built sometime between 1531 and 1538. It contains a sculpture of Doge Andrea Gritti (1455-1538) kneeling before the Lion of St. Mark flanked by niches containing statues of Mercury and Jupiter. The sculpture was destroyed in 1797 under French occupation and remade in the 19th century. The balcony is topped by a statue of Fame while the statues in the lower niches represent Mars and Neptune.
Porta della Carta
The Porta della Carta is the monumental entrance to the palace. It’s on the left side of the west façade, adjacent to St. Mark’s Basilica, and leads to the courtyard. The gate, which was carved by Giovanni (d. after 1442) and Bartolomeo Bon, is probably named for the fact new laws and decrees were posted there in the presence of scribes.
Above the portal is a representation of Doge Francesco Foscari (1373-1457) kneeling in front of the Lion of St. Mark. It was destroyed in 1797 and redone in the 19th century by Luigi Ferrari (1810-1894). Above that is a bust of St. Mark topped by a figure of Justice holding a sword and scales. The pillars contain niches decorated with statues of the four cardinal virtues: Temperance, Justice, Fortitude, and Prudence.
Museo dell’Opera
Admission to the Doge’s Palace includes entry to the Museo dell’Opera, located on the southwest corner of the ground floor. The Opera once served as a technical office responsible for the maintenance of the building.
In the 19th century, the Doge’s Palace was in a terrible state of decay. The conditions were so bad that it was possible the building wouldn’t survive. In 1876, a major restoration project was launched during which 42 capitals and other architectural elements from the exterior and courtyard were removed and replaced with copies. The originals, which are considered masterpieces, were restored and placed in the museum atop their original columns.
The Museo dell’Opera consists of six rooms. In the first room are six of the oldest capitals from the lagoon side of the palace, dating back to 1340. In the second room are four capitals from the piazzetta side, also from the 14th century. The third room contains three more capitals from the 14th and 15th centuries.
In the fourth and fifth room are column shafts as well as a capital from the upper loggia on the piazzetta side. Finally, the sixth room contains 26 capitals from the first floor loggias. They date back to the 14th and 15th centuries.
Courtyard of the Doge’s Palace
The courtyard of the Doge’s Palace is surrounded by three wings of the building on the east, west, and south sides. To the north is St. Mark’s Basilica, which was once the personal chapel of the Doge. The south and west wings of the palace have their original Venetian gothic brick façades. The façade of the east wing was redesigned in a Renaissance style by architect Antonio Rizzo (c. 1430-c. 1499) after a devastating fire in 1483.
The courtyard was used for ceremonial events such as the coronation of the Doge as well as tournaments. In the center are two large bronze wells supplying water to the complex. One is the Alberghetti Well (Pozzo dell’Alberghetti), which was made by Alfonso Alberghetti between 1554 and 1559. The other is the Niccolò de’ Conti Well (Pozzo di Niccolò de’ Conti), which dates to 1556.
Foscari Portico
The Foscari Portico (Porticato Foscari), dedicated to Doge Francesco Foscari (1373-1457) is on the north side of the courtyard. It’s connected to the Porta della Carta and served as the main entrance to the palace. The portico, which is adorned with sculptures standing on spires, was built by Bartolomeo Bon (d. after 1464), Antonio Bregno (c. 1400-1458), and Antonio Rizzo. Today, it’s used as the tourist exit.
The southern façade contains a 17th century clock flanked by ancient Roman sculptures. There are a few more sculptures at the base.
The Foscari Arch (Arco Foscari), built in the late 15th century, is on the east end. It’s a triumphal arch made of Istrian stone and red Verona marble.
Giants’ Staircase
Opposite the Foscari Portico is the spectacular Giants’ Staircase (Scala dei Giganti), which was created by Antonio Rizzo between 1483 and 1485. It’s named for the two marble statues at the top, placed there in 1567 by sculptor Jacopo Sansovino (1486-1570). To the left is Mars and to the right is Neptune, representing Venice’s power on the land and sea, respectively. A sculpture of the Lion of St. Mark sits on the arch at the top of the stairs.
Senators’ Courtyard
The small space on the northeast corner of the courtyard is the Senators’ Courtyard (Cortile dei Senatori), where members of the Venetian Senate would gather before meetings. It’s bordered by a Renaissance building with gable windows, designed by Giorgio Spavento (d. 1509) and Antonio Abbondi (d. 1549).
Upper Loggia
On the upper loggia you can get a good view of the courtyard and see a few interesting items. It’s also where self-guided tours of the Doge’s apartments and institutional rooms begin by climbing up the Golden Staircase.
Next to a door on the eastern side is a small postbox that was used for anonymous denunciations. The text below the mouth of the box reads:
“Secret denunciations against anyone who will conceal favors and services or will collude to hide the true revenue from them”
Nearby is a plaque placed in the palace in 1362 during the papacy of Urban V. Written in gothic lettering, it’s a decree promising indulgences to people who give charity to the imprisoned.
Golden Staircase
The Golden Staircase (Scala d’Oro) leads up to the institutional rooms. The entrance arch was built by Antonio Abbondi (d. 1549). It’s flanked by columns topped with statues depicting Hercules killing the Hydra and Atlas ruling the world, both sculpted by Tiziano Aspetti (1559-1606).
Decorated by Alessandro Vittoria (1525-1608) starting in 1557, the staircase contains pure gold leaf inlaid in white stucco and fresco panels painted by Giambattista Franco (c. 1510-1561). In addition, you’ll find reliefs and sculptures on the landings. The five ramps of the staircase lead up to the upper floors over two flights, and it separates the Doge’s private apartments from the institutional rooms.
Institutional Rooms of the Doge’s Palace
The self-guided tour of the institutional rooms begins on the second floor at the top of the Golden Staircase then heads down to the first floor. From there, visitors cross the Bridge of Sighs to see the New Prisons before returning to the palace to see the rest of the institutional rooms on the first floor. I’ll cover the rooms in order of the tourist path through the building during my visit.
Square Atrium
First, at the top of the Golden Staircase is the Square Atrium (Atrio Quadrato). It served as a waiting room and an antechamber to other halls. The room was decorated in the mid-16th century during the reign of Doge Girolamo Priuli (1486-1567). It contains a ceiling painted by Tintoretto (1518-1594) depicting the glory of Priuli as well as paintings of biblical scenes and the four seasons by Francesco Bassano the Younger (1549-1592) and Paolo Fiammingo (c. 1540-1596).
Chamber of the Four Doors
Next is the Chamber of the Four Doors (Sala delle Quatro Porte). Before a fire in 1574, the room was a meeting chamber for the Lordship (Signoria). It then served as a formal waiting room for hearings of the Senate and Lordship. It unsurprisingly has four doors, each framed in marble. They open to the Square Atrium, the Antechamber to the College, the Senate Chamber, and a vestibule.
The Chamber of the Four Doors was designed by Andrea Palladio (1508-1580) and Giovan Antonio Rusconi (c. 1500/1505-1578) with construction carried out by Antonio da Ponte (1512-1597). It features spectacular white and gold stuccoes made from 1575 to 1576 by Giovanni Cambi. Tintoretto painted the ceiling beginning in 1578, with frescoes depicting mythological subjects and cities under Venetian rule.
Other paintings include a portrait of Doge Antonio Grimani (1434–1523) by Titian (c. 1488-1576); a scene by Tiepolo (1696-1770) portraying Venice receiving the gifts of the sea from Neptune; and Doge Alvise Mocenigo and the patriarch welcoming Henry III of France, by Andrea Vicentino (c. 1542-1617).
Antechamber to the College
Continuing on the tour, the next room is the Antechamber to the College (Sala dell’Anticollegio). It was a waiting room for foreign ambassadors and delegations received by the Full College.
The room was designed and built after 1574 by the same architects of the Chamber of the Four Doors and originally contained leather wall paneling. The paneling was replaced in 1716 with four mythological scenes by Tintoretto originally displayed in the Square Atrium. The ceiling was painted by Paolo Veronese (1528-1588) and is framed by beautiful stuccoes. Above the door are three sculptures by Alessandro Vittoria (1525-1608).
College Chamber
The Antechamber leads to the College Chamber (Sala del Collegio), which is where the Full College (Pien Collegio) met. They were elected by the Senate to deal with foreign affairs, Venice’s mainland possessions, and maritime issues. Again, this room was built by da Ponte on designs by Palladio and Rusconi.
Paolo Veronese executed work on the ceiling between 1575 and 1578 and it’s considered one of his masterpieces. Tintoretto completed paintings between 1581 and 1584. The wooden decorations, including the frames on the ceiling, were made by Francesco Bello and Andrea da Faenza (1319-1396).
Above the benches for the Doge and the six wise men (savi) is another painting by Veronese, Votive portrait of the doge Sebastiano Venier, portraying the doge (c. 1496-1578) kneeling and giving thanks for victory in the Battle of Lepanto.
On the next wall is the face of a 24-hour clock shared with the Senate Chamber. Notice the numbers on the clock are arranged in a counterclockwise manner. You’ll also notice the fireplace designed by Girolamo Campagna (1549-1625) with statues depicting Hercules and Mercury.
Senate Chamber
Next is the Senate Chamber (Sala del Senato), where the Venetian Senate (formally the Consiglio dei Pregadi) met to discuss political and financial affairs, manufacturing, trade, and foreign policy. It was designed by Palladio after the 1574 fire and decorated in the 1580s by Tintoretto and Jacopo Palma il Giovane (1548/50-1628), among others.
The ceiling was designed and completed in 1581 by Cristoforo Sorte (1510-1595). It was decorated by several painters including the two mentioned above. The rectangular painting in the center depicts the Triumph of Venice, painted by Tintoretto and his son Domenico (1560-1635), featuring Venice sitting among the gods. Other paintings feature Christ adored by various Doges as well as significant events in Venetian history.
On the wall opposite the windows are two clocks. One is a 24-hour clock shared with the College Chamber while the other features signs of the zodiac. The benches around the room were rebuilt in the 18th century.
Chamber of the Council of Ten
The Chamber of the Council of Ten (Sala del Consiglio dei Dieci) is where the Council of Ten met. The council was established Doge Pietro Gradenigo (1251-1311) on July 10, 1310, as a temporary response to a revolt led by Bajamonte Tiepolo (d. after 1329), but ended up existing until Napoleon’s army conquered Venice in 1797. They were responsible for the security of the republic.
Around the perimeter of the room is a frieze by Giambattista Zelotti featuring the coat of arms of Doge Francesco Donato (c. 1468-1553). Underneath are large canvases completed in the late 16th and early 17th centuries, including the Peace of Bologna between Charles V and Clement VII by Marco Vecellio (1545-1611).
The ceiling was painted in the 1550s by Giovanni Battista Ponchini (1510-1577) with help from Veronese and Giovannit Battista Zelotti (1526-1578). It’s divided into 25 compartments decorated with divine figures and “allegories intended to illustrate the power of the Council of Ten”. The oval in the center, Jupiter fulminating the vices, is a copy of the original painted by Veronese, then 26 years old. It was removed by Napoleon and is now exhibited in the Louvre in Paris.
Compass Room
Next is the Compass Room (Sala della Bussola), which served as an antechamber to those summoned by the magistrates. It takes its name from the compass, which is a large wooden cabinet in the corner topped by a statue of Justice. The compass hides the entrance to the chambers of the Three Heads of the Council of Ten and the State Inquisitors. Both can be visited on the Secret Itineraries tour.
The ceiling was painted by Veronese and completed in 1554. The painting in the center, depicting St. Mark, was removed in 1797 and is now exhibited in the Louvre in Paris. The fireplace was designed by Jacopo Sansovino (1486-1570) and the paintings on the wall commemorate the victories of Francesco Bussone da Carmagnola (c. 1382-1432).
Palace Armory
Before heading down to see the rooms on the first floor, we walked through the Palace Armory (Armeria di Palazzo). Originally intended for storage, it consists of four rooms on the southeast corner of the building. Over 2,000 valuable pieces are on display. They include a suit of armor belonging to Gattamelata (1370-1443), items looted from the Ottomans after the Battle of Lepanto, crossbows, arrows, swords, and other weapons. There’s also a suit of armor belonging to Henry IV of France, donated to Venice in either 1603 or 1604.
Old Council of Forty Chamber
After following a stairway down to the first floor, the next room is the Old Council of 40 Chamber (Sala della Quarantia Civil Vecchia). The Council of Forty was a 40-man judiciary council that functioned as the Republic’s Supreme Court. In the 15th century, it was divided into three separate councils. The room is one of the oldest in the palace and was refurbished in the 17th century. A fragment of a fresco, to the right of the entrance, is the only original decoration that remains.
Guariento Room
Next door is the Guariento Room (Sala del Guariento), also known as the Armament Room (Sala dell’Armamento), which served the function of receiving deposits of arms and ammunition. It’s named for a fresco depicting the Coronation of the Virgin painted by Guariento di Arpo (1310-1370) around 1365. The fresco was badly damaged during a fire in 1577, covered by Il Paradiso by Tintoretto (1518-1594), and rediscovered in 1903.
Liagò
Both of the previous rooms are connected to the Liagò, which was a corridor for council members to meet and talk between business proceedings. The ceiling was painted in the 16th century and the paintings date back to the 17th and 18th centuries.
Chamber of the Great Council
The Liagò connects to the grand Chamber of the Great Council (Sala del Maggior Consiglio), where the Great Council would hold its meetings. It’s not only the largest room in the palace, but one of the largest in Europe as well. It measures 53.5 meters long by 25 meters wide and 15.4 meters high, and could accommodate up to 2,000 council members. The room also contains the balcony that opens onto the façade facing the lagoon.
The Chamber of the Great Council was originally decorated by some of the greatest artists of the 14th century, including Guariento di Arpo (1310-1370), but the work was lost during a fire in 1577. By 1580, the room had been redecorated by Jacopo Tintoretto (1518-1594), Paolo Veronese (1528-1588), Domenico Tintoretto (1560-1635), and Jacopo Palma il Giovane (1548/50-1628), among others.
Features of the Chamber of the Great Council
The ceiling is divided into gilded frames with 35 different paintings represents the Virtues and instances of Venetian heroism. 20 were painted by minor artists while the 15 others were painted by major artists. In the center are Apotheosis of Venice by Veronese, painted in 1582, and The Triumph of Venice, Crowned by Victory by Palma il Giovane, painted in 1585. Just below the ceiling are portraits of the first 76 Doges painted by Jacopo and Domenico Tintoretto. Doge Marino Faliero (1274-1355), who attempted a coup d’état in 1355, is represented by a black drape as he was beheaded and condemned to damnatio memoriae.
The walls feature 21 paintings depicting events in Venetian history, mostly painted in 1587. They’re divided into three cycles: the Fourth Crusade; 11 paintings describing the struggle between Church and Empire, with Venice led by Sebastiano Ziani (d. 1178), and the Church by Pope Alexander III (c. 1100/05-1181) and Holy Roman Emperor Frederick Barbarossa (1122-1190); and the victory of Venice over the Republic of Genoa (1377-1378).
Il Paradiso
Behind the Doge’s throne is the aforementioned Il Paradiso by Tintoretto in collaboration with his son Domenico. It’s the longest canvas painting in the world, measuring 22 x 9 meters. It was painted in several sections between 1588 and 1592, before final assembly. The painting depicts “a heavenly world that revolves around the glory of Christ and the Virgin”, with roughly 500 religious figures in great detail. It replaced a fresco by Guariento covering the same theme.
Antechamber of the Scrutinio Room
At the end of the room is the Antechamber of the Scrutinio Room. Along the wall are two plaques. One recalls the vote on April 2, 1849, declaring the resistance of the Republic of San Marco against the Austrian Empire. The other commemorates the vote on October 27, 1866, in which Venice and Mantua approved annexation by the newly-formed Kingdom of Italy.
Scrutinio Room
The Scrutinio Room (Sala dello Scrutinio) was built under Doge Francesco Foscari (1373-1457) to house the Library of St. Mark, which contained manuscripts left to Venice by scholars Petrarch (1304-1374) and Bessarion (1403-1472). In 1532, the room changed functions and became the place where electoral counting was held. The library moved to a new building across the piazzetta.
After the fire of 1577 destroyed much of the Scrutinio Room, it was redecorated between 1578 and 1615 with paintings depicting military victories of Venice. They were executed by Tintoretto, Veronese, Andrea Vicentino (c. 1542-1617), and other artists. Portraits of the last 42 Doges are on the frieze just below the ceiling.
On the wall opposite the entrance is a triumphal arch dedicated to Doge Francesco Morosini (1619-1694) for his military exploits against the Ottomans. It was designed by Andrea Tirali (c. 1660-1737) and built in 1694. It’s adorned with six paintingsby Gregorio Lazzarini (1657-1730). The opposite wall contains a painting depicting The Last Judgment by Jacopo Palma il Giovane.
The ceiling was designed by Cristoforo Sorte (1510-1595) and completed between 1578 and 1585. It consists of 40 paintings inside gilded frames, completed by different artists. The five in the center depict Venice’s Struggle with the Maritime Republics.
Chamber of the Criminal Quarantia
Walking back through the Chamber of the Great Council, the tour continues in the Chamber of the Criminal Quarantia (Sala della Quarantia Criminal). The Criminal Quarantia was created in 1441 when the Council of Forty was split into criminal and civil branches. Its members also had legislative power. The room was used for cases of criminal law and the wooden benches date back to the 17th century.
Leather Chamber
Next door is the Leather Chamber (Sala dei Cuoi), which was an archive for the Criminal Quarantia. It’s named for the leather decorations on the wall. You’ll find the Madonna in trono col Bambino by Alvise Vivarini (1442/53-1503/05) as well as a painting of the Foscari family tree on the wall.
Chamber of the Censors
After visiting the New Prisons and returning to the Doge’s Palace, the next room is the Chamber of the Censors (Sale dei Censori), which is on the ground floor. The State Censors were established in 1517. They were consultants charged with preventing electoral fraud and corruption as well as protecting state institutions. Portraits of several censors painted by Domenico Tintoretto, Leandro Bassano (1557-1622), and Tiberio Tinelli (1586-1639), line the walls.
Chamber of the State Advocacies
Next is the Chamber of the State Advocacies (Sala dell’ Avogaria de Comùn). The State Advocacies (Avogadoria de Comùn) functioned as prosecutors charged with protecting constitutional legality, making sure the councils complied with the law, and verifying the legitimacy of marriages and births inscribed in the Golden Book (Libro d’Oro). It consisted of three members elected by the Great Council. Their portraits are the work of Jacopo and Domenico Tintoretto.
Scrigno Room
The Scrigno Room (Sala dello Scrigno) is where the Golden and Silver Books were kept. The Golden Book recorded all the names of the Venetian noble families while the Silver Book contained a list of full Venetian citizens. They were kept in a chest inside a cupboard for which the room is named. The cupboard, decorated with white and gold, dates back to the 18th century. Portraits of advocates by Alessandro Longhi (1733-1813), Pietro Uberti (1671-1762), and Vincenzo Guarana (1742-1815) decorate the walls.
Chamber of the Navy Captains
The final institutional room to visit in the Doge’s Palace is the Chamber of the Navy Captains (Sala della Milizia da Mar). The Navy Captains (Milizia da Mar) consisted of 20 members of the Senate and Great Council responsible for recruiting crews for the Venetian fleet. The room was furnished in the 16th century while the lanterns date back to the 18th century.
Bridge of Sighs
After visiting the institutional rooms on the first floor, the self-guided tour takes you over the Bridge of Sighs (Ponte dei Sospiri). It’s a covered bridge made of limestone that connects the Doge’s Palace to the New Prisons (Prigioni Nuove).
The Bridge of Sighs was built between 1600 and 1603 by architect Antonio Contin (1566-1600). The English name suggested prisoners would sigh at may have been the last view of Venice before being taken to their cells. To be honest, the view isn’t that great! The best view of the bridge itself is from the Ponte della Paglia (Straw Bridge), on the southeast corner of the Doge’s Palace.
There are two separate corridors on the bridge. One links to the Chamber of the Quarantia Criminal and the Chamber of the Magistrate for Laws (Sale del Magistrato alle Leggi) while the other links to the Chamber of the Censors. The window in this corridor faces the lagoon. We walked to the prisons through the former and walked back through the latter.
New Prisons
At the other end of the bridge is the Palace of the New Prisons (Palazzo delle Prigioni Nuove), which is actually in the Castello district. It was built starting in the late 16th century to replace the prisons underneath the Doge’s Palace, which had grown overcrowded and presented multiple health risks. Construction lasted about 100 years due to continuous expansions.
The purpose of the New Prisons was to improve conditions for prisoners with larger cells that let in more light, but that wasn’t the case in some cells.
The building consists of three floors of cells linked by a patrol corridor. There are two courtyards, the main courtyard with white brick walls and grated window plus a second L-shaped courtyard. In the main courtyard, a well supplying water to the prison sits in the center.
Finally, if you look closely at the cell walls, you’ll find drawings made by some criminals incarcerated in the prison, which operated until 1919.
