These Venetian buildings with their famous passageways form a series of Mušič’s impressions and experiences of
La Serenissima in his old age. His characteristic palette of earth tones depicts the facades of Venetian construction. The city is enveloped in dusk, without the hint of a sunray. The exteriors are pocked by a string of windows of several sizes and shapes, with shutters in various degrees of openness, and the underpass gives a glimpse at the neighboring streets, no less dark and inescapable. Human silhouettes are distinguishable behind the doors or windows, with the artist sometimes sneaking in a self-portrait or likeness of his wife Ida. It is as if he were painting Venice’s theater scene: that of a city abandoned by the masses of spectators, and just an old, solitary artist remains after the crowd has left. That’s when Mušič’s world comes to light, in the darkness and silence, which are also central to his series on the interiors of Venice’s cathedrals.