202:
693:
721:
707:
416:. It amounted to the transformation of Saint Mark's Square from an antiquated medieval town centre with food vendors, money changers, and even latrines into an imposing public forum in emulation of ancient Rome. Specifically, the loggetta was modelled along the lines of ancient triumphal arches and was intended as a monumental backdrop to provide a sense of grandeur to public ceremonies. Many of the key architectural elements, including the paired columns and niches with statues, had in fact already been employed by Sansovino for the temporary wooden arches that he designed and erected in Florence in 1514 for the ceremonial entry of Pope Leo X into the city the previous year.
828:
768:
501:
622:
586:
610:
813:, they were rebuilt in 1550 alongside Sansovino's structure and existed until 1873 when they were finally demolished. This completely exposed the lateral brick walls which had only partial three-light windows in the upper parts in order to accommodate for the lean-to structure below. It was consequently decided to extend the window frames downward using as a model the window, derived from Bramante's Santa Maria delle Grazie in Milan and the nymphaeum at Genazzano near Rome, that Sansovino himself had employed for the high altar of San Martino in Venice.
254:(c. 1487), attributed to Lazzaro Bastiani, it was a lean-to wooden structure, partially enclosed, that consisted in a triple arcade supported on four stone columns. Over time, it was repeatedly damaged by falling masonry from the bell tower as a result of storm and earthquake but was repaired after each incident. However, when lightning struck the bell tower on 11 August 1537 and the loggia underneath was once again damaged, it was decided to completely rebuild the structure. The commission was given to the sculptor and architect Jacopo Sansovino, the
598:
29:
276:
298:
650:), allegorizes the uniqueness of the Republic and of its government. In addition, as the god of music, he alludes to the perfect constitutional harmony between the various councils and magistrates which ensures the stability and longevity of the state. On the loggetta, he is portrayed with a quiver and arrows as symbols of the piercing solar rays. The lyre is now missing from his left hand.
850:
At the time of the reconstruction, the sides that had originally been left in exposed brick were redesigned. The architectural elements of the façade were continued along the sides, and the same types of stone and marble used for the revetments of the main façade were applied to the sides in order to
842:
The current
Loggetta is built with roughly fifty percent of the original architectonic and decorative material. The three surviving columns are located on either side of the doorway and in the second-to-the-last position on the right. Although badly damaged, the reliefs in the attic are original with
431:
led to a brief suspension of work and the decision to simplify the design by leaving the brick of the side walls exposed. The sides were however partially obscured when the lean-to structures around the perimeter of the bell tower were subsequently extended along the sides of the loggetta in order to
562:
The combination of polychromatic marbles with bronze is also reminiscent of
Raphael's Chigi Chapel. But in the loggetta, the bronze is more prominent as it is the material employed for the four large statues. These were designed by Sansovino on the basis of an allegorical programme conceived by the
733:
The central relief shows Venice as
Justice with the sword and scales. She sits upon a throne supported by lions in allusion to her Solomonic wisdom. On either side the figure is flanked by river gods with water flowing from urns in reference to the subject territories on the Italian mainland. The
838:
In 1902, the loggetta was largely destroyed when the bell tower collapsed. The surviving elements were catalogued and integrated with substitute pieces. The whole was then reassembled in the courtyard of the Doge's Palace before being moved to the base of the new bell tower. Construction was
188:
The loggetta was largely destroyed in the collapse of the bell tower in 1902, but it was rebuilt using what original material could be salvaged, amounting to about half of the present building. At the same time the sides, which had originally been left in plain brick as other
238:
From the end of the thirteenth century until the second half of the seventeenth century, a loggia also existed in Saint Mark's Square as a gathering place for nobles whenever they came to the square on government business. Although it was attached to the
763:
from 1640 to 1682, replaced the five steps in front of the loggetta and the external benches with a wide terrace and balustrade. The two lateral windows were reduced to half lunettes with iron grillwork in the upper portion, and doors were added.
640:. Characterized by her medusa shield, Athena is an allegory for wisdom and righteousness, as well as the goddess of war. This may have signified the righteousness of the Venetian patriciate, as well as Venetian naval prowess.
808:
The original medieval loggetta had been covered on both sides with lean-to wooden stalls for shops which continued along the perimeter of the bell tower. Important sources of rental income for the procurators of Saint Mark
444:
in Rome with three prominent arches alternating with projecting columns that are displayed as trophies on high pedestals. The design of the niches with statues placed between paired columns may also derive from
524:
from Asia and Africa and are positioned so that the colour and texture of the angular fragments of pre-existing rocks in the stone become progressively more pronounced moving towards the central columns. The
785:
realized the elaborate bronze gate (1733–1734) with the allegorical figures of
Vigilance (on the left with the lighted lamp and the crane holding a pebble with its foot) and Liberty (on the right with the
185:, the government shipyard, in order to counter any popular assault and respond to any fire. Beginning in 1734, it was additionally the site for the extraction of winning tickets in the public lottery.
225:
at Rialto as a meeting place for nobles to discuss business affairs in the commercial centre of the city. Furnished with maps and paintings, this structure, visible in
Vittore Carpaccio's
867:
Disbursements for building materials and workers began in
February of 1538. The final payment to Sansovino for the four bronze statues of the façade was in February of 1546. Morresi,
666:
represents the peace, beloved by the
Republic, which ensures its greatness. The statue of the goddess shows her extinguishing her torch on the armour that lays cast-off at her feet.
512:
is used for much of the structure: the cornices, crowning balustrade, the panelling inside the niches, and the frames of the upper reliefs. The balustrade also contains opalescent
213:
Covered exterior galleries, referred to as loggias and intended as public gathering places, were normally built in Venice against church façades, such as the surviving examples of
790:
on a staff). The gate is surmounted by Armed Peace (to the left with a helmet and an olive branch) and Public
Happiness (to the right with the caduceus and a cornucopia).
742:, the first king of the island. Cyprus, annexed to Venice in 1489 and ceded to the Ottoman Turks in 1573, is shown as Venus who was born from the waters near the island.
520:, easily carved, is used for the relief sculptures. The authentic antique columns (only three of which survived the collapse of the bell tower in 1902) are made out of
477:
due to the lavish stone facing. The rich polychromatic effect, obtained by employing a number of rare stones and costly marbles, is reminiscent of the interior of the
432:
provide an additional source of rental income to the procurators. Work resumed, and by
January 1541 the basic structure was complete when the leaden roof was applied.
227:
656:, the god of eloquence, underscores that Venice's wise and prudent decisions are eloquently expressed by the nobles. The god is shown with the severed head of
692:
504:
Detail of the polychromatic façade showing oriental breccias, marbles from Verona and
Carrara, limestone from Istria, and lapis lacedaemonius from Greece.
1719:
1714:
720:
201:
419:
Although the small brick structure was quickly erected between 1538 and 1540, in part with building materials recuperated from the old Church of
706:
52:
1739:
1016:..., p. 31. The payment record of the procurators is in the Archives (PS, b. 74, proc. fasc. I, c. 21) and is published in Howard,
1529:
1357:
177:, the loggetta was also used from 1569 onward as a sentry post to provide security for the assembled nobles during the meetings of the
193:
structures backed onto them, were rebuilt in the style of the main facade. The building serves as the entrance to the tower elevator.
822:
1405:
1724:
1458:
567:
with the intention of glorifying the Republic and exalting its intrinsic virtues in a public space. The architect's son,
940:
Vasari describes the wooden structure erected to cover the unfinished façade of Santa Maria del Fiore in Giorgio Vasari
1609:
738:, under Venetian rule from 1205 to 1669, is presented as Jupiter who was raised on Mount Aigaion on Crete and fathered
1681:
1417:
1236:
1219:
847:
on the extreme right. The spandrel figures are also original as are most of the reliefs above and below the niches.
497:(1523–1530), all constructions with which Sansovino was likely familiar from his second period in Rome (1516–1527).
450:
412:
and the subsequent Peace of Bologna which sanctioned Habsburg hegemony on the Italian peninsula at the end of the
1086:
Sansovino, Francesco, 1521-1586. Venetia, Citta Nobilissima.: Venice 1663. : Gregg International Publishers, 1969
1445:
1645:
1522:
1350:
1305:
1288:
1271:
585:
368:
457:
capitals, combined with a convex pulvinated frieze, was probably inspired from the tomb of Pope Adrian VI in
409:
250:
In the fifteenth century, the procurators erected a second loggia, attached to the bell tower. Visible in
158:
between 1538 and 1546, it served at various times as a gathering place for nobles and for meetings of the
1639:
413:
767:
621:
579:(1581), specifying in the latter publication that he obtained the explanation directly from his father.
218:
1663:
609:
1734:
1729:
1560:
1515:
1343:
1255:
Lupo, Giorgio, 'Il restauro ottocentesco della Loggetta sansoviniana in Piazza San Marco a Venezia',
494:
458:
420:
159:
827:
173:
Because of its location directly in front of the Porta della Carta, the most important entry to the
597:
500:
308:
167:
1429:
1276:
386:
326:
222:
178:
1250:
1498:
1424:
143:
1576:
1554:
1434:
1412:
214:
404:, that was aimed at reaffirming Venice's international prestige after the earlier defeat at
1615:
675:
516:
from the valley of San Vitale near Verona, noted for its fossilized mollusk shells. White
423:, concerns about the magnitude of the overall architectural programme (which included the
377:
181:: three procurators were to be present, assisted by an armed squadron of workers from the
8:
1692:
1627:
1586:
1570:
1453:
1320:
1310:
756:
653:
568:
542:
441:
424:
405:
341:
549:), found exclusively in the Peloponnese, is employed for the accents around the niches.
359:
490:
163:
755:
In conjunction with reparations made necessary after lightning struck the bell tower,
1301:
1284:
1267:
1246:
1232:
1215:
735:
509:
182:
686:. They allegorize Venice and its principal subject territories of Crete and Cyprus.
1686:
1538:
1472:
1366:
832:
759:, the consultant architect and buildings manager for the procurators of Saint Mark
564:
317:
174:
155:
147:
118:
1390:
470:
235:(1500), was not rebuilt after the fire that devastated the Rialto market in 1514.
1621:
1564:
1484:
793:
683:
679:
469:
Given its small size, the loggetta cost the relatively considerable sum of 4,258
454:
446:
350:
1395:
1464:
1224:
1207:
657:
633:
538:
478:
427:) and the associated expenses for the coffers of the procurators of Saint Mark
232:
166:
who were responsible principally for the administration of the treasury of the
28:
513:
258:(consultant architect and buildings manager) of the procurators of Saint Mark
247:
who were responsible specifically for the public buildings around the square.
1708:
663:
517:
401:
275:
67:
54:
1400:
1293:
787:
486:
297:
782:
534:
1101:
Jacopo Sansovino : Architecture and Patronage in Renaissance Venice
1603:
1582:
1385:
796:
widened the attic between 1749 and 1750. The marble reliefs of the two
1241:
Lotz, Wolfgang, 'The Roman Legacy in Sansovino's Venetian Buildings',
400:, the ambitious programme of architectural renewal, begun under Doge
240:
1507:
1335:
800:
on the external wings of the elevation were carved by Antonio Gai.
1212:
Jacopo Sansovino: architecture and patronage in Renaissance Venice
892:
890:
521:
482:
243:, it was under the jurisdiction of the procurators of Saint Mark
190:
1477:
887:
643:
637:
530:
526:
151:
823:
St Mark's Campanile § Collapse and rebuilding (1902–1912)
739:
944:, III, vol. I, (Fiorenza: I Giunti, 1568), pp. 826–827.
660:
at his feet. The caduceus is missing from his right hand.
170:
and for the public buildings around Saint Mark's Square.
142:
is a small, richly decorated building at the base of the
1300:(Chapel Hill: University of North Carolina Press, 2001)
942:
Vite de più eccellenti pittori scultori ed architetti...
228:
Miracle of the Relic of the Cross at the Ponte di Rialto
632:
Francesco Sansovino identifies the leftmost statue as
571:, elaborates the significance of the statues in both
955:
Il restauro ottocentesco della Loggetta sansoviniana
440:
The principal model for the loggetta was likely the
1315:
L'Arte oratoria secondo i modi della lingua volgare
1060:
L'Arte oratoria secondo i modi della lingua volgare
573:
L'Arte oratoria secondo i modi della lingua volgare
279:Engraving of the Loggetta. Source: Giacomo Franco,
1243:Journal of the Society of Architectural Historians
1125:
1123:
1041:
1039:
995:
993:
991:
989:
981:The Roman Legacy in Sansovino's Venetian Buildings
489:in Santa Maria del Popolo (begun c. 1512), and of
1706:
231:(c. 1496) and in Jacopo de' Barbari's panoramic
1120:
1103:. New haven: Yale University Press. p. 34.
1036:
986:
396:The building of the loggetta was a part of the
221:. A similar structure was also attached to the
1283:(Princeton: Princeton University Press, 1981)
1523:
1351:
1245:, Vol. 22, No. 1 (Mar, 1963), pp. 3–12
831:The reconstructed loggetta as seen from the
1557:(original project of reconstruction, 1520s)
923:
921:
919:
917:
915:
449:'s design for the marble screen within the
1720:Buildings and structures completed in 1912
1715:Buildings and structures completed in 1546
1530:
1516:
1358:
1344:
1298:Myths of Venice: the Figuration of a State
678:are the work of Sansovino's collaborators
529:behind the columns, the convex pulvinated
1214:(New Haven: Yale University Press, 1975)
851:render the entire structure homogeneous.
1259:, n. 10, anno V (2018), pp. 129–161
912:
826:
766:
499:
274:
200:
196:
854:
577:Venetia, città nobilissima et singolare
1707:
1563:(original project, 1554, continued by
1325:Venetia Città nobilissima et singolare
1168:Morresi, Jacopo Sansovino, p. 217
1098:
1073:Venetia Città nobilissima et singolare
896:Morresi, Jacopo Sansovino, p. 213
745:
541:veined with grey. Precious dark green
453:in Loreto. But the specific choice of
1579:(reconstruction finished, 1552–1557)†
1511:
1339:
1537:
1365:
1459:Columns of San Marco and San Todaro
1229:The Architectural History of Venice
281:Habiti d'huomeni et donne venetiane
13:
1740:Renaissance architecture in Venice
1281:Civic Ritual in Renaissance Venice
14:
1751:
1682:Venetian Renaissance architecture
1331:
1327:(Venetia: Iacomo Sansovino, 1581)
1317:(Vinegia: Giovanni Griffio, 1546)
816:
773:Antonio Gai between 1733 and 1734
1585:(façade, 1553–1554, finished by
719:
705:
691:
620:
608:
596:
584:
537:, and the capitals are in white
296:
27:
1610:Palazzo Corner della Ca' Grande
1231:(London: B. T. Batsford, 1980)
1201:
1184:
1171:
1162:
1149:
1136:
1107:
1092:
1078:
1065:
1052:
1023:
1006:
435:
270:
209:(c. 1487), Venice, Museo Correr
205:Lazzaro Bastiani (attributed),
1418:Treasury of St Mark's Basilica
1406:National Archaeological Museum
973:
960:
947:
934:
899:
874:
861:
1:
646:, as the god of the one sun (
493:'s tomb of Pope Adrian VI in
1606:(superintendency, 1529–1538)
552:
464:
410:War of the League of Cambrai
7:
1642:(original project, c. 1540)
1573:(reconstruction, 1546–1610)
1020:..., p. 167, note 118.
414:War of the League of Cognac
265:
223:building of the Camerlenghi
10:
1756:
1725:Jacopo Sansovino buildings
1648:(involvement, 1520s–1530s)
820:
1674:
1655:
1596:
1561:San Francesco della Vigna
1545:
1493:
1444:
1373:
771:The bronze gate, made by
674:The three reliefs in the
421:San Francesco della Vigna
252:La Piazzetta di San Marco
207:La Piazzetta di San Marco
160:procurators of Saint Mark
132:
124:
114:
106:
83:
46:
38:
26:
21:
16:Building in Venice, Italy
1618:(original project, 1536)
1612:(original project, 1532)
1099:Howard, Deborah (1975).
451:Church of the Sacra Casa
219:San Nicolò dei Mendicoli
1435:Church of San Geminiano
1266:(Milano: Electa, 2000)
162:, the officials of the
1634:Loggetta del Sansovino
1499:Piazzetta dei Leoncini
1381:Loggetta del Sansovino
835:
774:
505:
495:Santa Maria dell'Anima
459:Santa Maria dell'Anima
284:
210:
125:Architectural style(s)
22:Loggetta del Sansovino
1577:San Geminiano, Venice
1555:San Marcello al Corso
1117:..., pp. 129–137
1075:, fols 111r–111v
843:the exception of the
830:
770:
728:an allegory of Cyprus
503:
309:Saint Mark's Basilica
278:
215:San Giacomo di Rialto
204:
197:Historical background
1646:Palazzo della Loggia
1616:Palazzo Dolfin Manin
1430:St Mark's Clocktower
1321:Sansovino, Francesco
1311:Sansovino, Francesco
855:Notes and references
700:an allegory of Crete
168:Church of Saint Mark
1693:Francesco Sansovino
1628:Biblioteca Marciana
1587:Alessandro Vittoria
1571:San Martino, Venice
1548:religious buildings
1454:Biblioteca Marciana
1425:St Mark's Campanile
1062:, fols 52v–53r
957:…, pp. 141–142
871:, pp. 213–215.
839:completed in 1912.
757:Baldassare Longhena
746:Later modifications
569:Francesco Sansovino
543:lapis lacedaemonius
442:Arch of Constantine
290:Saint Mark's Square
241:Church of San Basso
148:Saint Mark's Square
68:45.4341°N 12.3392°E
64: /
1689:(sculpture master)
1413:St Mark's Basilica
1262:Morresi, Manuela,
1159:, pp. 216–217
836:
775:
736:territory of Crete
508:Locally available
506:
491:Baldassare Peruzzi
378:Procuratie Vecchie
285:
211:
154:, Italy. Built by
1702:
1701:
1597:Secular buildings
1505:
1504:
636:, an epithet for
510:red Verona marble
164:Venetian Republic
136:
135:
1747:
1735:Piazza San Marco
1730:Loggias in Italy
1687:Andrea Sansovino
1539:Jacopo Sansovino
1532:
1525:
1518:
1509:
1508:
1367:Piazza San Marco
1360:
1353:
1346:
1337:
1336:
1264:Jacopo Sansovino
1195:
1192:Jacopo Sansovino
1188:
1182:
1179:Jacopo Sansovino
1175:
1169:
1166:
1160:
1157:Jacopo Sansovino
1153:
1147:
1146:..., p. 130
1140:
1134:
1131:Jacopo Sansovino
1127:
1118:
1111:
1105:
1104:
1096:
1090:
1089:
1082:
1076:
1069:
1063:
1056:
1050:
1047:Jacopo Sansovino
1043:
1034:
1031:Jacopo Sansovino
1027:
1021:
1018:Jacopo Sansovino
1014:Jacopo Sansovino
1010:
1004:
1001:Jacopo Sansovino
997:
984:
977:
971:
968:Jacopo Sansovino
964:
958:
951:
945:
938:
932:
929:Jacopo Sansovino
925:
910:
907:Jacopo Sansovino
903:
897:
894:
885:
882:Jacopo Sansovino
878:
872:
869:Jacopo Sansovino
865:
723:
709:
695:
624:
612:
600:
588:
565:Antonio Cappello
384:
375:
366:
360:Procuratie Nuove
357:
348:
342:Marciana Library
339:
333:
324:
315:
306:
300:
156:Jacopo Sansovino
128:High Renaissance
119:Jacopo Sansovino
102:
100:
94:
92:
79:
78:
76:
75:
74:
73:45.4341; 12.3392
69:
65:
62:
61:
60:
57:
31:
19:
18:
1755:
1754:
1750:
1749:
1748:
1746:
1745:
1744:
1705:
1704:
1703:
1698:
1670:
1651:
1622:Zecca of Venice
1592:
1565:Andrea Palladio
1547:
1541:
1536:
1506:
1501:
1489:
1440:
1369:
1364:
1334:
1225:Howard, Deborah
1208:Howard, Deborah
1204:
1199:
1198:
1189:
1185:
1176:
1172:
1167:
1163:
1154:
1150:
1144:Myths of Venice
1141:
1137:
1128:
1121:
1115:Myths of Venice
1112:
1108:
1097:
1093:
1084:
1083:
1079:
1070:
1066:
1057:
1053:
1044:
1037:
1033:..., p. 31
1028:
1024:
1011:
1007:
998:
987:
978:
974:
965:
961:
952:
948:
939:
935:
931:..., p. 34
926:
913:
909:..., p. 29
904:
900:
895:
888:
884:..., p. 30
879:
875:
866:
862:
857:
825:
819:
794:Giorgio Massari
772:
748:
729:
727:
724:
715:
713:
710:
701:
699:
696:
684:Tiziano Aspetti
680:Danese Cattaneo
628:
625:
616:
613:
604:
601:
592:
591:Pallas (Athena)
589:
555:
467:
447:Donato Bramante
438:
398:renovatio urbis
394:
393:
392:
391:
390:
389:
382:
380:
373:
371:
369:Napoleonic wing
364:
362:
355:
353:
346:
344:
337:
335:
331:
322:
320:
313:
311:
304:
301:
292:
291:
283:, 1610, Venetia
273:
268:
199:
98:
96:
90:
88:
72:
70:
66:
63:
58:
55:
53:
51:
50:
34:
17:
12:
11:
5:
1753:
1743:
1742:
1737:
1732:
1727:
1722:
1717:
1700:
1699:
1697:
1696:
1690:
1684:
1678:
1676:
1672:
1671:
1669:
1668:
1659:
1657:
1653:
1652:
1650:
1649:
1643:
1637:
1631:
1625:
1619:
1613:
1607:
1600:
1598:
1594:
1593:
1591:
1590:
1580:
1574:
1568:
1558:
1551:
1549:
1543:
1542:
1535:
1534:
1527:
1520:
1512:
1503:
1502:
1497:
1495:
1491:
1490:
1488:
1487:
1482:
1481:
1480:
1470:
1469:
1468:
1465:Lion of Venice
1456:
1450:
1448:
1442:
1441:
1439:
1438:
1432:
1427:
1422:
1421:
1420:
1410:
1409:
1408:
1403:
1398:
1393:
1383:
1377:
1375:
1371:
1370:
1363:
1362:
1355:
1348:
1340:
1333:
1332:External links
1330:
1329:
1328:
1318:
1308:
1291:
1274:
1260:
1253:
1239:
1222:
1203:
1200:
1197:
1196:
1183:
1170:
1161:
1148:
1135:
1119:
1106:
1091:
1088:. p. 307.
1077:
1064:
1051:
1035:
1022:
1005:
985:
972:
959:
946:
933:
911:
898:
886:
873:
859:
858:
856:
853:
818:
817:Reconstruction
815:
747:
744:
731:
730:
725:
718:
716:
711:
704:
702:
697:
690:
630:
629:
626:
619:
617:
614:
607:
605:
602:
595:
593:
590:
583:
554:
551:
539:Carrara marble
466:
463:
437:
434:
381:
372:
363:
354:
345:
336:
321:
312:
303:
302:
295:
294:
293:
289:
288:
287:
286:
272:
269:
267:
264:
233:view of Venice
198:
195:
134:
133:
130:
129:
126:
122:
121:
116:
112:
111:
108:
104:
103:
85:
81:
80:
48:
44:
43:
40:
36:
35:
32:
24:
23:
15:
9:
6:
4:
3:
2:
1752:
1741:
1738:
1736:
1733:
1731:
1728:
1726:
1723:
1721:
1718:
1716:
1713:
1712:
1710:
1694:
1691:
1688:
1685:
1683:
1680:
1679:
1677:
1673:
1666:
1665:
1661:
1660:
1658:
1654:
1647:
1644:
1641:
1640:Villa Garzoni
1638:
1635:
1632:
1629:
1626:
1623:
1620:
1617:
1614:
1611:
1608:
1605:
1602:
1601:
1599:
1595:
1588:
1584:
1581:
1578:
1575:
1572:
1569:
1566:
1562:
1559:
1556:
1553:
1552:
1550:
1544:
1540:
1533:
1528:
1526:
1521:
1519:
1514:
1513:
1510:
1500:
1496:
1492:
1486:
1483:
1479:
1476:
1475:
1474:
1473:Doge's Palace
1471:
1467:
1466:
1462:
1461:
1460:
1457:
1455:
1452:
1451:
1449:
1447:
1443:
1436:
1433:
1431:
1428:
1426:
1423:
1419:
1416:
1415:
1414:
1411:
1407:
1404:
1402:
1399:
1397:
1394:
1392:
1391:Caffè Florian
1389:
1388:
1387:
1384:
1382:
1379:
1378:
1376:
1372:
1368:
1361:
1356:
1354:
1349:
1347:
1342:
1341:
1338:
1326:
1322:
1319:
1316:
1312:
1309:
1307:
1303:
1299:
1295:
1294:Rosand, David
1292:
1290:
1286:
1282:
1278:
1275:
1273:
1269:
1265:
1261:
1258:
1254:
1252:
1248:
1244:
1240:
1238:
1237:9780300090291
1234:
1230:
1226:
1223:
1221:
1220:9780300018912
1217:
1213:
1209:
1206:
1205:
1194:, p. 216
1193:
1187:
1181:, p. 219
1180:
1174:
1165:
1158:
1152:
1145:
1139:
1133:, p. 222
1132:
1126:
1124:
1116:
1110:
1102:
1095:
1087:
1081:
1074:
1068:
1061:
1055:
1049:, p. 221
1048:
1042:
1040:
1032:
1026:
1019:
1015:
1009:
1003:, p. 215
1002:
996:
994:
992:
990:
982:
976:
970:, p. 213
969:
963:
956:
950:
943:
937:
930:
924:
922:
920:
918:
916:
908:
902:
893:
891:
883:
877:
870:
864:
860:
852:
848:
846:
840:
834:
833:Doge's Palace
829:
824:
814:
812:
806:
805:
801:
799:
795:
791:
789:
784:
780:
779:
769:
765:
762:
758:
753:
752:
743:
741:
737:
722:
717:
708:
703:
694:
689:
688:
687:
685:
681:
677:
672:
671:
667:
665:
661:
659:
655:
651:
649:
645:
641:
639:
635:
623:
618:
611:
606:
599:
594:
587:
582:
581:
580:
578:
574:
570:
566:
560:
559:
550:
548:
544:
540:
536:
532:
528:
523:
519:
518:Istrian stone
515:
511:
502:
498:
496:
492:
488:
484:
480:
476:
472:
462:
460:
456:
452:
448:
443:
433:
430:
426:
422:
417:
415:
411:
407:
403:
402:Andrea Gritti
399:
388:
379:
370:
361:
352:
343:
334:
328:
319:
310:
299:
282:
277:
263:
261:
257:
253:
248:
246:
242:
236:
234:
230:
229:
224:
220:
216:
208:
203:
194:
192:
186:
184:
180:
179:Great Council
176:
175:Doge's Palace
171:
169:
165:
161:
157:
153:
149:
145:
141:
131:
127:
123:
120:
117:
113:
109:
105:
86:
82:
77:
49:
45:
42:Venice, Italy
41:
37:
30:
25:
20:
1662:
1633:
1546:Churches and
1463:
1401:Museo Correr
1396:Caffè Quadri
1380:
1324:
1314:
1297:
1280:
1277:Muir, Edward
1263:
1256:
1242:
1228:
1211:
1202:Bibliography
1191:
1186:
1178:
1173:
1164:
1156:
1151:
1143:
1138:
1130:
1114:
1109:
1100:
1094:
1085:
1080:
1072:
1067:
1059:
1054:
1046:
1030:
1025:
1017:
1013:
1008:
1000:
980:
975:
967:
962:
954:
949:
941:
936:
928:
906:
901:
881:
876:
868:
863:
849:
844:
841:
837:
810:
807:
803:
802:
797:
792:
781:
777:
776:
760:
754:
750:
749:
732:
673:
669:
668:
662:
652:
647:
642:
631:
576:
572:
561:
557:
556:
547:verde antico
546:
533:of the main
507:
487:Chigi Chapel
474:
468:
439:
436:Architecture
428:
418:
397:
395:
330:
318:Ducal Palace
280:
271:Construction
259:
255:
251:
249:
244:
237:
226:
212:
206:
187:
172:
139:
137:
1636:(1538–1546)
1630:(1537–1588)
1624:(1536–1548)
1071:Sansovino,
1058:Sansovino,
983:, p. 6
783:Antonio Gai
698:Jupiter as
575:(1546) and
563:Procurator
535:entablature
408:during the
387:Clock tower
71: /
47:Coordinates
33:Main façade
1709:Categories
1656:Sculptures
1604:Procuratie
1583:San Zulian
1386:Procuratie
1306:0807826413
1289:0691102007
1272:8843575716
821:See also:
712:Venice as
514:lumachelle
327:Bell tower
144:bell tower
59:12°20′21″E
56:45°26′03″N
1667:(c. 1515)
1446:Piazzetta
1257:ArcHistoR
1251:0037-9808
1190:Morresi,
1177:Morresi,
1155:Morresi,
1129:Morresi,
1045:Morresi,
999:Morresi,
966:Morresi,
804:1876–1885
778:1733–1750
751:1653–1663
726:Venus as
553:Sculpture
465:Materials
455:composite
406:Agnadello
385: i.
376: h.
367: g.
358: f.
349: e.
340: d.
325: c.
316: b.
307: a.
115:Architect
110:1902–1912
1142:Rosand,
1113:Rosand,
1029:Howard,
1012:Howard,
927:Howard,
905:Howard,
880:Howard,
811:de supra
761:de supra
522:breccias
479:Pantheon
429:de supra
332:Loggetta
266:Building
260:de supra
245:de supra
140:Loggetta
39:Location
1675:Related
1664:Bacchus
1589:, 1570)
1494:Related
714:Justice
670:Reliefs
654:Mercury
615:Mercury
558:Statues
527:lesenes
483:Raphael
473:and 14
425:library
191:lean-to
183:Arsenal
107:Rebuilt
97: (
89: (
1478:Piombi
1374:Piazza
1304:
1287:
1270:
1249:
1235:
1218:
979:Lotz,
953:Lupo,
788:pileus
644:Apollo
638:Athena
634:Pallas
603:Apollo
531:frieze
475:grossi
471:ducats
383:
374:
365:
356:
347:
338:
323:
314:
305:
152:Venice
1695:(son)
1485:Zecca
845:putto
798:putti
740:Minos
676:attic
658:Argus
481:, of
256:proto
95:–1546
84:Built
1302:ISBN
1285:ISBN
1268:ISBN
1247:ISSN
1233:ISBN
1216:ISBN
682:and
648:Sole
351:Mint
329:and
217:and
138:The
99:1546
91:1538
87:1538
664:Pax
627:Pax
485:’s
146:in
1711::
1323:,
1313:,
1296:,
1279:,
1227:,
1210:,
1122:^
1038:^
988:^
914:^
889:^
461:.
262:.
150:,
1567:)
1531:e
1524:t
1517:v
1437:†
1359:e
1352:t
1345:v
545:(
101:)
93:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
_Arrivo_a_Venezia_dei_duchi_Ercole_I_e_Afonso_I_da_Ferrara_by_Lazzaro_Bastiani_-_Correr_Museum.jpg)
