Procuratie
45°26′3″N 12°20′16″E / 45.43417°N 12.33778°E
Procuratie Vecchie | |
Built | c. 1514–1538 |
---|---|
Architect | Pietro Bon and Zuan Celestro (attributed) |
Architectural style(s) | Early Renaissance |
Procuratie Nuove | |
Built | 1583–c. 1660 |
Architect | Vincenzo Scamozzi and Francesco Smeraldi |
Architectural style(s) | High Renaissance |
Procuratie Nuovissime | |
(Napoleonic Wing) | |
Built | 1807–1815 |
Architect | Giovanni Maria Solis |
Architectural style(s) | Neoclassical |
The Procuratie (English:
The Procuratie Vecchie on the northern side of the square was built during the War of the League of Cambrai in the early sixteenth century to replace an earlier structure, damaged by fire. Although the war imposed financial constraints and limited innovation, it was nevertheless the first major public building in Venice to be erected in a purely classical style. It always contained apartments that were rented by the procurators as a source of revenue to finance building projects and repairs. Rental income was significant, given the prestige of the location. But the apartments were eventually sold to raise immediate money for the government, and several of them were subsequently transformed into clubhouses.
The Procuratie Nuove on the southern side housed the official residences of the procurators. Built between the late-sixteenth and mid-seventeenth centuries to replace a series of dilapidated medieval structures, it represented the culmination of an extensive programme of urban renewal that lasted over a hundred years and profoundly transformed Venice's city centre, giving it the appearance of a great classical forum. Both the official residences in the Procuratie Nuove and the rental apartments in the Procuratie Vecchie were built above arcades with space on the ground floor that was rented out for stores, workshops, and later coffeehouses, including the historic Caffè Florian, Caffè Quadri, and Caffè Lavena.
The Procuratie Nuovissime (Newest Procuracies, also known as the Napoleonic Wing) was built during the second period of French occupation (1805–1815) when after the fall of the Republic of Venice, the Procuratie Nuove was transformed into the residence of the viceroy of the Kingdom of Italy. Today, much of the Procuratie Nuove and the Napoleonic Wing house the Museo Correr.
Procurators of Saint Mark
The office of procurator of Saint Mark, considered second only to that of the doge in prestige, was one of the few lifetime appointments in the Venetian government.[1][2] It was routinely occupied by nobles belonging to the most influential families and typically represented the climax of a distinguished political career, although it was often an intermediate position prior to election as doge.[note 1] The office originated in the ninth century with a single procurator operis Sancti Marci, nominated to assist the doge in the administration of the
In addition to the associated public honour, the office of procurator ensured an active role in the political life of Venice: after 1453, it guaranteed a seat in the
Procuratie Vecchie
Historical background
Following the enlargement of Saint Mark's Square in the second half of the twelfth century, several buildings and lands in and near the square were donated as rental properties to the
A fire in June 1512 destroyed one of the apartments near the clocktower and led to the collapse of a portion of the façade.[11] It was subsequently decided that notwithstanding the financial constraints at the time of the War of the League of Cambrai (1508–1516), the entire structure would be rebuilt as a statement of Venice's self-confidence. Significantly, Marin Sanudo remarked in his diary that the reconstruction was "in order to make it very beautiful for the glory of the land … despite the war" ("farle di novo e bellissime, che sarà onor di la terra … ben sia la guerra").[12]
The architect of the Procuratie Vecchie is not known from any official source, and various names have been suggested, primarily on the basis of stylistic considerations and the prominence of the individual architect at the time. These include Mauro Codussi, Pietro Lombardo, and Antonio Abbondi.[note 6] With regard to the sixteenth-century sources, Marin Sanudo mentions the little-known Tuscan architect Zuan Celestro in his diary (1514),[13] whereas Francesco Sansovino in his guide to the city (1581) attributes the design to Pietro Bon , the proto (consultant architect and buildings manager) to the procurators de supra.[14][note 7] But the precise contributions of Bon and Celestro to the design remain unclear.[note 8] Bon, as proto, was nevertheless responsible for oversight during construction.[15]
Construction
Bon's superintendence (ca. 1514–1529)
Construction began with the damaged section adjacent to the clock tower and proceeded gradually. To limit the loss of revenue to the procurators, each tenant was evicted only when it became necessary to demolish the apartment in order to continue building. Also, the new shops on the ground floor and apartments above were leased as soon as they were ready. By 1517, the first section had progressed far enough to begin work on the
With respect to the pre-existing structure, the layout of the new building was altered for the first 24 arcades with the insertion of a small street running parallel to the square. In contrast, the earlier layout, characterized by a series of courtyards, was retained for the remainder of the building, further away from the area damaged by the fire.[17][18] This indicates that, although documents refer to the demolition of the previous structure, certain parts of it were in fact maintained and reutilized, presumably to minimize costs.[19][note 9]
Sansovino’s superintendence (1529–1538)
Following the death of Pietro Bon in 1529, Jacopo Sansovino, a refugee from the Sack of Rome, was nominated in his place as proto to the procurators de supra. The final eight bays of the Procuratie Vecchie, containing five apartments, and the five bays along the western side of the square (subsequently demolished) were completed under Sansovino's direction.[20]
Architecture
Layout
Given financial constraints during the War of the League of Cambrai, innovation was limited to design modifications that were aimed at increasing revenue to the procurators de supra, foremost of which was the addition of a floor to increment the number of rental apartments.[15] Also, the number of workshops and stores on the ground floor was increased by inserting a narrow street behind the row of stores that opened onto the square so that each arcade now corresponded to an individual shop.[note 10] On the upper floors, the rooms in the back section, connected by suspended galleries, were destined for servant quarters associated with the principal apartments that looked onto the square.[21]
Façade
The Procuratie Vecchie was the first major building erected in Venice in
Later history
The Procuratie Vecchie was rental property managed by the procurators de supra for much of its history. At various times, the shops on the ground floor housed a goldsmith, glazier, cobbler, engraver, tailor, spice merchant, painter, cutler, old-clothes seller, barber, bookseller, and notary.[15][24] In 1638, the 'Rimedio' wine shop opened. It was subsequently purchased by Giorgio Quadri and transformed into Caffè Quadri.[25] Other coffeeshops in the Procuratie Vecchie eventually included 'Re di Francia', 'Abbondanza', 'Pitt l'eroe', 'Orfeo', 'Redentore', 'Coraggio', 'Speranza', and 'Specchi'.[26] 'Alla Regina d'Ungheria', the modern-day Caffè Lavena, opened in 1750.[27]
Due to the enviable site, the rents for the apartments above were relatively expensive, ranging from 40 to 70 ducats a year in 1569.[15] But during the Cretan War (1645–1669) against the Ottoman Empire, it was necessary to sell the apartments in order to raise money to finance the war effort.[note 11] Although the apartments were later repurchased by the procurators, they were definitively sold in 1717.[28][note 12] Inside the Procuratie Vecchie, several of the apartments were subsequently transformed into small gathering places for entertaining, relaxation, and, at times, gambling. These were termed either casini (little houses) or ridotti (probably derived from redursi meaning to go, typically to a place of meeting or gathering).[note 13] Most notably, the Procuratie Vecchie housed the 'Casin dei nobili', a large clubhouse for noblemen located on the first floor, and the casino for foreign diplomats, who were not permitted to socialize with the Venetian nobility, located in the wing of the Procuratie Vecchie on the western side of the square.[29][30][note 14]
Procuratie Nuove
Historical background
In sharp contrast to the newly built Procuratie Vecchie on the northern side of Saint Mark's Square, the southern side was still lined with several antiquated structures.[31] These included the rent-free apartments erected in the thirteenth century for the procurators as well as their ridotti (offices), which were located inside a separate building dating back to the reign of Pietro I Orseolo (976–978). This building, the Ospizio Orseolo , had originally been constructed as a hospice to give aid and shelter to the pilgrims arriving in the city to venerate the relics of Saint Mark. Later, it served as an almshouse for indigent women.[32]
Conditions in the outdated and precarious apartments were poor, and expenditures for repairs continued to rise for both the occupants and the government.[note 15][note 16] Some procurators, despite the obligation imposed by the Great Council and the Council of Forty, refused to take up residence in the square. Citing the dark and damp conditions and, in some instances, the lack of a view,[note 17] they preferred to live in their palatial homes elsewhere in the city. Other procurators sublet their official apartments as a source of personal revenue.[33] In addition, there were only six official apartments, two for each of the procuracies (de supra, de citra, and de ultra) which were assigned to the next senior procurator upon vacancy. This number of apartments was insufficient, and the government incurred the additional expense of a rent allowance to enable the remaining procurators to secure living space near the square.[34]
On 14 July 1536, the procurators de supra consequently commissioned
Conditions in the buildings on the southern side of the square continued to deteriorate giving rise to concerns for the dignity of the procurators, and on 10 December 1580, the Senate determined that the time had come to demolish the buildings, citing once again their age and the unsightly appearance.[38][39] Three designs were submitted for the building that was to house the new apartments of the procurators, and on 5 April 1582, the design of Vincenzo Scamozzi was accepted.[38][40]
Construction
On 15 January 1581, the procurators decided that the new building would be constructed not on the exact site of the hospice and existing apartments but further back, in line with the library.[42] This would make the bell tower a freestanding structure. It would also transform Saint Mark's Square into a trapezoid, giving greater visual importance to the Church of Saint Mark located on the eastern side. Presumably, this had been Sansovino's intention when in 1537 he began the construction of the library further away from the bell tower.[36][38][43]
The decision to replace the dilapidated structures with a new building for the procurators was in fact the culmination of the renovatio urbis, the vast architectural programme begun under Doge Andrea Gritti to reaffirm Venice's international prestige after the earlier defeat at Agnadello during the War of the League of Cambrai and the subsequent Peace of Bologna which sanctioned Habsburg hegemony on the Italian Peninsula at the end of the War of the League of Cognac. The programme, which included the mint (begun 1536), the library (begun 1537), and the loggia of the bell tower (begun 1538), called for the radical transformation of Saint Mark's Square from an antiquated medieval town centre with food vendors, money changers, and even latrines into a classical forum.[44] The intent was to evoke the memory of the ancient Roman Republic and, in the aftermath of the Sack of Rome in 1527, to present Venice as Rome's true successor.[45][46]
The building programme was strongly advocated by the papalisti, the wealthy and influential families within the aristocracy who maintained close ties with the Papal court and whose architectural and artistic tastes tended to reflect developments in Rome and central Italy. They saw the transformation of Saint Mark's Square into a classical forum as the means to publicly affirm their own cultural orientation and their superior intellectual understanding of the principles of Ancient Roman architecture as outlined by Vitruvius in De architectura.[40] Economically, the papalisti had largely abandoned maritime trade in favour of the administration of agricultural properties on the mainland. In their foreign policy, they tended to support the interests of the Church and of the Holy Roman Empire. But the building programme was increasingly opposed by the more traditionalist and pro-French faction within the government, the giovani, who resisted the attempts of the papalisti to leave a lasting architectural mark.[47][48] Hence when after the constitutional crisis of 1582-1583 the giovani found themselves in a position of greater strength vis-à-vis the papalisti, they actively sought to limit any further change to Saint Mark's Square.[49][note 19][note 20][note 21]
Disapproval of the magnitude and grandeur of the project was voiced as early as 1589 when the design was criticized for its rich adornment, considered disparagingly more appropriate to a theatre in reference to Scamozzi's work at the Olympic Theatre in Vicenza.[note 22] The opposition to the building programme intensified following the death in 1595 of procurator Marcantonio Barbaro, Scamozzi's chief supporter, with radical proposals to demolish the part that had already been completed and erect a structure similar to the Procuratie Vecchie on the northern side of the square.[50] It was alternatively suggested that the project be returned to its original two-floor design. Ultimately, the Senate deliberated that the construction would continue with all three floors.[51][52] But the design was radically altered, and Scamozzi was dismissed in 1597.[53][note 23]
Scamozzi's superintendence (1583–1597)
In March 1581, prior to the definitive selection of Scamozzi's design, demolition of the previous structures began with a portion of the old pilgrim hospice and proceeded gradually as more space was required to continue.[43] Actual construction began in 1583.[54] Although Scamozzi was directly involved in every aspect, oversight fell to the proto (chief building consultant) to the procurators de supra, Simone Sorella, whose own design for the new building had been rejected.[51][55] In 1584, Scamozzi presented further design proposals that included an additional floor. This would allow for separate apartments on each of the upper floors. It was similarly suggested that a floor be added to the library which was nearing completion.[56] But following the equivocal results of engineering surveys conducted to determine whether the existing foundation of the library could bear the additional weight, it was decided in 1588 that the library would remain with only two floors.[54][note 24] Instead the proposal to raise the height of the Procuratie Nuove was accepted.
Later periods of superintendence (1597–ca. 1660)
By the time of Scamozzi's dismissal in 1597, only the first ten arcades had been built.[57] The project was thereafter entrusted to Francesco di Bernardin Smeraldi, called Fracà, who was also nominated proto in 1600 upon the death of Sorella.[58] That same year, the two single-floor apartments already under construction according to Scamozzzi's design were completed, and the first apartment was assigned the following year.[59] Smeraldi then radically reconceived the design as a series of narrower, multi-level apartments.[60] He also simplified the overall decoration.[61] By 1611, the building had reached the twentieth arcade and four apartments were completed.[62] Smeraldi was succeeded as proto by Mario della Carità and subsequently, in 1640, by Baldassare Longhena who completed the construction of the Procuratie Nuove around 1660, including the seven arcades that reached the Church of San Geminiano on the western side of the square.[63]
Architecture
Layout
Despite the need to increase the number of apartments available to the procurators, Scamozzi's design was for only six apartments.[64] These were divided into three consecutive units, each eleven arcades wide. The two apartments on the upper floors, one atop the other, shared a single courtyard with staircases and entries onto the square and the canal behind. Each apartment consisted of two sections. The forward section, facing the square, had the principal rooms and a study. It was connected by means of two loggias, running alongside the courtyard, to the back section which had rooms for family members and service areas.[38][65] Only the first two apartments, begun by Scamozzi, follow this original design.[66] Smeraldi's new design was for narrower apartments, only five arcades wide, that were distributed on multiple floors. Each apartment corresponded to four stores on the ground floor and an archway leading to an inner courtyard that opened to the canal behind. A staircase from the courtyard provided access to the apartment above.[67] By adding another three arcades to the overall project, the number of apartments was increased to seven. An eighth apartment was added on the western end of the square.[68]
Façade
For the first two floors, Scamozzi was obliged to continue Sansovino's design for the library.[69] But in his architectural treatise L’Idea dell’Architettura Universale (The Idea of a Universal Architecture), he is highly critical of Sansovino's entablatures, which he states are excessive in height with respect to the columns. The arches are consequently said to be dwarfed and ill-proportioned.[note 25] In the Procuratie Nuove, Scamozzi, a rigid classicist, corrects the 'error' by reducing the height of the Ionic frieze, without, however, successfully resolving the problem of transitioning between the two buildings.[70][71]
In Sansovino's library, the ground floor consists in a series of Doric columns, supporting an entablature, that is superimposed on an arcade. The ancient prototypes are the Theatre of Marcellus and the Colosseum in Rome. Similarly, on the upper floor of the library, a row of large Ionic columns is superimposed on a series of Serlians. Scamozzi, while acknowledging the existence of both Roman and Renaissance precedents, was critical of such layering. In his design for the additional floor of the Procuratie Nuove, the series of Corinthian columns rests against a simple wall. As a result, the third level lacks the deep recesses and the strong chiaroscuro effect of the lower floors.[72]
The wall between the Corinthian columns is pierced with rectangular aedicule windows, topped by alternating
Later history
The apartments of the procurators occupied the upper storeys. The shops on the ground floor were rented out as sources of revenue. In 1683, a coffeeshop was present, the sole such establishment in Venice. Thereafter the number of coffeeshops in the Procuratie Nuove increased and eventually included 'L’Angelo Custode', 'Duca di Toscana', 'Buon Genio', 'Doge', 'Imperatore', 'Imperatrice delle Russie', 'Tamerlano', 'Fortuna', 'Diana', 'Dama Veneta', 'Aurora', 'Piastrelle', 'Pace', and 'Arabo'. The historic Caffè Florian, initially named 'Venezia Trionfante', opened in 1720.[76][77]
After the
Ridotti of the procurators
The offices of the procurators, called ridotti, were originally located in the section of the old pilgrim hospice that directly faced Saint Mark's Square. In 1591, after the completion of the final five bays of the library by Vincenzo Scamozzi (1588), the offices were moved to the upper floor of the new library building when the remaining section of the hospice was demolished in order to continue the construction of the Procuratie Nuove.[83]
The offices of the procurators de supra were located in the portion of the library completed earlier by Sansovino, directly facing the Piazzetta and the Doge's Palace, whereas the offices of the procurators de citra and de ultra were situated in the area built by Scamozzi.[84] Curiously, in 1552 when the library was still under construction, the practice began of extracting by lot the use of the balconies by the procurators and their guests to observe the carnival celebrations in the Piazzetta.[85] The designated area for the offices, accessible by means of the same entry as the library, consisted in nine rooms, three for each of the procuracies. The rooms utilized by the procurators de supra were prominently positioned at the top of the monumental staircase as an indication of their prestige. The first of the rooms served as an archive for documents, the second as a room for administrative officials and clerks in attendance, the third for plenary meetings.[86] Paintings, primarily portraits of the procurators and devotional works, were transferred from the previous offices and adapted to the new rooms by Tintoretto, under the direction of Scamozzi. In the offices of the procurators de supra, the portraits were hung in double rows, the meeting room being reserved for the portraits of the procurators who had subsequently been elected as doges.[87] Following the fall of the Republic of Venice, the art collection of the ridotti was removed and in part dispersed when the library was annexed to the Procuratie Nuove as the royal apartment for Eugène de Beauharnais, the viceroy of the Napoleonic Kingdom of Italy. The former ridotti were decorated by Felice Giani between 1807 and 1808 with neoclassical motifs, allegorical figures, and mythological scenes that exalt moral and intellectual virtues.[86]
Procuratie Nuovissime (Napoleonic Wing)
Historical background
When during the second period of French domination the Procuratie Nuove was transformed into a royal residence, the former apartments of the procurators were adapted for residential purposes.[88] But the structure lacked a suitably grand entry as well as larger rooms for audiences and entertaining. In 1807, the Church of San Geminiano, located on the western side of the square, was consequently demolished to have the space needed to extend the royal residence and create the necessary rooms.[89][90] The church, dating back to the reign of Sebastiano Ziani (1172–1178), had been rebuilt in the early sixteenth century by Cristoforo da Legname and then completed by Jacopo Sansovino in 1557 with the addition of a dome and the façade.[91][92] It was flanked on both sides by the wings of the Procuratie Vecchie and the Procuratie Nuove, built respectively by Sansovino and Longhena.
Proposals for the building that was to replace the church and join the wing of the Procuratie Vecchie with the wing of the Procuratie Nuove varied. Although the imperial French government sought a sense of monumentality, the projects of Grazioso Buttacalice for a triumphal arch and of Gaetano Pinali for a Corinthian portico were both deemed too radical and equally incongruous with the overall aspect of Saint Mark's Square.[93][94] Giovanni Antonio Antolini’s more modest design for a two-storey loggia with a grand staircase in the rear was accepted.[95]
Construction
In 1810, Antolini's project was abandoned and the section of the building already constructed was demolished. The wing of the Procuratie Vecchie was also demolished and replaced by the actual building, designed by
Architecture
The first two floors of the Napoleonic Wing continue the repeatable bays of Sansovino's design for the library which Scamozzi had also used for the Procuratie Nuove on the southern side of the square. To then visually link the new building to the northern side, Soli designed an
The façade of the attic is covered in low relief panels with classical motifs. Interspersed with these reliefs are freestanding statues on pedestals by Antonio Bosa and Domenico Banti. These portray heroes, statesmen, and rulers, primarily from Antiquity, that were seen as embodying Napoleonic ideals.
References
Notes
- ^ In the 1663 edition of Venetia città nobilissima et singolare..., Martinioni records 40 procurators who, beginning in 1275, were subsequently elected doge. For the complete list, see Sansovino and Martinioni, Venetia città nobilissima et singolare..., 1663 edn., pp 299–300.
- Savio Grande. See Da Mosto, L'Archivio di Stato di Venezia…, p. 25.
- ^ Chronicles date the enlargement of the square alternatively to the reigns of Vitale II Michiel (1156–1172) or Sebastiano Ziani (1172–1178). See Agazzi, Platea Sancti Marci…, p. 79.
- ^ The Commune of Venice, rather than the doge, is first mentioned as the representative authority of the State in 1143. See Maranini, La costituzione di Venezia..., I, p. 102.
- ^ The act is in the State Archives of Venice in PS b. 70, proc. 155, cc. 17–26. See Agazzi, Platea Sancti Marci…, p. 82.
- ^ Adolfo Venturi, Giulio Lorenzetti, Luigi Angelini, and Lionello Puppi attribute the design to Mauro Codussi who is generally considered to be the architect of the adjacent clock tower. Paolo D’Ancona and Maria Luisa Gengaro attribute the lower two levels to Codussi and the upper floor to Bartolomeo Bon. But Codussi died in 1504, and there is no indication that the substitution of the previous building was planned prior to the fire of 1512. Pietro Selvatico and Julius Baum consider the design of the lower two levels to be the work of Pietro Lombardo, who at the time was over eighty, and attribute the upper level to Bon. Donatella Calabi also suggests Antonio Abbondi, called “Scarpagnino”, due to the similarity of his work at Rialto after the fire of 1514. See Agazzi, Platea Sancti Marci…, pp. 107-108 and Morresi, Piazza san Marco..., pp. 21-25 and 46 (note 40) for bibliographical references.
- ^ The name of Bon is confirmed in the witness statement of procurator Melchiorre Michiel in the 1569 case "Proprietà in Campo Russolo". The relative document is in the State Archives of Venice in PS, b. 33, processo 68, fascicolo 2. See Howard, The Architectural History of Venice, p. 129 and Morresi, Piazza san Marco..., p. 87. Howard's text identifies the architect as Bartolomeo Bon since it predates Stefano Mariani's archival research on Pietro Bon, consultant architect and buildings manager for the procurators de supra who was often confused with Bartolomeo Bon, chief consulting architect for the Salt Office. See Mariani, 'Vita e opere dei proti Bon Bartolomeo e Pietro' for relative documentation and the attribution of various projects.
- ^ Deborah Howard suggests that Bon may have simply followed Celestro’s design. See Howard, The Architectural History of Venice, pp. 129-130. Alternatively, John McAndrew proposes that the layout may be the design of Celestro whereas the façade can be attributed to Bon. See McAndrew, L’architettura veneziana…, p. 420. Both Michela Agazzi and Manfredo Tafuri note that a collaboration between Bon and Celestro also existed at the Great School of San Rocco. But Manuela Morresi suggests that the Tuscan architect involved in the Procuratie Vecchie and the Great School of San Rocco may be two separate individuals. See Agazzi, Platea Sancti Marci…, p. 108, Morresi, Piazza san Marco..., pp. 22–25, and Tafuri, Renovatio Urbis…, pp. 130–131.
- ^ Michela Agazzi specifically notes that a doorway from the previous building was discovered inside a wall of the later construction near the Sottoportego di Corte Maruzzi, confirming that portions of the previous building were not demolished. See Agazzi, Platea Sancti Marci…, p. 108. Manuela Morresi, in contrast, argues that the interruption of the lateral street and the return to the previous layout with the series of courtyards was part of a broader effort on the part of the procurators and the Great Council to requalify Saint Mark's Square and discourage certain commercial activities in order to increase the value of the rental apartments. See Morresi, Piazza san Marco..., pp. 25–35.
- ^ The narrow street, Calle del Cappello Nero, extends for only twenty-four arcades after which the previous design of the inner courtyards was preserved. Previously, the stores and workshops behind were accessible through passageways in the square that connected to small, inner courtyards. See Morresi, Piazza san Marco..., p. 85.
- ^ The deliberation of the Senate authorizing the sale is dated 15 July 1648. See Mar and others, 'La fabbrica', p. 123.
- ISSN 0031-1731
- ^ It is alternatively suggested that the term derives from redutto, meaning reduced in reference to the practice of closing off sections of apartments in order to create the smaller, more secluded private areas. See Zucchetta, Antichi ridotti veneziani..., p. 19 (note 3).
- ^ Another casino for the nobles, the Casino dei Filarmonici, existed on the western side of the square in the wing of the Procuratie Nuove. See Molmenti, 'Lettere inedite del patrizio Pietro Zaguri…', p. 95–96 (note 6).
- ^ The excessive repair costs borne by the procurators for their apartments and the misuse of government funds were the subject of a formal inquiry in 1569. The documents relative to the inquiry are in the State Archives of Venice in PS, b. 65 proc. 153 fasc. 1, libretto no. 25. See Howard, Jacopo Sansovino…, p. 14.
- ^ In 1531, the Great Council deliberated to allocate a maximum of 40 ducats to each procurator for modifications and renovations to his official apartment during his tenure. Funds were nevertheless illegally expropriated from other government accounts to finance repairs and improvements. See Morresi, Piazza san Marco..., p.18.
- ^ The windows on the southern façade looked onto the public granaries.
- ^ The act of the procurators is in the State Archives of Venice in PS, Atti, reg. 125, c. 2.
- ^ The constitution crisis concerned the nomination of the adjunct committee of the Council of Ten and resulted in the reduction of the powers delegated to the Council of Ten and in a renewed legitimacy of the Senate. See Norwich, A History of Venice, pp. 498–501.
- ^ Among the procurators de supra, Antonio Querini, Leonardo Donà, and Andrea Dolfin were strong opponents. See Howard, Venice Disputed..., pp. 178–189 and, in general, Tafuri, Venezia e il Rinascimento..., pp. 261–271.
- ^ For a general discussion of the political factions, alternatively called 'Old' (papalisti or romanisti) and 'New' (giovani), see Lane, Venice a Maritime Republic, pp. 393–395
- ^ The remark was by procurator Federico Contarini. See Morolli, 'Vincenzo Scamozzi...', p. 31.
- ^ In 1599, Scamozzi was similarly dismissed from the Church of San Nicolò da Tolentino. See Howard, The Architectural History of Venice, p. 174.
- ^ Manuela Morresi suggests that in addition to engineering considerations, the decision to retain the height of the library stemmed from the ascendency of the giovani faction in the aftermath of the constitutional crisis of 1582 and its opposition to the aggressive building programme. See Morresi, Jacopo Sansovino, p. 207.
- ^ Scamozzi considered appropriate a ratio between the height of the entablature and the column of 1 to 4 for the Doric order and 1 to 5 of the Ionic order, whereas the ratios in the library are 1 to 3 and 1 to 2 respectively. See Scamozzi, L’Idea dell’Architettura Universale, Lib. VI, Cap. VII, pp. 20-21.
Citations
- ^ Cappelletti, Relazione storica sulle magistrature venete, p. 99
- ^ a b c d Da Mosto, L'Archivio di Stato di Venezia…, p. 25
- ^ a b c d Tiepolo, 'Venezia', p. 886
- ^ a b Morresi, Piazza san Marco..., p. 13
- ^ Da Mosto, L'Archivio di Stato di Venezia…, p. 26
- ^ Howard, 'Architectural Politics in Renaissance Venice', p. 49
- ^ Cappelletti, Relazione storica sulle magistrature venete, p. 100
- ^ Agazzi, Platea Sancti Marci…, pp. 84–85
- ^ Agazzi, Platea Sancti Marci…, p. 85
- ^ Agazzi, Platea Sancti Marci…, p. 100
- ^ Sanudo, Diarii, XIV (1886), col. 305, 10 June 1512
- ^ Sanudo, Diarii, XV (1886), col. 541, February 1513
- ^ Sanudo, Diarii, XVIII (1887), col. 10, 5 March 1514
- ^ Sansovino, Venetia città nobilissima et singolare…, 1581 edn., fol. 105r
- ^ a b c d e Howard, The Architectural History of Venice, p. 129
- ^ Agazzi, Platea Sancti Marci…, p. 103
- ^ Agazzi, Platea Sancti Marci…, pp. 102–103
- ^ McAndrew, L'architettura veneziana…, pp. 416–420
- ^ Agazzi, Platea Sancti Marci…, pp. 108-112
- ^ Agazzi, Platea Sancti Marci…, pp. 105–106
- ^ Mar and others, 'La fabbrica', pp. 132–138
- ^ Alberti, Leon Battista, De Re Aedificatoria, I. 10 and VII. 15
- ^ Wittkower, Architectural principles in the age of humanism, II. 1
- ^ Wolters, Piazza San Marco a Venezia, p. 68
- ^ Reato, La bottega del caffè..., p. 77
- ^ Pilot, La bottega da caffè, p. 18
- ^ Reato, La bottega del caffè..., p. 82
- ^ Agazzi, Platea Sancti Marci…, p. 102
- ^ Mar and others, 'La fabbrica', p. 141
- ^ Molmenti, 'Lettere inedite del patrizio Pietro Zaguri…', p. 95–96 (note 6)
- ^ Howard, Jacopo Sansovino…, p. 14
- ^ Agazzi, Platea Sancti Marci..., p. 112
- ^ Morresi, Piazza san Marco..., pp. 35 and 37
- ^ Morresi, Piazza san Marco..., p. 17
- ^ Howard, Jacopo Sansovino…, pp. 14–15
- ^ a b Howard, Jacopo Sansovino…, p. 15
- ^ Morresi, Jacopo Sansovino, pp.105-110
- ^ a b c d Talamini, 'Le Procuratie nuove', p. 177
- ^ Morolli, 'Vincenzo Scamozzi...', p. 20
- ^ a b Morolli, 'Vincenzo Scamozzi...', p. 22
- ^ Morresi, Piazza san Marco..., pp. 24 and 42
- ^ Morolli, 'Vincenzo Scamozzi...', p. 20–21
- ^ a b Morolli, 'Vincenzo Scamozzi...', p. 21
- ^ Howard, Jacopo Sansovino..., pp.10–16
- ^ Chambers, The Imperial Age of Venice..., pp. 12–13, 18–20, and 25–30
- ^ Morolli, 'Vincenzo Scamozzi...', pp. 13-14
- ^ Cooper, Palladio's Venice..., pp. 35–47
- ^ Howard, 'Architectural Politics in Renaissance Venice', p. 34
- ^ Morolli, 'Vincenzo Scamozzi...', pp. 42–44
- ^ Morolli, 'Vincenzo Scamozzi...', p. 40
- ^ a b Morresi, Jacopo Sansovino, p. 207
- ^ Morolli, 'Vincenzo Scamozzi...', pp. 41–44
- ^ Morolli, 'Vincenzo Scamozzi...', pp. 38 and 44
- ^ a b Morolli, 'Vincenzo Scamozzi...', p. 31
- ^ Morolli, 'Vincenzo Scamozzi...', pp. 21–22
- ^ Morolli, 'Vincenzo Scamozzi...', pp. 24 and 100
- ^ Morolli, 'Vincenzo Scamozzi...', pp. 38–39
- ^ Morolli, 'Vincenzo Scamozzi...', pp. 47 and 52
- ^ Morolli, 'Vincenzo Scamozzi...', p. 54
- ^ Morolli, 'Vincenzo Scamozzi...', p. 47
- ^ Morolli, 'Vincenzo Scamozzi...', p. 50
- ^ Morolli, 'Vincenzo Scamozzi...', p. 112
- ^ Morolli, 'Vincenzo Scamozzi...', p. 110 and 113
- ^ Morolli, 'Vincenzo Scamozzi...', pp. 29–30
- ^ Morolli, 'Vincenzo Scamozzi...', pp. 24–27
- ^ Morolli, 'Vincenzo Scamozzi...', p. 27
- ^ Morolli, 'Vincenzo Scamozzi...', pp. 48–50 and 58–59
- ^ Morolli, 'Vincenzo Scamozzi...', p. 57
- ^ Morolli, 'Vincenzo Scamozzi...', p. 23
- ^ Morolli, 'Vincenzo Scamozzi...', pp. 64–67, 71–74, and 78–83
- ^ Morresi, Jacopo Sansovino, pp. 207–208.
- ^ Morolli, 'Vincenzo Scamozzi...', pp. 74 and 103–104
- ^ Morolli, 'Vincenzo Scamozzi...', p. 104
- ^ Morolli, 'Vincenzo Scamozzi...', pp. 103–104
- ^ Morolli, 'Vincenzo Scamozzi...', p. 79
- ^ Pilot, La bottega da caffè, pp. 18–19
- ^ Reato, La bottega del caffè..., p. 67
- ^ Augusti, 'Dal palazzo dei procuratori al palazzo del re…', p. 165
- ^ Augusti, 'Dal palazzo dei procuratori al palazzo del re…', p. 166
- ^ Augusti, 'Dal palazzo dei procuratori al palazzo del re…', pp. 170–173
- ^ Augusti, 'Dal palazzo dei procuratori al palazzo del re…', p. 183
- ^ Augusti, 'Dal palazzo del re al palazzo reale', p. 204
- ^ Agazzi, Platea Sancti Marci..., pp. 112–113
- ^ Sansovino and Stringa, Venetia città nobilissima et singolare…, 1604 edn., fol. 216v
- ^ Morresi, Jacopo Sansovino, p. 202
- ^ a b Zorzi, La libreria di san Marco…, p. 137
- ^ Sansovino, Venetia citta nobilissima et singolare…, 1581 edn., fols 110v-111r
- ^ Franzoi, 'L'ala napoleonica', p. 145
- ^ Franzoi, 'L'ala napoleonica', p. 141
- ^ Howard, The Architectural History of Venice, pp. 215–216
- ^ Agazzi, Platea Sancti Marci…, p. 123
- ^ Franzoi, 'L'ala napoleonica', p. 138
- ^ Franzoi, 'L'ala napoleonica', pp. 150–151
- ^ Torsello, 'Il neoclassico nella Piazza…', pp. 191-193
- ^ Torsello, 'Il neoclassico nella Piazza…', pp. 192
- ^ Franzoi, 'L'ala napoleonica', pp. 153 and 159
- ^ Torsello, 'Il neoclassico nella Piazza…', pp. 193
- ^ Howard, The Architectural History of Venice, p. 216
- ^ a b Torsello, 'Il neoclassico nella Piazza…', p. 194
- ^ Wolters, Piazza San Marco a Venezia, p.149
- ^ Wolters, Piazza San Marco a Venezia, p.150
Bibliography
- Agazzi, Michela, Platea Sancti Marci: i luoghi marciani dall'11. al 13. secolo e la formazione della piazza (Venezia: Comune di Venezia, Assessorato agli affari istituzionali, Assessorato alla cultura and Università degli studi, Dipartimento di storia e critica delle arti, 1991) OCLC 889434590
- Augusti, Adriana, 'Dal palazzo dei procuratori al palazzo del re: le vicende e le decorazioni', in Gabriele Morolli, ed., Le Procuratie Nuove in Piazza San Marco (Roma: Editalia, 1994), pp. 157–196 ISBN 9788870603095
- Augusti, Adriana, 'Dal palazzo del re al palazzo reale', in Gabriele Morolli, ed., Le Procuratie Nuove in Piazza San Marco (Roma: Editalia, 1994), pp. 197–222 ISBN 9788870603095
- Cappelletti, Giuseppe, Relazione storica sulle magistrature venete (Venezia: Filippi Editore, 1873)
- Chambers, David, The Imperial Age of Venice 1380–1580 (London: Thames & Hudson, 1970) ISBN 0155408917
- Cooper, Tracy E., Palladio's Venice: Architecture and Society in a Renaissance Republic (New Haven: Yale University Press, 2005) ISBN 9780300105827
- Da Mosto, Andrea, L'Archivio di Stato di Venezia, indice generale, storico, descrittivo ed analitico (Roma: Biblioteca d'Arte editrice, 1937)
- Franzoi, Umberto, 'L'ala napoleonica', in Gabriele Morolli, ed., Le Procuratie Nuove in Piazza San Marco (Roma: Editalia, 1994), pp. 117–156 ISBN 9788870603095
- Howard, Deborah, 'Architectural Politics in Renaissance Venice', Proceedings of the British Academy, vol 154 (2008), 29–54
- ISBN 9780300018912
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- ISBN 9780801814600
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- Maranini, Giuseppe, La costituzione di Venezia: dalle origini alla serrata del Maggior Consiglio, 2 vols (Venezia: La Nuova Italia, 1927)
- Mariani, Stefano, 'Vita e opere dei proti Bon Bartolomeo e Pietro' (unpublished doctoral thesis, Istituto Universitario di Architettura – Venezia, Dipartimento di Storia dell'Architettura, 1983)
- McAndrew, John, Venetian architecture of the early Renaissance (Cambridge, MA: MIT Press, 1980) ISBN 9780262131575
- Molmenti, Pompeo, 'Lettere inedite del patrizio Pietro Zaguri a Giacomo Casanova', in Atti del Reale Istituto Veneto di Scienze, Lettere ed Arti, LXX (1910–1911), 89–204
- Morolli, Gabriele, 'Vincenzo Scamozzi e la fabbrica delle Procuratie Nuove', in Gabriele Morolli, ed., Le Procuratie Nuove in Piazza San Marco (Roma: Editalia, 1994), pp. 11–116 ISBN 9788870603095
- Morresi, Manuela, Piazza san Marco: istituzioni, poteri e architettura a Venezia nel primo Cinquecento (Milano: Electa, 1999) ISBN 8843566954
- Morresi, Manuela, Jacopo Sansovino (Milano: Electa, 2000) ISBN 8843575716
- ISBN 9780679721970
- Pilot, Antonio, La bottega da caffè (Venezia: G. Scarabellin, 1916; repr. Venezia: Filippi Editore, 1980)
- Reato, Danilo, La bottega del caffè: i caffè veneziani tra '700 e '900 (Venezia: Arsenale, 1991) ISBN 8877431083
- Sansovino, Francesco, Venetia città nobilissima et singolare… (Venetia: Iacopo Sansovino, 1581)
- Sansovino, Francesco and Giovanni Stringa, Venetia città nobilissima et singolare… (Venetia: Altobello Salicato,1604)
- Sansovino, Francesco and Giustiniano Martinioni, Venetia città nobilissima et singolare... (Venetia: Steffano Curti, 1663)
- Sanudo, Marin, Diarii, ed. by G. Berchet, N. Barozzi, and M. Allegri, 58 vols (Venezia: [n. pub.], 1879–1903)
- Scamozzi, Vincenzo, L’Idea dell’Architettura Universale (Venetiis: expensis auctoris, 1615)
- Tafuri, Manfredo, Venezia e il Rinascimento: religione, scienza, architettura (Torino: Einaudi, 1985) ISBN 9788806588915
- Talamini, Tito, ' Le Procuratie nuove', in Giuseppe Samonà, ed., Piazza San Marco: l'architettura, la storia, le funzioni, 2nd edn (Venezia: Marsilio, 1977) OCLC 859579609
- Talamini, Tito, 'Le procuratie vecchie a Venezia ... una storia per domani', Parametro: rivista internazionale di architettura e urbanistica, n. 129 (1984)
- Tiepolo, Maria Francesca, 'Venezia', in La Guida generale degli Archivi di Stato, IV (Roma: Ministero per i beni culturali e ambientali, Ufficio centrale per i beni archivistici, 1994), pp. 857–1014, 1062–1070, 1076–1140 ISBN 9788871250809
- Torsello, B. Paolo, 'Il neoclassico nella Piazza: l’ala napoleonica e il patriarcato', in Giuseppe Samonà, ed., Piazza San Marco: l'architettura, la storia, le funzioni, 2nd edn (Venezia: Marsilio, 1977), pp. 187–194 OCLC 859579609
- OCLC 878618621
- Wolters, Wolfgang, Piazza San Marco a Venezia (Verona: Cierre, 2018) ISBN 9788883149146
- Zorzi, Marino, La libreria di san Marco: libri, lettori, società nella Venezia dei dogi (Milano: Mondadori, 1987) ISBN 8804306866
- Zucchetta, Emanuela, Antichi ridotti veneziani: arte e società dal Cinquecento al Settecento (Roma: Fratelli Palombi, 1988) ISBN 9788876213489
Further reading
- Chambers, David, 'Merit and Money: The Procurators of St Mark and Their Commissioni, 1443-1605', Journal of the Warburg and Courtauld Institutes, vol. 60 (1997), 23-88 ISSN 0075-4390
- Manfredi, Fulgentio, Degnita procuratoria di San Marco di Venetia (Venetia: Domenico Nicolini, 1602)
- Mueller, Reinhold, 'The Procurators of San Marco in the Thirteenth and Fourteenth Centuries: A Study of the Office as a Financial and Trust Institution', Studi veneziani, XXIII (1971), 105–120 ISSN 0392-0437
- Tafuri, Manfredo, Renovatio urbis: Venezia nell'età di Andrea Gritti (1523-1538) (Roma: Officina, 1984)
External links
- Media related to Procuratie Vecchie at Wikimedia Commons
- Media related to Procuratie Nuove at Wikimedia Commons
- Media related to Procuratie Nuovissime at Wikimedia Commons