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Piazza San Marco, often known in English as St Mark's Square, is the principal public square of Venice, Italy, where it is generally known just as la Piazza. The Piazzetta is an extension of the Piazza towards San Marco basin in its southeast corner. The two spaces together form the social, religious and political centre of Venice and are referred to together. This article relates to both of them.
The Patriarchal Cathedral Basilica of Saint Mark, commonly known as St Mark's Basilica, is the cathedral church of the Patriarchate of Venice; it became the episcopal seat of the Patriarch of Venice in 1807, replacing the earlier cathedral of San Pietro di Castello. It is dedicated to and holds the relics of Saint Mark the Evangelist, the patron saint of the city.
Jacopo d'Antonio Sansovino was an Italian Renaissance sculptor and architect, best known for his works around the Piazza San Marco in Venice. These are crucial works in the history of Venetian Renaissance architecture. Andrea Palladio, in the Preface to his Quattro Libri was of the opinion that Sansovino's Biblioteca Marciana was the best building erected since Antiquity. Giorgio Vasari uniquely printed his Vita of Sansovino separately.
The Basilica di Santa Maria Gloriosa dei Frari, commonly abbreviated to the Frari, is a church located in the Campo dei Frari at the heart of the San Polo district of Venice, Italy. It is the largest church in the city and it has the status of a minor basilica. The church is dedicated to the Assumption of Mary.
The Procuratie are three connected buildings along the perimeter of Saint Mark's Square in Venice, Italy. Two of the buildings, the Procuratie Vecchie and the Procuratie Nuove, were constructed by the procurators of Saint Mark, the second-highest dignitaries in the government of the Republic of Venice, who were charged with administering the treasury of the Church of Saint Mark as well as the financial affairs of state wards and trust funds established on behalf of religious and charitable institutions.
St Mark's Campanile is the bell tower of St Mark's Basilica in Venice, Italy. The current campanile is a reconstruction completed in 1912, the previous tower having collapsed in 1902. At 98.6 metres (323 ft) in height, it is the tallest structure in Venice and is colloquially termed "el paròn de casa". It is one of the most recognizable symbols of the city.
The Marciana Library or Library of Saint Mark is a public library in Venice, Italy. It is one of the earliest surviving public libraries and repositories for manuscripts in Italy and holds one of the world's most significant collections of classical texts. It is named after St Mark, the patron saint of the city.
San Francesco della Vigna is a Roman Catholic church in the Sestiere of Castello in Venice, northern Italy.
The office of Procurator of Saint Mark was one of the few lifetime appointments in the government of the Venetian Republic and was considered second only to that of the doge in prestige. 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.
The Zecca is a sixteenth-century building in Venice, Italy which once housed the mint of the Republic of Venice. Built between 1536 and 1548, the heavily rusticated stone structure, originally with only two floors, was designed by Jacopo Sansovino in place of an earlier mint specifically to ensure safety from fire and to provide adequate security for the silver and gold deposits. Giorgio Vasari considered it the finest, richest, and strongest of Sansovino's buildings.
Venetian Renaissance architecture began rather later than in Florence, not really before the 1480s, and throughout the period mostly relied on architects imported from elsewhere in Italy. The city was very rich during the period, and prone to fires, so there was a large amount of building going on most of the time, and at least the facades of Venetian buildings were often particularly luxuriantly ornamented.
Ca Bembo is a grade-listed sixteenth-century palazzo in the parish of San Trovaso in the sestiere of Dorsoduro in Venice, Italy, noteworthy for a particularly large garden. It has, despite its name, no clear connection with the Bembo family, but a particularly strong association with one of the most prominent branches of the aristocratic Venetian family of the Barbarigo.
Antonio Cappello (1494-1565) was a Venetian noble, a member of the San Polo branch of the Cappello family. A Procurator of St Mark's, he acted as ambassador to the court of Charles V at Gand, but is mainly remembered for his role as one of the main promoters of public art and architectural projects in sixteenth-century Venice. He resided in the palazzo on San Polo now known as Ca Cappello Layard and oversaw its redevelopment.
The Loggetta is a small, richly decorated building at the base of the bell tower in Saint Mark's Square, Venice, Italy. Built by Jacopo Sansovino between 1538 and 1546, it served at various times as a gathering place for nobles and for meetings of the procurators of Saint Mark, the officials of the Venetian Republic who were responsible principally for the administration of the treasury of the Church of Saint Mark and for the public buildings around Saint Mark's Square.
The Venetian Renaissance had a distinct character compared to the general Italian Renaissance elsewhere. The Republic of Venice was topographically distinct from the rest of the city-states of Renaissance Italy as a result of their geographic location, which isolated the city politically, economically and culturally, allowing the city the leisure to pursue the pleasures of art. The influence of Venetian art did not cease at the end of the Renaissance period. Its practices persisted through the works of art critics and artists proliferating its prominence around Europe to the 19th century.
The Basilica of Santa Maria del Canneto, or Santa Maria Formosa, was a sixth-century Byzantine church erected in Pola under the patronage of Maximianus, bishop of Ravenna. The structure was damaged at the time of the Venetian sack of Pola in 1243, and building material was subsequently taken from the ruins and primarily incorporated into the Marciana Library and the Basilica of Saint Mark in Venice. Of the large, triple-nave church, comparable in splendour to the Euphrasian Basilica in Parenzo, only one of the lateral chapels survives. It constitutes the sole construction in Pola dating to the Byzantine period.
Antonio Rizzo was an Italian architect and sculptor, one of the greatest active in Venice in the latter half of the fifteenth century. Among his designs are the Scala dei Giganti, the stairs leading to the State Apartments of the Doge's Palace.
San Geminiano was a Roman Catholic church located in Piazza San Marco in Venice, Italy, dedicated to Saint Geminianus. It is believed to have been founded by the Byzantines in the 6th century AD and it was destroyed and rebuilt several times over subsequent centuries. The last reconstruction began in 1505 to designs of the architect Cristoforo da Legname, and it was completed by Jacopo Sansovino in 1557. This church was a significant example of Venetian Renaissance architecture, and it was well-known for being ornate and richly decorated. The building was demolished in 1807 in order to make way for the Napoleonic wing of the Procuratie, and many of the artworks it contained were distributed among other churches and museums.
Giorgio Spavento was an Italian Renaissance architect and engineer, active in Venice. Probably native to the area of Lake Como, he is first recorded in 1486 when he was appointed as proto to the Procurators of Saint Mark. As such, he was responsible for most of the public buildings around Saint Mark's Square. He designed the sacristy of the Church of St Mark, the belfry of St Mark's campanile, and the Church of San Teodoro. His principal work is the Church of San Salvador, which was completed by Tullio Lombardo and Jacopo Sansovino.
The history of the Doge's palace in Venice begins in medieval times and continues with numerous extensions, renovations and demolitions aimed at adapting the building to the new needs of the city and in particular to the need to give a seat to the governing bodies that, increasing in number, began to complement the doge in the administration, depriving him of certain powers and decreasing the space at his disposal.
References
- 1 2 3 Goy, R. J. (2006). The building of Renaissance Venice: patrons, architects, and builders, c. 1430—1500. United Kingdom: Yale University Press, P. 89
- 1 2 The Archives of St. Mark, Venice / The Builder, Illustrated Weekly Magazine, London, 07.01.1888, P. 12
- 1 2 Buonanno, Lorenzo G. The Performance of Sculpture in Renaissance Venice. United Kingdom: Taylor & Francis, 2022
- ↑ Thomas Roscoe The Landscape Annual / The Tourist in Italy, London, 1833, p. 122
- 1 2 3 Deborah Howard Jacopo Sansovino: Architecture and Patronage in Renaissance Venice (New Haven: Yale University Press, 1975), pp. 20-21, ISBN 9780300018912
- ↑ PS, Atti, reg. 130, p. 72
- ↑ "Basilica San Marco Le sculture del Sansovino". www.basilicasanmarco.it.
- ↑ "Basilica di San Marco in Venezia / Ferdinando Ongania e la Procuratoria di Venezia". www.ongania-sanmarco.it (in Italian).
- ↑ Veneta, Gente (2023-10-19). "Mario Piana: un libro a sorpresa per il Proto di San Marco". www.genteveneta.it (in Italian).