Synopsis:
The history of Venetian architecture is no less remarkable than the history of the city itself. Ennio Concina's comprehensive survey draws on extensive original research on the cultural history of Venice to offer fresh insights and an energetic approach to the architecture. Beginning with the traces of classical activity found in the territory that became ducal Venice, through its establishment as an urba magna in the Byzantine age, and the architectural glories of the Renaissance and Baroque city, Concina discusses the influence of Venice's extraordinary position in history and geography on the architectural styles to be found there. He overturns many long established theories on the development of the lagoon city, and discusses the work of many of history's most famous architects--Sansovino, Sanmicheli, Palladio, Longhena--this brings the story up to date with an examination of the twentieth-century's attempts to expand the economy, and preserve the city's heritage.
Reviews:
Concina, a lecturer on Byzantine art at the University of Venice, has written widely in Italian on Venice and its architecture. So it comes as no surprise that his first title released in English on Venetian architecture is a comprehensive survey. Beginning with sixth-century churches, he follows Venetian architecture through the Byzantine, Gothic, Renaissance and Baroque periods, concluding with 20th-century structures in the city's outlying areas. Concina is most involving when he leaves the well-known examples of Christian architecture, such as San Marco, to examine other types of buildings. In addition to private architecture (he begins his consideration with the Venetian palazzi in the Middle Ages), he discusses the largely residential character of synagogue architecture in the city's Jewish ghetto. Although he presents some general history, he treats architecture as instances of stylistic and iconographic traditions, paying much less regard to pragmatic or social concerns. When he does address utilitarian issues?the location of wellheads at the center of courtyards, he notes, reflected the Venetians' concern with hygiene?the book comes alive. While there are numerous illustrations, the pictures do not make up for the text, which is both stiff and convoluted ("Significantly, it was thanks to the Manin?the aristocratic family which had tried to purchase one of the two main palazzi of Baroque Venice, Ca' Bon-Rezzonico, and of which the last doge of Venice was a member?that the Carmelite Pozzo put in an appearance in the new church of the Jesuits, which had been under construction since 1715").
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