LONGHENA, Baldassare

The architect of this important palace on the Canal Grande used the consolidated base formed by pre-existent foundations. Important parts of Longhena’s design were the great staircase in the entrance hall and the internal courtyard. After Longhena’s death the construction was continued by his pupil, Antonio Gaspari.

The main fa�ade on the Canal Grande was concluded in 1710 according to the original project. The ground floor and mezzanine floor with a double water gate by a vestibule are characterized by the projecting diamond-shaped ashlar-work. The two upper floors contain alternating wide round arch windows and projecting twin columns. The wall surfaces are characterized by the proliferation of plastic decoration in the Baroque style.

The fa�ade on the Rio delle Due Torri, designed by Gaspari, offer a simpler and calmer language.

The picture shows the fa�ade on the Canal Grande.

Originally the imposing residence of the Pesaro family, now a museum, this is one of the most important Venetian Baroque buildings. It was completed in 1710, after Longhena’s death, by Antonio Gaspari, who also designed the left side of the building, partially visible here.

Longhena devised the complicated base of rusticated stonework decorated with exotic animals, above which rise two registers of great arched windows flanked by columns.

The architect of this important palace on the Canal Grande used the consolidated base formed by pre-existent foundations. Important parts of Longhena’s design were the great staircase in the entrance hall and the internal courtyard. After Longhena’s death the construction was continued by his pupil, Antonio Gaspari.

The main fa�ade on the Canal Grande was concluded in 1710 according to the original project. The ground floor and mezzanine floor with a double water gate by a vestibule are characterized by the projecting diamond-shaped ashlar-work. The two upper floors contain alternating wide round arch windows and projecting twin columns. The wall surfaces are characterized by the proliferation of plastic decoration in the Baroque style.

The fa�ade on the Rio delle Due Torri, designed by Gaspari, offer a simpler and calmer language.

The picture shows the side fa�ade on the Rio delle Due Torri.

The architect of this important palace on the Canal Grande used the consolidated base formed by pre-existent foundations. Important parts of Longhena’s design were the great staircase in the entrance hall and the internal courtyard. After Longhena’s death the construction was continued by his pupil, Antonio Gaspari.

The main fa�ade on the Canal Grande was concluded in 1710 according to the original project. The ground floor and mezzanine floor with a double water gate by a vestibule are characterized by the projecting diamond-shaped ashlar-work. The two upper floors contain alternating wide round arch windows and projecting twin columns. The wall surfaces are characterized by the proliferation of plastic decoration in the Baroque style.

The fa�ade on the Rio delle Due Torri, designed by Gaspari, offer a simpler and calmer language.

In 1667 Filippo Bon commissioned the construction of his new residence from Baldassare Longhena on the site of several demolished building. At the death of Longhena in 1682 the palace was incomplete. The building was sold to the Rezzonico family who entrusted the construction to Giorgio Massari. The building was completed in 1756 with the decoration of the fa�ade, the stairway from the canal and the area to the rear with the airy large staircase leading to the huge ballroom.

The fa�ade is horizontally divided into three large bands: the ground floor has its ashlar-work and three lancet water gate. On the two upper floors, the ends of which are delimited by twin columns, the windows flanked by half-columns are arched, with carved heads on the keystone and carved figures in the extrados. The garret is decorated with oval openings. The two upper floors have continuous balconies supported by projecting frames and barbicans.

The interior rooms were decorated with frescoes by Jacopo Guarana, Gaspare Diziani and Giovanni Battista Tiepolo. In 1935 the palace was turned into the 18th century Venetian museum.

In 1667 Filippo Bon commissioned the construction of his new residence from Baldassare Longhena on the site of several demolished building. At the death of Longhena in 1682 the palace was incomplete. The building was sold to the Rezzonico family who entrusted the construction to Giorgio Massari. The building was completed in 1756 with the decoration of the fa�ade, the stairway from the canal and the area to the rear with the airy large staircase leading to the huge ballroom.

The fa�ade is horizontally divided into three large bands: the ground floor has its ashlar-work and three lancet water gate. On the two upper floors, the ends of which are delimited by twin columns, the windows flanked by half-columns are arched, with carved heads on the keystone and carved figures in the extrados. The garret is decorated with oval openings. The two upper floors have continuous balconies supported by projecting frames and barbicans.

The interior rooms were decorated with frescoes by Jacopo Guarana, Gaspare Diziani and Giovanni Battista Tiepolo. In 1935 the palace was turned into the 18th century Venetian museum.

In 1667 Filippo Bon commissioned the construction of his new residence from Baldassare Longhena on the site of several demolished building. At the death of Longhena in 1682 the palace was incomplete. The building was sold to the Rezzonico family who entrusted the construction to Giorgio Massari. The building was completed in 1756 with the decoration of the fa�ade, the stairway from the canal and the area to the rear with the airy large staircase leading to the huge ballroom.

This building was designed by Baldassare Longhena, who began construction in 1678 thanks to the legacy of Tommaso Flangini. Until the fall of the Republic, the Collegio was the seat of learning for the Greek community. Since 1959 it is the seat of the Istituto Ellenico di Studi Bizantini e Postbizantini.

The picture shows a view from the Ponte dei Greci of the fa�ade on the Rio dei Greci.

This powerful composition, commissioned by the Senate, was erected in honour of the Blessed Lorenzo Giustinian. It was designed by Baldassare LOnghena, with sculptures by Josse De Corte, Clemente Molli, Melchior Barthel, Francesco Cavrioli, Bernardo Falconi, and Claudio Perreau.

The high altar was designed by Baldassare Longhena, with sculptures by Clemente Molli, Francesco Cavrioli, and Bernardo Falconi.

The high altar in the Santa Maria della Salute, with its octagonal plan, was designed by Longhena and portrays angels acting as caryatids and cherubs singing and playing instruments on the lower bases executed by Josse de Corte and assistants.

Sculptural altarpieces enjoyed a particular revival in Venice in the second half of the seventeenth century. A tradition of free-standing altarpieces had been introduced by Palladio’s churches at the end of the sixteenth century, so it was not surprising that Baldassare Longhena made provision for a similar structure in his great Venetian votive church, Santa Maria della Salute. Raised as an offering against the plague, the Salute housed a miraculous icon of the Virgin which was incorporated into the high altar by Josse de Corte. As the altar stands between the monks’ choir and the presbytery, De Corte followed the formula of sculptural complexes for San Giorgio Maggiore and the Redentore by Girolamo Campagna, fashioning a sacred drama of Venice’s deliverance from the plague.

The Virgin is shown with the Christ Child interceding on behalf of a kneeling figure of Venice, while on her other side the plague is represented by a witchlike apparition toppling into the void; the city’s patron saints Mark and Lorenzo Giustinian look up from below.

As a whole the altar does not quite succeed, the statuary being too small in scale and too meticulously worked to register in the vastness of its setting.

The high altar in the Santa Maria della Salute, with its octagonal plan, was designed by Longhena and portrays angels acting as caryatids and cherubs singing and playing instruments on the lower bases executed by Josse de Corte and assistants.

Sculptural altarpieces enjoyed a particular revival in Venice in the second half of the seventeenth century. A tradition of free-standing altarpieces had been introduced by Palladio’s churches at the end of the sixteenth century, so it was not surprising that Baldassare Longhena made provision for a similar structure in his great Venetian votive church, Santa Maria della Salute. Raised as an offering against the plague, the Salute housed a miraculous icon of the Virgin which was incorporated into the high altar by Josse de Corte. As the altar stands between the monks’ choir and the presbytery, De Corte followed the formula of sculptural complexes for San Giorgio Maggiore and the Redentore by Girolamo Campagna, fashioning a sacred drama of Venice’s deliverance from the plague.

The Virgin is shown with the Christ Child interceding on behalf of a kneeling figure of Venice, while on her other side the plague is represented by a witchlike apparition toppling into the void; the city’s patron saints Mark and Lorenzo Giustinian look up from below.

As a whole the altar does not quite succeed, the statuary being too small in scale and too meticulously worked to register in the vastness of its setting.

Giovanni Pesaro (1589-1659) was the 103rd Doge of Venice, reigning from his election in 1658 until his death. His monument was commissioned from Baldassare Longhena by the nephew Leonardo Pesaro. The sculptural decoration was carried out by Melchior Barthel and Josse De Corte, with Francesco Cavrioli, and Michele Fabris, known as Ongaro (the Hungarian). De Corte and Barthel, through their stylistic similarities, represent the new Baroque style. Cavrioli, called on to work on the two bronze skeletons supporting the two scrolls, was presumably chosen in view of his specialization in this field. Michele Fabris was given the task of carving the two dragons, symbols of eternity, which were evidently held to be appropriate to the sculptor’s taste and Northern background. De Corte was responsible for the little angels holding up the Pesaro coat of arms, the statue of Giovanni Pesaro, and the four allegories of Intelligence, Nobility, Wealth, and Study, which allude to the exploits and merits of the doge. The figure of the doge and the four allegories are on a grand scale, similar to that of the four Moors. The pairs of figures representing Religion with Constancy and Truth with Justice were executed by Melchior Barthel.

The Pesaro monument and its decoration takes on particular importance in the field of funerary sculpture in Venice at this time as a work that reflects common ideas of the Baroque aesthetic.

The palace was bought by the Belloni family in 1647, and Bortolo Belloni ordered its restoration from Baldassare Longhena. The architectural features of the fa�ade confirm the hand of the architect: the interrupted tympanums placed at the top of the doors and windows on the main floor are unmistakable.

The dignity of the fa�ade resulting from the stone surfaces is almost compromised by the wit of the details: the lion heads at water level which seem to carry the whole building on their backs, the heads on the keystone, the two coats-of-arms on the main floor, the unusual masks on the two pinnacles, and the frieze where crescent moons and the stars on the owner’s coat-of-arms alternate.

The palace was bought by the Belloni family in 1647, and Bortolo Belloni ordered its restoration from Baldassare Longhena. The architectural features of the fa�ade confirm the hand of the architect: the interrupted tympanums placed at the top of the doors and windows on the main floor are unmistakable.

The dignity of the fa�ade resulting from the stone surfaces is almost compromised by the wit of the details: the lion heads at water level which seem to carry the whole building on their backs, the heads on the keystone, the two coats-of-arms on the main floor, the unusual masks on the two pinnacles, and the frieze where crescent moons and the stars on the owner’s coat-of-arms alternate.

The palace was built between the end of the fourteenth and the beginning of the fifteenth centuries. It was subjected to major renovation and rebuilding during the first part of the seventeenth century, undertaken by Baldassare Longhena.

The architect did not intervene significantly in term of the layout of the palace and the distribution of its windows and doors. The intervention was carried out only to modernise the palace, with respect for the original Gothic scheme, retaining the proportions of one-light and several-light windows and the absence of the mezzanine floor. The Gothic fa�ade is retained but presented in a completely new way, transforming the palace but leaving the structure unaltered.

The palace was built between the end of the fourteenth and the beginning of the fifteenth centuries. It was subjected to major renovation and rebuilding during the first part of the seventeenth century, undertaken by Baldassare Longhena.

The architect did not intervene significantly in term of the layout of the palace and the distribution of its windows and doors. The intervention was carried out only to modernise the palace, with respect for the original Gothic scheme, retaining the proportions of one-light and several-light windows and the absence of the mezzanine floor. The Gothic fa�ade is retained but presented in a completely new way, transforming the palace but leaving the structure unaltered.

The monumental staircase in the San Giorgio Monastery was designed and built by Baldassare Longhena between 1641 and 1643. The windowed galleries of this great staircase permit light to flood in. The floors and balustrades are all richly decorated, some with polychrome marble.

In the staircase hall, where two parallel flights ascend along the walls to a common landing, Longhena proved his consummate skill as a master of scenic architecture.

The monumental staircase in the San Giorgio Monastery was designed and built by Baldassare Longhena between 1641 and 1643. The windowed galleries of this great staircase permit light to flood in. The floors and balustrades are all richly decorated, some with polychrome marble.

The monumental staircase in the San Giorgio Monastery was designed and built by Baldassare Longhena between 1641 and 1643. The windowed galleries of this great staircase permit light to flood in. The floors and balustrades are all richly decorated, some with polychrome marble.

Giuseppe Sardi was commissioned in 1664 by the merchant Bartolomeo Cargnoni to rebuild the church of Santa Maria dei Derelitti, also known as the Ospedaletto. The church was completed by Baldassare Longhena; the fa�ade was designed by Longhena and its sculpture carved by Josse De Corte.

The ponderous, dark, and monstrous fa�ade is indecipherable in its appearance of grotesque deformity and distorted games, tightly closed in, yet evading the observer, as obsessive as a nightmare. The derision of the monstrous masks on the dadoes of the pilasters of the first order, the absurd strength of the four gigantic telamons, the ironically exaggerated cornices, the invisible cartouche on the attic, and the four poised statues are more hinted at than truly seen.

The Ospedaletto is one of Longhena’s last works. In contrast to the clarity and total legibility of the earlier Santa Maria della Salute, we have here an impossibility of seeing, an absence of perspective. Instead of the three-dimensional construction of an architectonic machine we have its counterpoint, the senseless overhanging of an illogical marble scene.

The ponderous, dark, and monstrous fa�ade is indecipherable in its appearance of grotesque deformity and distorted games, tightly closed in, yet evading the observer, as obsessive as a nightmare. The derision of the monstrous masks on the dadoes of the pilasters of the first order, the absurd strength of the four gigantic telamons, the ironically exaggerated cornices, the invisible cartouche on the attic, and the four poised statues are more hinted at than truly seen.

The ponderous, dark, and monstrous fa�ade is indecipherable in its appearance of grotesque deformity and distorted games, tightly closed in, yet evading the observer, as obsessive as a nightmare. The derision of the monstrous masks on the dadoes of the pilasters of the first order, the absurd strength of the four gigantic telamons, the ironically exaggerated cornices, the invisible cartouche on the attic, and the four poised statues are more hinted at than truly seen.

When the plague of 1630 subsided the Venetians decided to build this remarkable monumental church in thanksgiving to the Virgin, whose statue stands on the lantern of the dome.

The church is octagonal, centrally planned, and has a great hemispherical dome; its circular form was meant as an allusion to the Virgin’s crown. A distinctive feature is the series of great Baroque scrolls on the buttresses. Longhena also designed the steps and paving outside the church.

View the section and ground plan of Santa Maria della Salute, Venice.

When the plague of 1630 subsided the Venetians decided to build this remarkable monumental church in thanksgiving to the Virgin, whose statue stands on the lantern of the dome.

The church is octagonal, centrally planned, and has a great hemispherical dome; its circular form was meant as an allusion to the Virgin’s crown. A distinctive feature is the series of great Baroque scrolls on the buttresses. Longhena also designed the steps and paving outside the church.

View the section and ground plan of Santa Maria della Salute, Venice.

The harmony of the building is manifest in the elegant spiral volutes, surmounted by sculpture, that support the cupola.

Longhena was commissioned to build a votive church in thanks for the end of an outbreak of the plague. He accordingly planned two spaces. The first was an octagon with an ambulatory and chapels for the congregation, while the second was rectangular with two apses and intended to be used for services of thanksgiving. The design of the interior followed Venetian tradition in many respects. The gray and white of the architectural elements was derived directly from Palladio. The decorative features on the columns were new. They do not continue up to the level of the tambour but are transformed, above the corbelling, into pedestals for imposing statues of prophets.

The picture shows the interior of the church.

View the section and ground plan of Santa Maria della Salute, Venice.

Longhena was commissioned to build a votive church in thanks for the end of an outbreak of the plague. He accordingly planned two spaces. The first was an octagon with an ambulatory and chapels for the congregation, while the second was rectangular with two apses and intended to be used for services of thanksgiving. The design of the interior followed Venetian tradition in many respects. The gray and white of the architectural elements was derived directly from Palladio. The decorative features on the columns were new. They do not continue up to the level of the tambour but are transformed, above the corbelling, into pedestals for imposing statues of prophets.

The picture shows the interior of the church.

View the section and ground plan of Santa Maria della Salute, Venice.

Longhena was commissioned to build a votive church in thanks for the end of an outbreak of the plague. He accordingly planned two spaces. The first was an octagon with an ambulatory and chapels for the congregation, while the second was rectangular with two apses and intended to be used for services of thanksgiving. The design of the interior followed Venetian tradition in many respects. The gray and white of the architectural elements was derived directly from Palladio. The decorative features on the columns were new. They do not continue up to the level of the tambour but are transformed, above the corbelling, into pedestals for imposing statues of prophets.

The large dome of the Salute has and inner and outer vault, the outer one consisting of lead over wood, in keeping with Venetian custom.

The photo shows a view into the dome.

The church of Santa Maria di Nazareth, also known as the Scalzi, was designed by Baldassare Longhena between 1656 and 1672, and completed in 1680 by Giuseppe Sardi, who also designed the fa�ade. The church was the seat in Venice of the Discalced Carmelites religious order (Scalzi in Italian means “barefoot”).

This church appears in a way which has often been described as approaching the Roman style; it is therefore a moment of change in Longhena’s language. That it was commissioned by the Carmelite Padre Giuseppe Pozzo, brother of the more famous Andrea Pozzo, was crucial and helped Longhena develop a particular style. In the interior the flavour of Rome in the mid-seventeenth century dominates.