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Andrea Palladio's Influence on Venetian ANDREA PALLADIO'S INFLUENCE ON VENETIAN CHURCH DESIGN: 1581 - 1751 By RICHARD JAMES GREEN B.A. (Honours), The University of Saskatchewan, 1975 B. Arch., The University of British Columbia, 1980 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARCHITECTURE in THE FACULTY OF GRADUATE STUDIES (School of Architecture) We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA August 1987 ©Richard James Green, 1987 k In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of dst^/~j£e^&<^K. The University of British Columbia 1956 Main Mall Vancouver, Canada V6T 1Y3 Date Q^t>-C-c^ /S( /9gft- . DE-6G/81) ABSTRACT Andrea Palladia was born in Padua in the Republic of Venice in 1508 and practiced his architecture throughout the Veneto until his death in 1580. Today, there are some forth-four surviving palaces, villas, and churches by the master. These buildings have profoundly moved the imagination of countless generations of academics, artists, and architects for over four hundred years. Without a doubt, he has been the most exalted and emulated architect in modern history. While Palladio is well-remembered for his innovative palaces and villas of the Veneto, he is also most distinguished for his revolutionary religious architecture in Venice Itself. His designs for San Francesco della Vigna (1562) (Fig. 1), San Giorgio Maggiore (1565) (Fig. 3), Le Zitelle (1570) (Fig. 4), II Redentore (1576) (Fig. 5), and the Tempietto (1580) (Fig. 6) at Master, represented fresh and independent visions, exemplifying his deep-seated understanding of the ideas of the High Renaissance. Nowhere was Palladio's influence on the future development of ecclesiastical design more profoundly felt than in Venice itself. Collectively, the emulators of Palladian church design form a coherent episode which can be discernedly traced from Santa Maria Celeste (Figs. 7 and 8) in 1581 through to San Giovanni Novo (Fig. 9) of 1751. Between these years and buildings, there were sixty-two churches erected in Venice. Of these, some thirty-five structures, or fifty-six percent, exhibit, through their system of organizing plans, elevations and spatial relationships, different degrees of debt to Palladio. All iii. in all* they demonstrate a highly significant concurrency in the overall development of religious architecture in Venice. The aim of this present thesis is to investigate the architectural character of a large number of Venetian churches built between 1581 and 1751 in an attempt to clarify the extent of Palladio's influence on their design. This study will be divided into four chapters. In order to better understand sixteenth century Venetian building in general* and Palladio's prominent position within it, Chapter One will explore the unfolding ambience of Renaissance architecture in Venice, elucidating the rich, productive, and international development of the city's most innovative architects. Herein, the saliency of Palladio and his churches, as crowning symbols of this period, will be examined. Chapters Two, Three and Four will explore the thirty-five churches under investigation. These last sections will analyze some ten or more buildings each, and, for the most part, in the chronological order of their construction. In the end, 1t 1s hoped that this study will demonstrate a clear and coherent tradition of Venetian church design which fulfilled itself through an integration of a whole series of Pall ad 1 an prototypes. i v. TABLE OF CONTENTS ABSTRACT ji ACKNOWLEDGEMENT .'... v INTRODUCTION 1 CHAPTER I The Architectural Ambience of the Venetian Renaissance and Andrea Palladio 8 CHAPTER II Palladio's Influence on Venetian Church Design 1581 -1626 Santa Maria Celeste: Plan - 1581 48 San Trovaso: 1583 55 San Francesco di Paola: Facade - 1588 62 San Nicolo dei Tolentini: Plan - 1591 65 San Pietro di Castello: Facade - 1594 72 San Giacomo del 1 a Giudecca: 1603 77 San Pietro di Castello: Plan - 1619 83 Santa Maria Elisabetta, Lido: Plan - 1620 89 San Nicolo del Lido: 1626 92 CHAPTER III Palladio's Influence on Venetian Church Design 1627 - 1695 Santa Maria della Salute: 1630 97 Santa Margherita: 1647 115 San Basegio: Plan - 1650 120 Santa Maria degli Scalzi: Plan - 1656 124 San Basso: Plan - 1661 130 San Pantaleone: 1668 133 San Lazzaro dei Mendicante: Facade - 1673 138 San Stae: Plan - 1678 143 San Marziale: Plan - c.1680 149 San Giovanni Battista: c. 1695 153 CHAPTER IV Palladio's Influence on Venetian Church Design 1696 - 1751: Summary 158 CONCLUSION 172 BIBLIOGRAPHY 173 V ACKNOWLEDGEMENTS TO GIORGIO GIANIGHIAN THANK YOU SARAH JAMES GREEN CHIRSTINE LINDA TAYLOR PROFESSOR ABRAHAM ROGATNICK PROFESSOR GEORGE KNOX 1. INTRODUCTION Andrea Palladio was born in Padua in the Republic of Venice in 1508 and practiced his architecture throughout the Veneto until his death in 1580. Today, there are some forty-four surviving palaces, villas, and churches by the master.^ These buildings have profoundly moved the imagination of countless generations of academics, artists, and architects for over four hundred years. Without a doubt, he has been the most exalted and emulated architect in modern history. Admirers of architecture have marvelled at the near perfection of Palladio's art, each searching for "... the secret of his enormous influence." Critical opinion of the architect by contemporary scholars has been one of united veneration. James Ackerman opens his important and much appreciated Pa11 adio (Baltimore,1966) with an encompassing extolment of the architect: All over the western world hundreds of thousands of houses, churches and public buildings with symmetrical fronts and applied half-columns topped by a pediment descend from the designs of Andrea Palladio. He is the most imitated architect in history ... greate^ than that of all other Renaissance architects combined. Reflecting on this same theme, Frederic Nichols states that Palladio "... was 4 the most influential single architect who ever lived." Proceeding further, Howard Burns submits that the world could benefit immediate advantage from an embracement of Palladio in our own times. He acknowledges him as ... the greatest and most original of all architects ... radical, clearheaded , and innovatory in his approach to design. His aims and procedures are of enduring interest and value ... The quality and moral and intellectual com• mitment of his work have few parallels in the history of architecture. For anyone seriously concerned with creat• ing some degree of happiness for himself and for others 2. 'here below' • Palladio's achievement will always repay study and reflection. As Burns suggests, the buildings of Palladio evoke a presence imbued with universal meaning, value and quality, maintaining the same imminent interest and importance for today's architects as they did for those of the past four centuries. While Palladio is well-remembered for his innovative palaces and villas of the Veneto, he is also most distinguished for his revolutionary religious architecture in Venice itself. His designs for San Francesco del 1 a • Vigna (1562) (Fig. 1), San Giorgio Maggiore (1565) (Fig. 3), Le Zitelle (1570) (Fig. 4), II Redentore (1576)(Fig. 5), and the Tempietto (1580) (Fig. 6) at Maser, represented fresh and independent visions, exemplifying his deep-seated understanding of the ideas of the High Renaissance. Nowhere was Palladio's influence on the future development of ecclesiastical design more profoundly felt than in Venice itself. After his death, "Venice was enveloped for centuries in the spell cast by Palladio's architecture"^, and, as Deborah Howard states, "Palladio's Venetian churches had become a fundamental source of inspiration, which no religious architect in the city could afford to ignore."'7 Collectively, the emulators of Palladian church design form a coherent episode which can be discernedly traced from Santa Maria Celeste (Figs. 7 and 8) in 1581 through to San Giovanni Novo (Fig.9) of 1751. Between these years and buildings, there were sixty-two churches erected in Venice.8 Of these, some thirty-five structures, or fifty-six percent, exhibit, through their system of organizing plans, elevations, 9 and spatial relationships, different degrees of debt to Palladio. All in all they demonstrate a highly significant concurrency in the overall development of religious architecture in Venice. 3. A review of the literature reveals that no study of Venetian churches after Palladio has comprehensively explored the master's great in• fluence on their designs. To date, most discussions are found in informative studies which are primarily concerned with recording either the overall develop• ment of the architecture of Venice throughout its long history^ or specifically as it relates to certain aesthetic periods.^ Understandably, within these two formats, churches are most often analyzed as they appear in the process of history rather than in the succession of Palladianism. There are also several 12 13 good books and countless articles1 which elucidate the careers of certain
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