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The second great phase of organized and significant construction in the
Piazza started in the 1500s and ended in the 1600s. This phase was required
by Venice for its own glorification and to create a unique monumental
complex that could be admired by the many visiting travellers who exalted
its beauty in that period.
In fact, in the 1500s, the Piazza had taken on its present shape with
the construction or reconstruction of most its buildings. The façades
of the Basilica and the Ducal Palace were completed in the 15th century,
many works were accomplished to glorify Venice and, besides their architectural
prestige, a strong symbolic element is inherent.
Although Sansovino was only partly planner and artificer of architectural
works, he left a most evident mark by synthesising Romanism and the Republic's
need to glorify itself, which is particularly noticeable in the Library.
In 1500 construction went ahead with the building of the Torre dell'Orologio
(Clock Tower), a work attributed to Codussi, which was at the same time,
an opportunity to create a monumental entrance to the Piazza, and also
to mark the "market area" that led from the Piazza through Mercerie as
far as the Rialto area.
In the period from 1514 to 1538 the Procuratie Vecchie was rebuilt: in
the final stage Sansovino directly took part in the construction of the
last colonnades stretching as far as the church of St. Geminiano, whose
façade he designed and where he was buried.
In 1514 the building of the Campanile was completed: on 6th July of the
previous year the Golden Angel was raised on a revolving platform that
turned in the wind.
The monuments of the Piazzetta were completed with the construction of
the Library, called the "Sansoviniana" as it was designed and built by
Jacopo Sansovino. It was originally used to house precious codices that
Cardinal Bessarione had bestowed on the Republic. This building was defined
by Palladio as "the richest and most ornate building that has perhaps
been built from antiquity to the present day". It was built with two orders
of arches made up of a Doric colonnade and an upper Ionic floor, embellished
with ornaments, culminating at the top in a surrounding balustrade.
Even if today this complex seems restricted by the Campanile on the side
facing the Basin, numerous difficulties were encountered during construction.
The decision to build was made in 1537 starting at the corner of the Piazza
when part of the building fell down in 1545: Sansovino was not only discharged
from his position, but was also sent to prison. Work did not recommence
until 1547 and was completed as far as the 16th arch in 1554, close to
an already existing building: the "beccaria" (butcher's).
Between 1583 and 1588 Scamozzi completed this work, which retains the
same form today. In fact, Scamozzi wished to raise the Library by a floor
and for this reason he analysed possibilities that were eventually excluded.
To make amends Scamozzi added a final touch to the Library with its surrounding
balustrade.
On the quayside, the Library adjoins the Zecca (Mint), an unadorned building
fit for the public function it held.
Afterwards (about 1586), as some buildings were demolished, Scamozzi began
connecting the Library to the Procuratie Nuove that was finally completed
by Longhena around 1640.
At this point, Scamozzi built eight houses side by side, which were a
single building with a continuous façade and three orders of colonnades,
including two opposite wings giving the Piazza this unique feature.
In 1800 the most significant buildings were the Ala Napoleonica
(Napoleonic Wing), with the demolition of the Sansoviniana church of St.
Giminiano and the building from 1810 to 1815 of the Patriarcato in Piazzetta
dei Leoncini with a monochrome façade in white stone divided into five
sections (1832) that contrast with the mosaics and the golden and coloured
façades of St. Mark's (1826 - 1850).
On 14 July 1902 the Campanile collapsed and an immediate decision was
take to rebuild it "as and where it was" as narrated in this aulic chronicle
of the time, which also reports the steps in its rapid reconstruction.
The Campanile: as and where it was!
On the morning of 14th July 1902 St. Mark's Campanile collapsed, disappearing
from the Venice horizon. On the evening of the same day the city council,
assembled in all haste, decreed that the Campanile had to be rebuilt.
No hesitations, no doubts and no disagreements. A unanimous decision was
made, a moral conclusion arising from deep-rooted sentiment, or rather
from instinct, which rapidly matured. The public assembly vote summed
up all artistic sentiment and public dignity that a thorough evaluation
would have finally confirmed or tried to dispel in vain. Immediately after,
a humble voce - humble, as it came from public sentiment, and not from
the refined few - expressed a view that the Tower was to be ideally located
in the place it had occupied for ten centuries and restored to its charming,
domestic appearance. "Com'era, dov'era" (As and where it was).
Could Venice be pacified at the disappearance of its sublime lookout?
Commemorate, recall, and nothing more? The sighing sloth of memories may
remain; or may become sweet and sorrowful poetry. But healing Providence
is a characteristic of a strong people, in all misfortune. If Venice,
faced with this great loss, had philosophically resigned itself to this
fact, it would have shown the world a deplorable example of civil faint-heartedness.
-It had not been able to prevent this disaster; if it had shown no ability
to restore: - this would have been the general opinion. Those who are
familiar with Venetian history would have bitterly noticed a strange antithesis
to the long lasting ingeniousness of the city, with its deep and active
sense of tradition, perhaps unlike any other with an active, not dormant,
veneration of memories.
A simple but significant chronology:
- The reconstruction commission took office on 23rd August 1903;
- on 8th October 1904 the foundations had been completely cast;
- on 14th October 1905 work to strengthen the foundation block finished,
up to the level of the Piazza;
- on 3rd March 1906 the wainscoting above ground was finished; on the
following 31st March the brickwork was begun. Work proceeded uninterrupted
for about eleven months, from 2nd July 1906 to 26th May 1907; on the 27th
it started again and the brickwork structure was finished on 3rd October
1908.
- On 29th December of the same year the stonework was begun;
- the belfry was finished on 30th August 1910;
- the great dado above on 6th April 1911 and the pyramidal cusps on 4th
January 1912. The bells, which had been cast on 24th April 1909, were
raised to their scaffold on 22nd June 1910.
- The Angel's metallic structure was raised and reconstructed in its original
place from 5th February to 5th March 1912. The following day the Angel
was uncovered.
Restoration of the Loggetta Sansoviniana can be divided into three phases:
- From September 1903 to May 1904, reconstruction of all remaining and
broken architectural and ornamental components;
- From January 1908 to December 1910, the front part of the Loggetta was
constructed in the Ducal Palace, to provide an architectural and aesthetic
link between the old and the new parts;
- From 28th January 1911 to April 1912, the final positioning and building
in its original place.
But the interval between the first and the second phase did not entail
a pause; in fact, work was not even interrupted during forced rests of
the Campanile. In that interval marble-workers, stonecutters and sculptors
of decorations worked arduously, to prepare new architectural and ornamental
pieces, strengthen pieces that could still be used, carry out absolutely
essential restoration and devise connections between the preserved parts
and the completely new ones. So reconstruction of the Campanile
- from the foundation block to the top - and of the Loggetta at the same
time, spanned a period of a little more than six and a half years.
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