The main gate of the Venetian Arsenal, the Porta Magna, was built in the late 1450s and was one of the first works of Venetian Renaissance architecture. It was based on the Roman Arch of the Sergii"), a triumphal arch erected in Pula "Pula (Istria)"), in Istria, now in Croatia but then in Venetian territory. Around the same date, the Foscari Arch, an elaborate canopy or triumphal arch for the ceremonial entry into the courtyard of the Doge's Palace, displays a classical appearance on its lower levels, but becomes a forest of Gothic pinnacles on the upper upper.[Wol. 7]​.

Most of the architects working in Venice were not natives of the city, nor even of terraferma or the mainland territories of the Republic of Venice, but the large budgets available in the city tempted architects from all over northern and central Italy.[Hartt 2]​[Burns 2]​ Artists primarily known as sculptors also worked as architects. Besides Sansovino (discussed below), the most important were the Lombardo family), especially Pietro Lombardo (1435-1515),[Hartt 1]​ and then the mannerist Alessandro Vittoria (1525-1608). The history of Venetian architecture is complicated due to the custom of appointing what today might be called a "managing architect", a protomaestro or proto, to inform supervisory committees, whose name often survives in the archives. The extent to which they were actually responsible for the design varies greatly.[Burns 3]​.

Mauro Codussi (1440-1504), a native of Lombardy, was one of the first architects to work in a Renaissance style in Venice, with his son Domenico assisting him and carrying on his practice after his death. His works on public buildings include the upper floors of the Church of St. Zachary (Venice), San Giovanni Grisostomo (begun 1497), Santa Maria Formosa (begun 1492), and the Procuratie Vecchie (Procuratorate of Venice) in Piazza San Marco. He probably designed the Clock Tower of St. Mark (from 1495), and worked with sculptors to rebuild the Scuola Grande di San Marco after a fire in 1485. Another fire in 1483 had destroyed the east wing of the Doge's Palace, and Codussi won the competition to replace it, producing completely different designs for the facades facing the courtyard and outside. His palazzi include Ca' Vendramin Calergi (started 1481) and the Palazzo Zorzi Galeoni"). His work respects and alludes to many elements of Venetian Gothic, and harmonizes well with it.[Hartt 3]​[Wol. 8]​.

Other architects active in the Early Renaissance period were Giorgio Spavento") (active from 1489 or earlier, died 1509),[2] and Antonio Abbondi"), often known as Scarpagnino (died 1549), who was active from at least 1505. The church of San Sebastian "Church of San Sebastian (Venice)"), begun in 1506, is a early work. Both had many government assignments.

Jacopo Sansovino (1486-1570), also an important sculptor, was a Florentine who had already had a successful career in Florence and then in Rome. He fled to Venice after the catastrophic sack of Rome in 1527 and in 1529 was appointed chief architect and superintendent of estates (Protomaestro or Proto) of the Procurators of San Marco").[Hartt 4]​[Burns 4]​ According to Manfredo Tafuri, his first project in Venice, a Palazzo Gritti, was never built as his plans, although brilliant, were considered too full of exhibitionist novelties; he had not grasped the ideology of the superb and sober magnificence required by the Venetian patricians.[Ta. 3]​ However, his plan to stabilize the long-problematic domes of St. Mark's by wrapping iron bands around them "made his reputation."[How. 9]​ In a short time he found a style that satisfied Venetian clients and was "definitive for the entire subsequent history of architecture." Venetian».[Hartt 5]​ He is responsible for the appearance of much of the area around Piazza San Marco beyond St. Mark's Basilica, designing the Biblioteca Marciana (1537 onwards) and the mint or "Zecca" in Piazzetta di San Marco"). Among its palazzi, the Palazzo Corner della Ca' Grande" (1532 onwards) and the Palazzo Dolfin Manin, from 1536, stand out.[Hartt 4]​[Burns 4]​.

The Marciana Library is considered his "undoubted masterpiece" and a key work in Venetian Renaissance architecture. Palladio, who saw it being built, regarded the building as "probably the richest ever built from the times of the ancients until now", and Frederick Hartt) has described it as "surely one of the most satisfactory buildings in the history of Italian architecture".[Hartt 6] It has an extremely prominent site, with the long facade facing the Doge's Palace across the Piazzetta di San Marco, and the shorter sides facing the lagoon and the Piazza San Marco.

Michele Sanmicheli (1484-1559) of Verona, in terraferma, trained further south, and upon his return to Verona in 1527 he was hired by the state as a military architect. Most of his work consisted of fortifications and military or naval buildings around the Venetian territories, especially in Verona, but he also built a series of palaces that are very original and take Venetian architecture to Mannerism. His work in Verona represents a group of buildings that define the city in a way comparable to Palladio's in Vicenza. The Palazzo Bevilacqua in Verona (begun 1529) is the most famous of these.[Hartt 7]​[Burns 5]​.

The main architect of the late Venetian Renaissance was Andrea Palladio (1508-1580), who was also the key figure in late Italian Renaissance architecture and its most important writer on architecture. But apart from the two great churches of San Giorgio Maggiore (1566 onwards) and Il Redentore (1577 onwards), he designed relatively little in the city, for various reasons. He designed many villas in Veneto and in Vicenza, a series of famous country houses, relatively small compared to some further south, for the Venetian elite. Palladio's style later developed in the Palladian architecture of Britain and the American colonies,[3] and his Venetian window, with a central arched top, was taken as a very Venetian element throughout the world. The World Heritage Site of the City of Vicenza and the Palladian Villas of Veneto") includes 23 buildings in the city and 24 country villas.[4]​.

The so-called Palladian Basilica in Vicenza, begun in 1549, is a series of facades with loggias that enclose the city's large Gothic public hall, used for purposes as law courts, where its elaborate version of the Venetian window first appears; It is known as a Palladian window") or "Palladian motif". [Sum. 1] Here it appears on both floors, which is less common when it has been copied. The building is based on Sansovino's Biblioteca Marciana, but is "more severely architectural, less dependent on sculpture and at the same time more flexible." In the Palazzo Chiericati, begun in 1551, there are again two floors of loggias, but the façade divides vertically into three parts as the floor advances. top in the center.[Hartt 8]​[Sum. 2]​.

Vincenzo Scamozzi (1548-1616) from Vicenza only moved to Venice in 1581, a year after Palladio's death. He designed the Procuratie Nuove (Venice Procuratorate) in Piazza San Marco, and completed many projects that Palladio had left incomplete. baroque of the Venetian Renaissance style.[Wi. 1]​.

Venice was an important European center for book printing, and became the main center for architectural publications. Vitruvius was the only significant classical writer on architecture who had survived, and his work De architectura was studied by all Renaissance architects. Although the Latin text had been printed before, the first edition illustrated with wood engravings was produced by Fra Giovanni Giocondo in Venice in 1511;[Burns 5]​[Sum. 3]​ had designed the Fondaco dei Tedeschi in 1505-1508.

The Seven Books or Tutte l'opere d'architettura et prospetiva") by Sebastiano Serlio (1475-1554) were also published in Venice, in several volumes from 1537 onwards. He had worked in the city as an architect, but left little mark. Those books were also heavily illustrated and became essential reading, and were quickly copied and translated throughout Europe.[Sum. 4]​ The Patrician Venetian humanist, cleric, and diplomat Daniele Barbaro was a patron of Palladio (Villa Barbaro), and Palladio illustrated his Italian translation of Vitruvius (1556). 5]​.

Vincenzo Scamozzi's major book, L’Idea dell’Architettura Universale, was published in 1615, and essentially looks back to Palladio; was influential in the spread of Palladianism.[Wi. 2]​.

A considerable number of secular buildings had paintings on the exterior walls, usually on the façade. Sometimes they were by important artists, but they are practically all gone now. Some very faded fragments of the circa 1508 frescoes by Giorgione and Titian, mentioned by Vasari, were later removed and are now in the Ca'D'Oro"). Giorgione also painted the entrance room of Ca' Vendramin Calergi.[Wol. 9]​.

Venice had no history as an ancient Roman settlement, being founded on the mud banks in the Venetian Lagoon after the fall of the Byzantine Empire. Venetians liked to claim that the lack of pagan contamination in their history gave their Christianity a special quality "pure, legitimate and unsullied." But the city's history was long closely linked to the Byzantine Empire, and references to Byzantine architecture were always considered compatible with the spirit of the city's identity. This is can see inside San Salvador, Venice"), begun in 1508, on which several architects worked. Begun shortly after St. Peter's Basilica in Rome, among other things this large church with an interior based on Greek crosses represented a Venetian response to Roman revivalism.[Ta. 4]​.

The main gate of the Venetian Arsenal, the Porta Magna, was built in the late 1450s and was one of the first works of Venetian Renaissance architecture. It was based on the Roman Arch of the Sergii"), a triumphal arch erected in Pula "Pula (Istria)"), in Istria, now in Croatia but then in Venetian territory. Around the same date, the Foscari Arch, an elaborate canopy or triumphal arch for the ceremonial entry into the courtyard of the Doge's Palace, displays a classical appearance on its lower levels, but becomes a forest of Gothic pinnacles on the upper upper.[Wol. 7]​.

Most of the architects working in Venice were not natives of the city, nor even of terraferma or the mainland territories of the Republic of Venice, but the large budgets available in the city tempted architects from all over northern and central Italy.[Hartt 2]​[Burns 2]​ Artists primarily known as sculptors also worked as architects. Besides Sansovino (discussed below), the most important were the Lombardo family), especially Pietro Lombardo (1435-1515),[Hartt 1]​ and then the mannerist Alessandro Vittoria (1525-1608). The history of Venetian architecture is complicated due to the custom of appointing what today might be called a "managing architect", a protomaestro or proto, to inform supervisory committees, whose name often survives in the archives. The extent to which they were actually responsible for the design varies greatly.[Burns 3]​.

Mauro Codussi (1440-1504), a native of Lombardy, was one of the first architects to work in a Renaissance style in Venice, with his son Domenico assisting him and carrying on his practice after his death. His works on public buildings include the upper floors of the Church of St. Zachary (Venice), San Giovanni Grisostomo (begun 1497), Santa Maria Formosa (begun 1492), and the Procuratie Vecchie (Procuratorate of Venice) in Piazza San Marco. He probably designed the Clock Tower of St. Mark (from 1495), and worked with sculptors to rebuild the Scuola Grande di San Marco after a fire in 1485. Another fire in 1483 had destroyed the east wing of the Doge's Palace, and Codussi won the competition to replace it, producing completely different designs for the facades facing the courtyard and outside. His palazzi include Ca' Vendramin Calergi (started 1481) and the Palazzo Zorzi Galeoni"). His work respects and alludes to many elements of Venetian Gothic, and harmonizes well with it.[Hartt 3]​[Wol. 8]​.

Other architects active in the Early Renaissance period were Giorgio Spavento") (active from 1489 or earlier, died 1509),[2] and Antonio Abbondi"), often known as Scarpagnino (died 1549), who was active from at least 1505. The church of San Sebastian "Church of San Sebastian (Venice)"), begun in 1506, is a early work. Both had many government assignments.

Jacopo Sansovino (1486-1570), also an important sculptor, was a Florentine who had already had a successful career in Florence and then in Rome. He fled to Venice after the catastrophic sack of Rome in 1527 and in 1529 was appointed chief architect and superintendent of estates (Protomaestro or Proto) of the Procurators of San Marco").[Hartt 4]​[Burns 4]​ According to Manfredo Tafuri, his first project in Venice, a Palazzo Gritti, was never built as his plans, although brilliant, were considered too full of exhibitionist novelties; he had not grasped the ideology of the superb and sober magnificence required by the Venetian patricians.[Ta. 3]​ However, his plan to stabilize the long-problematic domes of St. Mark's by wrapping iron bands around them "made his reputation."[How. 9]​ In a short time he found a style that satisfied Venetian clients and was "definitive for the entire subsequent history of architecture." Venetian».[Hartt 5]​ He is responsible for the appearance of much of the area around Piazza San Marco beyond St. Mark's Basilica, designing the Biblioteca Marciana (1537 onwards) and the mint or "Zecca" in Piazzetta di San Marco"). Among its palazzi, the Palazzo Corner della Ca' Grande" (1532 onwards) and the Palazzo Dolfin Manin, from 1536, stand out.[Hartt 4]​[Burns 4]​.

The Marciana Library is considered his "undoubted masterpiece" and a key work in Venetian Renaissance architecture. Palladio, who saw it being built, regarded the building as "probably the richest ever built from the times of the ancients until now", and Frederick Hartt) has described it as "surely one of the most satisfactory buildings in the history of Italian architecture".[Hartt 6] It has an extremely prominent site, with the long facade facing the Doge's Palace across the Piazzetta di San Marco, and the shorter sides facing the lagoon and the Piazza San Marco.

Michele Sanmicheli (1484-1559) of Verona, in terraferma, trained further south, and upon his return to Verona in 1527 he was hired by the state as a military architect. Most of his work consisted of fortifications and military or naval buildings around the Venetian territories, especially in Verona, but he also built a series of palaces that are very original and take Venetian architecture to Mannerism. His work in Verona represents a group of buildings that define the city in a way comparable to Palladio's in Vicenza. The Palazzo Bevilacqua in Verona (begun 1529) is the most famous of these.[Hartt 7]​[Burns 5]​.

The main architect of the late Venetian Renaissance was Andrea Palladio (1508-1580), who was also the key figure in late Italian Renaissance architecture and its most important writer on architecture. But apart from the two great churches of San Giorgio Maggiore (1566 onwards) and Il Redentore (1577 onwards), he designed relatively little in the city, for various reasons. He designed many villas in Veneto and in Vicenza, a series of famous country houses, relatively small compared to some further south, for the Venetian elite. Palladio's style later developed in the Palladian architecture of Britain and the American colonies,[3] and his Venetian window, with a central arched top, was taken as a very Venetian element throughout the world. The World Heritage Site of the City of Vicenza and the Palladian Villas of Veneto") includes 23 buildings in the city and 24 country villas.[4]​.

The so-called Palladian Basilica in Vicenza, begun in 1549, is a series of facades with loggias that enclose the city's large Gothic public hall, used for purposes as law courts, where its elaborate version of the Venetian window first appears; It is known as a Palladian window") or "Palladian motif". [Sum. 1] Here it appears on both floors, which is less common when it has been copied. The building is based on Sansovino's Biblioteca Marciana, but is "more severely architectural, less dependent on sculpture and at the same time more flexible." In the Palazzo Chiericati, begun in 1551, there are again two floors of loggias, but the façade divides vertically into three parts as the floor advances. top in the center.[Hartt 8]​[Sum. 2]​.

Vincenzo Scamozzi (1548-1616) from Vicenza only moved to Venice in 1581, a year after Palladio's death. He designed the Procuratie Nuove (Venice Procuratorate) in Piazza San Marco, and completed many projects that Palladio had left incomplete. baroque of the Venetian Renaissance style.[Wi. 1]​.

Venice was an important European center for book printing, and became the main center for architectural publications. Vitruvius was the only significant classical writer on architecture who had survived, and his work De architectura was studied by all Renaissance architects. Although the Latin text had been printed before, the first edition illustrated with wood engravings was produced by Fra Giovanni Giocondo in Venice in 1511;[Burns 5]​[Sum. 3]​ had designed the Fondaco dei Tedeschi in 1505-1508.

The Seven Books or Tutte l'opere d'architettura et prospetiva") by Sebastiano Serlio (1475-1554) were also published in Venice, in several volumes from 1537 onwards. He had worked in the city as an architect, but left little mark. Those books were also heavily illustrated and became essential reading, and were quickly copied and translated throughout Europe.[Sum. 4]​ The Patrician Venetian humanist, cleric, and diplomat Daniele Barbaro was a patron of Palladio (Villa Barbaro), and Palladio illustrated his Italian translation of Vitruvius (1556). 5]​.

Vincenzo Scamozzi's major book, L’Idea dell’Architettura Universale, was published in 1615, and essentially looks back to Palladio; was influential in the spread of Palladianism.[Wi. 2]​.

A considerable number of secular buildings had paintings on the exterior walls, usually on the façade. Sometimes they were by important artists, but they are practically all gone now. Some very faded fragments of the circa 1508 frescoes by Giorgione and Titian, mentioned by Vasari, were later removed and are now in the Ca'D'Oro"). Giorgione also painted the entrance room of Ca' Vendramin Calergi.[Wol. 9]​.

Venice had no history as an ancient Roman settlement, being founded on the mud banks in the Venetian Lagoon after the fall of the Byzantine Empire. Venetians liked to claim that the lack of pagan contamination in their history gave their Christianity a special quality "pure, legitimate and unsullied." But the city's history was long closely linked to the Byzantine Empire, and references to Byzantine architecture were always considered compatible with the spirit of the city's identity. This is can see inside San Salvador, Venice"), begun in 1508, on which several architects worked. Begun shortly after St. Peter's Basilica in Rome, among other things this large church with an interior based on Greek crosses represented a Venetian response to Roman revivalism.[Ta. 4]​.