Palazzo Bevilacqua, Verona

Commissioned by Antonio Bevilacqua, Michele Sanmicheli (b. Verona 1484-1559) made renovations in the early 1530's. The structure is based on a Bramantean two story palace type. At first glance there seems to be an unclear point of centralization, this is due to the lack of space at the time of building. The original plan called for more bays and a central entrance. The facade is consists of two distinct ideas, the top story highlighting the concept of layering and the lower going back to the fortress look. The top story creates a complex rhythm with columns alternating between striaght and left and right spiraled fluting and the fenestration should also be noted here, while the windows themselves are alike the frames around them alternate between a small arch with a triangular or segmental pediment and festoons and a larger arch with a bust keystone and all'antica figures in the spandrel and entablature. Marking the transition of exterior levels is a balustraded balcony with modillions underneath. The lower level is heavily rusticated, with rusticated columns, lintels carried on brackets, and unequally spaced bays. Figural keystones are also used on the lower story. Mannerism and Romano's Palazzo del Te were influential here, as we can see a complex and rhythmic layering. There are factors that point to the emulation of antiquity, especially since Verona had some classical remains. One example is the Porta de'Borsari, which shows that there was interest in later antiquity.





Also designed by Sanmicheli in Verona, the Palazzo Canossa. Probably before the Bevilacqua, you can see some similarities:
- Bramantean two story type
- contrast between stories, arched window frames above and a rusticated lower floor
- balustrade
- layered planes

Differences include:
- doubled pilasters
- continuous base for orders
- statues above cornice

Venice and the Palazzo Grimani, 1556

The city of Venice is built on layers of wood and sand over a lagoon. This unique situation limited and influenced the architecture; buildings could not be overly heavy and since travel was done via canals most buildings were long and narrow. For maximum light (and lightness) the Byzantine and Gothic style of the Ca d'Oro (1422) was desirable. The large openings let sunlight flood in and kept the weight down. Venetian architecture of this time had been influenced by trade with the East, some examples here are the use of quatrefoil shapes and tracery, crenellated cornices, and the disinterest in symmetry. As we saw some color in Verona, Venice also uses colored marble: for example light green and pinks.



Palazzo Grimani was designed by Sanmicheli, construction began in 1556 in Venice. Comparing this to the Ca d'Oro, the shift toward Renaissance architecture become noticeable. There is now an interest in symmetry, although this would effect the interior. Since the buildings are long and narrow, lighting is an important consideration. This new style, with its proportions and filled in facade, was not ideal for the facilitation of light. Some other details include:
- ground floor pilasters
- identical top two stories
- rhythmic columns designating main windows
- maintenance of decorative elements