GASPARI, Antonio

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.

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

The palace was built in the late 16th century by an unknown architect of Jacopo Sansovino’s school. In the 18th century the building was further extended according to a design by Antonio Gaspari. It was the residence of the powerful and rich Venetian Tron family.

The eighteenth-century fa�ade by Gaspari shows the influence of Sansovino in many details. The columns of the four lancet windows, surmounted by arches, terminate with Ionic and Corinthian capitals on the first and second floors, respectively.

This large Baroque palace was designed by Gaspari over a pre-existing 14th-century building. The last floor of the long, austere and imposing fa�ade is decorated with an enormous curved tympanum in Roman style, and on the fist floor with a large three mullioned window with a continuous projecting balcony. The fa�ade hides a complex C-shaped plan, opening out to the rear onto a large garden.

The interior was decorated by the most brilliant artists in Venice, Louis Dorigny, Luca Carlevaris and Giovanni Battista Tiepolo. Abbondio Stazio was responsible for the complex stucco decoration.

The picture shows the frontage of the palace on Canal Carmini.

This large Baroque palace was designed by Gaspari over a pre-existing 14th-century building. The last floor of the long, austere and imposing fa�ade is decorated with an enormous curved tympanum in Roman style, and on the fist floor with a large three mullioned window with a continuous projecting balcony. The fa�ade hides a complex C-shaped plan, opening out to the rear onto a large garden.

The interior was decorated by the most brilliant artists in Venice, Louis Dorigny, Luca Carlevaris and Giovanni Battista Tiepolo. Abbondio Stazio was responsible for the complex stucco decoration.

The picture shows the frontage of the palace on Canal Carmini.

The palazetto was designed by Antonio Gaspari and was erected at the far end of the garden of the palace of the Zane family. It was never designed as a place in which to live, but merely as a place in which to enjoy oneself. It had one fa�ade overlooking the San Giacomo dell’Orio canal and two independent entrances, in order to create a private, quiet place, physically and figuratively separate from the formal rooms of the palace. Four stone heads were commissioned from the German sculptor Enrico Merengo, to be placed on the keystone of the arch over the entrance accessed from the water and above the overhanging tripartite window on the piano nobile.

The main room (the portego) is decorated with frescoes by Sebastiano Ricci and stuccoes by Abbondio Stazio (the two were also responsible for the decoration of the grand staircase). The double-height space is entirely surrounded by a balcony, originally meant to accommodate two orchestras, rimmed with a richly carved wooden balustrade.

The main room is still the venue for concerts.

The Palazzo Barbaro complex make up of two adjacent palaces, one of which (at left in the present view) is Gothic, designed by Giovanni Bon in 1425, and the other is Baroque, designed by Antonio Gaspari around 1694.

The building designed by Gaspari reflects with sober grandeur the social position of the owners, the Barbaro family. Daniele and Marcantonio Barbaro were men of culture and enlightened patrons commissioning the construction of the Villa Barbaro in Maser according to a design by Palladio with frescoes by Veronese. Behind a long narrow fa�ade marked by two lancet windows and single light pointed arch windows, the interiors (the ballroom and the library) are surprising for richness of the furnishings.

The Zen family bought the Venetian-Byzantine palace around the end of the 17th century and commissioned Antonio Gaspari for its renovation. The architect superimposed the old structure with new ornamentation and carved tympanums to decorate the windows. The only traces of the previous building are to be found in the internal courtyard.

The name of the palace comes from the name of a later owner (the Michiel family) and the architectural structure on the ground floor, with an extended arcade running along the whole fa�ade, made up of tall columns, and linked to each other by round arches.

The picture shows the fa�ade on the Canal Grande characterized by the disproportionate columns of the ground floor.