Italian architect from Padua, active in Venice, where he designed several buildings. His works comprise, among others, the façade of the church San Moise (1668), the Palazzo Labia (c. 1700). The altar in the cathedral Santa Maria Assunta in Chioggia is also attributed to him.
This sumptuous palace was built in the 17th century. It has three fa�ades: one faces onto the Canal Grande, with a central door and three windows on the various levels, another onto the Cannaregio with a door and ten windows, and the third onto Campo San Geremia.
The attribution of the design for the palace is still uncertain. It is assumed that a little-known architect, Alessandro Tremignon designed the fa�ades facing Cannaregio and the Campo San Geramia, and Andrea Cominelli designed the fa�ade facing the Canal Grande. The fa�ades adopt the classical two order style of Sansovino for the two upper floors. In the attics there are round windows alternating with carved heraldic eagles.
While like many of the other larger palazzi in Venice the Palazzo Labia is rectangular in design built around an inner courtyard, the two architects Tremignon and Cominelli broke the architectural traditions of such architects as Longhena, by designing the facades of the Palazzo Labia to be more simple and less cluttered, than those of the earlier Venetian classical palazzi, while still maintaining a Baroque richness achieved through the effect of light and shadow.
The palace is famous for the decoration of the interior. Giovanni Battista Tiepolo executed the frescoes in collaboration with Girolamo Mengozzi Colonna, the quadratura specialist.
The fa�ade of San Mois� was erected according to a design by Alessandro Tremignon and decorated at the expense of Girolamo Fini, who in 1668 had obtained permission from the chapter to embellish the fa�ade, reserved for him and his heirs, in honour of God and in memory of his brother Vincenzo, procurator of San Marco. In the funeral monument, the bust of Vincenzo in the centre is flanked by those of to other family members, whose virtue is alluded to in several other allegories, and a group of saints decorates the upper part of the fa�ade. The funeral monument is the work of the sculptor Heinrich Meyring.
The fa�ade of San Mois� is a turning point on account of its inversion of the value of architecture and sculpture. Sculpture is no longer subordinate to architecture, but integrated into it in a free relationship.
