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The Palazzo style found wider application in the late 19th century when it was adapted for retail and commercial buildings. Henry Hobson Richardson designed a number of buildings using the Palazzo form but remarkable for employing the Italian Romanesque rather than Renaissance style.
Palazzo Castellani: first half of 14th century: Palazzo dell'Arte dei Beccai: first half of 14th century: Church of San Carlo dei Lombardi: 1349–1404: Neri di Fioravante and Benci di Cione: Palazzo Davanzati: c. 1350: Loggia del Bigallo: 1352–1358: Alberto Arnoldi: Palazzo Acciaiuoli: second half of 14th century: Palazzo Canigiani: second ...
In the 19th century, inspired in particular by the writings of John Ruskin, [2] there was a revival of the style, part of the broader Gothic Revival movement in Victorian architecture. Even in the Middle Ages, Venetian palaces were built on very constricted sites, and were tall rectangular boxes with decoration concentrated on the front facade.
Palazzo Clary's facade on the fondamenta Zattere. Originally built in the late 17th century, during the vogue of the late Venetian Renaissance revival architecture, the palazzo underwent later remodelling in the 19th century but has kept its original style unchanged.
This original design has withstood the test of time: the repetitive formula of the façade was continued during the subsequent additions to the palazzo, and its influence can be seen in numerous 16th-century imitations and 19th-century revivals. [5] Work stopped after Pitti suffered financial losses following the death of Cosimo de' Medici in 1464.
19th-century religious buildings and structures in Italy (2 C) Pages in category "19th-century architecture in Italy" The following 79 pages are in this category, out of 79 total.
After the Barbaro family died out in the middle of the 19th century, the Palazzo was bought by a series of speculators who auctioned off furniture and paintings. [12] In 1881 the older palazzo was rented by a relative of the American painter John Singer Sargent, Daniel Sargent Curtis, [13] who purchased it in 1885. [14] [15]
In 1675 the façade was frescoed (but such work was lost in the 19th century), above the loggia, by Francesco Ferrari, who depicted Charlemagne on a throne flanked by paladins on horseback. [5] Architect Tosi wanted to embellish the façade with large medallions representing civic virtues, in line with other decorations in the city.