A history of Venetian architecture /

Venetian architecture is a vast and complex field, and this book deals not only with everything from its origins in the mists of late antiquity down to the present day, but also with questions of the attitudes and purpose that lay behind it. The result is a dense and detailed work somewhat reminiscent of the lecture notes of an old and experienced professor, full of personal musings and reflections; often more a meditation on Venetian architecture than a presentation of facts, which are perhaps more easily accessible in a good guide book. Though it offers an account of the main monuments and dates, it often goes in some detail into little-known and out-of-the-way monuments. How many lovers of Venice are familiar with the little church of La Maddalena? For those who feel that they know Venice well, it will challenge their visual memory, and it will stimulate Venetian readers who can easily walk over to look at some things again. Readers at a distance will have to let things wash over them unchecked. Those who love Venice but have spent little time there will have to be content with following the main argument with the help of the numerous but unnumbered illustrations. These also lack references in the text, obliging one to rely on the excellent indexes, which also help those who wish to know more to find the relevant literature. In other words, an excellent broad survey of the present state of knowledge about the physical and visual aspects of Venice, and how they came about. General readers; upper-division undergraduates through professionals. G. Knox; emeritus, University of British Columbia

Concina, a lecturer on Byzantine art at the University of Venice, has written widely in Italian on Venice and its architecture. So it comes as no surprise that his first title released in English on Venetian architecture is a comprehensive survey. Beginning with sixth-century churches, he follows Venetian architecture through the Byzantine, Gothic, Renaissance and Baroque periods, concluding with 20th-century structures in the city's outlying areas. Concina is most involving when he leaves the well-known examples of Christian architecture, such as San Marco, to examine other types of buildings. In addition to private architecture (he begins his consideration with the Venetian palazzi in the Middle Ages), he discusses the largely residential character of synagogue architecture in the city's Jewish ghetto. Although he presents some general history, he treats architecture as instances of stylistic and iconographic traditions, paying much less regard to pragmatic or social concerns. When he does address utilitarian issues‘the location of wellheads at the center of courtyards, he notes, reflected the Venetians' concern with hygiene‘the book comes alive. While there are numerous illustrations, the pictures do not make up for the text, which is both stiff and convoluted ("Significantly, it was thanks to the Manin‘the aristocratic family which had tried to purchase one of the two main palazzi of Baroque Venice, Ca' Bon-Rezzonico, and of which the last doge of Venice was a member‘that the Carmelite Pozzo put in an appearance in the new church of the Jesuits, which had been under construction since 1715"). (May) (c) Copyright PWxyz, LLC. All rights reserved