By Robert Harbison
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Extra resources for Reflections on Baroque
The various eighteenth-century view work of Venice convey pavilions or knocked up for a passing joyful celebration, and at a undeniable element this strategy runs backwards and anyone asks why no longer everlasting structure with those homes of playful extravagance and painterly, light-catching inconsequence. you can still return a minimum of so far as Codussi's facade for San Zaccaria and the Lombardi's church of the Miracoli to discover Venetian constructions already taken care of scenographically, pictorial in themselves and contributing to the belief of town as a succession of noteworthy perspectives. the belief reaches fulfilment in Baldassare Longhena's plague church of Santa Maria della Salute, which feels as though it will possibly have sprung up in a single day and moves us as tremendous uncogitated, like a fleeting proposal happily hardened into permanence. in reality it took over fifty years to accomplish (163 1-87), and Wittkower has argued for its synthesis of a wide selection of resources starting from overdue antiquity to Palladio. yet someway the event of it cancels all such references. 122 THE international AS surroundings forty two Baldassare Longhena, Santa Maria della Salute, Venice, 1631-87, displaying the using statues. The architect construction scenographic structure is in a fashion slicing out the necessity for a painter to teach us that town is viewable. With the Salute we all know this, and no development ever wanted researching much less. Longhena's church is virtually special between Baroque structures, now not within the shape on my own, which strongly indicates circulation around it, yet within the mixture of that shape and a undeniable form of siting (illus. 42). The Salute is found close to yet now not accurately on the front to the Grand Canal, the place the watery floor turns from an immense piazza right into a huge road (or conversely, coming the opposite direction, the place the water switches from a passage to a plain). One feels its transitional personality while one is static at any quantity REFLECTIONS ON BAROQUE of issues at the contrary financial institution, yet one notices it much more as a passenger in a ship whose movement echoes the swaying garland of movement at the external, which turns into so much flamboyant within the recognized scroll-volutes and the statues which trip them, a type of shorthand for using the waves. nobody ever received one other probability like this. Free-standing centrally deliberate structures are absolute to be infrequent in densely outfitted up towns, and Longhena's different huge Venetian structures are all roughly flat bits of surroundings, which if he's fortunate come close to a bend within the Grand Canal, a place which multiplies the building's elements. either the palaces and the church buildings rely on such deep aid - architectural components taken care of virtually as sculpturally because the ample utilized sculpture - that it seems like bulging and deeply undercut swags, bosses and keystones are literally falling off. The competitive presence of jostling figurative bits leaning into the slender highway which passes in entrance of the Ospedaletto triggered anything like seasickness in Ruskin. He did not want to recognize that during the absence of a canal Longhena used to be turning to the stonework itself for these rocking sensations conventional to an individual using prior Venetian constructions.