ITALIAN (VENETIAN) RENAISSANCE. 485 The Zecca, or Mint, was erected by Sansovino, 1536, and has a peculiar treatment of column rustication. The Vendramini Palace (a.d. 1481), by Pietro Lombardo (Nos. 207 and 208), has to each story an order of engaged columns — the earliest example in Venice. The windows are semicircular, with a Renaissance treatment of tracery. The Cornaro Palace (the Army and Navy Club, London, being a modified copy), by Sansovino (ad. 1532) ; the Grimani Palace, by Sanmicheli (a.d. 1549); and the Pesaro Palace (a.d. 1 650-1 680), by Longhena (No. 209), are later examples. The Scuola di S. Marco (a.d. 1485-1533), the fa9ade of which was by Pietro Lombardo, is a rich example, held to be founded on the fagade of S. Mark, and has curious sculptured reliefs in perspective. ECCLESIASTICAL ARCHITECTURE. S. Maria dei Miracoli (a.d. 1480) (No. 211), by Pietro Lom- bardo, architect, has no aisles, and the choir is raised twelve steps above the nave, which is covered with a roof of semi- circular form, not uncommon in Venice. This is emphasized by a semicircular pediment on the fa9ade, a feature which also occurs at S. Zaccaria. 1 he walls are faced internally and externally, with delicately carved and different colored marbles. The sacristy is beneath the raised choir, as shown in No. 211c. S. Zaccaria (a.d. 1456-1515), a transition example, and S. Giobbe (a.d. 1451-1493), are other churches worthy of note, S. Salvatore (a.d. 1530), by Tullio Lombardo, the plan derived from S. Mark, with domical and barrel-vaulted bays, and S. Giorgio dei Greci (a.d. 1538), by Sansovino (No. 211), are other examples of the early or transition period. S. Francesco della Vigna, by Sansovino (a.d. 1534-1562), has a facade (1562) by Palladio resembling S. Giorgio Maggiore. II Redentore (a.d. 1576) and S. Giorgio Maggiore (a.d. 1560) were both by Palladio (No. 211), although the fa9ade of the latter was by Scamozzi (a.d. 1575). These churches are instructive, as exhibiting the difficulties of adopting the Classic orders to the fagades of churches of the basilican plan. S. Maria della Salute (a.d. 1632), by Longhena (Nos. 212 and 213 e), groups most beautifully with the surroundings on the Grand Canal. In plan it consists of an octagon with chapels projecting on each side, the central space being covered by a circular dome, whose drum is connected to the outer walls by buttresses (No. 212) over the aisles, their fanciful shapes contributing to the rich effect. A secondary dome covers the chancel, which projects on the side opposite the entrance, and a small tower also carried up, contributes to the picturesque grouping of the exterior. Note. — Characteristic Venetian ornament is shown in No. 214.
