Construction The building of the loggetta was a part of the
renovatio urbis, the ambitious programme of architectural renewal, begun under Doge
Andrea Gritti, that was aimed at reaffirming Venice's international prestige after the earlier defeat at
Agnadello during the
War of the League of Cambrai and the subsequent Peace of Bologna which sanctioned Habsburg hegemony on the Italian peninsula at the end of the
War of the League of Cognac. It amounted to the transformation of Saint Mark's Square from an antiquated medieval town centre with food vendors, money changers, and even latrines into an imposing public forum in emulation of ancient Rome. Specifically, the loggetta was modelled along the lines of ancient triumphal arches and was intended as a monumental backdrop to provide a sense of grandeur to public ceremonies. Many of the key architectural elements, including the paired columns and niches with statues, had in fact already been employed by Sansovino for the temporary wooden arches that he designed and erected in Florence in 1514 for the ceremonial entry of Pope Leo X into the city the previous year. Although the small brick structure was quickly erected between 1538 and 1540, in part with building materials recuperated from the old Church of
San Francesco della Vigna, concerns about the magnitude of the overall architectural programme (which included the
library) and the associated expenses for the coffers of the procurators of Saint Mark
de supra led to a brief suspension of work and the decision to simplify the design by leaving the brick of the side walls exposed. The sides were however partially obscured when the lean-to structures around the perimeter of the bell tower were subsequently extended along the sides of the loggetta in order to provide an additional source of rental income to the procurators. Work resumed, and by January 1541 the basic structure was complete when the leaden roof was applied.
Architecture The principal model for the loggetta was likely the
Arch of Constantine in Rome with three prominent arches alternating with projecting columns that are displayed as trophies on high pedestals. The design of the niches with statues placed between paired columns may also derive from
Donato Bramante's design for the marble screen within the
Church of the Sacra Casa in Loreto. But the specific choice of
composite capitals, combined with a convex pulvinated frieze, was probably inspired from the tomb of Pope Adrian VI in
Santa Maria dell'Anima.
Materials Given its small size, the loggetta cost the relatively considerable sum of 4,258
ducats and 14
grossi due to the lavish stone facing. The rich polychromatic effect, obtained by employing a number of rare stones and costly marbles, is reminiscent of the interior of the
Pantheon, of
Raphael’s
Chigi Chapel in Santa Maria del Popolo (begun c. 1512), and of
Baldassare Peruzzi's tomb of Pope Adrian VI in
Santa Maria dell'Anima (1523–1530), all constructions with which Sansovino was likely familiar from his second period in Rome (1516–1527). The architect's son,
Francesco Sansovino, elaborates the significance of the statues in both ''L'Arte oratoria secondo i modi della lingua volgare
(1546) and Venetia, città nobilissima et singolare'' (1581), specifying in the latter publication that he obtained the explanation directly from his father. Loggetta Sansovino Minerva 3 Venezia.jpg|Pallas (Athena) Loggetta Sansovino Apollo Venezia.jpg|Apollo Loggetta Sansovino Mercurio Venezia.jpg|Mercury Loggetta Sansovino allegoria Pace Venezia.jpg|Pax Francesco Sansovino identifies the leftmost statue as
Pallas, an epithet for
Athena. Characterized by her medusa shield, Athena is an allegory for wisdom and righteousness, as well as the goddess of war. This may have signified the righteousness of the Venetian patriciate, as well as Venetian naval prowess.
Apollo, as the god of the one sun (
Sole), allegorizes the uniqueness of the Republic and of its government. In addition, as the god of music, he alludes to the perfect constitutional harmony between the various councils and magistrates which ensures the stability and longevity of the state. On the loggetta, he is portrayed with a quiver and arrows as symbols of the piercing solar rays. The lyre is now missing from his left hand.
Mercury, the god of eloquence, underscores that Venice's wise and prudent decisions are eloquently expressed by the nobles. The god is shown with the severed head of
Argus at his feet. The caduceus is missing from his right hand.
Pax represents the peace, beloved by the Republic, which ensures its greatness. The statue of the goddess shows her extinguishing her torch on the armour that lays cast-off at her feet.
Reliefs The three reliefs in the
attic are the work of Sansovino's collaborators
Danese Cattaneo and
Tiziano Aspetti. They allegorize Venice and its principal subject territories of Crete and Cyprus. Loggetta Sansovino rilievo a sinistra Campanile San Marco Venezia.jpg|Jupiter as an allegory of Crete Loggetta Sansovino rilievo al centro Campanile San Marco Venezia.jpg|Venice as Justice Loggetta Sansovino rilievo a destra Campanile San Marco Venezia.jpg|Venus as an allegory of Cyprus The central relief shows Venice as Justice with the sword and scales. She sits upon a throne supported by lions in allusion to her Solomonic wisdom. On either side the figure is flanked by river gods with water flowing from urns in reference to the subject territories on the Italian mainland. The
territory of Crete, under Venetian rule from 1205 to 1669, is presented as Jupiter who was raised on Mount Aigaion on Crete and fathered
Minos, the first king of the island. Cyprus, annexed to Venice in 1489 and ceded to the Ottoman Turks in 1573, is shown as Venus who was born from the waters near the island.
Later modifications 1653–1663 In conjunction with reparations made necessary after lightning struck the bell tower,
Baldassare Longhena, the consultant architect and buildings manager for the procurators of Saint Mark
de supra from 1640 to 1682, replaced the five steps in front of the loggetta and the external benches with a wide terrace and balustrade. The two lateral windows were reduced to half lunettes with iron grillwork in the upper portion, and doors were added.
1733–1750 Antonio Gai realized the elaborate bronze gate (1733–1734) with the allegorical figures of Vigilance (on the left with the lighted lamp and the crane holding a pebble with its foot) and Liberty (on the right with the
pileus on a staff). The gate is surmounted by Armed Peace (to the left with a helmet and an olive branch) and Public Happiness (to the right with the caduceus and a cornucopia).
Giorgio Massari widened the attic between 1749 and 1750. The marble reliefs of the two
putti on the external wings of the elevation were carved by Antonio Gai.
1876–1885 The original medieval loggetta had been covered on both sides with lean-to wooden stalls for shops which continued along the perimeter of the bell tower. Important sources of rental income for the procurators of Saint Mark
de supra, they were rebuilt in 1550 alongside Sansovino's structure and existed until 1873 when they were finally demolished. This completely exposed the lateral brick walls which had only partial three-light windows in the upper parts in order to accommodate for the lean-to structure below. It was consequently decided to extend the window frames downward using as a model the window, derived from Bramante's Santa Maria delle Grazie in Milan and the nymphaeum at Genazzano near Rome, that Sansovino himself had employed for the high altar of San Martino in Venice. ==Reconstruction==