His domestic designs were many, but his finest achievements in the field were the Palazzo Pésaro (1649/52–82—completed by his disciple, Antonio Gaspari (c.1658–1738)), with its diamond-rusticated plinth, two superimposed Orders, and an arrangement of arched windows carried on subsidiary Orders. It is arguably one of the most carefully composed of all Venetian palazzi, with a deeply layered façade, the main Orders standing in front of the ‘real’ structural wall. He also began the Palazzo Bon (later Rezzonico) in 1666, with a façade (completed by Giorgio Massari, 1759) regularly arranged as wall and pier over a plinth derived from Sanmicheli's Porta Palio, Verona (1548–9), the upper part evolved from Sansovino's Biblioteca Marciana (1536–60), and a total composition with a precedent in Sansovino's Palazzo Corner della Ca' Grande (begun 1537). His façade of the Chapel of the Ospedaletto (1670–4) was elaborately embellished, a precursor of late-Baroque tendencies. Apart from the scenographic triumph of Santa Maria della Salute, his greatest town-planning achievement was the completion of Scamozzi's Procuratie Nuove, Piazza di San Marco (1640–63).
D. Howard (1980);
D. Lewis (1979);
Placzek (ed.) (1982);
Puppi et al. (eds.) (1982);
Jane Turner (1996);
van Vynckt (ed.) (1993);
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