ARCHITECTURAL MOBILE HOMES

Selva, Le fabbriche e i monumenti cospicue di Venezia, 11, Venice, 1840 154 {above right Teatro la Fenice, plan from L. Cicognara, A. Diedo and G. Selva, Le fab- briche e i monumenti cospicue di Venezia, 11, Venice, 1840 neither bases nor capitals. Selva ‘s teacher, Temanza, had already used this simplified pilaster order in his Loggia Zenobio, which also prefigured the central projecting portico and flat upper wall surface; but the effective- ness of the earlier design had been reduced by its distracting details and awkward balance of forms. At the rear of the Fenice a simple rusticated waterfront arcade, surmounted by a plain upper wall articulated only by a rudimentary Doric frieze and pierced by three simple pedimented windows encloses the great stage of the theatre. Distinguished visitors arriving by boat were deposited at a side entrance beside the slender staircase turret. The bareness of the Fenice exteriors would have made a deep impression on Venetian artistic sensibilities, long attuned to theatrical, heavily encrusted Istrian-stone facades. Some conservative critics PALLADIANISM AND N EO -C LAS S I C I S M 259 objected to Selva’s unconventional use of classical language, but in general Venetian taste was now ready for innovation and change.
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