70. The Gothic arches of the piano-nobile arcade, presumably chosen in deference to the existing Gothic portions of the palace, are inserted between the round arches of the portico below and the classical-style pedimented windows and alVantica relief sculpture above. The haphazard arrangement of the windows is governed chiefly by the distribution of rooms in the interior. The northern section, reconstructed after the fire of 1483, recalls the elements of a Venetian palace facade with its central portego – this was, after all, the doge’s residence. The triumphal triple arch at the top of the Scala dei Giganti, however, interrupts this symmetrical Venetian-style composition, lying on a different axis. Like the edge of a forest the whole composition makes its effect not by bold, regular rhythms, but by the play of light and shade 128 THE ARCHITECTURAL HISTORY OF VENICE on an intricate and constantly varied frontage. The wing is a graphic illustration of the way in which, in Venice, the north Italian love of rich surface decoration, fostered by Lombard stonemasons working in the city, predominated over the Florentine taste for lucidity and carefully harmonized proportion. Religious Architecture in Early Renaissance Venice In this period of transition between the Gothic and Renaissance styles in Venice, ecclesiastical architecture once again proved most receptive to ideas from mainland Italy. It was in the church of San Giobbe, rebuilt at the instigation of Doge Malipiero’s successor, Doge Cristoforo Moro, that the Tuscan Renaissance first began to make its mark on Venetian architecture.
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