History
The first dry crossing of the Grand Canal was a pontoon bridge built in 1181 by Nicolò Barattieri. It was called the Ponte della Moneta, presumably because of the mint that stood near its eastern entrance.
The development and importance of the Rialto market on the eastern bank increased traffic on the floating bridge, so it was replaced in 1255 by a wooden bridge. This structure had two inclined ramps meeting at a movable central section, that could be raised to allow the passage of tall ships. The connection with the market eventually led to a change of name for the bridge. During the first half of the 15th century, two rows of shops were built along the sides of the bridge. The rents brought an income to the State Treasury, which helped maintain the bridge.
Maintenance was vital for the timber bridge. It was partly burnt in the revolt led by Bajamonte Tiepolo in 1310. In 1444, it collapsed under the weight of a crowd watching a boat parade and it collapsed again in 1524.
The idea of rebuilding the bridge in stone was first proposed in 1503. Several projects were considered over the following decades. In 1551, the authorities requested proposals for the renewal of the Rialto Bridge, among other things. Plans were offered by famous architects, such as Jacopo Sansovino, Palladio and Vignola, but all involved a Classical approach with several arches, which was judged inappropriate to the situation. Michelangelo also was considered as designer of the bridge.
The present stone bridge, a single span designed by Antonio da Ponte, was finally completed in 1591. It is similar to the wooden bridge it succeeded. Two inclined ramps lead up to a central portico. On either side of the portico, the covered ramps carry rows of shops. The engineering of the bridge was considered so audacious that architect Vincenzo Scamozzi predicted future ruin. The bridge has defied its critics to become one of the architectural icons of Venice.
Read more about this topic: Rialto Bridge
Famous quotes containing the word history:
“Indeed, the Englishmans history of New England commences only when it ceases to be New France.”
—Henry David Thoreau (18171862)
“The visual is sorely undervalued in modern scholarship. Art history has attained only a fraction of the conceptual sophistication of literary criticism.... Drunk with self-love, criticism has hugely overestimated the centrality of language to western culture. It has failed to see the electrifying sign language of images.”
—Camille Paglia (b. 1947)
“I believe that history might be, and ought to be, taught in a new fashion so as to make the meaning of it as a process of evolution intelligible to the young.”
—Thomas Henry Huxley (182595)