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The Palazzo Trevisan-Capello (Castello 4328, Nadali & Vianello (1999) Tav. 42) at Verona Book p.23 is cited, together with the Ca’ Dario as an example of the Byzantine Renaissance, and at Verona Book p.39 of the Romanesque Renaissance (an example of Ruskin’s sometimes, though not always, defining Byzantine as a category of Romanesque). These ideas outlined in Verona Book are developed at Works, 9.425 and Works, 11.21, where the Trevisan Cappello is referred to as the ‘palace I knew best of all’ in a footnote by Ruskin pointing to its omission there from a list of buildings of the Byzantine renaissance. Both houses would presumably have been included by Ruskin among the ‘Lombardi coloured palaces’ mentioned at Gothic Book p.14, that is as belonging to the group of buildings associated with the Lombardi family of architects, and for that reason categorised by Zanotto (Zanotto (1847)) under the heading ‘stile Lombardo’, a category which also includes the Palazzo Loredan, later Vendramin Calergi.
Selvatico (1847) p.250 refers to the ‘suntuosa facciata fronteggia il rivo del Palazzo Ducale’ of the Palazzo Trevisan Cappello. Zanotto (1847) p.440 also uses the word ‘suntuosa’ of it, and refers to its ‘finissimi e copiosi marmi’. Both recount the story of Bianca Capello, who is associated with it by Ruskin. The footnote at Works, 11.365 summarises the story of Bianca Cappello, popular with tourists and tourist guides. There is a reference at House Book 1 p.51L to Palazzo Bianca Cappello, confirmed by the index entry at Notebook M2 p.190L, and the note at Notebook M p.5L shows that Ruskin thought of the Palazzo Trevisan Cappello as the Palazzo Bianca Cappello.
For Zanotto (1847) p.440, it is the work of one of the Lombardi or Bergamaschi, which is perhaps as much a description of style as an attribution to an individual. At Works, 11.256 on the basis of its inscription it is linked by Rawdon Brown with the Palazzo Vendramin Calergi, formerly the Ca’ Loredan, cited at Verona Book p.23 and Verona Book p.40 as an example of the translation of Gothic into Renaissance. The Vendramin Calergi is there dated to 1481 on the basis of what was said to be documentary proof that work started then. Howard (2002) argues that 1481 was the date of the purchase of the land and that the work was started by Codussi much later, perhaps 1502. If Rawdon Brown’s, and Ruskin’s, argument by analogy is to stand, then a date at the beginning of the sixteenth century would also apply to the Trevisan Cappello.
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[Version 0.05: May 2008]