Abstract

This article examines a painting by Alessandro Piazza long taken as a document of performance practice in San Marco c.1690, with special emphasis on two balconies for performers in addition to those added by Jacopo Sansovino in his refashioning of the chancel of the chapel in the mid-16th century. Closer examination of the picture (and a currently untraceable variant) suggests that it may not be a reliable document of a particular occasion but rather a composite, in line with at least one other musical depiction by Piazza. The question of the date of the addition of the secondary balconies and their removal is also considered.

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