Editing Ca' d'Oro (section)

== Architectural features of the main façade ==
[[File:Venedig Ca' d'oro Fassade -20110312-RM-180500.jpg|thumb|Frontal view of the façade of the Ca' d'Oro|left|267x267px]]Marino Contarini had the building constructed in the style of [[Byzantine architecture]], mixed with the popular [[Gothic architecture|Gothic]] style of this time, as well as elements of [[Islamic architecture|Islamic]] design.<ref name=":2" /> Having for centuries been part of the [[Byzantine Empire]], Venice turned to its Byzantine history, which spanned from the classical period to the more recent medieval era, while Florence, Siena, and Milan called more upon their Greco-Roman traditions.<ref name=":2">{{Cite web |title=Smarthistory – Ca' d'Oro |url=https://smarthistory.org/ca-doro/ |access-date=2024-12-12 |website=smarthistory.org}}</ref>

The facade is divided into three distinct stories: a lower loggia (covered corridor), a middle balcony, and an upper balcony.<ref name=":2" /> Other nearby buildings in this style are [[Palazzo Barbaro]] and the [[Palazzo Giustinian (Dorsoduro)|Palazzo Giustinian]]. This linear style favoured by the Venetian architects was not superseded by [[Venetian Renaissance architecture]] until the end of the 15th century, or later.

The arches, windows, and loggia of the palace provide a variety of decorations that make it one of the most striking palazzo in Venice. Vertical emphasis is created by each level of the façade becoming more ornate as it reaches the top while horizontal emphasis is created by the [[balustrades]] on the balconies and the large [[cornice]] at the roofline.<ref name=":2" /><ref name=":3">{{Cite book |last1=Hartt |first1=Frederick |url=https://www.worldcat.org/title/430523019 |title=History of Italian Renaissance art: painting, sculpture, architecture |last2=Wilkins |first2=David G. |date=2011 |publisher=Prentice Hall |isbn=978-0-205-70581-8 |edition=7th |location=Upper Saddle River |oclc=430523019}}</ref>

Long rows of arches and windows face the canal that provide an abundance of natural lighting in the interior.<ref name=":3" /> The lower loggia contains a muti-arched entrance made up of [[Pointed arch|pointed arches]] that opens up into the canal with a [[gondola]] landing. The lower loggia's muti-arched entrance is made up of a central wide arch and a narrower arch flanking each side.<ref name=":2" /><ref name=":3" /> The landing leads into a courtyard with a [[wellhead]], stairwell, and a small garden.<ref name=":3" />

On the ground floor, a recessed colonnaded [[loggia]] gives access to the entrance hall (''[[portego]] de mezo'') directly from the canal. Above this colonnade is the enclosed balcony of the principal salon on the ''[[piano nobile]]''. The columns and arches of this balcony have [[Corinthian Order|capitals]] which in turn support a row of [[quatrefoil]] windows; above this balcony is another enclosed balcony or loggia of a similar yet lighter design.

The scalloped cusping of the pointed arches allows for a [[contrapuntal]] effect, while the window's tracery patterns on the right side of the palace reflect Gothic elements.<ref name=":3" /> The uppermost level contains a row of pinnacles, which are an extension of the quatrefoil patterns below.<ref name=":52" /><ref name=":3" /> Made for purely an aesthetic purpose, the balls on each lobe of the [[pinnacle]] were covered with golden leaves.<ref name=":3" />

The palazzo got its name from the façade's original use of white and pale red stone with golden gilded accents.<ref name=":3" /> Gold was added to the building with Contarini's painter Zoane di Franza in 1431.<ref name=":1" /> To enhance the aesthetic appeal, the façade was crafted with stone from [[Istria]] that was treated with white lead and oil to create a marble-like sheen, while red Verona marble details were oiled to bring out their rich tonalities.<ref name=":52" /> Architectural elements such as the parapet balls, window finials, capitals, and moldings were all gilded, adding to the luxurious appearance.<ref name=":52" /> This combination of practical design and opulent decoration underscores the dual purpose of the Ca' d'Oro as both a functional space and a display of wealth and status.<ref name=":52" /> Over time, sun exposure dulled the white and pale red stone has worn away and the facade's gilded elements are no longer evident.<ref name=":1" /><ref name=":3" />  In fact, by 1600, no more gold decoration remained on the exterior, but with the palace's golden façade was already so well-known that it retained the title of Ca' d'Oro.<ref name=":1" />