There are four drawings of the Marciana Library architectural elements with four different titles. The first plan shows the plan of the domed staircase with columns, decorated vaults and mouldings. The second plan is a plan of the ground floor level corner with half Romanic arcade surmounted by a male figure and a lion head. A moulded frieze showing trophies, musical instruments and shields divides it from the first floor. A cross-section of this corner shows the interior structure.
The third plan shows the upper and the last levels with an ensemble of baluster, Romanic arcades surmounted by winged female figures and a large moulded frieze with putti and swags of flowers and eventually the top baluster supporting statues.

Cf E.8:15-2001 in order to see the entire elevation plan of the façade.

The Marciana Library was created in order to hold Bishop Bessarion donation of 750 codex and 250 manuscripts to the state-city of Venice. This donation took place in 1468, however the construction of the Marciana Library could only start in 1537 and was executed after Jacopo Sansovino's design (1486-1570). Although not finished in his lifetime, the Library is generally held to be Sansovino's architectural masterpiece, and it was praised by Andrea Palladio as 'the richest and most ornate building since ancient times' (Quattro libri dell'architettura, Venice: 1570).

Antonio Visentini (Venice, 21 Nov 1688 – Venice, 26 June 1782) was an Italian painter, engraver, architect and theorist. He was first known as a painter and trained with the Venetian history painter Giovanni Antonio Pellegrini (1675-1741). He became known as an engraver by the end of the 1720s when he was commissioned by Joseph Smith to produce engravings of Canaletto’s views of Venice. Visentini started working as an architect in 1731, and his first theoretical work, Libro di Architettura, which included Rococo-influenced drawings by Pier Antonio Morelli after Visentini’s ideas, was published in 1733.

His ideas on contemporary architecture derived from Antiquity and the work of Andrea Palladio (1508-80). Later however, Visentini developed neo-Palladian and anti-Baroque ideas. Visentini and his pupils executed numerous drawings of ancient and contemporary buildings intended to disseminate exemplary architecture. He participated to the foundation of the Venetian Academy in 1755, where he became a teacher of architectural perspective in 1772.