BASILICA DI SANTA MARIA GLORIOSA DEI FRARI, VENICE
The Basilica di Santa Maria Gloriosa dei Frari, Venetians usually just call this famous church "I Frari." That's because it was built by the Frari (Venetian dialect for frati, or "brothers") of the Franciscan order. Built in the 13th/14th–century Gothic style (and rebuilt in the middle 1400s), the church is plain and cavernous in the style typical of the simple Franciscans but does house two Titian masterpieces (which are actually in short supply here in the master's hometown). The more striking of the two is the Assumption of the Virgin, over the main altar, glowing with gold and painted in 1518. In his Madonna di Ca' Pesaro, on the left aisle, Titian's wife posed for the figure of Mary, then died soon afterward in childbirth.
The church's other masterworks are Giovanni Bellini's 1488 Madonna and Child triptych, in the sacristy (take the door on the right as you face the altar), and the only work by Donatello in Venice, a very human-looking painted wood St. John the Baptist in the chapel just to the right of the main altar. In the centre of the church, the carved marble rood screen and 124 elaborate wooden stalls of the Monk's Choir beyond are both late 15th century.
The large and stylish tombs of two famous Venetians are also here. Just inside the door to the left is a monumental pyramid honouring the Italian sculptor Canova, who died in 1822 after leading the neoclassical revolution in art (his mummified heart is preserved in a porphyry urn). Ironically, this tomb design was adapted, by Canova's students, from a monument the sculptor had intended for Titian (who died in 1576 during a plague), located right across the nave. However, the great painter's memorial—also designed by Canova's pupils—ended up instead as a classical-style archway topped by the winged lion of St. Mark.
TIPS ON VISITING
- Planning your day: Visiting the church only takes about 20 minutes, but it makes for a cool and relaxing respite from the jostle and crowds of Venetian alleys and famous sights, so you might want to just sit and relax on a pew.
- In the summer high season, volunteers sometimes offer free tours in English; check ahead of time.
- Go ahead and buy the €10 Chorus Pass rather than pay the separate, €3 admission (visit just three more churches—of the 16 covered—and it'll pay for itself).
- Take a tour: If you want a guide along to explain what you're seeing.
WORKS OF ART IN THE FRARI CHURCH
- Giovanni Bellini, Madonna and Child with Ss. Nicholas of Bari, Peter, Mark and Benedict, the sacristy altarpiece
- Giambattista Pittoni, Hagar in the desert, Oil on Canvas, sacristy
- Bartolomeo Bon's workshop, figures of the Virgin and St. Francis on the west front
- Antonio and Paolo Bregno, tomb of Doge Francesco Foscari in the chancel (attributed; may actually be by Niccolò di Giovanni Fiorentino)
- Lorenzo Bregno
- tomb of Benedetto Pésaro above the sacristy door
- tomb of Alvise Pasqualino on the west wall
- Girolamo Campagna, statuettes of St. Anthony of Padua and St. Agnes on the water stoups in the nave
- Marco Cozzi, choir stalls in ritual choir
- Donatello, figure of St. John the Baptist in the first south choir chapel, Donatello's first documented work in Venice
- Tullio Lombardo, tomb of Pietro Bernardo on the west wall (attributed; may actually be by Giovanni Buora)
- Antonio Rizzo, tomb of Doge Niccolò Tron in the chancel
- Jacopo Sansovino, damaged figure of St. John the Baptist on the font in the Corner Chapel
Works of Art by Titian
- Assumption, the altarpiece of the high altar and the largest altarpiece in Venice
- Pesaro Madonna on the north wall of the nave
- Paolo Veneziano, Doge Francesco Dandolo and His Wife Presented to the Virgin by Ss. Francis and Elizabeth in the sacristy
- Alessandro Vittoria
- figure of The Risen Christ on the west front
- figure of St. Jerome on the south wall of the nave
- Alvise Vivarini, St. Ambrose and other Saints in the north transept chapel, his last work
- Bartolomeo Vivarini
- St. Mark Enthroned in the Capella Corner in the north transept
- Madonna and Child with Saints, altarpiece in the third south choir chapel
Burial monuments in the Frari, originally designed by Canova for the tomb of Titian
- Francesco Barbaro (1390–1454) (humanist and senator)
- Pietro Bernardo (d. 1538) (senator)
- Antonio Canova (only his heart is buried here; the tomb, realised by his disciples, is based on the drawing of Canova himself for an unrealised tomb for Titian)
- Federico Corner
- Doge Francesco Dandolo (in the chapter house)
- Doge Francesco Foscari (d. 1457)
- Jacopo Marcello
- Claudio Monteverdi (one of the greatest composers of the 17th Century)
- Beato Pacifico (founder of the current church)
- Alvise Pasqualino (d. 1528) (Procurator of Venice)
- Benedetto Pésaro (d. 1503) (general)
- Doge Giovanni Pesaro
- Bishop Jacopo Pésaro (d. 1547)
- Paolo Savelli ( condottiere) (the first Venetian monument to include an equestrian statue)
- Titian (d. 1576) ( Renaissance painter)
- Melchiorre Trevisan (d. 1500) (general)
- Doge Niccolò Tron
CAMPO SAN POLO, VENICE
The Campo San Polo is the largest campo in Venice, Italy and the second largest Venetian public square after the Piazza San Marco. It is located in the Sestieri San Polo. Originally dedicated to grazing and agriculture, in 1493 it was entirely paved, a well (one of the few fountains to be found in Venice) being placed in the middle. It was subsequently used as the scene of many a bullfight, mass sermons and masked balls. After the 17th century the poor's market was moved here from Piazza San Marco. It remains to this day one of the most popular Carnival venues and is also used for open air concerts and screenings during the Venice Film Festival. Lorenzino de' Medici was assassinated here in 1548. Facing the church are the following buildings:
- Church of San Polo
- Palazzo Tiepolo
- Palazzo Soranzo
- Palazzo Donà
- Palazzo Corner Mocenigo
CHIESA DI SAN POLO, VENICE
The Chiesa di San Polo is a Catholic church in Venice, dedicated to the Apostle Paul. It gives its name to the San Polo sestiere of the city. The current Gothic church dates from the 15th century, but a church has stood on the site since the 9th century and the south doorway, possibly by Bartolomeo Bon, survives from this church. The campanile, standing detached from the church, was built in 1362. The interior has a ship's keel roof and was restored in 1804 by Davide Rossi. On the left wall near the entrance is a Last Supper by Jacopo Tintoretto, while the first altarpiece on the left, is attributed to his studio. Other walls have canvases by Paolo Piazza (St Silvester baptizes Emperor Constantine and St Paul Preaching; by Jacopo Guarana (Sacred Heart). The altar of the apsidal chapel on the left has a Marriage of the Virgin by Paolo Veronese. The presbytery has canvases by Palma il Giovane including St Peter and the Keys, the St Paul at Tarsus, and a Temptation of St Anthony Abbot). Next to the altar are two bronze statues by Alessandro Vittoria:St Paul and St Anthony Abbot. Among the ceiling paintings are a Glory of Angels and Resurrection by Giandomenico Tiepolo. His father, Giambattista is thought to be the author of Virgin appears to St John Nepomuk, commissioned by the King of Poland, August III.
Other Works of Art in Church
- Giambattista Tiepolo (Virgin appearing to a Saint on the north wall of the nave)
- Gian Domenico Tiepolo (Stations of the Cross, Glory of Angels and Resurrection in the Oratory of the Crucifix)
- Veronese ( Marriage of the Virgin in the north apse chapel)
HOUSE OF CARLO GOLDONI, VENICE
The House of Carlo Goldoni, or in Italian, Casa di Carlo Goldoni is a small palace, that served as the residence of the Italian playwright Carlo Goldoni. Located in San Polo, Venice, it is now a museum and library of theater studies.
The small Gothic style palace is located on Calledei Nomboli 2793. Originally property of the Rizzi family. The palace passed on till it was bought in the 17th century by the grandfather of Carlo Goldoni. The House of Carlo Goldoni and Library of Theatre Studies (Casa di Goldoni e Biblioteca di Studi Teatrali) a museum managed by the Fondazione Musei Civici di Venezia which exhibits collections on Goldoni's life and works, as well as artefacts relating to Venetian theatre
PALAZZO DONA, VENICE
The Palazzo Donà or Donà Brusa is a Venetian Gothic style palace located in Campo San Polo in the Sestiere of San Polo in Venice. The palace was originally built by the old aristocratic Donà family, originally from Aquileia. Three members of the family, Francesco, Leonardo, and Nicolo became Doges. The composer Giovanni Francesco Brusa, a collaborator with Carlo Goldoni, lived in the palace. The palace is now owned by the Signum Foundation, which sponsors exhibitions from Polish and foreign contemporary artists. Signum, website. There are at least three other Dona palaces in Venice, the Palazzo Donà della Madoneta on the Grand Canal, the Palazzo Donà-Ottobon in Fondamenta San Severo in Castello, and the Palazzo Donàdalle Rose in Cannaregio.
PALAZZO SORANZO, VENICE
The Palazzo Soranzo is composed of two adjacent Gothic palaces or palazzi, located facing Campo San Polo, in the sestiere San Polo of Venice, Italy. There is a distinct Palazzo Soranzo Piovene on the Grand Canal of Venice. Originally the facade of the palaces faced a canal, the Rio Sant'Antonio, which was paved over in 1761. Originally, small bridges provided access to the campo. The campo had been paved by 1493. The oldest part of the complex dates to the mid-1300s. The newer building, with the broad 8 adjacent windows in piano nobile, was erected in the 15th-century. It was once decorated with frescoes by Giorgione. The Soranzo family was a prominent Venetian noble family. One of the members, Giovanni Soranzo, was elected Doge in 1312 and served till 1328. He had been an admiral who defeated the Genoese at Kaffa in the Crimea. Most of the original paintings and removable decoration were sold over the centuries. The palace is now privately owned, and subdivided into apartments and offices.
RIALTO BRIDGE, VENICE
The Rialto Bridge is one of the most famous bridges in Venice and one of Venice's top attractions. The first of only four bridges to span the Grand Canal, the Rialto Bridge is lined with shops and is a gateway to the Rialto Market. Prior to the building of the Rialto Bridge, in the late 16th century, a series of bridges occupied this, the narrowest point across the Grand Canal. Because this bridge was the only place to cross the Grand Canal on foot, it was imperative to construct a bridge that would hold up to heavy use and would also allow boats to pass underneath.
Beginning in 1524, artists and architects, including Sansovino, Palladio, and Michelangelo, began submitting blueprints for the new bridge. But no plan was chosen until 1588, when municipal architect Antonio da Ponte was awarded the commission. Interestingly, da Ponte was the uncle of Antonio Contino, architect of Venice's other unmistakable bridge , the 'The Bridge of Sighs'.
The Rialto Bridge is an elegant, arched stone bridge lined with arcades on each side. The central archway at its pinnacle, accessed via the wide stairs that rise from either side of the bridge, serves as a lookout perch. Under the arcades are numerous shops, many of which cater to the tourists who flock here to see this famous bridge and its views of the gondola-filled waterway of the Grand Canal.
When Veneziani refer to the Rialto they are not only speaking of the Bridge. The Rialto is and has been for many centuries the financial and commercial centre of Venice. It is an area of the San Polo sestiere of Venice, Italy, also known for its markets and for the Rialto Bridge across the Grand Canal. The area was settled by the ninth century, when a small area in the middle of the Realtine Islands on either side of the Rio Businiacus was known as the Rivoaltus, or "high bank". Eventually the Businiacus became known as the Grand Canal, and the district the Rialto, referring only to the area on the left bank.
The Rialto became an important district in 1097, when Venice's market moved there, and in the following century a boat bridge was set up across the Grand Canal providing access to it. This was soon replaced by the Rialto Bridge. The bridge has since then become iconic, appearing for example in the seal of Rialto, California ("The Bridge City"). The market grew, both as a retail and as a wholesale market. Warehouses were built, including the famous Fondaco dei Tedeschi on the other side of the bridge. Meanwhile, shops selling luxury goods, banks and insurance agencies appeared and the city's tax offices were located in the area. The city's abattoir was also in the Rialto.
Most of the buildings in the Rialto were destroyed in a fire in 1514, the sole survivor being the church San Giacomo di Rialto, while the rest of the area was gradually rebuilt. The FabricheVechie dates from this period, while the Fabbriche Nuove is only slightly more recent, dating from 1553. The statue Il Gobbo di Rialto was also sculpted in the sixteenth century. The area is still a busy retail quarter, with the daily Erberia greengrocer market, and the fish market on the Campo della Pescheria. The Rialto is also mentioned in works of literature, notably in Shakespeare's The Merchant of Venice, where Shylock asks "What news on the Rialto?" at the opening of Act 1, Scene III, and Solanio in Act 3 Scene I poses the same question. In Sonnets from the Portuguese Sonnet 19, Elizabeth Barrett Browning writes that "The soul's Rialto hath its merchandise...".
SAN GIACOMO DI RIALTO CHURCH, VENICE
San Giacomo di Rialto is a church in the sestiere of San Polo, Venice, northern Italy. The addition of Rialto to the name distinguishes this church from its namesake San Giacomodall'Orio found in thesestiere of Santa Croce, on the same side of the Grand Canal. It has a large 15th century clock above the entrance, a useful item in the Venetian business district but regarded as a standing joke for its inaccuracy. The Gothic portico is one of the few surviving examples in Venice. It has a Latin cross plan with a central dome. Inside, the Veneto-Byzantine capitals on the six columns of ancient Greek marble date from the 11th century.
According to the tradition, San Giacomo is the oldest church in the city, supposedly consecrated in the year 421. Although, documents exist mentioning the area but not the church in 1097. The first document citing it dates from 1152. It was rebuilt in 1071, prompting the establishment, in front of the church, of the Rialto market with bankers and money changers. The system with the "bill of exchange" was introduced here, as clients went with such a bill of exchange with a credit inscribed from one banker to another. In 1503 it survived a fire which destroyed the rest of the area, and was restored from 1601 by order of doge Marino Grimani. Works included raising of the pavement to counter the acqua alta.
SCUOLA GRANDE DI SAN ROCCO, VENICE
The Scuola Grande di San Rocco is a building in Venice, northern Italy.
The Scuola di San Rocco ("Confraternity of St. Roch",Although the term "scuola" also referred to the building housing their seat. protector against plague, which had struck Venice in that century) was established in 1478 by a group of wealthy Venetian citizens, next to the church of San Rocco, from which it takes its name. In January 1515 the project of the building was entrusted to Bartolomeo Bon, although some authorities assign it to his son Pietro Bon. In 1524 his work was continued by Sante Lombardo, who, in turn, three years later was replaced by Antonio Scarpagnino. Following his death in 1549, the last architect to work on the edifice was Giangiacomo dei Grigi, finishing in September 1560. The design was similar to other scuole in Venice, characterized by two halls, one at ground floor level, the other at first floor level. The Sala Terra (lower) has a nave and two aisles, with the entrance from the campoName of the Venetian squares. outside. From this hall a stair (with a landing surmounted by a dome) led to the upper storey. The Sala Superiore ("Upper Hall") was used for meetings of the fellows and had a wooden altar. It provided access to the Sala dell'Albergo, which housed the Banca and the Zonta (the confraternity's supervisory boards).
In 1564 the painter Tintoretto was commissioned to provide paintings for the Scuola, and his most renowned works are to be found in the Sala dell'Albergo and the Sala Superiore. All the works in the building are by him, or his assistants, including his son Domenico: they were executed between 1564 and 1587. Works in the sala terra are in homage to the Virgin Mary, and concentrate on episodes from her life. In the sala superiore, works on the ceiling are from the Old Testament, and on the walls from the New Testament. Together, they show the biblical story from Fall to Redemption. Main works include:
- Adoration of the Magi
- The Flight into Egypt
- The Slaughter of the Innocents
- Presentation in the Temple
- The Assumption of Mary
- St Mary Magdalen
- St Mary of Egypt
Sala Superiore on the ceilings
- Adam and Eve
- Jacob's Ladder
- God Appears to Moses
- The Passover
- The Pillar of Fire
- The Fall of Manna in the Desert
- Moses Strikes Water from the Rock
- Miracle of the Bronze Serpent
- Elijah is Fed by the Angels
- Elisha Distributes Bread
- The Vision of the Prophet Ezekiel
Sala Superiore on the walls
- The Adoration of the Shepherds
- The Baptism
- Christ Tempted by Satan
- Christ Heals the Paralytic
- Multiplication of Bread and Fishes
- The Resurrection of Lazarus
- The Last Supper
- The Agony in the Garden
- The Resurrection
- The Ascension
- Wooden: episodes of the Old Testament by Giuseppe Angeli
- Allegory of St. John's Guild
- Allegory of St. Mark's Guild
- Allegory of St. Theodore's Guild
- Allegory of the Charity Guild
- Allegory of the Misericordia (Mercy) Guild
- Christ Before Pilate
- Ecce Homo (The Crowning with Thorns)
- Ascent to Calvary
- The Crucifixion
Other works present include paintings by Titian and Palma il Giovane.