16 restod anxhNbw the ndof15 to Girgne.ThSuscfbl ding (wthsocalf Giorgne's HmwtaF proety and P th section -whuprdf.IGg'm,a work anstlgicexpbdhmy posible ntra,wdhugqvG' scen, rdiaptlyuvqof Eastern fiz-holybudGgc 1574 cm),ilunatedbywhgosfr.T cm, theW one masurig7x158 chrome fizs(tEan with oyelsmn- hal (firsto)edc centur objects alrnigwhdpum, elizar fms,hdptwcCkno183.T overcm thaildnsypfMA. , restodin203byFazCmcwlghu. The walsoftmin - Literau,Asonmy y . Theous,prvilybngt ric Babel,MtT estrn o76x glorifcatn V T he with earnsoflyumcd One ofthmswidpralv FR Syr led critsopuanwgf. us' Sentia.Thrmcofz irtue andF , MusicandP on paerscliudgBbxt, from Salusti'BeCndPb riez (ca.1502-3)whsbntu ed I E ame tinblhrougLAs Z aintg. Theslpumbo E th intheH ome fGirg andthebgiof -windo) as revisan uments ad ione (Eastern cio) Giorgne’s F Mart-P of the15 used inatrolgy resach wmnofpditgu re humanvts-iwod,l the onlymasfrdpicu. your lkthef”):wicads Si pr are litdounsfb.Thmc-q studio parlwngmeckhfv paintg ehr:muscl and therisofukwlg.Dcypm later mphsidbynwo.TfGvu ominus frecat,bgldphw repsntaio fhGCjucS,JdM r with eadofnlArbsm(py fleting auromdhbsyv, te casuly rngedptihW armou Giorgne's wF udens cpiftraom("Iywhb, Boks, inptecaldg , andtwopersclhi An aoymus,leiprdthbjc elizar Hom: , musicalntr th riez centur quoting “Ormesahdwpby meant oldhkrbciEsF eys hutandmoc,rpiw ends withamgof:lc Arts -hoeidng,avmy'cf.TF . Thiscen-badtrolgyw eptualisd owrhn y bGiovanBtsAd ani dMoterg. riez. F uments adohrbjcpifly mon f1504.Althesaricvw the clipsofun1502ad - whicapendbtOor1503Ju4 urthe on,lsadbjcigM uments layorwihg,p' estrn fiz.Ahbg,wapod y thawisdomnre veros?). Nxtflwa ”. riez mot, riez , the , ROT CASTELFRNO- P w April 27).T P T P Idea &rtwok:F w WEB V C V TOURIS FCE(.A (closed Mnay,NwY V GIORNE’S HUADFZ Secrtail Of-V V C © ComunediastlfrcV artnes exts: GiacnoChT rinted by:Gafc icture: A istng me:10.-23a/6pErcfdul,5–o istng me:9.0-12a/36p(vrolwducbfM) ia F ia F ASTELFR A AR THEDR Y INTERA . MP . MP -SITE .museocatlfrnv .comuneastlfrv AL OFC reti, 6-310CaslfncoV reti, 6-310CaslfncoV . Ongarto-fm"CselcV ANCO VETL el. 042375-fax689mi:no@btcsrv TIONAL di CastelfrncoV P arochi delDum ASTELFR rontie -P icol deCrst,afnV .T .) ear ento ’s Day ANCO VET ransltio: SudCg–V OC ento) rogeti pCmunca(w AL TOURISFCE , EasterDy .it .it -w ento -l.042395 ento -l.0423916 ento. L , Augst15ChrimaDy .bilotecasfrnv ento -l.042395 Castelfrnco V Cità d a citàdGorgne"(byD.lP olpag deMnt(TV) ento .frontiepgcm) , Decmbr26and31 .it os -197 INFO .it

CASTELFRANCO the native town of GIORGIONE Giorgione’s ALTARPIECE The Cathedral and Paolo Veronese

On the right: Giorgione (1478-1510), family of Tuzio's wife Giorgione is one of the most intriguing personalities in the . He was "Enthroned and Child with Sts. The construction of the Cathedral, designed by F. M. Preti back in 1723, Isabel, originally born in ca. 1478 and died of plague in in 1510. His artistic Francis and Nicasio" (ca. 1503-1504), began in 1724 on the site of a pre-existing Romanesque church built on Altarpiece, Costanzo Chapel, Cathedral from Majorca. The oeuvre was concentrated in a brief ten year long period of activity. The works unquestionably of St. Maria Assunta and St. Liberale an East to West axis. Opened for worship in 1746, it was left without attributed to him are few and very valuable. They include: the Cathedral Altarpiece and the Below: a section of the Cathedral engraving on the the dome and hall which were originally planned. Its façade dates back of St. Maria Assunta and Frieze in the Home of Marta-Pellizzari, both in Castelfranco Veneto, and the very famous St. Liberale (1724-1746) tombstone shows a to 1892-1893. The vestry contains frescoes by Veronese (1528-1588) Top left: “Justice” and “Temperance” date - August 1504 - though mysterious “Tempest”, “”, and “The Old Woman”. by Paolo Veronese dated 1551, originally from Villa Soranza, together with paintings by Veneto Bottom left: “Putto” and as a likely clue to the artists (Jacopo Da Ponte, Pietro Damini, Paolo Piazza, Palma il Giovane) “Time and Fame” chapel's erection date. The ALTARPIECE in the Cathedral of St. Maria Assunta and St. Liberale - one at the foot of the throne where On the opposite wall of the few works unquestionably attributed to Giorgione - measures 200.5 x St. Nicasio (personifying Tuzio's own tomb This church is the first and finest work of architect Francesco Maria 144.5 cm and probably dates back to ca. 1503-1504. It was commissioned by courage) and St. Francis was embedded. So, unlike today, neither the Virgin and Child nor the two Saints Preti (1701-1774), who also designed the Academic Theatre of Castelfranco Tuzio Costanzo for his family's chapel on the occasion of the death of his son (personifying piety) turn their were looking in the direction of Matteo's embedded tombstone at that time. and Villa Pisani in Strà. During the planning of the Dome, Preti elected the Matteo which happened some time between the spring of 1503 and the summer meditative gaze towards the St. Nicasio and St. Francis looked in turn at the devotee approaching the altar. Palladian Redentore Church in Venice as a . Inside, the architect of 1504. Matteo is shown wearing armour on the tombstone, which was originally onlooker and devotee. As for the Virgin and particularly the Child, some radiographic analyses have shaped it according to the mathematical harmonic mean concept so that embedded in a lateral wall. The enthroned Virgin and Child are depicted against More recent studies on revealed alterations to the position of their eyes: from towards the onlooker to the height of the big bright nave is the harmonic a landscape background. Nearby, Sts. Francis and Nicasio: the latter, holding the the Altarpiece have proposed some new and interesting interpretations, all of downwards in the final version. Their sad, grieving stare is directed at the mean of its length and its width. The whole emblem of the Knights of Malta, was once identified with St. George or St. Liberale which, amongst other things, are based on the analysis of the original interior porphyry “sarcophagus” as the symbolic tomb of the Costanzos, ideally and inside perimeter is encircled by Ionic-style - the patron saint of Castelfranco and Treviso. After his death as a martyr in 1187, arrangement of the Costanzo chapel in the “old church" (renovated in 1467), visibly connected to the tombs on the lateral walls by the painted coat of arms. columns on plinths. The cross vault, culminating St. Nicasio was worshipped together with St. Francis, especially in Messina, Sicily, which was demolished in 1724 to make way for the new Preti's Cathedral. In fact, In this way, the Virgin and Child's gaze connects the two “subject areas” of the in semi-circular apses on either side, is cut off the native town of Tuzio, also a Knight of Malta. today's chapel - inaugurated in September 1935 - has created a relationship Altarpiece, which would otherwise be irreparably set apart. According to this at the dome base, since the originally planned The revolutionary significance of Giorgione's Altarpiece lies in the fact between the Altarpiece and the tombstone that differs dramatically from the one interpretation, it was the need to add the “sarcophagus” - the subject of frequent dome does not exist. The square presbytery that it is radically different from the hitherto traditional style documented early in the 16th century. Another possible clue is the identification amendments and “repentances” by the painter - that inspired him to adopt the with its ribbed vault supported by four corner of altarpieces (see Piero della Francesca, Ercole de' Roberti, of the “cube” underlying the throne with a porphyry “sarcophagus”. The chapel “pyramid-like architecture” of the Altarpiece. Porphyry was chosen as an epitome columns ends in a semi-circular choir installed Antonello da Messina), which somewhat influenced - built after 1467 - probably became property of the Costanzo family when Tuzio of mourning and “royalty” at the same time, since it was almost exclusively used following the opening of a section of the Giorgione's contemporaries including - the purchaser of the Altarpiece - moved to Castelfranco ca. 1475. Tuzio, the son for the tombs of Roman Emperors, Mediaeval Popes, and Norman and Swabian Mediaeval ramparts. and . He ruled out any possible reference to of Viceroy of Cyprus Muzio, was born in Messina, then moved to Cyprus in Sovereigns in Tuzio's Sicily. Of course, this alluded to the nobility of the The amazing vestry gallery features a St. stately or ecclesiastical interiors and presented an almost the service of Queen Caterina Cornaro. Later on, he became a Costanzos and to the viceroy position of the commissioner's father. Rocco by Jacopo Da Ponte (1515-1592), Dinner unnatural, exaggeratedly high throne bathed in an celebrated “condottiere” of the Venetian Republic. In the “old The painting, which rests on a support of poplar boards, in Emmaus by Paolo Piazza (1560-1621), and effusion of light, with a background which features an chapel”, his son Matteo's tomb was built into a lateral wall underwent a series of renovation works starting in the 17th other paintings by Veneto artists (16th and 17th undulating country landscape stretching out into the distance in and covered with the stone-plate that now lies at the foot of century. The last and most decisive of them dates back to 2002- centuries), but above all an exceptional nucleus a “pyramid-like” composition. The two miniature armoured men and the altar. Matteo died in Ravenna at the age of 23: it was 2003 and was carried out in the restoration laboratory at the of frescoes by Paolo Veronese, originally painted the ruins of a fortified village are a hint at war; a source of grief and between the spring of 1503 and the summer of 1504 during a Academy Galleries in Venice. In order to protect it from in 1551 for Villa Soranza designed by architect death. An atmosphere of absolute silence impregnates the whole scene and war campaign conducted by the Serenissima Republic. The dangerous temperature and humidity fluctuations, the Altarpiece Michele Sanmicheli. The frescoes, removed in 1817 by Filippo Balbi before pervades the half-light of the chapel. A red velvet curtain separates the two bas-relief shows a young armoured soldier and, on either side has now been returned to the Costanzo chapel in a display case the villa was demolished, represent Time and Fame, Justice and Temperance, “subject areas” of the composition; the upper part representing the world of human of his head, the Costanzo coat of arms - six human ribs with a controlled micro-climate. with four ovals showing puttos playing in the sky and on a balustrade. deeds with an image of the Madonna and Child, the lower part is the sacred realm overlooked by a rampant lion - and that of the Vernis, the noble Giorgione’s ALTARPIECE The Cathedral and Paolo Veronese

On the right: Giorgione (1478-1510), family of Tuzio's wife Giorgione is one of the most intriguing personalities in the history of painting. He was "Enthroned Madonna and Child with Sts. The construction of the Cathedral, designed by F. M. Preti back in 1723, Isabel, originally born in Castelfranco Veneto ca. 1478 and died of plague in Venice in 1510. His artistic Francis and Nicasio" (ca. 1503-1504), began in 1724 on the site of a pre-existing Romanesque church built on Altarpiece, Costanzo Chapel, Cathedral from Majorca. The oeuvre was concentrated in a brief ten year long period of activity. The works unquestionably of St. Maria Assunta and St. Liberale an East to West axis. Opened for worship in 1746, it was left without attributed to him are few and very valuable. They include: the Cathedral Altarpiece and the Below: a section of the Cathedral engraving on the the dome and hall which were originally planned. Its façade dates back of St. Maria Assunta and Frieze in the Home of Marta-Pellizzari, both in Castelfranco Veneto, and the very famous St. Liberale (1724-1746) tombstone shows a to 1892-1893. The vestry contains frescoes by Veronese (1528-1588) Top left: “Justice” and “Temperance” date - August 1504 - though mysterious “Tempest”, “The Three Philosophers”, and “The Old Woman”. by Paolo Veronese dated 1551, originally from Villa Soranza, together with paintings by Veneto Bottom left: “Putto” and as a likely clue to the artists (Jacopo Da Ponte, Pietro Damini, Paolo Piazza, Palma il Giovane) “Time and Fame” chapel's erection date. The ALTARPIECE in the Cathedral of St. Maria Assunta and St. Liberale - one at the foot of the throne where On the opposite wall of the few works unquestionably attributed to Giorgione - measures 200.5 x St. Nicasio (personifying Tuzio's own tomb This church is the first and finest work of architect Francesco Maria 144.5 cm and probably dates back to ca. 1503-1504. It was commissioned by courage) and St. Francis was embedded. So, unlike today, neither the Virgin and Child nor the two Saints Preti (1701-1774), who also designed the Academic Theatre of Castelfranco Tuzio Costanzo for his family's chapel on the occasion of the death of his son (personifying piety) turn their were looking in the direction of Matteo's embedded tombstone at that time. and Villa Pisani in Strà. During the planning of the Dome, Preti elected the Matteo which happened some time between the spring of 1503 and the summer meditative gaze towards the St. Nicasio and St. Francis looked in turn at the devotee approaching the altar. Palladian Redentore Church in Venice as a model. Inside, the architect of 1504. Matteo is shown wearing armour on the tombstone, which was originally onlooker and devotee. As for the Virgin and particularly the Child, some radiographic analyses have shaped it according to the mathematical harmonic mean concept so that embedded in a lateral wall. The enthroned Virgin and Child are depicted against More recent studies on revealed alterations to the position of their eyes: from towards the onlooker to the height of the big bright nave is the harmonic a landscape background. Nearby, Sts. Francis and Nicasio: the latter, holding the the Altarpiece have proposed some new and interesting interpretations, all of downwards in the final version. Their sad, grieving stare is directed at the mean of its length and its width. The whole emblem of the Knights of Malta, was once identified with St. George or St. Liberale which, amongst other things, are based on the analysis of the original interior porphyry “sarcophagus” as the symbolic tomb of the Costanzos, ideally and inside perimeter is encircled by Ionic-style - the patron saint of Castelfranco and Treviso. After his death as a martyr in 1187, arrangement of the Costanzo chapel in the “old church" (renovated in 1467), visibly connected to the tombs on the lateral walls by the painted coat of arms. columns on plinths. The cross vault, culminating St. Nicasio was worshipped together with St. Francis, especially in Messina, Sicily, which was demolished in 1724 to make way for the new Preti's Cathedral. In fact, In this way, the Virgin and Child's gaze connects the two “subject areas” of the in semi-circular apses on either side, is cut off the native town of Tuzio, also a Knight of Malta. today's chapel - inaugurated in September 1935 - has created a relationship Altarpiece, which would otherwise be irreparably set apart. According to this at the dome base, since the originally planned The revolutionary significance of Giorgione's Altarpiece lies in the fact between the Altarpiece and the tombstone that differs dramatically from the one interpretation, it was the need to add the “sarcophagus” - the subject of frequent dome does not exist. The square presbytery that it is radically different from the hitherto traditional style documented early in the 16th century. Another possible clue is the identification amendments and “repentances” by the painter - that inspired him to adopt the with its ribbed vault supported by four corner of altarpieces (see Piero della Francesca, Ercole de' Roberti, of the “cube” underlying the throne with a porphyry “sarcophagus”. The chapel “pyramid-like architecture” of the Altarpiece. Porphyry was chosen as an epitome columns ends in a semi-circular choir installed Antonello da Messina), which somewhat influenced - built after 1467 - probably became property of the Costanzo family when Tuzio of mourning and “royalty” at the same time, since it was almost exclusively used following the opening of a section of the Giorgione's contemporaries including Giovanni Bellini - the purchaser of the Altarpiece - moved to Castelfranco ca. 1475. Tuzio, the son for the tombs of Roman Emperors, Mediaeval Popes, and Norman and Swabian Mediaeval ramparts. and Lorenzo Lotto. He ruled out any possible reference to of Viceroy of Cyprus Muzio, was born in Messina, then moved to Cyprus in Sovereigns in Tuzio's Sicily. Of course, this alluded to the nobility of the The amazing vestry gallery features a St. stately or ecclesiastical interiors and presented an almost the service of Queen Caterina Cornaro. Later on, he became a Costanzos and to the viceroy position of the commissioner's father. Rocco by Jacopo Da Ponte (1515-1592), Dinner unnatural, exaggeratedly high throne bathed in an celebrated “condottiere” of the Venetian Republic. In the “old The painting, which rests on a support of poplar boards, in Emmaus by Paolo Piazza (1560-1621), and effusion of light, with a background which features an chapel”, his son Matteo's tomb was built into a lateral wall underwent a series of renovation works starting in the 17th other paintings by Veneto artists (16th and 17th undulating country landscape stretching out into the distance in and covered with the stone-plate that now lies at the foot of century. The last and most decisive of them dates back to 2002- centuries), but above all an exceptional nucleus a “pyramid-like” composition. The two miniature armoured men and the altar. Matteo died in Ravenna at the age of 23: it was 2003 and was carried out in the restoration laboratory at the of frescoes by Paolo Veronese, originally painted the ruins of a fortified village are a hint at war; a source of grief and between the spring of 1503 and the summer of 1504 during a Academy Galleries in Venice. In order to protect it from in 1551 for Villa Soranza designed by architect death. An atmosphere of absolute silence impregnates the whole scene and war campaign conducted by the Serenissima Republic. The dangerous temperature and humidity fluctuations, the Altarpiece Michele Sanmicheli. The frescoes, removed in 1817 by Filippo Balbi before pervades the half-light of the chapel. A red velvet curtain separates the two bas-relief shows a young armoured soldier and, on either side has now been returned to the Costanzo chapel in a display case the villa was demolished, represent Time and Fame, Justice and Temperance, “subject areas” of the composition; the upper part representing the world of human of his head, the Costanzo coat of arms - six human ribs with a controlled micro-climate. with four ovals showing puttos playing in the sky and on a balustrade. deeds with an image of the Madonna and Child, the lower part is the sacred realm overlooked by a rampant lion - and that of the Vernis, the noble 16 restod anxhNbw the ndof15 to Girgne.ThSuscfbl ding (wthsocalf Giorgne's HmwtaF proety and P th section -whuprdf.IGg'm,a work anstlgicexpbdhmy posible ntra,wdhugqvG' scen, rdiaptlyuvqof Eastern fiz-holybudGgc 1574 cm),ilunatedbywhgosfr.T cm, theW one masurig7x158 chrome fizs(tEan with oyelsmn- hal (firsto)edc centur objects alrnigwhdpum, elizar fms,hdptwcCkno183.T overcm thaildnsypfMA. , restodin203byFazCmcwlghu. The walsoftmin - Literau,Asonmy y . Theous,prvilybngt ric Babel,MtT estrn o76x glorifcatn V T he with earnsoflyumcd One ofthmswidpralv FR Syr led critsopuanwgf. us' Sentia.Thrmcofz irtue andF , MusicandP on paerscliudgBbxt, from Salusti'BeCndPb riez (ca.1502-3)whsbntu ed I E ame tinblhrougLAs Z aintg. Theslpumbo E th intheH ome fGirg andthebgiof -windo) as revisan uments ad ione (Eastern cio) Giorgne’s F Mart-P the onlymasfrdpicu. your lkthef”):wicads Si pr are litdounsfb.Thmc-q studio parlwngmeckhfv paintg ehr:muscl and therisofukwlg.Dcypm later mphsidbynwo.TfGvu ominus frecat,bgldphw repsntaio fhGCjucS,JdM r with eadofnlArbsm(py fleting auromdhbsyv, te armou casuly rngedptihW of the15 used inatrolgy resach wmnofpditgu re humanvts-iwod,l Giorgne's wF udens cpiftraom("Iywhb, Boks, inptecaldg , andtwopersclhi An aoymus,leiprdthbjc elizar Hom: , musicalntr th riez centur quoting “Ormesahdwpby meant oldhkrbciEsF eys hutandmoc,rpiw ends withamgof:lc Arts -hoeidng,avmy'cf.TF . Thiscen-badtrolgyw eptualisd owrhn y bGiovanBtsAd ani dMoterg. riez. F uments adohrbjcpifly mon f1504.Althesaricvw the clipsofun1502ad - whicapendbtOor1503Ju4 urthe on,lsadbjcigM uments layorwihg,p' estrn fiz.Ahbg,wapod y thawisdomnre veros?). Nxtflwa ”. riez mot, riez , the , ROT CASTELFRNO- P April 27).T w P T © ComunediastlfrcV P Idea &rtwok:F w WEB V C V TOURIS FCE(.A (closed Mnay,NwY V GIORNE’S HUADFZ Secrtail Of-V V C artnes exts: GiacnoChT rinted by:Gafc icture: A istng me:10.-23a/6pErcfdul,5–o istng me:9.0-12a/36p(vrolwducbfM) ia F ia F ASTELFR A AR THEDR Y INTERA . MP . MP -SITE .museocatlfrnv .comuneastlfrv AL OFC reti, 6-310CaslfncoV reti, 6-310CaslfncoV . Ongarto-fm"CselcV ANCO VETL el. 042375-fax689mi:no@btcsrv TIONAL di CastelfrncoV P arochi delDum ASTELFR rontie -P icol deCrst,afnV .T .) ear ento ’s Day ANCO VET ransltio: SudCg–V OC ento) rogeti pCmunca(w AL TOURISFCE , EasterDy .it .it -w ento -l.042395 ento -l.0423916 ento. L , Augst15ChrimaDy .bilotecasfrnv ento -l.042395 Castelfrnco V Cità d a citàdGorgne"(byD.lP olpag deMnt(TV) ento .frontiepgcm) , Decmbr26and31 .it os -197 INFO .it

CASTELFRANCO VENETO the native town of GIORGIONE