DOCSLIB.ORG

Basilica of to “Glorious St

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Basilica of to “Glorious St May the Lord bring you peace! looked after by Franciscan friars since its VISITING HOURS founding - hence the name “Frari”. The friars From Monday to Saturday: 9am - 6pm The Friars Minor Conventual in Venice first came to Venice shortly after 1220. Sunday: 1pm - 6pm welcome all of you to the Basilica dedicated Around the year 1231, a church and a Basilica of to “Glorious St. Mary” with the traditional convent were built on land donated to the (last admission 5.30pm) Franciscan greeting of peace and all good. friars. These were soon deemed to be of Visiting hours may vary according Santa Maria Walking down the aisles of this simple and inappropriate size. On April 28th, 1250 the to liturgical celebrations. elegant Gothic Franciscan church you will Pope’s delegate, Cardinal Ottaviano Ubaldini, find yourself surrounded by extraordinary laid the foundation stone of the second Gloriosa dei works of art that reach back through eight church dedicated to “Santa Maria Gloriosa”. ENTRY centuries of history, faith and devotion at Around 1330, given the increasing flow € 3,00 full ticket this Shrine. The contemplation of so much of pilgrims, the friars commissioned the € 1,50 students up to 29 years beauty - the divine spark - accompanied construction of a third, larger church: the FRARI by the silence of this holy place can fill one current Basilica, which was Children up to 11 years: Friars Minor Conventual with a sense of peace and serenity. We wish consecrated in 1492. free entrance. you an intensely enjoyable visit. Over the centuries the Basilica The entrance fee contributes has been endowed with unique A Franciscan Church and priceless masterpieces that to the maintenance of the Basilica. take the visitor The Frari Basilica - after St. Mark’s Basilica on a journey AUDIOTOUR (in 5 languages) - is one of the most enchanting religious through the € 2,00 available complexes in Venice, and one of Italy’s most history of art important Franciscan sites. As evidenced and devotion at the entrance by the numerous pictorial and sculptural from the 13th representations of St. Francis of Assisi and to the 20th PRAYER TIMES OF THE FRIARS St. Anthony of Padua, this church has been century. AND PARISH COMMUNITY Weekdays: 7.50am Daily Office Readings Among Marian devotion and Franciscan spirituality and Morning Prayer 8.30am; 6.30pm Mass The veneration of Mary The third artwork can be seen in the sacristy. Set in a beautiful inlaid wooden Day before Holidays: 6.30pm Mass The veneration of Mary is a typical trait of frame by Jacopo da Faenza, the visitor’s Sundays and holidays: 9am; 10.30am; Franciscan spirituality. gaze is drawn to the beautiful triptych of It is for this reason that the Basilica’s three 1488 by Giovanni Bellini. 12midday; 6.30pm Mass most beautiful paintings are dedicated to her. Other valuable paintings dedicated to Mary Eucharistic Adoration: Thursday The biggest is the altarpiece of the can be found in: The Chapter House: Madonna from 7pm to 8pm Assumption of the Virgin, painted by Titian, with Child by Paolo Veneziano (1339); The and defined by Canova as the most Chapel of the Franciscan Saints: Madonna Confessions: Wednesday and Friday beautiful picture in the world. Since with Child (1535) masterpiece by Bernardino from 5pm to 6.30pm the painting was put in place - on Licinio; The Bernard Chapel: Madonna May 19th, 1518 - the vast presbytery, Enthroned (1487) by Bartolomeo Vivarini. where it is still located, has been lit by a divine light. The second painting by Titian is Music in the Basilica dedicated to the Madonna di The two prestigious organs by Callido CONTACT AND INFORMATION Ca’ Pesaro and it was painted and Piaggia, installed at the sides of the Basilica of S. Maria Gloriosa dei Frari between 1519 and 1526. wooden choir, confirm the importance This work is considered a that sacred music has always had in this Friars Minor Conventual Eight centuries masterpiece due to its brilliant Basilica. You can appreciate the singular San Polo 3072 - 30125 VENEZIA use of perspective, the acoustics of the place during the frequent Tel. +39. 041.27.28.611 of art and faith splendidness of the colours, choral and organ concerts performed the perfection of the design here. For information on upcoming www.basilicadeifrari.it and the expressive power of musical events please ask at the entrance [email protected] the portraits. or consult the web site of the Basilica. facebook.com/basilicadeifrari Welcome The Frari Basilica is a historic monument, Make your visit more engaging Each of the sections you can see but it is first and foremost a church, and interesting with an audio guide on this map is explained in detail a sacred place welcoming the prayers in the official guidebook and liturgical celebrations of Catholic that will accompany you as you discover the of the Frari Basilica. diocesan and parish communities. paintings, sculptures and monuments in a clear and The handy guide contains complete way. The tour lasts about 35 minutes and over 80 photos and details Visitors are asked to respect the takes you to the most interesting places in the Basilica. of all the most important masterpieces. characteristics of the site and to behave Available in 5 languages. Available in 5 languages. appropriately. Thank you for your kind attention. Enter into a treasure trove of beauty, harmony and simplicity Itinerary Other major with audioguide 2 artworks 19 1 INTRODUCTION 8 14 CRUCIFIX ALTAR, 1672 Baldassare Longhena, Giusto Le Court 2 THE ASSUMPTION, 1516-1518 20 21 Tiziano Vecellio 15 MONUMENT TO DOGE 4 5 18 6 22 7 GIOVANNI PESARO, 1660-1669 3 ST. MARK AND SAINTS, 1474 3 B. Longhena, M. Barthel, B. Falcone Bartolomeo Vivarini 9 16 ST. PETER’S CHAPEL ALTAR, 1432 4 ST. AMBROSE AND SAINTS, 1503 23 Workshop of Dalle Masegne Alvise Vivarini – Marco Basaiti 24 17 THE FRANCISCAN TREE, 1670 5 ST. MICHAEL, XV century Pietro Negri Venetian art 10 18 MADONNA WITH FRANCISCAN SAINTS, 1535 6 ST. JOHN THE BAPTIST, 1438 Bernardino Licinio 17 Donatello 19 CRUCIFIX, XIII century 7 MADONNA ENTHRONED WITH CHILD, 1487 20 MONUMENT TO DOGE NICOLÒ TRON, ab. 1476 Bartolomeo Vivarini 16 25 Antonio Rizzo 8 MADONNA WITH CHILD AND SAINTS, 1488 1 21 MONUMENT TO DOGE Giovanni Bellini FRANCESCO FOSCARI, ab. 1457 26 Niccolò di Giovanni Fiorentino 9 MADONNA WITH CHILD, 1339 13 Paolo Veneziano 27 22 SACRAMENT CHAPEL Reserved for personal prayer 10 WOODEN CHOIR, 1468 23 RELICS ALTAR, 1711 Marco and Francesco Cozzi Apse 15 28 F. Penso called “Cabianca” and A. Brustolon 11 MONUMENT TO TITIAN, 1843-1852 Sacristy Luigi, Pietro and Andrea Zandomeneghi 24 MONUMENT TO JACOPO MARCELLO, 1488 Chapter room Giovanni Buora 12 MONUMENT TO CANOVA, 1822-1827 Cloister Students of Canova 12 25 MARTYRDOM OF ST. CATHERINE OF ALEXANDRIA, 1590-1595 Wooden choir 11 Jacopo Palma il Giovane 13 MADONNA CA’ PESARO, 1519-1526 Bell tower Tiziano Vecellio 26 ST. JOSEPH OF COPERTINO IN ECSTASY, 1753 Giuseppe Nogari In red the artworks 29 27 ST. JEROME, 1564 Visit guidelines 14 explained in the audio guide 30 Alessandro Vittoria ✓ Advance bookings are recommended for group visits. 28 PRESENTATION OF JESUS IN THE TEMPLE, 1550-1560 ✓ The friars are available on request for group guided tours. Giuseppe Porta called Salviati ✓ Visits are not allowed during liturgical celebrations. 2 3 7 8 9 12 13 ✓ It is not permitted to take photos or video footage. 29 ST. ANTHONY OF PADUA, 1450 Giacomo Di Caterino 30 MIRACLES OF ST. ANTHONY OF PADUA, 1603 Flaminio Floriani .
Load more

Recommended publications
  • Europa E Italia. Studi in Onore Di Giorgio Chittolini
    21 CORE VENICE AND THE VENETO Metadata, citation and similar papers at core.ac.uk Provided by Reti Medievali Open Archive DURING THE RENAISSANCE THE LEGACY OF BENJAMIN KOHL Edited by Michael Knapton, John E. Law, Alison A. Smith thE LEgAcy of BEnJAMin KohL BEnJAMin of LEgAcy thE rEnAiSSAncE thE during VEnEto thE And VEnicE Smith A. Alison Law, E. John Knapton, Michael by Edited Benjamin G. Kohl (1938-2010) taught at Vassar College from 1966 till his retirement as Andrew W. Mellon Professor of the Humanities in 2001. His doctoral research at The Johns Hopkins University was directed by VEnicE And thE VEnEto Frederic C. Lane, and his principal historical interests focused on northern Italy during the Renaissance, especially on Padua and Venice. during thE rEnAiSSAncE His scholarly production includes the volumes Padua under the Carrara, 1318-1405 (1998), and Culture and Politics in Early Renaissance Padua thE LEgAcy of BEnJAMin KohL (2001), and the online database The Rulers of Venice, 1332-1524 (2009). The database is eloquent testimony of his priority attention to historical sources and to their accessibility, and also of his enthusiasm for collaboration and sharing among scholars. Michael Knapton teaches history at Udine University. Starting from Padua in the fifteenth century, his research interests have expanded towards more general coverage of Venetian history c. 1300-1797, though focusing primarily on the Terraferma state. John E. Law teaches history at Swansea University, and has also long served the Society for Renaissance Studies. Research on fifteenth- century Verona was the first step towards broad scholarly investigation of Renaissance Italy, including its historiography.
    [Show full text]
  • The Relations of the Republic Of
    Aleksandra V. Chirkova, Daria A. Ageeva , Evgeny A. Khvalkov THE RELATIONS OF THE REPUBLIC OF VENICE AND THE MARQUISES D’ESTE IN THE MID-FOURTEENTH TO MID-FIFTEENTH CENTURY BASED ON THE LETTERE DUCALI FROM THE WESTERN EUROPEAN SECTION OF THE HISTORICAL ARCHIVE OF THE SAINT PETERSBURG INSTITUTE OF HISTORY OF THE RUSSIAN ACADEMY OF SCIENCES BASIC RESEARCH PROGRAM WORKING PAPERS SERIES: HUMANITIES WP BRP 174/HUM/2018 This Working Paper is an output of a research project implemented at the National Research University Higher School of Economics (HSE). Any opinions or claims contained in this Working Paper do not necessarily reflect the views of HSE Aleksandra V. Chirkova1,2 Daria A. Ageeva3, Evgeny A. Khvalkov45 THE RELATIONS OF THE REPUBLIC OF VENICE AND THE MARQUISES D’ESTE IN THE MID-FOURTEENTH TO MID- FIFTEENTH CENTURY BASED ON THE LETTERE DUCALI FROM THE WESTERN EUROPEAN SECTION OF THE HISTORICAL ARCHIVE OF THE SAINT PETERSBURG INSTITUTE OF HISTORY OF THE RUSSIAN ACADEMY OF SCIENCES6 The present study is devoted to the research into a set of the Venetian lettere ducali to the Marquises d’Este of the fourteenth and fifteenth centuries collected by N.P. Likhachev (1862- 1936), Member of the Academy of Sciences of the USSR, stored in the Western European section of the Saint Petersburg Institute of History of the Russian Academy of Sciences and the preparation of their full-text critical publication. The lettere ducali are an excellent source to study the Serenissima and its continental and overseas domains. The source material of the Venetian lettere ducali have long and not without reason been considered and actively investigated by researchers as one of the most important sources on the economic, social, political, legal, environmental, cultural, and ethnic history of Venice.
    [Show full text]
  • Le Vite Dei Dogi, 1423-1474 II
    MARIN SANUDO IL GIOVANE LE VITE DEI DOGI 1423-1474 II TOMO 1457-1474 Introduzione, edizione e note a cura di ANGELA CARACCIOLO ARICÒ Trascrizione a cura di CHIARA FRISON Venezia 2004 Direttore della collana FERIGO FOSCARI Venezia La Malcontenta 2004 Tutti i diritti riservati INDICE DEL II TOMO Doge Pasquale Malipiero 3 Doge Cristoforo Moro 32 Doge Nicolò Tron 154 Doge Nicolò Marcello 191 Bibliografia del I e del II tomo – Principali studi e strumenti utilizzati 283 – Fonti edite 288 – Fonti manoscritte 290 Indice dei nomi del I tomo (Serena de Pont) 291 Indice dei nomi del II tomo (Elena Bocchia) 345 “VENETIAE GENIO URBIS” perché non tutto vada perduto A Chiara e ai miei studenti MARIN SANUDO IL GIOVANE LE VITE DEI DOGI 1423-1474 II TOMO 1457-1474 |f. 76v|a) [1457] Pasqualb) Malipiero Doxe fo creado per l’absolucion1 fat- ta nel Conseio d’i X con la Zonta di Francesco Foscari Doxe, non potendo più il Duca exercitar per la vechieza.2 A dì 23 ottubrio et a dì 24 fo chiamado Gran Conseio per dar principio alla elecione, et forno a Conseio zentilomeni circha nu- mero 800; et prima fo fatti li cinque Coretori qualli fo: sier Pollo Tron Procurator sier Christoffollo Moro Procurator questi veneno dopij et non sier Orsato Zustignian Procurator funo balotadi sier Michel Venier Procurator sier Nicolò Bernardo Questi Coretori il zorno drio – a dì 25 – meseno le sue parti,c) qual fo prese, zoè: sopra il terzo capittollo, che il Doxe sia obligatto far justicia, sia azonto: etiam alli nostri suditi; sopra il 333 che il Doxe non apri letere dil Papa,
    [Show full text]
  • Marino Faliero
    www.ferragamo.com VENEZIA Calle Larga XXII Marzo, 2093 FONDAZIONE TEATRO LA FENICE DI VENEZIA FONDAZIONE TEATRO LA FENICE DI VENEZIA Paolo Costa presidente Cesare De Michelis Pierdomenico Gallo Achille Rosario Grasso Mario Rigo Valter Varotto Giampaolo Vianello consiglieri Giampaolo Vianello sovrintendente Sergio Segalini direttore artistico Marcello Viotti direttore musicale Angelo Di Mico presidente Luigi Braga Adriano Olivetti Maurizia Zuanich Fischer SOCIETÀ DI REVISIONE PricewaterhouseCoopers S.p.A. Marino Faliero La Fenice prima dell’Opera 2002-2003 8 FONDAZIONE TEATRO LA FENICE DI VENEZIA Marino Faliero azione tragica in tre atti libretto di Giovanni Emanuele Bidera musica di Gaetano Donizetti Teatro Malibran venerdì 20 giugno 2003 ore 20.00 turni A-Q domenica 22 giugno 2003 ore 15.30 turno B martedì 24 giugno 2003 ore 20.00 turni D-R venerdì 27 giugno 2003 ore 20.00 turni E-H domenica 29 giugno 2003 ore 15.30 turni C-I-V Gaetano Donizetti all’epoca di Zoraida di Granata (Roma, Teatro Argentina, 1822). Miniatura su avorio. Sommario 7 La locandina 9 «È traditor chi è vinto / E tal son io» di Michele Girardi 11 Marino Faliero: libretto e guida all’opera a cura di Giorgio Pagannone 63 Marino Faliero in breve a cura di Gianni Ruffin 65 Argomento – Argument – Synopsis – Handlung 73 Paolo Fabbri «Fosca notte, notte orrenda» 89 Francesco Bellotto L’immaginario scenico del Marino Faliero 103 Guido Paduano L’individuo e lo stato. Byron, Delavigne, Donizetti 128 Il contratto del Marino Faliero 133 Emanuele Bidera Marino Faliero, libretto della prima versione, a cura di Maria Chiara Bertieri 151 Francesco Bellotto Bibliografia 157 Online: Marin Faliero «dux VeNETiarum» a cura di Roberto Campanella 165 Gaetano Donizetti a cura di Mirko Schipilliti Il frontespizio del libretto pubblicato per la prima italiana (Firenze, 1836).
    [Show full text]
  • NEWSLETTER Summer 2019
    NEWSLETTER Summer 2019 VENICE IN PERIL DEAR FRIEND AND SUPPORTER Welcome to the Venice in Peril Summer the work has now started and we thank Newsletter. In this issue we introduce two everyone who contributed to this and new projects and ask for your support to other recent projects. fund them. For the Nativity Triptych in We would also like to thank our wonderful the Accademia we need to raise £55,000 lecturers who give their time and expertise to fund conservation which it is hoped to the cause of Venice. Over the last year will yield new information about the they have all spoken to capacity audiences, Bellini workshop, while the treatment to with Edmund de Waal filling the Royal repair and conserve twenty 18th-century Geographical Society auditorium in marionettes from the Casa Goldoni May, and we are very grateful to them. will cost £10,000. Both initiatives are Be sure to book early for the Autumn opportunities to learn more about two Series details of which you can find on distinctively Venetian stories. the back page. Following the generous response to the Torcello Iconostasis Appeal, Jonathan Keates in memory of John Julius Norwich, Chairman NEW PROJECT Conservation of 18th-century marionettes at Casa Goldoni In the world history of drama Venice and prolific Carlo Goldoni (1707-1793) plays a major role. With its own vibrant whose comedies capture the essence of style of Commedia dell’Arte (the popular Venetian life in ways transcending their Italian street theatre) the city was also era. His birthplace, the medieval Palazzo the place where opera first took off as Centanni, in S.
    [Show full text]
  • 1 ARTS1175 Drawing from the Venetian Masters 2016 by Stoney
    ARTS1175 Drawing from the Venetian Masters 2016 By Stoney Conley May 29 to June 26th, 2016 In this class students connect to the visual arts tradition by visually internalizing it through drawing. Drawing forces one to slowly observe each aspect of the master picture: underlying narrative, the formal organization, and structure of the image. One distills the organization into a drawing that reveals the underlying composition. Drawing from a master forces one to understand the visual language used to construct the image, how the dark and light forms are organized, the arrangement and use of color, the role of light and space. Each drawing is a problem to solve. Which quality of the original does one want to keep as a reminder of the primary experience? Students will strive to ensnare a sense of the whole picture with a few lines, or simplified forms, to distill the organization of a masterwork into a small sketch. This introductory level Fine Arts Studio course will introduce students to the process, materials, and issues addressed in exploration of the basic principles and concepts of making visual artworks. The class assignments will examine historical approaches, concepts, techniques and skills involved through drawing assignments. Drawing is a crucial companion to seeing, an opportunity for the student to train their vision, and is the fundamental skill, the beginning of an understanding of the language of visual art. Classes will introduce basic drawing skills and then we will apply them by drawing from masterworks. The course emphasis therefore is twofold: first, the command of basic formal concepts and skills: the page, how mark, shape, value, scale, and composition interact to become a visual language, and secondly, an introduction to the great masterworks of Venice.
    [Show full text]
  • Patrician Lawyers in Quattrocento Venice
    _________________________________________________________________________Swansea University E-Theses Servants of the Republic: Patrician lawyers in Quattrocento Venice. Jones, Scott Lee How to cite: _________________________________________________________________________ Jones, Scott Lee (2010) Servants of the Republic: Patrician lawyers in Quattrocento Venice.. thesis, Swansea University. http://cronfa.swan.ac.uk/Record/cronfa42517 Use policy: _________________________________________________________________________ This item is brought to you by Swansea University. Any person downloading material is agreeing to abide by the terms of the repository licence: copies of full text items may be used or reproduced in any format or medium, without prior permission for personal research or study, educational or non-commercial purposes only. The copyright for any work remains with the original author unless otherwise specified. The full-text must not be sold in any format or medium without the formal permission of the copyright holder. Permission for multiple reproductions should be obtained from the original author. Authors are personally responsible for adhering to copyright and publisher restrictions when uploading content to the repository. Please link to the metadata record in the Swansea University repository, Cronfa (link given in the citation reference above.) http://www.swansea.ac.uk/library/researchsupport/ris-support/ Swansea University Prifysgol Abertawe Servants of the Republic: Patrician Lawyers inQuattrocento Venice Scott Lee Jones Submitted to the University of Wales in fulfillment of the requirements for the Degree of Doctor of Philosophy 2010 ProQuest Number: 10805266 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted.
    [Show full text]
  • The Robert Lehman Collection V
    ITALIAN DRAWINGS NOTES: more widely accepted. The prudence that kept the draw­ 1. One print of the photograph in the Harvard Center for Re­ ing among the anonymous works in the sale was justified, naissance Studies at Villa I Tatti, Florence, is filed urrder for very few drawings with credible attributions can be Bramantino; another is marked "Mantegna follower." 2. Art Museum, Princeton University, 63.31, Studies of Christ related to this one, and no comparison stands up to care­ Flagellated, Christ Crucified, the Good Thief, Christ of the ful scrutiny. Lamentation and Heads of Christ and Saint John the Evan­ The same prudence is found in Beguin's excellent entry gelist; Gibbons 1966, no. 699, ill. for the catalogue of the Paris exhibition of 1957, where the drawing was ascribed to a Venetian master of about PROVENANCE: E. Calando, Paris (Lugt 837); Calando sale 1899, 1500. Beguin argued that the free line, the picturesque lot 124; John Postle Heseltine, London (Lugt 1507); Henry Oppenheimer, London; Oppenheimer sale 1936, lot n9. Ac­ liveliness of the shading, and a strong Flemish influence quired by Robert Lehman in 1936. all bring to mind an artist of Giorgione's generation who was close to Giovanni Bellini and using motifs recalling EXHIBITED: Northampton (Mass.) 1942-44; New York 1979, Marco Basaiti. She also brought up the question of the nos. 2 7 A, B, ill. identity of the figure sitting writing at the left, whom she thought was probably Saint Jerome but could also be Saint John on Patmos. Although at first glance the figure The Veneto does appear to be Saint Jerome, his usual attributes, the lion and the cardinal's hat, are missing, as Beguin noted.
    [Show full text]
  • Appendices and Illustrations
    APPENDICES AND ILLUSTRATIONS 223 APPENDIX I Annotazioni scritte da Giammaria Sasso nel margine del suo Zanetti della Pittura Veneziana dell’edizione 1771 224 225 226 227 228 229 230 Annotazioni scritte da Giammaria Sasso nel margine del suo Zanetti della Pittura Veneziana * dell’edizione 1771 Codice Cicogna Ms 3042/40, Biblioteca Correr, Venice. Pag 4. lin. 9 Fu lavata barbaramente per rimader- nar l’altare. Vidi alcuni pezzi in giro maltrattati in quest’anno 1802. Pag. 6. lin. 20 Vi sono altre opera di pittura in Venezia In questi tempi ed anche prima. Nel capitolo de Frari nel sepolcro di Francesco Dandol vi è una pittura in tavola con la Ver- gine, puttino, ed il Ritratto del Doge, e del- la moglie con li santi del loro nome; L’opera è conservata, ed è dipinta cioè il 1328 o poco dipoi. Nella stessa Chiesa in un Deposito d’un Beato di detta Religio- ne si vede dipinta l’Annunziata, opera pure di questi giorni. Pag 8 lin 5 anche il Marchese Maffei possedeva un quadro di questo Lorenzo. Vedi la Verona illustrata. pag 9 lin. 14 Il Ridolfi comincia la Storia de’ Pittori veneti da Guariento. Ma la verità è che vi furono più antichi pittori di lui a Venezia. Pag. stessa lin 33 Non so veramente se resti più niente di Guariento sotto il Paradiso di Tinto- retto dopo tanti incendi del Palazzo Du- cale, e dopo essere restate incenerite 231 le opere degli autori più moderni. quando si sono accomodati li schenali della sala, si sono veduti delle traccie del Paradiso di Guariento (circa a 1847) Pag.
    [Show full text]
  • La Pala Di Alvise Vivarini Della Chiesa Di Santa Maria Maggiore Di Cherso
    atti 47:Layout 1 26-04-2018 14:51 Pagina 109 M. ERSTE, La Pala di A.Vivarini della Chiesa di Santa Maria Maggiore di Cherso, Atti, CRS, vol. XLVII, 2017, p. 109-142 109 LA PALA DI ALVISE VIVARINI DELLA CHIESA DI SANTA MARIA MAGGIORE DI CHERSO. STORIA E RESTAURO1 MARIJAN ERSTE CDU 7.034+755(497.5Cherso) Anita di Argenta (FE) Saggio scientifico originale ITALIA Settembre 2017 Riassunto: In questo saggio l’autore tratta di un dipinto a tempera e olio su tavola di Alvise Vivarini, che raffigura San Sebastiano e santi, collocato nell’ufficio parrocchiale della città di Cherso. La tavola è stata sottoposta a diversi restauri, quelli documentati sono gli ultimi due: Vienna 1910 e Zagabria 2005. Il dipinto ha subito tagli su entrambi i lati ed è stato esposto ad almeno tre mostre. Infine, attraverso un disegno verrà proposta un’ipotesi delle originali fat- tezze del dipinto. Abstract: In this essay, the author deals with a tempera and oil painting on panel by Alvise Vi- viani depicting Saint Sebastian and Saints, placed in the parish office of the city of Cherso (Cres). The panel has undergone several restorations, of which only the last two are docu- mented: Wien 1910 and Zagreb 2005. The painting has suffered cuts on both sides and has been exposed to at least three exhibitions. Finally, through a drawing, a hypothesis of the original features of the painting will be proposed. Parole chiave: Cherso, chiesa di Santa Maria della Neve, Alvise Vivarini, pittura veneta, di- pinto su tavola, San Sebastiano, restauro.
    [Show full text]
  • At the Helm of the Republic: the Origins of Venetian Decline in the Renaissance
    At the Helm of the Republic: The Origins of Venetian Decline in the Renaissance Sean Lee Honors Thesis Submitted to the Department of History, Georgetown University Advisor(s): Professor Jo Ann Moran Cruz Honors Program Chair: Professor Alison Games May 4, 2020 Lee 1 Contents List of Illustrations 2 Acknowledgements 3 Terminology 4 Place Names 5 List of Doges of Venice (1192-1538) 5 Introduction 7 Chapter 1: Constantinople, The Crossroads of Empire 17 Chapter 2: In Times of Peace, Prepare for War 47 Chapter 3: The Blinding of the Lion 74 Conclusion 91 Bibliography 95 Lee 2 List of Illustrations Figure 0.1. Map of the Venetian Terraferma 8 Figure 1.1. Map of the Venetian and Ottoman Empires 20 Figure 1.2. Tomb of the Tiepolo Doges 23 Figure 1.3. Map of the Maritime Empires of Venice and Genoa (1453) 27 Figure 1.4. Map of the Siege of Constantinople (1453) 31 Figure 2.1. Map of the Morea 62 Figure 2.2. Maps of Negroponte 65 Figure 3.1. Positions of Modone and Corone 82 Lee 3 Acknowledgements If brevity is the soul of wit, then I’m afraid you’re in for a long eighty-some page thesis. In all seriousness, I would like to offer a few, quick words of thanks to everybody in the history department who has helped my peers and me through this year long research project. In particular I’d like to thank Professor Ágoston for introducing me to this remarkably rich and complex period of history, of which I have only scratched the surface.
    [Show full text]
  • Il Doge / the Doge
    Fondazione Musei Civici di Venezia — Il Doge / The Doge ITA / ENG Il Doge / The Doge Il Doge è la più antica e potere, tra successioni The Doge was the oldest an elected position la più alta magistratura ereditarie, conflitti e and highest political and became more and della Repubblica di morti violente. position in the Venetian more powerful, with Venezia. A partire dal secolo Republic. hereditary successions, La parola deriva dal XI una Venezia ormai The word comes from conflicts and violent latino dux, che significa indipendente e in the Latin dux, which deaths. By the eleventh guida, capo ed è il titolo pieno sviluppo pone means leader, head and century, developing attribuito ai governatori fine a qualunque was the title given to the rapidly Venice had delle province pretesa dinastica governors of provinces become independent nell’impero bizantino, del doge, stabilisce in the Byzantine and put an end to any di cui il territorio della poi di affiancargli dei Empire, of which the dynastic claims of the laguna di Venezia è consiglieri, limitarne Venice lagoon was a doge. It was decided he parte quando, tra il VII e i poteri e vincolarlo, part in the seventh should be assisted by l’VIII secolo, si ha notizia all’elezione, con il and eighth centuries, councillors and that his Gentile Bellini, Ritratto del doge Giovanni Mocenigo (1478-1485), 1479 ca. dei primi dogi. giuramento della when documentation powers would be limited Tempera su tavola, cm 62 x 45 La sede del Promissione, un of the first doges is to upon his election, when Museo Correr, Venezia ducato è allora meticoloso insieme di be found.
    [Show full text]