Santa Maria Gloriosa dei Frari
Santa Maria Gloriosa dei Frari, and Frari Church or short Frari ( venez. "Brothers ") is a church in Venice. It is next to Zanipolo the largest and most important Gothic ecclesiastical architecture of Venice. The church dedicated to the Assumption of Mary into heaven. It is equipped with numerous excellent art works, including two major works of Titian. In 1926 she received the honorary title of a papal basilica minor.
In addition, located in the two former members of the church monasteries since 1817 the State Archives of Venice.
Architecture
The Frari Church is a three-aisled basilica with a large transept and a group of six small and one large central choir chapel, all of which have a polygonal statements. All parts of the room have a ribbed vault. The extraordinarily high transept nave.
The facade of the Backsteinbaues is rather plain, but it is distinguished by a rich staggered and curved pediment. Decorative elements on the exterior as the frame of the oculi, the friezes, the coronary Gesimsabschluss and the high Tabernacle on the facade and the portal are made of Istrian stone. The vaults are to reduce the weight because of the problematic subsoil, of woven cane, which was plastered, but that looks like a stone vault. The building is stabilized as in other Venetian churches, by wooden tie rods.
Scuola di San Rocco
Immediately to the west is the church and the school of St. Roch, the Scuola di San Rocco next to the Frari Church. Here, a large part of the work of Titian's greatest competitor of Tintoretto be visited. Both buildings were built from 1515 and now form on the narrow space a charming architectural unit. The mighty edifice of the "school" was completed in 1549. It is very reminiscent of the triumphant nature of ancient Roman architecture. Strong columns, pilasters and cornices lift in the lower part of the so-called " Codussi window " at the top and the long series of double windows with their triangular gables feature strongly. The show Codussi window typically Venetian connection between the traditional arch shape and the Renaissance ideal of the rectangular window frame.
The term "school", of which there are several in Venice, is misleading. There are no schools in the modern sense, but the guild building. Since the 13th century originated in Venice charitable brotherhoods, who took over various social and political tasks. The largest of them, about six " Scuole Grandi " build their own palaces, just this Scuole - partly for the purpose of representation, partly as a social institution. In Venice, were the guilds not relevant political bodies, as in other Italian city-states in the 13th and 14th centuries. But one has left them in the field of art free hand.
On the ground floor is usually a large hall for religious ceremonies. Upstairs, the meetings were held. In the Scuola di San Rocco, the plague victims were maintained during epidemics. The intervention of St. Roch wrote to the end of the plague of 1575-76 to. Such Scuola was the status symbol of the fraternity concerned and accordingly designed representative. The Brotherhood of San Rocco has its headquarters here today and still possesses the unique collection of 56 large oil paintings that Tintoretto 1564-1577 painted for them.
Architectural History
To 1223 the Franciscans settled in an existing convent building on the edge of the then urban development. There they began in 1250 with the construction of a small church dedicated to the Madonna, which was inaugurated in 1280. 1340 this church soon became too small due to the large inflow to the sermons of the monks, was demolished to make way for a new building. 1361 Apse and north transept were inaugurated and started the construction of the bell tower, which was completed in 1396. Architect of the Campanile were Jacopo and Pierpaolo Celega. 1417 Capella Corner was built from 1432 to 1434 the Capella Emiliana, a baptistery, which was used as a grave chapel of the founders, the Emiliana family. In the mid-15th century, the vestry was built. In 1468 the church was still now existing choir screen, where Bartolomeo Buon should have cooperated. The wooden carved choir stalls were completed around 1468. Towards the end of the 15th century the facade was completed. On May 19, 1518 Assunta by Titian was placed on the high altar.
The equipment
The organ
As early as 1400, the Frari Church was equipped with an organ. Today, the church has two organs from the 18th century, which are housed on the two singers stands. The organ on the left singer grandstand was built in 1732 by the Venetian organ builder Giovanni Battista Piaggia. The purely mechanical instrument has been preserved in its original state. It has a manual movement with attached pedal ( cdefgah - e0 ) without their own register. The registers are located on both sides of the table. The organ on the right singer grandstand was built in the years 1795-1796 by the organ builder Gaetano Callido. The purely mechanical instrument also has a manual work ( cdefgah -d3 ). The pedal is attached. During an extensive renovation in the second half of the 20th century, both organs were matched and can be played together. The excellent condition of the two instruments allows now to perform the music of the 16th and 17th century for two organs.
- Comments
Behind the main altar is a large organ, built in 1927 by the organ builder Mascioni. The instrument has 31 stops on three manuals and pedal. The play and Registertrakturen are electro- pneumatically.
- Couplers: I / I ( Superoktavkoppel ), II / I, II / II ( Superoktavkoppel ) III / I (also known as sub-and Superoktavkoppeln ), III / II (also known as Suboktavkoppel ), III / III ( Suboktavkoppel ), I / P, II / P III / P
Tombs
In the Frari Church centers include the tombs of the following persons:
- Wall grave for the Franciscan monk Beato pacifico, the alleged architect of the Frari Church, 1437
- Mausoleum for the sculptor Antonio Canova († 1822), built according to his own design by his students
- Tomb of the Doge Francesco Dandolo († 1339 ), chapter house of the monastery
- Tomb of the Doge Francesco Foscari († 1457 ), presbytery, by Antonio and Paolo Bregno
- Honorary monument to General Girolamo Garzoni († 1688), in 1700, above the main portal
- Wall grave for Jacopo Marcello Pietro Lombardo and his workshop, transept
- Claudio Monteverdi († 1643), soil with grave grave stone, Cappella Milanesi
- Tomb of Alvise Pasqualino († 1528), procurator, Andrea Bregna attributed, besides the main portal
- Tomb of Admiral Benedetto Pesaro ( † 1503), right aisle
- Tomb of the Doge Giovanni Pesaro ( † 1659), after a design by Baldassare Longhena, sculptures by Melchior Barthel
- Tomb of the titular and fleet commander Jacopo Pesaro ( † 1547), Nave
- Tomb for the Condottiere Paolo Savelli († 1405), the first equestrian statue, the Venice granted a Condottiere
- Tomb of the General Melchiore Trevisan († 1500), by Lorenzo Bregno
- Tomb of the Doge Niccolò Tron († 1473 ), in the presbytery, by Antonio Rizzo
- Memorial monument to Titian, donated by Emperor Ferdinand I of Austria, built by two Canova students 1838-1852
Paintings and sculptures
- Giovanni Bellini: Triptych, 1488, Pesaro Choir,
- Giovanni Bellini: Madonna with Child and Saint Nicholas, Peter, Mark, and Benedict, vestry
- Girolamo Campagna: Statues of Saint Agnes and Anthony of Padua, nave
- Donatello: John the Baptist, sculpture
- Giuseppe Salviati: Presentation in the Temple, in 1560, altarpiece
- Sansovino: Saint John the Baptist, statue in front of the Cappella Corner
- Titian: Madonna of the house Pesaro, 1519-1527, altarpiece, north wall of the nave, Pesaro Chapel
- Titian: Assumption, 1518
- Paolo Veneziano: Votive picture of Doge Francesco Dandolo and the dogaressa Isabetta Contarini with their patron saint San Francesco and Santa Elisabetta, 1339, chapter house of the Frari Church
- Alessandro Vittoria: The Risen Christ sculpture
- Alessandro Vittoria: St. Jerome, sculpture
- Alvise Vivarini: St. Augustine and other saints, northern chapel in the transept
- Bartolomeo Vivarini: Saint Mark, altarpiece, Cappella Corner
- Bartolomeo Vivarini: Madonna and Child with Saints, altarpiece, South Chapel in the transept