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53-714: The religious order of the Jesuates , formally the Clerici apostolici Sancti Hieronymi was founded in Siena in the 14th century and had a presence in Venice by 1390. Its members were known as I poveri Gesuati (the poor Jesuates) because they frequently called on the name of Jesus; they had no connection with the Jesuits ( I Gesuiti ), whose church is in the north of Venice. They acquired some wealth from donations and legacies and from privileges granted by

106-572: A religious order founded by Giovanni Colombini of Siena in 1360. The order was initially called Clerici apostolici Sancti Hieronymi (from Latin : Apostolic Clerics of Saint Jerome ) because of a special veneration for St. Jerome and the apostolic life the founders led. The order was abolished by Pope Clement IX on 6 December 1668. Colombini had been a prosperous merchant and a senator in his native city, but, coming under ecstatic religious influences, abandoned secular affairs and his wife and daughter (after making provision for them), and with

159-607: A ceiling fresco to decorate the throne room of the Royal Palace of Madrid . The panegyric theme is the Apotheosis of Spain and has allegorical depictions recalling the dominance of Spain in the Americas and across the globe. He also painted two other ceilings in the palace, and carried out many private commissions in Spain. However he suffered from the jealousy and the bitter opposition of

212-531: A convincing effect of daylight. His first masterpieces in Venice were a cycle of ten enormous canvases painted to decorate a large reception room of Ca' Dolfin on the Grand Canal of Venice (ca. 1726–1729), depicting battles and triumphs from the history of ancient Rome. These early masterpieces , innovative amongst Venetian frescoes for their luminosity, brought him many commissions. He painted canvases for churches such as that of Verolanuova (1735–1740), for

265-500: A design based on those of his famous predecessors, in particular Palladio , whose two churches of San Giorgio Maggiore and Il Redentore were within sight of the new church. The facade of the church was derived from the central portion of the facade of San Giorgio Maggiore, while the basic idea for the interior came from the Redentore. The Dominicans wished the building to celebrate the glories of their order and to encourage devotion to

318-593: A design similar to that of their father, but with distinctive, including genre, styles. His third son became a priest. Fabio Canal , Francesco Lorenzi , and Domenico Pasquini were among his pupils. Some major commissions came from the patrician Dolfin family . Dionisio Dolfin, the Archbishop of Udine in Friuli employed him to decorate a chapel in Udine Cathedral , and then to paint another cycle depicting episodes from

371-446: A distinctive habit. Before this was granted, Colombini had to clear the movement of a suspicion that it was connected with the heretical sect of Fraticelli . He died on 31 July 1367, soon after papal approval had been given. The guidance of the new order, whose members (all lay brothers) gave themselves entirely to works of mercy, devolved upon Miani. Their rule of life, originally a compound of Benedictine and Franciscan elements,

424-612: A family of young children, presumably in somewhat difficult circumstances. In 1710 he became a pupil of Gregorio Lazzarini , a successful painter with an eclectic style. He was, though, at least equally strongly influenced by his study of the works of other contemporary artists such as Sebastiano Ricci , Giovanni Battista Piazzetta and Federico Bencovich , as well those of his Venetian predecessors, especially Tintoretto and Veronese . A biography of his teacher, published in 1732, says that Tiepolo "departed from [Lazzarini's] studied manner of painting, and, all spirit and fire, embraced

477-415: A friend of like temperament, Francesco Miani , gave himself to a life of apostolic poverty, penitential discipline, hospital service and public preaching. The name Jesuati was given to Colombini and his disciples from the habit of calling loudly on the name of Jesus at the beginning and end of their ecstatic sermons. The senate banished Colombini from Siena for "imparting foolish ideas to the young men of

530-496: A quick and resolute style". His earliest known works are depictions of the apostles, painted in spandrels as part of the decoration of Santa Maria dei Derelitti in Venice in 1715–6. At about the same time he became painter to the Doge, Giovanni II Cornaro , and oversaw the hanging of pictures at his palace, as well as painting many works himself, of which only two portraits have been identified. He painted his first fresco in 1716, on

583-502: Is Saint Hyacinth , who went as a missionary to the East. He is holding his attributes, a monstrance and an image of the virgin and child, which he was said to have carried with him into the raging torrent of the Dneister from which he was miraculously saved. On the left side of the nave, the altarpiece above the first altar is an oil painting by Sebastiano Ricci (1659–1734), celebrating three of

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636-576: Is more of his work in the church than anywhere else in Venice. His first work for the church was the Glory of Angels on the second altar on the right (1738) and after this Massari engaged him for all the other principal works of sculpture, ending with the statue of Melchisedek in 1755. These comprise: On the left of the High Altar is the organ. The present organ (by the Bazzari brothers) was substituted in 1856 for

689-459: Is often bizarre and fantastical, and the works owe a lot to the example of Salvator Rosa and Giovanni Benedetto Castiglione . The 23 Scherzi were etched over more than ten years and privately circulated, only being commercially published after Tiepolo's death, with numbers and titles added by his son, Giandomenico. Subjects include mysterious Eastern figures, and, in some of the later prints, scenes of necromancy . By 1750, Tiepolo's reputation

742-506: Is the figure on the left, and had made him a Doctor of the Church. He is identified by the Sun on his breast and by the book, his Summa Theologica , which he carries in his right hand. St Peter Martyr, on the right, was another Dominican whose zeal had led to his assassination in 1252. He is more usually shown with the cleaver, with which he was killed, protruding from his head. Ricci shows it lying on

795-890: The Myth of Phaethon on the walls, creating the kind of fluid spatial illusion which was to become a recurring theme in his work. In 1722 he was one of twelve artists commissioned to contribute a painting on canvas of one of the apostles as part of a decorative scheme for the nave of San Stae in Venice. The other artists involved included Ricci, Piazetta, and Pellegrini. In 1719, Tiepolo married noblewoman Maria Cecilia Guardi , sister of two contemporary Venetian painters, Francesco and Giovanni Antonio Guardi . Tiepolo and his wife had nine children, of whom four daughters and three sons survived to adulthood. Two of his sons, Giovanni Domenico and Lorenzo , painted with him as his assistants and later achieved some independent recognition, in particular Giovanni Domenico Tiepolo. His children painted figures with

848-999: The Scuola Grande dei Carmini (1740–1747), in Cannaregio , a ceiling for the Palazzi Archinto and Palazzo Dugnani in Milan (1731), the Colleoni Chapel in Bergamo (1732–1733), a ceiling for the Gesuati ( Santa Maria del Rosario ) in Venice of St. Dominic Instituting the Rosary (1737–1739), Palazzo Clerici, Milan (1740), decorations for Villa Cordellina Molin, a ceiling for the Chiesa degli Scalzi (1743–1744); now destroyed (reconstitution : ), Villa Cordellina Molin, Montecchio Maggiore (1743–1744) and for

901-620: The Villa Pisani in Stra . In some celebrated frescoes at the Palazzo Labia , he depicted two scenes from the life of Cleopatra: Meeting of Anthony and Cleopatra [1] and Banquet of Cleopatra , as well as, in a central ceiling fresco, the Triumph of Bellerophon over Time . Here he collaborated with Girolamo Mengozzi Colonna . This connection with Colonna, who also designed sets for opera, highlights

954-583: The Kaisersaal salon in collaboration with his sons Giandomenico and Lorenzo and was then invited to deliver a design for the grandiose entrance staircase ( Treppenhaus ) designed by Balthasar Neumann . It is a massive ceiling fresco at 7 287 square feet (677 m ) , and was completed in November 1753. His Allegory of the Planets and Continents depicts Apollo embarking on his daily course; deities around him symbolize

1007-567: The Venetians have to this day continued to use the name. The small church of the Visitation was not large enough for the Dominicans, and by 1720 they had decided to build a new church. They first engaged Andrea Musato, but he died in 1721, and they turned to Giorgio Massari , whose model for the new church was accepted in 1724. Rudolf Wittkower describes Massari as "the greatest Venetian architect of

1060-605: The ballroom of the Palazzo Labia in Venice (now a television studio), showing the Story of Cleopatra (1745–1750). Tiepolo produced two sets of etchings, the Capricci (c. 1740–1742) and the Scherzi di fantasia (c. 1743–1757). The ten capricci were first published by Anton Maria Zanetti , incorporated into the third edition of a compilation of woodcuts after Parmigianino . They were not published separately until 1785. The subject matter

1113-455: The bottom, the darkest part of the painting, damned souls (heretics) tumble out of the picture frame. This was one of Tiepolo's first large fresco commissions. There are also monochrome paintings on the ceilings and other high parts of the interior of the church. These were designed by Tiepolo but painted with help from assistants, though evidently tightly controlled by the master as it is impossible to attribute any of them to another hand. One of

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1166-457: The ceiling of a church at Biadene , near Treviso . He probably left Lazzarini's studio in 1717, the year he was received into the Fraglia or guild of painters. In around 1719–20 he painted a scheme of frescoes for the wealthy, and recently ennobled, publisher Giambattista Baglione in the hall of his villa at Massanzago near Padua. Tiepolo depicted the Triumph of Aurora on the ceiling, and

1219-550: The centre is a large fresco, a great masterpiece, representing the Institution of the Rosary . The Virgin, in a blue sky with clouds, angels and cherubs, is supporting the Christ child who holds out the rosary to St Dominic. The saint stands at the top of a long flight of marble steps from which he is making the rosary available to the people, both rich and poor, including a doge and a pope. At

1272-506: The church of the Visitation. Later, the order found it hard to recruit new members and a falling off in numbers combined with slackness in the performance of their duties led to its suppression by Pope Clement IX in 1668. In 1669 their property was put up for auction and acquired by the Dominicans , who installed themselves there in 1670. It became known as the Dominicans' place at the Gesuati and

1325-411: The church; 1739) surrounding a small half-length painting of St Dominic (1743) by Giambattista Piazzetta . Above the third altar is an oil on canvas depiction of three male Dominican saints, by Giambattista Piazzetta , a topic chosen by the Dominicans to illustrate the missionary activities of their order. Despite the rich Rococo treatment of the subject, Michael Levey writes that the "real triumph of

1378-454: The city", and he continued his mission in Arezzo and other places, only to be honourably recalled home on the outbreak of the bubonic plague . Howard Eves writes that the order was then "dedicated to nursing and burying the victims of the rampant bubonic plague." Colombini went out to meet Urban V on his return from Avignon to Rome in 1367, and craved his sanction for the new order and

1431-602: The contrasting tones of the white walls and grey stone. The ceiling decoration was entrusted to Giovanni Battista Tiepolo who signed a contract with the Dominicans in May 1737. It was completed by 1739. There are three frescos in the ceiling. Nearest the entrance is the Glory of St. Dominic (his assumption into heaven) and nearest the altar is the Appearance of the Virgin to St. Dominic , while in

1484-424: The first half of the 18th century". The work started in 1725, while the Dominicans energetically sought to raise sufficient funds both from charitable contributions and from religious institutions and benefactors. The funding was organised by a Father from Milan, Carlo Maria Lazzaroni, who was successful in raising a very large sum. This enabled them not only to build a magnificent church but also to embellish it with

1537-512: The ground in front of him. The second altar has a statue by Antonio Rosa of the Madonna of the Rosary (1836). This replaced an earlier work which was thought inadequate. The third altar has a painting of the Crucifixion (circa 1560) by Tintoretto . This is the oldest painting inside the church (except for those in the sacristy). It was brought to the new church from the Church of the Visitation. It

1590-635: The increasing tendency towards composition as a staged fiction in Tiepolo's frescoes. The architecture of the Banquet fresco also recalls that of Veronese's Wedding at Cana . In 1757, he painted an altar piece for the Thiene family, representing the apotheosis of Saint Cajetan . It is in the church of hamlet of Rampazzo in the Camisano Vicentino . In 1761, King Charles III of Spain commissioned Tiepolo to create

1643-410: The interior commenced in 1736, ten years after building started. Although the outside walls make a plain rectangle, the interior of the nave (surrounded by Corinthian columns supporting an entablature with rounded corners) has the apparent shape of an ellipse. There are three altars set behind the line of the pillars on each side. The nave is well lit on both sides by large high windows, which show off

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1696-487: The lives of Abraham and his descendants from the Book of Genesis at his archiepiscopal palace (the "Arcivescovado") (completed 1726–1728). Despite their elevated subject matter, they are bright in colour, and light-hearted in mood: Michael Levey describes the paintings at the palace as "a shimmering set of tableaux, full of wit and elegance". Tiepolo used a much cooler palette than previous Venetian painters, in order to create

1749-466: The monochrome paintings on the ceiling, near the High Altar, shows St. Dominic, kneeling, blessing a Dominican friar. Lorenzetti suggests that this may be Fra Paolo, the Dominican who was largely responsible for the building of the church. The paintings and sculptures in the nave are described in sequence from the main entrance door. An oil painting on canvas by G.B. Tiepolo is above the first altar on

1802-429: The most famous Dominicans, Pope Pius V, Thomas Aquinas , and St Peter Martyr. Above them are three angels, one carrying a palm. It was the first work commissioned especially for the new building and was one of the last works of the artist, who died in 1734. It was painted in 1732–33. Pope Pius V (who had been canonised in 1712) was a dedicated opponent of Protestantism. He greatly revered Thomas Aquinas (1225–1274), who

1855-474: The original organ of 1740. On the right of the High Altar is the presbytery with a small early painting of the Madonna and Child on a gold ground . This is by Stefano di Sant'Agnese and is thought to date from 1375–80. It probably came from the former church of St. Agnes, which was nearby and is in International Gothic style. The church of St. Agnes was suppressed in 1810. The High Altar stands at

1908-461: The painting is in its memorably austere tonality." In black, in the foreground is St. Louis Bertrand , a Spanish saint who went as a missionary to the Caribbean, where a native priest was said to have tried to poison him (symbolised by the serpent in the chalice which he is holding). Beyond him, in white, is St Vincent Ferrer , who was said to have appeared to the former in a vision. The third saint

1961-474: The planets; allegorical figures (on the cornice) represent the four continents. He included several portraits in the Europe section of this fresco, including a self-portrait; one of his son Giandomenico; one of the prince-bishop von Greiffenklau; one of the painter Antonio Bossi; and one of the architect, Balthasar Neumann . Tiepolo returned to Venice in 1753. He was now in demand locally, as well as abroad where he

2014-433: The prestigious patrician name of Tiepolo without claiming any noble descent. Some of the children acquired noble godparents, and Giambattista was originally named after his godfather, a Venetian nobleman called Giovanni Battista Dorià. He was baptised on 16 April 1696 in the local church, San Pietro di Castello (then still officially the cathedral of Venice). His father died about a year later, leaving his mother to bring up

2067-417: The right. Although the canvas had been prepared by December 1739, the finished painting was not installed in the church until 1748. It shows three female Dominican saints: Seated behind and above the three saints is the Madonna, seeming detached from and unnoticed by them. The second altar on the right bears a sculpture of angels carved in marble by Giovanni Maria Morlaiter (the first work he executed for

2120-608: The rising champion of Neoclassicism , Anton Raphael Mengs ; at the instigation of Mengs' supporter, the King's confessor Joaquim de Electa , had Tiepolo's series of canvases for the church of San Pascual at Aranjuez replaced by works by his favourite. Tiepolo died in Madrid on 27 March 1770. He is buried in Madonna dell'Orto in Venice After his death, the rise of a stern Neoclassicism and

2173-607: The rosary. The feast of Our Lady of the Rosary had been made part of the General Roman Calendar in 1716 after a victory over the Turks. The first stone was laid on 17 May 1726 in the presence of the Patriarch, Marco Gradenigo . The church was consecrated on 29 September 1743 by the then Patriarch, Alvise Foscari. The work was finished (with the completion of the last statue) in 1755 and appears today much as it did then. To support

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2226-644: The state, including a monopoly on the distillation of wine. In 1493, they commenced the building of a small church on land fronting the Zattere (the fondamenta which borders the Giudecca Canal facing the Giudecca island), where the other buildings of the order stood. This church was originally dedicated to St. Jerome (San Girolamo) and later to Santa Maria della Visitazione ( St. Mary of the Visitation ) and became known as

2279-453: The top of five steps under an architectural canopy supported by columns, underneath the cupola. The altar beneath is in a rococo style with coloured marbles and carved shells, heads of angels and reliefs of roses, ears of corn and grapes. The choir, behind the main altar, has carved wooden stalls dating from between 1740 and 1744 and a ceiling painting by Tiepolo , of David playing the harp . Jesuates The Jesuati ( Jesuates ) were

2332-452: The traditional Old Masters of that period. Successful from the beginning of his career, he has been described by Michael Levey as "the greatest decorative painter of eighteenth-century Europe, as well as its most able craftsman." Born in Venice , he was the youngest of six children of Domenico and Orsetta Tiepolo. His father was a small shipping merchant who belonged to a family that bore

2385-533: The weight of the facade, 270 piles had to be driven into the soil . Giant Corinthian pilasters support a heavy triangular pediment. The main entrance door, surmounted by a curved pediment with an inscription above, is flanked by four niches with large statues representing the four cardinal virtues: Prudence, Justice, Fortitude and Temperance. These statues were the work of four sculptors, Gaetano Susali , Francesco Bonazza , Giuseppe Bernardi Torretto , and Alvise Tagliapietra respectively, in 1736/37. The decoration of

2438-406: The work of painters and sculptors. Massari left untouched the existing church of the Visitation and built the new church further along the Zattere. He was responsible not only for the building itself but also for its interior fittings and decoration and for commissioning the paintings and sculpture. He did not attempt to create an original building, thinking that he could best please his patrons with

2491-806: Was a member from the age of fifteen until his death. Other illustrious members included Stefano degli Angeli and the poet Bianco da Siena . The female branch of the order, the Jesuati sisters, founded by Caterina Colombini (d. 1387) in Siena, and thence widely dispersed, survived the male branch by 200 years, existing until 1872 in small communities in Italy. Giovanni Battista Tiepolo Giovanni Battista Tiepolo ( / t i ˈ ɛ p ə l oʊ / tee- EP -ə-loh , Italian: [dʒoˈvanni batˈtista ˈtjɛːpolo, ˈtjeː-] ; 5 March 1696 – 27 March 1770), also known as Giambattista (or Gianbattista ) Tiepolo ,

2544-422: Was abolished by Pope Clement IX in 1668, perhaps because abuses had crept in. Amir Alexander wrote that it was likely in reaction to its support of the practitioners of the method of indivisibles , including Bonaventura Cavalieri and his students: this method was fiercely opposed by the rival, and more powerful, order of the Jesuits who viewed it as a religious threat. Mathematician Bonaventura Cavalieri

2597-572: Was an Italian painter and printmaker from the Republic of Venice who painted in the Rococo style, considered an important member of the 18th-century Venetian school . He was prolific, and worked not only in Italy, but also in Germany and Spain. Giovan Battista Tiepolo, together with Giambattista Pittoni , Canaletto , Giovan Battista Piazzetta , Giuseppe Maria Crespi , and Francesco Guardi are considered

2650-616: Was elected President of the Academy of Padua . He went on to complete theatrical frescoes for churches; the Triumph of Faith for the Chiesa della Pietà ; panel frescos for Ca' Rezzonico (which now also houses his ceiling fresco from the Palazzo Barbarigo ); and paintings for patrician villas in the Venetian countryside, such as Villa Valmarana in Vicenza and an elaborate panegyric ceiling for

2703-467: Was firmly established throughout Europe, with the help of his friend Francesco Algarotti , an art dealer, critic and collector. That year, at the behest of Prince-Bishop Karl Philipp von Greifenclau zu Vollraths , he traveled to Würzburg where he arrived in November 1750. He remained there for three years during which he executed ceiling paintings in the New Residenz palace (completed 1744). He frescoed

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2756-527: Was in poor condition and the Dominicans arranged for it to be restored by Piazzetta in 1743. Almost all the sculpture in the church is the work of Giovan Maria Morlaiter , a sculptor from over the Alps, whom Hugh Honour describes as "one of the ablest sculptors in eighteenth century Venice" and Semenzato as "the most brilliant interpreter of the rococo in Venetian sculpture", adding that "His work shows great dynamism" and "an inexhaustible felicity of invention". There

2809-471: Was later modified on Augustinian lines, but traces of the early penitential idea persisted, e.g. the wearing of sandals and a daily flagellation . Paul V in 1606 arranged for a small proportion of clerical members. Later in the 17th century the Jesuati became known as the Aquavitae Fathers, possibly because of the alcohol they administered as medical treatment of the sick they cared for. The order

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