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534:. 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 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.
351:
33:
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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.
311:
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
537:
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 the
711:
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 is more of his work in the church than
436:
To support 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
506:
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.
865:
The High Altar stands at 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.
661:(who had been canonised in 1712) was a dedicated opponent of Protestantism. He greatly revered Thomas Aquinas (1225â1274), who 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
695:. 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 was in poor condition and the Dominicans arranged for it to be restored by Piazzetta in 1743.
670:
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 the ground in front of him.
266:
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
639:, 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.
621:, 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 the painting is in its memorably austere tonality."
538:
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.
230:
decoration intact. The church and almost all its sculpture and paintings were created within a thirty-year period: construction began in 1725, the church was consecrated in 1743, and the last sculptural decoration was in place by 1755.
655:, 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 1732â33.
279:) and became known as 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
792:
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.
628:, 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
295:
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
324:
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.
423:. 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.
263:), whose church is in the north of Venice. They acquired some wealth from donations and legacies and from privileges granted by the state, including a monopoly on the distillation of wine.
412:
The Dominicans wished the building to celebrate the glories of their order and to encourage devotion to the rosary. The feast of Our Lady of the Rosary had been made part of the
1318:
560:
is above the first altar on the right. Although the canvas had been prepared by December 1739, the finished painting was not installed in the church until 1748.
287:, who installed themselves there in 1670. It became known as the Dominicans' place at the Gesuati and the Venetians have to this day continued to use the name.
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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
835:
On the left of the High Altar is the organ. The present organ (by the Bazzari brothers) was substituted in 1856 for the original organ of 1740.
679:
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.
312:
original building, thinking that he could best please his patrons with a design based on those of his famous predecessors, in particular
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The nave is well lit on both sides by large high windows, which show off the contrasting tones of the white walls and grey stone.
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This enabled them not only to build a magnificent church but also to embellish it with the work of painters and sculptors.
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The choir, behind the main altar, has carved wooden stalls dating from between 1740 and 1744 and a ceiling painting by
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and is thought to date from 1375â80. It probably came from the former church of St. Agnes, which was nearby and is in
958:(Alfieri, Venice. 1966) (pp. 62â5 and figs. 202â15 on G M Morlaiter and p. 63 and fig. 205 on the church)
226:. The classical style building has a well-lit interior and is exceptional in preserving its original layout and
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cardinal virtues: Prudence, Justice, Fortitude and Temperance. These statues were the work of four sculptors,
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255:(the poor Jesuates) because they frequently called on the name of Jesus; they had no connection with the
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Seated behind and above the three saints is the Madonna, seeming detached from and unnoticed by them.
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The paintings and sculptures in the nave are described in sequence from the main entrance door.
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601:(the first work he executed for the church; 1739) surrounding a small half-length painting of
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describes Massari as "the greatest Venetian architect of the first half of the 18th century".
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pp. 15â16. There is a plan of the church identifying the paintings and sculptures on page 4
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On the left side of the nave, the altarpiece above the first altar is an oil painting by
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Above the third altar is an oil on canvas depiction of three male Dominican saints, by
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The decoration of the interior commenced in 1736, ten years after building started.
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in the 14th century and had a presence in Venice by 1390. Its members were known as
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Statues (with description â in brackets â of the bas reliefs above each of them):
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The second altar on the right bears a sculpture of angels carved in marble by
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965:(1st Integrated edition, with corrections. The Pelican History of Art. 1980)
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902:(Marsilio, Venice. 1994) no. 8 in the series "Venezia dal museo alla citta"
651:(1659â1734), celebrating three of the most famous Dominicans, Pope Pius V,
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in 1668. In 1669 their property was put up for auction and acquired by the
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The first stone was laid on 17 May 1726 in the presence of the Patriarch,
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578:, standing on the right, holding the Christ child, who is holding a rose.
937:(Yale University Press 1986) (pp. 81â89 on his work at the Gesuati)
585:(who had only been canonised in 1726), seated and holding a small cross.
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944:(1926. 2nd edn 1956) translated by John Guthrie (Lint, Trieste. 1975)
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First niche right: Abraham (Centurion begs Jesus to save his son)
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standing on the left, holding a cross with the crucified Christ.
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Sebastiano Ricci: Pope Pius V, Thomas Aquinas, St Peter Martyr
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909:(Marsilio. Venice. 1983) Exhibition Catalogue by Ugo Ruggeri
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First niche left: Melchisedek (St Peter walks on the water)
632:, who was said to have appeared to the former in a vision.
271:(San Girolamo) and later to Santa Maria della Visitazione (
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with a small early painting of the Madonna and Child on a
526:(his assumption into heaven) and nearest the altar is the
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style. The church of St. Agnes was suppressed in 1810.
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G B Tiepolo: Madonna with three Dominican female saints
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Almost all the sculpture in the church is the work of
1319:
18th-century Roman Catholic church buildings in Italy
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Third niche left: St Peter (Christ and the Samaritan)
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Third niche right: St Paul (Christ with the Magdalen)
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Second niche right: Aaron (Healing of the blind man)
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Second niche left: Moses (Healing of the paralytic)
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956:La scultura veneta del seicento e del settecento
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486:Giambattista Piazzetta: Three Dominican saints
1324:1722 establishments in the Republic of Venice
206:(St. Mary of the Rosary), commonly known as
31:
1314:Roman Catholic churches completed in 1743
963:Art & Architecture in Italy 1600â1750
329:Facade and exterior sculptural decoration
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563:It shows three female Dominican saints:
518:The ceiling decoration was entrusted to
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468:The ceiling by Giovanni Battista Tiepolo
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416:in 1716 after a victory over the Turks.
935:Giambattista Tiepolo. His life and Art.
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528:Appearance of the Virgin to St. Dominic
1296:
1286:, a full text exhibition catalog from
1169:Giambattista Piazzetta No. 32 pp. 96â7
838:On the right of the High Altar is the
707:, a sculptor from over the Alps, whom
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667:, which he carries in his right hand.
642:
687:The third altar has a painting of the
513:
16:For the related religious order, see
898:Antonio Niero and Filippo Pedrocco:
893:Rough Guide to Venice and the Veneto
921:The Architectural History of Venice
900:Chiesa dei Gesuati arte e devozione
803:Marble decoration of the High Altar
718:Sculptures by Gian Maria Morlaiter
624:In black, in the foreground is St.
245:Clerici apostolici Sancti Hieronymi
37:Santa Maria del Rosario (I Gesuati)
13:
14:
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1304:Roman Catholic churches in Venice
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923:(London. 1950) (pp. 199â200)
800:First altar on left â two cherubs
831:Organ, presbytery and high altar
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1178:Daniels p. 129. Scarpa p. 325.
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389:Facade facing Giudecca Canal
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916:(2nd edition. London. 1977)
895:(5th edition. London. 2001)
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239:The religious order of the
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907:Il suo tempo la sua scuola
460:The interior of the church
453:respectively, in 1736/37.
447:Giuseppe Bernardi Torretto
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951:(Milan 2006) (in Italian)
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880:David playing the harp
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705:Giovan Maria Morlaiter
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607:Giambattista Piazzetta
583:Agnes of Montepulciano
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151:Geographic coordinates
942:Venice and its Lagoon
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593:Second altar on right
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173:45.42944°N 12.32722°E
954:Semenzato, Camillo:
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852:International Gothic
675:Second altar on left
613:Third altar on right
552:First altar on right
524:Glory of St. Dominic
318:San Giorgio Maggiore
961:Wittkower, Rudolf:
947:Scarpa, Annaliese:
891:Buckley, Jonathan:
683:Third altar on left
643:First altar on left
635:The third saint is
451:Alvise Tagliapietra
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109:Shown within Venice
1269:Chiesa dei Gesuati
1248:Chiesa dei Gesuati
1231:Chiesa dei Gesuati
1229:Semenzato p. 137.
1220:Semenzato pp. 62â3
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178:45.42944; 12.32722
112:Show map of Venice
1271:p. 16 and fig. 20
1259:Lorenzetti p. 531
1126:Lorenzetti p. 532
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452:
448:
444:
440:
424:
422:
417:
415:
405:(right below)
404:
400:
397:(right above)
396:
392:
387:
383:
379:
375:
371:
370:
366:
362:
359:
355:
352:
348:
345:
341:
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319:
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309:
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299:
288:
286:
282:
278:
274:
270:
264:
262:
258:
254:
250:
246:
242:
232:
229:
225:
221:
217:
213:
209:
205:
196:
192:
187:
182:
154:
152:
148:
124:
96:
86:
82:
79:
75:
70:
67:
64:
62:
58:
55:
52:
50:
46:
41:
34:
29:
24:
19:
1268:
1264:
1255:
1247:
1230:
1225:
1216:
1207:
1199:
1195:
1187:
1183:
1174:
1165:
1156:
1148:
1144:
1136:
1131:
1122:
1114:
1110:
1101:
1093:
1088:
1080:
1076:
1068:
1052:
1044:
1040:
1031:
1023:
996:
992:
984:
962:
955:
948:
941:
934:
927:
920:
913:
906:
899:
892:
879:
873:
864:
837:
834:
795:
791:
780:
772:
764:
754:
702:
688:
686:
678:
669:
662:
657:
646:
634:
623:
616:
602:
596:
588:
576:Rose of Lima
562:
558:G.B. Tiepolo
555:
546:
545:
536:
531:
527:
523:
517:
509:
505:
502:
476:
435:
418:
411:
402:
394:
384:(left below)
381:
376:(left above)
373:
328:
322:Il Redentore
310:
306:
294:
265:
260:
252:
244:
238:
207:
203:
202:
189:Architecture
1160:Levey p. 82
1056:Levey p. 81
930:(Hove 1976)
844:gold ground
765:Saint Peter
709:Hugh Honour
689:Crucifixion
659:Pope Pius V
427:Description
222:, northern
176: /
49:Affiliation
1298:Categories
886:References
840:presbytery
773:Saint Paul
693:Tintoretto
605:(1743) by
603:St Dominic
403:Temperance
285:Dominicans
281:Clement IX
277:Visitation
269:St. Jerome
235:Background
164:12°19âē38âģE
161:45°25âē46âģN
1309:Dorsoduro
699:Sculpture
542:Paintings
395:Fortitude
261:I Gesuiti
218:canal in
214:, on the
212:Dorsoduro
208:I Gesuati
194:Completed
1202:pp. 36â8
499:Interior
374:Prudence
314:Palladio
273:St. Mary
241:Jesuates
216:Giudecca
77:Location
72:Location
61:Province
43:Religion
987:pp. 7â9
876:Tiepolo
382:Justice
291:History
275:of the
257:Jesuits
83:, Italy
26:Gesuati
18:Jesuati
449:, and
432:Facade
228:Rococo
220:Venice
81:Venice
66:Venice
1250:p. 36
1233:p. 41
1190:p. 38
1151:p. 35
1083:p. 15
1071:p. 13
970:Notes
878:, of
870:Choir
249:Siena
224:Italy
1026:p. 9
999:p. 8
320:and
197:1743
581:St
574:St
567:St
1300::
1238:^
1061:^
1016:^
1004:^
977:^
882:.
609:.
445:,
441:,
1290:.
259:(
20:.
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