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419:, that communicates an intense emotion and the sense of a mystical sight. The saint, portrayed in a temple with Ionic columns, has fainted and supported by an angel dressed in red, while another in front of her is wielding the burning arrow of the Divine Love. Two angels hold the arms of the saint, while another, smiling, points out to the faithful.
411:, the Spanish mystic that inspirated and founded the Discalced Carmelites. This altar is also made of white Carrara marble with four Corinthian columns supporting an arched pediment, on which are perched two angels. Bases and capitals are made of bronze, gilt bronze friezes are in the frontal and on the pedestals. The altarpiece (1724) depicts
577:(before 1570), the first known dated work of the artist. The back wall of the chapel has three shallow niches, found during the restoration, that host three present icons depicting Christ, Saint Mark and Saint Mary. On the bottom you can see some traces of the ancient convent of the Jesuati: the columns of the
471:
with the wooden stalls of the monks (restored in 2010). An inscription on the floor with the arms of the
Carmelite testifies the presence of a crypt below (no longer accessible) where the mortal remains of the Fathers lie. The impressive organ above the choir was built in 1900 by the firm Pugina and
186:
suppressed all the religious orders and monasteries, confiscating their properties. The church of San
Girolamo degli Scalzi was refitted for a short time as a tobacco manufactory, then assigned to the St. Mark parish, becoming the church of "San Marco in San Girolamo". The ancient Church of St. Mark
327:
is 18 m (55 ft) long including the semicircular apse. The nave ceiling consists of two bays. The rhythm is punctuated by a single order of
Corinthian pilasters upon high pedestals of stone. On the sides of the apse there are four chapels, and at the side of the chancel there are two more
224:, with thin frames, holds three other statues in the crown. In the lower floor, in the spaces between the half-columns, there are four niches, two on the first floor, with a large niche in the center. The high central window, giving light inside, is walled at the top and was painted in
132:
In the following years, the altars and interior decoration were completed, at great expense. The floor in white-and-red marble slabs was made in 1745. The architect of the project remains unknown, suggesting more than one hand. The style of the interior recalls the work of the
492:
work in the early 18th century and it was completely restored in 1988–89. It hosts 157 doors and 93 drawers. In the back wall is the altar with two columns and broken pediment flanked by two cabinets with curved pediment. Between the two columns is displayed a painting by
233:
The bell tower, that can be seen on the back of the church, is the original tower built in the 15th century for the church and convent of the
Jesuati. It was raised in 1933 from a design by engineer Giuseppe Dal Conte, keeping five bells cast by Colbachini of
360:, topped by a high attic with triangular pediment in the center of which shines a golden cross flanked by two flaming pots. It is an important work of the early 18th century Venetian style. The altarpiece (1735-50) is a masterwork of the Vicenzan painter
451:. It is made of Carrara marble with gilded bronze friezes. At the center of the frontal plaque there is the saint beating his chest. On either side, two plates represent Saint Teresa (at left) and Saint John of the Cross (at right). The door of the
505:. The side walls host two large cabinets, each comprising three major bodies joined together by two lower bodies divided by pilasters. The central parts are decorated with two paintings of the same Letterini: the one on the right depicts
605:", dating back to the old convent of the Jesuati; other frescoes may be seen climbing the stairs that lead to the bells, a few feet of the base, to the door leading to organ and accessing small rooms that were used by the monks.
459:(1703-1760). Lacquered and gilt wooden sculptures of great value, belonging to the ancient furniture of the church (18th century), were adjusted to make the two ambos, the altar facing the people and the celebrant chair.
219:
half-columns upon tall pedestals. It hosts 11 statues of saints by sculptors
Francesco Uliaco, Francesco Leoni, and Francesco Bartolomei, including side wings with statues at the corners. The triangular
665:
is made in
Carrara marble and behind rise Corinthian columns of gray-violet African breach, holding a curved pediment surmounted by two statues with a coat of arms in the center. The altarpiece depicts
653:, the one on the left Saint John the Confessor; they both come from the destroyed church of St. Bartholomew (San Bortolo), like the other five paintings in octagon frames exposed in the other chapels.
787:
538:
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The church built by the
Carmelites is remained essentially intact, even after several restorations (that of 1894 is remembered in a plaque above the entrance). The convent was entrusted to the
617:. Four columns in elegant French red marble support a pediment surmounted by a pediment lively. At the center of the gable is placed a garland of golden metal with two palms. Frontal, and
537:
On the back wall are exhibited two works of the 17th century by the family
Maganza, formerly belonging to the ancient church of St. Jerome of the Jesuati. The left one is the work of
472:
inserted into a solemn wooden structure designed by architect
Vittorio Barichella. On the coping of the organ there is a statue of Christ the Redeemer, by the sculptor Belcaro, flanked by
238:. The current set has 14 bells, plus an old little bell, which are still played by hand. The San Marco bell school is the very last in the city playing by hand (or "by rope").
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Two paintings, in opulent frames of the early 18th century, depict two figures of
Biblical prophets anachronistically dressed in Carmelite robes: the prophet
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was accessible through the door in the middle of the chorus that put in direct communication the church and the convent. Inside the belfry there is a
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529:(1727), while he contemplates the crucifix and is taken up into heaven by angels. It was originally located in a central position in the apse.
268:
125:
and some gravestones. Following the suppression of the Congregation of the Jesuati in 1668, the church and the convent were purchased by the
164:
design was used in 1824 by the architect Antonio Piovene for the facade of Church of San Filippo Neri in Corso Palladio, Vicenza. The main
984:
979:
376:, carrying the cross on his shoulders, appears in the clouds with a procession of angels. To the right of the chapel is opened the
175:, Cardinal and Bishop of Vicenza, and dedicated to two saints: it retained the ancient title of St. Jerome and added that of Saint
18:
581:, then incorporated into the wall with the expansion of the church by the Carmelites, and a large section of the original floor.
316:
The interior has a main hall with a single nave and tall side chapels that provide light to the main hall through large windows.
179:, foundress of the Order of the Discalced Carmelites. It was commonly called "Chiesa degli Scalzi" ("Church of the Discalced").
455:
is in embossed silver, gilded and engraved. On the sides, the two pairs of marble angels above the doors of the choir are by
256:
884:
649:. On the sides are hung two paintings by the late 18th century and early 19th century: the one on the right depicts
129:, who later expanded the religious complex, by rebuilding the church between 1720 and 1727 in a late baroque style.
569:
Recently restored and dedicated to the Merciful Jesus and Saint Jerome, the chapel retains a rare painting by
435:(left), with an angel indicating water and bread. Both were painted by the late 17th-century Veronese painter
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Vision of the Virgin handing the scapular to the Blessed Simon Stock in the presence of Saint Joseph
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The deposed Christ with Mary and Mary Magdalene, St. John the Evangelist and St. Nicholas the Bishop
614:
284:
476:(left) and Saint Jerome (right). The organ was restored in 2009, and is appreciated for concerts.
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in Vicenza, which stood nearly above the Pusterla bridge, was sold and demolished soon after.
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The baroque facade, designed in 1756 by architect Carlo Corbellini, consists of two sets of
670:, with Saint Joachim in the act of instructing the girl Mary about the prophecy of Isaiah:
494:
484:
The complete, original set of altar and wardrobes is of considerable value. It was made in
380:, built in 1909 within an existing room, with the stone baptismal font and a bas-relief of
356:. Rising above, Corinthian columns in African gray-violet breach support an arched, broken
172:
126:
82:
858:
Consecration dates are noted in a plaque located between the 1st and 2nd chapels on right.
674:("a virgin shall conceive"). According to some scholars, the work is attributed to either
323:) long and 11.5 m (35 ft) wide (21 m or 64 ft, including the chapels). The
8:
62:
797:
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Dead Christ with Mary and Mary Magdalene, John the Evangelist and Saint Nicholas Bishop
546:
194:(Institute of the Blessed Virgin Mary, here commonly called "Dame Inglesi") until now.
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814:, 1570, Winter Chapel of The Divine Mercy and St. Jerome (once in the Jesuati Church).
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176:
109:
The present building stands on the site of an earlier church and convent built by the
732:
675:
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Though in use since 1725 before its completion, San Marco was consecrated in 1760 by
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622:
565:
Winter chapel: detail of the original floor and the little columns of the cloister.
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157:
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760:, between 1725 and early thirties, altarpiece of the second chapel on the left.
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191:
784:, first half of the 18th century, concave wall at both sides of the main arch.
352:, co-founder of the Order of Discalced Carmelites. The altar is made in white
963:
907:
Note: the article is a translation from it.wiki, revision of 29 october 2013.
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the Virgin Mary, Baby Jesus, St. Teresa, St. Joseph, St. Joachim and St. Anne
33:
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Located behind the apse, perfectly aligned with the plan of the church, the
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Guida di Vicenza: con una carta topografica della città e principali vedute
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956:, with historical section (used as a source for this article, CC BY-SA)
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85:. It houses various artworks by artists of the early 18th century from
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The Trinity with the Blessed Giovanni Colombini and San Carlo Borromeo
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The Education of the Virgin Mary with Anne, Joachim and the child Mary
719:, between 1735 and 1750, altarpiece of the first chapel on the right.
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340:. The 24 gravestones on the floor date back between 1720 and 1800.
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Brevi notizie storiche della parrocchia di S. Marco in S. Girolamo
141:(1687-1766). The local architects Giuseppe Marchi (1669-1757) and
551:
Holy Trinity with Blessed John Colombini and St. Charles Borromeo
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On both sides of the arch between the nave and the presbytery (3)
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940:, vol. IV parte I, Accademia Olimpica, Vicenza, pp. 377–383
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Facade of the Church of San Marco in San Girolamo, front view.
145:(1667-1747) are mentioned as contributors along with Massari.
895:, Vicenza, Scuola grafica Istituto S. Gaetano, 25 luglio 1969
502:
235:
165:
877:
Catalogo delle cose d'arte e di antichità d'Italia – Vicenza
332:. Inside the blind spaces between the chapels, now used for
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148:
The facade was built in 1756 and designed by the architect
933:, vol. III parte II, Neri Pozza, Vicenza, pp. 394–397
879:, vol. I – le chiese, De Luca, Roma 1961. pp. 105–110
794:, 1615, in the left transept (once in the Jesuati Church).
770:, 1727, right side of transept (once placed in the apse).
729:, ca. 1725, altarpiece of the second chapel on the right.
516:
621:
pedestals are inlaid with red marble. The altarpiece by
532:
525:
called "Lo Zoppo" (the cripple) from Vicenza depicting
156:. An alternative design for the facade was proposed by
848:
Foto d'epoca della facciata della chiesa dei Filippini
737:
Education of the Blessed Virgin, with Anna and Joachim
573:
the Elder (1513-1586) called the "Magagnò", depicting
975:
18th-century Roman Catholic church buildings in Italy
93:
preserves its original furniture of the same period.
52:
Facade Church of San Marco in San Girolamo in Vicenza
804:, 1612, left transept (once in the Jesuati Church).
705:Some of the main artworks preserved in the church:
168:for San Marco was completed in the following year.
81:, northern Italy, built in the 18th century by the
924:Vicenza, aspetti di una città attraverso i secoli
608:
387:
961:
885:Chiesa di S. Marco in S. Girolamo - Bicentenario
882:Giovanna Dalla Pozza Peruffo, Tarcisio Pirocca,
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501:. In front of the blade is placed a crucifix in
343:
288:Plan of the church of San Marco in San Girolamo:
121:. The few remains of the ancient church are the
641:of the Order. At the bottom center is depicted
521:On the bottom wall is a masterpiece painted by
739:, altarpiece of the first chapel on the left.
294:3 - Arch between the nave and the presbytery
442:
368:. The saint is depicted kneeling before a
328:chapels - now with no altar - forming the
262:Detail of the central window in the facade
970:Roman Catholic churches completed in 1760
117:) between 1481 and 1491 and dedicated to
747:Vision of the Blessed Virgin giving the
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938:Memorie storiche della chiesa vicentina
931:Memorie storiche della chiesa vicentina
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517:Chapel to the right of the chancel (7)
447:The main altar (1757) is dedicated to
431:(on the right pillar) and the prophet
302:7 - Chapel to the right of the chancel
899:Parrocchia di S. Marco in S. Girolamo
838:, by Antonio Ciscato (1870), page 68.
788:Giovanni Battista Maganza the Younger
539:Giovanni Battista Maganza the Younger
533:Chapel to the left of the chancel (8)
304:8 - Chapel to the left of the chancel
556:
467:Behind the altar stands the ancient
768:St. Jerome hold to Heaven by Angels
366:The vision of St. John of the Cross
58:Church of San Marco in San Girolamo
13:
985:Roman Catholic churches in Vicenza
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511:Saint Joseph with the Child Jesus
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980:Baroque architecture in Vicenza
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727:Ecstasy of St. Teresa of Avila
609:Second chapel on the left (11)
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388:Second chapel on the right (2)
364:(il "Costantini") and depicts
312:12 - First chapel on the left
310:11 - Second chapel on the left
292:2 - Second chapel on the right
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1:
920:Il Sei e Settecento a Vicenza
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657:First chapel on the left (12)
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344:First chapel on the right (1)
290:1 - First chapel on the right
697:the Elder (called Magagnò),
545:(1615). The right one is by
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926:, Tip. Rumor, Vicenza, 1983
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685:
661:The altar of the chapel of
645:, which an angel holding a
413:The Ecstasy of Saint Teresa
401:The Ecstasy of Saint Teresa
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202:
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1001:
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637:of the Carmelites, is the
613:The altar is dedicated to
319:The nave is 28 meters (85
96:
901:, last visited 2010-12-28
808:Giovanni Battista Maganza
764:Giovanni Antonio De Pieri
695:Giovanni Battista Maganza
571:Giovanni Battista Maganza
523:Giovanni Antonio De Pieri
274:The top of the bell tower
113:(not to be confused with
615:Our Lady of Mount Carmel
443:Presbytery (chancel) (4)
336:, there were some small
507:Saint John of the Cross
350:Saint John of the Cross
160:in the same year; this
105:Interior view: the nave
34:45.552561°N 11.542980°E
710:Costantino Pasqualotto
702:
672:"Ecce virgo concipiet"
566:
497:(1669-1745) depicting
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382:Saint John the Baptist
362:Costantino Pasqualotto
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716:St. John of the Cross
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575:Saint Jerome penitent
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527:Saint Jerome in Glory
409:Saint Teresa of Ávila
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495:Bartolomeo Letterini
250:Detail of the facade
173:Antonio Maria Priuli
127:Discalced Carmelites
83:Discalced Carmelites
39:45.552561; 11.542980
918:Francesco Fontana,
812:St. Jerome penitent
755:at the presence of
699:St. Jerome penitent
415:, a masterpiece by
407:It is dedicated to
348:It is dedicated to
30: /
936:Giovanni Mantese,
929:Giovanni Mantese,
798:Alessandro Maganza
782:The prophet Elisha
778:The Prophet Elijah
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547:Alessandro Maganza
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891:Giuseppe Scapin,
733:Lodovico Buffetti
676:Lodovico Buffetti
557:Winter chapel (9)
306:9 - Winter chapel
143:Francesco Muttoni
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875:Edoardo Arslan,
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743:Antonio Balestra
723:Sebastiano Ricci
633:, first general
623:Antonio Balestra
549:and depicts the
541:and it portrays
457:Giacomo Cassetti
417:Sebastiano Ricci
397:Sebastiano Ricci
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774:Matteo Brida
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757:Saint Joseph
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639:patron saint
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449:Saint Jerome
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300:6 - Sacristy
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182:In 1810 the
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810:the Elder:
753:Simon Stock
631:Simon Stock
601:of Christ "
585:Belfry (10)
509:, the left
308:10 - Belfry
296:4 - Chancel
198:Description
37: /
964:Categories
824:References
663:Saint Anne
619:balustrade
488:inlay and
474:Saint Mark
463:Chorus (5)
453:tabernacle
378:baptistery
298:5 - Chorus
217:Corinthian
137:architect
123:bell tower
77:church in
67:St. Jerome
25:11°32′35″E
22:45°33′09″N
597:with the
338:oratories
162:palladian
119:St Jerome
819:See also
749:scapular
686:Artworks
625:depicts
599:monogram
579:cloister
553:(1612).
372:, while
370:crucifix
358:pediment
330:transept
280:Interior
222:tympanum
203:Exterior
135:Venetian
91:sacristy
63:St. Mark
870:Sources
503:boxwood
490:carving
325:chancel
154:Brescia
115:Jesuits
111:Jesuati
97:History
79:Vicenza
72:baroque
70:) is a
595:fresco
591:belfry
486:walnut
469:chorus
433:Elijah
429:Elisha
403:(1724)
374:Christ
89:. The
87:Veneto
75:parish
922:, in
635:prior
236:Padua
166:altar
152:from
780:and
647:lily
321:feet
56:The
603:JHS
65:in
966::
800::
790::
776::
766::
745::
725::
712::
513:.
439:.
399:,
384:.
230:.
60:(
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