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Tradition says that the construction of this church has been due to an apparition of Our Lady as a shapely (formosa in italian) woman to Saint Magno in the seventh century. Building has been rebuilt in the 1492 by architect Codussi. Church is really particular becouse of the two facades it owns, one facing the channel and one facing the campo (square in Venice), both wanted by the Captain Cappello's family, whose member fought and won the Turks with the fleet of Serenissima.
The bell tower has a baroque age (finished in the 1688).
Church, that gave hospitality to the Scuola dei Casselleri (nuptial case maker) for long time, received the annual visit by the Doge till the end of 1797. During this event honouring the merit of Casselleri in occasion of the Slavic's Abduction in the 944, when some Slavics tempt to kidnap many young Venetian woman, the Doge received a straw hat as a gift.
Building has a Latin cross plan with three naves and transept with groin vault and presbitery. In the interior are kept works by Palma il Giovane, by Vivarini and, in the chapel of the Scuola dei Bombardieri that here had the headquarters, a polittico by Jacopo Palma il Vecchio (1480-1510) representing Santa Barbara con i Santi Sebastiano e Antonio Abate and La pietà tra i Santi Domenico e Giovanni Battist. |
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It was built between 1481 and 1489 on a project by Pietro Lombardo with the aim of giving a worthy placing to the icon of the Virgin venerated since the 1408.
Church became one of the best example of the Venetian Renaissance: coloured marbles, false colonnade on the walls, semicircular pediment has just one nave with a barrel-vault and is dominated by the big stair leading to the main altar totally decorated with statues by Tullio Lombardo, Alessandro Vittoria and Nicolò di Pietro, while the vault is divided in fifthy coffers decorated with the prophets's faces, a work by Gerolamo Pennacchi's brother, Vincenzo dalle Destre and Lattanzio da Rimini. |
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| Between the 1575 and the 1577 plague killed almost fifthy thousands people in Venice; the fourth of September 1576 Serenissima's senate decided to build a church dedicated to the Redeemer and the first stone was laid the third of May 1577. This church dominates the Giudecca's view and results to be a Palladio's thought about the entire classical architecture of the Renaissance, the attempt of join the Cristian Church with all the elements of a classical temple. A classical pediment dominates the facade and a stair, as wide as the dome's diameter (that is the unit of the entire building) symbolizes through its fifteen steps the ascent to the Jerusalem's temple. Interior, having a longitudinal plan, is perfect to be used for processions: a main nave with deep lateral chapels, covered with a barreil vault and lightened by windows; a wide presbitery joined to the nave through a big arch and finally a rectangular choir. Dedicated to the events of Jesus's life are the paintings kept in the chapels: a Natività di Gesù Cristo and La Resurrezione by Francesco da Ponte are in the first altar on the right handside and on the second altar on the left handside. Trasporto di Cristo al Sepolcro by Jacopo Palma il Giovane kept on the third altar on the left handside is a work dates back to 1600. Two paintings by Domenico Tintoretto (1588) with the Flagellazione di Cristo and L'ascensione di Cristo, but maybe, the most suggestive work is Madonna con Bambino e due angeli musicanti by Alvise Vivarini, kept as a jewel in a really precious wood's frame. This work, painted in the 1500 belongs to the last phase of the painter's activity, when he had already received the influences by Mantegna and Giovanni Bellini. |
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The church built by Dominican friars between the XIII and the XV century and and consecrated in the 1430.
Facade is composed of bricks and suggeststhe inner division of the church in three naves. In the central part of the facade there's a big eye accompanied, in the lateral sides, by two smaller apertures.
Interior has a Latin cross plan composed of three naves and lateral chapels, five huge columns divide the main nave from the side aisles.
Church gives hospitality to many funeral monuments of the Serenissima's heads whom used to be brought here with a funeral cortège going through Venice. One of the most important monuments is the one dedicated to Doge Pietro Mocenigo by Pietro Lombardo describing his virtue during the battles against Turks, so the Doge (Serenissima's leader) is represented armed and his urn held up by warriors. |
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| Was founded in the beginning of eight century by the bishop of Oderzo: San Magno. Church is dedicated to San Giovanni Battista of whom keeps some relics brought here in the ninth century; but is the name "in bragora" that gives place to many suppositions: it could come from the dialect word "bragola" that means "market's square", or from the verb "bragolare", meaning "fishing"; or It could have a Greek origin from the word agorà, meaning square. Anyway this church is one of the most fascinating of the entire Venice: it was restored in the ninth and in the eleventh century and rebuilt in the 1475, in accordance with an acute architecture. The facade dates back to the last remake and it's divided in three parts following the inner division in three naves (architect Michele Codussi). Gothic style is kept also in the interior with a basilical plan composed of three naves, three apses and a ceiling with exposed beams. Columns are, instead, inherited from the ancient church. The paintings collection offers a Cristo dinanzi a Caifa and the Lavanda dei piedi by Jacopo Palma il Giovane, a Ultima Cena by Paris Bordone... but the pride of this church is Battesimo di Cristo by Cima from Conegliano (1492-1494). |
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| was built in the 16th century by Andrea Palladio and it is in the Renaissance style. Inside there are Jacopo de Palma il Giovane's,.Pietro Vecchia's, Francesco da Ponte's, Tintoretto's and Alvise Vivarini's masterpieces. |
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_-_Foto_G__Dall'Orto_2_lug_2006_-_06.jpg "Click to open image!")
