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Updated: June 28, 2025
A noble church The tomb of Titian A painter-prince A lost garden Pomp and colour A ceaseless learner Canova Bellini's altar-piece The Pesaro Madonna The Frari cat Tombs vulgar and otherwise Francesco Foscari Niccolò Tron's beard. From S. Rocco to the Frari is but a step, and plenty of assistance in taking that step will be offered you by small boys.
His later works, so far from showing any diminution of power, may be said to anticipate the Venetian style of the sixteenth century in the clearest manner. One of the chief, dated 1488, is the large altar-piece in the sacristy of S. Maria di Frari, a Madonna Enthroned with two angels and four saints.
Among the Colleoni statue's great admirers was Robert Browning, who never tired of telling the story of the hero to those unacquainted with it. The vast church of SS. Giovanni e Paolo does for the Dominicans what the Frari does for the Franciscans; the two churches being the Venetian equivalents of Florence's S. Maria Novella and Santa Croce.
A similar examination was made at the Frari at about the same time by the Abbe Fulin; and I myself, in 1894, not knowing at the time that the discovery had been already made, made it over again for myself.
One of its side entrances opens upon the square; the other on a lane, which leads eventually to the Frari. There is nothing in Bibboni's narrative to make it clear where Lorenzo hired his dwelling. But it would seem from certain things which he says later on, that in order to enter the church his victim had to cross the square.
Like too many of the church façades of Venice, this one is unfinished and probably ever will be. Unlike the Frari, to which it has a general resemblance, the church of John and Paul is domed; or rather it possesses a dome, with golden balls upon its cupola like those of S. Mark. Within, it is light and immense but far inferior in charm to its great red rival.
Trial, sentence, fate, all in secret, and this was done under the semblance of justice and a republican form of government. The church of the Frari, whither we will next turn our steps, is in an American's estimation quite as much of a museum as a church.
Sea and sky were one glory of warmth and color this sunny November morning in 1565, and there were signs of unusual activity in the Campo San Rocco before the great church of Santa Maria Gloriosa dei Frari, which, if only brick without, was all glorious within, "in raiment of needlework" and "wrought gold."
The Madonna in the church of the Frari is a mere lay figure, introduced to form a link of connection between the portraits of various members of the Pesaro family who surround her. Now this is not merely because John Bellini was a religious man and Titian was not.
Frequent delegations from the lively crowd of the populace flashing with repartee, seemly or unseemly, as they gathered close to the door just under the marble slab with its solemn appeal to reverence, "Rispettati la Casa di Dio" penetrated into the Frari to see where the more pleasure could be gotten, as also to claim their right to be there; for this pageant was for the people also, which they did not forget, and their good-humored ripple of comment was tolerant, even when most critical.
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