| Church of San Giorgio in Braida | |
|---|---|
 | |
| Religion | |
| Affiliation | Roman Catholic |
| Location | |
| Location | Verona, Italy |
| Architecture | |
| Architect(s) | Michele Sanmicheli (dome) |
| Type | Church |
| Style | Renaissance |
| Groundbreaking | 16th century |
San Giorgio in Braida is a Roman Catholic church in Verona, region of Veneto, Italy. A church titled San Giacomo in Braida, was located in Cremona, and became superseded by Sant'Agostino.
In April 1046, the deacon of the Verona Cathedral, later bishop of Parma, Cadalo commissioned the construction of a Benedictine monastery outside the city walls, in a suburb called Braida on land which he had acquired from Bishop Walter of Verona. [1] Grassy area outside the city walls were once called "braide". [2]
By 1051, the monastery was generally complete, and the Holy Roman Emperor Henry III placed it under his protection. By 1121, the monastery had a church. The 12th-century bell tower is what remains of the monastery. [3]
By 1127, the then bishop Bernardo expelled the monks for "keeping an abbey in a situation of spiritual, temporal, and material degradation". By 1132, the bishop with the blessing of Pope Innocent II assigned the monastery to the Canons Regular, an Augustinian order. In 1441, Pope Eugene IV favored the transfer of the monastery to the Venetian Augustinian order of Canons Regular of San Giorgio in Alga, reflecting in part the ascendancy of the republic in Verona since their fusion with Venice in 1405. In 1668, these canons were abolished by Pope Clement IX. The monastery was sold at auction, but was acquired by the Nuns of Santa Maria di Reggio, who administered the church until their suppression in 1806. The church became an oratory subsidiary to Santo Stefano, and only acquired the parish dignity in 1874. [4]
The present church was built in the 16th century in the medieval quarter of Veronetta. The facade is marble white with two rows of pillars. The statues of St. George and St. Lorenzo Giustiniani are on the sides. Around 1535 Michele Sanmicheli built the coffered dome of the church. [3]
The interior has a single nave built between 1536 and 1543, and contains above the main door a Tintoretto depicting the Baptism of Christ. The altarpiece of the main altar is Paolo Veronese's masterpiece, The Martyrdom of St George (1564). [3] Paolo Farinati's The Miracle of the Loaves and Fishes is accounted his masterpiece.
In 1776 were cast the six bells tuned in the scale of G major, on which was developed the Veronese bellringing art. In San Giorgio the new bells were hung for full circle ringing.
Paolo Caliari, known as Paolo Veronese, was an Italian Renaissance painter based in Venice, known for extremely large history paintings of religion and mythology, such as The Wedding at Cana (1563) and The Feast in the House of Levi (1573). Included with Titian, a generation older, and Tintoretto, a decade senior, Veronese is one of the "great trio that dominated Venetian painting of the cinquecento" and the Late Renaissance in the 16th century. Known as a supreme colorist, and after an early period with Mannerism, Paolo Veronese developed a naturalist style of painting, influenced by Titian.
Honorius II, born Pietro Cadalo, was an antipope from 1061 to 1072. He was born in the County of Verona, and became bishop of Parma in 1045. He died at Parma in 1072.
Paolo Farinati was an Italian painter of the Mannerist style, active in mainly in his native Verona, but also in Mantua and Venice.
The San Giorgio Monastery is a Benedictine monastery in Venice, Italy, located on the island of San Giorgio Maggiore. It stands next to the Church of San Giorgio Maggiore, which serves the monastic community. Most of the old monastic buildings currently serve as headquarters of the Cini Foundation.
The Basilica di San Zeno is a minor basilica of Verona, northern Italy constructed between 967 and 1398 AD. Its fame rests partly on its Romanesque architecture and partly upon the tradition that its crypt was the place of the marriage of Shakespeare's Romeo and Juliet. It stands adjacent to a Benedictine abbey, both dedicated to St Zeno of Verona.
The chiesa di Sant'Anastasia, or the Basilica of Saint Anastasia is a church built by the Dominican Order in Verona, northern Italy. In Gothic style, it is the largest church in the city, located in its most ancient district, near the Ponte Pietra.
The Diocese of Parma is a Latin diocese of the Catholic Church. It has properly been called Diocese of Parma-Fontevivo since 1892. The bishop's seat is in Parma Cathedral. The diocese is a suffragan of the Archdiocese of Modena-Nonantola.
San Bernardino is a church in Verona, northern Italy. The church, in Gothic style, was built from 1451 to 1466.
The Chiesa di San Sebastiano is a 16th-century Roman Catholic church located in the Dorsoduro sestiere of the Italian city of Venice. The church houses a cycle of paintings by the artist Paolo Veronese, as well as paintings by Tintoretto and Titian. The church is a member of the Chorus Association of Venetian churches. It stands on the Campo di San Sebastiano by the Rio di San Basilio, close to the Giudecca Canal. It is one of the five votive churches in Venice, each one built after the passing of a plague through the city. Following construction, the church was dedicated to a saint associated with the disease; in this case St. Sebastian.
Battista del Moro was an Italian painter of the Renaissance period active in his native Verona, as well as in Mantua and Venice.
The Abbey of Santa Giustina is a 10th-century Benedictine abbey complex located in front of the Prato della Valle in central Padua, region of Veneto, Italy. Adjacent to the former monastery is the basilica church of Santa Giustina, initially built in the 6th century, but whose present form derives from a 17th-century reconstruction.
Santa Caterina d'Alessandria is a Roman Catholic church located in the borgo Santa Caterina of the city of Parma, Italy
Veronese bell ringing is a style of ringing church bells that developed around Verona, Italy, from the eighteenth century. The bells are rung full circle, being held up by a rope and wheel until a note is required.
The Canons Regular of San Giorgio in Alga were a congregation of canons regular which was influential in the reform movement of monastic life in northern Italy during the 15th and 16th centuries.
San Procolo is a Paleo-Christian, Roman Catholic small temple standing adjacent to the Basilica di San Zeno in central Verona, region of Veneto, Italy.
Santo Stefano is a Paleo-Christian, Roman Catholic basilica church in central Verona, region of Veneto, Italy.
Sant'Agostino is a gothic-style, Roman Catholic church located in Cremona, region of Lombardy, Italy.
The Basilika Palatina di Santa Barbara is the Palatine Chapel of the House of Gonzaga in Mantua, Italy.
The Martyrdom of Saint George is a 1566 oil-on-canvas painting by Paolo Veronese, produced for the high altar of the church of San Giorgio in Braida in Verona, dedicated to Saint George, where it still hangs. It was produced in Verona, the artist's birthplace, whilst he was back there to marry Elena, daughter of his teacher Antonio Badile.
The church of San Giovanni in Valle is a Catholic place of worship located on the street of the same name in Verona. One of the oldest churches in Verona, it arose on the site of a pagan necropolis and a Roman temple. Little or nothing is known about the early building, however some elements, such as its location in the area where the castrum of Theodoric the Great stood, suggest that in the beginning it may have been the Arian cathedral of Verona, as opposed to the Catholic church of Santo Stefano. In any case, only part of the present crypt remains of this early church, as the rest of the building was severely damaged in the earthquake that struck Verona in 1117. As early as 1120 the reconstruction of what would later be the present building in the Romanesque style began, while in 1164 its consecration took place at the hands of the bishop of Verona Ognibene. During the Middle Ages a collegiate church of clerics also resided there. In 1300 it was decided to enlarge the hall of the building by lengthening the nave by one bay, the pre-existing narthex was then incorporated into the church and the facade rebuilt from scratch. During the following centuries the building did not undergo any other major transformations, however, it was deeply damaged during a World War II bombing raid; at the end of the conflict, therefore, it underwent extensive restoration.
45°26′56″N10°59′45″E / 45.4489°N 10.9959°E
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