| Scuola dei Greci | |
 The Church of San Giorgio dei Greci, Venice | |
| Formation | 1498 |
|---|---|
| Founder | Greek community in Venice |
| Dissolved | 1806 |
| Type | Confraternity |
| Location | |
Official language | Greek |
The Scuola dei Greci (literally, School of the Greeks) was the confraternity of the Greek community in Venice. Its members were primarily Greeks, but also included Serbs.
The Scuole Piccole were confraternities located in Venice. They were formed by migrants who were Venetian citizens or came from the Stato da Mar. These institutions were officially supported by the Venetian state which promoted inclusivity of diasporic communities as a means to instill loyalty to its subjects and regulate the activities and relations of its migrant citizens. They provided an environment for the social, cultural and religious activities of their members. The term greci referred to their religious affiliation. [1] The Greek minority was present in Venice as early as the 13th century, but increased greatly in the 15th and 16th centuries after the Fall of Constantinople and the Ottoman expansion into the former Byzantine lands. The Scuola dei Greci was founded in 1498. Serbs and other Slavs appear in the membership of the Scuola dei Greci since its early years (1500). [2]
The Greeks initially used Catholic churches for their gatherings until Venice granted them permission to settle permanently and build in the Castello area in 1456. The Greek community was well accepted by the city largely because of the education and the ideas they brought. In 1539 they were allowed by the Venetian government to build a Greek Orthodox church, the church of San Giorgio dei Greci and formed the Scuola di San Nicolo dei Greci (or Scuola dei Greci), as well as the Flanginian School. This Scuola was one of the few Venetian Scuole around which an entire community developed. Around the Church of San Giorgio other buildings and rooms were built for the meetings of the Confraternity. [3]
Initially there was a stipulation that membership should not exceed 250 persons (despite there being a Greek quarter in the city with a population of over 4000), apart from women and children.[ citation needed ] The Scuola had a constitution with provisions for voting procedures, representation, and the formation of a council. In 1563 the number of the councillors, the governing body of the colony, was set at forty and was later increased. The officials, headed by a president Gastaldo, were salaried by the community but were under the supervision of the Venetian government. The success of the Greek community in securing formal recognition from the Venetian government was probably due in large part to the increasing dependence of the Venetian state on the military services of the Stratioti. [4] Orthodox Slavs (mostly Serbs) in the scuola came from different Slavic-speaking parts of the Venetian state. They are recorded as di Servia (from Serbia), di Montenegro, dalmati (Dalmatia) and dalla Bosnia (from Bosnia). It has been estimated that in 1533-1562, of the 1044 members of the confraternity about 10% were of Serb origin. [5] After the restoration of the Patriarchate of Peć in 1557, Serbs began to leave the scuola which saw declining membership in general. The last Serbs who paid dues to the confraternity did so in 1556-59. Dalmatian Serb migrants joined the scuola again in the 18th century. [6]
The Scuola had a central role in the development of Venetian and Italian typography. Among the members of the Scuola were Greek scholars who brought classical manuscripts with them from Constantinople. They established printing presses around the Greek neighborhood and acted as editors, translators, correctors, authors and type-designers. [7] One of the intellectuals from the Balkans who joined the scuola was Božidar Vuković (Dionisio della Vecchia), who opened one of the first Serbian and South Slavic printing houses in western Europe. When he was elected president of the scuola, it was named - in his honor - School of the Greeks and the Serbs. [8]
After the fall of the Venetian Republic all confraternities were officially closed by an edict from Napoleon in 1806. The Scuola's funds and many of its precious objects were confiscated.
Antonio Lotti was an Italian composer of the Baroque era.
Belisario Corenzio was a Greek-Italian painter, active in Venice and Naples. He is one of few Greek painters that did not belong to the Cretan Renaissance like his contemporaries of the time. He escaped the maniera greca completely. He adopted the Venetian style. Other similar Greek painters were Marco Basaiti, Ioannis Permeniates, Antonio Vassilacchi and El Greco. He was sometimes referred to as Il Greco. His teacher was prominent Venetian painter Tintoretto. In 1590, at age 32 Corenzio settled in Naples. Corenzio was influenced by Cavalier d'Arpino. He continued to flourish in the region. His apprentices included: Luigi Rodriguez, Andrea di Leone, Onofrio De Lione and Massimo Stanzione. Corenzio painted many frescos that survived today. Some of his works are in the Church of San Severino and Certosa di San Martino. His style resembles Caravaggio. An Italian legend in Naples exists involving Corenzio, Spanish painter Jusepe de Ribera, and Battistello Caracciolo. They were referred to as the Cabal of Naples. The three painters were rumored to have poisoned their competition for painting contracts. The rumors lack documented evidence. The three painters were very popular in Naples. Corenzio frescoed the Crypt that holds the remains of Matthew the Apostle at Salerno Cathedral and it depicts scenes from the Gospel of Matthew. Corenzio was one of the most celebrated fresco painters in Naples during his time. His drawings can be found all over the world namely at the Metropolitan Museum, Museo di Capodimonte and Louvre.
San Giorgio, is the Italian form of Saint George. When used as the name of a person it is frequently contracted to Sangiorgio.
Castello is the largest of the six sestieri of Venice, Italy.
The Scuole Grandi were confraternity or sodality institutions in Venice, Italy. They were founded as early as the 13th century as charitable and religious organizations for the laity. These institutions had a key role in the history and development of music. The first groups of bowed instrument players named Violoni were born there in the early 16th century.
Michael Damaskenos or Michail Damaskenos was a leading post-Byzantine Cretan painter. He is a major representative of the Cretan School of painting that flourished in the 16th and 17th centuries. Painters Georgios Klontzas and Damaskenos were major contributors to the Cretan School during the same period. Damaskinos traveled all over the Venetian Empire painting. He remained loyal to his Greek roots stylistically but incorporated some Italian elements in his work. He was strongly influenced by the Venetian school. He painted parts of the Cathedral of San Giorgio dei Greci. Damaskenos has 100 known works. He influenced the works of Theodore Poulakis.
San Giorgio dei Greci is a church in the sestiere (neighborhood) of Castello, Venice, northern Italy. It was the center of the Scuola dei Greci, the Confraternity of the Greeks in Venice. Around this period there was a similar church in Naples called Santi Pietro e Paolo dei Greci. There was also a Greek Brotherhood of Naples.
Greek presence in Italy began with the migrations of traders and colonial foundations in the 8th century BC, continuing down to the present time. Nowadays, there is an ethnic minority known as the Griko people, who live in the Southern Italian regions of Calabria and Apulia, especially the peninsula of Salento, within the ancient Magna Graecia region, who speak a distinctive dialect of Greek called Griko. They are believed to be remnants of the ancient and medieval Greek communities, who have lived in the south of Italy for centuries. A Greek community has long existed in Venice as well, the current centre of the Greek Orthodox Archdiocese of Italy and Malta, which in addition was a Byzantine province until the 10th century and held territory in Morea and Crete until the 17th century. Alongside this group, a smaller number of more recent migrants from Greece lives in Italy, forming an expatriate community in the country. Today many Greeks in Southern Italy follow Italian customs and culture, experiencing assimilation.
The Scuola Grande di San Giovanni Evangelista is a confraternity building located in the San Polo sestiere of the Italian city of Venice. Founded in the 13th century by a group of flagellants it was later to become one of the five Scuole Grandi of Venice. These organisations provided a variety of charitable functions in the city as well as becoming patrons of the arts. The Scuola Grande di San Giovanni Evangelista is notable for housing a relic of the true cross and for the series of paintings it commissioned from a number of famous Venetian artists depicting Miracles of the Holy Cross. No longer in the school, these came into public ownership during the Napoleonic era and are now housed in the Gallerie dell'Accademia. The scuola is open to visitors on a limited number of days, detailed on the official website.
The Republic of Ancona was a medieval commune and maritime republic notable for its economic development and maritime trade, particularly with the Byzantine Empire and Eastern Mediterranean, although somewhat confined by Venetian supremacy on the sea. It enjoyed excellent relations with the Kingdom of Hungary, was an ally of the Republic of Ragusa, and maintained good relations with the Turks. All these relationships enabled it to serve as central Italy's gateway to the Orient.
The Greek community in Venice dates back to the Middle Ages, when the Republic of Venice was still formally part of the Byzantine Empire. Settled mostly in the sestiere of Castello, it reached its height in the centuries after the Fall of Constantinople, when many Greeks, including merchants, soldiers, and scholars, fled the Ottoman conquest. Tied to the Greek world through its extensive overseas possessions, the city became a major center for Greek education and the Modern Greek Enlightenment, but declined after the Fall of the Venetian Republic and the establishment of the modern Greek state. The community's property is now largely owned and managed by the Hellenic Institute of Byzantine and Post-Byzantine Studies in Venice.
The Hellenic Institute of Byzantine and Post-Byzantine Studies in Venice is a research centre owned and funded by the Greek state in Venice, Italy, focusing on Byzantine and Post-Byzantine/Modern Greek studies. It is the only Greek research institute abroad.
This is an alphabetical index of people, places, things, and concepts related to or originating from the Republic of Venice. Feel free to add more, and create missing pages.
The Scuole Piccole of Venice are confraternities in the Republic of Venice. Unlike the more famous Scuole Grandi, membership in them was not restricted to citizens and indeed some of them were formed specifically for foreigners. Most Scuole, the scolae communes, were devoted to a particular saint or devotional cult, but some, the scuole delle arti, were associated with specific crafts or trade guild, and often obligatory for the members of that trade.
Philotheos Skoufos Greek: Φιλόθεος Σκούφος also known as Filotheos Skoufos. Philotheos was a Greek painter, educator and clergyman during the 17th century. He collaborated with Emmanuel Tzanes on several pieces while he was in Corfu. Philotheos was a member of the Cretan School and Heptanese School. His work was influenced by the Venetian school. He was briefly affiliated with the famous Greek church in Venice San Giorgio dei Greci. Emmanuel Tzanes and Konstantinos Tzanes were also in Venice around the same period and affiliated with San Giorgio dei Greci. He was the priest who presided over famous painter Ioannis Moskos's wedding. Philotheos was active on the Ionian Island while Theodore Poulakis and Elias Moskos also had active workshops. Skoufos most popular works were the Stoning of St Stephen and the Virgin in the Temple.
Emmanuel Tzanfournaris, also known as Emmanouil Manos was a Greek painter. He was a painter in Corfu and Venice. He was taught by famous painter Thomas Bathas. Emmanuel's father Georgios was also a famous painter. Emmanuel was active within the Greek Community of Venice until 1625. Some of his paintings are in the church of San Giorgio dei Greci. He was influenced by Michael Damaskinos and other Venetian painters. Tzanfournaris adopted the Venetian school but also stayed loyal to the maniera greca. He influenced the works of countless painters namely Emmanuel Tzanes, Franghias Kavertzas, Philotheos Skoufos and his son Theofilakto Tzanfournaris. Tzanfournaris artwork can be found all over the world. Sixteen of his paintings have survived.
Konstantinos Tzanes was a Greek Renaissance painter. He was a painter in Crete and Venice. His brother Emmanuel Tzanes was the parish priest of the church of San Giorgio dei Greci. Emmanuel Tzanes was also a famous painter and author. Konstantinos followed the Venetian style and in some instances completely broke from the maniera greca. His other brother Marinos Tzanes was a famous poet. Konstantinos's work influenced both Greek and Italian Painters. His most popular work is the painting by Mary Magdalene which is at the Greek Institute in Venice.
Thomas Bathas was a Greek painter, educator, and Vikar. He employed the maniera greca in some of his work but he also broke from tradition by employing the Venetian style. He traveled around the Venetian Empire going from Heraklion to Corfu and Venice. He was a prominent member of the Greek Confraternity in Venice. He was friends with Gabriel Severus, Metropolitan of Philadelphia. He was very popular among both Greek and Italian patrons. He influenced the works of countless artists both Italian and Greek. Some of his works are in San Giorgio dei Greci and the Hellenic Institute of Venice. Emmanuel Tzanes, Konstantinos Tzanes, Ioannis Moskos, and Philotheos Skoufos were some Greek artists influenced by his work. One of his students was the famous painter Emmanuel Tzanfournaris. He left him a fortune in his will. His most famous works include: Portrait of Gabriel Severus and Virgin and Child Enthroned. Twenty of his paintings have survived.
the Serb Dionisio della Vecchia , a publisher of ecclesiastical books , was presiding over the brotherhood , the association was called the Confraternity of the Greeks and the Serbs