The Doge's Palace is a palace built in Venetian Gothic style, and one of the main landmarks of the city of Venice in northern Italy. The palace was the residence of the Doge of Venice, the supreme authority of the former Republic of Venice. It was built in 1340 and extended and modified in the following centuries. It became a museum in 1923 and is one of the 11 museums run by the Fondazione Musei Civici di Venezia.
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.
The Chiesa di San Giacomo dall'Orio is a church located in the sestiere (quarter) of Santa Croce in Venice, northern Italy.
Pisanello, born Antonio di Puccio Pisano or Antonio di Puccio da Cereto, also erroneously called Vittore Pisano by Giorgio Vasari, was one of the most distinguished painters of the early Italian Renaissance and Quattrocento. He was acclaimed by poets such as Guarino da Verona and praised by humanists of his time, who compared him to such illustrious names as Cimabue, Phidias and Praxiteles.
The Gallerie dell'Accademia is a museum gallery of pre-19th-century art in Venice, northern Italy. It is housed in the Scuola della Carità on the south bank of the Grand Canal, within the sestiere of Dorsoduro. It was originally the gallery of the Accademia di Belle Arti di Venezia, the art academy of Venice, from which it became independent in 1879, and for which the Ponte dell'Accademia and the Accademia boat landing station for the vaporetto water bus are named. The two institutions remained in the same building until 2004, when the art school moved to the Ospedale degli Incurabili.
The Wedding Feast at Cana, by Paolo Veronese, is a representational painting that depicts the biblical story of the Marriage at Cana, at which Jesus miraculously converts water into red wine. Executed in the Mannerist style (1520–1600) of the late Renaissance, the large-format oil painting comprehends the stylistic ideal of compositional harmony, as practised by the artists Leonardo, Raphael, and Michelangelo.
Matteo Ingoli (1587–1631) was an Italian painter of the early-Baroque period.
San Bernardino is a church in Verona, northern Italy. The church, in Gothic style, was built from 1451 to 1466.
The Petrobelli Altarpiece is an oil painting on canvas of c. 1563 by Paolo Veronese, the remaining fragments of which are now divided between four museums.
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 also 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.
Santa Maria Annunziata is the main religious building (duomo) of the town of Salò, Italy.
Santo Stefano is a Paleo-Christian, Roman Catholic basilica church in central Verona, region of Veneto, Italy.
San Paolo in Campo Marzio is a Roman Catholic church in Verona, region of Veneto, Italy.
Save Venice Inc. is a U.S. non-profit organization dedicated to the conservation of art and architecture and the preservation of cultural heritage sites in Venice, Italy. Headquartered in New York City, it has an office in Venice, a chapter in Boston, and supporters across the United States and Europe.
Christ Among the Doctors is a painting in oils on canvas by Paolo Veronese, now in the Museo del Prado in Madrid. Its dating has been the subject of debate – the date 1548 appears on a book held by a figure seated on the stairs in the foreground, but in 1976 Diana Gisolfi Pechukas posited 1565 as the earliest possible date for the painting's production.
Lament over the Dead Christ is a c.1548 oil-on-canvas painting by Paolo Veronese, now in the Museo di Castelvecchio in Verona.
The Bevilacqua-Lazise Altarpiece is a 1548 oil-on-canvas painting by Paolo Veronese, now in Castelvecchio Museum in Verona. It was commissioned by the Bevilaqua-Lazise family for their funerary chapel in the church of San Fermo Maggiore in Verona. Two of the family are shown praying in the bottom corners, with John the Baptist and a bishop saint. The altarpiece is an early work by Veronese, painted when his style still bore the strong imprint of his teacher Antonio Badile.
Saint Anthony Preaching to the Fish is a 1580–1585 oil-on-canvas painting of Anthony of Padua by Paolo Veronese, now in the Galleria Borghese in Rome. Its original location is unknown, though its medium dimensions of 104 centimetres (41 in) by 150 centimetres (59 in) mean it may have been painted for the side wall of a chapel or as part of a cycle of paintings for a small school (scuola) somewhere in Veneto. It entered the collection of Cardinal Scipione Borghese as a 1607 gift from Francesco Barbaro.
Minerva between Geometry and Arithmetic is a 1550 fresco fragment, usually attributed to Paolo Veronese but by some art historians to Anselmo Canera or Giambattista Zelotti. It was painted for the Palazzo de Soranzi in Castelfranco Veneto but now in the Palazzo Balbi in Venice.
Assumption of the Virgin is a c.1555 oil on canvas painting by Tintoretto, now in the I Gesuiti. It and Presentation at the Temple were both originally painted for the church of Santa Maria dei Crociferi. Its colouring is similar to that of Paolo Veronese and Carlo Ridolfi wrote of it that originally Veronese had gained the commission for it before Tintoretto took it from him by promising to produce the work in Veronese's style.
