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San Giorgio Maggiore (San Zorzi Mazor in Venetian) is a 16th-century Benedictine church on the island of the same name in Venice, northern Italy, designed by Andrea Palladio, and built between 1566 and 1610.
The San Giorgio Monastery was established in 982, when the Benedictine monk Giovanni Morosini [1] asked the doge Tribuno Memmo to donate the whole island for a monastery. [2] Morosini drained the island's marshes next to the church to get the ground for building, and founded the Monastery of San Giorgio Maggiore, and became its first abbot. San ...
Basilica di San Giorgio Maggiore, Venice The Last Supper is a painting by the Italian Renaissance artist Jacopo Tintoretto . An oil painting on canvas executed in 1592–1594, it is housed in the Basilica di San Giorgio Maggiore in Venice , Italy.
San Giorgio Maggiore is a basilica church located on the corner of Via vicaria Vecchia and Via Duomo, in central Naples, Italy. The apse of the church lies diagonally across the street from San Severo al Pendino. The facade of the church Paleochristian Apse, modern entry to church The church's nave Frescoes inside the church
San Giorgio Maggiore at Dusk, Claude Monet, 1908–1912. Over the centuries the monastery became a theological, cultural and artistic center of primary importance in Europe. The monks had considerable autonomy and close links with Florence and Padua, and thus it became also a favoured location for foreign dignitaries to stay while in the city.
Claude Monet painted a series of paintings of the island-monastery of San Giorgio Maggiore in Venice. They were begun in 1908 during the artist's only visit to the city. One of the best known is San Giorgio Maggiore at Dusk, which exists in two versions. Monet completed his paintings of Venice at home in France [1] and in 1912 showed them in Paris.
The Basilica of San Giorgio Maggiore, where the main works of Matteo Ponzone are kept. According to several sources, Ponzone was born in Venice, identified as «Mathi et Simon fiol de noble Patron Claudio Bolzon et Agnesina Negro equal in Madonna» born in the parish of Saint Moses November 9, 1583. [1]
Of the proposals still extant, Belli's and Smeraldi's original plans were conventional counter-reformation linear churches, resembling Palladio's Redentore and San Giorgio Maggiore, while Varotari's was a sketchy geometrical abstraction. Longhena's proposal was a concrete architectural plan, detailing the structure and costs. He wrote:
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