Great Discoveries "Personal Tour Guides" will provide you with the most enjoyable and informative way to visit the Basilica di Santa Maria della Salute. Our carefully researched tour identifies and locates the most relevant treasures to ensure that you do not miss important works and that you clearly understand each items artistic and historic significance. As you view these carefully selected treasures, our professional narrators, accompanied by historically appropriate background music, will delight, amuse and inform you, making your visit a most memorable experience. Learn about La Salute with informative descriptions, photo's, building diagrams, sample audio tracks and more.
Santa
Maria della Salute, the most brilliant architectural jewel in the Venetian crown, is a soaring baroque structure unlike any other. La Salute lifts its gleaming drum of white Istrian stone high above
the city’s tiled rooftops; its silhouette dominates the southern
terminus of the Grand Canal. The church sits at the entrance to
Venice Italy like some great lady, on the threshold of her salon, with
her domes and scrolls, her scalloped buttresses and statues forming
a pompous crown, her wide steps placed on the ground like the train
of a robe.
Throughout history, great plagues, wars, and disease have stimulated
great art and architecture. La Salute is a case in point. In 1630,
a plague had struck Venice taking some 45,000 people, over a quarter
of its citizens, to early graves. In the midst of this horror, the
Venetian Senate made a pact with God, “Stop the plague and
we will build a church to honor the Virgin Mary.” The pact
worked, the plague came to a sudden end, most likely due to cooler
weather, and the Senate set about honoring their promise to God
by building the Basilica di Santa Maria della Salute or the Basilica
of St. Mary of Good Health.
They announced a competition for the construction of a great church,
which they would dedicate to the Virgin to give thanks to God for
their deliverance from the virulent plague. A committee of senators
chose the site, a spot near the Dogana di Mare, or Customs House,
where the Grand Canal merges with St. Mark’s Basin. They ordered
all the buildings in the area demolished, and had the corps of engineers
drive no fewer than; legend has it, 1,156,627 wooden piles down
into the hard clay to provide a solid foundation.
The
Senate established precise guidelines for the design and construction
of their church. It was to be designed so that the entire interior
could be understood visually as soon as one entered. The architect
was further required to erect a building that would harmonize with
the site and make a brilliant impression, or bellissima figura,
and of course, it could not cost too much. There was to be an equal
distribution of bright light throughout the expanse, and the high
altar was to dominate the view from the main door.
Eleven architects presented designs to these
specifications and the project was awarded to an unknown 26 year-old
Baldassare Longhena. The great architect’s grand design
caused much criticism and envy amongst his competitors. But Longhena
was fully convinced of the worth of his plan and he described his
design as, "strange, worthy, and beautiful...in the shape of
a round 'machine' such as had never been seen, or invented either
in its whole or in part from any other church in the city."
His invention, though never seen before, is beautiful in its concept.
He created his church on a centralized plan that he covered with
an enormous cupola, perfect and strong in its line and mass.
Longhena brought the baroque style of architecture
to Venice, adapting it brilliantly to Venetian needs.
The impact of his style was so profound that virtually all the city’s
painters and architects turned to the baroque, thus giving Venice
a third distinct style, a kind of overlay on top of the Gothic and
Renaissance. His greatest creation is this huge, octagonal Church
of Santa Maria della Salute, popularly known as La Salute and unquestionably
the supreme masterpiece of Venetian baroque architecture.
Standing
inside the main door one sees the interior of the church as the
Senate and Longhena intended. Your eyes are drawn through a series
of receding arches towards the main altar beyond. Thus fulfilling
the Senates’ fairly precise and difficult stipulations that,
“the high altar must be seen from the entrance while the other
altars should not be visible until the viewer reached the center
of the nave.”
A supreme feeling of peace and serenity permeates Baldassare Longhena’s
well-lit interior. Eight majestic pillars support its octagonal
shaped cupola in the typical Baroque spirit which aims to impress
and amaze. Its majesty recalls the large spaces of the Roman basilicas
of the late Classical period. Its six side chapels and main altar,
themselves majestic works of art, are packed full of spectacular
statues and paintings.
La Salute contains masterpieces and great works
aplenty including two of Titian's greatest paintings, "the Pentecost”
and “St. Mark Enthroned with Other Saints.” The
large Sacristy contains an additional wealth of unforgettable Titian paintings as well as the work of other artists. Outstanding
among these is one of Tintoretto’s most famous paintings,
the “Wedding at Cana.”
La Salute’s white stone dome is easily seen from any point
of the city. You will get your best pictures of the church from
the water of the Grand Canal or St. Mark’s Basin, from the
Vaporetto (waterbus), or a gondola, or a water taxi. The church
is well lit during the daytime and you are permitted to take pictures
of the paintings inside. You can easily walk from the Galleria Accademia to the Salute or you can take the #1 Vaporetto, which
stops at the stairs of the church.
Purchase the full length audio tour for this
location
in your choice of MP3 formats (download or MP3 on CD): |
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