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Itineraries
Among famous Venetians
As in the other churches of Venice, also in the church of Saint Salvador families belonging to the Venetian patrician class had their funeral monuments erected. The large walls extending along the great side vaults were the ideal place to do so. The raised ground floor permitted to create graves, called "arche" for the burial of the dead. In later years they were covered with tombstones, according to a prepared polychrome plan. In this itinerary we have chosen to remember three famous protagonists from among the many that could be mentioned.
1. Caterina CornaroQueen of Cyprus > • The Protagonist> • The Monument |
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· The Protagonist
Caterina Cornaro or Cornero belonged to one of the richest and most influential patrician families of the Serenissima. She was born in 1454 and was educated in a monastery. When very young she was given as bride to Giacomo Lusignano II (Jacques II), King of Cyprus and Armenia. Their marriage had a great political importance and role for the Venetian Republic which now intended to conduct a primary role on the island and thereby control the eastern Mediterranean.
In 1472 Caterina sailed from Venice to Famagosta, the capital of Cyprus. A year later, while with child, she remained a widow. As soon as her child was born, he was proclaimed king and given the name Giacomo III(Jacques II); but he soon died, victim of a Spanish conspiracy. Other political disorders followed and in 1489 Caterina ceded her realm to Venice, retaining the title and rank of Queen. She sailed to Venice where she received the title Lady of Asolo. In reality, her exile was an honourable one, which she left only in 1509 to flee the assault of the Cambrian League. On 10 July 1510 she died in Venice. Her portrait was painted by Gentile Bellini.
· The Monument
As early as 1525 the Corner family had purchased the inside walls of the transept so as to build two funeral monuments: one for Caterina, Queen of Cyprus, and the second for Marco, the first Cardinal in the family. The project was prepared by Gianmaria Falconetto but was never commenced until 50 years later, when Bernardino Contino carried it out and created two twin architectural monuments, decorated with statues and columns. Caterina Corner's monument is on the right wall. The central bas-relief, amid putti bearing the coat-of-arms of the family, illustrates an important event: the Queen of Cyprus is ceding her crown to the Venetian Doge. At the base of the monument there is a large funeral urn with this Latin inscription: The ashes of Caterina Corner, the Queen of Cyprus, Jerusalem and Armenia. To the construction of this tomb provided the Prior De Grandi near the end of 1750.
Top of page2. Francesco Venier80th Doge of Venice |
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· The Protagonist
Nephew of Doge Leonardo Loredan, Venier was born in 1490. Even though still a young man, he became Podestà (Chief Magistrate) of Brescia, then a deputy in Udine and in 1537 Podestà in Padua. Subsequently he was sent as Venetian Ambassador to Pope Paul III. On his return to Venice he became Savio del Consiglio (Minister), Councillor and Podestà in Verona. At the height of his administrative and political career he was elected Doge on 11 June 1554 at the age of 65. He died on 2 June 1556 and was buried in the Church of San Salvador. In his portrait by Titian, we can see the face of a temperate but sickly man. During his brief Dogado the Provveditori (government offices) above the Luoghi Incolti were created in an attempt to face the famine and plague which had beset Venice in 1556.
· The Monument
Recently restored to its original magnificence, we can admire what is the most significant architectural monument in San Salvador. It is opposite the organ, half way down the church. Designed by Jacopo Sansovino in the form of a triumphal arch; on either side of the central sarcophagus stand in niches the figures of Charity (on the left with two children) and Faith (on the right); both statues carry Sansovino's signature on the base. In the lunette there is a bas-relief showing Doge Venier and his patron saint St. Francis kneeling before a Pietà. It is thought to be the work of Alessandro Vittoria. On either side we see the family coat-of-arms; below the central sarcophagus there is the commemorative inscription. These stylistic and structural elements follow the tradition established for sepulchral monuments, but are set in an interplay of precious marbles, gilt carved pieces and decorations; a monumental magnificence enriched with sculptural elements, which make of this sepulchral monument a fine example of the splendour of Venice in the sixteenth century.
3. Bartolomeo BontempelliMerchant and benefactor |
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· The Protagonist
Bontempelli was a merchant originally from Brescia. He and his brother Grazioso opened a shop in the buildings between Calle degli Stagneri and the Merceria in San Salvador. The store sign-board "Calice" soon came to represent quality fabrics and cloths. His business flourished; among his clients were the European Royal Courts and even the Sultan. He grew very wealthy. He once gave hospitality in his home to the Grand duke of Austria. However Bartolomeo's fame was principally for his beneficent contributions to public works, in particular to restoring churches and other religious buildings. Undoubtedly such social merits helped him to obtain the Venetian citizenship as early as in 1579. Upon his death, 16 November 1616, and according to his last will, many institutions received donations. To cite one example, the fabbrica of San Lazzaro dei Mendicanti received the consistent sum of one hundred thousand ducats.
· A Sepulchre and an Altar
The attention of many visitors is captured by a large transparent porthole in the very centre of the rose-window below the first dome. The porthole took the place of a round black stone plaque on which was engraved that Bartolomeo Bontempelli was buried there. The stone sepulchre below is different from all the others; for it is in fact a small burial chamber, surprisingly decorated with frescos along the side walls. Unfortunately these frescos are not visible to the public for technical reasons: traditional illumination is problematic due to the great humidity and there are also problems concerning their preservation. The second altar in the left transept was purchased and reconstructed by his brother Grazioso with the intention of having suffrage masses celebrated there. The altar-piece, painted by Peranda, portrays a Pietà and below it Saint Carlo Borromeo kneeling and interceding for the two brothers, whose profiles can be seen below on the right. Worthy of mention is the fact that only seven years had passed since the canonization of the famous archbishop and not even thirty from his death; an explanation for his being in the painting could be that the Bontempellis had known him personally.
See also:
The Christological itinerary
Among the saints of the Church
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