Save Venice Inc
Dedicated to preserving the artistic heritage of Venice
Save Venice IncDirectors
Jesse Robert Lovejoy Chairman
Sarah Schulte President
Mrs. Dennis C. Stanfill Vice President
John R. Staelin Treasurer
John Leopoldo Fiorilla Secretary
Prof. David Rosand Project Director
Randolph H. Guthrie, M.D.Chairman Emeritus
Bernadette J. BergerLaura Maioglio Blobel
Francesca Bortolotto PossatiProf. Patricia Fortini Brown
Mrs. Hilary P. CalifanoTia Fuhrmann Chapman
John W. DayAllison Hyde Drescher
Robert E. DukeBeatrice Esteve
Adelina Wong EttelsonJ. Winston Fowlkes III
Donald T. FoxMary E. Frank
Irina Tolstoy GansBeatrice H. Guthrie
Anne HawleyFrederick Ilchman
Dayssi Olarte de KanavosManfred KuhnertElizabeth Locke
Mrs. Guido LorenzottiJohn LoringEmily Mead
Mary Kathryn NavabRichard E. Oldenburg
Juan M. PrietoProf. Theodore K. Rabb
Beatrice Rossi-LandiJames B. Sherwood
Sidney H. StiresJack Gumpert Wasserman
George C. WhiteMatthew White
Hutton WilkinsonBaroness Mariuccia Zerilli-
Elizabeth S. Makrauer Executive DirectorKaren L. Marshall
Associate Director, New York & Assistant Treasurer
Melissa Conn Associate Director, Venice
Palladio at The MorganOn Wednesday, March 26, 2008, at The Morgan Library and Museum, Prof. Theodore K. Rabb presented A Most Agreeable Sight: The Legacy of Palladio. Celebrating the 500th anniversary of the birth of Andrea Palladio, Prof. Rabb offered a glimpse of both Palladios own age and his profoundly influential approach to architecture.
Interns Assist Venice OfficeStudent interns generously donated time to assist in Save Venices Venice office in 2008.
Summer: Ben Brown, Skidmore College; Jack Carter, Brunswick School; Ali Damico, Colgate University; Laura Blanco, Elaine Burchman, Andrew Greene, Kevin Jason, Columbia University Center for Study in Venice at Casa Muraro. Fall: Victoria Cubera, Nicki Finberg, Gi Young Lee, Michelle McLaughlin, Daniel Muniz, Emily Olsson, Rachel Wassel, George Zeitler, Colgate University.
Save the Date Carnival Gala
in VeniceFebruary 1114, 2010 (Presidents Day Weekend)
Four days of unforgettable festivities in support of
Save Venices restorations.
15 East 74th StreetNew York, NY 10021
Tel: 212-737-3141Fax: 212-249-0510
San Marco 2888a30124 Venice, ItalyTel: 041 52-85-247Fax: 041 52-31-843
UNESCO-Private Committees for the Safeguarding of Venice.
Visit our Web site, developed by The Media Center for Art History, Columbia University.
Sponsored by The Hazen Polsky Foundation, Inc.
Save Venice Inc., based in New York, has raised more than 20 million dollars to restore over 350 works of art and architecture in Venice. Every year, the Board of Save Venice, including a Projects Committee of renowned experts, selects restoration projects in col-laboration with the Venetian Superintendencies of Monuments, Fine Arts and Museums. Save Venice currently has 45 projects underway throughout the city, made possible with support from individuals, foundations, and chapters in Boston and California.
Save Venice would like to thank Michael LaPlaca and the staff of LaPlaca Cohen for their generosity in designing and producing this newsletter. Ar
San Sebastiano Restoration Campaign
Conservation work is underway in the church of San Sebastiano, Save Venices current major project. The churchs three large ceiling can-vases, painted by Paolo Veronese in 1555 and dedicated to the Old Testament heroine Esther, were removed in early October from their position high above the churchs nave and transported to a restoration laboratory in Venice for conservation treat-ment. A scaffolding platform, installed in the church to allow the ceiling canvases to be dis-mantled, is now the base from which conservators will under-take the painstaking restora-tion of Veroneses painted and gilded wooden ceiling and mas-sive coffered frames that house the Esther series. The church remains open to the public dur-ing the conservation campaign, and despite the scaffolding, the majority of Veroneses pictorial decoration remains visible to visitors.
Recent contributions to the on-going restoration campaign for San Sebastiano come from the California Chapter of Save Venice, from Friends in Honor of Mary and Howard Frank earmarked for the restoration
of Veroneses Coronation of Esther canvas, from Elizabeth Locke through the sale of 35 limited edition Elizabeth Locke San Sebastiano pendants, and from Walter Mead.
Paolo Veronese(15281588)San Sebastiano Dorsoduro
The restoration of San Sebastiano is supported in part by Save Venice General Funds and generous gifts to the campaign from:California Chapter of
Save VeniceThaw Charitable TrustFriends in Honor of Mary and
Howard FrankElizabeth LockeWalter MeadBoston Chapter of Save VeniceIrina Tolstoy and John G. Gans
Head of Scientific Committee:Giovanna Nepi Scir, Superintendent of Fine Arts and State Museums of Venice
Project Director for ceiling canvases: Giulio Manieri Elia, Superintendency of Fine Arts and State Museums ofVeniceRestorer: Lucia Tito and the CBC restoration firm
Project Director for painted wooden ceiling: Amalia Donatella Basso, Superintendency of Monuments of Venice
Project Director for struc-tural verifications: Alberto Lionello, Superintendency of Monuments of Venice
Above right: The removal of Corona-tion of Esther from the painted ceil-ing. Right: Art handlers lowering the wrapped canvas to the ground.
The Venetian church of San Sebastiano is a temple dedicated to the art of Paolo Veronese. Painting in a variety of techniques and surfaces, in oil on canvas and on wood and in fresco and tempera on plaster, his brush animated its ceilings and walls with historical narratives, iconic images, and decorative motifs of remarkable inventiveness.
David Rosand, Save Venice Project Director and
Meyer Schapiro Professor of Art History at
This painting is thought to have originally decorated a fifteenth-century altar in the Gothic church of San Francesco della Vigna. When the church was enlarged and rebuilt by architect Jacopo Sansovino starting in 1534, the painting was adapted to fit a new Morosini family chapel and altar within Sansovinos Renaissance church.
One striking hypothesis, recently advanced, is that the picture may have once been the center panel of a triptych, with the two lateral panels now being lost. This idea is supported by evidence revealed during conservation that the painting we see today was modified (possibly more than once and by a second artist) with skillfully painted additions to enlarge the background of the pictorial scene of the panel, whose original dimensions evidently were not ideal for the new chapel and marble altar Sansovino designed for the Morosini family between 1540 and 1552. Scholars consider that the words ordinis minorum, referring to the Franciscan Friars whose church this is, were also added on that occasion to the scroll in the paintings foreground, which con-tains the artists signature: Frater Antonius de Nigropon pinxit. In addition, a can-vas lunette of God the Father, attributed to Benedetto Diana or Francesco Bissoli, was placed above the painting, within the marble frame.
Antonio Falier remains an enigmatic art-ist, and this is his only known painting. From his name we determine that he came from the Venetian colony of Negroponte
near Greece, and that he was a man of the Church, hence his clerical title of Fra, standing for frate, or monk. He is thought to have collaborated artistically with Jacopo Bellini, as is evident from stylistic similarities as well as a document dated 1469 describing an attempt on Bellinis part to recover money owed to him by Fra Antonio.
Fra Antonio Falier da Negroponte (second half 15th century)Madonna and Child Enthroned, 1460s (?) with modifications in the 1530s (?)San Francesco della Vigna
Funded by Young Friends of Save Venice, Boston Chapter
Project Director: Emanuela Zucchetta, Superintendency of Monuments of VeniceConservator: Andrea Libralesso
Cover: Madonna and Child Enthroned by Fra Antonio Falier da Negroponte.