Facade To support the weight of the facade, 270 piles had to be driven into the soil . Giant Corinthian pilasters support a heavy triangular pediment. The main entrance door, surmounted by a curved pediment with an inscription above, is flanked by four niches with large statues representing the four cardinal virtues: Prudence, Justice, Fortitude and Temperance. These statues were the work of four sculptors,
Gaetano Susali,
Francesco Bonazza,
Giuseppe Bernardi Torretto, and
Alvise Tagliapietra respectively, in 1736/37.
Ceiling decoration The ceiling decoration was entrusted to
Giovanni Battista Tiepolo who signed a contract with the Dominicans in May 1737. It was completed by 1739. There are three frescos in the ceiling. Nearest the entrance is the
Glory of St. Dominic (his assumption into heaven) and nearest the altar is the
Appearance of the Virgin to St. Dominic, while in the centre is a large fresco, a great masterpiece, representing the
Institution of the Rosary. The Virgin, in a blue sky with clouds, angels and cherubs, is supporting the Christ child who holds out the rosary to St Dominic. The saint stands at the top of a long flight of marble steps from which he is making the rosary available to the people, both rich and poor, including a doge and a pope. At the bottom, the darkest part of the painting, damned souls (heretics) tumble out of the picture frame. This was one of Tiepolo's first large fresco commissions. There are also monochrome paintings on the ceilings and other high parts of the interior of the church. These were designed by Tiepolo but painted with help from assistants, though evidently tightly controlled by the master as it is impossible to attribute any of them to another hand. One of the monochrome paintings on the ceiling, near the High Altar, shows St. Dominic, kneeling, blessing a Dominican friar. Lorenzetti suggests that this may be Fra Paolo, the Dominican who was largely responsible for the building of the church.
Paintings The paintings and sculptures in the nave are described in sequence from the main entrance door. First altar on right An oil painting on canvas by
G.B. Tiepolo is above the first altar on the right. Although the canvas had been prepared by December 1739, the finished painting was not installed in the church until 1748. It shows three female Dominican saints: • St
Catherine of Siena standing on the left, holding a cross with the crucified Christ. • St
Rose of Lima, standing on the right, holding the Christ child, who is holding a rose. • St
Agnes of Montepulciano (who had only been canonised in 1726), seated and holding a small cross. Seated behind and above the three saints is the Madonna, seeming detached from and unnoticed by them.
Second altar on right The second altar on the right bears a sculpture of angels carved in marble by
Giovanni Maria Morlaiter (the first work he executed for the church; 1739) surrounding a small half-length painting of
St Dominic (1743) by
Giambattista Piazzetta.
Third altar on right Above the third altar is an oil on canvas depiction of three male Dominican saints, by
Giambattista Piazzetta, a topic chosen by the Dominicans to illustrate the missionary activities of their order. Despite the rich Rococo treatment of the subject, Michael Levey writes that the "real triumph of the painting is in its memorably austere tonality." In black, in the foreground is St.
Louis Bertrand, a Spanish saint who went as a missionary to the Caribbean, where a native priest was said to have tried to poison him (symbolised by the serpent in the chalice which he is holding). Beyond him, in white, is St
Vincent Ferrer, who was said to have appeared to the former in a vision. The third saint is
Saint Hyacinth, who went as a missionary to the East. He is holding his attributes, a monstrance and an image of the virgin and child, which he was said to have carried with him into the raging torrent of the Dneister from which he was miraculously saved.
First altar on left On the left side of the nave, the altarpiece above the first altar is an oil painting by
Sebastiano Ricci (1659–1734), celebrating three of the most famous Dominicans, Pope Pius V,
Thomas Aquinas, and St Peter Martyr. Above them are three angels, one carrying a palm. It was the first work commissioned especially for the new building and was one of the last works of the artist, who died in 1734. It was painted in 1732–33.
Pope Pius V (who had been canonised in 1712) was a dedicated opponent of Protestantism. He greatly revered Thomas Aquinas (1225–1274), who is the figure on the left, and had made him a Doctor of the Church. He is identified by the Sun on his breast and by the book, his
Summa Theologica, which he carries in his right hand. St Peter Martyr, on the right, was another Dominican whose zeal had led to his assassination in 1252. He is more usually shown with the cleaver, with which he was killed, protruding from his head. Ricci shows it lying on the ground in front of him.
Second altar on left The second altar has a statue by Antonio Rosa of the Madonna of the Rosary (1836). This replaced an earlier work which was thought inadequate.
Third altar on left The third altar has a painting of the
Crucifixion (circa 1560) by
Tintoretto. This is the oldest painting inside the church (except for those in the sacristy). It was brought to the new church from the Church of the Visitation. It was in poor condition and the Dominicans arranged for it to be restored by Piazzetta in 1743.
Sculpture Almost all the sculpture in the church is the work of
Giovan Maria Morlaiter, a sculptor from over the Alps, whom
Hugh Honour describes as "one of the ablest sculptors in eighteenth century Venice" and Semenzato as "the most brilliant interpreter of the rococo in Venetian sculpture", adding that "His work shows great dynamism" and "an inexhaustible felicity of invention". There is more of his work in the church than anywhere else in Venice. His first work for the church was the Glory of Angels on the second altar on the right (1738) and after this Massari engaged him for all the other principal works of sculpture, ending with the statue of Melchisedek in 1755. These comprise: • First altar on left – two cherubs • Marble decoration of the High Altar • Statues (with description – in brackets – of the bas reliefs above each of them): • First niche right: Abraham (Centurion begs Jesus to save his son) • Second niche right: Aaron (Healing of the blind man) • Third niche right: St Paul (Christ with the Magdalen) • First niche left: Melchisedek (St Peter walks on the water) • Second niche left: Moses (Healing of the paralytic) • Third niche left: St Peter (Christ and the Samaritan)
Organ, presbytery and high altar On the left of the High Altar is the organ. The present organ (by the Bazzari brothers) was substituted in 1856 for the original organ of 1740. On the right of the High Altar is the
presbytery with a small early painting of the Madonna and Child on a
gold ground. This is by
Stefano di Sant'Agnese and is thought to date from 1375–80. It probably came from the former church of St. Agnes, which was nearby and is in
International Gothic style. The High Altar stands at the top of five steps under an architectural canopy supported by columns, underneath the cupola. The altar beneath is in a rococo style with coloured marbles and carved shells, heads of angels and reliefs of roses, ears of corn and grapes. ==References==