An exceptional example of Byzantine craftsmanship, this shimmering icon was taken from Constantinople to Venice during the Crusades Icon of the Archangel Michael by Dr. Ariel Fein and Dr. Brad Hostetler
Three chalices show the important roles that materiality, ornament, and craftsmanship could play in an object’s cross-cultural mobility, reuse, and preservation through the centuries. Mobility and reuse: the Romanos chalices and ... by Dr. Evan Freeman
A painting shows life on the Grand Canal of Venice, including Black gondoliers Vittore Carpaccio, Miracle of the Relic of ... by Dr. Davide Gasparotto
Crusaders sacked Constantinople and brought looted treasures back to Venice before the Byzantines recaptured their capital city. Byzantine Art and the Fourth Crusade by Dr. Nicolette S. Trahoulia
The first Ghetto, Jews in Renaissance Venice Three synagogues in the Venetian Ghetto by Dr. David Landau, Dr. Marcella Ansaldi and Dr. Steven Zucker
The original Ghetto, on a small Venetian island, hides Renaissance era synagogues of startling beauty The Renaissance Synagogues of Venice by Dr. David Landau, Dr. Marcella Ansaldi and Dr. Steven Zucker
fresco, mosaic, and marble threatened by a rising sea and the salt it leaves behind Basilica of Santa Maria Assunta, Torcello by Melissa Conn, Save Venice and Dr. Beth Harris
Nearly everything in medieval and Renaissance Venice was stolen or imported—and the Venetians advertised that on the facade of the Cathedral. Venice’s San Marco, a mosaic of spiritual ... by Dr. Elizabeth Rodini and Dr. Steven Zucker
Acts of sacred theft, Venice as a mosaic of treasures from afar Venice’s San Marco, a mosaic of spiritual ... by Dr. Elizabeth Rodini and Dr. Steven Zucker
In the distance, lightning strikes. What does it mean? Poetic and evocative, this painting invites interpretation. Giorgione, The Tempest by Dr. James R. Jewitt
Brotherhoods lent stability to religious and civic life. These wealthy institutions also commissioned paintings. Devotional confraternities (scuole) in Renaissance Venice by Dr. Lorenza Smith
To the victor go the spoils? These sculptures were taken by the Byzantines, the Venetians, and Napoleon. Plunder, War, and the Horses of San ... by Dr. Beth Harris and Dr. Steven Zucker
In this jewel box of a Byzantine church, the solid walls of a Greek-cross plan dissolve into golden light. Saint Mark’s Basilica, Venice by Dr. Beth Harris and Dr. Steven Zucker
This personal image was destined for Titian’s tomb, but he may also appear in it as St. Jerome. Titian and Jacopo Palma il Giovane, Pietà by Dr. Steven Zucker and Dr. Beth Harris
Here, everything is askew. Form dissolves as Tintoretto unites Florentine line with Venetian color. Jacopo Tintoretto, Last Supper by Dr. Beth Harris and Dr. Steven Zucker
Bellini opens up this painting’s space, but holds the viewer at bay. The mood is calm, solemn, and contemplative. Giovanni Bellini, San Zaccaria Altarpiece by Dr. Sally Hickson
Learn how the solid, abstracted forms of these co-emperors reject earlier understanding of the human body. Portraits of the Four Tetrarchs by Dr. Steven Zucker and Dr. Beth Harris
Veronese described himself as a painter of figures. Judging by the throng depicted here, he clearly enjoyed it. Paolo Veronese, Feast in the House of ... by Dr. Beth Harris and Dr. Steven Zucker
With its decorative marble and golden light, this space looks a lot like San Marco. Shall we? St. Francis beckons. Giovanni Bellini, San Giobbe Altarpiece by Dr. Beth Harris and Dr. Steven Zucker
This painting was once criticized for its loose, open brushwork—a hallmark of Tintoretto’s style we now admire. Jacopo Tintoretto, The Miracle of the Slave by Dr. Beth Harris and Dr. Steven Zucker