1.
Titian
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Tiziano Vecelli or Tiziano Vecellio, known in English as Titian /ˈtɪʃən/, was an Italian painter, the most important member of the 16th-century Venetian school. He was born in Pieve di Cadore, near Belluno, during his lifetime he was often called da Cadore, taken from the place of his birth. His painting methods, particularly in the application and use of color, would exercise a profound influence not only on painters of the Italian Renaissance, during the course of his long life, Titians artistic manner changed drastically, but he retained a lifelong interest in color. Although his mature works may not contain the vivid, luminous tints of his pieces, their loose brushwork. The exact date of Titians birth is uncertain, when he was an old man he claimed in a letter to Philip II, King of Spain, to have been born in 1474, but this seems most unlikely. Other writers contemporary to his old age give figures that would equate to birthdates between 1473 and after 1482 and he was the son of Gregorio Vecelli and his wife Lucia. His father was superintendent of the castle of Pieve di Cadore, Gregorio was also a distinguished councilor and soldier. Many relatives, including Titians grandfather, were notaries, and the family of four were well-established in the area, at the age of about ten to twelve he and his brother Francesco were sent to an uncle in Venice to find an apprenticeship with a painter. At that time the Bellinis, especially Giovanni, were the artists in the city. There Titian found a group of men about his own age, among them Giovanni Palma da Serinalta, Lorenzo Lotto, Sebastiano Luciani. Francesco Vecellio, his brother, later became a painter of some note in Venice. A fresco of Hercules on the Morosini Palace is said to have one of Titians earliest works. Others were the Bellini-esque so-called Gypsy Madonna in Vienna, and the Visitation of Mary and Elizabeth, now in the Accademia, a Man with a Quilted Sleeve is an early portrait, painted around 1509 and described by Giorgio Vasari in 1568. Scholars long believed it depicted Ludovico Ariosto, but now think it is of Gerolamo Barbarigo, Rembrandt borrowed the composition for his self-portraits. Titian joined Giorgione as an assistant, but many contemporary critics found his work more impressive—for example in exterior frescoes that they did for the Fondaco dei Tedeschi. Their relationship evidently contained a significant element of rivalry, distinguishing between their work at this period remains a subject of scholarly controversy. A substantial number of attributions have moved from Giorgione to Titian in the 20th century, one of the earliest known Titian works, Christ Carrying the Cross in the Scuola Grande di San Rocco, depicting the Ecce Homo scene, was long regarded as by Giorgione. In 1507–1508 Giorgione was commissioned by the state to create frescoes on the re-erected Fondaco dei Tedeschi, Titian and Morto da Feltre worked along with him, and some fragments of paintings remain, probably by Giorgione
2.
Santa Maria Gloriosa dei Frari
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The Basilica di Santa Maria Gloriosa dei Frari, usually just called the Frari, is a church in Venice, northern Italy. One of the greatest churches in the city, it has the status of a minor basilica and it stands on the Campo dei Frari at the heart of the San Polo district. The church is dedicated to the Assumption, the Franciscans were granted land to build a church in 1250, but the building was not completed until 1338. Work almost immediately began on its larger replacement, the current church. The campanile, the second tallest in the city after that of San Marco, was completed in 1396, the imposing edifice is built of brick, and is one of the citys three notable churches built in the Italian Gothic style. As with many Venetian churches, the exterior is rather plain, the interior contains the only rood screen still in place in Venice. The Frari is a church of the Vicariate of San Polo-Santa Croce-Dorsoduro. The other churches of the parish are San Barnaba, San Ludovico Vescovo, Santa Maria del Soccorso, titian, the most important member of the 16th-century Venetian school of painting, is interred in the Frari
3.
Venice
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Venice is a city in northeastern Italy and the capital of the Veneto region. It is situated across a group of 118 small islands that are separated by canals and these are located in the shallow Venetian Lagoon, an enclosed bay that lies between the mouths of the Po and the Piave Rivers. Parts of Venice are renowned for the beauty of their settings, their architecture, the lagoon and a part of the city are listed as a World Heritage Site. In 2014,264,579 people resided in Comune di Venezia, together with Padua and Treviso, the city is included in the Padua-Treviso-Venice Metropolitan Area, with a total population of 2.6 million. PATREVE is a metropolitan area without any degree of autonomy. The name is derived from the ancient Veneti people who inhabited the region by the 10th century BC, the city was historically the capital of the Republic of Venice. Venice has been known as the La Dominante, Serenissima, Queen of the Adriatic, City of Water, City of Masks, City of Bridges, The Floating City, and City of Canals. The City State of Venice is considered to have been the first real international financial center which gradually emerged from the 9th century to its peak in the 14th century and this made Venice a wealthy city throughout most of its history. It is also known for its several important artistic movements, especially the Renaissance period, Venice has played an important role in the history of symphonic and operatic music, and it is the birthplace of Antonio Vivaldi. Venice has been ranked the most beautiful city in the world as of 2016, the name Venetia, however, derives from the Roman name for the people known as the Veneti, and called by the Greeks Eneti. The meaning of the word is uncertain, although there are other Indo-European tribes with similar-sounding names, such as the Celtic Veneti, Baltic Veneti, and the Slavic Wends. Linguists suggest that the name is based on an Indo-European root *wen, so that *wenetoi would mean beloved, lovable, a connection with the Latin word venetus, meaning the color sea-blue, is also possible. The alternative obsolete form is Vinegia, some late Roman sources reveal the existence of fishermen on the islands in the original marshy lagoons. They were referred to as incolae lacunae, the traditional founding is identified with the dedication of the first church, that of San Giacomo on the islet of Rialto — said to have taken place at the stroke of noon on 25 March 421. Beginning as early as AD166 to 168, the Quadi and Marcomanni destroyed the center in the area. The Roman defences were again overthrown in the early 5th century by the Visigoths and, some 50 years later, New ports were built, including those at Malamocco and Torcello in the Venetian lagoon. The tribuni maiores, the earliest central standing governing committee of the islands in the Lagoon, the traditional first doge of Venice, Paolo Lucio Anafesto, was actually Exarch Paul, and his successor, Marcello Tegalliano, was Pauls magister militum. In 726 the soldiers and citizens of the Exarchate rose in a rebellion over the controversy at the urging of Pope Gregory II
4.
Palma Vecchio
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Palma Vecchio, born Jacopo Palma and also known as Jacopo Negretti, was an Venetian painter of the Italian Renaissance. He was born at Serina Alta near Bergamo, a dependency of the Republic of Venice and he is called Palma Vecchio in English to distinguish him from Palma Giovane, his great-nephew, who was also a painter. Palma is first recorded in Venice in 1510, but had already been there for some time. He was perhaps apprenticed to Andrea Previtali, who came from Bergamo. He painted the new pastoral mythologies and half-length portraits, often of idealized beauties who and he also painted religious pieces, in particular developing the sacra conversazione in a horizontal form with a landscape background. In other, secular, groups something seems to occurring between the figures, though exactly what is unclear, all these types of painting were patronized by wealthy Venetians for their homes. He also painted traditional vertical altarpieces for churches inside Venice and around the Venetian territories on the mainland, however, he was not commissioned to paint a main altar in Venice until 1525, at SantElena, Venice. He was quick to absorb influences from other parts of Italy, sometimes copying poses from Michelangelo and these qualities dominated his work to the exclusion of dramatic chiaroscuro, spatial experiment, expressionism and innovative composition. Critical opinion is divided as whether the art from shortly before his sudden death was continuing to develop, or had lost energy. Freedburg sees his career as oscillating between the influences of Titian and other north and Central Italian trends, including Mannerism and he had a workshop about which little certain is known, and may have taught Bonifazio Pitati, who he certainly influenced, as he did Giovanni Busi. His paintings frequently feature his daughter Violante, of whom Titian was said to be enamoured. Famous works by Palma include a composition of six paintings in the Venetian church of Santa Maria Formosa, with St Barbara in the centre, under the dead Christ, dominic, Sebastian, John Baptist and Anthony. A second work is in the Dresden Gallery, representing three sisters seated in the air, it is frequently named The Three Graces. A third work, discovered in Venice in 1900, is a supposed to represent Violante. Catherine, St. John and Donor and Self Portrait, St Stephen and other Saints, Christ and the Widow of Nain and the Assumption of the Virgin, Lady with a Lute and Christ at Emmaus. It has recently realized that Titian completed a sacra conversazione by Palma, probably after his death. He overpainted two of the figures, and made changes to the background and it is now in the Gallerie dellAccademia in Venice. Freedburg, Sidney J. Painting in Italy, 1500–1600, 3rd edn, rylands, Philip, Palma Vecchio,1988, Cambridge, the standard monograph in English
5.
Girdle of Thomas
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The supposed original girdle is a relic belonging to Prato Cathedral in Tuscany in Italy and its veneration has been regarded as especially helpful for pregnant women. Alternatively, only Thomas actually witnessed the Assumption, and the Virgin left the belt as a proof for his story to the other apostles. The belt or girdle was a symbol of chastity. The simplest version of the story, known as the Madonna of the Girdle in art, shows in its form the Virgin in the sky and Thomas on the ground. Usually Thomas is in front of the empty sarcophagus that had been occupied by the Virgin, in more elaborate versions angels, saints, and donor portraits can be present. The version of the legend where Thomas is the apostle to see the actual Assumption means that such images may legitimately be titled as Assumptions. Lost versions by both Botticelli and Perugino, are known from drawings and he also holds the girdle in the Madonna della Cintola by Pinturicchio in the Borgia Apartments in the Vatican Palace, where he is the only apostle. Prato, slightly to the north of Florence, was intended to provide a defence of the city against attacks from the north. This was a relief, as most Florentine troops were garrisoning Pistoia. The most notable and influential of these is the over life-size marble relief on the wall of the huge tabernacle shrine of the Orsanmichele by Andrea Orcagna of 1352–59. In 1402 Gian Galeazzo Visconti, Duke of Milan again invaded Florentine territory and the relic was processed round the city to protect it, whether such a procession also happened in 1351 is unclear. In the Middle Ages the display coincided with the three days of the Prato fair, and was accompanied by elaborate ceremonies and festivities. The new chapel is at the west end of the left aisle and it begins with a screened-off area under the first arch of the nave, but extends back into a new section built out of the side wall of the cathedral. Completing the chapel took the rest of the century, and the girdle was finally installed on Easter Sunday in 1395, the chapel has frescoes of Stories of the Virgin and the Cintola by Agnolo Gaddi. The 18th-century altar, which encloses the Cintola, is crowned by a marble Madonna with Child, the second was built outside, projecting from a corner of the cathedral, in the 1430s by Donatello and Michelozzo, with a relief frieze of putti. This is very high, and does not allow a view of the relic when it is displayed. This pulpit is still used today, though the rather worn original reliefs have been moved to the museum, a later glass and metal reliquary now houses the relic. The main pulpit inside the cathedral, for preaching, is decorated with reliefs by Donatellos pupil Antonio Rossellino and Mino da Fiesole and was completed in 1473
6.
Panel painting
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A panel painting is a painting made on a flat panel made of wood, either a single piece, or a number of pieces joined together. Panel painting is very old, it was a very prestigious medium in Greece and Rome, a series of 6th century BC painted tablets from Pitsa represent the oldest surviving Greek panel paintings. Most classical Greek paintings that were famous in their day seem to have been of a size comparable to modern works - perhaps up to a half-length portrait size. We can only attempt to imagine what these looked like from some detailed literary descriptions, the Severan Tondo, also from Egypt is one of the handful of non-funerary Graeco-Roman specimens to survive. Encaustic and tempera are the two used in antiquity. Encaustic largely ceased to be used after the early Byzantine icons, the earliest forms of panel painting were dossals, altar fronts and crucifixes. All were painted with images, commonly the Christ or the Virgin, with the saints appropriate to the dedication of the church. Donor portraits including members of the family are also often shown. Painted panels for altars are most numerous in Spain, especially Catalonia, the 13th and 14th centuries in Italy were a great period of panel painting, mostly altarpieces or other religious works. However, it is estimated that of all the paintings produced there,99.9 percent have been lost. The vast majority of Early Netherlandish paintings are on panel, and these include most of the earliest portraits, such as those by Jan van Eyck, and some other secular scenes. However, one of the earliest surviving oils on canvas is a French Madonna with angels of about 1410 in the Gemäldegalerie, Berlin, which is very early indeed for oil painting also. By the 15th century with the wealth of Europe, and later the appearance of humanism. Secular art opened the way to the creation of chests, painted beds, birth trays, many such works are now detached and hung framed on walls in museums. Many double-sided wings of altarpieces have also been sawn into two one-sided panels, canvas took over from panel in Italy by the first half of the 16th century, a change led by Mantegna and the artists of Venice. His panels are of notoriously complicated construction, containing as many as seventeen pieces of wood, for smaller cabinet paintings, copper sheets were another rival support, from the end of the 16th century, used by many artists including Adam Elsheimer. Many Dutch painters of the Golden Age used panel for their small works, by the 18th century it had become unusual to paint on panel, except for small works to be inset into furniture, and the like. But, for example, The National Gallery in London has two Goya portraits on panel, many other painting traditions also painted, and still paint, on wood, but the term is usually only used to refer to the Western tradition described above
7.
Florence
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Florence is the capital city of the Italian region of Tuscany and of the Metropolitan City of Florence. It is the most populous city in Tuscany, with 383,083 inhabitants, Florence was a centre of medieval European trade and finance and one of the wealthiest cities of the time. It is considered the birthplace of the Renaissance, and has called the Athens of the Middle Ages. A turbulent political history includes periods of rule by the powerful Medici family, from 1865 to 1871 the city was the capital of the recently established Kingdom of Italy. The Historic Centre of Florence attracts 13 million tourists each year and it was declared a World Heritage Site by UNESCO in 1982. The city is noted for its culture, Renaissance art and architecture, the city also contains numerous museums and art galleries, such as the Uffizi Gallery and the Palazzo Pitti, and still exerts an influence in the fields of art, culture and politics. Due to Florences artistic and architectural heritage, it has been ranked by Forbes as one of the most beautiful cities in the world, in 2008, the city had the 17th highest average income in Italy. Florence originated as a Roman city, and later, after a period as a flourishing trading and banking medieval commune. According to the Encyclopædia Britannica, it was politically, economically, and culturally one of the most important cities in Europe, the language spoken in the city during the 14th century was, and still is, accepted as the Italian language. Starting from the late Middle Ages, Florentine money—in the form of the gold florin—financed the development of all over Europe, from Britain to Bruges, to Lyon. Florentine bankers financed the English kings during the Hundred Years War and they similarly financed the papacy, including the construction of their provisional capital of Avignon and, after their return to Rome, the reconstruction and Renaissance embellishment of Rome. Florence was home to the Medici, one of European historys most important noble families, Lorenzo de Medici was considered a political and cultural mastermind of Italy in the late 15th century. Two members of the family were popes in the early 16th century, Leo X, catherine de Medici married king Henry II of France and, after his death in 1559, reigned as regent in France. Marie de Medici married Henry IV of France and gave birth to the future king Louis XIII, the Medici reigned as Grand Dukes of Tuscany, starting with Cosimo I de Medici in 1569 and ending with the death of Gian Gastone de Medici in 1737. The Etruscans initially formed in 200 BC the small settlement of Fiesole and it was built in the style of an army camp with the main streets, the cardo and the decumanus, intersecting at the present Piazza della Repubblica. Situated along the Via Cassia, the route between Rome and the north, and within the fertile valley of the Arno, the settlement quickly became an important commercial centre. Peace returned under Lombard rule in the 6th century, Florence was conquered by Charlemagne in 774 and became part of the Duchy of Tuscany, with Lucca as capital. The population began to again and commerce prospered
8.
Raphael
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Raffaello Sanzio da Urbino, known as Raphael, was an Italian painter and architect of the High Renaissance. His work is admired for its clarity of form, ease of composition, together with Michelangelo and Leonardo da Vinci, he forms the traditional trinity of great masters of that period. Raphael was enormously productive, running a large workshop and, despite his death at 37. Many of his works are found in the Vatican Palace, where the frescoed Raphael Rooms were the central, the best known work is The School of Athens in the Vatican Stanza della Segnatura. After his early years in Rome much of his work was executed by his workshop from his drawings and he was extremely influential in his lifetime, though outside Rome his work was mostly known from his collaborative printmaking. Raphael was born in the small but artistically significant central Italian city of Urbino in the Marche region and his poem to Federico shows him as keen to show awareness of the most advanced North Italian painters, and Early Netherlandish artists as well. In the very court of Urbino he was probably more integrated into the central circle of the ruling family than most court painters. Under them, the court continued as a centre for literary culture, growing up in the circle of this small court gave Raphael the excellent manners and social skills stressed by Vasari. Castiglione moved to Urbino in 1504, when Raphael was no longer based there but frequently visited, Raphael mixed easily in the highest circles throughout his life, one of the factors that tended to give a misleading impression of effortlessness to his career. He did not receive a humanistic education however, it is unclear how easily he read Latin. His mother Màgia died in 1491 when Raphael was eight, followed on August 1,1494 by his father, Raphael was thus orphaned at eleven, his formal guardian became his only paternal uncle Bartolomeo, a priest, who subsequently engaged in litigation with his stepmother. He probably continued to live with his stepmother when not staying as an apprentice with a master and he had already shown talent, according to Vasari, who says that Raphael had been a great help to his father. A self-portrait drawing from his teenage years shows his precocity and his fathers workshop continued and, probably together with his stepmother, Raphael evidently played a part in managing it from a very early age. In Urbino, he came into contact with the works of Paolo Uccello, previously the court painter, and Luca Signorelli, according to Vasari, his father placed him in the workshop of the Umbrian master Pietro Perugino as an apprentice despite the tears of his mother. The evidence of an apprenticeship comes only from Vasari and another source, an alternative theory is that he received at least some training from Timoteo Viti, who acted as court painter in Urbino from 1495. An excess of resin in the varnish often causes cracking of areas of paint in the works of both masters, the Perugino workshop was active in both Perugia and Florence, perhaps maintaining two permanent branches. Raphael is described as a master, that is to say fully trained and his first documented work was the Baronci altarpiece for the church of Saint Nicholas of Tolentino in Città di Castello, a town halfway between Perugia and Urbino. Evangelista da Pian di Meleto, who had worked for his father, was named in the commission
9.
Michelangelo
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Michelangelo di Lodovico Buonarroti Simoni was an Italian sculptor, painter, architect, and poet of the High Renaissance who exerted an unparalleled influence on the development of Western art. Considered to be the greatest living artist during his lifetime, he has since described as one of the greatest artists of all time. A number of Michelangelos works of painting, sculpture, and architecture rank among the most famous in existence and he sculpted two of his best-known works, the Pietà and David, before the age of thirty. As an architect, Michelangelo pioneered the Mannerist style at the Laurentian Library, at the age of 74, he succeeded Antonio da Sangallo the Younger as the architect of St. Peters Basilica. Michelangelo transformed the plan so that the end was finished to his design, as was the dome, with some modification. Michelangelo was unique as the first Western artist whose biography was published while he was alive, in his lifetime he was often called Il Divino. One of the qualities most admired by his contemporaries was his terribilità, the attempts by subsequent artists to imitate Michelangelos impassioned and highly personal style resulted in Mannerism, the next major movement in Western art after the High Renaissance. Michelangelo was born on 6 March 1475 in Caprese near Arezzo, at the time of Michelangelos birth, his father was the Judicial administrator of the small town of Caprese and local administrator of Chiusi. Michelangelos mother was Francesca di Neri del Miniato di Siena, the Buonarrotis claimed to descend from the Countess Mathilde of Canossa, this claim remains unproven, but Michelangelo himself believed it. Several months after Michelangelos birth, the returned to Florence. There Michelangelo gained his love for marble, as Giorgio Vasari quotes him, If there is good in me. Along with the milk of my nurse I received the knack of handling chisel and hammer, as a young boy, Michelangelo was sent to Florence to study grammar under the Humanist Francesco da Urbino. The young artist, however, showed no interest in his schooling, preferring to copy paintings from churches, the city of Florence was at that time the greatest centre of the arts and learning in Italy. Art was sponsored by the Signoria, by the merchant guilds and by patrons such as the Medici. The Renaissance, a renewal of Classical scholarship and the arts, had its first flowering in Florence, the sculptor Lorenzo Ghiberti had laboured for fifty years to create the bronze doors of the Baptistry, which Michelangelo was to describe as The Gates of Paradise. The exterior niches of the Church of Orsanmichele contained a gallery of works by the most acclaimed sculptors of Florence – Donatello, Ghiberti, Andrea del Verrocchio, and Nanni di Banco. The interiors of the churches were covered with frescos, begun by Giotto. During Michelangelos childhood, a team of painters had been called from Florence to the Vatican, among them was Domenico Ghirlandaio, a master in fresco painting, perspective, figure drawing, and portraiture who had the largest workshop in Florence at that period
10.
Giovanni Bellini
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Giovanni Bellini was an Italian Renaissance painter, probably the best known of the Bellini family of Venetian painters. His father was Jacopo Bellini, his brother was Gentile Bellini and he is considered to have revolutionized Venetian painting, moving it towards a more sensuous and colouristic style. Through the use of clear, slow-drying oil paints, Giovanni created deep, rich tints and his sumptuous coloring and fluent, atmospheric landscapes had a great effect on the Venetian painting school, especially on his pupils Giorgione and Titian. Giovanni Bellini was born in Venice and he was brought up in his fathers house, and always lived and worked in the closest fraternal relation with his brother Gentile. Up until the age of nearly thirty we find in his work a depth of religious feeling and his paintings from the early period are all executed in the old tempera method, the scene is softened by a new and beautiful effect of romantic sunrise color. Giovannis early works have often been linked both compositionally and stylistically to those of his brother-in-law, Andrea Mantegna, none of the masters works of this kind, whether painted for the various schools or confraternities or for the ducal palace, have survived. As is the case with a number of his brother, Gentiles public works of the period, the still more famous altar-piece painted in tempera for a chapel in the church of S. Giovanni e Paolo, where it perished along with Titians Peter Martyr, after 1479–1480 much of Giovannis time and energy must also have been taken up by his duties as conservator of the paintings in the great hall of the Doges Palace. Of the other, the class of his work, including both altar-pieces with many figures and simple Madonnas, a considerable number have fortunately been preserved. The old intensity of pathetic and devout feeling gradually fades away and gives place to a noble, if more worldly, serenity, the full splendour of Venetian color invests alike the figures, their architectural framework, the landscape and the sky. An interval of years, no doubt chiefly occupied with work in the Hall of the Great Council, seems to separate the San Giobbe Altarpiece. Formally, the works are similar, so a comparison between serves to illustrate the shift in Bellinis work over the last decade of the 15th century. Both pictures are of the Holy Conversation type, both show the Madonna seated on a throne, between classicizing columns. Both place the holy figures beneath a golden mosaicked half dome that recalls the Byzantine architecture in the basilica of St. Mark. Stylistically, the lighting in the San Zaccaria piece has become so soft, Giovannis use of the oil medium had matured, and the holy figures seem to be swathed in a still, rarefied air. The San Zaccaria is considered perhaps the most beautiful and imposing of all Giovannis altarpieces, and is dated 1505, the last ten or twelve years of the masters life saw him besieged with more commissions than he could well complete. In 1505 she endeavoured through Cardinal Bembo to obtain from him another picture, what the subject of this piece was, or whether it was actually delivered, we do not know. In 1513 Giovannis position as master in charge of the paintings in the Hall of the Great Council was threatened by one of his former pupils
11.
Assumption of Mary
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The Catholic Church teaches as dogma that the Virgin Mary having completed the course of her earthly life, was assumed body and soul into heavenly glory. This doctrine was defined by Pope Pius XII on 1 November 1950. In the churches that observe it, the Assumption is a major feast day, in many countries, the feast is also marked as a Holy Day of Obligation in the Roman Catholic Church and as a festival in the Anglican Communion. The Catholic Church itself interprets chapter 12 of the Book of Revelation as referring to it, the earliest known narrative is the so-called Liber Requiei Mariae, which survives intact only in an Ethiopic translation. Probably composed by the 4th century, this Christian apocryphal narrative may be as early as the 3rd century, also quite early are the very different traditions of the Six Books Dormition narratives. The earliest versions of this apocryphon are preserved by several Syriac manuscripts of the 5th and 6th centuries, although the text itself probably belongs to the 4th century. The story also appears in De Transitu Virginis, a late 5th century work ascribed to St. Melito of Sardis that presents a theologically redacted summary of the traditions in the Liber Requiei Mariae. The Transitus Mariae tells the story of the apostles being transported by white clouds to the deathbed of Mary, the Decretum Gelasianum in the 490s declared some transitus Mariae literature apocryphal. An Armenian letter attributed to Dionysus the Areopagite also mentioned the supposed event, john of Damascus, from this period, is the first church authority to advocate the doctrine under his own name. His contemporaries, Gregory of Tours and Modestus of Jerusalem, helped promote the concept to the wider church. In some versions of the story, the event is said to have taken place in Ephesus, in the House of the Virgin Mary, although this is a more recent. The earliest traditions locate the end of Marys life in Jerusalem, in a later tradition, Mary drops her girdle down to the apostle from heaven as testament to the event. This incident is depicted in later paintings of the Assumption. It was celebrated in the West under Pope Sergius I in the 8th century, theological debate about the Assumption continued, following the Reformation, climaxing in 1950 when Pope Pius XII defined it as dogma for the Catholic Church. Catholic theologian Ludwig Ott stated, The idea of the assumption of Mary is first expressed in certain transitus-narratives of the fifth and sixth centuries. The first Church author to speak of the assumption of Mary. The Catholic writer Eamon Duffy states that there is, clearly, however, the Catholic Church has never asserted nor denied that its teaching is based on the apocryphal accounts. The Church documents are silent on this matter and instead rely upon other sources, Pope Pius XII deliberately left open the question of whether Mary died before her Assumption
12.
Franciscans
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The Franciscans are a group of related mendicant religious orders within the Catholic Church, founded in 1209 by Francis of Assisi. These orders include the Order of Friars Minor, the Order of Saint Clare, Francis began preaching around 1207 and traveled to Rome to seek approval from the Pope in 1209. The original Rule of Saint Francis approved by the Pope disallowed ownership of property, the austerity was meant to emulate the life and ministry of Jesus Christ. Franciscans traveled and preached in the streets, while boarding in church properties, Saint Clare, under Franciss guidance, founded the Poor Clares in 1212, which remains a Second Order of the Franciscans. The extreme poverty required of members was relaxed in final revision of the Rule in 1223, the degree of observance required of members remained a major source of conflict within the order, resulting in numerous secessions. The Order of Friars Minor, previously known as the Observant branch, is one of the three Franciscan First Orders within the Catholic Church, the others being the Capuchins and Conventuals. The Order of Friars Minor, in its current form, is the result of an amalgamation of smaller orders completed in 1897 by Pope Leo XIII. The latter two, the Capuchin and Conventual, remain distinct religious institutes within the Catholic Church, observing the Rule of Saint Francis with different emphases, Franciscans are sometimes referred to as minorites or greyfriars because of their habit. In Poland and Lithuania they are known as Bernardines, after Bernardino of Siena, the name of original order, Friars Minor, means lesser brothers, and stems from Francis of Assisis rejection of extravagance. Francis was the son of a cloth merchant, but gave up his wealth to pursue his faith more fully. Francis adopted of the tunic worn by peasants as the religious habit for his order. Those who joined him became the original Order of Friars Minor and they all live according to a body of regulations known as the Rule of St Francis. First Order The First Order or the Order of Friars Minor are commonly called simply the Franciscans and this Order is a mendicant religious order of men, some of whom trace their origin to Francis of Assisi. Their official Latin name is the Ordo Fratrum Minorum, St. Francis thus referred to his followers as Fraticelli, meaning Little Brothers. Franciscan brothers are informally called friars or the Minorites and they all live according to a body of regulations known as the Rule of St Francis. These are The Order of Friars Minor, known as the Observants, most commonly simply called Franciscan friars, official name, the Order of Friars Minor Capuchin or simply Capuchins, official name, Friars Minor Capuchin. The Conventual Franciscans or Minorites, official name, Friars Minor Conventual, Second Order The Second Order, most commonly called Poor Clares in English-speaking countries, consists of religious sisters. The order is called the Order of St. Clare, but in the century, prior to 1263, this order was referred to as The Poor Ladies, The Poor Enclosed Nuns
Titian's Assumption of the Virgin, c. 1516-18, Smarthistory[9]
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