The Scuole Grandi (literally 'Great Schools', plural of Italian : Scuola Grande ) were confraternity or sodality institutions in Venice , Italy . They were founded as early as the 13th century as charitable and religious organizations for the laity . These institutions had a key role in the history and development of music. The first groups of bowed instrument players named Violoni were born there in the early 16th century.
18-685: Scuola ('school' in Italian; plural scuole ) is part of the name of many primary and secondary schools in Italy, Italian-language schools abroad, and institutes of tertiary education in Italy. Those are not listed in this disambiguation article. It may also refer to: Associations [ edit ] The Scuole Grandi of Venice , religious confraternities with art collections The Scuole Piccole of Venice , religious confraternities Artistic movements [ edit ] Scuola Romana or Scuola di via Cavour,
36-502: A 20th-century art movement in Rome Giovane scuola , a group of Italian composers of the late 19th and early 20th centuries Other [ edit ] La scuola , 1995 Italian film CISL Scuola , Italian labor union for teachers Topics referred to by the same term [REDACTED] This disambiguation page lists articles associated with the title Scuola . If an internal link led you here, you may wish to change
54-654: A role in grand religious processions that took place throughout the city, like the one that took place every April 25, as depicted in Gentile Bellini's Procession in St. Mark's Square . Their autonomy was lost during the Renaissance when the institutions were subjected to a specific magistracy that ruled the office of the leaders and oversaw the drafting of capitulars. After a process of secularization , charities lost their Christian identity and were absorbed into
72-712: Is housed in the Gallerie dell'Accademia in Venice . The painting was commissioned for the Grand Hall of the Scuola Grande di San Giovanni Evangelista , the seat of the eponymous brotherhood in Venice. The commission included a total of nine large canvasses, by prominent artists of the time such as Bellini, Perugino , Vittore Carpaccio , Giovanni Mansueti , Lazzaro Bastiani , and Benedetto Rusconi . The subject of
90-699: The Zonta was meant to examine the accounts of the Banca . Typically the main building consisted of an androne , or meeting hall for the provision of charity; the upper floor contained the salone used for meeting of the Capitolo and a smaller room, the albergo , used for meetings of the Banca and Zonta . They often had an affiliated hospital and church. The Scuola often sheltered relics, commissioned famous works of art, or patronized musicians and composers. By 1552, there were six Scuole Grandi , but
108-553: The Procurators of Venice , who set forth a complex balance of elected offices, mirroring the structures of the republic . Paying members could vote in the larger Capitolo , which in turn elected 16 members to a supervisory Banca : a chief officer, Vicario (first deputy), Guardian da Mattin (director of processions), a scribe and twelve officers known as the Degani (two for each sestiere ). A second board, known as
126-581: The Scuole Grandi's goals was to encourage living virtuously, and to offer both material and spiritual support to their members. During the Middle Ages, each school had its own regulations, named capitulare or mariegola . While the Scuole Grandi functioned as independent fraternities, the Venetian state called upon them to distribute money for public purposes, like war, as well as playing
144-498: The Venetian structure of the state that encompassed an exhibiting unity-order among the social classes of the republic. While Venice deleted the medieval ius commune from its hierarchy of the sources of law , Grandi Scuole were divided into two opposite classes, and started to securitize their immobiliar investments under the central direction of private banks, even if within the bounds of their history redistribution rules. The Poverty Laws approved in 1528–1529 entrusted from
162-498: The first four arose out of flagellant societies of the thirteenth century: The Scuola Grande dei Carmini was the last of its kind to be recognized as a Scuola Grande in 1767 by the Council of Ten . Procession in St. Mark%27s Square The Procession in St. Mark's Square (Italian: Processione in piazza San Marco ) is a tempera-on-canvas painting by Italian Renaissance artist Gentile Bellini , dating from c. 1496. It
180-400: The link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Scuola&oldid=1134187126 " Category : Disambiguation pages Hidden categories: Short description is different from Wikidata All article disambiguation pages All disambiguation pages Scuole Grandi of Venice Unlike the trade guilds or
198-528: The members of the Scuola were processing the fragment through the Piazza San Marco (the square of St. Mark's), Jacopo de' Salis, a tradesman from Brescia , knelt before the relic in prayer that his dying son might recover. When he returned home, he discovered that the boy was completely well again. In the foreground, Gentile has painted the confraternity in its white robes, processing at the head of
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#1732772374325216-479: The more elite social classes (the patricians and the citizen) who represented more diverse occupations and were able to fund the meeting houses in which the Scuole would meet. Their activities grew to encompass the organization of processions, sponsoring festivities, distribution of money, food and clothing to poorer members, provision of dowries to daughters, burial of paupers, and the supervision of hospitals. Among
234-429: The numerous Scuole Piccolo of Venice , the Scuole Grandi included persons of many occupations, although citizenship was required. Unlike the rigidly aristocratic Venetian governmental Great Council of Venice , which for centuries only admitted a restricted number of noble families, membership in the Scuole Grandi was open to all citizens, and did not permit nobles to gain director roles. Citizens could include persons in
252-512: The paintings were to be the miracles of a fragment of the True Cross . The item had been donated to the brotherhood by Philippe de Mézières , chancellor of the Kingdom of Cyprus and Jerusalem in 1369 and soon became the object of veneration in the city. The canvasses were all executed in 1496–1501. The canvas shows an event that took place about 50 years earlier, on 25 April 1444: while
270-467: The parade, the large golden reliquary suspended between them, carried beneath a canopy held by four more Scuola members. Although the subject of the picture is ostensibly the miracle itself, the Brescian merchant is hardly visible in the crowd: he kneels in sumptuous red robes, immediately to the right of the last two canopy-bearers. Rather, the subject of the picture might be more accurately described as
288-414: The procession, with an especial focus on the space of St. Mark's square and on St Mark's Basilica itself, with its Byzantine domes and glittering mosaics . Regardless of the focus on the foreground of the painting, and unlike many other Venetian linear perspective composition, it lacks a clearly defined focal center. One can notice that Church di San Marco not centered on the composition and this allows
306-515: The state to the Grandi Scuole system all charitable and social activities, like handouts, drugs, burials of needy persons, hospices for widows and children, food and lodging for pilgrims, brotherhood for prisoners. The Serenissima kept for itself a residual role in social justice, uniquely related to those forms of poverty that may become a negative element for the new order of the aristocratic republic. The Scuole Grandi were regulated by
324-515: The third generation of residency in the island republic, or persons who had paid taxes in Venice for fifteen years. The Scuole Grandi proved to be one of the few outlets for non-noble Venetian citizens to control powerful institutions. Members came from a variety of cultural and ethnic backgrounds including Macedonians, Slavs, and Albanians and represented the working class such as artisans, tradesmen, and craftsmen like stonemasons, cobblers, and tanners. However there were individual members who came from
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