Save Venice is seeking sponsors for the conservation of the Wall Paintings on the Second Floor of the Scuola Dalmata dei Santi Giorgio e Trifone | Partial Sponsorship Available.

*Published sponsorship costs are subject to change due to conservation plan modifications and fluctuations in exchange rates.

Please contact kim@savevenice.org today for more information and the latest cost estimates.

DONORS
Valentina Piovan in Memory of Valter Piovan through the Fondazione Save Venice – ETS
Associazione Culturale “Savio Benefator” In memoria dei fratelli Cesare e Bice Vivante through the Fondazione Save Venice – ETS
Patricia Nagy Olsen
Patricia Fortini Brown
In memory of Matsuo Tomita
In memory of Rosa & Antonio Bertoldi

Founded on May 19, 1451, the Scuola Dalmata dei Santi Giorgio e Trifone—better known as the Scuola di San Giorgio degli Schiavoni—was established by the Dalmatian (or “Schiavoni”) community living in Venice. A century after its founding, the Scuola marked a major milestone with an ambitious transformation. In 1551, the Guardian Grande, Giovanni da Lissa, launched a sweeping renovation campaign that would reshape both the building and its identity. The project was entrusted to Giovanni de Zon, chief architect of the Venetian Arsenal, who reimagined the interior and gave the façade a richly decorative character inspired by Jacopo Sansovino (restored by Save Venice in 2001-2004 and 2024).

The momentum continued into the next decade. In November 1564, Guardian Grande Giovanni Tintore proposed enhancing the upper hall with a new ceiling and continuous wooden benches along its walls—an intervention that would shape the space’s ceremonial function. The completion of these renovations was later immortalized in stone. A relief set into the frieze on the left wall, dated March 15, 1586, commemorates the finished project under the guardianship of Vettor Tromba, leaving a lasting record of a century defined by renewal and artistic ambition.

Encircling the upper walls of the room is one of its most striking features: a cycle of 12 large canvases, created by a range of 17th-century artists, including Marco Vecellio, Andrea Vicentino, and Joseph Heintz the Younger. Painted between the early 1600s and the 1660s, these devotional paintings were not conceived as a single commission but gradually took shape over decades, as successive officers of the Scuola chose to leave their mark on the space.

Each painting brings together portraiture and storytelling. The sitters often appear alongside evocative views of their native cities—such as Zadar or the island of Rab—or scenes from the lives of their patron saints. In some cases, these personal and civic references are elevated further through the inclusion of key moments from the history of salvation, including the Annunciation and the Crucifixion. The result is a rich visual language in which identity, devotion, and memory are seamlessly intertwined.

Alongside this later cycle, two much earlier panel paintings on wood—both dated 1451—offer a glimpse into the Scuola’s origins. Attributed to a workshop assistant of the Murano artist Antonio Vivarini, these panels once adorned the altar of the Scuola in the Church of San Giovanni al Tempio. They were later relocated to the high altar of the Scuola’s ground floor, carrying with them the earliest visual expression of the confraternity’s faith.

All of the paintings are obscured by thick layers of aged, discolored varnish and adhesive residues from previous conservation treatments, along with accumulated dust, grime, and altered inpainting. These surface coatings have significantly dulled the original colors and details. Several of the canvases have also become weakened and brittle over time, requiring relining to restore structural stability and support. Others will need targeted consolidation where the fabric has begun to detach from its stretcher or show signs of tension failure. Additional conservation issues include damage from water infiltration, surface abrasions, areas of paint loss, and active flaking—all of which pose risks to the long-term preservation of the works.

Joseph Heintz the Younger (1600-1678) [attr.]
Christ, God the Father, and Madonna in Heaven among Saints with the Portrait of a Scuola Member and Naval Battle
17th century, oil on canvas
100 x 252 cm

Adopt for $19,400

Attributed to Joseph Heintz the Younger, a renowned German painter who spent most of his career in Venice, this painting stands out as one of the most remarkable in the entire series. On the left side is a half-length portrait of a Scuola member—likely a man in his fifties whose identity remains unknown, as no identifying inscription or coat of arms is visible. The canvas is dominated by a dramatic seascape, with two ships at sea beneath a celestial vision.

A closer examination offers new insight into the iconography of this fascinating painting. The naval scene has often been interpreted as a reference to the Battle of Lepanto (1571), though this event predates the creation of the painting cycle by several decades. A closer examination of the painting suggests that the image instead portrays a Venetian galley at rest in the open sea. Its sails are furled and oars lifted, while at the stern, the captain gazes into the distance toward a second galley, possibly damaged, suggesting the aftermath of a recent confrontation. Above this maritime setting unfolds a celestial vision populated by a host of saints, some easily identifiable, others more obscure. Starting from the left and progressing toward the Holy Trinity and Virgin Mary, one can distinguish Saint Roch, Saint Francis of Paola, an unidentified bishop saint, a figure accompanied by two lions—likely Saint Daniel—Saint Barbara, a female martyr holding an arrow (perhaps Saint Ursula), Saint Lucy, and another female saint lacking clear attributes. On the opposite side are Saint Anthony of Padua, Saint Jerome, Saint Augustine, and Saint John.

The removal of surface dirt, discolored varnish, and overpainting may reveal further details, clarifying the scene’s precise narrative and the identities of the sacred figures.

Unidentified Painter
Holy Trinity with Saints, the Portrait of Guardian Grande Francesco di Dionisi de’ Vecchi da Fiume and Three Scuola Members
1648, oil on canvas
100 x 252 cm

Adopt for $19,400

This painting features the largest number of Scuola member portraits in the entire series, likely representing the full Banca—the highest governing council of the confraternity, comprising the Guardian Grande, Guardian da Matin, Vicario, and Chancellor. Unfortunately, the painting’s current condition makes many of the inscriptions difficult to decipher. At the center of the composition is a powerful vision of the Holy Trinity, emerging from a cluster of clouds: God the Father holds the cross on which Christ is nailed, while the Holy Spirit descends in the form of a dove. Flanking this celestial scene are groups of saints kneeling on clouds—on the left, Saint Dominic, Saint Anthony of Padua, and Saint Francis; on the right, Saint Sebastian, Saint Paul, and Saint Thomas Aquinas.

In the foreground, four members of the Scuola are portrayed with striking individuality—each distinguished by unique facial features and expressive gestures. Inscriptions scattered among the clouds and figures offer potential clues to their identities, though some remain partially obscured by the painting’s current condition. One figure, however, can be identified with certainty: the second from the left, a man in his forties with long brown hair, a prominent curled mustache, and several rings adorning both hands. He is likely Francesco di Dionisi de’ Vecchi da Fiume, who served as Guardian Grande in 1648. Supporting this identification is the presence of Saint Francis, his patron, positioned directly above him and closest to the Holy Trinity. On the right, two other portraits can tentatively be identified as Bastian di Alvise and Tommaso di Bastian, their inclusion helping to explain the selection of Saints Sebastian and Thomas Aquinas. As restoration continues, further details may emerge to confirm or refine these interpretations.

Unidentified Painter
Annunciation and the Portrait of Two Scuola Members
17th century, oil on canvas
100 x 97 cm

Adopt for $10,250

Designed to fit the narrow space between the adjacent left wall and the altar opposite, this small canvas features a double portrait of Scuola members in the foreground and the Annunciation in the background. The religious scene—depicting the moment of the Incarnation—held special significance in Venice, as its liturgical date, March 25th, coincided with the legendary founding date of the city, symbolically linking Venice to the history of Salvation.

The identities of the two Scuola members remain unknown. Unlike its companion piece on the other side of the altar, this canvas lacks inscriptions that might clarify who these figures are. The coats of arms, while present, remain undeciphered pending further archival research. However, one tentative identification can be made. The figure on the right, seen touching a partially burned votive candle in a red box, may represent the Guardian da Matin, the officer responsible for organizing processions and public appearances. The figure beside him, shown gesturing toward the viewer, could plausibly be the Guardian Grande, the highest-ranking officer of the Scuola.

Antonio Vassilacchi, known as Aliense (1556/57-1629) [attr.]
The Calling of Saints Peter and Andrew and the Portrait of a Scuola Member
1607, oil on canvas
100 x 252 cm

Adopt for $17,000

Attributed to Antonio Aliense, a Venetian painter of Greek origin, this painting depicts Christ seated at the edge of the sea, gesturing toward a group of fishermen in a boat. The scene can be identified as the Calling of Saints Peter and Andrew, an episode described in the Gospel of Matthew (4:18–20). According to the text, Christ, while walking along the Sea of Galilee, encountered Peter and his brother Andrew casting a net into the water. Upon calling them to follow him, they immediately “left their nets and followed him,” as he declared he would make them “fishers of men.”

Aliense offers a distinctive interpretation of the event: Peter is shown engaged with the net, while Andrew, positioned at the bow, turns and waves to Christ. A third figure at the stern rows the boat. In the lower left corner, a half-length portrait of a member of the Scuola—likely named Peter or Andrew—gazes directly at the viewer. With one hand placed on his chest in a gesture of devotion and the other holding a red box filled with white votive candles, the figure reinforces the painting’s votive character. His association with the candles may also hint at his role as Guardian da Matin, the officer responsible for overseeing the Scuola’s processions and all its public appearances.

The container is inscribed with the Scuola’s emblem—Saint George fighting the dragon—and the date MDCVII (1607), marking the year of the painting’s execution.

Marco Vecellio (1545-1611) [attr.]
Madonna and Child with Saints George and Tryphon
1607, oil on canvas
100 x 252 cm

Adopt for $17,000

The painting is attributed to Marco Vecellio, nephew of the great master Titian and one of his most trusted assistants and stylistic heirs. A prominent figure in early 17th-century Venetian painting, Marco worked extensively for major churches and civic institutions, including the Palazzo Ducale and the Church of San Giacomo di Rialto.

In this votive painting, Marco depicts the Virgin and Child enthroned within an elevated, altar-like niche set at the center of a church apse, crowned by a golden semi-dome. Flanking the Virgin are the Scuola’s patron saints: Saint George on the left and Saint Tryphon on the right. Saint Tryphon is portrayed according to traditional iconography—as a youthful figure holding a palm branch, symbolizing his martyrdom under the Roman emperor Decius in the 3rd century, and a model of a fortified city, likely representing Kotor, of which he was the patron saint.

Saint George is shown in ornate, gleaming armor, grasping a long spear in his right hand and holding a chained dragon in his left. Behind him, affixed to the apse’s pilaster, is a heraldic shield divided into two fields: one bearing a bird, the other three stylized white lilies. The presence of this coat of arms, combined with the individualized features of Saint George—particularly his long mustache and pointed beard, both fashionable in the 17th century—strongly suggests that the Saint is a disguised portrait of the painting’s donor, who was himself likely a member of the Scuola.

School of Titian [attr.]
Crucifixion, Conversion of Saint Paul the Apostle, the Portrait of a Scuola Member, and the City of Zadar
17th century, oil on canvas
100 x 252 cm

Adopt for $17,000

This intriguing painting masterfully weaves together a rich array of religious episodes and secular elements. At the center of the composition is a depiction of the Crucifixion: Mary Magdalene, kneeling and embracing the base of the cross in anguish, is flanked by the Virgin Mary and Saint John, both shown in postures of grief and despair. Notably, the figures of Mary and John are closely modeled on those in Titian’s Crucifixion of 1558, painted for the Church of San Domenico in Ancona, a city in central Italy. Given the striking similarities and the geographical distance of Titian’s painting from Venice, it is likely that the anonymous artist of this canvas was a former assistant of Titian—someone with direct access to the master’s designs or workshop material.

To the right of the central Crucifixion unfolds the scene of the Conversion of Saint Paul the Apostle, as described in the Acts of the Apostles (9:3–9). According to the narrative, Paul—formerly a zealous persecutor of Christians—was en route from Jerusalem to Damascus when “a light from the sky suddenly flashed around him. He fell to the ground and heard a voice saying to him, ‘Saul, Saul, why are you persecuting me?’” This revelatory moment marks Paul’s dramatic spiritual transformation and his emergence as one of the most influential figures of the Apostolic Age.

On the left side of the painting appears a half-length portrait of a member of the Scuola, whose presence offers additional layers of meaning. The inclusion of the Pauline episode may allude to the sitter’s name, possibly Paolo, while the painted cityscape labeled “ZARRA” in the background clearly identifies the Dalmatian city of Zadar, suggesting the sitter’s origins in that region.

Marco Vecellio (1545-1611) [attr.]
Madonna and Child with Saint Christopher, the City of Rab, and the Portrait of Guardian Grande Nicolò de Dominis de Arbe
1606, oil on canvas
100 x 252 cm

Adopt for $17,000

This image offers yet another example of how members of the Scuola used devotional painting to express both their deep religious convictions and their enduring ties to their cities of origin. At the center of the composition, emerging from a radiant mandorla, the Madonna is depicted seated on a cloud, holding the Christ Child who stands on her lap and blesses the viewer. To the right, the monumental figure of Saint Christopher—patron saint of the Island of Rab—wades through the sea, while on the opposite side the city of Rab itself appears, identified by the inscription “ARBE”, its Venetian name, nestled safely along its bay. In the far-left foreground, a half-length figure turns to engage the viewer directly, pointing toward the city in the distance as if inviting contemplation of its spiritual and civic significance.

A crucial detail helps unveil the identity of the sitter. Beneath draped velvet curtains, a coat of arms is painted on the wall, divided into two fields, each displaying three heraldic emblems: two crowned eagles, two stars set against a red background, and a gold check. This distinctive heraldic design corresponds to the noble de’ Dominis family of Rab. More specifically, it identifies the figure as Nicolò de’ Dominis, a prominent member of the Scuola who was twice elected Guardian Grande, in 1596 and again in 1606.

Considering the overall dating of the second-floor cycle of wall paintings and noting that the style of this work closely aligns with another canvas attributed to Marco Vecellio—depicting the Madonna and Child with Saints George and Tryphon—it is reasonable to date this painting to Nicolò de’ Dominis’s second term in office, around 1606.

Gear, Jennifer E. Visualizing the 1630-31 Plague Epidemic in Early Modern Venice and the Veneto. PhD dissertation, University of Michigan, 2018. Link

Perocco, Guido. Carpaccio nella Scuola di S. Giorgio degli Schiavoni. Venice: Ferdinando Ongania Editore, 1964

Rizzi, Alberto. Scritti di arte sulla Dalmazia. Venice: Scuola dalmata dei SS. Giorgio e Trifone, 2016

Trška, Tanja. Venetian Painters and Dalmatian Patrons: Minor Masters in the Scuola di San Giorgio degli Schiavoni between Collective and Individual. In Capriotti, Giuseppe, Francesca Coltrinari and Jasenka Gudelj (eds.), Visualizing Past in a Foreign Country: Schiavoni/Illyrian Confraternities and Colleges in Early Modern Italy in comparative perspective (IL CAPITALE CULTURALE Studies on the Value of Cultural Heritage Supplementi 07 / 2018), pp. 45-55. Link to the article