Save Venice is seeking a sponsor for the conservation of Antonio Aliense’s Saint James the Great.

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

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

Born in Venice in 1556–57 to a merchant named Stefano Vassilacchi, the painter Antonio Vassilacchi spent part of his childhood on the Greek island of Crete, in his father’s native town of Mylopotamos. Following this period abroad, he acquired the nickname Aliense—or Aliensis in Latin, as he often signed his works—meaning “foreigner.” In Venice, Aliense trained in the workshop of the eminent Paolo Veronese and later collaborated with Jacopo and Domenico Tintoretto, as well as Jacopo Palma Giovane. Among his most celebrated achievements are the numerous canvases he produced for the Palazzo Ducale, created as part of the extensive restoration campaign following the fire of 1577.

Aliense’s Saint James the Great stands among his most accomplished works, exemplifying his ability to synthesize the dominant artistic currents of the Venetian Renaissance. The composition demonstrates a refined synthesis of his master’s style and that of the most accomplished contemporary artists. The asymmetrical arrangement and inclusion of classical ruins recall the grand architectural backdrops favored by Paolo Veronese. At the same time, the dynamic, twisting pose of the saint’s body reflects the expressive energy characteristic of Jacopo Tintoretto’s figural style. Finally, the fluid, vigorous brushwork evokes the painterly technique of Jacopo Palma Giovane. In this painting, Aliense demonstrates not only his technical skill but also his capacity to reinterpret the visual language of the great masters of the time into a distinctive artistic voice.

The painting presently occupies the north wall of the church, situated between the main entrance and the left presbyteral chapel. Documentary evidence, however, indicates that it was originally commissioned as the altarpiece for the Saint James Altar, established in 1591 on the opposite side of the nave. Over subsequent centuries, the altar underwent multiple renovations and rededications.

The painting is presently obscured by a heavy layer of surface grime and dust. In addition, the varnish has oxidized over time, causing a yellowed tint that further distorts the original colors and details. A thorough conservation treatment will carefully remove these disfiguring, non-original surface residues. Any abrasions and losses will be meticulously restored using reversible conservation paints, followed by the application of a protective varnish to preserve the artwork.

Antonio Vassilacchi, called Aliense (1556/57 – 1629)
Saint James the Great
c. 1580s, oil on canvas
214 x 140 cm

Da Tiziano al El Greco. Per la storia del Manierismo a Venezia, 1540-1590. Milan: Electa, 1981

Pagotto, Fiorella. Vassilacchi, Antonio, detto Aliense. In Dizionario Biografico degli Italiani, 98. Rome: Istituto della enciclopedia italiana, 2020, pp. 430-433. Link to the Article

Pazzi, Pietro. La Chiesa di San Giovanni Evangelista a Venezia. Venice: Tipo-Litografia Armena, 1985

Piai, Andrea. Quattro pale tintorettesche. “Aldèbaran,” 5, 2019, pp. 49-72. Link to the Article