29:
125:, the abbess of the nunnery had a revelation of the burial place of the relics. According to legend, the subsequent excavation proved her dream to be precise. The saint's sarcophagus was probably not the original, but likely dated to the 12th century. The idea of a new monumental ark for the relics then came about, and within fifteen years, the funerary monument was installed in the chapel on the left of the presbytery of the Cosma and Damiano church. An inscription
239:, albeit erring in reading the date on the coping of the ark as 1519 instead of 1529. The question of assignment of the work therefore remains open: if it can be postdated to the 1520s, it might be attributable to Lamberti's disciple, in which case at least the statues of the ark would be taken away from Matteo Sanmicheli's oeuvre. The dating of the other works, namely the two roundels and the figures of the chapel of the Magdalene, however remains controversial.
157:, which acts as a pedestal for the representation of San Tiziano. The back does not have figured sculptures, but a panel division with mirrors, where the same ornaments of the front are taken up. A refined and precise gilding covers many parts of the ark, in particular the four sculptures with an effective and elegant rendering of the fabrics of the clothes.
219:, dated to 1510; this has clear references to figures in the candelabrum of the pilasters in the Cavalli chapel of the San Pietro church, Oliveto, completed in 1508. That chapel, in turn, is informed by the technical and compositional detail of the Sanctuary of the Miracles, detail that continued to be reiterated in Sanmicheli's Piedmontese oeuvre.
198:, the main exponent of Brescian Renaissance sculpture between 1490 and 1515. At this point, other than the Sanmicheli workshop, it is difficult to find in Brescia another studio capable of producing works of similar quality. The mirrors on the back of the sepulcher constitute a simplified reproduction of the
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The ark of San
Tiziano stands out for the refined ornamental imprint that characterizes the treatment of the surfaces, exalted above all by the gilding. In particular, however, it is among the very rare Brescian marble works with figurative components that can be placed completely outside the circle
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The Ark of San
Tiziano can also be seen as another example in the competition between Gasparo Cairano's classical style, which had increasingly become popular among Brescian public and private clients, and the Sanmicheli, whose decorative style was out of vogue. Indeed, this ark can be seen as an
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In 2010, Giuseppe Sava reconstructed the figure of
Antonio Medaglia, the little-known architect of the church of San Pietro in Oliveto, proposing a catalog of works. In addition to this, Sava detected the hand of yet another artist in a small group of works among the statuettes of the ark of San
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In the lower part of the sepulchre, four pilasters, richly carved with tendrils, flowers and birds, delimit three niches with a shell cover, within which, from right to left, Saint
Damiano, a Madonna and Child with Saint Cosma are depicted. Above it develops the elaborate cover, with a series of
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attempt by
Bartolomeo Sanmicheli at the beginning of a new century, to return to artistic prominence. While several commissions, notably the Caprioli chapel and the ornamentation of San Pietro in Oliveto, seem to have been shared by the competitors, Cairano's riposte came in 1508, with the
118:. The church and the nunnery were built at the western edge of the inhabited centre of the city, but within the city walls built by Alberico da Gambara between 1237-1239. At this time, the bishop's relics were either lost or forgotten, and thus not transferred to the new building.
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along the nave of the church of San Pietro in
Oliveto has also been noted. The cycle of twelve statues, likely completed by 1507, is attributed to Gasparo Cairano and company, implying the existence of a subcontract to the Sanmicheli. Matteo Sanmicheli's
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According to the documentary evidence, the only member of the
Sanmicheli family to practise figurative work was Matteo Sanmicheli, and to him is attributed the statues on the ark. An affinity between these figures and those of the faces of some of the
227:. His artistic superiority in the eyes of the Brescian state was firmly established, and this probably caused the Sanmicheli to abandon Brescia. They moved to Casale Monferrato, where Bartolomeo died two years later, and Matteo began a new career.
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Historically the ark was attributed to more or less anonymous
Brescian or Lombard sculptors between the end of the 15th century and the beginning of the following one. In 2007, Vito Zani proposed the attribution of the ark to the
129:(1505) appears on the base, indicating the date of installation. The translation of the body of the saint is also recorded in the Brescian state archives. The tomb was ostensibly subject to some further work, as
140:, an architect, reused it along with other stone materiel from the same monastery to create an ornamental fountain, located in the eastern part of piazzetta Tito Speri, and known as the Fountain of San Tiziano.
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and as part of the expansion of the public palazzo, the church and the attached nunnery were demolished to create an urban space west of the
Broletto, which currently constitutes the northern end of the
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workshop, as part of a series of sculptural works that the family of artists would have made between the 1480s and the early 16th century. These included important works such as the facade of the
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San
Tiziano, bishop of Brescia between 526–540, was initially buried in the old church of the Saints Cosma and Damiano, which stood until the end of the thirteenth century in front of the
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The new sepulchral ark survives intact to the present day. The twelfth century sarcophagus, though, was preserved in its original form only till 1885, when
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Sava, Giuseppe (2010). "Antonio Medaglia "lapicida et architecto" tra Vicenza e la Lombardia: il cantiere di San Pietro in Oliveto a Brescia".
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on the prospect of the chapel dedicated to San Tiziano in San Pietro in Oliveto. Sava then assigns all these works to a sculptor influenced by
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475:"Un marmo lombardo del Rinascimento e qualche precisazione sulla scultura lapidea a Brescia tra Quattro e Cinquecento (seconda parte)"
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Zani, Vito (2006). "Sulle tracce dei Sanmicheli a Brescia e Mantova, tra Quattro e Cinquecento". In Ceriana, Matteo (ed.).
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Zani, Vito (2011). "Maestri e cantieri nel Quattrocento e nella prima metà del Cinquecento". In Terraroli, Valerio (ed.).
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Tiziano, in two figured rounds in the interiors of Santa Maria dei Miracoli and in the small busts of bishops and the
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Tullio Lombardo. Scultore e architetto nella cultura artistica veneziana del Rinascimento, atti del convegno
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and other minor but significant artefacts including the architectural members outside the
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Scultura in Lombardia. Arti plastiche a Brescia e nel Bresciano dal XV al XX secolo
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of the sanctuary of the Miracles, which has been traced back to the Sanmicheli.
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career began with a statuette in the lost tomb of Maria di Serbia in
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Braga, Marina; Simonetto, Roberta (2004). "Verso porta San Nazaro".
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506:Marble sculptures in Italy
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496:Renaissance sculptures
22:The Ark of San Tiziano
225:Ark of Sant'Apollonio
188:Church of San Giorgio
176:Palazzo della Loggia
473:Zani, Vito (2012).
455:Zani, Vito (2010).
416:Brescia Città Museo
400:, pp. 126–149.
302:, pp. 426–446.
138:Antonio Tagliaferri
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87:Ark of San Tiziano
442:cite encyclopedia
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386:Zani 2010
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