The Monument to Doge Nicolò Tron takes up a good part of the wall to the left of Titian's 'Assumption' on the main altar. Tron was very wealthy from his trading in Rhodes, and gave a good part of his fortune to the defense of the republic. The whole of the Tron monument is watched over by the risen Christ, God the Father, and Annunciation figures in the lunette. The other 18 figures in the monument represent the Virtues and allegories, meant to amplify the life of Nicolò Tron. Dodge Nicolo Tron (b. Venice 1399 – d. Venice 1473) was the 68th Doge of Venice and reigned from 1471 1473. He exerted control of Cypress and made an alliance with the Persian Persian Ussan Hassan Beg Tron was responsible for he recoinage of the Venetian currency. The silver gross was abolished as a coin and a new silver coin the lira valued at 20 soldi was instituted. This is the first appearance of a real and effective lira as a coin. Previously the name had been that of a weight. By the decree of 1472 36 of these lira were to be coined out of a mark of silver. This coin was known as the Lira Tron for centuries. His son Filippo commissioned the tomb. The tomb was allegedly paid for by money gained from his wars with the Turks. The sculptor Antonio Rizzo was in charge of the Tron monument. Rizzo represented Tron both standing below and reclining on his tomb. The Renaissance work of four registers and a lunette contains elements that hearken back to the Gothic, like the top row's line-up of Virtues in niches. The sculptor also realized that the eyes enjoy visual variety in a work of such scale. He used sculpture and bas-relief, colored marble, polychrome, and gilding.
Antonio Rizzo b. Verona before 1440 - d. 1499 or after Rizzo first practiced his art in Verona, and was recognized there. By 1465 he was in Venice, where he was commissioned to do 3 marble altars for San Marco. He designed the Tron monument in the Frari church in the 1470's. His design for the facade on the east wing of the Ducal Palace, including the Giant's Staircase, was his architectural masterpiece. The large marble sculptures of Adam and Eve on the Foscari Arch facing the Giant's staircase (now conserved inside the Ducal Palace) were also Rizzo's. The Ducal Palace courtyard project, however, proved his undoing. Rizzo was accused of embezzling part of the payment for the project for his personal use, and he had to flee Venice in 1498.
|