bell-tower - definition and meaning bell-tower Definitions from The Century Dictionary and Cyclopedia n. A tower of any kind built to contain one or more bells. See cut under campanile. Etymologies Sorry, no etymologies found. Examples While Art Of Noise celebrates the Midlands' cultural heritage of heavy metal, reggae, punk and bhangra, Easterby adapts the numinous aura of the bell-tower carillon to the enchanting possibilities activated by hi-tech electronic sensors set within the primal spookiness of a darkened room. This week's new exhibitions When she finished praying, she found money on the altar and was able to commence building again. 50 Adelhausen's Sister-Book indicates that the choir walls were painted. 51 In addition to the church with its choir, the cloister had a bell-tower, a dormitory, cells, corn buildings, cellars, and other buildings, all of which were damaged in the fire of 1410. Campanile - The Full Wiki The Full Wiki Note: Many of our articles have direct quotes from sources you can cite, within the Wikipedia article! This article doesn't yet, but we're working on it!

See more info or our list of citable articles . Related top topics The Leaning Tower of Pisa is famous because of its tilt . The tallest Campanile, Joseph Chamberlain Memorial Clocktower, Birmingham St Mark's campanile, Venice , Italy Campanile ( [kampaˈniːle], English pronunciation: /ˌkæmpəˈniːliː/) is an Italian word meaning " bell tower " (from the word campana, meaning "bell"). The term applies to bell towers which are either part of a larger building (usually a church or a civil administration building) or free-standing, although in American English , the latter meaning has become prevalent. The most famous campanile is probably the Leaning Tower of Pisa . Other notable examples include St Mark's Campanile in St Mark's Square , Venice . Modern campaniles often contain carillons , a musical instrument traditionally composed of at least 23 large bells which are sounded by cables, chains, or cords connected to a keyboard . These can be found at some college and university campuses. In modern construction, rather than using heavy bells the sound may be produced by the striking of small metal rods whose vibrations are amplified electronically and sounded through loudspeakers.

The tallest free-standing campanile in the world is the Joseph Chamberlain Memorial Clock Tower , located at the University of Birmingham , UK . [1] although its actual height is the subject of some confusion. The university lists it as 110 metres (361 ft) tall, [2] whereas other sources state that it is 100 metres (328 ft) tall, which would correspond to approximately 110 yards. [1] [3] Contents The Peace Tower , part of the Canadian Parliament Buildings in Ottawa , Ontario , is equipped with a 53-bell carillon Ladner Clock Tower broadcasts the carillon of the University of British Columbia (40 m (131 ft); originally 330 bronze bars, now fully digital) The Jesus Church, Valby, Copenhagen with the Campanile designed by Vilhelm Dahlerup Tour Pey-Berland , campanile of Bordeaux Cathedral , (66 m). Tour Saint-Jacques , Paris , campanile of a no longer existant church. Campanile della Parrocchiale Mortegliano (UD) 113.2 m Campanile della Cattedrale Alessandria mt.

106 Campanile del Duomo Lendinara (Ro)mt. 101 Torre degli Asinelli Bologna mt. 98 Campanile della Parrocchiale Silandro mt. 97 Basilica di San Nicolò Lecco mt. 96 Torre di Palazzo Vecchio Firenze mt. 94 Torre del Mangia Siena mt. 94 Campanile della Basilica di San Gaudenzio Novara mt. 92 Campanile della Parrocchiale Breganze (Vi)mt. 90 South Africa Port Elizabeth , completed in 1923 on the landing beach where the British Settlers landed in 1820 in commemoration of the centenary of their arrival. The tower is 51.8 meters high and has 204 steps to the top. It also has a carillon of 23 bells. United States UMass Dartmouth campanile, which includes an electronic bell and the campus wireless access point. Denny Chimes , the campanile/carillon at the University of Alabama , Tuscaloosa .

115 feet (35 m) tall with 25 bronze bells played from 2 keyboards or roll player mechanism. Sather Tower , "The Campanile" and carillon of the University of California, Berkeley , is 307 ft (93.6 m) tall and has 61 bells. It was the subject of The Campanile Movie. Carillon Tower, "The Bell Tower" at the University of California, Riverside is 161 ft (49.1 m) tall with 48 bells and was dedicated to the University in 1966. Storke Tower at the University of California, Santa Barbara is 175 ft (53.3 m) tall with 61 bells. Hardy Memorial Tower at San Diego State University , constructed in 1931, is 11 stories (119.1 ft / 36.3 m) tall; it contains the Fletcher Symphonic Carillon (also known as the Fletcher Chimes) (installed 1946), consisting of 204 bells over 6 octaves [5] .

The California Tower at Balboa Park (San Diego, California) is 198 ft (60.4 m) tall and has a 100-bell symphonic carillon. It was built in 1914 for the 1915-1916 Pan-American Expo. St. Andrew's Catholic Church , Pasadena, California, built in 1927. Daniels & Fisher Tower , popularly the D & F Tower in downtown Denver , was, at 330 feet (100.5 m), the third-tallest structure in the United States and the tallest west of the Mississippi River when completed in 1910. Bok Tower, the centerpiece of Bok Tower Gardens , is located north of Lake Wales ; the site was designed by Frederick Law Olmsted, Jr. and is listed on the National Register of Historic Places as a National Historic Landmark ; the Singing Tower contains a 60-bell carillon set within a 205-feet-tall (62 m) Late Gothic Revival tower designed by architect Milton B.

Medary Century Tower, at the University of Florida in Gainesville , is 157 feet tall (47.9 m) and has a cast-bell carillon with 61 bells. The Campanile, at Pensacola Christian College in Pensacola, Florida, has a 43 cast-bell carillon. Brandt Campanile, at Valparaiso University near the Chapel of the Resurrection and the Christopher Center for Library and Information Resources , is a chime standing 143 ft (43.6 m) high with 12 bells. The bell tower at the main campus of Purdue University in West Lafayette, Indiana is 160 feet tall. It was built in 1994 . An earlier campanile, the Heavilon Bell Tower, was built 100 years earlier, but demolished with Heavilon Hall in 1956 . Shafer Tower , a campanile and carillon in the central campus of Ball State University , standing at 150 feet in height. The Campanile at the University of Northern Iowa .

The World War II Memorial Carillon and Campanile at the University of Kansas (120 ft (36.6 m); 53 bells) Louisiana State University World War One Memorial Bell Tower ( Memorial Tower ) Also known as the Campanile, this 175-ft (53.3 m) structure was built in 1923 and dedicated in 1926 as a memorial to Louisianans who died in WWI. On the rotunda walls are bronze plaques bearing the names of those to whom the tower is dedicated. (The names of the black soldiers were recently added.) Chimes ring every quarter hour. The cornerstone in front of the tower was excavated from the ruins of the Louisiana State Seminary of Learning and Military Academy in Pineville (LSU's first incarnation), one half describes the history, while the other half is inscribed with the names of the first board of supervisors and faculty . The plaza area in front of Memorial Tower has served as a place of both ceremony and celebration. The University’s annual Christmas Tree Lighting Ceremony takes place on the plaza and attracts many visitors to the area. In addition, Student Government holds the formal installation for its new President and Vice President each spring.

There are also several traditions attached to it, especially kissing in the plaza at midnight on Valentine's Day . Campanile next to City Hall in Springfield, Massachusetts , a part of the Municipal Group , the city's neoclassical government center. (300 ft) Campanile Pilgrim Monument , Provincetown, Massachusetts , a 252-ft (76.8 m) granite tower by Charles Amos Cummings . The Stockbridge Congregational Church has a bell tower, also known as the Children's Chime. [6] The Karam Campanile at the University of Massachusetts Dartmouth, in the middle of campus Memorial Bell Tower at North Carolina State University in Raleigh (115 ft, 35 m) Campanile at Oregon State University (68 ft, 20.7 m tall; 5 bells) Coughlin Campanile at South Dakota State University (167 ft, 50.9 m). The tower's chimes cover three octaves and can be "played" manually from an organ. Albritton Bell Tower, Texas A&M University , College Station (138 ft, 42.1 m; 49 bells).

Murchison Memorial Tower, the campanile at Trinity University , San Antonio (166 ft, 50.6 m; 4 bells). Millennium Carillon Tower at University of Texas at Tyler , Tyler (88 ft, 26.8 m; 57 bells). Adams Bell Tower, Norwich University , Northfield (47 bells). [7] Carillon Tower at University of Wisconsin–Madison , Madison (featuring 56 bells and weekly concerts). Other uses Campanile is also the name of the Mount Saint Joseph Academy Newspaper . Campanile is also the name of the Palo Alto High School newspaper , and the Rice University yearbook . It is also the name of a restaurant in Los Angeles , California owned by Mark Peel where the head pastry chef is Nancy Silverton . See also Clock tower References Up to date as of January 14, 2010 From LoveToKnow 1911 CAMPANILE, the bell tower attached to the churches and town-halls in Italy (from campana, a bell).

Bells are supposed to have been first used for announcing the sacred offices by Pope Sabinian (604), the immediate successor to St Gregory ; and their use by the municipalities came with the rights granted by kings and emperors to the citizens to enclose their towns with fortifications, and assemble at the sound of a great bell. It is to the Lombard architects of the north of Italy that we are indebted for the introduction and development of the campanile, which, when used in connexion with a sacred building, is a feature peculiar to Christian architecture - Christians alone making use of the bell to gather the multitude to public worship. The campanile of Italy serves the same purpose as the tower or steeple of the churches in the north and west of Europe , but differs from it in design and position with regard to the body of the church. It is almost always detached from the church, or at most connected with it by an arcaded passage. As a rule also there is never more than one campanile to a church, with a few exceptions, as in S. Ambrogio, Milan ; the cathedral of Novara ; S. Abbondio, Como ; S.

Antonio, Padua ; and some of the churches in south Italy and Sicily . The design differs entirely from the northern type; it never has buttresses, is very tall and thin in proportion to its height, and as a rule rises abruptly from the ground without base or plinth mouldings undiminished to the summit; it is usually divided by string-courses into storeys of nearly equal height, and in north and central Italy the wall surface is decorated with pilaster strips and arcaded corbel strings. Later, the square tower was crowned with an octagonal turret , sometimes with a conical roof, as in Cremona and Modena cathedrals. As a rule the openings increase in number and dimensions as they rise, those at the top therefore giving a lightness to the structure, while the lower portions, with narrow slits only, impart solidity to the whole composition. The earliest examples are those of the two churches of S. Apollinare in Classe (see Basilica , fig. 8) and S. Apollinare Nuovo at Ravenna , dating from the 6th century. They are circular, of considerable height, and probably were erected as watch towers or depositories for the treasures of the church.

The next in order are those in Rome , of which there are a very large number in existence, dating from the 8th to the 11th century. These towers are square and in several storeys, the lower part quite plain till well above the church to which they are attached. Above this they are divided into storeys by brick cornices carried on stone corbels, generally taken from ancient buildings, the lower storeys with blind arcades and the upper storeys with open arcades. The earliest on record was one connected with St Peter's, to the atrium of which, in the middle of the 8th century, a bell-tower overlaid with gold was added. One of the finest is that of S. Maria-in-Cosmedin, ascribed to the 8th or 9th century. In the lower part of it are embedded some ancient columns of the Composite Order belonging to the Temple of Ceres . The tower is 120 ft. high, the upper part divided into seven storeys, the four upper ones with open arcades, the bells being hung in the second from the top.

The arches of the arcades, two or three in number, are recessed in two orders and rest on long impost blocks (their length equal to the thickness of the wall above), carried by a mid-wall shaft . This type of arcade or window is found in early German work, except that, as a rule, there is a capital under the impost block. Rome is probably the source from which the Saxon windows were derived, the example in Worth church being identically the same as those in the Roman campanili. In the campanile of S. Alessio there are two arcades in each storey , each divided with a mid-wall shaft. Among others, those of SS. Giovanni e Paolo, S. Lorenzo in Lucina , S. Francesca Romana, S. Croce in Gerusalemme, S. Giorgio in Velabro (fig. 1), S. Cecilia, S. Pudenziana, S. Bartolommeo in Isola (982), S. Silvestro in Capite, are characteristic examples.

On some of the towers are encrusted plaques of marble or of red or green porphyry , enclosed in a tile or moulded brick border; sometimes these plaques are in majolica with Byzantine patterns. The early campanili of the north of Italy are of quite another type, the north campanile of S. Ambrogio, Milan (1129), being decorated with vertical flat pilaster strips, four on each face, and horizontal arcaded corbel strings. Of earlie r date (879), the campanile of S. Satiro at Milan is in perfect preservation; it is divided into four storeys by arched corbel tables, the upper storey having a similar arcade with mid-wall shaft to those in Rome. One of the most notable examples in north Italy is the campanile of Pomposa near Ferrara . It is of immense height and has nine storeys crowned with a lofty con ical spire , the wall face being divided vertically with pilaster strip s and horizontally From a photograph by Alinari. FIG. 1. - Campanile of S.

Giorgio in Velabro, Rome., with arcaded corbel tables, - this campanile, the two towers of S. Antonio, Padua, and that of S. Gottardo, Milan, of octagonal plan, being among the few which are thus terminated. In the campanile at Torcello we find an entirely different treatment: doubly recessed pilaster-strips divide each face into two lofty blind arcades rising from the ground to the belfry storey, over loo ft. high, with small slits for windows, the upper or belfry storey having an arcade of four arches on each front. This is the type generally adopted in the campanili of Venice , where there are no string-courses. The campanile of St Mark's was of similar design, with four lofty blind arcades on each face. The lower portion, built in brick, 162 ft. high, was commenced in 902 but not completed till the middle of the 12th century.

In i io a belfry storey was added with an open arcade of four arches on each face, and slightly set back from the face of the tower above was a mass of masonry with pyramidal roof, the total height being 320 ft. On the 14th of July 1902 the whole structure collapsed; its age, the great weight of the additions made in 1510, and probably the cutting away inside of the lower part, would seem to have been the principal contributors to this disaster, as the pile foundations were found to be in excellent condition. In central Italy the two early campanili at Lucca return to the Lombard type of the north, with pilaster strips and arcaded corbel strings, and the same is found in S. Francesco (Assisi), S. Frediano (Lucca), S. Pietro-inGrado and S. Michelein-Orticaia (Pisa), and S. Maria-Novella (Florence). The campanile of S.

Niccola, Pisa , is octagonal on plan, with a lofty blind arcade on each face like those in Venice, but with a single string-course halfway up. The gallery above is an open eaves gallery like those in north Italy. In southern Italy the design of the campanile varies again. In the two more important examples at Bari and Molfetta , there are two towers in each case attached to the east end of the cathedrals. The campanili are in plain masonry, the storeys being suggested only by blind arches or windows, there being neither pilaster strips nor string-courses. 4 The same treatment is found at Barletta and Caserta Vecchia; in the latter the upper storey has been made octagonal with circular turrets at each angle, and this type of design is followed at Amalfi , the centre portion being circular instead of octagonal and raised much higher. In Palermo the From a photograph by Brogi. campanile of the MartoFIG.2. - Campanileof St Mark's, Venice.

rana, of which the two lower storeys, decorated with three concentric blind pointed arches on each face, probably date from the Saracenic occupation, has angle turrets on the two upper storeys. The upper portions of the campanile of the cathedral have similar angle turrets, which, crowned with conical roofs , group well with the central octagonal spires of the towers. The two towers of the west front of the cathedral at Cefalu resemble those of Bari and Molfetta as regards their treatment. The campanili of S. Zenone, Verona , and the cathedrals of Siena and Prato , differ from those already mentioned in that they owe their decoration to the alternating courses of black and white marble. Of this type by far the most remarkable so & °' far as its marble decoration is concerned is Giotto's campanile at Florence , built in 1334. It measures 275 ft. high, 45 ft. square, and is encased in black, white and red marble, with occasional sculptured ornament . The angles are emphasized by octagonal projections, the panelling of which seems to have ruled that of the whole structure.

There are five storeys, of which the three upper ones are pierced with windows; twin arcades side by side From a photograph by Alinari. FIG. 3. - Giotto's Campanile, Florence. in the two lower, and a lofty triplet window with tracery in the belfry stage. A richly corbelled cornice crowns the structure, above which a spire was projected by Giotto , but never carried out. The loftiest campanile in Italy is that of Cremona, 396 ft. high. Though built in the second half of the 13th century, and showing therefore Gothic influence in the pointed windows of the belfry and two storeys below, and the substitution of the pointed for the semicircular arch of the arcaded corbel string-courses, it follows the Lombard type in its general design, and the same is found in the campanile of S. Andrea, Mantua . In the 16th century an octagonal lantern in two strings crowned with a conical roof was added.

Owing to defective foundations, some of the Italian campanili incline over considerably; of these leaning towers, those of the Garisendi and Asinelli palaces at Bologna form con spicuous objects in the town; the two more remarkable examples are the campanile of S. Martino at Este , of early Lombard type, and the leaning tower at Pisa, which was built by the citizens in 1174 to rival that of Venice. The Pisa tower is circular on plan, about 51 ft. in diameter and 172 ft. high. Not including the belfry storey, which is set back on the inner wall, it is divided into seven storeys all surroundedwith an open gallery or arcade. (See Architecture , Plate I. fig. 62.) Owing to the sinking of the piles on the south side, the inclination was already noticed when the tower was about 30 ft.

high, and slight additions in the height of the masonry on that side were inintroduced to correct the level, but without result, so that the works were stopped for many years and taken up again in 1234 under the direction of William of Innsbruck ; he also attempted to rectify the levels by increasing the height of the masonry on the south side. At a later period the belfry storey was added. The inclination now approaches 14 ft. out of the perpendicular. The outside is built entirely in white marble and is of admirable workmanship, but it is a question whether the equal subdivision of the several storeys is not rather monotonous. The campanili of the churches of S. Nicolas and S. Michele in Orticaia, both in Pisa, are also inclined to a slight extent. The campanili hitherto described are all attached to churches, but there are others belonging to civic buildings some of which are of great importance. The campanile of the town hall of Siena rises to an enormous height, being 285 ft., and only 22 ft.

wide; it is built in brick and crowned with a battlemented From a photograph by Alinari. FIG. 4. - Campanile of the Palazzo del Signore, Verona. parapet carried on machicolation corbels, 16 ft. high, all in stone, and a belfry storey above set back behind the face of the tower. The campanile of the Palazzo Vecchio at Florence is similarly crowned, but it does not descend to the ground, being balanced in the centre of the main wall of the town hall. A third example is the fine campanile of the Palazzo-del-Signore at Verona, fig. 4, the lower portion built in alternate courses of brick and stone and above entirely in brick, rising to a height of nearly 250 f t., and pierced with putlog holes only. The belfry window on each face is divided into three lights with coupled shafts. An octagonal tower of two storeys rises above the corbelled eaves.

In the campanili of the Renaissance in Italy the same general proportions of the tower are adhered to, and the style lent itself easily to its decoration; in Venice the lofty blind arcades were adhered to, as in the campanile of the church of S. Giorgio dei Greci. In that of S. Giorgio Maggiore, however, Palladio returned to the simple brickwork of Verona, crowned with a belfry storey in stone, with angle pilasters and columns of the Corinthian order in antis , and central turret with spire above. In Genoa there are many examples; the quoins are either decorated with rusticated masonry or attenuated pilasters, with or without horizontal string-courses, always crowned with a belfry storey in stone and classic cornices, which on account of their greater projection present a fine effect. (R. P. S.) How was the Florence Cathedral Built - Some Interesting Facts WRITE FOR US How was the Florence Cathedral Built Popularly called the Duomo, Florence Cathedral’s name is derived from the Latin “domus dei’ -the House of God-and is dedicated to the Virgin Mary Santa Maria del Fiore (St Mary of the Flower).

The present building was started in 1296 and is the third cathedral to stand on the site. Taking 140 years to build, the original plan was only changed once during construction when the eastern half of the cathedral was massively expanded to allow for the now iconic dome. Work on this extraordinary structure began in 1420 and was completed in just 16 years. Higher and wider than any previously built, the octagonal dome was constructed without using a temporary wooden supporting frame. Consisting of a double shell made of sandstone, marble and brick, the base of the dome is 52 metres (171 feet) above the ground and has a staggering 44-metre (144-foot) diameter. The cathedral’s exterior walls are faced in alternate vertical and horizontal bands of coloured marble – white from Carrara, green from Prato and red from Siena. Despite the many architects to work on it the building retains a remarkable architectural and aesthetic cohesion. The interior is sparsely decorated, but contains a number of major Renaissance artworks and 44 stained-glass windows – in fact, the largest expanse of glass installed during 14th and 15th-century Italy.

Above the main door is the basilica’s one-handed liturgical clock, which shows all 24 hours. Erected in 1443, it is still working today. The largest cathedral in Europe when it was built, it has become symbolic of Florence and its dome is instantly recognized around the globe. Such is the Duomo’s cultural importance that the cathedral complex was designated a UNESCO World Heritage site in 1982. The Baptistry of St John This octagonal building stands slightly to the west of the cathedral. Built to house the font in which all Christians in Florence were baptized, it was constructed between 1059 and 1128. The baptistry is famous for three sets of artistically important bronze doors. The eastern pair, facing the cathedral, so impressed Michelangelo that he called them the ‘Gates of Paradise’. Made of sandstone and faced with marble incorporating many reused fragments of Roman buildings, the exterior features many sculptural groups and two massive porphyry columns. The interior of the baptistry is clad in marble, while the inside of the dome which roofs the structure is inlaid with magnificent gold mosaics. The floor is covered in marble featuring a design based on the zodiac.

Unusually, the baptistry also houses a number of tombs, including that of the antipope John XXIII which is considered a significant early-Renaissance sculptural work. Giotto’s campanile The campanile, or bell tower, was designed by the celebrated painter Giotto di Bondone and it houses seven bells. Standing next to the cathedral, it is built from the same coloured marbles and so blends in well with its neighbour. The tower is square in plan with sides measuring 15 metres (47 feet) and it soars 87 metres (278 feet) high. Embraced by polygonal buttresses at its corners, it’s divided into five separate levels – the upper three of which contain windows. Each of the three top levels is larger than the one below it in every dimension. These differences in size counter the effect of perspective so when viewed from below, the three top levels of the tower look equal in size. Although Giotto originally intended the campanile to be surmounted by a tall spire, after his death it was decided to build a large projecting terrace instead, which lends the tower a dramatic ‘broken off’ look.

Campanile Campanile [kampaˈniːle], English pronunciation: [ˌkæmpəˈniːliː]) is an Italian word meaning " bell tower " (from the word campana, meaning "bell"). The term applies to bell towers which are either part of a larger building (usually a church or a civil administration building) or free-standing, although in American English , the latter meaning has become prevalent. The most famous campanile is probably the Leaning Tower of Pisa . Other notable examples include St Mark's Campanile in St Mark's Square, Venice . Modern campaniles often contain carillons , a musical instrument traditionally composed of at least 23 large bells which are sounded by cables, chains, or cords connected to a keyboard. These can be found at some college and university campuses. In modern construction, rather than using heavy bells the sound may be produced by the striking of small metal rods whose vibrations are amplified electronically and sounded through loudspeakers. The tallest free-standing campanile in the world is the Joseph Chamberlain Memorial Clock Tower, located at the University of Birmingham, UK . although its actual height is the subject of some confusion.

The university lists it as 110 metres (361 ft) tall, whereas other sources state that it is 100 metres (328 ft) tall, which would correspond to approximately 110 yards. List of campaniles The Clock Tower, commonly but incorrectly referred to as Big Ben, of the Palace of Westminster The Trent Building of the University of Nottingham The Joseph Chamberlain Memorial Clock Tower at the University of Birmingham The Queen's Tower at Imperial College London The Trafford Centre's Barton Square Tower The Addleshaw Tower at Chester Cathedral St Paul's Church, Wordsworth Avenue, Sheffield Loughborough Carillon , Loughborough, Leicestershire United States UMass Dartmouth campanile, which includes an electronic bell and the campus wireless access point. Denny Chimes, the campanile/carillon at the University of Alabama, Tuscaloosa. 115 feet (35 m) tall with 25 bronze bells played from 2 keyboards or roll player mechanism. Sather Tower, "The Campanile" and carillon of the University of California, Berkeley, is 307 ft (93.6 m) tall and has 61 bells.

It was the subject of The Campanile Movie. Carillon Tower, "The Bell Tower" at the University of California, Riverside is 161 ft (49.1 m) tall with 48 bells and was dedicated to the University in 1966. Storke Tower at the University of California, Santa Barbara is 175 ft (53.3 m) tall with 61 bells. Hardy Memorial Tower at San Diego State University, constructed in 1931, is 11 stories (119.1 ft / 36.3 m) tall; it contains the Fletcher Symphonic Carillon (also known as the Fletcher Chimes) (installed 1946), consisting of 204 bells over 6 octaves. The California Tower at Balboa Park (San Diego, California) is 198 ft (60.4 m) tall and has a 100-bell symphonic carillon. It was built in 1914 for the 1915-1916 Pan-American Expo. St. Andrew's Catholic Church, Pasadena, California, built in 1927.

Daniels & Fisher Tower, popularly the D & F Tower in downtown Denver , was, at 330 feet (100.5 m), the third-tallest structure in the United States and the tallest west of the Mississippi River when completed in 1910. Bok Tower, the centerpiece of Bok Tower Gardens, is located north of Lake Wales; the site was designed by Frederick Law Olmsted, Jr. and is listed on the National Register of Historic Places as a National Historic Landmark; the Singing Tower contains a 60-bell carillon set within a 205-feet-tall (62 m) Late Gothic Revival tower designed by architect Milton B. Medary Century Tower, at the University of Florida in Gainesville, is 157 feet tall (47.9 m) and has a cast-bell carillon with 61 bells. The Campanile, at Pensacola Christian College in Pensacola, Florida, has a 43 cast-bell carillon.

Kessler Campanile at the Georgia Institute of Technology in Atlanta was built for the 1996 Olympic Games and is 80 ft (24.4 m) tall. Brandt Campanile, at Valparaiso University near the Chapel of the Resurrection and the Christopher Center for Library and Information Resources, is a chime standing 143 ft (43.6 m) high with 12 bells. The bell tower at the main campus of Purdue University in West Lafayette, Indiana is 160 feet tall. It was built in 1994. An earlier campanile, the Heavilon Bell Tower, was built 100 years earlier, but demolished with Heavilon Hall in 1956. Shafer Tower, a campanile and carillon in the central campus of Ball State University, standing at 150 feet in height. The Campanile and carillon at Iowa State University (110 ft (33.5 m); 50 bells). The Campanile at the University of Northern Iowa.

The World War II Memorial Carillon and Campanile at the University of Kansas (120 ft (36.6 m); 53 bells) Louisiana State University World War One Memorial Bell Tower (Memorial Tower) Also known as the Campanile, this 175-ft (53.3 m) structure was built in 1923 and dedicated in 1926 as a memorial to Louisianans who died in WWI. On the rotunda walls are bronze plaques bearing the names of those to whom the tower is dedicated. (The names of the black soldiers were recently added.) Chimes ring every quarter hour. The cornerstone in front of the tower was excavated from the ruins of the Louisiana State Seminary of Learning and Military Academy in Pineville (LSU's first incarnation), one half describes the history, while the other half is inscribed with the names of the first board of supervisors and faculty. The plaza area in front of Memorial Tower has served as a place of both ceremony and celebration. The University’s annual Christmas Tree Lighting Ceremony takes place on the plaza and attracts many visitors to the area. In addition, Student Government holds the formal installation for its new President and Vice President each spring.

There are also several traditions attached to it, especially kissing in the plaza at midnight on Valentine's Day . Campanile next to City Hall in Springfield, Massachusetts, a part of the Municipal Group, the city's neoclassical government center. (300 ft) Campanile of Old South Church in Boston , a 246-ft (75 m) Venetian-Gothic bell tower by Charles Amos Cummings. Campanile Pilgrim Monument, Provincetown, Massachusetts, a 252-ft (76.8 m) granite tower by Charles Amos Cummings.

The Stockbridge Congregational Church has a bell tower, also known as the Children's Chime.[ The Karam Campanile at the University of Massachusetts Dartmouth, in the middle of campus The Memorial Bell Tower at Phillips Academy in Andover Burton Tower at the University of Michigan (212 ft, 64.6 m; 55 bells) Lurie Tower at the University of Michigan (167 ft, 50.9 m; 60 bells) Beaumont Tower at Michigan State University (105 ft, 32 m; 49 bells) Metropolitan Life Insurance Company Tower in New York City (700 ft.) Morehead-Patterson Bell Tower at the University of North Carolina at Chapel Hill (172 ft, 52.4 m) Memorial Bell Tower at North Carolina State University in Raleigh (115 ft, 35 m) Campanile at Oregon State University (68 ft, 20.7 m tall; 5 bells) Coughlin Campanile at South Dakota State University(167 ft, 50.9 m).

The tower's chimes cover three octaves and can be "played" manually from an organ. Albritton Bell Tower, Texas A&M University, College Station (138 ft, 42.1 m; 49 bells). Murchison Memorial Tower, the campanile at Trinity University, San Antonio (166 ft, 50.6 m; 4 bells). Millennium Carillon Tower at University of Texas at Tyler, Tyler (88 ft, 26.8 m; 57 bells). Adams Bell Tower, Norwich University, Northfield (47 bells).[#adams] Carillon Tower at University of Wisconsin–Madison, Madison (featuring 56 bells and weekly concerts). Other uses Campanile is also the name of the Mount Saint Joseph Academy Newspaper . Campanile is also the name of the Palo Alto High School newspaper , and the Rice University yearbook . It is also the name of a restaurant in Los Angeles , California owned by Mark Peel where the head pastry chef is Nancy Silverton.

(Wikipedia) The Churches of Venice :: San Marco Giovanni Scalfarotto 1723 History Tradition says a small church dedicated to San Demetrio (St Demetrius), the martyr of Thessalonica, was built here in 836. The first documentation dates to 1083. In 1170 the church was rebuilt and re-dedicated to San Bartolomeo, being used from the 13th Century onwards by German merchants from the nearby Fondaco dei Tedeschi, which is now the main post office, the minister here being used for baptisms and funerals by the Germans as an 'official' front for their secretly-observed protestant beliefs. The church is said to have been used as a civil service school in the 15th Century. A rebuilding of 1723 by Giovanni Scalfarotto (possibly) is the church we see today. It was closed and deconsecrated in the 1980s following decades of neglect, and reopened as an art gallery. After a recent restoration it was being used for concerts.

The church The carving of the grotesque face over the entrance at the base of the campanile (right) may be a reference to the suffering of St Bartholomew, whose martyrdom involved being whipped and skinned alive. Art highlights All the art (including paintings by Palma Giovane and sculpture by Heinrich Meyring) was removed when the church was deconsecrated, apart from the sculptures by Meyring on the altar and the choir loft at the rear of the church. A fresco over the altar also remains - Saint Bartholomew in Glory by Morleiter. Lost art Dï¿½rer painted the Madonna of the Rosary (see right) now in the National Gallery in Prague, for this church in 1506 as it was then the church used by the German community. It was commissioned by merchant Christopher Fugger, who is buried in the church, and was originally placed over the altar of the Confraternity of the Rosary here. It shows the influence on Dï¿½rer of Venetian painting generally, and Giovanni Bellini in particular.

Dï¿½rer incorporated a self-portrait into the painting, over to the right in front of the tree, and Emperor Maximilian, being crowned by the Virgin. The painting was acquired by the Habsburg Holy Roman Emperor Rudolf II not long after its installation in the church and he had it packed in cotton wool, carpets and waxed linen and carried (upright suspended from a pole) over the Alps by relays of strong men. It was thought to be too big, damaged and fragile to transport when the Habsburg collections were moved to Vienna when it became the centre of the Empire, so alone amongst their treasures it remained it Prague. Organ panels by Sebastiano del Piombo, showing Saints Sinibaldo, Alvise, Sebastiano and Bartolomeo, were taken from the old organ, destroyed sometime between 1733 and 1771. They were still hanging in the church in the early 20th Century but are now in the Accademia following much-needed restoration by Venice in Peril, undertaken for the Genius of Venice exhibition at the Royal Academy in London in 1983. (S.

Sinibaldo (Sebald) is the patron saint of Nuremberg, where he lived as a hermit. One of his miracles was using icicles as fuel on the fire of a poor man who had given him shelter but who had no wood.) Also a Virgin and Child with Saints painted for San Bartolomeo by Giovanni Buonconsiglio in 1502. Local artists Vincenzo Catena lived in Campo San Bartolomeo, and died there in September 1531. Ruskin said I did not go to look at the works of Sabastian del Piombo which it contains, fully crediting M. Lazari's statement, that they have been "Barbaramente sfigurati da mani imperite, che pretendevano ristaurarli." (barbarously disfigured by inexpert hands, which claimed to be restoring them) Otherwise the church is of no importance.

Campanile 50 m (162 ft) manual bells Dates from building of 1170, but rebuilt following damage during the earthquake of 1688 by Giovanni Scalfarotto 1747-54 with an octagonal drum and onion dome, based on Tirali's campanile for the nearby church of Santi Apostoli. The old spire is just visible in Marieschi's The Rialto Bridge from the Riva del Vin (detail right). In Guardi's The Rialto Bridge from the North... of about 1768-9 you can see the new dome at far left. Opening Times For concerts...the website for San Salvador says Tue/Thur/Sat 10.00 - 12.00 am Wed/Fri 7.00 - 9.00 pm (only for prayer and worship) but I have never found it open. Vaporetto Rialto History Facing the side entrance to the Basilica San Marco, the original church on this site was built in 1076. The church was rebuilt after the fire of 1105, which destroyed 23 churches in total.

It was again damaged by fire in 1661, when the altar decorations caught fire, and rebuilt in 1665. This last church, the current building, was probably designed by Giuseppe Benoni with the facade (left) added 10 years later by Baldassare Longhena, but never finished - its upper part was never built. A small campanile was built but later demolished. Closed by the French in 1810, the church was later used to house and restore works of art belonging to San Marco, and as an antique shop. It was restored in 1951 and has since hosted exhibitions and Vivaldi concerts. It needs a good clean. Local colour The Piazetta dei Leoncini, which the church faces onto, also contains the Palazzo Patriarchale. Begun in 1837 this was the last (so far) major new building in the Piazza San Marco area.

In the monumental neoclassical style, it roughly but noticeably echoes the the facade of San Basso The church in art The Piazzetta di San Basso by Michele Marieschi (San Basso's faï¿½ade is to the right) (see above). The church is also visible in the background of Daniele Manin and Niccolï¿½ Tommaseo freed from prison and carried in triumph to Piazza San Marco by Napoleone Nani in the Querini-Stampalia Vaporetto San Zaccaria Scarpagnino/Sansovino 1507-1564 History Said to have been founded in the 9th Century but the earliest documentary evidence dates from 1127. Rebuilt 15th Century in nave-and-two-aisles form clearly visible on the Barbari map. This church was demolished in 1506 and a new one begun the following year. This was to a design by Scarpagnino, who worked on the building until his death in 1549.

Jacopo Sansovino took over (with help from Alessandro Vittoria), designing the domed apse, and the building was completed in 1564. This was the guild church of the Scaleteri (vendors of biscuits and sweets) whose patron saint is San Fantin. Amongst its relics were the body of Saint Marcellina and an arm bone of Saint Trifone. The church A plain exterior of Istrian stone. The exterior view of Sansovino's apse was blocked by some 'poor houses' which were cleared away in 1931, as a tribute to Luigi Marangoni, Procurator of San Marco, and paid for by a group of his friends. The interior Monumental and made of squares, I'd read, so was keen to get in and have a look during the 2011 Biennale. The darkness and the largeness of the art make appreciating the interior difficult. But it looks like an odd and interesting space indeed made of cubes. Grubby dark grey stone detailing, with a couple of side altars visible towards the back.

There's a monument to Vinciguerra Dandolo by Tullio Lombardo (an urn over the door to the sacristy) and paintings by Leonardo Corona and his pupil Sante Peranda, and several by Palma Giovane, another of Peranda's teachers. Also a 15th-century Tuscan polychrome wood crucifix the restoration of which was paid for by Venice in Peril in 2002. This crucifix was the one that was carried in front of condemned prisoners from the Doge's Palace dungeons to the place of execution between the two columns on the Piazzetta. There is an icon, said to be miraculous, possibly by Andreas Ritzos, presented to the church by the Pisano family. It may have been brought back to Venice from Candia (Crete) by Giovanni Pisano, who was Duke of Candia from 1475-77. Ruskin said/Lost art Said to contain a John Bellini, otherwise of no importance.

This was probably the Virgin and Child with St Joseph 'in front of a landscape and damasked curtain' which Crow and Cavalcaselle in their History of Painting in Northern Italy in 1871 described as being by 'a nerveless follower of Bellini in his last days'. There's also talk of a Tintoretto Visitation and two by Piazzetta - a Pieta and The Liberation of Venice from the Plague. The Scuola has it's own entry now. Opening times Never Except Summer 2011, when it was open and housing some Biennale stuff, and then after that stuff was removed, until Jan 2012, when it remained open. And Yvonne T took photos (the two to the right). Vaporetto Santa Maria del Giglio An apology My idea of fun on a trip to Venice is to suddenly come upon a deserted campo with an obscure church that's usually closed with its doors open. At the other end of the scale is a trip to San Marco, involving as it does long queues, the opposite of solitude and an all-round pretty unspiritual experience. Also I'm not a big fan of mosaics*.

So, as there are more than a few places where you'll find loads of stuff about the Basilica, I'm not going to bother, if that's alright with you. Opening times Monday to Saturday: 9.45-5.30 (-4.30 October-April) Sunday 2.00-4.00 History Tradition says the original church was built in the 9th century, but the earliest recorded mention is dated 1084. Rebuilt after the fire of 1105 and in 1590. The present neoclassical church dates from a rebuilding of 1795-1806, for patrician Pietro Zaguri, by Giannantonio Selva - the faï¿½ade and altars being by Selva. The work was finished after Selva's death in 1819 by Antonio Diedo and the church consecrated in 1828. This rebuilding was carried out so that the church could thereby replace Sansovino's demolished church of San Geminiano, with the design of the interior supposedly inspired by that church, and the work of Codussi.

The church Severely classical faï¿½ade with Ionic portal and rectangular reliefs by Bartolomeo Ferrari and Luigi Zandomeneghi. A relief of the life of the saint in the pediment. Interior The church having been deconsecrated, the interior has been stripped and the church is now full of old violins in display cases - this is now a Vivaldi-related baroque music museum, but is still quite a pleasing square space and worth a visit. It has a Greek-cross plan with a central cupola surrounded by four bays each with their own blind cupola. The shop in the foyer is also a good source for obscure baroque CDs that you might not find back home. Campanile The De Barbari map shows a tower from after the 1105 fire, on the opposite side of the calle, topped with a cone-shaped spire and four pinnacles. Demolished to make way for the house of oil and flour merchant Dionino Bellavite, who from 1564 onwards paid a fee 'for the demolished campanile'. Roman-style bell tower built in 1795.

(The leaning campanile in my photo belongs to Santo Stefano.) Opening times 9.30-8.30 Alessandro Tremignon/Heinrich (Enrico) Meyring 1632 The church The first church on this site was said to have been built of wood in 797 and dedicated to San Vittore. The second was built in 947 by Moisï¿½ Venier and dedicated to his name saint (St Moses). This church was renovated after the second fire of 1105. The current church dates from a rebuilding of 1632. Work on rebuilding the faï¿½ade began in 1668 to designs by Alessandro Tremignon, and at a final cost of 30,000 ducats. The reconstruction was paid for by the Fini family and it's Vincenzo Fini, who was made Procurator of San Marco in 1687, whose bust sits atop the central obelisk on the facade, propped up by angels, saints and a pair of camels. In the order above you'll find four virtues, with sibyls at the top.

The whole theatrical thrust of the facade is to the glory of the Fini, and represents the mercantile lives of the brothers. All the decoration is by Flemish sculptor Heinrich Meyring (sometimes Italianised to Merengo) who also carved the massive sculpture on the altar inside, with the help of Tremignon, seemingly out of a rock. It shows God handing the tablets to Moses. The grave of John Law, the man behind the Mississippi Bubble, is in this church, near the entrance. He died in poverty in Venice in 1729. The church in art John Piper produced a lithograph of the faï¿½ade in 1961 Ruskin said The late-renaissance use of the facade to glorify generous benefactors was said by our man to be a manifestation of insolent atheism. He also called it one of the basest examples of the basest school of the renaissance. Campanile 47m (153ft) electromechanical bells 14th Century with fired brick spire. Opening times Daily 3.30-7.00 officially, but it seems to be open most of the time.

Vaporetto Vallaresso Jacopo Sansovino/Alessandro Vittoria 1553-1580 History Tradition says that the church of Santi Zulian (Venetian dialect for San Giuliano) e Basilissa was founded around 829, but the church is first documented in 1061, and some sources claim it was rebuilt after the second fire of 1105, at the expense of the Balbi family. By the mid-15th Century this church is said to have been in a poor state. The current church dates from a rebuilding commissioned in 1553 by Tommaso Rangone, a physician and astrologer from Ravenna who could not be accused of undue modesty. He made his fortune from syphilis cures and wrote a book on how to live to 120 which was based on his observations regarding the longevity of Venetians. (He lived to the age of 84, since you asked.) His obsession with longevity may explain his ceaseless quest for immortality in paint and stone.

He is depicted in major roles in Tintoretto's paintings for the Scuola di San Marco (now in the Accademia) for which he became Guardian Grande. He had also wanted to be commemorated by an effigy on the faï¿½ade of San Geminiano, the parish church which used to face the Basilica across Piazza San Marco, but this request was refused by the Signoria as too vainglorious. Jacopo Sansovino was put in charge of this rebuilding, but while he was building a new faï¿½ade the roof collapsed and he had to start again from scratch. Alessandro Vittoria collaborated with him towards the end, and the church was finished and consecrated in 1580, ten years after Sansovino's death. Rangone kept the architect's model and made arrangements for it to be carried in procession during his funeral. He's buried in the chancel here. His marble coffin is said to have been made in the shape of his body. It's also said that his bones were transferred to the island of Sant'Ariano in 1822.

The church That's a bronze statue of Rangone by Sansovino, made in 1554, in the arch over the door (see right). Rangone is depicted holding sarsaparilla and guaiacum, two of the ingredients of his syphilis cure. The portico is recessed, rather than sticking out, because of space constraints. The faï¿½ade also features odd symbols and inscriptions in Latin, Greek and Hebrew telling us what a great and generous man Rangone was. This is one of only two freestanding churches in Venice (i.e. that can be walked all around). The other is Angelo Raffaele . Much work was carried out here by Venice in Peril in the early 1990s. This included cleaning and applying protective substances to the faï¿½ade and the statue of Rangone, which also needed protecting from pigeons. Much work was done on the interior too.

The interior A square aisleless nave almost totally, and oddly, free of architectural detailing, having just two Corinthian pilasters framing the chancel, but there's lots of gold and works by Palma Giovane including, I have to admit, quite a nice Assumption. Appreciation of the painted ceiling is much improved by putting some coins in the light, but it is a light of somewhat stingy duration. Art highlights Saints by Vittoria and four paintings, including the cross-shaped ceiling painting The Apotheosis of Saint Julian, by Palma Giovane (see below right). The first altar on the right has an unobvious Pietï¿½ by Veronese from 1584, with saints below by his assistants. Also a Last Supper formerly attributed to Tintoretto but now said to be by the studio of Veronese. Opposite the Veronese Pietï¿½ is Boccaccio Boccaccino's attractive Virgin and Child with saints, which has a sweet air of Bellini and Giorgione about it.

Lost art A triptych featuring paintings of St Christopher and St Sebastian by Antonello and his son Jacobello da Messina either side of a wooden statue of St Roch was recorded here in 1581 by Francesco Sansovino. The St Sebastian panel (see right) by Antonello, is now in the Dresden Gemï¿½ldegalerie. Campanile manual bells De Barbari's map shows a tower, presumably built during the second rebuilding, topped by a sugar-loaf spire and four pinnacles. The current tower dates from the demolition of this old campanile in 1775 and is the only one in Venice that rests on the roof of its church. Opening times Daily 8.30 - 7.00 Vaporetto San Zaccaria History A house on the site was supposedly given to the Armenians around 1253 by Marco Ziani, the son of Doge Pietro, grateful for the fortune he'd made in their country. An oratory was built in 1496 as Santa Croce di Cristo (the Sacred Cross of Christ).

This was rebuilt as a church in 1682-88 and renovated in 1703. The small Armenian population of Venice later began attending services at the monastery on the island of San Lazzaro degli Armeni and this church fell into disuse. It has recently come into use again. The church The discrete entrance is off the Sotoportego dei Armeni - the farther of the two doors in the photograph of the sotoportego (see right). The church has a small square interior, richly decorated in a classical style with a central cupola. Sardi and Longhena are sometimes suggested as possible architects. The altar paintings date from the period of the restoration. Campanile 24m (78ft) manual bells Hard to see (see right) dating from 1682-88 too, and with an onion dome. Opening times For mass only, in Armenian, on the last Sunday in the month at 10.30. Vaporetto Vallaresso (San Marco) History The original Byzantine-basilica style church was said to have been founded by the Slav Jubanico family, a name corrupted over time to Zobenigo.

Hence the church's other name Santa Maria Zobenigo. The church burnt down and was then rebuilt in 976, and again in 1105. This latter church survived until the present church, whose name translates as Our Lady of the Lily, was built in 1680-83 by Giuseppe Benoni, with the faï¿½ade and side altars by Giuseppe Sardi. Similarly to the nearby Santo Stefano this church has its side onto a broad campo with its faï¿½ade facing a narrow calle. Restored in 1833. The church The faï¿½ade is another of the irreligious self-glorifying displays that Ruskin condemned, along with San Moise, as a 'manifestation of insolent atheism'. Here it's Antonio Barbaro who left 30,000 ducats in his will with precise instructions as to how Sardi was to celebrate his political and military careers. The heavily populated facade has Barbaro's four brothers, clothed according the public offices they held, on the lowest level, with Barbaro himself on the next level up, over the door, all sculpted by Giusto Le Court.

Hoards of allegorical figures and putti keep him company. Also some angels because this is, you know, a church after all. The plinths under the pairs of Corinthian columns on this upper level show battle scenes, whilst the plinths under the Ionic columns at ground level show plans of the cities of Antonio's military triumphs: Zara, Candia (Crete), Padua, Rome, Corfu and Spalato (Split). Interior and art highlights A compact and aisleless space, with three shallow altars either side. There's an impressively detailed big arch over the high altar, with an organ behind. Meyring statues of The Annunciation flank the high altar. 17th Century artists dominate, which just about excuses the Rubens, he being of the same period. This church has the only Rubens in Venice, you see, behind bullet-proof glass in the Molin Chapel (entrance to the right) - a fleshy Madonna and Child with the young St John, not really in keeping with its surroundings. And some guide books use words like 'alleged' and 'attributed'.

This chapel has a ceiling painting by Tintoretto's son and lots of extravagantly designed reliquaries with bones, nicely labelled with the name of the saint they came from. Remains include hanks of hair and other hard-to-identify bits that it's probably best not to know or enquire about. Elsewhere there's a Tintoretto Ascension altarpiece, looking very 'studio of'. There are two unusually under-populated early Tintorettos of evangelists on either side of the altar. They were taken from a destroyed organ and you can walk around behind the altar to get a better look. The contract for these doors survives and gives Tintoretto just sixteen days to finish the job. (It's dated 6 March 1557 - exactly 400 years before the day I was born!) Also an impressive Last Supper by Giulio Del Moro on the inside front wall, with four cute sibyls by Il Salviati ranged below. The Zanchi paintings high up over the main cornice look impressive from a distance. The paintings on the ceiling are by him too.

There's also a sweet little carved high relief panel of St Jerome, and an overpowering carved baptistery crawling with putti. A church whose cumulative pleasures sort of creep up on you. Campanile Visible in the Canaletto painting (see right). Was leaning a lot when it was demolished in 1774. Rebuilding began in 1805 but work only reached 26 feet - this stump is now a gift shop. Barbari's famous map shows a stump too (see left) but here it's because the tower was being built, suggesting that an earlier one had toppled too by 1500. The church in art Santa Maria Zobenigo by Canaletto (see right) from 1738/40, now in a private collection. It shows the demolished campanile then still intact. Guardi painted an almost identical view thirty years later, even copying some of the figures and groups.

Ruskin said So incensed was he at the Barbaro family's vainglorious and atheistic appropriation of this church's faï¿½ade that when he learnt, during his visit of 1851, that the last members of the once-great family, two old brothers, were then living in the garret of the nearby family palazzo Ruskin wrote to his father So they have been brought to their garrets justly. Opening times History In 1485 the Scuola di San Rocco briefly moved to an oratory on this site with the intention of building a church to house the relics of St Roch, its patron saint, but soon moved to their present premises near the Frari. The oratory and some adjoining houses were given to the Cistercian nuns from the derelict Monastery of Santa Margherita on Torcello who began construction of the church and convent in April 1488, with contributions from the Augustinian friars of Santo Stefano and the Lezze family (Luca Lezze was Procuratore di San Marco in 1464) The church was consecrated in 1547.

In 1597 an altar was built for the holy icon of the Madonna brought here from Lakonia in southern Greece. The monastery was suppressed in 1806, and the church closed in 1810. After some years of use as a music venue both were acquired in 1822 by the priest Pietro Ciliota, who founded a school for girls. Two of the five altars were sold, and the other furnishings dispersed. The Istituto Ciliota (since restoration in 1999) offers accommodation in the monastery. The interior A single nave with side altars- a functional little space with charm, some unspecial art. There was a stage and projection screen at the back when I visited, and a TV and video player on the altar. I'd heard that there had been talk of turning it into a supermarket a while back - not the most imaginative fate for what must have been a sweet little church in its day. Lost art Amongst the lost art a painting once above the main altar was by Francesco Montemezzano, highly praised by Boschini, who also lists two more altarpieces: an annunciation by Matteo Ingoli and another by Girolamo Pilotti.

A bas-relief showing the trinity and the annunciation is now in the collection of the Patriarchs. The church in books In her book The Virgins of Venice Mary Laven, writing about the lengths enclosure went to, tells us that Patriarch Vendramin told the nuns of SS Rocco e Margarita to block up the holes ventilating their toilets, lest they catch a glimpse of the street below whilst going about their business. Opening times

Question: A campanile is built to contain what?
Answer: Bells