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The Orant Virgin in Context: Titian’s Frari Assumption

Since the publication of David Rosand’s consequential 1971 analysis of Titian’s work at the church of the Frari, in Venice, art historical scholarship has been generally attentive to the architectural and institutional contexts in which that painter’s majestic Assumption stands (fig. 1). In his article, and in a subsequent book-length study, Rosand related the painting’s monumental scale to its architectural setting, and observed that its shape neatly matches that of an arched aperture in the choir screen through which it is visible from the nave. Moreover, he added, its basic structure corresponds to the architectural divisions of the nearby Gothic apse. Subsequently, in 1986, Rona Goffen explored the relations among the painting’s composition, its site, and