Instruct: Given a question, retrieve passages that answer the question.
Query: Who painted the Basilica?
The Sistine Chapel ceiling, painted by Michelangelo between 1508 and 1512, is a cornerstone work of High Renaissance art.
In 1991, the Basilica Rector, Msgr. Manolo de los Santos, started the repairs and improvements of the Basilica Church. The doors were reinforced and strengthened, window stained glasses and oil paintings of the Stations of the Cross were installed, concrete pathways and drainage systems were constructed around the basilica church and complex. His efforts, however, were cut short towards the end of June 1993 due to his transfer to Iriga City as its new parish priest.
Basilica of the Assumption of Aglona was built in the late Baroque style, and it is decorated with two 60 meter high towers. Inside, there are cross vaults, arches, columns and it is decorated with rococo ornaments. Every year on the 15th of August, pilgrims come to celebrate the Virgin Mary's Assumption day. The Church kept the painting, sculpture and art values, including the icon of "Our Lady of Aglona's Miracle". It is believed that the painting has a healing ability. From 2011 to 2013 diocesan bishop John Bulis coordinated a Basilica's restoration work. It had pitch roofing, sheet metal cover being replaced with copper and renovation works from Basilica and convent. The basilica was carried out in a complete change of wall color, retaining the Baroque and Rococo styles, but changing the colors and patterns on the walls. The altar's large columns and cornices evolved from blue-green marble imitation of the little pink reddish, thus the whole altar become much "warmer". In contrast, the rest of the wall painting in the Basilica of the pitch line of decorative elements are pale yellow and pink colors of marble imitation celadon. All Basilica's decorative paint is a lot more marble imitation than it was before. It lost a few pictures of the saints and Christian symbols such as the dove (as a symbol of the Holy Spirit), the Lamb of God symbol, etc.
Another feature of the basilica are the mural paintings that are mostly found on the altar. These paintings usually represent angels and other canarian saints who were devotees of the Virgin of Candelaria. On one side of the main altar is the flag of the Vatican City, referring to the close relationship of the sanctuary with the Pope because of its status as a minor basilica. Above the altar is the statue of the Virgin.Every 14 and 15 August this basilica houses pilgrims who come to celebrate the Virgin of Candelaria (Patron of the Canary Islands) the day of her festival. Stresses on August 14 the "Romeria" and the representation of the appearance of the Virgin. Day 15 is made the solemn Mass and procession subsequent presence of the Principal authorities, religious, political, civil and military de Canarias.
He studied in Venice under Giorgione and then went to Verona and married the daughter of Count Zenovello Giusti. In the service of the Count, whose daughter he married, he became a pupil of the painter Liberale da Verona, who adopted him as his heir. In Venice, he painted frescoes of the "Life of the Virgin" and a "Transfiguration". He painted lunettes depicting the "Navity" and an "Assumption of the Virgin" in 1534, for the main chapel of the Verona cathedral. Another of his paintings is "Virgin and Child in Glory", is in the Church of St. Fermo. He also painted several portraits, including two self-portraits. He painted for the Basilica di San Zeno.
The painting depicts an apocryphal historical event: Emperor Constantine kneels before Pope Sylvester I and offers the Pope and his successors control of the city of Rome and the entire Western Roman Empire. The depiction of Sylvester is modeled after Pope Clement VII who became pope in 1523. The painting (anachronistically) shows the interior of the original Saint Peter's Basilica, which was in the process of being rebuilt at the time the painting was made. In the center background of the painting is the altar with its twisted, Solomonic columns. These columns were a gift from Constantine who supposedly took them from the ruined Jewish temple.
A World War I memorial painting, which depicts angels meeting a dying soldier on the battlefield and Jesus Christ on the cross, was erected by the parishioners and is dedicated to the soldiers of the St. Patrick's Basilica parish who fell during The Great War. At the bottom of the painting's wooden frame is the list of those soldiers.
He learned first skills from his father, Francesco Maria, who had painted in the Annunziata and San Lorenzo churches of Florence. But then traveled to Rome to work in the studio of Benedetto Luti. He painted for the Basilica of our Lady of Humility in Pistoia. He also painted altarpieces for churches in Rome (including Santa Maria in Via Lata) and Pisa. He died in Rome.
Other sources show images of the church, often from a bird's eye view, but do not give additional detail beyond those from the aforementioned documents. An example is the Francesco Maffei painting "Transporting the reliquaries of the Brescian saints Anastasio, Dominatore, Paolo and Domenico" (currently in the Old Cathedral), where one can see the basilica's facade with the roseate window, as well as the south side with its series of arches typical of the period. A Pompeo Ghitti painting "Beato Bernardino da Feltre istituisce a Brescia le scuole del SS. Sacramento" (preserved in the Church of Santa Maria in Calchera) shows the old Piazza del Duomo with the basilica in the background, though no further detail can be elicited from it to reconstruct the basilica's appearance.
The original painting was restored with the support of the Strake Foundation of Houston and reinstalled in a place of honor in the Basilica in 2007.It is wide by tall, and is located in the undercroft of the church. 
A miracle attributed to the fresco of the Madonna of humility painted in about 1370 gave rise to the construction of the Basilica of Our Lady of Humility in Pistoia, in Tuscany, Italy. The fresco is sometimes attributed to Giovanni di Bartolomeo Cristiani, but was perhaps done by a local painter from Pistoia. The basilica, built by architect Ventura Vitoni, is an important example of high Renaissance architecture. Giorgio Vasari built the octagonal dome atop the basilica in 1562. The original fresco remains within the basilica.
In 1417, Taddeo di Bartolo was commissioned to paint the "Madonna" icon on the inner portal, dedicated to the protection of the city. The painting was further retouched by Sassetta and later Sano di Pietro who completed it in 1466. The painting depicted a "Glory of Angels" in lower arches, and a "Coronation of the Virgin" in the central arch. Due to the state of decay, the remaining fresco was transferred in 1978 to the Basilica of San Francesco, Siena.
Many writers have described the famous basilica, for example:Many painters have depicted Marseille's port with Notre-Dame's basilica in the background. Paul Signac, who helped to develop pointillism, produced a painting in 1905 that is now shown in the Metropolitan Museum of Art, New York. Albert Marquet produced three works. The first was a drawing executed in ink in 1916, shown at Musee National d'Art Moderne in Paris. The second is an oil on canvas painted in 1916 entitled "The horse at Marseille". This painting, now at the Museum of Fine Arts in Bordeaux, shows a horse on the port quay with the hill of Notre-Dame de la Garde in the background. The third, shown at the Annonciade museum at Saint-Tropez, is called "The Port of Marseille in fog"; the basilica emerges from a misty landscape where the purification of form indicates distance.This painting shows this painter did not always represent the port of Marseilles from the front, moving his easel to the riverbank side, sometimes close to the town hall, to represent the hill of Notre-Dame de la Garde.
At the beginning of the 19th century, the city decided that a cemetery near the Basilica was to be shut down and replaced by a public square. Today, it is known as "Plac Mariacki" (Marian Square). In the years 1887–1891, under the direction of Tadeusz Stryjeński, the neo-Gothic design was introduced into the Basilica. The temple gained a new design and murals painted and funded by Jan Matejko, who worked with Stanislaw Wyspianski and Józef Mehoffer - the authors of stained glass in the presbytery.
The third painting in the south transept depicts the Annunciation. It had been displayed in the cathedral choir area during the 1901 celebration when the cathedral was designated a basilica; the basilica of the Annunciation. Just by this painting and in the third ogive there is a cartouche surmounted by a mitre and cross carried by two angels. The cartouche bears the coat of arms of Monseigneur Guy le Clerc who was the Léon bishop from 1514 to 1521 and his motto "Battons et Abattons". Guy le Clerc was almoner to Queen Claude de France, the wife of François the First.
A miracle attributed to the fresco of the Madonna of humility painted in about 1370 gave rise to the construction of the basilica. The fresco is sometimes attributed to Bartolomeo Cristiani, but was perhaps due to a local painter from Pistoia. The basilica, built to designs by architect Ventura Vitoni, is an important example of Early Renaissance architecture. Giorgio Vasari built the octagonal dome atop the basilica in 1562. The original fresco remains within the basilica.
Other Sculptures and Artwork:
The interior is decorated with several religious paintings, sculptures, and mosaics depicting devotion to the Blessed Mother. It is estimated that from 1,500 to 2,500 angels can be found in the basilica in the sculptures and artwork. It was Baker's plan to place an angel in every possible sightline, to remind visitors that although the Basilica is dedicated to Our Lady of Victory, its main purpose is meant primarily for God's praise and glory.
Pews and Aisle:
The Basilica's pews are made of rare African mahogany, and provide seating for more than 1,200 individuals. The shrine's floor and aisle are gradually sloped to ensure that visitors have an unobstructed view of the Basilica's main altar.
To celebrate the event, the painting of the Holy Name of Jesus was painted on the four gates of the city but this was deemed insufficient, and in 1509 a small chapel was soon commissioned on the present church's site. However, nothing was built until 1521, when Innocenzo Cybo, Archbishop of Turin, ordered the construction of a small oratory by Matteo Sanmicheli. This was demolished in 1607 to make room to the modern basilica.
At the same time he was painting the "Vision of Gregory the Great" and the "Punishment of David" in the Basilica of San Pietro in Perugia. The papal legate, cardinal Bonifazio Bevilacqua (1571–1627), who had commissioned these paintings, was so pleased that he invested Ventura Salimbeni with the Order of the Golden Spur, a very selective papal order. He was even authorized from now on to name himself Cavalieri Bevilacqua. He painted the canvas of the "Ascension of the Virgin" (1607) for San Frediano, Pisa.
The first mural that was painted for this church was "The Martyrdom of St. Josaphat" in 1904 by the artist Zukotynski and is found directly behind and above the altar. Most of the other murals found in the church were painted by Gonippo Raggi. Conrad Schmitt Studios later restored the interior of the Basilica to its 1926 decorative grandeur, originally executed by Conrad Schmitt Studios and Roman artist Professor Gonippo Raggi, and restored the Basilica's stained glass windows imported from Austria in 1902.
He was born in Massa Carrara, Italy and trained in Rome under Bernini. Carlo was active in painting in the Grottoes beneath the Basilica of Basilica of St Peter's; designed the "St Bernard" mosaic portrait, collaboration with Giovanni Battista Calandra, in the former church; and painted a "Conversion of Paul" for the church of the Propagande Fide in Rome.
Perhaps the most treasured work of art at the basilica is a painting of Ste. Thérèse, a gift from the Carmel of Lisieux to the friars of San Antonio in 1927. The saint’s blood sister Céline Martin (1869-1959), also a nun (Sr. Genevieve of the Holy Face) in the Carmel of Lisieux, created the model for this painting, referred to as the "Apotheosis," at the request of the Vatican during the canonization process for Thérèse, according to the Archives of Carmel in Lisieux. Another artist, Pascal Blanchard, painted several large canvases based on Celine’s model. Céline and another nun, Sr. Marie of the Holy Spirit, then retouched the face on each copy. One of these paintings was the standard carried in the procession to St. Peter's during the canonization ceremony on May 17, 1925; it was returned to the nuns after the ceremony. The Basilica’s painting is one of the several others that were loaned out by the Convent of Lisieux to Carmels in France for the canonization events.
The basilica can accommodate about 5,000 people and the main chapel has about 1,800 seats. The altar in the main sanctuary houses the Divine Mercy painting and relics of Saint Faustina. The image above the main altar was painted by Adolph Hyla in 1944, and replaces the first image Hyla painted in 1943 as a votive offering for surviving during World War II. The image and the basilica are a major pilgrimage site and in 2011 the basilica received around 2 million pilgrims from around the world.
As a member of the team of artists led by his half-brother, who also had his other brothers helping, Castello worked in the pictorial decoration of various units of the basilica and Monastery of El Escorial. In 1582 he was commissioned with one of his brothers to paint the original painting of the choir of the basilica, possibly consisting of a simple paneled pretense, soon replaced by a work of Luca Cambiasi. It is likely that between 1583 and 1584 that Castello participated in the decoration of the vaults of the vestry and sacristy of the monastery, where some soft modeling figures other than the detail work employed by Granello, may apply to, but documentation mentions only his half brother.
In 2002, five men who it was believed were connected to Al Qaeda and were planning to blow up the building, were arrested. Again in 2006, plans by Muslim terrorists to destroy the Basilica were thwarted by Italian police. The terrorists claimed that a 15th-century fresco inside was insulting to Islam. The fresco, painted by Giovanni da Modena, depicts Muhammad in Hell being devoured by demons.