From Piazza della Vittoria, along Via San Nicolò, is soon to reach more rich and prominent Church of the city: the Temple of St. Nicholas. The building is one of the greatest examples of Romanesque-Gothic style promoted by the mendicant orders in Veneto. The formula of this gigantic construction consists of the elements of traditional Roman Po (compactness of the walls, pilasters, arches Stern) for riplasmarli with force and the new language of poetry Gothic overnight.
The pressing vertical linearity of apses gives the massive amount of Tempio momentum to climb a motion that seems to respond to a specific intent of manufacturers. The Dominican friars preachers arrived in Treviso in 1221, a century of thriving economic and cultural life, and settled at Sile in an area of the city then marginal.
Already in 1231 the municipal statutes setting out substantial donations to build a single-nave church. The realization dell'iperbolico project was slow-moving and tax breaks from burdensome funding difficulties. However, is due to a fabulous donation (over 70,000 guilders gold) in 1303/1304 from Treviso Bocassino Nicholas (Pope Benedict XI), former friar of the convent, where the draft was changed and was killed the first church to start the grand stands.
The interior offers a magnificent space, dilated in length and height (85 meters by 30), where everything is immersed in a bright, warm tones reverberate in the golden brick. Twelve massive brick columns arranged in two rows on the classroom divided into three naves elegant: in the two lateral lines climb columns and pillars are to finish on ribs of cross vaults, while in Central lost against the darker tones of a ceiling wooden hull, whose summit is more than 33 meters.
The aisles are opened five chapels parallel apse, including three with polygonal apses. The columns are distinguished many fourteenth century frescoes of a votive related more or less directly to the school by Tommaso da Modena. On the walls are exposed numerous paintings, almost all belonging to authors of the seventeenth century Venetian minors. On the left stands a Baroque altar of 1673 (by G. Grassi), made in marble and stucco and dedicated to Our Lady of the Rosary with statues of Our Lady of Saints and Dominicans. The second column is left entirely painted by Tommaso da Modena (1352-1354) with two panes: San Romualdo with the foot ritrattini the list; Sant'Agnese and Redeemer; aisle toward the greater San Girolamo in the study.
Through the transept you access to the five chapels terminals. On the wall of the left side lies the tomb of Augustine Onigo (built between the end of'400 and'500 early), by Antonio Rizzo and Lorenzo Lotto. Behind the altar the great altar of Sacred conversation initiated by Fra Marco Pensabene and ended by Jerome Savoldo. On the right wall of the Church there is the choir of a sixteenth century, replaced in 1778-79 by Gaetano Callido tool. To the right of a fresco depicts St. Christopher (early 1400). On the same wall stands the small and precious altar sixteenth of the Risen Christ (the family Bresse).