In 1516, Titian completed his well-known masterpiece, the Assumption of the Virgin, or the Assunta, for the high altar of the church of the Frari. This extraordinary piece of colorism, executed on a grand scale rarely before seen in Italy, created a sensation. The pictorial structure of the Assumption—uniting in the same composition two or three scenes superimposed on different levels, earth and heaven, the temporal and the infinite—was continued in a series of his works, finally reaching a classic formula in the Pesaro Madonna (better known as the Madonna di Ca’ Pesaro). This perhaps is Titian’s most studied work; his patiently developed plan is set forth with supreme display of order and freedom, originality and style. Here, Titian gave a new conception of the traditional groups of donors and holy persons moving in aerial space, the plans and different degrees set in an architectural framework.