Churches in Santa Croce

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Churches in Santa Croce, Venezia

San Giacomo dellOrio1225

HistoryTradition has the church founded in the 9th or 10th Century, but the firstdocumented reference dates it to 1089. The church is dedicated to St James theGreater, the apostle. The dell'Orio part is said by some to be a corruption ofdel lauro(of the bay tree) and to refer to a tree said to have been growing on the site when thechurch was founded. Competing theories plump for wolves, the rio, a swamp ( luprio)or the Orio family. The church was rebuilt in 1225, using funds provided by theBadoer and Da Mula familes. Further rebuilding following an earthquake in 1345 sawthe addition of the transept and wooden ship's keel roof. More rebuilding took placeat the beginning of the 16th Century. Further restoration around 1906.

The churchThe main entrance faces the canal to the North into Campiello del Piovan (right) withits back and apses into Campo San Giacomo (below right). The statue of St Jamesover the door dates from the 17th Century.

The interiorA Latin cross plan with granite columns separating the nave from the side aisles eachtopped with very old, or ancient, capitals. The thick columns appear even chunkierdue to the raising of the floor resulting in them losing height over the centuries. 14thCentury ship's-keel roof. The gem-like verde antico column said to have been sacked

from Byzantium in 1204, and admired by Ruskin (see below) was described byGabriele d'Annunzio as 'the fossilized compression of an immense verdant forest'.

Art highlightsMany by Palma il Giovane, some by Lorenzo Lotto, one by Veronese and frescoes byJacopo Guarana in the chapel to the right of the high altar. Lotto's Madonna and

four saints was the last thing he painted in Venice before leaving in a huff. St Johnthe Baptist preaching by Francesco Bassano, in the new sacristy, contains portraits ofBassano's family and of Titian, on the far left wearing a red hat.

Campanile 44m (143 ft) manual bells

The original was demolished in 1220 because it was unsafe. The current tower datesfrom the 1225 rebuilding. It was seriously damaged by the earthquake of 1347 and

was restored in 1360. Later work too on foundations, well and belfry.

A visitLike most churches in this sestiere this one has the ancient thing going on, with oldcolumns and capitals. It has some surprising spaces, like the opened-out right side,some odd little chapels, and two sacristies. Also surprising is the Chapel of the HolySacrament, a sudden burst of 17th Century decorative overkill and balustrades and apainted dome.One sacristy is full of Palma il Giovanes -the church has 12 paintings by the prolificlittle... There's also a Lotto altarpiece, The Madonna and Four Saints, though, and a

Veneziano painted crucifix. There's a small, square and easily-missed Veronese in a


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dingy little side chapel. But the weirdest painting here, and maybe in the whole ofVenice, is the deceptively innocently-namedMiracle of the Virgin paintedby GaetanoZompini in the 18th Century. (He also painted the dome fresco in the nearby SanNicol da Tolentino below,but was best known for his engravings of hawkers.) Whatit actually shows is a chap who has run up and attacked Mary's funeral procession,

only to find himself miraculously thrown to the ground with his hands ripped off andstill attached to the coffin. This painting is ignored by most guidebooks but myTimeOutguide tells me that this painting also features in David Hewson's novelLucifer's

Shadow, as does another bizarre painting in the church ofSan Cassiano.

Ruskin saidA most interesting church, of the early thirteenth century, but grievously restored.Its capitals have been already noticed as characteristic of the earliest Gothic; and itis said to contain four works of Paul Veronese, but I have not examined them. The

pulpit is admired by the Italians, but is utterly worthless. The verde-antique pillar

in the south transept is a very noble example of the "Jewel Shaft."

Opening timesMonday to Saturday: 10.00 to 5.00Sundays: closed

A Chorus Church

Vaporetto: San Stae or Riva di Biasio
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San Nicol da TolentinoVincenzo Scamozzi 1590-1671

History

A small oratory dedicated to St Nicholas of Tolentino was built on this site in 1528 forthe use of San Gaetano da Thiene and his followers, the Theatines, who came to

Venice following the Sack of Rome. The present church was commissioned fromVincenzo Scamozzi, who was awarded a salary of 50 ducats a year, and work began onthe 7th of June 1590. The foundation stone was laid on the 7th of November 1591. Inearly 1595 the fathers broke their contract with Scamozzi accusing him of usingexpensive and unsuitable materials. Collapsing pilasters were mentioned. Thearchitect accused the fathers of breaking their contract. The squabble was resolvedand the church was consecrated on 20th October 1602, although the interiorconstruction and decoration was not finished until 1671. The great classical porch(see left) was added to the unfinished faade in 1706-14 by Andrea Tirali using money

bequeathed by Alvise da Mosto at his death in 1701 to pay for a family memorial.

In 1780 the fathers gave all their silverware to a chap called Romano who claimed tohave perfected a new method for cleaning silver. They never saw it, or him, again.

The church was suppressed in 1810, closing on the 12th of May, but reopened forworship on the 25th of October the same year to replace the closed parish church ofSanta Croce, which was later demolished to make way for the garden that eventually

became the Giardino Papadopoli, up by Piazzale Roma. The convent is now used byVenice University's Institute of Architecture (see cloister photo below) having beenmodernised in 1961-63 by Daniele Calabi, with an entrance by Carlo Scarpa added in

1984.

The interiorLatin-cross shaped featuring an aisleless nave with six chapels and a dome at thecrossing. The dome fresco (and surrounding trompe l'oeil detailing) is by GaetanoZompini. The high altar was built by Baldassare Longhena in 1661. To the left the

very baroque and Bernini-esque monument to Patriarch Francesco Morosini (not tobe confused with the doge of the same name) by Filippo Parodi. Most of the interiorwas recently restored.

Art highlights

Much from the 17th Century - Palma il Giovane is well represented.St JeromeSuccoured by an Angelpainted by German artist Johann Liss in 1628, two yearsbefore he died of the plague at the age of 33.

A visitHaving passed the place so often I was (despite past experience) not expecting theinterior to be such a contrast to the hulking great classical exterior, so was notexpecting the quiet baroque stucco riot inside. Recently having been restored thedecoration is very, but not over. The stucco and frescoes do not make you feel the

breathlessness that this style often can. There's some very nice art in here from the16th and 17th Centuries, some by people I've never heard of. OK so there are toomany by Palma il Giovane, just like there are far too many putti in hisAnnunciation,a subject that usually features very few of the little blighters. There are a couple of
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paintings by Sante Peranda I liked especially, one being ofS. Gaetano. The Charity ofSaint Lawrence (see below left)by Bernardo Strozzi is striking (and not just becauseit seems to depict the saint being sold some nice lamps by an old geezer) and full ofmovement. And I have to mention the tomb of Francesco Morosini, a huge andfrantic piece of work on the left side of the chancel, which has a carved curtain being

pulled back by angels to reveal the reclining patriarch who manages to be lounging,surprised, and praying simultaneously.

Campanile 47m (153ft) electromechanical bellsEarly 18th Century. Octagonal drum over the belfry with a parapet and a lead-coveredonion dome.

Ruskin saidOne of the basest and coldest works of the late Renaissance.

Opening times

Monday to Saturday: 8.30-12.00 and 4.30 to 6.30Sunday: 4.30 to 6.30

Vaporetto: Piazzale Roma


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San Simeon GrandeDominico Margutti 18th Century

HistoryDedicated to San Simeon Profeta (St Simon the Apostle) this church is known as San

Simeon Grande to distinguish it from the larger church of San Simeon Piccolonearby. (Although some say that the grande and piccolo refer to the size of theparishes.) The church was founded in 967, rebuilt in the 12th-13th Centuries and thenagain in the early 18th Century by Dominico Margutti, with interior renovation 1750-1755. This latter work was said to have been ordered by the city's sanitationdepartment who were worried about the plague victims buried under the floorfollowing the 1630 epidemic and so ordered the floor to be relaid. Restoration work inthe Nineteenth Century revealed that the old floor was still intact under the new. On18th March 1795 a part of the ceiling fell on, and killed, noblewoman LucreziaCappello while she prayed. It is not unusual amongst Venetian churches in having aGreek temple faade, this one dating from 1757 and attributed to Giorgio Massari. It

was further renovated in 1861.

InteriorBasilica plan with the aisle divided from the nave by rows of columns, with Byzantinecapitals, probably dating from the 13th Century, and round arches. Statues of thetwelve apostles over the columns in the nave are early 17th Century by FrancescoTerilli.

Art highlightsThe presentation in the Temple, with Donors by Palma il Giovane and, in thesacristy, The Holy Trinity attributed to Giovanni Mansueti, a follower of Bellini. Also

aLast Supper by Tintoretto, badly restored in 1935.

A visitHas pleasingly rough-looking original columns, an asymmetric layout - the right-hand aisle is much wider than the left - and a TintorettoLast Supper that looksunfinished, as well as like many hands were involved. The chapel to the right of thechancel has some nice 18th C? frescoing on the ceiling that's considerably corrodedlower down. A large, supposedly impressive, reclining statue of the saint himself whoRuskin said had a 'face full of quietness and majesty, though very ghastly' could not

be found by me.

Campanile 23m (75ft) manual bells18th Century. De Barbari's map of 1500 shows a bigger and taller tower.

Ruskin saidVery important, though small, possessing the precious statue of St. Simeon. Therare early Gothic capitals of the nave are only interesting to the architect; but in thelittle passage by the side of the church, leading out of the Campo, there is a curiousGothic monument built into the wall, very beautiful in the placing of the angels inthe spandrils, and rich in the vine-leaf moulding above.

Opening times Mon-Sat 9.00-12.00, 5-6.30Vaporetto Ferrovia


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San Simeon PiccoloGiovanni Antonio Scalfarotto, 1718-1738

Most unpopular dome ever?

HistoryTradition says the church was founded in the 9th Century, but the first documentedreference is to the church's consecration in 1271. This original church was demolishedin 1718 and rebuilt by Giovanni Scalfarotto who was inspired by the dome of thePantheon in Rome, it is said. Three floors were found, one on top of the other, whenthe old church was demolished. The rebuilding is said to have been paid for by moneyfrom a lottery run by the priest, called Manera. Scalfarotto (who had Piranesi as anapprentice for a while) had his name is carved into the architrave of the faade. Thischurch was consecrated in 1738. This last rebuilding enlarged the church, it is said, soas to make it bigger than the nearby San Simeon Grande, but the names of both

churches have stuck. Although some say that the grande and piccolo refer to the sizeof the parishes.

The churchThe porch is in the form of a Greek temple. One of the four columns was replacedfollowing the destruction of the original by enemy bombs on the night of February26th-27th 1918. The triangular pediment contains a relief showing The Martyrdomof St Simon and St Jude, the church's name saints, by Francesco Penso. The statue onthe lantern on the dome is of The Redeemer by Michele Fanolli

Interior

Supposedly inspired by the Salute - circular aisleless nave, with four altars,completely covered by the dome. Plain and Palladian. There are reports of an unusualoctagonal crypt with four frescoed corridors of tombs radiating out, the frescoesdepicting images of death and the day of judgement.

ArtMinor 18th Century.

Campanile 3m (10ft) above roof of church, manual bellsDating from the Scalfarotto rebuilding and visible from the courtyard behind.

Ruskin saidOne of the ugliest churches in Venice or elsewhere. Its black dome, like an unusualspecies of gasometer, is the admiration of modern Italian architects.

Lorenzetti said...a high ungraceful copper-covered dome, of a shape disproportionate to the size ofthe building supporting it.

Robert Coover (in Pinocchio in Venice) said...misshapen little San Simeon Piccolo with its outsized portico and squeezeddome...the popping green bubble on San Simeon the Dwarf rising through the fog

with the erotic suggestion of a Venetian double entendre.


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Napoleon saidI have seen churches without domes before, but Ive never, until now, seen a domewithout a church.

The church in art

Canalettos The Grand Canal with San Simeon Piccolo (below right) in LondonsNational Gallery shows the church with the black dome that Ruskin so hated. It doeslook better in the green. The church had only just been completed when the view waspainted - a builders' hut is visible by the steps. An earlier print from a Canaletto viewshows the steps unfinished.

Opening times

Vaporetto Ferrovia

Scaffold watch

Due to the commencement of long-needed renovation work the portico has beencovered in scaffolding since the middle of 2007, at least, and this scaffolding has itself

been covered with a sequence of huge advertising hoardings. (In late 2008 an advertdepicting a naked woman hiding behind her large handbag caused a bit of a fuss.) Asad state of affairs, as this is the first church most people see upon arriving in Veniceas it's directly opposite the railway station. Before the coming of the scaffolding itlooked like this (above right).


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San StaeGiovanni Grassi, Domenico Rossi 1678-1709

A bit Baroque, a bit Palladian.

The churchSaid to have been founded in 966 and dedicated to San Eustachio (St Eustace, thecommander of Trajan's army, who is said to have seen the crucifix between theantlers of a deer whilst hunting). He becomes San Stae in Venetian dialect. The first

written reference dates from 1290. The original church, which was side-on to thecanal, was demolished in 1678 and this one was built by Giovanni Grassi, whorealigned it to face the Grand Canal. The faade of 1709 is by Domenico Rossi, whosedesign was the winner amongst 12 designs submitted in competition. It was paid for

by a legacy in the will of Doge Alvise Mecenigo and features the work of seven

sculptors, the statues being of various virtues, saints and angels. The two reliefs areThe lion lowers its head before St Eustace and The Emperor Hadrian has Eustaceand his relatives thrown in a red-hot bronze ox. The church was restored recently bythe Swiss Pro-Venezia Committee.

InteriorPleasing and very light - an aisleless nave with six side altars. Tomb slab of Doge

Alvise Mocenigo (in the middle of the pavement) who had paid for Rossi's faade.(He's also the man most responsible for the appearance of the Palazzo Mocenigonearby, which now houses the Museum of Costume.) The Latin inscription on histomb reads 'Fame and vanity are here buried together with the body'. The chapel first

on the left is dedicated to the Foscarini family and includes the tomb of AntonioFoscarini, reinterred here with honours after being exonerated of the charge oftreason for which he was executed in 1622.

Art highlightsWorks by Sebastiano Ricci, Giambattista Piazzetta and Giambattista Tiepolo, andsome less well-known contemporaries.

A visit (September 2010)As it's a between year, I visit to see what this church looks like without bits ofbiennale in it. And what a difference! It's very light inside, due to the Palladio-

inspired semi-circular windows, a feature of the Redentore. The lack of art accretionsalso means that Doge Alvise Mocenigo's spooky bone-decorated tomb slab is visiblein the centre of the floor of the nave. It's an aisleless nave with three side chapelseither side. They and the high altar are all marble and matching. The church is a bit ofa who's who of 18th Century Venetian painters and the best are either side of the highaltar. These include The Martyrdom of Saint Bartholomew by Tiepolo, which ispretty famous, not least for being a highlight of the Glory of Venice exhibition at theRoyal Academy in London in 1994. AlsoSaint James Led to Martyrdomby Piazetta.The paintings in the sacristy have a tendency towards 'studio of' but there's also anodd cornice from the earlier church depicting past parish priests, with a fair few dark

blanks awaiting portraits still. So, the surprise of the day. Without some odd clankingart thing going on this church is one calm, light and unheavy joy, with some goodpaintings which also aren't dark.


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Ruskin saidRidiculous

Campanile 34m (111ft) no bells

Rebuilt end of 17th Century with an entrance surround of 1702 featuring a 13thCentury bust of an angel (see left). Said to be dangerously unstable, despite the lowerportion being lived in.

Local colourThe cute baroque building to the left of the church is the former Scuola dei Battiloro eTiraoro, the guild of drawers and beaters of gold, rebuilt in 1711.

The church in artThere's a View of the Grand Canal at San Stae by Bellotto.Church of St. Stae, Venice by John Singer Sargent (see below) is an oil painting. Two

watercolours by him exist too.

The church in filmThis is the church that the funeral leaves from at the end ofDont Look Now.

Opening timesOften used for exhibitions and concerts.

Monday to Saturday:10.00 to 5.00Sundays: 1.00 to 5.00

A Chorus Church

Vaporetto: San Stae

Local colourAccording to a tradition dating from the 16th Century the carving of the head of Johnthe Baptist mentioned above (and pictured right) is said to be a representation ofBiagio Cargnio, a butcher who was beheaded and quartered as punishment forputting the meat of murdered children into his sausages and stews. His quartered

body parts were put on display on the Ponte dei Squartai (the Bridge of theQuartered Men) on the Rio del Tolentini. His house and shop stood in the nearby

fondamenta named after him, Riva di Biasio, but both were razed to the ground. Thecarving could be found smeared with mud well into the last Century, this beingevidence of Venetians' long and unforgiving memories. Butcher Biagio also featuresas a character in Michelle Lovric's novel for children The Undrowned Child.

Also, on November 21, 1500 a whole family was murdered by a Franciscan priest whoofficiated at San Zan Degola. He was executed in the Piazza San Marco on December19th, having first had his right hand cut off in front of the door of family he'd robbedand murdered.

Campanile20m (65ft) manual bellsThe map of 1635 (detail right) shows a taller detached tower with a tall spire which
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was demolished in the early 18th Century and replaced by the current short tower,squeezed between the church and adjacent house.

Opening timesMonday to Saturday: 10.00 - 12.00

Vaporetto: San Stae or Riva di Biasio


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Santa Maria Mater Domini1502-1540

Perhaps, perhaps, perhaps.

HistoryTradition says that the church was founded c. 960 and built by the Zane and Cappellofamilies. Originally dedicated to Saint Christina, with the rededication documented astaking place in 1128. Rebuilt after demolition in 1503, probably to a design by MauroCodussi. (Giovanni Buora's name is also mentioned sometimes). Completed 1512-24,perhaps by Jacopo Sansovino, who is perhaps responsible for the faade (butScarpagnino's name is also mentioned sometimes) and consecrated in 1540.Restored by Venice in Peril in the 1980s. This mostly consisted of work on the roof,

but also restoration work on two paintings - the Catena mentioned below andFrancesco Bissolo's Transfiguration.

The churchIstrian stone faade not the easiest to appreciate, being tucked into a narrow calle offof the impressive campo named after the church. 14th Century Byzantine-style halffigure of the Virgin over the doorway.

InteriorA Greek cross, nave and two aisles, said to combine the plans of San Giocometto andSan Giovanni Elemosinario. Contains the tomb of Antonio Maria Zanetti, the

librarian of the Marciana Library and the author of a 1771 catalogue of Venetianpaintings.

A visitPleasingly plain and uncongested by art, with yellowy-buff coloured walls and greystonework with some white marble and those odd red curtain-material-coveredcolumns. What art there is is pretty fine, including an early and therefore less darkTintoretto, The Invention of the Cross (c.1561). Also the serene The Vision of SaintChristina (1520) by Catena, a mystery-shrouded pupil of Giovanni Bellini and friendof Giorgione, who seems to have been a spice merchant who painted part-time. Fewof his works remain, even in Venice. This is one of his best and was painted for the

Scuola di Santa Christina. In the painting (see below left) the Saint looks up at theRisen Christ as angels support the millstone which was tied to her neck before she(and it) was thrown into Lake Bolsena.

Local colourIn April 1488 the porch of Santa Maria Mater Domini was sealed off with boards'after the twenty-third hour' to 'stop sodomites using it as a meeting place'. The Rialtoarea seemed to be a centre of such activity - San Cassiano's entrance was also orderedto be chained shut. Pastry shops were said to be dangerous places for impressionable

youth too, at that time.

Lost artA precious silver altarpiece looted from Constantinople was lost in 1797.
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Campanile 33m (107ft) manual bellsRebuilt 1503 and renovated 1740-43

Ruskin said

It contains two important pictures: one over the second altar on the right, "St.Christina," by Vincenzo Catena, a very lovely example of the Venetian religiousschool; and over the north transept door, the "Finding of the Cross," by Tintoret, acarefully painted and attractive picture, but by no means a good specimen of themaster... There is no wonder, no rapture, no entire devotion in any of the figures.There are only interested and pleased in a mild way; and the kneeling woman whohands the nails to a man stooping forward to receive them on the right hand, doesso with the air of a person saying, "You had better take care of them; they may bewanted another time." ... If Tintoret had always painted in this way, he would havesunk into a mere mechanist. It is, however, a genuine and tolerably well preservedspecimen, and its female figures are exceedingly graceful; that of St. Helena very

queenly, though by no means agreeable in feature. Among the male portraits on theleft there is one different from the usual types which occur either in Venetian

paintings or Venetian populace; it is carefully painted, and more like a ScotchPresbyterian minister than a Greek. The background is chiefly composed orarchitecture, white , remarkably noticed as one of the unfortunate results of the

Renaissance teaching at this period. Had Tintoret backed his Empress Helena withByzantine architecture, the picture might have been one of the most gorgeous heever painted.

Opening timesMonday to Saturday: 10.00-12.00

Vaporetto San Stae


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Sant'Andrea della Zirada15th/17th Centuries

HistoryCalled della Zirada from the Venetian word for bend, as the church stands at the

bend formed by two canals. Another theory has it that it's named for being theturning point for regattas. Traditionally said to have been founded in 1329 as theoratory of a hospice for poor women, founded by four Venetian noblewomen,Elisabetta Soranzo, Marianna Malipiero, Elisabetta Gradenigo and FrancescaCornaro (Corraro?) The convent and church were rebuilt in 1475 and restored in the17th Century, acquiring a lavish Baroque interior with stucco decoration. Closed byNapoleon with the convent buildings demolished. The church is now the studio ofsculptor Gianni Aric.

The churchThe Venetian Gothic faade is all that survives from the 1475 rebuilding. Has a portalof Istrian stone with two 14th Century bas-reliefs (see below right): aDead Christand The Calling of Peter and Andrewwith details that excite Venetian boat buffs.

InteriorThere's a barco (nun's gallery) over the door from the 15th Century, supported bycolumns left over from the 14th Century church. The rich decoration on the barco wasadded in the 17th Century. The baroque altar of 1679 is by Juste Le Court. Four sidealtars with 18th Century marble statues. Jan Morris says that there is a plaque inhonour of the Guild of Refuse Collectors which was mounted above the church doorhere (presumably inside) during the days of the republic.

Art/Lost artA guidebook from the early 1970s mentions aDead Christ between St. CharlesBorromeo and Angels by Domenico Tintoretto,as well asSt. Augustine with TwoAngels by Paris Bordone, which it describes as 'humdrum'. It also mentions aSt.Jerome Penitent(see below) by Paolo Veronese 'which must once have been verygood' and so it is again, looking very fine now in the Accademia.

Campanile 43m (140 ft) manual bell actionBuilt in 1475, acquiring its present appearance (an octagonal drum and onion dome)during the 17th Century restoration.

From Virgins of VeniceIn 1596, at the convent of Sant' Andrea de Zirada the campanile was sealed up afteraccusations that the nuns had climbed to the top of the bell tower and flauntedthemselves before the neighbourhood.

Opening times


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The church is now the studio of sculptor Gianni Aric.

VaporettoPiazzale Roma


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Santissimo Nome di GesGiannantonio Selva/Antonio Diedo 1815-34

HistorySmall neoclassical church begun by Giovanni Antonio Selva, the architect alsoresponsible for La Fenice and the (equally neo-classical) church of San Maurizio.

Work began in 1815, when the demolition of old ecclesiastical buildings was muchmore common than the building of new ones. The church was completed strictly tothe architect's plans, after his death in 1819, by Antonia Diedo. An adjoining convent

was built in 1846. The remains of San Geminiano were transferred here from hisname church which had then just been demolished. The church is now tucked intothe corner between the Autorimessa multi-storey car park and the flyover to PiazzaleRoma.

InteriorLarge ionic columns between barrel-vaulted nave and apse, an illuminated dome witha painted frieze by Borsato and sculptural niches. The tabernacle over the high altar isalso by Diedo.

A visitIt's very small and neo-classically clean, with an unusual barrel-vaulted chancel

which is only the width of the body of the church. This is divided from the main - flat-roofed - body by two very chunky Ionic columns. There are no paintings but two sidealtars feature purple curtains where the church's two paintings by Quarena (currentlyin restauro) should've been.

Ruskin saidOf no importance.

Opening times

Vaporetto Piazzale Roma

Churches in Santa Croce

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