Santa Maria Assunta
Santa Maria Assunta. Commonly known as I Gesuiti, it is a church in Cannaregio, Venice; just behind the Fondamenta Nuove vaporetto-A stop. It is named by the religious order of the Society of Jesus; members of which are referred to as Jesuits (Gesuiti in Italian).
The recently restored church is renowned worldwide among its aficionados, for the beauty of its white and green marble decorations. These mimic the silk and velvet fabrics that were in vogue in Venice at the time; marked by vibrant floral patterns, that create a significant visual impact.
The baroque interior decoration has had its share of critics, with some feeling that the lavish decorations can be overwhelming and detract from the spiritual experience. What one cannot cannot doubt and wonder at, is the sheer level of craftmanship involved – it really has to be seen to be appreciated!
However, the significance of Santa Maria Assunta extends beyond its religious importance; it serves as a guardian of Venetian art and culture. The church is home to masterpieces by renowned Venetian artists, among them Titian, whose “Martyrdom of Saint Lawrence” stands as one of many highlights of the collection.
Following a visit to the overwhelmingly decorative baroque church interior, you can relax in a simpler form of “contemplative beauty“; in the adjoining former Convento dei Cruciferi – yet another hidden gem of Venice.
History
The Building – Exterior facade – Interior – Significant Artworks – Layout
Relax in the former Convento dei Cruciferi.
Getting There
A celebratory Poem
Links (internal-external)
“Sufficit sola fide“, (faith is all that is needed). Motto inscribed on the altar of the Church.
Above. The Campo and Church, by Canaletto (2nd third of 18th century)
Santa Maria Assunta – History
The initial construction of the Santa Maria Assunta church dates back to around 1155, complete with a monastery and hospital, established by the Crociferi order and supported by Cleto Gussoni and family. The hospice was initially created to accommodate sick pilgrims and injured crusaders traveling to and from the Holy Land. As this requirement diminished in the 15th century, the facility began to shelter older people, especially widows.
The initial church, likely made of wood, was reconstructed following a fire in 1214, and again in 1513. Doge Renier Zen, a notable benefactor in the 13th century, owned a palazzo in the Campo dei Crociferi and significantly contributed the relics of Saint Barbara to the church in 1256. (Note. Subsequently, a second set of Barbara’s remains at the San Giovanni Evangelista convent on Torcello received official acknowledgment.) In 1581, the city bestowed a rib from the relics as a diplomatic gift upon the Duke of Mantua.
The complex thrived during Doge Pasquale Cicogna’s tenure (1585-95), with significant contributions from Palma Giovane. After persistent allegations of indiscipline, the Crociferi were ultimately suppressed by Pope Alexander VII in April 1656, leading to the sale of their complex to the Jesuits in 1657 by the Republic (said to be for the sum of fifty thousand ducats). Previously expelled from Venice in 1606, the Jesuits were readmitted after the Cretan War, as Venice required funds; which were raised through the suppression and sale of Santo Spirito and the Crociferi church assets, contingent on papal approval. Pope Alexander VII consented, allowing the Jesuits’ return to Venice, albeit to a different location than their former site in the Dorsoduro district.
The Manin family, who have their tombs here; later financed the reconstruction of the deteriorating church. This project commenced following the demolition of the old church in 1715 and continued until 1728. The interval between the Jesuits’ acquisition and the reconstruction was due to their temporary expulsion from Venice, this time because of a dispute with the Pope regarding the jurisdiction over clergymen accused of crimes. The Jesuits’ lack of popularity in Venice, may account for the church’s isolated location and its architecture’s intent to impress and awe. Architect Domenico Rossi, favoured by the Manin family (of noble Friulan lineage from 1651) and nephew of Giuseppe Sardi, was charged with the reconstruction. The church was dedicated in 1728, to Santa Maria Assunta (St Mary of the Assumption).
The suppression of the Jesuits in 1773, led to the monastery’s conversion into a school and later in 1808, into barracks for Napoleon’s troops. In 1844, the Jesuits reclaimed the northern convent buildings. The southern structures have since been transformed into student housing. Adjacent to the church’s north side is a novel establishment known as Combo, a multifaceted space for accomodation, meetings, arts, and refreshments (see later section below).
Left. Author: Didier Descouens. “View over northern coast from lagoon”. Right. Author: Didier Descouens. View of the “Complex of Gesuiti”
Both files licensed under the Creative Commons Attribution-Share Alike 4.0 International license.
Santa Maria Assunta – The Building
The Jesuits in Venice selected Domenico Rossi, the architect behind the Church of San Stae, as the ideal candidate for their project. Rossi faced a challenging task, as he had to adhere to stringent guidelines set by the Council of Trent for the Jesuits.
Santa Maria Assunta – The external facade.
The façade, as ornate as one might expect from a Baroque church in Venice, is attributed to Giovanni Battista Fattoretto, likely following an original design by Domenico Rossi. The first level features statues of the apostles, crafted by various artists, who witnessed the Virgin’s Assumption. Above the pediment, the depiction of the Virgin Ascending to Heaven, accompanied by angels whose robes flutter in the breeze, is the work of Giuseppe Torretti. The Manin family crest adorns the façade, a nod to Ludovico Manin, the last doge, who surrendered Venice to Napoleon.
The structure boasts two tiers: the lower one is encircled by eight columns, which support a rugged and fissured architrave. Atop these columns rest eight statues that, along with four others placed in niches, represent the “twelve apostles”. The main entrance is flanked by four statues portraying Saint James the Greater, Saint Peter, Saint Paul, and Saint Matthew the Evangelist. The sculptural work includes contributions from Filippo Catasio and Giuseppe Ziminiani, while Giuseppe Torretti is credited with the statues in the Tympanum, featuring his work “The Assumption of the Virgin Mary”.
Left. Author: Didier Descouens. This file is licensed under the Creative Commons Attribution-Share Alike 4.0 International license.
The Campanile on the lagoon side, stands at 40 metres (130 feet) tall and is equipped with manual bells. Originating from 1150 as part of the original church, it is crowned with an 18th-century belfry. In 1715, Rossi bricked up the windows facing the lagoon on the belfry.
Santa Maria Assunta – Interior.
The church’s design is characteristic of Jesuit architecture, shaped like a Latin cross and features an aisless apse; with three chapels each on its longer sides and divided by small rooms likely used for confessions. Practically every wall and ceiling of the church is decorated. The transept and chancel are flanked by two additional chapels. Notably, between the second and third chapels is Francesco Bonazza’s remarkable pulpit, and “corretti”, grates through which convent visitors could peer, line the corridor. The nave seems fairly modest compared to the altar, dedicated to the Holy Trinity and rather overshadowed by four large pillars that uphold the cross vault; adorned with green and white marble from 1725 to 1731.
Above. Author: Didier Descouens. Interior of Chiesa dei Gesuiti (Venice) – High altar
This file is licensed under the Creative Commons Attribution-Share Alike 4.0 International license.
The altar by Fra Giuseppe Pozzo, inspired by Bernini, with its baldacchino with “barley-sugar” twisted columns and concealed lighting. The ceiling boasts frescoes, including ‘Angel Musicians in Glory’ (1720) in the chancel and ‘The Triumph of the Name of Jesus’ (1732) on the vault, both by Ludovico Dorigny. The nave’s ceiling also features a depiction of Abraham. On the counter-facade is the Funeral Monument of Da Lezze Family, by Jacopo Sansovino.
Above. Author: Sailko. Interior of Chiesa dei Gesuiti (Venice). Ceiling of the nave. Frescoes by Francesco Fontebasso and stuccoes by Abbondio Stazio. This file is licensed under the Creative Commons Attribution 3.0 Unported license.
Santa Maria Assunta – Layout
My recommendation on entering the church, is to look behind you first and then proceed in a clockwise direction around the church, starting along the left hand side of the nave. Certain features, such as the Funeral Monument of the Da Lezze family, already existed in the ancient church of Crosechieri and was rebuilt by the Jesuits on the site of origin.
Significant works below in orange.
(Note. If you want a full detailed description with images, of the internal decorative elements, you can search: I Gesuiti-Wikipedia.)
Counter-façade Jacopo Sansovino (mid-16th century). This monument already existed in the ancient church of Crosechieri and was rebuilt by the Jesuits on the site of origin.
The left side of the nave.
1st chapel – Chapel of Saint Lawrence Titian. Matyrdom of San Lorenzo, 1557.
2nd chapel – Chapel of Our Lady
The pulpit. Sculptor: Francesco Bonazza.
3rd chapel – The Chapel of the Sacred HeartThe left transept.
The organ (non-functional)
Altar of the Assumption of Mary Jacopo Tintoretto. Assunzione di Maria, 1555.
The Funeral Monument of the Doge Pasquale CicognaThe Sacristy. Twenty paintings by Jacopo Palma il Giovane. Among these is the Martyrdom of St John the Baptist, St Lanfranco, and St Liberio (1610), which at one time was placed in the chapel of the Arte dei Varoteri (the guild of furriers of Venice).
Center of the transept. On the ceiling is a fresco by Louis Dorigny, The triumph of the name of Jesus, 1732. At the four corners adorning the pilasters the marble statues of the Archangels Michel, Gabriel, Raphael and Sariel by Giuseppe Torretti.
Right transept.
The chapel of Ignatius of Loyola
The Organ (functional).
Choir
The apse chapel on the left is dedicated to St. Joseph
The High Altar. Designed by the Carmelite friar Giuseppe Pozzo. Surmounted by a large canopy with a dome, the original architecture is supported by ten twisted columns of green marble which guard the precious tabernacle studded with lapis lazuli.
The apsidal chapel on the right is dedicated to Saint Francis Xavier
Right side of the nave.
1st chapel – The chapel of the three Jesuits
2nd chapel – The Chapel of St. Barbara
3rd chapel – The Chapel of the Guardian Angel
Relax in the former Convento dei Cruciferi.
Following a visit to the overwhelmingly decorative baroque church interior, consider relaxing in a simpler form of “contemplative beauty”, in the adjoining former Convento dei Cruciferi – yet another hidden gem of Venice.
The convent complex has a varied history, having been a public school from 1774 to 1797, and then the HQ of the Manin military barracks until the early 1960s. After long period, it was entrusted by the Municipality of Venice to IUAV University, in order to build a residential facility for students and researchers of the city’s universities. It is also a hotel, complete with bar and restaurant services operated by Combo; a Turin-based company with a presence in other major cities offering similar concepts.
Combo
Ex Convento dei Crociferi
Campo dei Gesuiti
Cannaregio 4878
30121 Venezia
Tel. +39 041 5286103 [email protected] Link: Combo Venezia • Hostel in Venice, Italy (Cannaregio,)
Reception: 24/7 Bar: Mon-Sun 07:30 am – 09:30 pm Restaurant: Mon-Sun 6:00 pm – 10:30 pm
Courtesy of Google maps – Bird’s Eye View of Church and the Convento dei Cruciferi complex.
Santa Maria Assunta – Getting There
Vaporetto. Fondamente Nove “A”
Chiesa di Santa Maria Assunta, detta I Gesuiti
Salizada dei Spechieri 4877
30121 Venezia
Entrance to church: 1 euro donated for the restorations.
Sunday
10:00 – 13:00
15:00 – 19:00
Monday – Tuesday
10:30 – 13:00
16:00 – 18:30
Wednesday – Thursday
10:30 – 13:00
16:00 – 18:30
Friday
10:30 – 13:00
15:00 – 19:00
Saturday
10:00 – 13:00
15:00 – 19:00
A celebratory poem on this baroque masterpiece “Santa Maria Assunta”
In Venice stands a marvel, ‘neath skies azure,
Santa Maria Assunta, with grandeur pure.
Baroque whispers echo through sacred halls,
Gilt and marble, where light gently falls.
Gilded altars, where saints softly stand,
Each crafted with a master’s hand.
Murals above, tales of divine,
Each brushstroke a whisper, in holy design.
Bonazza’s pulpit, a crafted delight,
Soft drapes in stone, ethereal in sight.
Lavish frescoes, angels in flight,
A dance of shadows, with colours so bright.
Upon the counter facade, a solemn sight,
Lies the monument of Da Lezze, bathed in light.
A tribute to valour, and life’s fleeting grace,
In marble carved, a timeless embrace.
Critics may murmur, “Too grand for prayer,”
Yet, art lovers linger, in awe and in stare.
A treasure of Venice, history’s embrace,
Santa Maria Assunta, a timeless grace.
Links (internal–external)
My Favourite 11 churches in Venice: My Favourite Churches – Images of Venice
Santa Maria del Rosario – I Gesuati
(7744) Shrines of Italy: Santa Maria Assunta – YouTube