The church of the Abbazia della Misericordia is a former religious
building in the city of Venice, located in the Cannaregio district,
overlooking the homonymous square.
Deconsecrated in 1973, the
building is used to host the art exhibitions of the Venice Biennale.
The first name of the church was Santa Maria di Val Verde, from the
original name of the island on which it was built. The history of the
church is linked to the Scuola Grande di Santa Maria della Misericordia,
which from the 14th century erected two of its own offices, a hospital
and houses nearby.
Traces of a church in this area can already be
found in 936, the foundation of which, according to Francesco Sansovino,
can be attributed to Cesare de Giuli, also called Andreardi, or jointly
to the de Giuli and Moro families. In the XIII century it was completely
rebuilt, abandoning the Byzantine structure and acquiring a Gothic
style.
It was initially granted to an order of hermits, then
probably to the Augustinians. In 1348 the monks were exterminated by the
plague, the abbot, the only survivor, died in 1369 leaving the perpetual
patronage of the church to Luca Moro and his descendants: since then the
church has been linked to the history of the patrician Moro family who
acquired the patronage , with the perpetual right to appoint the prior
of the church (they retained this right until the fall of the Venetian
Republic in 1797).
On June 9, 1611, the prior Girolamo Savina,
author of a chronicle of Venice called Cronaca Savina, died poisoned by
a monk, drinking communion wine while celebrating mass.
In 1659
the Bolognese architect Clemente Molli (already assistant to Baldassare
Longhena in Venice) remade the facade in Baroque style, at the expense
of the patrician and philosopher Gasparo Moro, whose bust sculpted by
Moli appears above the door. Moli also sculpted the allegorical figures
on the sides of the door. At the time, the church contained a canvas by
Paolo Veronese and a cycle by Tintoretto.
In 1806, during the
Napoleonic era, the Scuola della Misericordia was suppressed and the
church was completely stripped and transformed into a military
warehouse, while the monastery, which was already in a state of abandon
and half collapsed, was definitively demolished.
Saved from
demolition, the church was enriched again between 1825 and 1864 with
many works from other demolished or suppressed churches, which the abbot
Pietro Pianton (born Angelo Pasquale) managed to recover. In 1864, when
Pianton died, Abbot Millin took his place, but on his death the church
was acquired following legal proceedings by the Moro-Lin family, who
sold all the works of art between 1868 and 1882 (which were not strictly
part of the patronage claimed by the family itself).
In 1890 it
was used as a hospital.
In 1891, to prevent it from becoming an
evangelical church, it was personally purchased by the patriarch
Domenico Agostini, who however was unable to complete the donation to
the Venetian curia: it was thus inherited by the relatives of the
patriarch, who sold it again.
Subsequently, the church was used
occasionally by the friars of the order of the Servants of Mary, with
the last mass celebrated on August 17, 1967 and definitively abandoned
in 1973.
On 28 March 1973 the church was officially
deconsecrated, with a decree signed by the then patriarch Albino Luciani
(future Pope John Paul I). and sold to Nani Sartorio, who in 1980 resold
it to Roberto Benedetti, who set up a warehouse and a souvenir shop
there. The fourteenth-century bell tower was instead rented for
"meteorological and astronomical observations", while other rooms on the
side of the church were restructured as apartments for tourist use.
The church was used in 1979 for the filming of two Moonraker films,
part of the James Bond series. In 1988 the building was used for the
filming of Nosferatu in Venice, in which Count Dracula (played by actor
Klaus Kinski) kills one of his victims inside the former church.
The church's origins trace back to the 10th century, specifically
around 936, when it was founded as part of the Priory of Santa Maria
della Valverde Madre di Misericordia by families including the Balbo,
Baseggio, and Polcastro. Initially established under the Regular Order
of St. Augustine, it served as an abbey church. The structure was
significantly enlarged and rebuilt in the 13th century, incorporating
Gothic elements that aligned with the architectural trends of the time.
This expansion likely included the addition of the bas-relief on the
facade and enhancements to the interior to accommodate growing monastic
needs.
A pivotal moment came in the mid-14th century following the
devastating plague of 1348, which claimed the lives of all the monks
except the abbot, who passed away in 1369. Patronage then shifted to the
Moro family, who oversaw restorations to revive the abbey and invite new
orders, including the Dominicans and later the Servites. The most
transformative reconstruction occurred between 1651 and 1659, financed
by the philosopher and patrician Gaspare Moro. This phase introduced a
new Baroque facade designed by the Bolognese architect Clemente Moli
(sometimes spelled Molli), effectively "applying" a monumental stone
front to the existing structure. By the early 19th century, the attached
convent had fallen into disrepair and was demolished, while the church
itself decayed and underwent restorations continuing until 1864. The
last mass was celebrated on August 17, 1967, marking its deconsecration.
Today, the building is in private hands, occasionally open for events,
and shows signs of wear, including graffiti on the square, though recent
restorations have preserved its core features.
Exterior
Architecture
The exterior of the church is dominated by its
south-facing Baroque facade, a striking addition from the 1650s that
contrasts with the simpler brickwork of the adjacent Scuola Vecchia and
the surrounding campo's original brick paving. Designed by Clemente
Moli, the facade is constructed from white Istrian stone, creating a
monumental and theatrical presence in the small square. It features a
pedimented portal flanked by Corinthian columns and pilasters, with an
arched central doorway surmounted by a lunette and an oculus window
above. Allegorical statues, also by Moli, adorn the niches and
pedestals, representing virtues such as Charity and Faith, adding a
sculptural dynamism typical of Baroque architecture. A bust of the
patron Gaspare Moro is prominently placed above the door, honoring his
financial contributions.
On the right side of the facade, a notable
13th-century bas-relief depicts the Madonna with Child, a remnant from
the medieval rebuild that provides a Gothic counterpoint to the Baroque
elements. The side walls reveal the church's older brick construction,
with pointed Gothic arched windows barred by iron grilles, hinting at
the 13th-century expansion. The overall form is compact, with a tiled
roof and a small bell turret, blending seamlessly into Venice's dense
urban fabric. The campo itself enhances the architectural experience,
bounded by canals and accessible via fondamente (quaysides) and a nearby
bridge, offering picturesque views of the lagoon toward Murano.
Interior Architecture
The interior of the Chiesa dell'Abbazia della
Misericordia is a spacious, single-nave hall that reflects its monastic
origins and subsequent adaptations, measuring approximately 20-25 meters
in length with a width allowing for gatherings of up to several hundred
people. The layout is aisleless, centered on a raised altar platform at
the far end, evoking a basilica-like simplicity adapted for Venetian
constraints. Exposed brick walls dominate, punctuated by arched niches
and side chapels that house marble tombs and memorials, many from the
Renaissance and Baroque periods. These walls bear traces of
frescoes—restored in recent decades to reveal original Renaissance
artwork depicting religious scenes, though some areas show intentional
patina or damage for atmospheric effect in its current event-space role.
The ceiling is a wooden beamed structure, adding warmth and rustic
charm, while tall, pointed Gothic windows along the sides allow natural
light to filter in, illuminating the space with a serene glow. The
central altar is a Classical edifice with marble columns, a pediment,
and intricate carvings, possibly dating to the 17th-century rebuild, and
is flanked by symmetrical niches that once held altarpieces or statues.
The floor is paved in stone, and the overall design incorporates modern
lighting and staging elements for contemporary uses, such as
performances or exhibitions, without detracting from the historical
fabric. Notable decorative elements include polychrome marble accents
and remnants of stucco work, contributing to an intimate yet grand
atmosphere that contrasts with Venice's more opulent churches like San
Marco.
Although specific artworks are not extensively documented in
historical records, the interior features stunning frescoes and
sculptures that showcase Venetian artistry, including possible pieces
from the Moro family's patronage era. The space's adaptability is
evident in its current configuration, which includes a grand hall-like
nave suitable for events, with a private courtyard and garden accessible
nearby for outdoor extensions.
Notable Features and Current
Significance
Key features include the fusion of Gothic and Baroque
styles, symbolizing Venice's architectural palimpsest—medieval relics
like the Madonna bas-relief coexist with 17th-century grandeur. The
church's deconsecrated status has allowed for innovative repurposing,
blending history with modernity, as seen in restorations that preserve
frescoes while adding amenities like stages. It remains a hidden gem,
offering a peaceful retreat from tourist crowds, with its location in
the quieter Cannaregio district enhancing its charm. While not always
open to the public, it hosts art shows and private events, underscoring
its enduring cultural role in Venice.
The Abbazia is closely tied to the Scuola della Misericordia (School
of Mercy), one of Venice's original Scuole Grandi—confraternities that
functioned as charitable institutions supporting the poor, sick, and
pilgrims. Founded in 1261 near the Basilica dei Frari and relocated to
the abbey site in 1308, the scuola expanded over time, leading to the
construction of the Scuola Vecchia della Misericordia adjacent to the
church in 1310. This building included a cloister, garden, hospice, and
even a hotel by 1411, reflecting the confraternity's peak influence. By
the late 15th century, the scuola had grown so large that a new
building, the Scuola Nuova della Misericordia (now known as the Scuola
Grande della Misericordia), was begun across the Rio della Sensa in
1507, with designs later refined by Jacopo Sansovino. The old scuola and
church complex eventually served as a restoration center, and today the
Abbazia is deconsecrated, often used for cultural events, though its
interior remains relatively ascetic and peaceful, with arched galleries
and a small garden evoking Venice's isolated island origins.
While
the Abbazia itself does not have widely documented myths directly tied
to its structure, its location in the quiet northern reaches of
Cannaregio—a district rich in eerie folklore—places it amid several
local legends and ghost stories that add a layer of mystique.
Cannaregio's labyrinthine canals, remote fondamente, and historical
isolation have fostered tales of restless spirits, curses, and
supernatural encounters, often linked to Venice's plagues, unrequited
loves, and moral reckonings. Below, I'll delve into the most relevant
legends associated with the immediate area around the Abbazia, drawing
from Venetian oral traditions and historical anecdotes.
The
Usurer’s Burning Skeleton (Campo de l’Abazia)
One of the most
chilling legends directly connected to the Abbazia's location unfolds on
the very campo where the church stands: Campo de l’Abazia. According to
local folklore, passersby traversing this square at night might
encounter an elderly man burdened with a heavy sack on his back. He
appears destitute and pleads for assistance, but those who make eye
contact or offer help are doomed. The man transforms into a flaming
skeleton, instilling such terror that it can frighten victims to death.
This apparition is said to be the ghost of Bartolomeo Zenni, a notorious
usurer from the 15th century known for his greed. On May 13, 1437, a
devastating fire ravaged the campo, endangering the lives of Zenni's
neighbors and their children. Instead of aiding them, Zenni prioritized
salvaging his sack of gold and jewels, abandoning the community to the
flames. His selfish act condemned his soul to eternal wandering, forever
reliving his moral failing in this spectral form. The legend serves as a
cautionary tale about avarice, echoing Venice's historical emphasis on
communal charity through institutions like the Scuola della
Misericordia. Fishermen and locals once avoided the campo after dark,
attributing eerie sounds to Zenni's unrest, though modern visitors
report only the quiet lapping of nearby canals.
The Cursed House
of Spirits (Casin degli Spiriti)
Just a short walk northeast from the
Abbazia, along Fondamenta Gasparo Contarini near the lagoon's edge,
stands the infamous Casin degli Spiriti—an annex to Palazzo Contarini
dal Zaffo, built in the 16th century. This site, often shrouded in mist
from the water, is steeped in tales of hauntings and dark rituals,
making it one of Cannaregio's most notorious spots. Originally a
gathering place for Venice's intellectual elite, including painters like
Tintoretto, Veronese, and Titian, the casin hosted philosophical
discussions and artistic salons. However, after abandonment, it gained a
sinister reputation. Locals reported strange nocturnal noises—moans,
whispers, and howls—attributed to demonic invocations by secretive
cults. The most famous ghost is that of Pietro Luzzo da Feltre, a
16th-century painter who, heartbroken over his unrequited love for
Cecilia (the model and lover of artist Giorgione), committed suicide
within its walls. His tormented spirit is said to wail on windy nights,
lamenting his fate.
The casin's dark history deepened during Venice's
plagues, when it served as a makeshift hospital where thousands
perished. It later became an anatomical theater for autopsies,
amplifying its macabre aura. In the 20th century, gruesome discoveries
cemented its curse: In 1929, four decapitated bodies (missing heads and
right hands) were found inside, possibly linked to occult practices or
smuggling. Then, in 1947, the dismembered body of Linda Civetta—a woman
from Belluno murdered for her black-market money by gambler Bartolomeo
Toma and gondolier Luigi Sardi—was discovered in a submerged trunk
directly in front of the building. Fishermen to this day refuse to cast
nets in the adjacent waters, fearing entanglement with restless souls.
The proximity to the Abbazia highlights Cannaregio's blend of piety and
peril, where charitable sites like the scuola contrast with nearby
shadows of human despair.
The Miraculous Statue of the Madonna
dell’Orto
Slightly further afield but still within Cannaregio (about
a 10-minute walk east from the Abbazia, near Fondamenta Madonna
dell'Orto), another legend revolves around the Church of Madonna
dell’Orto, offering insight into the district's themes of divine
intervention amid mystery. In the 14th century, sculptor Giovanni de
Santi crafted a statue of the Madonna, which was rejected by the priest
of the then-Church of St. Christopher Martyr. De Santi placed it in his
garden, where his wife noticed it glowing ethereally at night. Word
spread, drawing crowds who deemed it miraculous for granting prayers and
healings. On June 18, 1377, the statue was enshrined in the church,
prompting its renaming to Madonna dell’Orto (Madonna of the Garden). The
glowing phenomenon symbolized mercy and protection, resonating with the
Abbazia's own dedication to misericordia. While not haunted, this myth
underscores Cannaregio's spiritual undercurrents, where everyday objects
could become vessels of the supernatural, much like the charitable ethos
of the nearby scuola.