The church of the Abbazia della Misericordia or Church of the Abbey
of Mercy 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.
Originally known as Santa Maria di Valverde, the church takes its
name from the verdant, isolated island ("Val Verde" or "green valley")
on which it was first constructed in the 10th century. This location in
the Cannaregio sestiere was once a remote, marshy outpost on the
northern edge of the Venetian lagoon, far from the bustling center of
the city. Over the centuries, as Venice expanded and land was reclaimed,
the area became more integrated into the urban fabric, yet the church
retained its deep historical ties to mercy, patronage, and Venetian
patrician families.
Its history is closely intertwined with the
Scuola Grande di Santa Maria della Misericordia, one of Venice's
prestigious confraternities. From the 14th century onward, the Scuola
erected its own offices, a hospital (noted as one of the earliest in
Venice), and residential buildings nearby, fostering a complex dedicated
to charitable works and community support.
Early Foundations and
Medieval Transformations
Traces of religious activity in this area
date back to at least 936 (or around 939 according to some sources),
when a small abbey, monastery, and hospital were established. Historian
Francesco Sansovino attributed the foundation to Cesare de Giuli (also
known as Andreardi) or jointly to the de Giuli and Moro families. In the
13th century, the church underwent a major rebuilding: the original
Byzantine-style structure was abandoned in favor of a more contemporary
Gothic design, reflecting the architectural trends of the era as
Cannaregio grew around it.
Initially granted to an order of hermits,
it later passed, probably, to the Augustinians. The devastating plague
of 1348 wiped out most of the monastic community, leaving only the abbot
as survivor. Upon his death in 1369, he bequeathed the perpetual
patronage of the church to Luca Moro and his descendants. This marked
the beginning of the church's enduring connection to the noble Moro
family, who held the right to appoint the prior until the fall of the
Venetian Republic in 1797.
Baroque Splendor and Dramatic
Incidents
A notable, if tragic, episode occurred on June 9, 1611,
when Prior Girolamo Savina—author of the Cronaca Savina, a valuable
chronicle of Venetian history—died after being poisoned by a monk. The
murder allegedly took place during Mass, with the fatal dose
administered in the communion wine.
In the mid-17th century, the
church received a magnificent Baroque facelift. Between 1651 and 1659,
Bolognese architect Clemente Molli (who had assisted the great
Baldassare Longhena) redesigned the façade at the expense of the
patrician philosopher Gasparo Moro. Above the main portal stands a bust
of Gasparo Moro sculpted by Molli himself, flanked by allegorical
figures representing virtues such as Charity and Fortitude. A
13th-century bas-relief of the Madonna and Child adorns the right side.
During this period, the interior housed important artworks, including a
canvas by Paolo Veronese and a cycle of paintings by Tintoretto.
Napoleonic Suppression and 19th-Century Revival
The church faced
severe challenges during the Napoleonic era. In 1806, the Scuola della
Misericordia was suppressed, and the church was stripped of its
treasures and repurposed as a military warehouse. The adjacent
monastery, already in ruins, was demolished shortly afterward.
Fortunately, the church itself was spared from total destruction.
Between 1825 and 1864, under the energetic leadership of Abbot Pietro
Pianton (born Angelo Pasquale), it was gradually enriched with artworks
salvaged from other suppressed or demolished Venetian churches. Upon
Pianton's death in 1864, Abbot Millin succeeded him, but legal disputes
followed. The Moro-Lin family eventually acquired the property and sold
off many artworks (those not tied to their patronage rights) between
1868 and 1882.
In 1890, the building briefly served as a hospital.
The following year, Patriarch Domenico Agostini purchased it personally
to prevent its conversion into an evangelical church. However, he could
not complete the donation to the Venetian curia before his death, and it
passed to his relatives, who sold it again.
20th Century:
Decline, Deconsecration, and New Uses
In later decades, the church
was occasionally used by the friars of the Order of the Servants of
Mary. The last Mass was celebrated here on August 17, 1967, after which
it fell into disuse and was officially deconsecrated on March 28, 1973,
by decree of Patriarch Albino Luciani—later Pope John Paul I. It was
then sold to Nani Sartorio, who resold it in 1980 to Roberto Benedetti.
The new owners converted parts of the complex into a warehouse and
souvenir shop. The 14th-century bell tower was rented for meteorological
and astronomical observations, while side rooms were adapted into
tourist apartments.
The deconsecrated church has also served as a
cinematic backdrop. In 1979, it appeared in scenes from the James Bond
film Moonraker (starring Roger Moore). In 1988, it featured in the
filming of Nosferatu in Venice, where Count Dracula (portrayed by Klaus
Kinski) dramatically kills one of his victims inside the former sacred
space.
Visiting Today
Located on Campo dell'Abbazia in
Cannaregio, near the Scuola Vecchia della Misericordia, the church
stands as a fascinating example of Venice's layered history—from
medieval abbey to Baroque landmark, Napoleonic warehouse, and modern
cultural site. While no longer a place of worship, its exterior and
surviving architectural details reward passersby exploring this quieter
corner of Venice, away from the main tourist crowds. Its story
highlights themes of patronage, resilience through plagues and wars, and
the city's evolving relationship with its religious heritage.
The roots of this historic Venetian church stretch back to the early
10th century, with its founding dated around 936–939 as part of the
Priory of Santa Maria della Valverde Madre di Misericordia (also known
as Santa Maria di Valverde). It was established by prominent local
families such as the Balbo, Baseggio, and Polcastro families. Originally
constructed in a Romanesque-Byzantine style, it functioned as an abbey
church under the Regular Order of St. Augustine and formed part of a
larger complex that included one of Venice’s earliest monasteries, a
hospital (hospice), and a cemetery.
In the 13th century, the
structure underwent significant enlargement and rebuilding, embracing
the emerging Gothic architectural style prevalent across Europe at the
time. This phase likely introduced key elements like the bas-relief on
the facade and interior expansions to better serve the monastic
community’s growing needs.
A turning point occurred in the mid-14th
century after the catastrophic Black Death plague of 1348, which
decimated the community—leaving only the abbot alive until his death in
1369. Patronage subsequently transferred to the influential Moro family,
who initiated restorations and welcomed new religious orders, first the
Dominicans and later the Servites. The most dramatic transformation took
place between 1651 and 1659, funded by the philosopher and Venetian
patrician Gaspare (or Gasparo) Moro. This Baroque-era overhaul, led by
Bolognese architect and sculptor Clemente Moli (also spelled Molli, a
collaborator of Bernini and Longhena), involved cladding the ancient
structure with a grand new stone facade.
By the early 19th century,
the attached convent had deteriorated badly and was demolished, while
the church itself fell into decline amid Napoleonic suppressions of
religious institutions (which led to looting and temporary uses as a
warehouse or hospital). Extensive restorations continued into 1864. The
final Mass was held on August 17, 1967, after which the church was
deconsecrated. Today, it stands in private ownership, occasionally
hosting cultural events, art exhibitions, and private functions through
venues like Etnia House of Arts. While it shows some signs of
age—including occasional graffiti in the square—thoughtful recent
restorations have safeguarded its essential architectural and artistic
heritage.
Exterior Architecture
The church’s most commanding
feature is its south-facing Baroque facade, a theatrical 17th-century
addition that stands in elegant contrast to the humbler brick
architecture of the adjacent Scuola Vecchia della Misericordia and the
campo’s traditional brick paving. Crafted primarily from luminous white
Istrian stone by Clemente Moli, the facade creates a monumental presence
in the intimate Campo dell’Abbazia.
It centers on a pedimented portal
framed by Corinthian columns and pilasters, featuring an arched doorway
topped by a lunette and an oculus window higher up. Moli’s allegorical
statues in niches and on pedestals—symbolizing virtues like Charity,
Faith, and Fortitude—lend dynamic sculptural energy characteristic of
Baroque design. A prominent bust of patron Gaspare Moro, also by Moli,
graces the area above the main door, commemorating his generosity.
To
the right of the facade, a beautifully preserved 13th-century Gothic
bas-relief portrays the Madonna with Child, offering a poignant medieval
counterpoint to the surrounding opulence. The side walls expose the
older brick construction, complete with pointed Gothic arched windows
protected by iron grilles. The compact overall form includes a tiled
roof and a modest bell turret, harmoniously integrated into Venice’s
dense urban tapestry. The surrounding campo, edged by canals and
accessible via fondamente (quays) and bridges, provides captivating
vistas across the lagoon toward Murano, enhancing the site’s romantic
allure—especially in the quiet early mornings.
Interior
Architecture
Inside, the Chiesa dell’Abbazia della Misericordia
unfolds as a spacious, single-nave hall that echoes its monastic past
while reflecting later adaptations. Roughly 20–25 meters long, the
aisleless interior features a raised altar platform at the end, evoking
a simplified basilica layout suited to Venice’s spatial limitations.
Exposed brick walls create a warm, textured backdrop, interrupted by
arched niches and side chapels containing Renaissance and Baroque marble
tombs and memorials.
Traces of frescoes—rediscovered in the 20th
century and restored in recent decades—adorn the walls, depicting
religious scenes and showcasing Venetian artistic traditions. Some areas
retain an intentional atmospheric patina. The wooden beamed ceiling adds
rustic charm; restorers have uncovered original decorative elements like
colorful ribbons, corbels, and gilded stars on the tie beams. Tall,
pointed Gothic windows along the sides filter soft natural light,
contributing to the serene ambiance.
A Classical-style central altar
with marble columns, pediment, and fine carvings (likely from the
17th-century rebuild) anchors the space, flanked by symmetrical niches
that once displayed altarpieces or statues. The stone-paved floor,
polychrome marble details, and remnants of stucco work blend with modern
lighting and staging for today’s events. Notable features include the
tomb of 16th-century benefactor Aloysius Maripetro (with an inscription
from 1537). The adaptable nave now serves beautifully for performances,
exhibitions, and gatherings, while a private courtyard and garden offer
extensions for outdoor events. Compared to grander Venetian landmarks
like San Marco, it offers a more intimate yet still majestic atmosphere.
Notable Features and Contemporary Importance
This church
beautifully embodies Venice’s layered architectural history—a true
palimpsest where 13th-century Gothic remnants (such as the Madonna
bas-relief) harmonize with 17th-century Baroque splendor. Its
deconsecrated status has enabled creative repurposing, merging heritage
with modern cultural life through art shows, conferences, and private
events. Restorations have carefully preserved frescoes and structural
elements while introducing contemporary amenities.
Tucked away in the
quieter Cannaregio district near Strada Nova and the Scuola Grande della
Misericordia, it serves as a peaceful hidden gem far from the main
tourist crowds. Its enduring cultural significance persists as a
versatile venue that honors Venice’s artistic legacy while adapting to
contemporary needs. Visitors lucky enough to gain access (often during
events) will appreciate its tranquil charm and the evocative fusion of
styles that tells the story of the city’s resilient spirit over more
than a millennium.
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.