The Chiesa dell’Angelo Raffaele, officially known as the Chiesa di San Raffaele Arcangelo (Church of the Archangel Raphael), is a historic Catholic church in Venice, Italy, located in the Dorsoduro sestiere. Known locally as “Anzolo Rafael” in the Venetian dialect, it is one of the city’s oldest churches, with a rich history, distinctive architecture, and significant artistic treasures. Its serene location along a quiet canal and its unique ability to be circumnavigated on foot make it a hidden gem in Venice’s ecclesiastical landscape.
Foundation and Early History
The church's origins are steeped in
Venetian tradition and legend, tracing back to the formative years of
the city. According to longstanding accounts, it was among the eight
foundational churches established in Venice by Saint Magnus (San Magno),
the Bishop of Oderzo, who is credited with laying the religious
groundwork for the lagoon settlements during the early medieval period.
Estimates for its initial construction vary, with some sources placing
it as early as 416 AD, while others suggest around 650 AD, aligning it
as the second in Magnus's sequence of churches. An alternative
foundational legend ties the site to the 5th-century invasions of Attila
the Hun. During Attila's second incursion into Italy around 452 AD,
Genusio Rutenio, Lord of Padua, sent his family to safety on the Rialto
islands. Upon arriving in what is now Dorsoduro, his wife Adriana vowed
to build a church if her husband returned unharmed. She reportedly
constructed a modest oratory on the site, which was entrusted to
Benedictine nuns from the nearby San Zaccaria convent for worship and
maintenance. This early structure served as a simple chapel under the
nuns' care until the late 9th century.
Medieval Challenges: Fires
and Early Reconstructions
The church's early history was marked by
repeated destruction and resilience amid Venice's turbulent environment.
It was first ravaged by a devastating fire in 889 (or 899, per some
records) that swept through the Dorsoduro district, destroying much of
the original oratory. The site was promptly rebuilt through the efforts
of the Candini and Ariana families, transitioning it into a formal
parish church. Another blaze struck in 1105 (or 1106), again
necessitating reconstruction. The earliest documented reference to the
church appears in 1193, recording its reconsecration following this
rebuild, which solidified its role as a parish institution. A third fire
in 1149 further tested the structure, leading to yet another
restoration. These repeated calamities reflect the vulnerabilities of
early Venetian architecture, often built with wood and susceptible to
the city's frequent conflagrations, but also highlight the community's
commitment to preserving their spiritual landmarks.
17th-18th
Century Rebuilding and Baroque Transformation
By the early 17th
century, centuries of wear, fires, and environmental decay had left the
medieval church in a state of disrepair, deemed beyond salvage. It was
demolished, and a comprehensive reconstruction commenced in 1618 under
the design of architect Francesco Contino, a notable figure in Venetian
Baroque architecture who also contributed to other city projects. The
main building phase concluded around 1639, establishing the church's
current Greek cross plan—a symmetrical layout with equal-length arms
that evokes early Christian basilicas while incorporating Baroque
elements. Additional modifications followed, including structural
enhancements in 1676 and 1685. The facade, which faces the canal and
features a prominent statue group depicting the Archangel Raphael with
Tobias, a dog, and a fish (symbolizing Raphael's biblical role in the
Book of Tobit), was rebuilt in 1735 and attributed to sculptor
Sebastiano Mariani. Interior works extended into the mid-18th century,
with final completions noted between 1743 and 1749, including the organ
and decorative frescoes. The 35-meter campanile (bell tower), with its
octagonal drum and onion dome, was also reconstructed during this era,
adding to the church's skyline presence.
The exterior facade
exemplifies restrained Baroque style, with clean lines and sculptural
accents that blend harmoniously with Venice's watery urban landscape.
Architecture and Interior Features
Architecturally, the church's
Greek cross design, reworked in the 18th century, creates a compact yet
airy interior space, warmed by soft lighting from orangey net curtains.
The plan allows for a central nave with transepts, fostering an intimate
atmosphere suitable for its parish role. Notable sculptures include
works by Sebastiano Mariani and Michelangelo Morlaiter, such as a statue
of Archangel Raphael guiding a boy with a fish, honoring the patron of
fishermen. The pulpit, chapel of St. Antony of Padua, and a 15th-century
Virgin of Mercy add layers of devotional art. The ceiling of the nave
and baptistery features frescoes by Francesco Fontebasso, a pupil of
Sebastiano Ricci and Giambattista Tiepolo, depicting scenes that, while
recently restored, retain a dramatic intensity.
The interior is
further enriched by a remarkable organ, constructed in 1821 by brothers
Antonio and Agostino Callido (sons of the famed Gaetano Callido), later
restored in 1848 by Giacomo Bazzani and more recently by the Tamburini
family. Its painted doors, divided into five sections and illustrating
the Story of Tobias (from the Book of Tobit), are attributed to Giovanni
Antonio Guardi around 1750-1753 and represent one of the church's most
celebrated features, with vivid, feathery colors that draw art
enthusiasts. Other key artworks include Assumption of the Virgin by
Andrea Vicentino, St. Francis Receives the Stigmata by Palma il Giovane,
two versions of The Last Supper (one by Andrea del Friso and another by
Bonifacio Veronese), St. Alvise Bishop with Saints by Francesco
Fontebasso, The Centurion before Christ by Andrea del Friso, and St.
Helena Finds the True Cross by Giovanni Battista Zelotti. The high
altar, with its intricate marble work and crucifix, anchors the space,
while the baptistery's low-ceilinged room offers a more contemplative
area with Fontebasso's frescoes.
Modern Era and Cultural
Significance
In the 20th and 21st centuries, the church has undergone
preservation efforts, including a 2004 facade restoration that returned
it to a pristine state, though some observers lamented the loss of its
weathered patina from Venice's humid climate. It briefly joined the
Chorus association of historic Venetian churches on July 8, 2021, but is
no longer affiliated. Culturally, the church gained modern prominence
through Salley Vickers' 2000 novel Miss Garnet's Angel, which centers on
its setting and the Tobias story, attracting literary pilgrims and
inspiring further upkeep. Today, it remains an active parish church,
embodying Venice's layered history of faith, art, and endurance against
the elements.
The church is situated in the Dorsoduro sestiere, a vibrant yet less
tourist-heavy district known for its artistic and academic atmosphere.
It lies near the San Basilio water bus (vaporetto) stop, making it
accessible via water bus lines 4.1, 4.2, 5.1, 5.2, or 6 (Santa Marta
stop). The church’s main façade faces the Rio dell’Angelo Raffaele, a
tranquil canal named after the church, while its western entrance along
the Salizada della Chiesa is the most commonly used access point.
A distinctive feature is that San Raffaele Arcangelo is one of only
two churches in Venice that can be walked around entirely, a rarity in a
city where buildings are often tightly packed or bordered by canals.
Nearby attractions include the Ca’ Rezzonico museum, Palazzo Giustinian
Recanati, and the churches of San Sebastiano and Santa Maria dei
Carmini, all within a 10-minute walk.
The church is located at
Campo Anzolo Raffaele 1721, 30123 Venice, and is typically open to
visitors from 10:00 AM to 12:00 PM and 3:00 PM to 5:30 PM, though hours
may vary, and it is often closed outside of religious services. Visitors
are advised to check opening times in advance, as some have reported
finding it closed.
The Chiesa di San Raffaele Arcangelo is a fine example of Venetian
architecture transitioning from Renaissance to early Baroque styles,
with elements reflecting its ancient origins. The church’s plan is a
Greek cross, a symmetrical layout with four equal arms, which is
relatively rare in Venice and emphasizes its early Christian roots.
Exterior
The façade, designed by Francesco Contin in the 17th
century, is constructed of white stone and faces the Rio dell’Angelo
Raffaele. It is characterized by a restrained elegance, typical of
Venetian churches that prioritize functionality over ostentatious
ornamentation. The façade caused a local controversy when restored, as
the removal of centuries of grime from its stone angels sparked debate
about preserving the “patina of age.”
Above the main entrance, a
prominent sculpture by Sebastiano Mariani depicts the Archangel Raphael
guiding Tobias, accompanied by Tobias’ dog and a fish, a reference to
the Book of Tobit. This scene is central to the church’s iconography and
cultural significance. The façade is flanked by two square-based bell
towers with Romanesque-style lead-covered spires, adding to the church’s
distinctive silhouette.
The ability to walk around the church
offers unique views of its apse, which opens onto the Campo dell’Angelo
Raffaele, and its western flank along the Salizada della Chiesa. The
surrounding campo and canal create a peaceful, almost secluded
atmosphere, contrasting with Venice’s busier tourist areas.
Interior
The interior is intimate, described by some as one of
Venice’s smaller churches, yet richly decorated. The Greek cross layout
creates a centralized space, with the altar positioned at the crossing.
The interior is adorned with 18th-century frescoes and paintings,
reflecting the Baroque taste of the period. A restored baptistery
features Francesco Fontebasso’s Baroque frescoes in vibrant pink, gold,
and pale green hues, adding a luminous quality to the space.
The
church’s organ doors are a highlight, painted with scenes from the Story
of Tobias, attributed to Gianantonio Guardi (1699–1760), a late
18th-century vedutista known for his misty Venetian landscapes. These
paintings employ the Venetian “pittura di tocco” (touch painting)
technique, characterized by scintillating brushstrokes and feathered
colors, showcasing the vitality of the Venetian school just before the
fall of the Republic. The organ doors narrate the Tobias story in a
dynamic, almost cinematic manner, sometimes depicting multiple events in
a single scene.
Sculptures by Sebastiano Mariani and Michelangelo
Morlaiter enhance the interior, with Mariani’s work also appearing above
the entrance. The main altar features a cycle of paintings, possibly by
Gianantonio or his brother Francesco Guardi, though attribution remains
uncertain.
The Chiesa di San Raffaele Arcangelo is dedicated to the Archangel
Raphael, one of the three archangels (alongside Michael and Gabriel)
named in the Bible. Raphael, meaning “God heals,” is the patron saint of
travelers, healers, and fishermen, and is prominently featured in the
Book of Tobit. In this story, Raphael, disguised as a human, guides
Tobias on a journey, instructing him to use a fish’s organs to heal his
father’s blindness and exorcise a demon. This narrative is central to
the church’s iconography, seen in the exterior sculpture and organ door
paintings.
The church’s connection to Sally Vickers’ novel Miss
Garnet’s Angel has drawn literary pilgrims. The novel, set in Venice,
prominently features the church and the Tobias story, inspiring visitors
to seek out its serene ambiance and artistic treasures. Reviews on
Tripadvisor highlight its appeal to fans of the book, with one visitor
noting the enthusiastic welcome of the custodian, who treated them as
guests rather than tourists.
The church also holds historical
manuscripts, including two 14th-century liturgical books (a Graduale and
a Kyriale) adopted for conservation by the Venice in Peril Fund in 2016.
These manuscripts, containing mass settings, faced significant
deterioration, with issues like flaking pigments and parchment damage
from iron gall ink. Their restoration underscores the church’s role in
preserving Venice’s cultural heritage.
Visitors often describe the Chiesa di San Raffaele Arcangelo as a
peaceful retreat from Venice’s crowded tourist sites. Its location in a
quiet corner of Dorsoduro, near the Campo dell’Angelo Raffaele, offers a
glimpse of the “real” Venice, as one reviewer noted. The church’s small
size and spiritual ambiance, enhanced by occasional organ music, create
memorable experiences. One visitor recounted hearing an organ master
practicing in an empty church, adding spontaneity to their visit.
However, the church’s limited opening hours can be a challenge. It
is often closed except for religious services, and several reviewers
advised checking schedules in advance to avoid disappointment. When
open, the interior’s frescoes, paintings, and sculptures are described
as stunning, with the Tobias-themed art being a particular draw.
The church’s exterior, including the statue of Raphael, Tobias, and the
dog, is accessible even when closed, and the nearby tabernacle with an
antique crucifix adds to the area’s historical charm. The surrounding
neighborhood offers additional attractions, such as the Ca’ Zenobio
degli Armeni, San Sebastiano church, and local wine bars like Danilo
Venezia Wine.
For a family of four seeking affordable, three-star accommodation near the church, options can be found by searching “Hotels near Chiesa di Angelo Raffaele, Venice, Italy” on platforms like Tripadvisor, where user ratings provide guidance. One nearby option mentioned is the DV House Luxury Design (0.05 km away), though pricing and availability should be verified. Dorsoduro’s proximity to the San Basilio vaporetto stop makes it convenient for exploring Venice, and the area offers a range of budget-friendly hotels and apartments suitable for families.