The Church of San Silvestro, located in the San Polo sestiere of Venice, is a Roman Catholic church with a rich history and notable artistic heritage, though it has undergone significant transformations over the centuries. Situated in the bustling Rialto business district near the Grand Canal, it is a compelling site for those interested in Venetian history, Renaissance art, and Neoclassical architecture.
The origins of San Silvestro date back to at least the 9th century,
with some sources suggesting an initial construction around this time,
though the earliest documented reference places its founding in the 12th
century under the jurisdiction of the Patriarch of Grado. The church was
rebuilt and reconsecrated in 1422, indicating significant structural
changes or damage prior to this date. In 1485, it merged with the nearby
Oratory of Santa Maria dei Patriarchi e di Ognissanti, expanding its
religious and communal role.
A partial collapse in 1820
necessitated a complete rebuilding, which began in 1837 under the
architect Giovanni Meduna and was completed with reconsecration in 1850.
The modern facade, designed by Giuseppe Sicher, was added in 1909,
giving the church its current exterior appearance. This history of
reconstruction reflects Venice’s challenges with environmental factors
like subsidence and flooding, as well as the city’s commitment to
preserving its religious sites.
San Silvestro was associated with
a confraternity, a devotional group that included female members,
distinct from Venice’s wealthier Scuole Grandi or trade-based
confraternities. This group maintained altars within the church and
played a role in its artistic patronage. The church’s location in the
Rialto, a commercial hub, made it a focal point for both locals and
visitors, though it remains less tourist-heavy than sites like San
Marco.
San Silvestro’s current structure is a product of its 19th-century
rebuilding, blending Neoclassical and Baroque elements. The facade,
completed in 1909 by Giuseppe Sicher, is described as modern and
relatively simple compared to Venice’s more ornate Gothic or Renaissance
churches. It faces the Campo di San Silvestro, a charming square known
for its historical architecture and vibrant atmosphere, which serves as
a gateway to the church.
The interior features a single-nave
layout with a Baroque ceiling adorned with paintings by Ludovico
Dorigny, a French artist active in Venice in the late 17th and early
18th centuries. The altars, designed in the 19th century by the
architect Santi, are decorated with sculptures by Giovanni Antonio
Dorigo, adding to the Neoclassical aesthetic. The church’s design
prioritizes functionality and light, with a spacious interior that
contrasts with the more intricate Gothic structures of earlier Venetian
churches.
While the 19th-century rebuilding erased much of the
medieval or Renaissance architectural character, the Baroque ceiling and
altars provide a sense of grandeur. The church’s location near the Grand
Canal and the Rialto Bridge (210 meters east) enhances its prominence,
though its relatively modest exterior can make it less immediately
striking to casual visitors.
San Silvestro has a significant artistic legacy, particularly from
the Renaissance period, though some of its most famous works are no
longer housed within the church. The key artworks associated with San
Silvestro include:
Tintoretto’s Baptism of Christ: This painting,
still located inside the church, is a highlight for visitors.
Tintoretto, a leading figure of the Venetian Renaissance, is known for
his dynamic compositions and dramatic use of light, and this work
exemplifies his style. It is frequently mentioned in reviews as a reason
to visit.
Paolo Veronese’s Adoration of the Magi (1573): This large
oil painting was originally created for the church and placed next to
the altar of St. Joseph on the left side wall. It gained early fame,
being noted in guidebooks like Giovanni Stringa’s 1604 revision of
Francesco Sansovino’s Venetia. However, the painting was sold in 1855,
likely to fund the church’s rebuilding after the 1820 collapse, and is
now in the National Gallery, London.
Johann Carl Loth’s Joseph
Presenting the Newborn Jesus to God the Father: This altarpiece, an
unusual subject, was added in the 17th century and remains in the
church. It occupies the space near where Veronese’s painting once hung.
Four Renaissance Panels: The interior contains four unidentified
Renaissance panels, which add to the church’s historical ambiance but
are not detailed in the sources.
The church’s artistic significance
is underscored by an unsuccessful attempt in 1670 by agents of Cosimo
III de’ Medici, Grand Duke of Tuscany, to purchase Veronese’s Adoration
of the Magi. After failing to acquire Veronese’s Mystic Marriage of
Saint Catherine from the Church of Santa Caterina, they tried to bribe
the San Silvestro confraternity but were rebuffed after two years. This
episode highlights the value placed on the church’s artworks by its
community.
The Baroque ceiling paintings by Ludovico Dorigny are
another notable feature, though they are less frequently discussed in
visitor reviews compared to Tintoretto’s work. The loss of Veronese’s
painting to London is a significant blow to the church’s original
collection, but the remaining artworks, particularly Tintoretto’s,
maintain its status as a site of artistic interest.
San Silvestro remains an active Roman Catholic church under the
Patriarchate of Venice, serving the local community in San Polo. It is
free to enter, making it accessible to visitors exploring the Rialto
area. The church’s location in Campo di San Silvestro, a lively square
with cafes and artisan shops, enhances its appeal as a stop on a walking
tour of Venice. Its proximity to major landmarks like the Rialto Bridge
and the San Silvestro vaporetto stop (line 1) makes it easily reachable.
The church is less crowded than Venice’s more famous sites, offering
a quieter experience for those seeking to appreciate its art and
history. Visitor reviews describe it as a “smaller church” with “good
old Baroque architecture” and “interesting architectural features,”
suggesting it appeals to those who stumble upon it while wandering San
Polo’s streets. Its role as a devotional church historically, rather
than a grand scuola or trade-based institution, gives it a more intimate
character, reflected in its current ambiance.
Location: Rio Terà S.Silvestro o del Fontego, San Polo sestiere,
Venice, near the Rialto Bridge (coordinates: 45.4358 N, 12.3334 E).
Access: Free entry, open during standard church hours (typically morning
to early afternoon and late afternoon, though exact times vary). Check
locally for current hours.
Getting There: From the Rialto Bridge,
walk southwest along Calle dei Fabbri to Campo San Bartolomeo, then take
Calle dei Stagneri to Campo di San Silvestro. Alternatively, take
vaporetto line 1 to the San Silvestro stop.
Nearby Attractions:
Rialto Bridge (210 meters east), Teatro La Fenice (420 meters south),
Doge’s Palace (650 meters southeast), and the Frari Basilica in San
Polo.
Tips: Visit early morning or late evening for a quieter
experience. Bring a camera to capture the Baroque ceiling and
Tintoretto’s painting. Explore the surrounding Campo di San Silvestro
for local cafes and shops.