The Church of San Lazzaro dei Mendicanti is a historically and artistically significant Baroque church located in the Castello sestiere of Venice, Italy. Situated along the Fondamenta dei Mendicanti and facing the Rio dei Mendicanti, it is integrated into the complex of the Ospedale Civile (Civic Hospital) of Venice, where it serves as the hospital’s chapel. The church has a rich history tied to Venice’s tradition of charitable institutions, particularly its role as part of one of the city’s four Ospedali Grandi (major hospitals), which provided care for lepers, beggars, and orphans while fostering musical education for young women. Renowned for its architectural elegance and important artworks by masters like Tintoretto, Veronese, and Guercino, the church is a hidden gem that reflects Venice’s cultural and social heritage.
The Church of San Lazzaro dei Mendicanti is rooted in Venice’s long
tradition of providing care for the marginalized, particularly lepers,
beggars, and orphans. The name “San Lazzaro” derives from St. Lazarus,
the patron saint of lepers, while “dei Mendicanti” refers to the beggars
(mendicanti) who were also served by the adjacent hospital.
Origins of the Hospital:
As early as 1224, a hospital dedicated to
St. Lazarus existed in the Dorsoduro sestiere near the Church of San
Trovaso, treating lepers, a disease brought to Venice through trade with
the East.
In 1262, to prevent epidemics, the leper colony was
relocated to an island in the Venetian Lagoon, known as the Isola di San
Lazzaro (later the Lazzaretto Vecchio).
By 1500, surplus funds from
the construction of the nearby Basilica of Santi Giovanni e Paolo (San
Zanipolo) were used to establish a new hospital, the Ospedale di San
Lazzaro e dei Mendicanti, adjacent to the present church site in
Castello. This institution became one of Venice’s four Ospedali Grandi,
alongside the Pietà, Incurabili, and Derelitti.
Construction of
the Church:
In 1601, the Mendicant Friars, who managed the hospital,
commissioned the construction of the church from the renowned architect
Vincenzo Scamozzi (1548–1616). The church was completed by 1631, though
its canal-facing façade was not finished until 1673, designed by Antonio
Sardi and completed by his son Giuseppe Sardi.
The term “Mendicanti”
likely reflects both the hospital’s role as a shelter for beggars and
the involvement of the Mendicant Friars, a religious order dedicated to
poverty and charity.
Musical Legacy:
Like the Ospedale della
Pietà, the Ospedale di San Lazzaro dei Mendicanti was a center for
musical education, particularly for abandoned or orphaned girls, known
as the figlie del coro (daughters of the choir). These girls were
trained in singing and playing instruments, performing behind a metal
grille in the church’s choir galleries to maintain modesty.
The
father of Antonio Vivaldi, Giovanni Battista Vivaldi, taught violin at
the hospital’s music school from 1689 to 1693, highlighting the
institution’s musical prominence.
The composer Simon Mayr wrote three
oratorios for the church: Sisara (1793), Tobiae matrimonium (1794), and
David in spelunca Engaddi (1795), underscoring its role as a venue for
sacred music.
Modern Role:
During the Napoleonic occupation
(1806), the hospital was converted into a military hospital, and under
Austrian rule (1815), it became a civil hospital, a function it retains
today as the Ospedale Civile. The church now serves as the hospital’s
chapel, a role that limits its public accessibility.
The Church of San Lazzaro dei Mendicanti is a fine example of
Venetian Baroque architecture, characterized by its functional
integration with the hospital complex and its elegant yet restrained
design. Its layout and decoration reflect the practical and spiritual
needs of the Ospedale, combining worship, music, and charity.
Exterior
Façade:
The canal-facing façade, completed in 1673 by
Giuseppe Sardi based on his father Antonio Sardi’s design, is a
masterpiece of Venetian Baroque. Inspired by the architectural theories
of Andrea Palladio, it features a harmonious composition with classical
elements.
The façade is articulated with Corinthian pilasters and a
central pediment, creating a sense of grandeur despite the church’s
relatively modest size. Its white Istrian stone contrasts with the brick
structures of the surrounding hospital, emphasizing its sacred function.
The façade is perfectly integrated with the hospital’s two cloisters,
visible from the canal, which frame the church and create a cohesive
architectural ensemble.
The church’s location along the Rio dei
Mendicanti, opposite the island of San Michele, enhances its picturesque
setting, as depicted in paintings like Francesco Guardi’s Venice, the
Rio dei Mendicanti looking North with the Church of San Lazzaro dei
Mendicanti (c. 1780).
Bell Tower:
The church’s bell tower,
part of the hospital complex, features a sundial on its south side, a
practical feature for timekeeping in the pre-modern era.
Interior
Layout:
The church has a single nave without flanking aisles, a
design by Vincenzo Scamozzi that maximizes space for congregational
worship and musical performances. This rectangular layout is typical of
Baroque churches, focusing attention on the altar and choir.
Choir
galleries with metal grilles are located above the nave, where the
figlie del coro performed, ensuring their voices filled the church while
maintaining their seclusion.
A vestibule at the entrance isolates the
church from external noise, enhancing the acoustics for musical
performances and providing space for funeral monuments.
Decoration:
The interior decoration, designed by Francesco Contin
between 1634 and 1637, features elegant stucco work and frescoes that
complement the church’s artworks. The Baroque aesthetic emphasizes
harmony and spiritual upliftment.
The church is flanked by side
altars, each adorned with significant paintings, and the walls feature
ornate funeral monuments, reflecting Venice’s tradition of commemorating
its heroes.
Cloisters:
The church is integrated with two
cloisters designed by Scamozzi, now part of the hospital complex. These
enclosed garden courtyards, visible from the vestibule, provided a
serene space for the hospital’s residents and are noted for their beauty
by visitors.
The Church of San Lazzaro dei Mendicanti houses an impressive
collection of artworks by some of Venice’s greatest artists, making it a
significant site for art historians and visitors.
Crucifixion and
Virgin and St. John by Paolo Veronese:
Located on the right wall,
this painting is a poignant depiction of the Crucifixion, with the
Virgin Mary and St. John the Evangelist mourning at the foot of the
cross. Veronese’s use of dramatic composition and vibrant colors
exemplifies his mastery of Venetian Renaissance painting.
Saint
Ursula and the 11,000 Virgins by Jacopo Tintoretto:
Housed on the
second altar, this work portrays the martyrdom of St. Ursula and her
companions. Tintoretto’s dynamic brushwork and intense emotionality
capture the tragedy of the scene, making it one of the church’s
highlights.
Saint Helena with the Cross by Guercino:
Located
on a side altar, this painting is the only work by Giovanni Francesco
Barbieri (Guercino) in Venice. It depicts St. Helena, the mother of
Emperor Constantine, with the True Cross, rendered in Guercino’s
characteristic Baroque style with rich chiaroscuro and emotional depth.
The Annunciation by Giuseppe Porta (Salviati):
Another side altar
features this painting, which showcases Porta’s Mannerist style, with
elongated figures and a refined color palette, adding to the church’s
artistic diversity.
Funeral Monuments:
The most prominent is
the monument to Admiral Tommaso Alvise Mocenigo, designed by Giuseppe
Sardi and located in the vestibule above the entrance. This grandiose
Baroque structure, resembling an arch of triumph, commemorates
Mocenigo’s death in 1654 during the Cretan War (1645–1669), defending
Venetian Candia (Crete) against the Ottomans. The monument features a
statue of Mocenigo in his admiral’s uniform, complete with a distinctive
hat and baton, and includes maps of Cretan forts, celebrating his
victories at Paros and Naxos.
Additional monuments include those for
Lorenzo Dolfin, designed by Baldassare Longhena, and a member of the
Rezzonico family, reflecting Venice’s tradition of honoring its elite.
The Church of San Lazzaro dei Mendicanti is a microcosm of Venice’s
unique blend of charity, music, and art, reflecting the city’s social
and cultural priorities during the Renaissance and Baroque periods.
Charitable Mission:
As part of the Ospedale di San Lazzaro e dei
Mendicanti, the church played a central role in Venice’s welfare system,
providing care for lepers, beggars, and the poor. The hospital also
taught trades to men and music to talented girls, empowering them
through education and performance.
The integration of the church with
the hospital complex, including its cloisters, symbolizes Venice’s
holistic approach to physical, spiritual, and cultural care.
Musical Heritage:
The church’s role as a musical center was
significant, with the figlie del coro performing for Venetian
patricians, who provided donations in return. This tradition parallels
the Ospedale della Pietà, where Vivaldi composed, and underscores
Venice’s reputation as a hub of Baroque music.
The presence of the
metal grille and choir galleries is a tangible reminder of the girls’
performances, which were a major draw for the city’s elite.
Artistic Importance:
The church’s collection of works by Veronese,
Tintoretto, Guercino, and others places it among Venice’s notable art
repositories. These paintings, combined with the architectural
contributions of Scamozzi and Sardi, make it a valuable site for
studying Venetian art and architecture.
Organizations like Save
Venice Inc. have supported the restoration of Venetian artworks,
potentially including those in San Lazzaro dei Mendicanti, ensuring
their preservation for future generations.
Connection to Venetian
History:
The monument to Alvise Mocenigo reflects Venice’s maritime
and military prowess, celebrating a hero who earned respect even from
his Ottoman adversaries, who reportedly mourned his death.
The
church’s location near the Basilica of Santi Giovanni e Paolo, a
Dominican church where 25 doges are buried, ties it to Venice’s
political and religious elite.
Current Role:
The church serves as the chapel of the Ospedale
Civile (SS. Giovanni e Paolo Hospital), a function that began under
Austrian rule in 1815 and continues today. As a hospital chapel, it is
primarily used for religious services related to the hospital, such as
funerals, rather than as a public worship space.
Its integration into
the hospital complex limits public access, and it is typically closed
except during specific events or by special arrangement.
Visiting:
The church is located at Fondamenta dei Mendicanti,
Castello 6377, near the Ospedale vaporetto stop (Lines 4.1, 4.2, 5.1,
5.2, 21, 22).
Visitors have noted that the church is occasionally
open to the public, particularly during events like the Venice Biennale,
when its cultural significance draws attention. For example, a 2021 blog
post mentioned its rare opening during the Biennale, delighting visitors
with its artworks and historical ambiance.
Tripadvisor reviews
describe it as a “hidden gem” with beautiful cloisters and unexpected
masterpieces by Tintoretto and Veronese. Visitors recommend checking
with hospital staff or local guides for access, as opening hours are
irregular (sometimes listed as 10:00 AM–5:00 PM, closed on public
holidays).
Admission is free when the church is open, but visitors
are encouraged to respect its role as a hospital chapel.
Challenges:
Venice’s environmental challenges, such as acqua alta
(tidal flooding), threaten the church’s structure and artworks. The
flood of November 13, 2019, one of the worst since 1966, affected
low-lying areas like Castello, though specific damage to San Lazzaro dei
Mendicanti was not reported.
The church’s limited accessibility and
lack of regular tourist infrastructure mean it remains less known
compared to landmarks like St. Mark’s Basilica, but this also preserves
its serene, authentic atmosphere.