The Church of Santa Maria della Fava, also known as Santa Maria della Consolazione, is a Roman Catholic church in the Castello sestiere of Venice, Italy, located in Campo della Fava, near the Rialto Bridge and Campo San Bartolomeo. Originally built in 1496 to house a miraculous icon of the Virgin Mary and Child, it was reconstructed between 1701 and 1750 under architects Antonio Gaspari and Giorgio Massari, resulting in an elegant 18th-century interior with a distinctive oval plan. Known for its rococo masterpieces, particularly Giambattista Tiepolo’s Education of the Virgin, and its historical nickname “della Fava” (of the bean), the church is a modest yet culturally significant site.
The origins of Santa Maria della Fava date to 1480, when a wooden
chapel was erected by the Amadi family to house a miraculous icon of the
Virgin Mary and Child, believed to possess healing powers. This icon,
reportedly responsible for miracles even before the church’s
construction, became a focal point of devotion, leading to the
completion of the first stone church by 1500. The church’s official
dedication to Santa Maria della Consolazione reflects its role as a site
of spiritual solace, tied to the icon’s reputation.
The nickname
“della Fava” has multiple attributed origins. One theory suggests it
derives from a nearby shop selling beans or a pastry shop famous for
fave dei morti (bean-shaped sweets eaten on All Souls’ Day, November 2).
Another posits it relates to the Fava family from Ferrara, who may have
endowed the church. A colorful legend claims a smuggler, caught with
salt and beans, escaped punishment when the salt miraculously vanished
as he prayed before the icon at Ca’ Dolce, prompting the church’s
construction to honor the miracle. While likely apocryphal, this tale
adds to the church’s mystique.
By 1662, the church came under the
jurisdiction of the Oratorians, the Order of St. Philip Neri, a Roman
congregation known for fostering sacred music. This transition prompted
a complete rebuild, beginning in 1701 under Antonio Gaspari, a prominent
Venetian architect. Gaspari’s ambitious plan for an oval church with a
dome, inspired by Roman Baroque models, was partially realized due to
resistance from the Oratorians, who favored a more conventional design.
The apse and presbytery were later completed by Giorgio Massari in 1750,
blending rococo elegance with Gaspari’s vision.
During the
Napoleonic era (1807–1810), many Venetian churches faced suppression,
but Santa Maria della Fava survived, retaining its religious function.
In 1993, the church gained notoriety when two thieves attempted to steal
Tiepolo’s Education of the Virgin, only to be thwarted by their
clumsiness, an incident that underscores the painting’s value. Recent
restoration efforts, noted in Tripadvisor reviews, have revitalized the
church, enhancing its artworks and architecture for visitors.
Today, the church serves as a parish church in Castello, hosting
religious services, occasional concerts (e.g., Mozart and Vivaldi
performances), and attracting art enthusiasts for its rococo treasures.
Its proximity to major sites like the Rialto Bridge makes it a
convenient stop for those exploring Venice’s cultural landscape.
Santa Maria della Fava is a striking example of 18th-century Venetian
architecture, blending Baroque and rococo elements with an innovative
oval plan. Its unfinished façade belies a richly decorated interior,
designed to inspire devotion and aesthetic appreciation.
Exterior
The church is located in Campo della Fava, a small square in Castello,
accessible via Salizzada San Lio or nearby calli from Campo San
Bartolomeo. Its exterior is notably understated:
Unfinished
Façade: The façade, facing Campo della Fava, was never completed, likely
due to financial constraints or shifting priorities during the
18th-century rebuild. It is described as “modest” and “discouraging,”
with plain stucco and minimal ornamentation, lacking the grandeur of
churches like Santa Maria della Salute or San Giorgio Maggiore. The
absence of a pediment or sculptural details contributes to its
unassuming appearance.
Setting: The church’s location in a quiet
campo, near the bustling Rialto area, creates a contrast between its
serene exterior and the lively surroundings. The adjacent Ponte della
Fava and Rio della Fava reinforce its Venetian context, with canal views
enhancing its charm.
Structural Outline: The church’s oval plan, a
key feature of Gaspari’s design, is not immediately apparent from the
exterior. The building’s rectangular mass, with a small apse, blends
into the surrounding architecture, making it easy to overlook.
The
exterior’s simplicity is a practical reflection of the Oratorians’
modest resources and the church’s secondary status compared to Venice’s
grand basilicas.
Interior
The interior is the church’s true
highlight, characterized by its elegant oval plan and rococo
decorations. Key features include:
Oval Plan: Antonio Gaspari’s
design, initiated in 1701, features a central nave with “blunted edges,”
creating a near-oval floor plan, a departure from traditional
rectangular or cruciform layouts. This Roman-inspired design, intended
to include a dome and drum, was modified due to Oratorian objections,
resulting in a flat or vaulted ceiling. The oval shape creates a sense
of intimacy and fluidity, ideal for the Oratorians’ musical and
devotional practices.
Presbytery and Apse: Giorgio Massari completed
the presbytery and apse in 1750, adding rococo flourishes. The apse,
housing the high altar, is compact but ornate, with stucco work and a
curved wall that enhances the oval aesthetic.
Nave and Chapels: The
nave is flanked by side altars and niches, eight of which contain
statues by Giuseppe Bernardi (Torretti), a mentor to Antonio Canova.
These niches, along with the main altar, create a rhythmic decorative
scheme, with sculptures and paintings integrated into the architecture.
Lighting: The interior is described as well-lit, with windows above the
altars admitting natural light to highlight the artworks. The white
stucco walls and gilded accents amplify this brightness, contrasting
with the exterior’s plainness.
The interior’s rococo elegance, with
its curves, light colors, and ornate details, reflects the 18th-century
Venetian taste for theatricality and refinement, making it a fitting
home for its artistic treasures.
Santa Maria della Fava is renowned for its collection of rococo
artworks, particularly by Giambattista Tiepolo and Giovanni Battista
Piazzetta, alongside sculptures by Giuseppe Bernardi and Giovanni Maria
Morlaiter. The following are the key pieces, as documented in sources:
Giambattista Tiepolo – Education of the Virgin (1732)
Description: Located on an altar in the nave (noted by some sources as
in an oratory during a 2019 event), this altarpiece is one of Tiepolo’s
finest early works, painted when he was 36. It depicts the young Virgin
Mary being instructed by St. Anne, with St. Joachim nearby, in a
luminous, dynamic composition. The painting’s soft colors, fluid
brushwork, and emotional depth exemplify Tiepolo’s rococo style,
blending tenderness with grandeur.
Significance: Considered a
masterpiece, the painting narrowly escaped theft in 1993, highlighting
its value. Recent restoration, noted in Tripadvisor reviews, has
enhanced its vibrancy, making it the church’s “unchallenged attraction.”
Its presence elevates Santa Maria della Fava’s status among Venetian
churches, comparable to Tiepolo’s works in San Alvise or the Gesuati.
Location Note: A 2019 Tripadvisor review mentions seeing the painting in
an oratory during a festa, suggesting it may have been temporarily moved
or misidentified, as most sources place it in the main church. This
discrepancy warrants further verification, but the painting’s prominence
is undisputed.
Giovanni Battista Piazzetta – Virgin with St.
Philip Neri (1727)
Description: This altarpiece, housed in the nave,
depicts the Virgin Mary with St. Philip Neri, the Oratorian founder.
Painted by Piazzetta (1682–1754), who is buried in the church, it is a
luminous, dynamic work, characterized by rich chiaroscuro and emotional
intensity. The composition reflects Piazzetta’s ability to blend
Venetian color with Baroque drama.
Significance: The painting honors
the Oratorians’ spiritual legacy and Piazzetta’s personal connection to
the church. Its vibrant energy complements Tiepolo’s work, creating a
rococo dialogue within the nave. Piazzetta’s burial here adds a poignant
historical layer.
Giuseppe Bernardi (Torretti) – Statues of Saints
and Evangelists
Description: Eight niches in the nave contain statues
of saints and evangelists, sculpted by Giuseppe Bernardi, known as
Torretti (1694–1774), a teacher of Antonio Canova. These works, executed
in the early 18th century, feature graceful poses and detailed drapery,
typical of rococo sculpture. Torretti also created a bas-relief,
Episodes of the Life of St. Philip Neri, on an altar, celebrating the
Oratorian founder.
Significance: The statues enhance the church’s
sculptural program, complementing the paintings with three-dimensional
elegance. Torretti’s influence on Canova links the church to Venice’s
broader sculptural tradition.
Giovanni Maria Morlaiter – Angels
Flanking the Altar
Description: Two angels, sculpted by Giovanni
Maria Morlaiter (1690–1781), flank the high altar designed by Giorgio
Massari. These delicate, expressive figures, added in 1750, embody
rococo’s playful yet reverent aesthetic, with flowing robes and dynamic
poses.
Significance: Morlaiter’s angels add a theatrical flourish to
the presbytery, harmonizing with the altar’s rococo design. Their
craftsmanship reflects Venice’s 18th-century sculptural excellence, seen
in works at Ca’ Rezzonico.
Miraculous Icon of the Virgin and
Child
Description: Housed in the second chapel on the right, this
ancient icon, dating to before 1480, is the church’s spiritual heart.
Believed to possess miraculous powers, it prompted the original chapel’s
construction and remains a devotional focus. Its artistic style is
likely Byzantine or early Venetian, with a somber, iconic quality.
Significance: The icon’s historical and spiritual importance outweighs
its artistic merit, linking the church to Venice’s tradition of
venerating miracle-working images, as seen in Santa Maria dei Miracoli.
Its presence underscores the church’s original purpose as a sanctuary of
consolation.
Additional Artworks
Blanc – Annunciation: A
16th-century painting in the left aisle, previously attributed to Palma
il Giovane, is now recognized as by Blanc, adding to the church’s
Renaissance holdings.web:web:0
Other Paintings and Sculptures: The
nave and side chapels contain minor works, likely 18th-century, by
lesser-known artists, contributing to the rococo ambiance but less
documented.
The artworks, particularly Tiepolo’s and Piazzetta’s
paintings, position Santa Maria della Fava as a key site for rococo art
in Venice, despite its modest exterior.
Santa Maria della Fava is a cultural and religious anchor in
Castello, Venice’s largest sestiere, known for its maritime and artistic
heritage. Its dedication to Santa Maria della Consolazione reflects its
role as a place of spiritual refuge, centered on the miraculous icon.
The Oratorians’ influence, evident in the church’s musical tradition and
St. Philip Neri’s veneration, aligns it with Venice’s history of sacred
music, as seen in Vivaldi’s nearby Pietà.
The church’s rococo
artworks connect it to the 18th-century Venetian art scene, when Tiepolo
and Piazzetta were at their peak. Tiepolo’s Education of the Virgin is a
testament to his early genius, while Piazzetta’s burial in the church
personalizes its artistic legacy. The sculptures by Bernardi and
Morlaiter link the church to Venice’s sculptural tradition, with ties to
Canova’s formative years.
Culturally, the church’s nickname and
associated legends—whether tied to beans, pastries, or miracles—add a
layer of Venetian folklore, enriching its narrative for locals and
tourists. Its use for concerts, such as Mozart and Vivaldi performances
noted in Tripadvisor reviews, continues the Oratorian musical tradition,
making it a venue for cultural engagement. The 1993 theft attempt,
though unsuccessful, underscores the global value of its artworks, while
recent restorations highlight ongoing efforts to preserve its heritage.
Religiously, the church remains active, serving the Castello
community with Masses and devotional practices centered on the Virgin’s
icon. Its proximity to the Rialto Bridge and Campo San Bartolomeo
integrates it into a vibrant urban context, though its modest exterior
keeps it off the main tourist trail, appealing to those seeking
authentic Venetian experiences.
Santa Maria della Fava is an active parish church, open to visitors
for religious services and limited sightseeing, typically Monday to
Saturday from 9:30 AM to 11:30 AM and 4:30 PM to 7:00 PM, and Sunday
from 4:30 PM to 7:30 PM, as noted by Renato Prosciutto. Its location at
Campo della Fava, 30122 Castello (tel. +39 041 5224601), is easily
accessible via vaporetto Lines 1, 2, N, or A (Rialto stop), a short walk
from Campo San Bartolomeo. Entry is free, though donations support
maintenance.
Condition: The church is in excellent condition
following recent restorations, which revitalized Tiepolo’s Education of
the Virgin and other artworks, as noted in Tripadvisor reviews. The
interior’s rococo decorations are well-preserved, with clean stucco and
vibrant paintings. The unfinished façade shows signs of weathering,
typical of Venice’s humid environment, but does not detract from the
interior’s appeal.
Visitor Experience: Visitors praise the church’s
“extraordinary” artworks, particularly Tiepolo’s painting, and its
“simple yet sober” 18th-century style. Tripadvisor reviews highlight its
cultural offerings, such as concerts, with one visitor enjoying a Mozart
and Vivaldi performance, noting the relaxed dress code (from shorts to
tuxedos). However, inconsistent opening hours frustrate some, with a
2019 reviewer finding the church closed despite posted times, only
accessing the Tiepolo painting in an oratory during a festa. The lack of
tourist signage, criticized as insufficient, limits its visibility,
though its proximity to Rialto makes it a convenient stop.
Cultural
Offerings: The church hosts occasional concerts, continuing the
Oratorian musical tradition, advertised through platforms like Venezia
Unica. Its use for community events, such as the 2019 festa, suggests
local engagement, though it lacks the extensive programming of San
Giovanni di Malta or San Nicolò dei Mendicoli.
The church’s
understated exterior and rich interior make it a rewarding discovery for
art lovers and those exploring Castello’s quieter corners. Its location
near attractions like the Ponte di Rialto, T Fondaco dei Tedeschi, and
Chiesa di San Salvador enhances its appeal as part of a cultural
itinerary.
Recent restorations, noted in Tripadvisor reviews, have focused on
the church’s artworks, particularly Tiepolo’s Education of the Virgin,
ensuring their vibrancy. The interior’s stucco and sculptures appear
well-maintained, though no specific conservation projects by
organizations like Save Venice or Venice in Peril are documented, unlike
San Nicolò dei Mendicoli’s 1971–77 restoration. The unfinished façade,
while stable, may benefit from future cleaning to mitigate weathering, a
common issue in Venice’s humid climate.
Future prospects include:
Enhanced Accessibility: More consistent opening hours and tourist
signage, as suggested by reviewers, could boost visibility, aligning
with Venice’s efforts to promote lesser-known sites.
Cultural
Programming: Expanding concert offerings, leveraging the Oratorian
musical tradition, could attract visitors, following the model of San
Giovanni di Malta’s events.
Digital Engagement: Virtual tours or
online archives of the icon’s history and Tiepolo’s painting could reach
global audiences, especially given the 1993 theft attempt’s notoriety.
The church’s active parish role and recent restoration ensure its
stability, but increased cultural engagement could elevate its status,
balancing local devotion with tourism.