The Church of Santa Maria del Giglio, commonly known as Santa Maria Zobenigo, is a striking Baroque church in the San Marco sestiere of Venice, Italy, located in Campo Santa Maria Zobenigo, near the Grand Canal and a short walk from Piazza San Marco. Built in the late 17th century, the church is renowned for its ornate facade, a masterpiece of Venetian Baroque architecture, and its rich interior adorned with artworks by prominent artists. Commissioned by the Barbaro family, the church reflects Venice’s maritime pride, patrician patronage, and religious devotion.
The Church of Santa Maria del Giglio has medieval origins but owes
its current form to a late 17th-century reconstruction, reflecting the
Baroque era’s theatricality and Venice’s enduring wealth despite its
declining political power.
Origins: The church’s history traces
back to the 10th century, when it was founded by the Jubanico (Zubenigo)
family, from which it derives its alternate name, Santa Maria Zobenigo.
The original structure was a modest parish church serving the local
community. It was rebuilt in the 12th century and again in the 14th
century, reflecting Venice’s growing prosperity.
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Reconstruction: In 1678, Admiral Antonio Barbaro, a member of the
prominent Barbaro family, bequeathed funds for a complete rebuilding of
the church following his death. His will stipulated that the new
structure honor his family’s legacy, resulting in a facade that serves
as a monument to the Barbaro brothers’ military and diplomatic
achievements. The reconstruction, completed between 1678 and 1681, was
overseen by architect Giuseppe Sardi, a leading figure in Venetian
Baroque architecture. The project was a testament to the Barbaro
family’s wealth and influence, as well as Venice’s tradition of
patrician patronage of religious institutions.
Later History: The
church has remained an active parish church, though its prominence as a
tourist attraction has grown due to its artistic and architectural
significance. It underwent restorations in the 19th and 20th centuries
to preserve its facade and artworks, ensuring its place in Venice’s
cultural landscape.
Santa Maria del Giglio is celebrated for its exuberant Baroque
facade, one of the most distinctive in Venice, and its richly decorated
interior, which blends religious iconography with secular glorification
of the Barbaro family.
Facade: The facade, designed by Giuseppe
Sardi, is a theatrical composition in Istrian stone, characterized by
its sculptural richness and lack of traditional religious imagery,
making it a unique example of Baroque secular commemoration within a
sacred context. Instead of saints or biblical scenes, the facade
celebrates the Barbaro family, particularly Antonio and his brothers. It
is organized in three vertical bays and two stories, with a pedimented
top. The central bay features a large arched window above the main
portal, flanked by Corinthian columns and statues. Reliefs depict naval
battles and maps of cities where Antonio served, such as Candia (Crete),
Padua, Rome, Corfu, Spalato (Split), and Zara (Zadar), highlighting his
military career. Statues of the five Barbaro brothers, sculpted by
Enrico Merengo, stand in niches, with Antonio at the center, crowned by
allegories of Fame and Virtue. The facade’s inscription dedicates the
church to Santa Maria del Giglio (Our Lady of the Lily), but its secular
focus is unprecedented in Venetian church architecture.
Interior: The
interior is a single-nave basilica with a barrel-vaulted ceiling and six
side chapels (three per side), typical of Venetian parish churches. The
walls are adorned with white and gold stucco work and marble inlays,
creating a luminous, opulent atmosphere. Key features include:
High
Altar: The main altar, designed by Giusto Le Court, features a marble
group depicting the Annunciation, with intricate detailing. The altar is
framed by a grand architectural backdrop, enhancing its dramatic effect.
Chapels: The side chapels house significant artworks, including
Tintoretto’s Four Evangelists (c. 1557, originally from an organ screen)
and Alessandro Vittoria’s Madonna and Child (sculpture). The Molin
Chapel contains a Pietà attributed to Palma il Giovane.
Choir and
Organ: The choir, behind the altar, features paintings by Antonio Zanchi
and a rare Rubens work, Madonna and Child with St. John (c. 1605–1608),
one of only two Rubens paintings in Venice (the other is in San Giorgio
Maggiore). The organ, a 17th-century instrument, is still in use for
concerts.
Sacristy: The sacristy contains a cycle of paintings by
Giandomenico Tiepolo, including Christ in the Garden of Gethsemane,
showcasing the artist’s early style before his more famous frescoes.
Structural Details: The church is built on timber piles driven into the
lagoon bed, a standard Venetian technique, with a brick core and Istrian
stone cladding for the facade. The interior’s use of polychrome marbles
and stucco reflects Baroque opulence, while the nave’s proportions
maintain the intimacy of a parish church.
Santa Maria del Giglio is a microcosm of Venice’s Baroque culture,
blending religious devotion with secular pride and artistic innovation.
Barbaro Family Patronage: The church’s facade, essentially a
monument to the Barbaro brothers, reflects the Venetian patriciate’s
practice of using religious patronage to assert family legacy. Antonio
Barbaro’s naval and diplomatic service, celebrated in the facade’s
reliefs, underscores Venice’s maritime identity, even as its
Mediterranean influence waned in the 17th century. The Barbaro family’s
other contributions, such as Palazzo Barbaro’s cultural salon in the
19th century, further contextualize their influence.
Baroque
Architecture: Giuseppe Sardi’s facade is a pinnacle of Venetian Baroque,
characterized by dynamic forms, sculptural exuberance, and
theatricality. Unlike the more restrained Renaissance facades of
churches like San Zaccaria, Santa Maria del Giglio embraces the
Baroque’s emotional intensity, aligning with works like Longhena’s Santa
Maria della Salute. Its secular focus, however, sets it apart, making it
a bold statement of patrician power within a religious framework.
Artistic Heritage: The church’s collection of artworks, from Tintoretto
and Rubens to Tiepolo and Zanchi, places it within Venice’s rich
artistic tradition. The presence of a Rubens painting, rare in Venice,
highlights the city’s cosmopolitan connections, while Tintoretto’s Four
Evangelists ties the church to the Venetian Renaissance. The Tiepolo
sacristy paintings offer insight into the artist’s development,
complementing his grander works at the Scuola Grande dei Carmini.
Located at Campo Santa Maria Zobenigo, the church is approximately
400 meters southwest of Piazza San Marco and 200 meters from the Grand
Canal, near the Accademia Bridge. It is accessible via the Santa Maria
del Giglio vaporetto stop (Line 1) or a short walk from the Giglio stop.
Current Use: Santa Maria del Giglio remains an active parish church,
hosting regular masses and religious services. It is also a popular
tourist attraction, included in the Chorus Pass, a ticket system for 16
Venetian churches, which supports their maintenance. The church
occasionally hosts classical music concerts, leveraging its fine
acoustics and historic organ.
Visiting: The church is open to
visitors Monday through Saturday, typically 10:30–17:00, with a €3 entry
fee or inclusion in the Chorus Pass (€14 for all 16 churches).
Photography is permitted without flash, and guided tours are available
through the Chorus Association or private guides. The church is
wheelchair-accessible via a side entrance. The surrounding Campo Santa
Maria Zobenigo is a charming square with cafes and shops, and nearby
attractions include the Palazzo Gritti Morosini (50 meters north), La
Fenice opera house (300 meters northeast), and the Peggy Guggenheim
Collection (400 meters southwest).
Preservation: The church has been
well-maintained, with restorations addressing humidity and salt damage
from the lagoon environment. The Chorus Association’s stewardship
ensures ongoing conservation of the facade, artworks, and organ,
preserving the church’s Baroque splendor.