The Church of San Simeone Profeta, commonly known as San Simeone Grande or San Simeon Grando, is a historic Roman Catholic church located in the Santa Croce sestiere of Venice, Italy. Dedicated to St. Simeon the Prophet (also known as Simeon Senex), who recognized the infant Jesus as the Messiah during the Presentation at the Temple, it stands in a small campiello near the Rio Marin and the Ponte degli Scalzi, approximately 300 meters from Venezia Santa Lucia railway station. Founded in 967 by the patrician families Ghisi, Adoldi, and Briosi, it is one of Venice’s oldest churches, with a history spanning over a millennium. Rebuilt in stone after a fire in 1150 and extensively renovated in the 18th century, the church is notable for its neoclassical façade, three-nave interior, and significant artworks, including a masterpiece by Marco Romano.
The Church of San Simeone Profeta was established in 967, making it
one of Venice’s earliest religious foundations. According to tradition,
it was founded by the noble families Ghisi, Adoldi, and Briosi, who
constructed a modest wooden and straw building in what was then a rural
area of Santa Croce. This initial structure, typical of early Venetian
churches, was destroyed by a fire around 1150, prompting a
reconstruction in stone. By this time, the church was elevated to parish
status, serving the growing community of the sestiere.
The
church’s dedication to St. Simeon the Prophet is linked to the presence
of his relics, a claim supported by 19th-century scholar Antonio Quadri
and contested with Zadar, Croatia. A 1203 translation of the relics from
Constantinople to Venice by Andrea Baldovino and Aldo Drusento, followed
by the 1317 commission of a statue by Marco Romano, reinforces Venice’s
assertion. The relics, housed in a sarcophagus, became a focal point of
devotion, enhancing the church’s spiritual significance.
Over the
centuries, the church underwent several renovations. In the 17th
century, the floor was raised, possibly to address sanitary issues from
burials during the 1630 plague, though this tradition is uncertain. The
most transformative changes occurred in the 18th century under architect
Domenico Margutti, who rebuilt the interior starting around 1718.
Margutti’s death in 1721 left the project to Giorgio Massari, who
completed the neoclassical façade, later modified in 1861. During the
Napoleonic occupation (1807–1810), the church lost its parish status and
was subsumed under San Simeone Piccolo, a smaller but later expanded
church nearby.
The church’s history reflects Venice’s evolving
religious and social landscape, from its early role as a community
anchor to its adaptation under Napoleonic reforms. Its proximity to
palaces like Palazzo Gradenigo and Palazzo Soranzo Cappello situates it
in a historically affluent neighborhood, though Santa Croce’s
working-class character adds a layer of local intimacy.
San Simeone Profeta combines elements of Romanesque, Gothic, and
neoclassical architecture, reflecting its long history of construction
and renovation. Its modest scale and simple exterior belie a richly
decorated interior, making it a compelling example of Venice’s layered
architectural heritage.
Exterior
The church is situated in a
small campiello in Santa Croce, flanked by a portico (sotoportego) to
the left and near the Rio Marin. Its exterior is characterized by:
Neoclassical Façade: The current façade, attributed to Giorgio
Massari (1756) and modified in 1861, is a restrained neoclassical
design. It features two tall columns with Corinthian capitals supporting
a triangular pediment, a hallmark of classical architecture. Two lower
arched half-tympana on the sides reflect the internal three-nave
structure. The façade’s white stucco finish is simple, with minimal
ornamentation, aligning with neoclassical ideals of clarity and
proportion.
Portico: A covered portico to the left, a rare feature in
Venetian churches, provides a transitional space and adds historical
charm, possibly dating to earlier Gothic or Romanesque phases.
Campanile: The church has no prominent bell tower, unlike San Nicolò dei
Mendicoli or San Giorgio Maggiore, which may reflect its modest parish
role. The 1861 restoration removed earlier structural elements, such as
a dome damaged by an 1849 Austrian cannonball, now embedded in the
façade as a historical marker.
Setting: The campiello’s intimate
scale and proximity to the Ponte degli Scalzi and Rio Marin create a
serene, neighborhood ambiance, contrasting with the grandeur of San
Marco’s churches. The façade’s alignment with the canal enhances its
visibility from water approaches.
The exterior’s simplicity, shaped
by 19th-century modifications, contrasts with the interior’s artistic
richness, making the church a hidden gem in Santa Croce.
Interior
The interior, rebuilt by Domenico Margutti in the early 18th century, is
a three-nave basilica with a focus on clarity and elegance. Key features
include:
Three-Nave Layout: The nave is divided by two rows of
columns, some covered with red silk, a decorative choice that adds
warmth and theatricality. The columns, possibly of Greek marble with
Byzantine capitals from the 11th century, hint at the church’s early
history, though most are clad in 18th-century materials.
Ceiling and
Walls: The ceiling is flat or vaulted, with white surfaces interrupted
by the red-clad columns, creating a restrained yet striking effect. The
walls are relatively unadorned, serving as a backdrop for the artworks.
Raised Floor: The floor, raised in the 17th century, likely to mitigate
flooding or burial issues, conceals an older pavement with historical
seals, as noted in sources. This elevation alters the interior’s
proportions, giving it a slightly elevated feel.
Apse and Altars: The
apse, housing the high altar, is modest but functional, with side
chapels along the left and right aisles. The second altar in the left
aisle is particularly significant for its artworks, while the right
aisle features a notable painting near the entrance.
Lighting: The
interior is described as “dark and gloomy” by some visitors, possibly
due to limited natural light from small windows or the campiello’s
enclosed setting. However, the white walls and gilded accents provide
some illumination.
The interior’s neoclassical simplicity, combined
with Gothic and Byzantine remnants, creates a unique spatial experience,
distinct from the ornate Baroque interiors of churches like San
Sebastiano.
San Simeone Profeta houses a small but significant collection of
artworks, spanning the Renaissance to the Baroque, with a standout
Gothic sculpture. The following are the key pieces, as documented in
sources:
Marco Romano – Recumbent Statue of St. Simeon (1317)
Description: Located in a left-hand chapel, this Gothic masterpiece
depicts St. Simeon lying on a sarcophagus containing his relics.
Commissioned in 1317 by the bishops of Castello, Caorle, Torcello, and
Jesolo, and the parish priest Bartolomeo Ravachaulo, the statue was
created by Marco Romano, a Sienese sculptor active in Venice. The
sculpture’s detailed realism, particularly in the saint’s expressive
face, anticipates later works like Giuseppe Sammartino’s Veiled Christ
(1753). An inscription behind the statue, rare for its time, proudly
claims Romano’s authorship: celavit marcus opus hoc insigne romanus.
Laudibus non parcus: est sua digna manus (“Marco Romano sculpted this
outstanding work, his hand is worthy of not small praise”).
Significance: The statue is a pinnacle of Gothic realism, blending
devotional intensity with artistic innovation. Its placement over the
saint’s relics, translated from Constantinople in 1203, underscores the
church’s claim to St. Simeon’s legacy, contested with Zadar. The work’s
historical and artistic value makes it a must-see for visitors.
Jacopo Palma il Giovane – Presentation at the Temple
Description:
Positioned to the right of the entrance, this painting by Jacopo Palma
il Giovane (1548–1628) depicts the Presentation of Jesus at the Temple,
with portraits of the donors. Executed in the late 16th or early 17th
century, it showcases Palma’s Mannerist style, with vibrant colors and
dynamic composition, influenced by his mentor Tintoretto.
Significance: The painting ties directly to the church’s dedication, as
St. Simeon is central to the Presentation narrative. Its donor portraits
reflect Venetian patronage traditions, adding a historical layer to the
artwork.
Jacopo Tintoretto – The Last Supper
Description:
Located at the second altar in the left aisle, this painting is
attributed to Jacopo Tintoretto (1518–1594), a master of Venetian
Renaissance art. Depicting The Last Supper, it is noted as one of
Tintoretto’s works, characterized by dramatic lighting, emotional
intensity, and a dynamic arrangement of figures. Some sources suggest it
may be a late work, reflecting Tintoretto’s mature style.
Significance: Tintoretto’s presence elevates the church’s artistic
profile, aligning it with major Venetian sites like San Giorgio
Maggiore, where his Last Supper is also found. The painting’s
attribution requires verification, as some sources note inconsistencies,
but its inclusion in guidebooks underscores its importance.
Blanc
– Annunciation
Description: Previously attributed to Palma il
Giovane, this 16th-century painting in the left aisle is now recognized
as the work of a painter named Blanc. Depicting the Annunciation, it
features delicate figures and a serene composition, typical of Venetian
Renaissance art.
Significance: The reattribution highlights the
church’s evolving art historical scholarship, adding depth to its
collection.
Additional Features
Byzantine Columns: The nave’s
columns, possibly 11th-century Greek marble with Byzantine capitals, are
a rare survival from the church’s early phases, though their red silk
covering obscures their details.
Cannonball Marker: An 1849 Austrian
cannonball, embedded in the façade, serves as a historical artifact,
commemorating Venice’s resistance during the siege of the First Italian
War of Independence.
The artworks, particularly Marco Romano’s statue
and Tintoretto’s painting, position San Simeone Profeta as a
significant, if underappreciated, repository of Venetian art.
San Simeone Profeta is a vital part of Santa Croce’s cultural and
religious fabric, reflecting the sestiere’s blend of noble and
working-class identities. Its dedication to St. Simeon the Prophet, tied
to the relics’ presence, underscores its role as a site of pilgrimage
and devotion, historically contested with Zadar. The church’s early
foundation in 967 places it among Venice’s oldest religious
institutions, predating St. Mark’s Basilica in its current form, and its
parish status until 1810 highlights its community centrality.
The
church’s artworks connect it to Venice’s Renaissance and Gothic
traditions. Marco Romano’s statue is a landmark of 14th-century
sculpture, rare for its signed authorship, while Tintoretto and Palma il
Giovane’s paintings align with the city’s 16th-century artistic zenith.
The Byzantine columns evoke Venice’s ties to Constantinople, reinforcing
its cosmopolitan heritage.
Culturally, the church’s obscurity
among tourists, as noted in Tripadvisor reviews, enhances its
authenticity, offering a glimpse into Santa Croce’s local life. Its
proximity to the Grand Canal and landmarks like Palazzo Gradenigo
situates it in a historically rich context, though its campiello setting
fosters a sense of intimacy absent in busier sites like the Bridge of
Sighs. The 1849 cannonball marker adds a layer of historical resonance,
linking the church to Venice’s revolutionary past.
Religiously,
the church remains active, serving as a subsidiary of San Simeone
Piccolo. Its role in hosting Masses and community events maintains its
spiritual vitality, though its limited hours and reported unwelcoming
atmosphere (e.g., a priest discouraging photography) may deter casual
visitors.
No major recent restoration projects are documented for San Simeone
Profeta, unlike high-profile sites like San Nicolò dei Mendicoli
(restored 1971–77 by Venice in Peril) or the Bridge of Sighs (cleaned
2016–18). The 1861 façade modification, following earlier work by
Massari, represents the last significant intervention, with the
cannonball’s embedding as a commemorative act. The church’s good
structural condition, as seen in photographs from 2012–19, suggests
ongoing private or parish maintenance, though Venice’s environmental
challenges—acqua alta, humidity, and salt erosion—require vigilance.
The interior’s artworks, particularly Marco Romano’s statue and
Tintoretto’s painting, appear intact, but no specific conservation
efforts are noted since the 18th-century renovations. The raised floor
and covered columns may protect underlying historical features, such as
the original pavement with seals, but their concealment limits scholarly
access. Potential future restorations could focus on uncovering these
elements or cleaning the paintings, possibly with support from
organizations like Save Venice, though the church’s low tourist profile
may delay such initiatives.
San Simeone Profeta is an active church, open for religious services
and limited public visits, typically in the morning or late afternoon
(e.g., 10:00 AM–12:00 PM, 3:00 PM–5:00 PM, though hours vary). Its
location at Santa Croce 933, near the Riva de Biasio vaporetto stop
(Lines 1, 5.1, 5.2), makes it accessible, about 210 meters from the stop
and 300 meters from Santa Lucia station. Entry is free, though donations
support upkeep.
Condition: The church is structurally sound, with
a clean, white façade and intact interior, as evidenced by recent
images. The artworks, particularly Marco Romano’s statue, are
well-preserved, though the interior’s “dark and gloomy” ambiance, noted
by Tripadvisor reviewers, may reflect limited lighting or the
campiello’s enclosure.
Visitor Experience: The church is not a major
tourist attraction, appealing to those seeking off-the-beaten-path
sites. Visitors praise Marco Romano’s statue and Tintoretto’s Last
Supper, but some report an unwelcoming atmosphere, with one reviewer
describing a priest angrily discouraging photography, suggesting a
protective stance toward the sacred space. The three-nave interior, with
its red-clad columns and white walls, offers a serene, if subdued,
experience. The campiello and portico add charm, making it a pleasant
stop en route to nearby Campo Santa Margherita or the Fondaco dei
Turchi.
Cultural Offerings: Unlike San Giovanni di Malta, which hosts
concerts, or Palazzo Flangini’s exhibitions, San Simeone Profeta lacks
documented cultural events. Its primary role is religious, with
occasional community gatherings. The lack of a pipe organ or noted
musical tradition limits its concert potential, unlike San Nicolò dei
Mendicoli.
The church’s obscurity, while a draw for some, contrasts
with the high visibility of sites like the Bridge of Sighs or St. Mark’s
Basilica, making it ideal for visitors exploring Santa Croce’s quieter
corners.
San Simeone Profeta has not undergone major documented restorations
since the 1861 façade work, unlike San Nicolò dei Mendicoli’s Venice in
Peril project or the Bridge of Sighs’ cleaning. Its good condition
suggests ongoing maintenance by the parish or private donors, but no
specific conservation efforts for the artworks or historical pavement
are noted. The church’s vulnerability to acqua alta and humidity, common
in Venice, may necessitate future interventions, particularly for Marco
Romano’s statue and Tintoretto’s painting.
Future prospects could
include:
Restoration: A targeted project to uncover the original
pavement or restore the paintings, potentially funded by Save Venice or
local heritage groups, could enhance the church’s appeal.
Public
Access: Limited cultural events, such as art lectures or small concerts,
could raise its profile, following the model of San Giovanni di Malta’s
programming.
Scholarly Research: The relics’ history and Byzantine
columns warrant further study, possibly through digital archiving or
exhibitions, leveraging the church’s connection to Constantinople’s
legacy.
The church’s private, community-focused role may limit
large-scale tourism, but its historical and artistic treasures position
it as a candidate for niche heritage initiatives, balancing preservation
with accessibility.