The Chiesa delle Terese, also known as the Chiesa di Santa Teresa, is a lesser-known but fascinating church located in the Dorsoduro sestiere of Venice, Italy. Situated near the Chiesa di San Nicolò dei Mendicoli, to which it is subsidiary, this 17th-century Baroque church and its former convent reflect Venice’s rich religious and artistic heritage. Consecrated in 1688, the church was designed by Andrea Cominelli and originally served as a place of worship for the Discalced Carmelite nuns, known as the Terese. Though deconsecrated and no longer used for regular religious services, the church remains a significant historical and architectural site, with its adjacent convent repurposed for educational activities by the IUAV University of Venice.
The Chiesa delle Terese was established in the late 17th century to
house a community of Discalced Carmelite nuns, a reformed branch of the
Carmelite order emphasizing austerity and contemplation. The church and
its adjoining convent were built to accommodate these nuns, who followed
the spiritual legacy of Saint Teresa of Ávila, the Spanish mystic and
reformer after whom the church is named. Construction began in the
1680s, with the church consecrated in 1688, reflecting the Baroque
architectural trends of the period.
The church’s history is
closely tied to its convent, which played a significant role in Venetian
religious life. In 1810, during the Napoleonic suppressions of religious
institutions, the convent was dissolved, and its buildings were
repurposed as an orphanage. By the 20th century, the former convent
served as a dormitory for the homeless, and today, it houses academic
facilities for IUAV University, hosting courses in architecture and
design. The church itself, deconsecrated in the modern era, is no longer
an active place of worship but remains a testament to Venice’s layered
history of religious and civic adaptation.
The proximity to San
Nicolò dei Mendicoli, one of Venice’s oldest churches, underscores the
Terese’s role as a subsidiary chapel within the parish, serving a
complementary spiritual function in the Dorsoduro neighborhood. Its
location near the Zattere waterfront and the lively Campo Santa
Margherita places it in a vibrant, student-friendly area, enhancing its
modern cultural relevance.
The Chiesa delle Terese exemplifies Venetian Baroque architecture,
characterized by theatricality, rich decoration, and a focus on interior
splendor over external ornamentation. Designed by Andrea Cominelli, a
lesser-known architect active in Venice, the church’s design reflects
the practical constraints of its urban setting and the spiritual mission
of the Carmelite nuns.
Exterior
The exterior of the Chiesa
delle Terese is strikingly austere, with an almost completely unadorned
brick façade. This simplicity is typical of many Venetian churches built
for monastic communities, where resources were prioritized for the
interior. The façade features:
A central portal flanked by two
smaller lateral doors, each surmounted by simple architraves.
Minimal
architectural embellishment, lacking the statues, columns, or pediments
common in more prominent Baroque churches like Santa Maria della Salute.
The plain façade blends into the surrounding Dorsoduro architecture,
making the church easy to overlook. Its understated exterior contrasts
sharply with the richly decorated interior, a common Venetian trait that
surprises visitors. The church’s location along a quiet canal, opposite
San Nicolò dei Mendicoli, adds to its serene, almost hidden character.
Interior
The interior of the Chiesa delle Terese is a perfectly
square plan, a departure from the more common rectangular nave of
Venetian churches. This centralized layout, often associated with
Baroque ideals of symmetry and harmony, creates a compact yet grandiose
space. Key architectural features include:
A flat ceiling, except
above the high altar, where it rises slightly to accommodate a painted
decoration.
A large presbytery to the right of the entrance, housing
the high altar.
Several side altars along the nave, separated by
Corinthian pilasters that add verticality and elegance.
Rich Baroque
decorations, including stucco work and gilding, that enhance the
spiritual ambiance.
The square plan and ornate interior reflect the
Baroque emphasis on creating an immersive, theatrical experience for
worshippers, drawing the eye upward and toward the altars. Though the
church is deconsecrated, its interior remains intact, preserving its
artistic and architectural integrity.
The Chiesa delle Terese is notable for its collection of Baroque
paintings and sculptures, which reflect the artistic vibrancy of
17th-century Venice. Despite its deconsecrated status, the church
retains several significant artworks, though some have been relocated
due to damage or restoration efforts. Below are the key artistic
features:
1. Nicolò Renieri’s Paintings
The Flemish painter
Nicolò Renieri (also known as Nicolas Régnier) is prominently
represented in the church:
“Santa Teresa in Gloria” (above the
high altar): This large canvas depicts Saint Teresa of Ávila in heavenly
glory, surrounded by angels, embodying the mystical spirituality of the
Carmelite order. The painting’s dramatic composition and vibrant colors
are quintessentially Baroque.
“Ritratto del Senatore Giovanni Moro”
(high altar): A portrait of the Venetian senator who likely contributed
to the church’s patronage, showcasing the intersection of civic and
religious life in Venice.
“Santa Teresa in Gloria” (ceiling): Another
depiction of Saint Teresa, attributed to Renieri, adorns the ceiling
above the high altar. Its celestial imagery complements the church’s
dedication and enhances the illusion of divine presence.
2.
Francesco Ruschi’s “Sant’Orsola, la Maddalena e Angeli”
In the first
altar on the right, a painting by the Roman artist Francesco Ruschi
depicts Saint Ursula, Mary Magdalene, and Angels. This work, with its
emotional intensity and delicate figures, reflects the Baroque interest
in female saints and martyrdom, resonating with the nuns’ devotional
life.
3. Fra Massimo da Verona’s Altarpiece
The altar to the
right of the presbytery features a painting by Fra Massimo da Verona,
titled “L’Arcangelo Michele e i Santi Francesco di Paola, Andrea
Corsini, e Alberto”. This work combines the archangel Michael with
Carmelite and other saints, emphasizing the order’s spiritual hierarchy
and protective mission. The painting’s dynamic composition and vivid
colors align with Baroque aesthetics.
4. Giovan Battista
Langetti’s “Cristo in Croce e la Maddalena” (Relocated)
Originally
housed in the first altar to the left of the presbytery, this painting
by Giovan Battista Langetti depicted Christ on the Cross with Mary
Magdalene. Damaged by a bomb fragment during World War II, the canvas
was restored in 1949 and transferred to the Museo del Settecento
Veneziano at Ca’ Rezzonico, where it remains. Its absence from the
church is a reminder of Venice’s wartime losses, but its preservation
ensures the artwork’s legacy.
5. Sacristy Artworks
The
sacristy contains additional treasures:
A 16th-century “Madonna
con Putto e Santi” by an anonymous artist, showcasing the Venetian
tradition of devotional imagery.
A 17th-century wooden crucifix,
likely used for private worship by the nuns.
A marble high relief
depicting the “Sedici Martiri Gesuiti” (Sixteen Jesuit Martyrs), also
from the 17th century, reflecting the Counter-Reformation’s emphasis on
martyrdom.
6. Decorative Elements
The church’s interior is
enriched with Baroque stucco work, gilded frames, and Corinthian
capitals, creating a cohesive decorative scheme. The interplay of
paintings, sculptures, and architectural details immerses visitors in
the theatricality of the Baroque era, designed to inspire awe and
devotion.
The Chiesa delle Terese offers a window into the religious life of
Discalced Carmelite nuns in 17th-century Venice, a period when monastic
communities played a vital role in the city’s spiritual and social
fabric. The church’s dedication to Saint Teresa of Ávila, a towering
figure in Catholic mysticism, underscores its focus on contemplative
spirituality, contrasting with the mercantile bustle of Venice. The
convent’s later transformations—from orphanage to homeless shelter to
university facility—reflect Venice’s ability to repurpose sacred spaces
for civic needs, a hallmark of the city’s pragmatic approach to its
heritage.
Artistically, the church contributes to the narrative
of Venetian Baroque, with works by Renieri, Ruschi, and others
showcasing the city’s role as a hub for international artists. The
relocation of Langetti’s painting to Ca’ Rezzonico highlights Venice’s
ongoing efforts to preserve its cultural patrimony, even as
deconsecrated churches like the Terese lose their original function. The
church’s location in Dorsoduro, a district known for its artistic and
academic vibrancy, enhances its appeal to visitors interested in
Venice’s quieter, less touristy corners. Nearby landmarks like San
Sebastiano (with Veronese’s frescoes) and Campo Santa Margherita make it
part of a rich cultural itinerary.
The church’s deconsecrated
status, noted in sources like Wikipedia, means it is not regularly open
to the public, limiting access but preserving its historical integrity.
Its inclusion in the list of Dorsoduro churches on churchesofvenice.com
underscores its place within Venice’s ecclesiastical landscape, even if
it lacks the fame of sites like Santa Maria della Salute.
Location: Dorsoduro, near San Nicolò dei Mendicoli and the Zattere
waterfront. Accessible via the Zattere or San Basilio vaporetto stops
(Lines 2, 5.1, 5.2, 6).
Opening Hours: The church is deconsecrated
and not regularly open to the public. Access may be possible during
special events, academic activities through IUAV, or by private
arrangement. Check with local tourism offices or IUAV for updates.
Admission: No standard entry fee due to its deconsecrated status. If
open, donations may be requested.
Tips for Visitors:
Combine a
visit with nearby San Nicolò dei Mendicoli, San Sebastiano, or Angelo
Raffaele for a Dorsoduro church tour.
Explore the Zattere promenade
for scenic views and the lively Campo Santa Margherita for cafés and
student life.
Contact IUAV University (info@iuav.it) for potential
access to the former convent or church during academic events.
Bring
a guidebook or app like the Chorus Venezia app to contextualize the
church’s artworks, as on-site information may be limited.