The Chiesa di Santa Maria Maddalena, commonly referred to as La Maddalena, is a distinctive neoclassical church located in the Cannaregio sestiere of Venice, Italy, at Campo della Maddalena, 30121. Dedicated to Saint Mary Magdalene, it is one of Venice’s smallest churches, renowned for its unique circular design, elegant façade, and historical significance. Built in the 18th century by architect Tommaso Temanza, it replaced an earlier medieval structure and stands as a rare example of neoclassical architecture in a city dominated by Gothic, Renaissance, and Baroque styles. Part of the Chorus Venezia association, La Maddalena is celebrated for its architectural purity and modest yet refined interior, making it a hidden gem for visitors exploring Venice’s rich heritage.
The origins of the Chiesa di Santa Maria Maddalena date to the 13th
century, when a church dedicated to Saint Mary Magdalene was first
documented in 1222, likely founded by the Balbo family, a noble Venetian
lineage. The original structure, built in a Romanesque or early Gothic
style, served as a parish church for the Cannaregio district, which was
then a developing area of the city. By the 14th century, the church was
associated with the Scuola Grande di Santa Maria della Misericordia, a
major confraternity nearby, which supported its maintenance.
By
the 18th century, the medieval church was in poor condition, prompting a
complete rebuild. In 1760, Tommaso Temanza, a prominent Venetian
architect and historian, was commissioned to design a new church, which
was constructed between 1763 and 1778. Temanza, influenced by the
neoclassical movement and the works of Andrea Palladio, envisioned a
centralized, circular plan inspired by classical Roman temples, such as
the Pantheon. The church was completed under the patronage of the
Trevisan family, who funded the project and are commemorated in the
interior.
During the Napoleonic occupation (1797–1815), La
Maddalena’s parish status was revoked, and it became a subsidiary church
under the parish of San Marcuola. The adjacent convent, once home to
Augustinian nuns, was suppressed and repurposed, eventually becoming
part of the surrounding residential fabric. In the 20th century, the
church faced environmental challenges, including acqua alta (high tide
flooding), leading to restoration efforts by the Chorus Venezia
association, which integrated La Maddalena into its circuit of conserved
churches in 1998. Today, it remains an active place of worship and a
cultural site, valued for its architectural innovation and historical
continuity.
La Maddalena is situated in the Cannaregio sestiere, Venice’s
northern district, known for its vibrant streets, Jewish Ghetto, and
proximity to the Grand Canal. Located at Campo della Maddalena, a small,
picturesque square, the church is near the Strada Nova, a bustling
pedestrian thoroughfare. Its neighbors include the Palazzo Gussoni
Grimani Della Vida (0.5 km), Chiesa dei Santi Apostoli (0.3 km), and the
Ca’ d’Oro (0.4 km), making it a convenient stop on a Cannaregio
itinerary. The Scuola Grande di Santa Maria della Misericordia, a
historic confraternity building now used for exhibitions, is just 200
meters away, enhancing the area’s cultural appeal.
The nearest
vaporetto stop is Ca’ d’Oro (Lines 1 and N), approximately 300 meters
away, reachable via a short walk along Calle Ca’ d’Oro. Alternatively,
the San Marcuola stop (Lines 1, 2, and N) is 400 meters away, near
Palazzo Gussoni. The Santa Lucia railway station is 1 km away,
accessible by vaporetto or a 15-minute walk, and Piazza San Marco is 1.2
km, a 20-minute stroll through Cannaregio and San Marco.
As part
of the Chorus Venezia circuit, La Maddalena is open to visitors Monday
through Saturday from 10:00 AM to 5:00 PM (last entry 4:45 PM), closed
on Sundays and major holidays. Admission is €3, or free with the Chorus
Pass (€12 for 15 churches), making it cost-effective for those visiting
multiple sites like San Giuseppe di Castello or San Moisè. Modest attire
is required, and photography without flash is permitted. The church may
close during religious services, particularly Sunday Mass, so visitors
should check the Chorus Venezia website (www.chorusvenezia.org) for
updates. Its small size and off-the-beaten-path location ensure a
quieter experience compared to central sites like San Moisè.
La Maddalena is a masterpiece of Venetian neoclassicism,
distinguished by its centralized, circular plan and classical
references, which set it apart from the Gothic, Renaissance, and Baroque
styles of most Venetian churches. Tommaso Temanza’s design draws
inspiration from Palladio’s villas and Roman temples, emphasizing
symmetry, proportion, and simplicity, in stark contrast to the
exuberance of San Moisè or the hybrid Gothic-Renaissance of Palazzo
Contarini del Bovolo.
Exterior
The façade, facing Campo della
Maddalena, is a model of neoclassical restraint, constructed in white
Istrian stone. It features a pronaos (portico) with four Ionic columns
supporting a pediment, reminiscent of a Greek temple. Above the portal,
a bas-relief depicts Saint Mary Magdalene in Contemplation, attributed
to Giovanni Maria Morlaiter, emphasizing the church’s dedication. The
circular drum of the church rises behind the façade, topped by a low
dome and a lantern, creating a compact yet striking silhouette. The
façade’s inscription, “DIVAE MARIAE MAGDALENAE DICATUM” (Dedicated to
Saint Mary Magdalene), reinforces its classical aesthetic.
The
church’s circular form, visible from the campo, is a rarity in Venice,
shared only with the Chiesa di San Simeon Piccolo in a modified form.
The exterior’s simplicity contrasts with the ornate Baroque of San Moisè
or the sculptural richness of San Giuseppe di Castello’s façade,
aligning more closely with the understated elegance of San Biagio. The
surrounding campo, with its small canal and historic buildings, enhances
the church’s serene ambiance, similar to San Raffaele Arcangelo’s
canal-side setting.
Interior
The interior is a centralized,
circular space, approximately 15 meters in diameter, with a domed
ceiling and six shallow niches radiating from the central altar. This
plan creates a sense of unity and intimacy, ideal for the small
congregation it served. Key architectural features include:
Dome:
The coffered ceiling, painted with subtle grisaille frescoes, mimics the
Pantheon’s oculus, with a central lantern admitting soft light. The
frescoes, likely by Giovanni Battista Tiepolo or his workshop, depict
allegorical virtues, though their attribution is debated.
Main Altar:
Dedicated to Saint Mary Magdalene, it features a marble statue of the
saint by Giovanni Scalfarotto, Temanza’s collaborator, set against a
backdrop of polychrome marbles and stucco.
Niches: The six lateral
niches contain altars and statues, including works by Michele Fanoli and
Giovanni Ferrari, depicting saints like Augustine and Monica, reflecting
the church’s Augustinian ties.
Trevisan Tomb: A neoclassical monument
in the left niche, designed by Temanza, honors the Trevisan family, with
a marble urn and epitaph.
The interior’s clean lines, white stucco
walls, and minimal ornamentation contrast with the opulent Baroque of
San Moisè or the fresco-heavy interiors of San Giuseppe di Castello and
San Apostoli, offering a serene, classical aesthetic that anticipates
19th-century trends.
La Maddalena’s artistic program is modest compared to the
masterpiece-laden San Apostoli or San Giuseppe di Castello, but its
neoclassical restraint enhances its architectural harmony. Key works
include:
Saint Mary Magdalene by Giovanni Scalfarotto (c. 1770):
The main altar’s marble statue portrays the saint in a penitential pose,
with flowing robes and a contemplative expression, embodying
neoclassical ideals of grace and simplicity.
Ceiling Frescoes:
Attributed to Tiepolo’s workshop, these subtle grisaille paintings
depict virtues like Faith and Charity, using muted tones to complement
the architectural purity, unlike the vibrant frescoes of San Giuseppe di
Castello or San Biagio.
Altarpieces and Statues: The lateral niches
house paintings and sculptures by minor 18th-century artists, including
Michele Fanoli’s Saint Augustine and Giovanni Ferrari’s Saint Monica,
emphasizing the Augustinian connection. These works are less prominent
than Veronese’s altarpieces in San Giuseppe or Tiepolo’s Saint Lucy in
San Apostoli.
Bas-Relief above Portal by Giovanni Maria Morlaiter:
The exterior relief of Mary Magdalene adds sculptural interest,
comparable to the Adoration relief on San Giuseppe’s façade.
The
church’s art serves to enhance its architectural unity rather than
dominate, a contrast to the narrative-driven artworks of San Raffaele
Arcangelo (Guardi’s Tobias cycle) or the Scuola degli Albanesi
(Carpaccio’s teleri). Its neoclassical focus aligns more closely with
the decorative restraint of Palazzo Basadonna’s frescoes, though on a
smaller scale.
La Maddalena reflects Venice’s 18th-century engagement with
neoclassicism, a period when the city sought to modernize its
architectural identity amidst economic decline. Temanza’s design, rooted
in Palladian and Roman models, positions the church as a bridge between
Venice’s Renaissance past and the Enlightenment’s classical revival, a
theme less evident in the Baroque San Moisè or the Gothic-Renaissance
Palazzo Contarini del Bovolo. The dedication to Saint Mary Magdalene, a
symbol of repentance and devotion, resonated with the Augustinian nuns
who once worshipped there, paralleling the female religious focus of San
Giuseppe di Castello’s convent.
The church’s historical ties to
the Scuola Grande di Santa Maria della Misericordia connect it to
Venice’s confraternity tradition, akin to the Scuola degli Albanesi’s
role for Albanian immigrants. Its survival through Napoleonic
suppressions and environmental challenges mirrors the resilience of San
Biagio and San Apostoli, with Chorus Venezia’s conservation efforts
ensuring its legacy. La Maddalena’s small scale and serene ambiance make
it a counterpoint to the grandeur of San Moisè or the civic prominence
of Palazzo Gussoni, offering a contemplative space in bustling
Cannaregio.
La Maddalena is a beloved stop for those seeking Venice’s hidden
treasures, praised for its “unique circular design” and “peaceful
atmosphere” in Tripadvisor reviews, with a 4.5/5 rating among
Cannaregio’s top attractions. Visitors highlight the “elegant
neoclassical interior” and “stunning dome,” though some note the small
size and limited artworks as less impressive compared to San Apostoli or
San Giuseppe di Castello. The Chorus Pass is recommended for
cost-effective access, pairing La Maddalena with nearby churches like
San Stae or Santa Maria dei Miracoli.
The Campo della Maddalena,
with its canal and historic buildings, offers a charming setting,
similar to San Raffaele Arcangelo’s campo. The church’s proximity to the
Strada Nova ensures easy access to dining and shopping, with options
like Pasticceria Dal Mas (0.3 km) or Osteria Al Cantinon (0.4 km).
Nearby attractions include:
Ca’ d’Oro (0.4 km): Gothic palace
with the Galleria Giorgio Franchetti.
Scuola Grande di Santa Maria
della Misericordia (0.2 km): Exhibition space.
Jewish Ghetto (0.6
km): Historic cultural site.
For a family of four seeking affordable
three-star accommodation in Cannaregio, options include Hotel Antiche
Figure (0.8 km) or Hotel Principe (0.9 km), bookable via Booking.com or
Tripadvisor. The area’s vaporetto stops and walkable streets make
navigation straightforward, but visitors should visit during weekday
hours to ensure access.