La Chiesa della Carità

La Chiesa, edificata secondo i canoni dell'architettura gotica, presentava una facciata in mattoni le cui arcate superiori erano gioiosamente decorate con fiori, pigne e foglie scolpite in pietra. Le sculture erano opera di quel  Bartolomeo Bon scultore della porta della carta di Palazzo Ducale e del doge Foscari inginocchiato davanti al Leone di San Marco, altra opera distrutta (quella che vediamo oggi è una copia) durante il regno francese. 

In questa chiesa il Bon aveva scolpito anche il magnifico portale di ingresso ed il rosone collocato in facciata, e si era profuso anche nella decorazione degli interni.  Oggi abbiamo solo qualche frammento del portale al Museo del Seminario Diocesano.

Che gli interni fossero magnifici lo possiamo intuire dalla presenza di alcune pregiatissime pale di Cima da Conegliano e di Bellini (oggi alle gallerie dell'accademia) e dal fatto che era stato commissionata nientemeno che allo Scamozzi la realizzazione di un grandioso monumento sepolcrale dedicato al Doge Nicolò Da Ponte. Altri due monumenti furono commissionati all'altrettanto famoso architetto-scultore Codussi, dedicati ai due dogi  Marco e Agostino Barbarigo. Il coro, infine, era stato intagliato da Alessandro Bigno... insomma, furono coinvolti i migliori artisti per la realizzazione di un'edificio religioso che - come la definisce il Sansovino - era "notabilissima Chiesa fra tutte della città".  

La distruzione della Chiesa

Quello che oggi è rimasto è un fantasma dell'antica Chiesa, spoglio e triste.

Per nulla interessato a quanto di artistico vi era contenuto si dimostra il "geniale" Architetto a cui sono state affidate le opere di ristrutturazione. Egli dispone, relativamente al "disfacimento" delle sculture di "usare molta diligenza nella demolizione (...) per impiegarlo con utile economia ad altri usi".
I pezzi derivanti dalle demolizioni vennero venduti ad uno scalpellino che le adoperò, successivamente, come materiale da costruzione. 

Il risultato perseguito spietatamente dal Selva fu lo svuotamento della chiesa, il taglio del volume in orizzontale e la suddivisione in spazi espositivi ed aule didattiche. 

L'accademia venne poi spostata in altro luogo e gli spazi della ex chiesa vennero (e sono) adibiti ad ospitare le opere delle Gallerie dell'Accademia. Questo ci permette di entrare nell'antico edificio religioso e prendere coscienza della orribile metamorfosi a cui è stato sottoposto.  

Dall'esterno sono ancora visibili, nella facciata principale della Chiesa, i segni del portone principale divelto ed in parte murato e trasformato in un finestrone. Si vedono, inoltre, tracce del grande rosone, anche questo in parte murato. 

Nella stampa qui sopra, del 1700,  si vede anche un campanile così come nel quadro, qui sotto del Canaletto (circa 1730). La sparizione stavolta non è colpa di Napoleone: è crollato da solo, in Canal Grande,  il 27 Marzo del 1744.

The Church of Santa Maria della Carità, Venice

Introduction

The ex-Church of Santa Maria della Carità in Venice is not only a historical and architectural landmark but also a narrative of transformation from a sacred space to one of the world's most renowned art institutions, the Gallerie dell'Accademia. This article delves into its rich history, architectural style, the art it once housed, and its evolution through various stages of use.

History of the Church

The Church of Santa Maria della Carità was founded in the 12th century by the Canons Regular of Santa Maria di Frigionaia, an order affiliated with the Lateran Canons. The church was initially constructed in wood before being rebuilt in stone, reflecting the growing importance of the order in Venice. By the 15th century, with the support of Pope Eugene IV, a native Venetian, the church underwent significant renovations which saw the introduction of Gothic architecture by Bartolomeo Bon.

Religious Order

The Canons Regular of Santa Maria della Carità were a community dedicated to the education, charity, and spiritual guidance of the faithful. Their presence in Venice was part of a broader movement of religious reform and monastic life during the Middle Ages, focusing on a combination of monastic discipline with pastoral care.

Architectural Style

The church exemplifies Gothic architecture, typical of Venetian ecclesiastical buildings from the late Middle Ages. Its structure was primarily Gothic with pointed arches, ribbed vaults, and a focus on verticality, although later Renaissance modifications, especially by Andrea Palladio, introduced classical elements into the monastery's design.

The Facade

The original facade of Santa Maria della Carità was characterized by a trilobate crowning, a feature of Venetian Gothic architecture, with its central portal adorned by intricate carvings and traceried windows. Over time, the facade became less prominent as the church was integrated into the larger complex of the Accademia.

Description of the Interiors

Internally, the church boasted a single nave with side chapels, a design typical of Gothic churches in Venice. The Gothic rib vaults supported by slender columns created an atmosphere of sacred space, with light filtering through the high windows. The interior was once adorned with frescoes and paintings, although much of this has been lost or moved.

Artworks Contained

The Church of Santa Maria della Carità was a repository for several significant artworks:

• Titian's "Presentation of the Virgin at the Temple" was one of the notable pieces, though it was moved to the Accademia.

• Giovanni Bellini's works were also housed here, including his famous triptychs which are now central pieces at the Accademia.

• Other works by artists like Cima da Conegliano and Palma il Vecchio graced its walls.

Napoleonic Suppression

In 1807, during the Napoleonic era, the church was deconsecrated as part of broader secularization efforts across Venice, leading to the suppression of many religious orders including the Lateran Canons. This marked the beginning of the end of its life as a functioning church.

Transformation into the Academy of Fine Arts

After its deconsecration, the church and monastery complex were repurposed. In 1807, they were designated to house the newly reformed Accademia di Belle Arti, moving from their previous location. The transformation was led by the architect Giannantonio Selva, who undertook some controversial modifications:

• Partitioning: Selva divided the church vertically with a mezzanine, creating classrooms on different levels.

• Portico and Courtyard: He added a double portico along one side of the church, which altered the original Gothic design significantly.

• Chiostro di Palladio: Palladio's cloister was adapted for new uses, including housing the library and art collections.

Current Use as a Museum

Today, the complex primarily serves as the Gallerie dell'Accademia, one of the foremost art museums in Venice. The former church now hosts part of Venice's extensive collection of Venetian art from the 14th to the 18th century:

• Artistic Layout: The interior has been reconfigured to display art chronologically and thematically, with Bellini, Tintoretto, and Titian's masterpieces prominently featured.

• Palladio's Legacy: The Palladian cloister continues to be a highlight, used for temporary exhibitions and as a quiet retreat within the museum.

Conclusion

From a medieval church to an academic institution, and finally to a world-class museum, the Church of Santa Maria della Carità has undergone a remarkable transformation. It stands as a testament to Venice's cultural and architectural heritage, adapting through centuries while preserving the essence of its artistic and historical significance. The legacy of its past as a place of worship, learning, and now art appreciation, continues to enrich visitors from around the world.