Chiesa San Marcuola

Gazing across the Grand Canal, the unassuming facade of Chiesa San Marcuola might deceive you. It stands there, a testament to unfinished ambition, directly across from the Fontego dei Turchi. Chiesa San Marcuola, also known as the Church of Saints Ermagora and Fortunato, whispers tales of resilience and artistic brilliance. The name “Marcuola” itself is a Venetian twist on “Ermacora,” a hint of the local dialect woven into the very fabric of the church. Originally built in the 12th century by the Memmo and Lupanizza families, Chiesa San Marcuola has weathered earthquakes and renovations. The church we see today bears the mark of Antonio Gaspari, who began its reconstruction in 1730. Giorgio Massari continued the work, completing the interior in 1736, but leaving the facade forever unfinished. This “incompleteness” adds a unique charm to Chiesa San Marcuola. It allows glimpses into its Romanesque origins, peeking through the later Baroque additions. Step inside, and you’ll notice another unusual feature. The main entrance isn’t on the west side facing the altar, as is traditional. Instead, Massari placed it on the south side. This was done both to honor the original layout and to mirror the dramatic positioning of the Gesuati church across the water. Inside Chiesa San Marcuola, a single nave stretches towards a semicircular apse. Here, you’ll find a masterpiece that graces art history books: Tintoretto’s Last Supper. Painted in 1547 for the Scuola del Sacramento, a small brotherhood that met within the church, it’s a dramatic portrayal of the iconic scene. On the opposite wall hangs a copy of Tintoretto’s Christ Washing the Disciples’ Feet, the original residing in the Prado Museum. Look closely, and you’ll discover another artistic treasure. A series of sculptures by Gaetano Susali, a student of Antonio Tarsia. These figures of saints, including Joseph, Peter, Anthony of Padua, John the Baptist, Ermagora, and Fortunato, populate the church. They stand as silent witnesses to the stories unfolding within Chiesa San Marcuola’s walls. The church was finally consecrated in 1779 by Patriarch Federico Maria Giovanelli. Yet, even in its consecrated state, Chiesa San Marcuola retains a sense of ongoing narrative. From its unfinished facade to the echoes of Tintoretto’s brushstrokes, it invites us to become a part of its enduring story.