CHURCH OVERVIEW
MADONNA DELL’ORTO
A Parish Church of Trade, Miracle & Tintoretto
STYLE
Venetian Gothic: abt 1460
ORDER
Humiliati, Cistercians
MATERIAL
Red Brick with decorations in Istrian Stone & Marble
INTERACTIVE OVERVIEW
The Architectural Plan
A rectangular, basilical plan with three naves (one main nave and two side aisles). There is a large, pentagonal apse, containing many of Tintoretto’s masterpieces.
ST JOHN W/SAINTS: CIMA da CONEGLIANO (1493-95)
St John stands at the center, flanked by Peter and Mark on the left, and Jerome and Paul on the right.
This is a rare survival—a 15th-century altarpiece still in its original frame and on its original altar. Cima da Conegliano and his workshop produced many altarpieces, but only four remain in their original setting.
How to spot the saints:
Peter → keys
Mark → brown hair, beard, younger face
John → wild, desert look, holding a twig cross
Jerome → red cape
Paul → sword
In the background is likely the Basilica of Saint Anthony of Padua—a reference to the patrons, who had ties to Padua and a particular devotion to St John
2. ST CHRISTOPHER: CIMA da CONEGLIANO (COPY)
St Christopher, a 3rd-century martyr, was the original patron saint of the church. That changed after a miraculous statue of the Madonna was discovered nearby and brought here, shifting devotion toward Mary. The original painting is now in the Gallerie dell'Accademia.
Christopher is usually shown as a giant figure carrying a child across a river. As he crosses, the child grows impossibly heavy—revealing himself as Christ and symbolizing the weight of the world. This story made Christopher one of the most popular patron saints of travelers in the Middle Ages.
TOBIAS & ARCHANGEL RAPHAEL: TITIAN (1530)
This painting was moved here from the nearby San Marziale—likely because that church receives fewer visitors.
The story of Tobias:
A young boy sets out to recover money for his blind father, Tobit. He travels with a dog and a mysterious guide—later revealed to be an angel. Along the way, they struggle through a dangerous river. During the crossing Tobias catches a fish, and keeps its organs at the angel’s instruction. These are later used to restore his father’s sight.
How to spot Tobias:
Fish → almost always present
Dog → loyal companion
Small container/dish → carried by the angel (holding the fish organs)
MIRACLE OF ST AGNES: TINTORETTO (1577)
This painting shows St Agnes, a young Christian martyr known for her beauty and devotion.
She refused to marry the son of a Roman official (Liciunus), choosing instead to remain devoted to Christ. In retaliation, she was sent to a brothel by Licinius, but divine intervention protected her. When the official was struck down, Agnes prayed over him and he was revived—after which she was accused of witchcraft and executed.
HOW TO SPOT ST AGNES:
Long flowing hair → often covering her body
Lamb → symbol of innocence and her name (“Agnes” sounds like agnus, Latin for lamb)
ORIGINAL STATUE FOUND IN THE GARDEN: (14TH CENTURY)
The original “miraculous” Madonna and Child statue dates to the 14th century. It was carved by Giovanni de Santi for the Santa Maria Formosa, but the church rejected it. De Santi kept the statue in his vegetable garden near this church (then dedicated to St Christopher).
According to legend, the statue began to glow at night. Word spread, and the garden became a small pilgrimage site. Authorities eventually pushed for it to be moved to a proper religious setting.
In 1377, the statue was brought here—and the church was later renamed Madonna dell’Orto (“Our Lady of the Garden”) in its honor
TOMB OF TINTORETTO'S FATHER IN LAW
Before his death in 1594, Tintoretto requested to be buried in his parish church alongside his father-in-law, Marco Episopi (d. 1571). They were originally interred together beneath the 16th-century organ in the central nave.
After renovations, Tintoretto’s remains were moved to his own chapel, while his father-in-law’s remains are now located here.
TOMB OF TINTORETTO:1518-1594
Before his death in 1594, Tintoretto asked to be buried here in his parish church alongside his father-in-law, Marco Episopi-De Vescovi (d. 1571). They were originally buried beneath the 16th-century organ in the central nave, along with one of Tintorettos' daughter and son.
In 1937, the remains were moved to a more prominent location—here, closer to the center of this chapel.
PRESENTATION OF MARY AT THE TEMPLE: TINTORETTO (1553)
According to apocryphal sources, Mary was just three years old when her parents brought her to the Temple—a practice believed to have been part of a broader tradition of dedicating children to religious service. She was said to remain there, being educated and prepared for her future role.
Some traditions suggest that especially devout families offered their daughters to serve in the Temple, assisting with linens, vestments, and daily upkeep. However, there is no clear historical evidence that such a formal group of consecrated young girls actually existed.
VISION ON THE CROSS TO ST PETER: TINTORETTO (1556)
St Peter, one of the twelve apostles, was considered the founder of the Church and later became the patron saint of Rome. He was martyred around AD 64 during the persecutions that followed the Great Fire of Rome, when Emperor Nero blamed Christians for the destruction. The fire had killed hundreds, left thousands more homeless and destroyed some of Rome's greatest architecture.
According to tradition, Peter attempted to flee the city but encountered a vision of Christ on the road. When Peter asked where he was going, Christ replied that he was going to Rome to be crucified again—prompting Peter to return and accept his fate.
He was ultimately executed by crucifixion, requesting to be hung upside down, believing himself unworthy to die in the same manner as Christ.
The scene depicted in the painting draws from this tradition rather than a specific written source.
Note: The placement of Peter’s keys is unusual—positioned between his thighs. Some interpret this as a subtle, possibly critical reference to anti-papal sentiment in Renaissance Venice.
BEHEADING OF ST PAUL: TINTORETTO (1556)
St Paul, also a patron saint of Rome, is credited with spreading Christianity across the Roman world. Though he never met Jesus, he became one of the most influential apostles, with many New Testament writings attributed to him.
After the Great Fire of Rome in 64 CE, Emperor Nero blamed Christians and launched widespread persecution. Both Peter and Paul were executed during this period, though likely years apart.
As a Roman citizen, Paul was granted a less brutal death—he was beheaded rather than crucified.
The armor set aside in the painting refers to the Roman executioner, emphasizing the moment just before his death.
SCENES FROM THE EXODUS: TINTORETTO (1563)
Tintoretto donated two large paintings to the church, accepting payment only for materials. Both remain in place today.
This work dates to around 1559–60 (completed by 1561) and pairs with its companion across the apse.
The painting combines two scenes from Exodus:
Above → Moses receiving the Ten Commandments
Below → the worship of the Golden Calf
THE LAST JUDGEMENT: TINTORETTO (1563)
Tintoretto also donated this companion painting under the same terms—materials only.
Painted around 1559–60 (completed by 1561), it hangs opposite its pair across the apse.
This version of the Last Judgment is unusually dramatic—presented as a sweeping flood rather than a more traditional heavenly vision.
INFO ABOUT ORGANS AND PANELS
In 15th–16th century Venice, most churches had at least one organ, although most of them have been destroyed. These were housed in elaborate wooden cases, often designed by teams of architects, sculptors, and painters. Hinged panels (shutters) protected the instrument when not in use and were decorated with paintings.
These three panels—now separated—were originally part of that case. The organ itself no longer survives.
Outside shutters:
Presentation of the Virgin at the Temple
Inside shutters:
Beheading of St Paul
Vision of the Cross to St Peter
1. ST JOHN W/ SAINTS: CIMA da CONEGLIANO (1493-95)
St John stands at the center, flanked by Peter and Mark on the left, and Jerome and Paul on the right.
This is a rare survival—a 15th-century altarpiece still in its original frame and on its original altar. Cima da Conegliano and his workshop produced many altarpieces, but only four remain in their original setting.
How to spot the saints:
Peter → keys
Mark → brown hair, beard, younger face
John → wild, desert look, holding a twig cross
Jerome → red cape
Paul → sword
In the background is likely the Basilica of Saint Anthony of Padua—a reference to the patrons, who had ties to Padua and a particular devotion to St John
5. MIRACLE OF ST AGNES: TINTORETTO (1577)
This painting tells the story of St Agnes, a beautiful young Christian martyr devoted to God.
She was promised to the son of a Roman prefect, Liciunus, but she refused to marry him because she had dedicated her life to Christ. As punishment, Liciunus took her to a brothel. God struck Licinius dead to the ground. Agnes prayed for him and he was resurrected. Agnes was then accused of witchery and sentenced to death.
Attributes of St Agnes:
Long Hair: YES
Lamb: YES
6. TOBIAS & ARCHANGEL RAPHAEL: TITIAN (1530)
This painting was moved here from the nearby church of San Marziale, presumably because it's a less visited church.
The Story of Tobias:
A young boy called Tobias sets off on a dangerous journey to collect some money owed to his father, Tobit. Tobit is blind and urgently needs the money to support his family. During the journey Tobias is accompanied by his loyal dog and a stranger who helps him, later the stranger is revealed to be an angel. At one point, Tobias and the angel have to cross a dangerous river. While crossing the surging torrent of water, Tobias loses his footing. After a struggle, he manages to regain his balance and survive. Somehow, in the midst of all this, he catches a fish! The two travellers gut and eat the fish, but at the angel’s request they keep the heart, liver and gall bladder and store them in a special dish. Later in the story Tobias uses the gall bladder to cure his father’s blindness.
fish: yes. dog yes: special dish: right hand of angel: yes
TOMB TINTORETTO: 1518-1594
Before his death in 1594, Tintoretto expressed his wish to be buried here in his parish church. He wanted to be buried with his father in law, Marco Episopi-De Vescovi (who died in 1571). They were originally buried in a different spot in the church, below the 16th century organ in the central nave. Tintoretto's daughter and son were also buried with them.
In 1937 the remains were moved to a more fitting position for the artist, here in the middle of this chapel.
TOMB TINTORETTO'S FATHER IN LAW
Before his death in 1594, Tintoretto expressed his wish to be buried here in his parish church with his father in law, Marco Episopi-De Vescovi (who died in 1571). They were originally buried below the 16th century organ in the central nave.
Presently, Tintoretto's remains have been moved into his own chapel and his father in law has been moved here.
4. SCENES FROM THE EXODUS: TINTORETTO (1563)
Tintoretto donated 2 large works to the Church, accepting payment only for the cost of the materials. Both are still hanging in this church.
The companion is located across from this one: #4 (The Last Judgment)
Records indicate that they must have been completed by 1561, and current opinion is that they were painted in 1559-60.
This painting tells 2 stories from the Exodus in the Old Testament.
The upper part of the painting: Moses Receiving the 10 Commandments.
The lower part of the painting: The Worship of the Golden Calf.
4. THE LAST JUDGEMENT: TINTORETTO (1563)
Tintoretto donated 2 large works to the Church, accepting only payment for the cost of the materials.
See the compainion piece across from this one at #4: Worship of the Golden Calf
Records indicate that they must have been completed by 1561, and current opinion is that they were painted in 1559-60
Titian uncharacteristically painted the apocalyptic event as a flood.
ORIGINAL STATUE OF THE VM AND BABY: (14TH CENTURY)
A Venetian sculptor, Giovanni de Santi, was commissioned by the Church of Santa Maria Formosa for a statue of The VM. The statue was not liked and rejected by the Church. De Santi, who lived very close to this church (called St Christopher at the time), put the statue in his own vegetable garden.
Legend says that at night, the statue would flash and light up. Word quickly spread of this "miracle" and his garden became a destination for pilgrimages. Authorities encouraged De Santi to move the statue to a more appropriate Christian location. In 1377 he sold it to this church. A bit later, the church changed it's name from St Christopher to Madonna dell'Orto in honour of the statue. In Italian orto means vegetable garden.
3. PRESENTATION OF MARY AT THE TEMPLE: TINTORETTO (1553)
According to apocryphal gospels Mary was just 3 years old when her parents offered her to the Temple, which was not an uncommon thing to do during that time. Tradition held that she was to remain there to be educated in preparation for her role as Mother of God.
It is thought that some Jews who were especially devoted, would give their daughters for service in the Temple. At a young age, these girls would be dedicated to the High Priest and would care for the linens, the vestments, and other such duties. Although, there is doubt as to whether there were really consecrated Jewish virgins at the Temple.
3. VISION OF THE CROSS TO ST PETER: TINTORETTO (1556)
St. Peter was the patron saint of Rome and considered a cornerstone of the Church. He was one of the 12 disciples of Jesus, the first pope and founder of the Roman Church. He was martyred sometime around AD 64 in the circus of Nero in Rome.
BACKSTORY: On the evening of July 18, 64 CE, a fire started in a shop under the Circus Maximus. The fire burned for six days and ravaged the city. The fire killed hundreds, left thousands more homeless and destroyed some of Rome's greatest architecture. The reigning Emperor Nero blamed and persecuted Christians for the Great Fire.
Peter decided to flee Rome to avoid being persecuted. On his way out of town, he has the famous encounter with Jesus.
The vision in the painting is not directly related in any source. The moment pictured appears to be that following Peter fleeing the city when he encounters Jesus (or has a vision of Jesus) coming in the other direction and has a vision of a cross. Jesus says he is going to Rome to be crucified again, and Peter understood this to mean it was God's plan for him to return to Rome.
According to tradition, Peter requested to be crucified upside down because he did not consider himself worthy to die the same way as Jesus.
Note: The placement of the St Peters keys are in an unusual spot and it has been said Tintoretto intentionally placed the golden key between St Peters thighs as evidence of the widespread anti-papal feeling in Renaissance Venice.
3. BEHEADING OF ST PAUL: TINTORETTO (1556)
St Paul was also a patron saint of Rome. He is responsible for much of the New Testament (13 of 27 books of the bible are attributed to him). Although he never met Jesus, he is widely acclaimed as one of the most important apostles who spread the word of Jesus.
BACKSTORY: On the evening of July 18, 64 CE, a fire started in a shop under the Circus Maximus. The fire quickly spread to nearby homes and businesses and the Circus itself. The fire burned for six days and ravaged the city . The fire had lit up two-thirds of Rome, killed hundreds, left thousands more homeless and destroyed some of Rome's greatest architecture.
The reigning Emperor Nero blamed and persecuted Christians for the Great Fire, which destroyed huge portions of the city and economically devastated the Roman population.
Several Christian sources report that Paul the Apostle and Saint Peter both died during Nero's persecution.
Since Paul was a Roman citizen, he was allowed a death by a less brutal method: a beheading with a huge 2 handed sword.
The Roman soldier's armour is off to the side.
2. ST CHRISTOPHER: CONEGLIANO (COPY)
St Christopher is venerated by several Christian denominations as a martyr killed in the 3rd-century by a pagan Roman emperor. He was the original Patron saint of the church before a statue of the Madonna was found nearby with mystical powers and moved here.
The original painting hangs in the Accademia.
Saint Christopher was a man of great size and strength who devoted himself to Jesus by helping travelers cross a dangerous river. One day a child asked to ride on Christopher's shoulders across the river, but the infant seemed to grow heavier and heavier with every step. When they arrived on the opposite shore, the child identified himself as Christ, telling the holy man that he had just carried the weight of the world. Saint Christopher became one of the most popular patron saints for travelers in the Middle Ages.
EXAMPLE OF ORGAN PANEL SHUTTERS
Content Here
HISTORICAL ORIGINS
Originally founded by the Humiliati....
A lay religious group active in northern Italy founded the church in the mid-14th century. It stood in a busy commercial district, surrounded by trade routes, warehouses, and maritime activity embedding the church in a working neighborhood.
A Church for Travelers
Originally dedicated to St. Christopher, patron saint of travelers—fitting for a neighborhood shaped by constant movement and exchange.
Shifting Orders, Changing Identity
After the Humiliati were suppressed, the church passed to the Cistercians. In the 15th century, it was rebuilt and rededicated as Madonna dell’Orto (“Our Lady of the Garden”).
From Garden Legend to Devotion
The new name comes from a local story: a statue of the Virgin and Child believed to have miraculous powers, was found in a nearby garden. It became a focus of popular devotion, shifting the church’s identity toward Marian worship.
Venetian Gothic & Tintoretto
The façade is a refined example of Venetian Gothic—pointed arches, tracery, and sculptural detail. The church is also closely tied to Tintoretto, who lived nearby, is buried here, and filled the space with monumental paintings.
USEFUL INFORMATION
NOTE ORGAN PANEL SHUTTERS BY TINTORETTO
Almost every church in Venice had at least one organ in the 15 and 16th centuries, although most of them have been destroyed. The organ was enclosed in a wooden case, often the combined efforts of architects, sculptors and painters. They were made with a pair of panels enriched with paintings and attached to the organ case with hinges. Their original function was to protect the organ when it wasn’t in use and they were painted for aesthetic reasons.
These 3 panels, (not all in the same place) were all part of the organ case, the original organ is no longer here.
OUTSIDE SHUTTERS:
Presentation of Virgin at the Temple
INSIDE SHUTTERS:
Beheading of St Paul
Vision of Cross to St Peter
Museum Pass: NO
visitmuve.it
The pass can be picked up in any of the museums included on the list. It’s good for 6 months from the date of purchase.
Chorus Pass: NO
chorusvenezia.org
12 euro includes over 12 churches
can buy online or at one of the church entrances.
normal entrance 1-3 Euros per church