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San Pantalon
Francesco Comino 1668-86

Tradition says that this church was founded in the 9th century, but the earliest written record is dated 1161. It was dedicated to Saints Pantaleon (the name means ‘all-compassionate’) and Giuliana, but became plain San Pantalon in Venetian dialect. The church was rebuilt, and reconsecrated in 1305. The Barbari map of 1500 shows its façade facing Rio de San Pantalon, as does the Merian map of 1635 (see below).
Later an entrance facing onto the campo was added, but when the church was rebuilt in 1668-86 by Francesco Comino the church's orientation was rotated by 90 degrees so that the (still unfinished, looming brick) façade faced the campo, which was long used as a fish market. It is said that Comino's plans for the façade had been inspired by the church of the Redentore and San Lazzaro dei Mendicanti.
Saint Pantaleon, a martyr saint more popular in the East, was a 3rd-century doctor from Nicomedia and became famous in Venice in the 18th century due to a play written by Goldoni.

Interior and art highlights

The church is big and tall and aisleless, with three deep intercommunicating chapels on each side down the nave. The problem with this church is gloom, it has to be said - it's a dark church with very sparse lighting, a situation made worse when it was only open in the evening. But once your eyes acclimatise the ceiling reveals itself as something very special. This is a very Baroque ceiling by Giovanni Antonio Fumiani, done between 1680 and 1704, depicting scenes from The Martyrdom and Glorification of St Pantalon amongst looming illusionistic architectural perspectives. It's the largest oil painting in the world, supposedly, measuring around 443 square feet and made up of 40 canvases sewn together. Ruskin found it vulgar, unsurprisingly. The artist is said to have fallen to his death from the scaffolding here whilst painting, but the fact that he died in 1710, six years after the painting was completed, would seem to refute this story.
More of his work can be found in some of the other chapels here and he was buried in this church, although a recent (October 2016) visitor was told by an attendant that he wasn't.
Down the left side the first, Chapel of the Immaculate Conception, has an Immaculate Madonna with the Archangel Michael and Saint Anthony of Padua of c.1710 by Nicolò Bambini. The second is the Chapel of the Lady of Sorrows (Addolorata) which has a Deposition by Fumiani from c.1700. The third is the Chapel of the Holy Trinity with a Holy Trinity with the Virgin and Saints John the Baptist, Peter, Anth
ony and the Guardian Angel by Gregorio Lazzini from 1723.
To the left of the high altar there is
access to two highlight chapels. The first is the Capella del Sacro Chiodo (Sacred Nail) added in 1722, and named for the relic donated to the church by the last abbess of the Clarissan convent of Santa Chiara.
The chapel has a late-14th-century altar and Virgin and Child statue, the former is Venetian the latter French. It contains a mighty impressive large panel of The Coronation of the Virgin with Saints and Prophets by Antonio Vivarini and Giovanni d'Alemagna (see right) which formerly hung to the left of the high altar.
There's also the Madonna of the Poppy (Papavero),  with The Annunciation, Nativity, Presentation at the Temple and Dormition (aka The San Pantalon Dossal). This has been dated to c.1321-33 and used to be attributed to Paolo Veneziano. It is now given to The Master of the San Pantalon Dossal, an artist who was probably connected to Paolo, maybe even one of his sons, or his father.

Further down a short corridor is the Capella della Santa Casa di Loretta built in 1744. This is medium-sized, dark and brick-walled (see below right) with some sweet fragments of frescos of the Virgin and Child with Saints and Angels by Pietro Longhi from around 1745.
The presbytery has a high altar of 1668-71 by Giuseppi Sardi and a Triumph of the Eucharist painted by Fumiani in the vault. The original high altar had been the work of Andrea Palladio from 1557, his first commission in Venice, but was lost during the 17th-century rebuilding.

The third highlight chapel on the right is the large central one, dedicated to San Pantalon. There's a grand Paolo Veronese altarpiece here (see right) The Miracle of San Pantalon which he began painting a year before he died and which is his last known work. It was commissioned by Bartolomeo Borghi, the pievano (parish priest) in 1587 and includes his portrait as the priest supporting the boy who has been killed by a snake bite. The saint is shown curing the boy with prayer whilst ignoring the proffered medicine box. The snake, looking more like a small dragon, is seen making off the bottom right-hand corner. Although commissioning such a work might strike us now as an act smacking of self-importance and vanity it would probably have been seen more as an act of piety at the time. This painting was originally over the high altar, which was Palladio's first work in stone in Venice, long lost, with no visual record remaining. When the axis of the church was twisted through 90° in the 17th century the painting kept its west-facing orientation, now being in a chapel in the centre of the right-hand aisle. The Miracle of San Pantalon was restored by Venice in Peril for the Genius of Venice exhibition at the Royal Academy in London in 1983 and it came over for the big Veronese exhibition at the National Gallery in 2014. If you saw it then, lucky you - you saw it up closer and much better-lit than you do in the church.
The saint heals a paralytic and is decapitated in the flanking panels by Palma Giovane, with the lunette on the left by Lazzarini and on the right by Fumiani, along with the dome, depicting more scenes from the saint's life.
Ridolfi mentions another work by Veronese, painted for the Lanaiuoli, depicting San Bernardino, which
is likely the painting of this saint in the chapel to the left, dedicated to him, now attributed to Alvise Benfatto del Friso from the late 16th century.

Ruskin wrote
Said to contain a Paul Veronese; otherwise of no importance.

47m (153ft) manual bells

The original church's tower was restored 1225 and demolished in 1511 after an earthquake. The current
tower was built 1704-32 by Giovanni Scalfarotto. It has a neo-classical belfry with a tall circular drum above and an elongated dome. To me it looks a lot like a vibrator, I'm sorry. It has had scaffolding covering it in recent years, but is now scaff-free and clean.

Opening times
Monday to Saturday:
10.00 - 12.30 & 3.30 - 6.00
(until 7.00 on Tuesday, Thursday and Saturday)
Sunday: 9.30-12.30 & 3.30-6.00

The church has a stylish website

Vaproretto Ca' Rezzonico



This detail from the Merian map of 1635 shows
the old San Pantalon facing the canal,
Santa Margherita (left foreground) still with its campanile.


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