|
|
|
|
Visit Venice in two days
VENICE.
We will make no attempt to rehearse the glorious history, nor to list the
countless treasures of this unique city. We will merely outline two tours in
which we have attempted the difficult undertaking of offering the visitor the
best of Venice in two days. They both start from Piazza San Marco: the first,
following the turn of the Canal, ends up back in the Piazza.
The second, which
goes farther afield, ends with a boat trip (take the slowest one down the most
fantastic street in the world: the Grand Canal). To try and indicate all the
streets would be impossible; the various stages of our tour will serve as
reference points for asking the helpful and patient Venetians for the right
direction. Don't be depressed if you lose the way: it happens to them, tool.
|
We are now in Piazza San Marco, the most beautiful drawing room in Europe,
according to Napoleon. Generations of artists and artisans have give it the
appearance we now know, through ten centuries of uninterrupted labor; so that
today the square in its entirety strikes us as a single complex work, a
masterpiece of Italian taste and imagination.
|
In front of us is the Basilica di San Marco, founded in 828 and embellished
uninterruptedly until the end of the 16° century: Greek and medieval, Byzantine
and Tuscan, Lombard and Venetian art have contributed to its decoration, in
every possible medium of expression, from mosaics to the work of goldsmiths,
from sculpture to painting.
To the right of the Basilica, we go through
the Porta delta Carta and into the Doge's Palace, built in the florid Gothic
style typical of Venice (1303-1442): the Renaissance courtyard was designed by
Antonio Rizzo (1483), who also left here the two masterpieces of Venetian
sculpture, the statues of Adam and Eve (1464), now in the Doge's Apartments.
Going up the Scala dei Giganti, we enter the incredibly lavish interior of the
palace: carved and gilded ceilings, stuccoes, fireplaces, carved doors, armsand
arr make ofone of the most gorgeous public residences of all times. Venetian
painters, from Carpaccio to Gentile Bellini, from Titian to Veronese, and to
Bassano, have created fantastic allegories, in which the glory of Venice, both
in fact and in legend, is the dominating theme.
We will be astonished by the
gigantic canvas of Paradise by Tintoretto, the largest in existence. Marvellous
paintings hang on the walls, including the sublime Piete by Giovanni Bcllini and
three rare works by Hieronymus Bosch: Paradise, Hell and the Martyrdom of St.
Juliana.
|
Saint Mark's Basilica
|
Leaving the Palace, we go and stand on the side of the Piazzetta facing the
Lagoon; on top of the two columns (12° century), are statues of St. Theodore and
of the Lion of St. Mark. Before our eyes, we have the light-filled panorama of
St. Mark's Dock, at one time crowded with the fleet of the Republic. The view is
dominated by the Island of San Giorgio Maggiore: then to the left is the Lido,
and the Riva degli Schiavoni; to the right, a pare of the Giudecca and the
Customs-House Point with, nearby_, the Basilica della Salute. Opposite the Ducal
Palace, stands the Libreria Vecchia, seat of the National Marciana Library,
designed by Sate sovino.
Also by Sansovino is the stupendous Loggetta (1540)
along the base of the Campanile. Extending down the two longer sides of the
square are the Procuratie (ancient offices of the Venetian State). Next to the
Procuratie Vecchie (1532) is the Clock Tower (1496) with its famous clock-work
figures of the Moors. The last section of the square, opposite St. Mark's, is
known as the Fabbrica Nueva, or the Napoleonic ruing, since it was built at the
orders of Napoleon.
Under the arcade of this side, we enter the Correr Museum,
an important collection relating to civil and maritime history, of Venetian
costumes and mementos, and magnificent paintings, including the Pieta by
Antonello da Messina, the Trasfigurazione by Giovanni Bellini, and the
Courtesans by Carpaccio. Leaving the square and passing the Baroque church of San
Moise, we reach Santa Maria dei Giglio. take the nearby ferry and cross the
Grand Canal to the Customs-House Point where, a few steps away, we come to the
Basilica delta Salute, architectural masterpiece of Baldassare Longhena
(1631-1687): Inside, magnificent paintings by Titian, Tintoretto, Luca Giordano.
Passing over a small bridge we come to the fine Gothic Abbey of San Gregorio,
closed at present. Following the little canal, we reach the spacious Riva delle
Zattere, across from the Giudecca. Passing beyond the Lombardesque Church of the
Holy Spirit, and going along the quayside by red walls
and gardens, we reach the Church of the Gesuati, which contains one of Tiepolo's
finest canvases (Madonna and S. Caterina). From here, we take the narrow,
tree-lined street next to the church to the former church of the Carita on the
Grand Canal. Today, this Gothic church forms part of the Accademia Galleries,
the most important collection of paintings in Venice, the entrance to which is
next door. (See: The Ten Capitals of Italian Painting).
|
Accademia - Photo (c)
azure_jax
|
Leaving the Accademia, we go through the maze of narrow streets which take us to
the 18° century church of S. Barnaba, and lead to Ca' Rezzonico, an imposing
building designed by Longhena which houses the Museum of 17° century Venice
(paintings, marvellons furniture, costumes, ceramics, books, etc.). Passing
behind Palazzo Fo.scari, beyond the Rio Nuovo and the quaint Campo di S.
Margherita, we come to the Church and School (1508-1530) of San Rocco.
In the
Great Hall of the School, Jacopo Tintoretto has left an incredible cycle of
paintings (21 on the ceiling and 13 on the walls) which constitutes his
masterpiece. From here-an unforgettable succession of wonders-we go to Santa
Maria Gloriosa dei Frari, a solemn Gothic church whose interior is dominated by
the luminous canvas of Our Lady of the Assumption by Titian (1518). Other
paintings (Titian Bellini,etc.) andthe numerous sculptures by great Venetian
artists lend this church all the importance of a museum.
A short walk brings us to the lively Campo San Polo, with its beautiful palaces,
and if we continue parallel to the Grand Canal, which can be seen glinting at
the ends of the various smaller canals, we reach the ancient little church of S.
Giacomo a Rialto, with its large clock and its remarkable bell-tower, standing
in the midst of the bustling market place.
Passing over the famous Rialto Bridge
(1591), with its beautiful view of the Grand Canal, we reach Campo San Bartolomeo, and then turn right to the church of San Salvatore, the facade of
which was designed by Sansovino and Scamozzi (inside, Annunciation and
Transfiguration by Titian).
|
Anybody will tell us the way to the 15° century
Palazzo Contarini (called Del Bovolo), which its ingenious spiral staircase, and
from there we can make our way to the elegant Campo Santo Stefano. with its
austere 14° century church (paintings by B. Vivarini, Carpaccio, Piazzetta,
Tintoretto). We can sit down in one of the cafes on the Camo to rest, belore
returning to Piazza San Marco by way of the Teatro delta Fenice (1790). If we
still have the strength (by now it should be evening according to our schedule),
we can walk down the Mercerie and admire its lovely shops.
The next day we set off from Piazza San Marco in the opposite direction. Passing
by the Bridge of Sighs, with its romantic asso ciations, and the adjoining
Prison, we turn inland towards the church of San Zaccaria, masterpiece of
Venetian Renaissance architecture, designed by Coducci (1500). Inside, a famous
Madonna by Giovanni Bellini, works by Tintoretto and in the gem-like chapel of
S. Tarasio, polyptychs by Vivarini, Giovanni D'Alemagna and frescoes by the
Florentine painter Andrea eel Castagno may be seen.
From San Zaccaria, we go to the little church of S. Maria Formosa, in the square
(campo) of the same name (important Triptych by B. Vivarini,and S. Barnaba by
Palma il Vecchio). In the same square, too, is the Querini Stampalia Gallery,
with an outstanding collection of Venetian paintings, especially of the 18°
century, with the wonderful series of scenes of domestic and street life,
painted by Pietro Longht. We come to Palazzo Prili, an extremely fine
Venetian-Gothic building, and soon reach one of the sanctuaries of Venetian
painting: the School of San Giorgio degli Schiavoni, containing the striking
History of St. George, a series of pictures painted by Vittorio Carpaccio in
(1501-1511).
We then come to the Palladian church of S. Francesco delta Vigna (1572) with a
delightful cloister (inside, a rare Madonna by Antonio da Negioponte, 1450, and
paintings by Bellini, Vivarini, and Veronese; an important Lombard marble
triptych in the Giustiniani Chapel), and then the vast Campo (square) which
takes its name from the Church of San Giovanni e Paolo (1246-1430) the Pantheon
of Venetian glories, with its severe aisled nave, paintings by Bellini and
frescoes by Piazzetta as well as the magnificent tombs of illustrious Venetians.
In the middle of the square, the vigorous statue of the famous Italian soldier
of fortune, Bartolommeo Colleoni, executed by Andrea Verrocchio (1488) the
teacher of Leonardo da Vinci. We suggest making a detour at this point to go and
admire the flawless lines of S. Maria act Miracoli, designed by Pietro Lombardo
(1489).
Returning to S. Giovanni c Paolo, we walk along the quaint Rio dei Mendicanti to
the Fondamenta Nuove, and then along the side of the lagoon as far as the 18°
century Church of the Jesuits, standing in a peaceful square of the same, name.
From here, we return to the Grand Canal to enjoy a veritable gem of Venetian
Gothic architecture, the Ca' d'Oro (1421-1440) which contains the second most
important picture gallery in Venice (the dramatic S. Sebastiano by Mantegna, a
Venus by Titian, works by Vivarini, Carpaccio, Lippi, Ghirlandaio, Signorelli,
ecc.).
We now make, for the solitary Gothic Church of the Misericordia next to
the School of the same name: this is one of the most picturesque spots in
Venice, at the point where two canals are crossed by an attractive wooden
bridge. We then carry on to the Church of the Madonna dell'Orto. where
Tintoretto, who lived nearby and who is buried in the church, left another
remarkable series of paintings. Returning to the Grand Canal, this time to stay,
we come to the Palazzo Vendramini Calergi, where Richard Wagner died. We follow
the Canal where, after crossing the Cannaregio, we discover the Church of San
Geremia and the austere Palazzo Labia (16° century), which contains famous
frescoes by Giovanni Battista Tiepolo.
|
Next to the railway station is the Church of the. Scalzi, with an 18° century
facade. From here we take the ferry which will sail down the entire length of
the Grand Canal and leave us al the Island of San Giorgio Maggiore, where there
is a group of buildings dating from various periods, and dominated by the church
designed by Andrea Palladio (1565-1980) which contains numerous paintings by
Tintoretto and other artists.
We return to Piazza San Marco, where our Venetian tour comes to an end. It can
be made more complete by taking four days for it, instead of two, following the
same itineraries indicated above, but with detours and additions.
The Carnival
is probably the biggest single event of the Venetian calendar.
Carnivale runs for the ten days preceding Mardi Gras, and the entire city is given over to
costumed revels, impromptu street concerts, and pageants and
balls of every kind. This is an experience you will treasure for
a lifetime!
Itinerary partly courtesy of
ENIT
|
Photo (c) Renato Esti
|
(c) 1997-2008 E. Massetti
TangoItalia - Food Wine Travel in Italy - Home
|
