I've condensed the next four days into one entry, editing many details for brevity's sake.
Instead of having the day off as expected, Ron has to work. So, I head for Venice by myself, planning to explore the Dorsoduro district. I take the vaporetto down the Grand Canal, making the Gallerie dell’Accademia my first stop. The gallery holds an amazing collection of Medieval and Renaissance art by Venice’s most celebrated artists. Then, for something completely different, I move on to the Peggy Guggenheim Collection of modern art. Once her home, where she entertained artists and celebrities alike, the house has been converted to a gallery showcasing the artwork she acquired during her lifetime. The collection features pieces by Picasso, Mondrian, Dali, and Pollock to name a few.
I buy a sandwich (bread rolled up with fresh tomato, basil, and mozzarella inside) at a nearby café and head for the Zattere, the long promenade along the south side of the Dorsoduro overlooking the Canale della Giudecca. It’s a beautiful sunny day. So I sit down on the sidewalk, take off my sandals, and dangle my feet over the water while I eat my lunch looking across at San Giorgio Maggiore (seen above). As I continue on my way, it seems my camera is constantly in use. A sight worth savoring lies around every corner. The city features distinctive architecture, a rabbit warren of cobbled alleyways, a complex network of canals, and boats for every conceivable purpose. The antiquity of the place and the ubiquitous affects of the much-touted “elegant decay” make it especially picturesque ... After a few wrong turns, I find my way to the Ca’ Rezzonico. Formerly one of Venice’s most opulent private homes, it is now a museum displaying the ostentatious lifestyle of the city in the 18th century …
… I set out on foot into the San Croce district. My destination is the Frari church, but along the way, I stop to see San Giovanni Evangelista (the church and the scuola grande). The scuola (means school, but is more equivalent to the Elk’s Club of its day) is in fact so impressive that I at first mistake it for the more-famous one of San Rocco. I’m glad I’ve stumbled on San Giovanni by accident for, despite all its glory, it is not sufficiently grand to make the “must see” list in any of the guide books.
Santa Maria Gloriosa dei Frari is on everybody’s list, and deservedly so. Over a football field in length, it's majestic in scale as well as in its appointments. The huge nave, the walls of which are lined with the tombs of Titian and other 15th-century celebrities, is separated from the altar area by a 124-seat intricately-carved and inlaid “choir”. A treasure trove of fine art decorates the high altar and side chapels. Unfortunately, as in many other churches and galleries, no photography is allowed. The same rule applies across the courtyard at The Scuola Grande di San Rocco, my next stop. The audio tour guide takes me through this monument to the baroque style. Every inch of every surface (walls, high ceilings, and floors) is decorated to the hilt. The fifty-plus paintings by Jacopo Tintoretto (some of gigantic proportions), depicting the life of Christ, are the real focus, however.
After leaving San Rocco, I pass through Campo San Polo on my way to the Rialto market district, known for its fresh fish and produce. Only the smell of the fish remains by the time I arrive, but the produce stands are still open for business …
… Today I am going to explore the Castello district, east of San Marco. My first stop is the Diocesan Museum directly behind Basilica San Marco, a small gallery with a collection of lesser paintings, large carved crucifixes salvaged from area churches, and a room full of gold relic cases and other ancient religious paraphernalia. For the short walk from there to San Zaccaria, I need my umbrella for the first time since my arrival in Venice. I am disappointed to find the church closed, however. Moving on, I wind my way north to Santi Giovanni e Paolo. This one is open and even allows photography inside. If this great Gothic cathedral sat anywhere in the US, its beauty and grandeur would be widely celebrated. But here in Venice, it has too much competition to attract the attention it deserves.
I turn east to visit the Scuola di San Giorgio degli Schiavoni, a scuola of more modest proportions than the other two I have seen. The intimate scale of the place appeals to me more than that of its grandiose counterparts … I decide to cross the canal to visit Santa Maria della Salute. This octagonal cathedral, with chapels on every side, is crowned by an enormous dome worthy of any state capitol building. Afterward, I get on the vaporetto, thinking it will take me homeward. Wrong. I should have studied the route diagram more carefully. Instead of a short boat ride back to the bus, I go the long way around, all the way to the island of Lido before returning to Venice. Due to another public transportation snafu (I get off the bus too soon and have to walk the last stretch), I arrive at the hotel tired and later than expected. I would have been perfectly content to not stir again for the rest of the evening. However, some in our group have taken the notion to drive to Padua for dinner and to see what we can see …
I buy a sandwich (bread rolled up with fresh tomato, basil, and mozzarella inside) at a nearby café and head for the Zattere, the long promenade along the south side of the Dorsoduro overlooking the Canale della Giudecca. It’s a beautiful sunny day. So I sit down on the sidewalk, take off my sandals, and dangle my feet over the water while I eat my lunch looking across at San Giorgio Maggiore (seen above). As I continue on my way, it seems my camera is constantly in use. A sight worth savoring lies around every corner. The city features distinctive architecture, a rabbit warren of cobbled alleyways, a complex network of canals, and boats for every conceivable purpose. The antiquity of the place and the ubiquitous affects of the much-touted “elegant decay” make it especially picturesque ... After a few wrong turns, I find my way to the Ca’ Rezzonico. Formerly one of Venice’s most opulent private homes, it is now a museum displaying the ostentatious lifestyle of the city in the 18th century …
… I set out on foot into the San Croce district. My destination is the Frari church, but along the way, I stop to see San Giovanni Evangelista (the church and the scuola grande). The scuola (means school, but is more equivalent to the Elk’s Club of its day) is in fact so impressive that I at first mistake it for the more-famous one of San Rocco. I’m glad I’ve stumbled on San Giovanni by accident for, despite all its glory, it is not sufficiently grand to make the “must see” list in any of the guide books.
Santa Maria Gloriosa dei Frari is on everybody’s list, and deservedly so. Over a football field in length, it's majestic in scale as well as in its appointments. The huge nave, the walls of which are lined with the tombs of Titian and other 15th-century celebrities, is separated from the altar area by a 124-seat intricately-carved and inlaid “choir”. A treasure trove of fine art decorates the high altar and side chapels. Unfortunately, as in many other churches and galleries, no photography is allowed. The same rule applies across the courtyard at The Scuola Grande di San Rocco, my next stop. The audio tour guide takes me through this monument to the baroque style. Every inch of every surface (walls, high ceilings, and floors) is decorated to the hilt. The fifty-plus paintings by Jacopo Tintoretto (some of gigantic proportions), depicting the life of Christ, are the real focus, however.
After leaving San Rocco, I pass through Campo San Polo on my way to the Rialto market district, known for its fresh fish and produce. Only the smell of the fish remains by the time I arrive, but the produce stands are still open for business …
… Today I am going to explore the Castello district, east of San Marco. My first stop is the Diocesan Museum directly behind Basilica San Marco, a small gallery with a collection of lesser paintings, large carved crucifixes salvaged from area churches, and a room full of gold relic cases and other ancient religious paraphernalia. For the short walk from there to San Zaccaria, I need my umbrella for the first time since my arrival in Venice. I am disappointed to find the church closed, however. Moving on, I wind my way north to Santi Giovanni e Paolo. This one is open and even allows photography inside. If this great Gothic cathedral sat anywhere in the US, its beauty and grandeur would be widely celebrated. But here in Venice, it has too much competition to attract the attention it deserves.
I turn east to visit the Scuola di San Giorgio degli Schiavoni, a scuola of more modest proportions than the other two I have seen. The intimate scale of the place appeals to me more than that of its grandiose counterparts … I decide to cross the canal to visit Santa Maria della Salute. This octagonal cathedral, with chapels on every side, is crowned by an enormous dome worthy of any state capitol building. Afterward, I get on the vaporetto, thinking it will take me homeward. Wrong. I should have studied the route diagram more carefully. Instead of a short boat ride back to the bus, I go the long way around, all the way to the island of Lido before returning to Venice. Due to another public transportation snafu (I get off the bus too soon and have to walk the last stretch), I arrive at the hotel tired and later than expected. I would have been perfectly content to not stir again for the rest of the evening. However, some in our group have taken the notion to drive to Padua for dinner and to see what we can see …
No comments:
Post a Comment