| ITINERARIES | |
| Period | |
| SAN MARCO:THE VENICE HEART Saint Mark's Square is Venice's only square. It consists of an artistic complex of buildings in different styles that over time have created a harmonious setting to the square. Not to be missed in San Marco THE DOGE'S PALACE The monumental entrance was the Porta della Carta, enchanting example of floral Gothic style that contains two bronze well-curbs. The courtyard is surrounded by porticoes with a top loggia. On the eastern side there is the Scala dei Giganti (Giants' Staircase). It is thus called because of the two enormous statues by Sansovino at the sides. The stairway goes up to the loggia but to reach the top floors we go up the Scala d'Oro ('Golden staircase). It owes the name to the lavish frescoes and gilded stuccowork. It was from the Doge's Palace that the Venetian Republic was ruled and it is still the highest expression of Venetian art. It was the residence og the Doge and the seat of the main government departments. As one walks through the its rooms the history and glory of the Venetian Republic is revealed in its paintings and sculptures. ARCHEOLOGICAL MUSUEUM This houses amongst other things the famous collections by Domenico Grimani and by his nephew Giovanni. They are a priceless collection from the church of Santa Maria Formosa. Upon leaving the Ala Napoleonica, just after the 'Bocca di Piazza', we come to the church of San Moisè. This originally eight-century building was rebuilt in the tenth century by Mosè Venier, who wanted to dedicate it to the saint after which he was named. We then come to Calle (Street) Larga XXII Marzo. This was built in 1880 by widening Calle San Moisè and contrasted with the lower surrounding buildings. Today, this road is lined with shops as far as Bocca di Piazza. These shops were chosen by the most famous names in gold jewellery, leather goods and international and Italian fashion and offer for sale their latest and finest products. SAINT MARK'S BASILIQUE The Basilica is a wonderful example of Byzantine Venetian architecture. It was at one time the Doge's chapel but it was also the mausoleum for Saint Mark, the patron saint, whose life is narrated in the golden mosaics on the walls. I SAINT MARK'S SQUARE It is trapezoidal, and the Procuratie Vecchie and Procuratie Nuove run along the two extensive sides. They are known as old ('vecchie') and new ('nuove') on the basis of the age of the buildings over the arcades of the ground-level porticoes. THE CLOCKTOWER The Procuratie Vecchie runs along the north side of the square from the Clocktower and have kept their Renaissance features. They are followed by the Ala Napoleonica. This was built in 1810 by the architect Giuseppe Soli on the site of the demolished San Geminiano church, which was built Jacopo Sansovino. The Procuratie Nuove runs along the west side of the square and includes the Libreria di San Marco which was designed by Jacopo Sansovino at the request of the Venetian Republic to house the codicils donated to it by Cardinal Bessarione. The clocktower is at the start of the Merceria, the road that leads from Saint Mark's Square to the Campo di San Bartolomeo. The name Merceria refers to the many shops on both sides of it.Above, the winged lion of Venice. Below, a detail from the Basilica's façadeLa Fenice Opera House Halfway down Calle Larga XXII we turn right into Campo San Fantin where the church of San Fantin stands. This dates back to the ninth century but was rebuilt in the sixteenth century by Scarpagnino. Opposite, there is the La Fenice Opera House. This was originally built in 1790 to a design by Selva. It burnt down in 1836 but like the phoenix ('fenice' in Italian) it was rebuilt in the same style by Meduna in just over a year. The opera house reflected the spirit of Venice of the town. It was destroyed by a fire in 1996 but the determination of the Venetians brought it back 'the way it was' in December 2003. We come back into Calle Larga XXII Marzo and go on until we reach Campo di Santa Maria del Giglio or Zobenigo with the church dedicated dedicated to this saint. 'Zobenigo' is a reference to the Jubenigo family, who had the church built in the tenth century. The inside is a single room decorated with the works of many painters from the seventeenth and eighteenth century. THE CASTELLO DISTRICT Castello was one of the earliest parts of Venice to be settled (fifth to sixth centuries). The district takes its name from the castle that stood there and which provided defence from attacks from the sea. Here is the ancient Arsenal, that was an essential part of the life of the repubblica Not to be missed in Castello Cathedral of San Pietro di Castello For many centuries the cathedral was under the authority of the Patriarch of Grado. In 1451 Venice obtained its own patriarch. hence the church became cathedral. As a result of the dignities that were suppressed by Napoleon in 1807, San Marco (Saint Mark's) became the new cathedral and instead of just being a chapel of the Doge's it became the seat of the Patriarch. Antico Arsenale (Old Arsenal) It can be recognised by its terracotta walls and squares towers. From the thirteenth century it was an essential part of the life of the republic. Historical Naval Museum Its exibits relate the naval history of the Venetian Republic. Church of San Giovanni in Bragora It stands in the campo of the same name which is surrounded by old palazzi. The church was originally built in the eighth century and was founded by San Magno, the bishop of Oderzo. The inside of the church is still in the form of a Basilica, and has three naves and a Gothic trussed ceiling. Church of Visitazione o della Pietà It was thus called because it is near the old orphanage of Calle della Pietà. It was rebuilt in the eighteenth century by Giorgio Massari. School and church San Giorgio dei Greci In 1526 the Greek Community in Venice was second only to that of the Jews, and obtained permission from the Patriarch to hold Greek Orthodox services. In 1539 they built the church of San Nicolò in the style favoured by Sansovino and the nearby school of San Nicolò. This houses a collection of liturgical art and precious Byzantine icons. A part of the collection is housed in the istituto Ellenico di Studi Bizantini e Post-Bizantini. Church of San Zaccaria Originally, there was a Benedictine nunnery next to it (which was then suppressed by the Napoleonic edicts). The nunnery was reserved for young Patrician novices, even if they had no vocation. As it belonged to the Benedictine order the rules were fairly lax. The church was founded in the ninth and was renovated several times in different architectural styles that can still be seen today. The belltower dates back to the ninth century. The most important work was carried out in 1458 and culminated in the impressive façade by Codussi. Basilica dei Santi Giovanni e Paolo Built in 1368, a fine Gothic building with a basilica and 5 Gothic apses. it is venice's Pantheon because it holds the tombs of twenty-five doges, great commanders and famous men of the Venetian Republic, whose remains are housed in fine tombs. In addition, a large polyptych by Giovanni Bellini decorates the altar by Vincenzo Ferrer, and an altar-piece by Lorenzo Lotto displays the alms of Saint Anthony. Church of Santa Maria Formosa Legend has it that San Magno ordered it to be built. It was rebuilt in the eleventh century and was then rebuilt on the previous foundations in 1492, although the original layout in the shape of a Greek cross was mantained. The church is in one of trhe finest of Venice's campi. It is surrounded by private palazzifrom different periods, as can be seen from architectural styles of their façades. Palace Querini Stampalia In Renaissance style, the palace houses ancient furnishings and paintings of great value and a sizeable library. THE CANNAREGIO DISTRICT The name has two possible origins: it may derive from Canal regio, i.e. the main canal for communicating with the mainland or else it may refer to extensive reed beds found there in the past. The railway station is named after Santa Lucia because it was built in the area of the church of Santa Lucia, destroyed following napoleon's edit in 1806. The building is number 1 of the district Not to be missed in Cannaregio Church of Santa Maria di Nazareth o dei Carmelitani Scalzi (Barefoot Carmelites) This church was built in 1660 from a design by Baldassarre Longhena. The grandiose façade was created by Giuseppe Sardi. After an Austrian bomb exploded on 27 October 1915, the frescoed vault by Tiepolo collapsed. Today, only a few fragments remain in the Galleries of the Accademia di Belle Arti. In 1934 the ceiling was replaced, and it was adorned with a fresco by Ettore Tito. The first chapel of the right-hand nave has a vault frescoed by G.B.Tiepolo. Square and Church of San Geremia The church houses the relics of Saint Lucy. The relics were previously housed in the church of Santa Lucia which has since been demolished. Palazzo Labia This palace was built at the end of the seventeenth century by the Labias, a family of rich Catalan merchants. The inside is decorated with frescoes by Tiepolo. It is now headquarters of the Italian State Television. Church of San Giobbe (1450-70) This church has a Renaissance portal by Pietro Lombardo. Inside it is decorated with the works of Tuscan artists such as Luca della Robbia. Ghetto The term 'ghetto' derives from the foundries that were found in the area in which the metal was 'gettato' or smelted. In 1509 it became the part of the city that was reserved for the Jews. They built their 'schole' or synagogues here. the first one was the Schola Tedesca (German Synagogue), which was built in 1528. It was followed by the Schola Canton and the Schola Italiana. The Schola Spagnola was rebuilt by Baldassarre Longhena. The German synagogue houses the museum of Jewish art and contains many fine religious exhibits. Mastelli Palace A very pictouresque area with the near Campo dei Mori and palazzo Mastelli, also known as palazzo del Cammello because of the stone bas-relief on the façade overlooking the canal. The thirteenth century statues at the corners of the building commemorate three Arab merchants brothers known as Mastelli. Church of the Madonna dell'Orto Built towards the middle of the fourteenth centuryand first dedicated to Saint Christopher , it was later dedicated to the Virgin Mary after miraculously finding On the left, the Ghetto square with its typical high buildings. Below, an engraving depicting Rioba, one of three brothers arabian merchants called Mastellia statue of the Virgin in a nearby garden. The church is a beautiful example of Venetian Gothic and hosts wotks by Tintoretto and Cima da Conegliano. Palazzo Vendramin Calergi A fine example of Renaissance architecture. It was commissioned by the Loredans who inscribed the words 'Non nobis Domine' ('Not for our sake, Lord'), at the base of the façade. This is taken from the first verse of a psalm and was already used by the Knights Templars as a symbol of humility. The palazzo later came into the possession of the Calergi family and throught marriage into the possession of the Vendramin, which is why it has a double name. Wagner died there in 1883. It was built by Marino Contarini in 1441, who used the best stonemasons of his time. It is considered the most striking example of Venetian Gothic. It has a façade with polychrome marble moulding and certain elements were overlaid with gold, which was why it was called the ca' d'Oro. The palace at one point became the property of Baron Giorgio Franchetti who donated it to the State in 1916 and is now a museum, with works by Mantegna, paintings of Tuscan school and a beautiful collection of Renaissance bronzes. Oratorio dei Crociferi This is a treasure trove of works by Palma il Giovane depicting the history of the religious order of the Crociferi, which was founded in the thirtheenth century and suppressed in the seventeenth century. Church of Santa Maria dei Miracoli Built around 1482 from a design by Pietro Lombardo. It is a fine example of Reinassance architecture, decorated with polychrome marble and bas-reliefs of sirens and tritons , which are unusual decorations for a church. It still has the small altar-piece painted by Nicolò di Pietro. THE SAN POLO DISTRICT This is the smallest area. In this district it was customary to 'live over the shop', i.e. dwellings and workplaces were often combined. On the Rialto and everywhere else we find an old and noble Venetian vocation: that of good food. the enjoyment of food is honoured here, even in its most simple and popular forms. All around the area we find 'osterie and bacari', taverns that also provide ready-made dishes including saòr, bigoi, in salsa, tripe, liver alla veneziana, fish fries, as well as the typical 'cicheto' (a morsel on a stick) NOT TO BE MISSED IN SAN POLO Rialto Bridge This is the oldest bridge and spans the Grand Canal. It probably dates back to 1172 and was originally in wood. In 1557 the Venetian Republic put out a tender for rebuilting the bridge in stone. The architects who competed for the tender includes Palladio and Sanmichieli. The tender was awarded by Antonio da Ponte and in 1591 the bridge was inaugurated. Palace of Camerlenghi Located on the right of Rialto Bridge, the palace derives its name from the Camerlenghi, officials who were responsible for raising revenue for the Venetian Republic. The ground floor contained the cells of the tax evaders. Church of S.Giacometto Perhaps the oldest church in Venice. It is still laid out in the form of a Greek cross. Opposite, we have the'Gobbo di Rialto' which was built by Pietro da Salò in 1541. Next to it, there is the 'Pietra del bando' from which the decrees of the Venetian Republic were read out. This was the commercial heart of Venice, where merchants met to hammer out their agreements and where the Banco Giro was located. This bank was already in existence in the twelfth century and enabled credit to circulate. The Fabbriche Nuove The Fabbriche Nuove were designed by Sansovino in 1555 and housed the governament departments that supervised trade. Church of S.Cassiano The church may have been built in the tenth century. It contains paintings by Jacopo Tintoretto and Andrea Schiavone Church of S.Aponal Dates back to the eleventh century and was built by a family that came from Ravenna. Today it is deconsecrated and closed. San Polo Square It gives its name to the district. It was given its present appearance in 1750 when Sant'Antonio canal was filled in. The palazzi that surround it offer a fine view. Races, bullfights and masked carnival balls were held here. Church of San Polo (S.Paolo) The present building is the result of different work done in the fourteenth and fifteenth centuries. Paintings by Tintoretto, Palma il Giovane and Gian Domenico Tiepolo, with 14 canvases of the Stations of the Cross. Goldoni House A fifteenth-century palazzo: it was probably here that the eighteenth century playwright Carlo Goldoni was born. Today it is a theatre -museum and contains documents on Goldoni's art and life. Church of the Frari (Santa Maria Gloriosa dei Frari) It was built in the fourteenth century by the Franciscans, who settled in venice from about 1222. Rebuilt in the fifteenth century, it bears witness to the Venetian Republic with paintings by Titian and Bellini. It is an example of Gothic architecture from the middle of the fifteenth century, and has one of the highest belltowers in Venice, which was started in 1361. Scuola Grande di San Rocco (Confraternity) Located in the campo bearing the same name. It was founded in 1478 as a charitable institution. The present building was started in 1489 and finished in the sixteenth century by the architect Giangiacomo dei Grigi. It is famous for a series of paintings by Tintoretto that adorn the rooms. Next to the school there is the church, which is also dedicated to San Rocco. It was built in the sixteenth century and was renovated by Giovanni Scalfurotto in the eighteenth century. Scuola Grande di S.Giovanni Evangelista (Confraternity) This confraternity was founded in 1307. The headquarters was built in the fifteenth century and in 1481 the Bottega dei Lombardi built the impressive gateway in Renaissance style. In 1512 Mauro Codussi rebuilt the great internal staircase. After the school was suppressed by the napoleonic edicts of 1806 it was acquired by private individuals in 1856 and is still a confraternity today. THE SANTA CROCE DISTRICT It is the north-east of the city and via Piazzale Roma it connects Venice to the mainland. All this area has been subject to many demolitions and transformations, starting in 1810 with the demolition of the church and monastery of of Santa Croce, which gave their name to the district. The Papadopoli gardens were laid out in the area. The gardens were designed by Bagnara in the likeness of English gardens. they are now open to the public but have been completely changed. Not to be missed in Santa Croce district NOT TO BE MISSED IN SANTA CROCE Church of San Nicolò di Tolentino Designed by Vincenzo Scamozzi, finished by the Teatini monks, the church was consecrated in 1602. The main altar was created by Longhena in 1661 and has sculptures by Justo Le Court. The facade was designed by Andrea Tirali in 1714. Church of S.Simeone prophet or S.Simeon Grande It was founded in 967 as a basilica with three naves and retains this layout today despite two renovations in the eighteenth century by Domenico Margutti and Giorgio Massari. Church of Santi Simeone and Giuda Apostoli S.Simeone Piccolo This church was built in the eighteenth century with a central layout and an impressive cupola. It predates the classical style. Square and Church of S.Zuane Degolà The church is dedicated to San Giovanni Decollato, which has become San Zuane Degolà in Venetian dialect. The church is very old. It was originally an oratory and then became a parish church in 1007. Despite the alterations in the eighteenth century it still maintains the appearance of a Venetian-Byzantine church. Il Fondaco dei Turchi This was originally built as a private residence by the Pesaro family in the thirteenth century. It was then bought in 1381 by the Venetian Republic , who donated it to Nicola d'Este. In 1621 the Venetian Republic rented it from the Pesaro family, who had reacquired the building and then handed it over to Turkish merchants who used it as a residence and for storing their merchamdise. In 1858 it was bought by the city of Venice, which radically restored it. Today it is the seat of the Natural History Museum. Church of S.Giacomo Dall'Orio The name may well derive from the laurel that formerly grew around the church, but it is more likely to refer to the 'luprio' or empty marshland, from which the name Orio may derive. The church dates back to the ninth century and there are still traces of the Byzantine building from 1225. It is laid out in the shape of a Latin cross. The wooden Gothic ceiling is like the hull of a ship. Mocenigo Palace at San Stae This ancient patrician residence was donated to the city of Venice in 1954. It still contains old seventeenth century furnishings and today it houses a museum of textiles and clothing. It also boasts a rich specialist library. Church of S.Stae (S.Eustachio) This church was rebuilt in the seventeenth century on pre-existing Byzantine structures and consists only of a central nave. It is the work of Giovanni Grassi. The altars have works by eighteenth-century artists such as Piazzetta and Tiepolo. The façade was designed by Domenico Rossi with sculptures by early eighteenth century artists such as Tarsia and Corradini. Info Ca' Pesaro This was built by the Pesaro family in 1628 by renovating and joining together existing buildings. The architect was Baldassarre Longhena. The building was given a sumptuous façade overlooking the Grand Canal in 1679. After Longhena died, the work was finished by Antonio Gaspari. A typical example of Venetian Baroque, today it houses the Museum of Modern Art. It contains major nineteenth and twentieth century works. The second floor houses a collection of Oriental Art that once belonged to Enrico Bourbon-Parma. Church by S.Maria Mater Domini Thia was already a parish church in the eleventh century. It was renovated in the sixteenth century, and is still laid out in the form of a Greek cross although the façade is in Tuscan Renaissance style. Inside, there are works by Lorenzo Bregno and paintings by Catena and Tintoretto. Corner della Regina Palace Built in the eighteenth century to a design by Domenico Rossi. It was built on the site of property that already belonged to the Corner family. Caterina Corner was born there in 1454. In 1471 she became queen of Cyprus through marriage and the palazzo thus became known as 'della Regina'. Today, it houses the archives of the Biennale. THE DORSODURO DISTRCIT It extends over the southern part of the city, starting with Punta della Dogana that juts out into the San Marco basin like the prow of a ship. The 'dogana da mar' (sea customs house) of the Venetian Republic was built in the seventeenth century and consists of many warehouses that are hidden behind the facade. It ends with the squere tower on top of which there are bronze statues that support the golden ball on which Fortune stands. After the tower, the Zattere begin: this is a long jetty that goes as far as Santa marta. It was built in 1516 to unload the timbre which rafts (zattere) brought down the rivers from the Cadore area. NOT TO BE MISSED IN DORSODURO Church of the Gesuati The order of the Jesuits was suppressed in 1868 and the church and monastery were handed over to the Dominicans. In 1724 the architect Giorgio Massari was commissioned to build the new church. The inside has no side naves but contains altar pieces by Piazzetta, Sebastiano Ricci and Gian Battista Tiepolo. The latter was also commissioned with decorating the ceiling with illustrations of the history of the Dominicans. Church of San Trovaso The current building dates back to the end of the sixteenth century and is in Palladian style. It contains works by Tintoretto, Palma il Giovane and Gianbono. Squero di San Trovaso Located next to the church of San Trovaso, this is an unusual wooden structure that is similar to the house of the Cadore area on the mainland. This was an old dwelling for the workers of the squero, a small shipyards for making gondolas. It dates back to the seventeenth century and has always been in operation. The fact that the workers often came from Cadore is the reason why the house is in the style of this mountanious area. Church of S. Sebastiano This church was designed by Scarpagnino in the sixteenth century. In 1555 Paolo Veronese began to create the many paintings that adorn the sacristy, the ceiling of the central nave and the apse of the main altar. At the foot of the organ, which is also decorated with works by Veronese, a stone indicates the place were the artist is buried. Church of Angelo Raffaele The foundation dates back to the seventh century shortly after Venice was first settled but the church was rebuilt in 1618. Inside, the organ nave contains a wash drawing by Giannantonio Guardi dated 1750 that depicts stories about Tobiolo. Parts of this church and that of San Nicolò dei Mendicoli are the oldest in Venice. Church of San Nicolò One of Venice's oldest churches, it was founded by 'patavini' (inhabitants of Padua), who lived in the islands of the lagoon in the seventh century to escape the Lombard invasion. It was rebuilt in the twelfth century, and the central part of the facade dates back to that period. The arch in the apse of the main altar is Byzantine. Palazzo Zenobio This Palazzo was originally in Gothic style and belonged to the Morosini family. In the seventeenth century it was sold to the Zenobio family, who commissioned the architect Antonio Gaspari to completely renovate it. Inside, it is decorated with stuccoes by the Swiss plasterer Abbondio Stazio and with frescoes by Luigi Dorigny. The ballroom still contains the stand for the orchestra above the central door. Paintings by Carlevaris adorn the small portico. The fine classical portico overlooks the vast French style garden. Scuola Grande dei Carmini The headquarters of the Carmelite lay confraternity that provided assistance and charity. It was also dedicated to the cult of the Virgin Mary and was officially estabilished in 1595. The current seat was built by Longhena in 1667 on pre-existing smaller buildings. In 1739 Tiepolo painted pictures for the ceiling of the albergo (great hall) with symbols of the Virgin Mary and Saint Simeon Stock receiving the scapular of the Carmelite Order from the Virgin. Santa Margherita Square A picturesque campo surrounded by old fourteenth century palaces and the little church Santa Margherita, which is today a university auditorium. The old belltower still has Baroque stone decorations. Ca' Rezzonico One of the most beautiful Palaces in Venice, it was started by Longhena for the Bartolomeo Bon family in 1667. It was completed for the Rezzonico family (who had become joint owners) by Giorgio Massari, who made considerable modifications, such as the large staircase and the ballroom, which was decorated with frescoes by Crosato. Today, it is a museum dedicated to eighteenth century Venice and contains period pieces taken from other palazzi, the most famous of which is the carved furniture by Andrea Brustolon. San Barnaba square and Ponte dei Pugni bridge This is a typical Venetian campo at which the boats selling vegetables coming from the islands moored. Nearby, there is the Ponte dei Pugni bridge. It takes its name from a spectacular dispute between two opposing Venetian factions, the Castellanis and the Nicolottis, who fought on the bridge and who left their footprints on it. FINDING AN ISLAND FOR YOURSELF Another Venice, other tourism, a short distance from the historic city-centre and the itineraries frequented by mass tourism. In an area no less historic, no less genuinely Venetian, lie the islands of the lagoon in a wide expanse of water and marshlands where the quiet creeks change with the ebb and flow of the tide, and the traditional lagoon boats obstinately survive in the face of the aggressively noisy motor craft. The colours of the water, earth, and sky mix with the red brick of human constructions, and the sandbanks offer shelter to the typical fauna, dwarf herons, herons, seagulls, hawks, and kingfishers... Here is a Venice where nature predominates, but where traces of history tell of the origins of the city itself and its distant past. BURANO, MAZZORBO, TORCELLO: COLOUR, HISTORY, ART A walk with great human, scenic and artistic attraction whose short lenght is compensated for by an extraordinary concentration of interest, culture and evocative moments. This is the historic, artistic and popular heart of the north lagoon which lays alla the numerous and contradictory aspects of its modern existence before the eyes of the attentive and motivated visitor. An experience to be savoured for a full day, without rushing and with the mind open to the sense of discovery and amazement aroused by the beauty and the august signs of the history which has unfolded in this part of the lagoon. Means: on foot Route: Burano. From wharf ACTV, on the north-east side of the island it is proceeded for 'calli' and 'callette' completing of the circumnavigation in hour sense. Mazzorbo. Exceeded the bridge of connection with Burano it is taken on the left and the circumnavigation of the island is completed passing for the historical church of S. Caterina. Torcello. From landing place ACTV the tourist walk is followed uncultivated until the basilica advanceing itself therefore shortly in the rear ones. Length: km 6 total Times of distance: the excursion, for the interest of the offered situations, demands an entire day. Practicability: The distance is carried out entire on lastricate docks, with the exception of the short one drawn to Torcello. Burano, houses Warnings: Burano is caught up from the Receiving office of Treporti with the vaporetti of service public ACTV. With same means the transfer to Torcello is carried out. Points of interest: to the city landscape to insulare of Burano, with its cromatismi, its limpid light, its glares, the thousand boats moored and the squeri. b- the private Museum - School of the Lace in Galuppi Public square. c the landscape discreet hermit and of Mazzorbo, with the wide Lagunari horizons, the beautiful Church of S. Caterina of the XIV sec. and the public park realized in the old cemetary encircled from one historical wall. d- the Museum of the Matting to Torcello and the splendid religious buildings of the island. The landscape to insulare made of siepi, uncultivated and small gardens besieges to you from the water. ITINERARIES INTO ART For those wishing to discover the many treasures hidden in Venice churches and other less known places, following the great artists of the past in their lives and discovering their creative power, we would like to suggest some 'itineraries into art' and into the past, at the same time not forgetting the many places that represent symbols of Venice all around the world, as the Basilica of St Mark with its astonishing mosaics. A climb up from the crypt having touched the tomb of the patron saint, out into the light of the nave. The mosaics surround you, their gold melting into the atmosphere of incense rising like prayer. Centuries of fervour, faith, hope and suffering can be noticed in the figurations in the mosaics as they gradually become clearer. The history of a people, the invocations to the Blessed Virgin Nicopeia in times of danger, during the plagues or frequent blazes. The shout 'for our noble Patron St Mark!' can still be heard like a distant echo. At the centre, the high dome of the Ascension supported by four vaults with the stories of Christ. His compassion, through the washing of the feet, the last supper - in the south great arch. At the base, the prayer in the garden. Christ stoops under the weight of the sins of humanity until he falls to the ground, while the apostles sleep. In the dramatic sequence that leads up to the last moments of the life of Jesus, nature in its greenery, its plants and flowers, vibrates, decorated with gold tesserae, awaiting the redeeming power of the Resurrection. Judas' kiss and the Ecce Homo - at the foot of the west vault - are adjudged by Otto Demus to be the highest achievements of the mosaics of St Mark's. In the vault is the progression of scenes from the Crucifixion, the Resurrection, the descent into Limbo, where a now transparent risen Christ, refulgent in the beauty of the resurrection, takes Adam and Eve with him, the whole of humanity saved and redeemed. An overwhelmingly deep joy fills them all, fully aware of the gift of being the children of God so that they cannot doubt the resurrection, as Thomas does, placing his hands on Christ's wounds. Christ, who turns to each one in turn and asks, 'Do you believe?' St Mark's and the desert The extraordinary artistic and cultural heritage of Venice has now been enhanced by additional space being made available in the prestigious premises of the Museum of St Mark's Basilica and at the Natural History Museum. The Procurator of St Mark has completed the newarrangements in the basilica museum. A single walkway now leads from the historical area above the narthex to the display area in the Sala dei Banchetti. The visitor now has access to a wide range of exhibits arranged more methodically. The works on show in the area of the ladies' viewing area have been set out in three large sections: the mosaics, the tapestries, and the four horses of St Mark's. In the first section, the precious antique fragments of the basilica's mosaics that had been replaced over a period of time (11th - 18th century). For the first time they are displayed to advantage and the various construction and restoration techniques over the course of the centuries are illustrated.Madonna del LatteIn the textile section, there are some of the oldest and most precious tapestries of Europe: including 12th century Byzantine exemplars, late 16th century Flemish pieces bequeathed by Cardinal Giovanbattista Zen; five Isphahan carpets donated by the Shah of Persia to the Doge at the beginning of the 17th century, and Burano lace dating from the second half of that same century. The celebrated 13th century icon of the 'Madonna del Latte' is in the adjoining room, as is the 'Pala Feriale' by Paolo Veneziano, a 15th century masterpiece. The itinerary ends with the four great Horses of St Mark's, extraordinary examples of bronze statuary. St. Mark's Horses A few minutes by ferry takes us back in time from the bronze-coloured horses of the Roman epoch to the dinosaurs of the Jurassic age. In the palace known as Fontego dei Turchi, once the Turkish legation - now the premises of the Natural History Museum, a room is completely given over to Venetian entrepreneur and palaeontologist Giancarlo Ligabue and his scientific expedition to the Sahara desert in Niger which, in 1973 discovered the famous fossil remains of dinosaurs. The almost intact skeleton of an Ouranosaurus came to light in the sands. Seven metres long and three metres in height, it is one of the most rare finds of this type known anywhere. Today the remains of this iguanodon from 110 million years ago, and the cranium and part of the skeleton of a giant crocodile Sarcosuchus imperator - a flesh-eating creature of gigantic proportions (12 metres in length, weighing 8 tons) - seen in this appropriate setting astound visitors to the new hall on the first floor of the museum. Lastly, on the ground floor, the new aquarium holding five thousand litres of sea water, gives an idea of the environment on the reefs known as 'tegnùe', which are situated off the Venetian coast and host some fifty species. This display offers an extraordinary insight into the reef's diversity. USEFUL INFORMATION The Museum of St Mark's (entrance by the stairway right of the central doorway of the Basilica) is open daily from 9.45am to 5pm. tel. 0415225205 - admission: ? 3. Catalogue published by Marsilio (tel. 041/2770773). The Museum of Natural History is open for all on Saturdays and Sundays from 10am to 4pm.For educational visits: only by reservation, Wednesdays and Fridays 9am - 12am, Tuesdays and Thursdays 9am - 12am and 2pm - 5pm. Info:Museum of Natural History Tel. 041 2750206 www.museiciviciveneziani.it Discovering Andrea Palladio 'The most beautiful oval staircase in the world' were the words Goethe wrote in his journal during his celebrated Italian Journeys. That is how the oval Stairway planned by Palladio for the Venetian Academy appeared in the eyes of the great German poet. Today Palladio's oval Stairway and Tablinum (reception area) are the hub of the project under way for the Accademia's New Galleries. They are fundamental elements - the yeast in the bread. Premises having been found for the students of the Academy of Fine Arts at the Incurabili, the historic hospice on the Zattere, the Accademia Galleries are starting to 'think big' taking over areas that will double the exhibition space and enable masterpieces to be taken out of storage and admired. A word of history. In 1558, Palladio was called to Venice to present his plans for the Church of San Pietro in Castello and for San Francesco della Vigna. On that occasion he received commissions for the Tablinum and the oval Stairway in the convent adjacent to the church, Chiesa della Carità, i.e. the present Accademia premises. In the near future, the Palladian pearl set in the new Grand Galleries will be the heart of a new, modern-looking museum based more on the north European and overseas model - offering various additional services such as a cafeteria and bookshop - the collections being arranged according to themes. This is the last of a series of reconstructions that have been going on since the Galleries' foundation. The principle point of reference of the Grand Galleries project is Palladio's work. In 1561 the great architect drew up an extensive plan of which only the east wing - left of the main entrance -was carried out; it was built in brick with stone moulding, and consisted of an entrance hall - destroyed in a fire in 1630 - and, in the courtyard, a facade with three orders: a Doric portico, an Ionic open gallery and an upper floor crowned with Corinthian windows. Under the restorers' careful touches, all these works by the great architect are coming to life again. Following a Palladian itinerary in Venice, other works by the great architect are the Church of the Redeemer on the Giudecca island, the church of the Zitelle - there are dounbts on the attribution to Palladio - on the Giudecca as well, the church of San Giorgio Maggiore on the island bearing the same name, together with the cloister and the magnificent Refectory. In quest of wells For centuries they have been an essential element of Venetian daily life. Usually located in the middle of squares and courtyards, on higher ground, the wells supplied the population's freshwater. The way they functioned was quite simple: the rainwater was channelled through stone gratings into a sandy sump that acted as a real filter, and was then collected in a central cistern situated below the well-head. A funnel-shaped layer of clay was placed around the well to prevent saltwater infiltrating. The water was drawn up in buckets. Strict laws regulated the drawing of water and also controlled the purity of the font: it was absolutely prohibited to approach the well with soiled hands or containers or to let animals drink from it. Visiting Venice, we can discover wellheads that are true works of art of the utmost importance. Absolutely not to be missed is the one in the courtyard at Ca' d'Oro: it was made in red Verona marble by Bartolomeo Bon in 1427 when he had just turned twenty. The figures of Justice, Charity and Fortitude adorned with leaves foliage remind us of the capitals of the Ducal Palace, and at the same time, they have that plastic resilience so typical of the Venetian sculptor. As public facilities came to be improved during the 16th century, the wells, as utilities and decorative elements, received attention too. The two bronze wellheads (the only ones in Venice) standing in the courtyard of the Ducal Palace are a case in point. That near the Giants' Stairway was made by Alfonso Alberghetti (1554-59), while the other was realized by Nicolò Conti (1556). Still in the 16th century, Jacopo Sansovino designed a well for the courtyard of the Zecca (the mint) that was to have been the most monumental of all. The work was carried out by Danese Cattaneo and is at present in the garden of Ca' Pesaro: on the summit of the surmounting arch stands the figure of Apollo. The most classical of Renaissance wellheads, however, is the one in Campo Santi Giovanni e Paolo, datable to the first decades of the 16th century; it comes from Palazzo Corner della Ca' Granda (the present seat of the Provincial Council, not far from San Maurizio) and is richly decorated with eight cherubs in high relief who are holding up large festoons with fruit and a shield bearing the coat-of-arms of the Corner family. There are very few chances to admire and study the subsections of the wells below the surface; but the maintenance work now being carried out by Insula throughout the city has meant that technicians and archaeologists have been able to survey and photograph the normally 'invisible' parts of the wells in Campo Santa Marina, San Samuele, San Nicolò dei Mendicoli and in Corte del Malibran. The wells of Venice are an itinerary to consider, a walk taking in art and history and, naturally enough, the daily life of Venetians in early times, in a quest for the oft-forgotten wells. The beautiful well in SS Giovanni e Paolo SquareIn the drawing, a section of the Venetian well (ArcheoVenezia - dic. 1995) The magic view An extraordinary photographic book introduces us to the Grand Canal as our ferry glides along and we turn the pages Nothing similar has ever been seen in the city of view painters: the palaces lining the Grand Canal on the right and left banks can be perused in a unique 'ribbon' of coloured photographs. Up to now there were two recent known ways of depicting the scene graphically: the first, coloured drawings presenting a panoramic view - therefore a pictorial representation; the second, an architectural survey based on scientific calculations. The 'ribbon' of dual photographic sequences we're describing is a product of photographic technology. Only a soaring seagull, we think, could obtain a view showing the entire Grand Canal on this scale. Here we have, for Venetians and visitors alike, an extraordinary thirteen metre-long photograph, a really 'overall view' of the Grand Canal contained in a most original guidebook designed and produced by the Venetian photographer Daniele Resini for Vianello Libri, the publishers. We call it a 'view' because the photographer has managed - quite magically, as in 18th century view paintings - to show the Grand Canal along its whole length and breadth, and with all its hundred-or-so historic palaces. In a millenary city, the memory of the past is natural; and though not wanting to make comparisons, which would be pointless - the camera obscura is not the photo camera - we should set the monumental complex that breathes life into Venice into its place in the unfolding ribbon of history, by going back to when artists began with the camera obscura technique to paint precise views where reality was perceived by the eye as an all-encompassing view as extensive as possible.The boast of Venice, the veduta painting, started out as an experimental mode of depicting the city by painters of the calibre of Van Wittel and Canaletto. We can collocate Resini in this veduta painting tradition with this stereometric picture, but we must point out that he has not resorted to wide-angle lens, or the fish-eye, but has worked on hundreds of colour digital photos elaborated by computer to correct the distortion in images linked to others in a long, winding ribbon. We can all experience result of his painstaking and exacting artistic work: the sensation of following a waterway mirroring 'a double array' of masterpieces by an enterprising and genial population that has made history. To make the impact more immediate, Resini has cleared away the ferries, launches, gondolas and barges to present the palaces, hotels, and museums in their clear architectural lines, their colours heightened by the reflecting water: pure architecture, they tell the story of a Venice under glass - metaphysical. History has not been cancelled. Here, in fact, the name of each edifice is printed below it, so that - with the book open on our knees - we can see and 'call by name' the residences of those who had them built. Those names carry the echo of the age - that unfolds before our eyes - back to its origins, where it is lost in legends. About the Grand Canal It is the 'spinal chord' and also 'the main street' of the City on Water, and covers the fossil bed of a very ancient river, as its winding course shows. Like an inverted 's', whose 'mouth', to the east, flows out into the light of the Basin of St Mark, the Grand Canal extends from Santa Chiara to the Punta della Dogana da Mar - or, customs point - about four kilometres (3800 metres for the record). The monumental buildings lining the banks number 185, plus 15 religious edifices and a few buildings of little architectural value. A map of spectres Not many people realise that Venice, city of love, magic, frantic fun, and yet intimate meditation, is also a place populated by spirits. Many indeed are the stories of ghosts roving the narrow alleys of Venice, true to the tradition according to which the spirits of the dead are linked forever to an exact location. So, for example, in Corte Bressana at San Giovanni e Paolo, every night you can meet the skeleton of one of the last bell-ringers of St Mark's. As unwonted avarice caused his bones to be sold to a scientist, the bell-ringer is condemned to wander round after midnight, asking passers-by for alms so that he can purchase himself back. Another skeleton is in Cannaregio, in Campo de l'Abazia where, because of his stinginess, the old moneylender Bartolomio Zenni was condemned to change himself into Campo de l'Abazia, one among the 'spirited' places in Venicea glowing skeleton. A similar fate awaited the spirit of a little girl, Giuseppina Gabriel Carmelo, who drowned in 1904 when, owing to the fog, a ferry crashed into the gondola she was travelling on. The accident occurred on the waters off the Venice cemetery island of San Michele in Isola where, on foggy nights, you can just make out a little coffin bobbing about with four burning candles on the lid - it's A view of Campo San BarnabaGiuseppina showing herself so that the ferrymen will not run her down again. A cursed place - if ever there was one - is Ca' Dario, an elegant little palace on the Grand Canal. All Venetians know that its proprietors, even if they manage to avoid violent death, sooner or later end in ruin. To add credence to this belief is an appalling list of bereavements and bankruptcies dating from the 16th century to the present day... But, returning to the spirits, in Campo de San Piero at Castello the ghost of the young Tosca wanders about dressed as a bride, searching for the ring finger that was one day cut off her - she can't celebrate her marriage till she finds it. In Campo San Barnaba you may even come across the mummy of a French crusader who died in the city in a dishonourable manner before he could embark on a voyage to the Holy Land. He is still here seeking a noble deed to carry out - as it's the only way he can redeem himself. The spectre of Fosco Loredan surfaces on the waters of the Grand Canal, at a spot level with Campiello del Remier and only a short distance from the Rialto Bridge. He is holding in his hands the head of his wife Elena, which he himself had cut off in a fit of jealousy. Another woman who was beheaded was the little Turk, Selima, killed by her Osman. She appears (whole, but with her throat slit...) between the Ponte and Calle de le Turchette, the place in Venice where, historically, she spent her days, part of the incredibly long adventure that is the history of the Serenissima. Lastly, the sweet ghost of the girl without a name, at Palazzo Grassi, who whispers in women's ears, telling them their Christian names - and who once saved a person's life. More than a spirit, I'd call her a little angel on earth. Il Campiello del remerThere is a Venice we hardly know where ghosts and their legends linger and places of death: here is an itinerary relating about twenty known cases. | |
| MUSEUMS IN VENICE | |
| Period | |
| MUSEI STATALI: Gallerie dell’Accademia Accademia (linee 1-82 Actv) - Tel. 041.522.22.47 One of the most important museums in Italy, essential for the study of 14th to 18th century art history. Tuesday-Sunday 8.15am-7.15pm; Monday 9am-2pm. Admission € 11,00 (discounts, € 5,50/3,00; European Community citizens ages 18-25). Free for European Community citizens ages 18 or younger, and ages 65 or older. Admission inclusive of the Ca’ d’Oro and Oriental museums, € 9,50, ridotti € 4,75. Galleria Franchetti - Ca’ d’Oro Ca’ d’Oro, Cannaregio (linea 1 Actv) Tel. 041.523.87.90 Baron Franchetti’s collection on display in one of the finest examples of Gothic architecture in Venice. Important group of sculptures, bronzes, paintings (Mantegna, Giorgione, Tiziano, Guardi) and Flemish and Dutch art. Monday 8.15am-2pm; other days 8.15am-7.15pm. Admission, € 5, disc. € 2,50. Admission inclusive of the Accademia and Oriental museums, € 11,00, disc. € 5,50/3,00. Museo Archeologico Nazionale Piazza S. Marco, (linee 1-52-82 Actv) Tel. 041.522.59.78 Admission to Correr Museum (Napoleonic Wing). Collection of Greek-Roman Antiquity alongside Egyptian and Assyrian-Babylonian sections. Series of cameos and precious stones. Open 8.15am-7.15pm. Enter through Correr Museum, 9am to 6pm, with ticket admitting you to all ST. MARK'S SQUARE MUSEUMS. Other times, enter at building no. 17 (admission, € 4 / 2; last admission, half hour before closing). Museo di Arte Orientale Ca’ Pesaro (San Stae - linea 1 Actv) - Tel. 041.524.11.73 Display of Oriental art and culture: fabrics, clothing, armors, porcelains. Open to the public: From 1st April to 31st October: open 10am.-6pm. From 1st November to 31st March: open 10am.-5pm. Last admission half an hour before. Admission, € 5,50, ridotti € 3. Admission inclusive of the Ca’ d’Oro and Accademia museums, € 11,00, ridotti € 5,50/3,00. Sale Monumentali della Biblioteca Nazionale Marciana Piazzetta S. Marco (linee 1-52-82 Actv) - Tel. 041.520.87.88 Admission via Correr Museum (Napoleonic Wing). Building designed by Sansovino. Ornaments and other works by notable artists. Open and admission: see St. MARK’S MUSEUMS MUSEI di PIAZZA S. MARCO Museum Card: 11,00 euro, discounts 5,50/3,00 euro Validity 3 mounth Museum Pass : (Musei civici e musei di Piazza San Marco) - 15,50 euro, discount 10 euro. Validity 3 mounth Doge’s Palace, Correr Museum, National Archeological Museum Monuments Hall at Marciana National Library, (Line 1-52-82 Actv - St. Mark Square) - Tel. 041.522.49.51 Together in a unique, fascinating tour for a single ticket of admission. Open to the public: From 1st April to 31st October: open 9am.-7pm. from 1st November to 31st March: open 9am.-5pm. Last admission one hour before. Closing 25th December and 1st January. MUSEI CIVICI VENEZIANI: Tel. 041.271.59.11; www.museiciviciveneziani.it MUSEI CIVICI: MUSEI CIVICI - St. MARK’S MUSEUMS Museum Card: 11,00 euro, discounts 5,50/3,00 euro Validity 3 mounth. Museum Pass : (Musei civici e musei di Piazza San Marco) - 15,50 euro, discount 10 euro. Validity 3 mounth Palazzo Ducale Piazzetta San Marco (linee 1-52-82 Actv) Ingresso Porta del Frumento, tel. 041.271.59.11. Old seat of the government and law courts, and Doges’ residence from the 9th century to the fall of the Serenissima Republic. Important works of art set in richly decorated halls. Guided tours of secret trails upon request. Times and admission see “I Musei di Piazza S. Marco” Museo Correr Piazza San Marco, Ala Napoleonica. (Linee 1-52-82 Actv). Tel. 041.522.56.25 The museum offers a compelling tour of Venetian history and art. Most noteworthy are the painting gallery, with 14th to 16th-century mainly Venetian masterpieces, Neoclassical section with collection of works by Canova, the precious historical institutional collections, studies of urban development and of everyday life. Times and admission see “I Musei di Piazza S. Marco” MUSEI CIVICI - AREA DEL SETTECENTO Museum Card: (Ca'Rezzonico, Casa Goldoni, Palazzo Mocenigo) 8 euro, ridotto 4.50 euro Museum Pass: (Musei civici e musei di Piazza San Marco) - 15,50 euro, discount 10 euro. Validity 3 mounth Museo del Settecento Veneziano e Pinacoteca Egidio Martini Collezione Mestrovich - Ca’ Rezzonico Ca’ Rezzonico (linea 1 Actv) Tel. 041.241.01.00 Museum of the Venetian Settecento (18th century). Works of art, furniture, interior furnishings. Masterpieces by Guardi, Canaletto, Tiepolo, Longhi and others. On 3rd and 4th floors, important Venetian-school paintings from the 15th- to 20th-century, part of the Martini Collection. Open 10am-6pm (last admission 5pm). Closed Tuesdays. Admission, € 6,50/4,50/2,50 (see Museum Card). Museo di Palazzo Mocenigo Centro Studi di Storia del Tessuto e del Costume San Stae, 1992 (linea 1 Actv) Tel. 041.72.17.98 Residence-museum: exquisite space with 18th-century interiors: collection of dresses and accessories, fabrics, books and figurines in various period costumes. Open 10am-5pm; closed Mondays. Adm. € 4,00/2,50. Library: Tue.-Thu. 8.30am-5pm, Wed.-Fri. 8.30am - 1.30pm. Casa Goldoni S. Polo, (S. Tomà linea 1-82 Actv) -Tel.041.244.03.17 Birthplace of the famous Venetian playwright and now a musueum, library and theater studies center. Open 10am-5pm; closed Sunday. Theater Studies Center: 8.30am-5pm (Tue. and Thu.); 8.30am-1.30pm (Mon., Wed., Fri.). Admission, € 2,50/1,50. MUSEI CIVICI - I MUSEI DELLE ISOLE Museum Card: (Museo del Vetro di Murano, Museo del Merletto di Burano) 6 euro, ridotto 4 euro Museum Pass : (Musei civici e musei di Piazza San Marco) - 15,50 euro, discount 10 euro. Validità tre mesi Museo del Vetro - Murano Settore Vetro antico: Fondamenta Giustinian 8 (Museo linea 52 Actv) Tel. 041.73.95.86. A comprehensive look at Venetian glass art over the centuries. Weekdays, weekends and holidays, 10am-5pm; closed Wednesday. Admission, € 4,00/2,50. Museo del Merletto - Burano Piazza Galuppi - (linea circolare nord) Tel. 041.73.00.34 Display of the antique art of lacemaking. Weekdays, 10am-5pm; closed Tuesdays. Admission, € 4,00/2,50. AREA DEL MODERNO Galleria internazionale D’Arte Moderna - Ca’ Pesaro Modern Art Collection (19th and 20th centuries) of paintings, sculptures and graphic (from Italy and abroad). Open to the public: From 1st April to 31st October: open 10am.-6pm. From 1st November to 31st March: open 10am.-5pm. Last admission one hour before. Admission, € 5,50, ridotti € 3 ALTRI MUSEI CIVICI Museo di Storia Naturale - Fondaco dei Turchi Fondaco dei Turchi Santa Croce 1720 San Stae - (linea 1 Actv) tel. 041.275.02.06 Parzial reopening Open Saturdays and Sundays 10am-4pm Educational tours required booking. Museo Fortuny Closed for restoration - Only temporary exhibitions. ALTRI MUSEI e COLLEZIONI: Collezione Peggy Guggenheim Palazzo Venier dei Leoni, San Gregorio 701 Dorsoduro (Salute - linea 1 Actv ) Tel. 041.240.54.11 Famous residence-museum of the U.S. patroness of the arts Peggy Guggenheim. Masterpieces by representatives of the main 20th-century art currents and avant-garde movements. Weekdays, weekends and holidays, 10am-6pm. Saturday 10am-10pm (until 31 July). Closed on Tuesday. Admission, € 10 (discounts, € 8). Museo Storico Navale Ex Granai della Repubblica, Arsenale Castello 2148 (linea 1 Actv) Tel. 041.520.02.76 Collection of relics of the Venetian Serenissima Republic era and of the Italian Navy. Miniature models, Arsenale shipyard remembrances, collection of uniforms and standards. Weekdays, 8.45am-1.30pm; Saturday 8.45am-1pm. Closed holidays and Sundays. Admission, € 1,55. Museo della Fond. Scientifica Querini Stampalia Castello 4778 (campo S. M. Formosa) (S.Zaccaria 1-52 Actv) Tel. 041.271.14.11. Residence-museum of the Querini-Stampalia family. Library, archive, gallery, furniture and household objects from the 16th century. Important paintings by Bellini, Palma, Ricci, Tiepolo and Longhi. Gallery: Tue., Wed., Thu. and Sun., 10am-6pm; Fri. and Sat., 10am-10pm. Closed Monday. Admission, € 6,00. (discounts, € 4 ). Library: Weekdays, 4pm-12pm; Saturday 2.30pm-12pm; Sunday, 3pm-7pm. Palazzo Cini S. Vio, (Accademia) Dorsoduro, 864 (linea 1-82 Actv) Tel. 041.521.07.55 Residence-museum of Vittorio Cini. Collection of 15th and 16th-century Tuscan and Ferrarese paintings, period furniture, and silver, ivory and ceramic objects. Phone reservations required. See exibition. Palazzo Labia - Salone del Tiepolo S. Geremia, Cannaregio (Ferrovia, linee 1-52 Actv) Tel.041.78.12.77/03 On display are works by Tiepolo. Phone Reservation: Wednesday-Thursday-Friday, 3-4pm. Museo Dipinti Sacri Bizantini - Istituto Ellenico Ponte dei Greci, Castello, 3412 (S.Zaccaria linee 1-52 Actv) Tel. 041.522.65.81 Collection of 14th- to 18th-century icons by the Greek, Cretan and Veneto schools. Closed on Monday Weekdays, 9am-12.30pm and 1.30pm-4.30pm. Sundays, 10am-5pm. Admission, € 4, (discount, € 2 ). Museo della Provincia - Torcello Palazzo del Consiglio, Torcello (linea circolare nord Actv) Tel. 041.73.07.61 Collection of Greek-Roman Antiquity, archeological finds from the estuary from the Paleo-Veneto and Etruscan periods. Torcello certificates, codices and statutes. Weekdays and Sundays, 10.30-5.30pm; last admission half an hour before. Closed Monday and holidays. Admission museum € 3,00 discount € 1.50; museum+basilica € 5.50/3.00; museum+basilica+belltower € 8.00/5.50. CHIESE - SCUOLE di DEVOZIONE - MUSEI SACRI: Basilica di San Marco - Pala d’Oro e Tesoro Basilica S. Marco - (linee 1-52 Actv) Tel. 041.522.56.97 Fine example of Byzantine-Veneto goldsmithery and what has remained of the old Basilica’s treasure: chalices, cups, religious texts. Weekdays,9.45am-5pm, weekend, holydays, 2pm-4pm. Admission (altar-frontal), € 1,50 (discounts, € 1). Admission (treasure), € 2 (discounts, € 1). Basilica di San Marco - Galleria Museum Piazza San Marco (linee 1-52 Actv) Tel. 041.522.52.05 On display are the famous bronze horses and other works of art. Open 9.45am-5pm. Admission € 1.50 (discounts, € 1). Basilica di San Marco - Campanile Piazza San Marco (linee 1-52 Actv) Tel. 041.522.40.64 Panoramic view from the city’s tallest belltower. Weekdays, weekends and holidays, 9am-7pm. May-August 9am-9pm. Admission, € 6 (discounts, € 3). Basilica dei Frari Frari, (San Tomà, linea 1 Actv) Tel. 041.272.86.11 Fine example of Venetian Gothic architecture. On display are important works by Titian, Bellini and Donatello. Weekdays, 9am-6pm; holidays and Sundays, 1pm-6pm. Admission, € 2.50 Chiesa e Campanile di San Giorgio Maggiore Isola di San Giorgio Maggiore (linea 82 Actv) Tel. 041.522.78.27 Important Benedictine church designed by Andrea Palladio. Masterpieces by Jacopo da Bassano, Sebastiano Ricci, Tintoretto and Carpaccio. Panoramic view of St. Mark’s Basin Open daily 9.30am 12.30pm, 2.30pm-5.30pm. Admission (belltower) € 3. Basilica di S.M.Assunta di Torcello - Belltower Isola di Torcello (linea circolare nord 12/14 Actv) Tel. 041.270.24.64 Precious mosaics in the oldest cathedral around the Lagoon. Cathedral 10.00am.-5.00pm. Admission, € 3, discount € 2 Audioguide € 1. Belltower: 10am.-5pm. Last admission 4 pm € 3 Tickets: museum+basilica € 4, museum+basilica+belltower € 8,00/5.50 Basilica +Belltower € 5.50. Scuola Grande di S. Rocco S. Rocco, Frari (S.Tomà linea 1 Actv) Tel. 041.523.48.64 Prime group of works by Tintoretto. Cycles of allegories, Life and Passion of Christ, scenes from the Old and New Testaments. Open 9am-5.30pm, from 3 November 10am.- 4pm. Admission € 5,50, discount € 4,00/1,50. Scuola Dalmata di S. Giorgio degli Schiavoni Ponte dei Greci, Castello (S.Zaccaria linee 1-52 Actv) - Tel. 041.522.88.28. Famous painting cycle by Vittore Carpaccio depicting the lives of Saints George, Tryphon and Jerome. Tue.-Sat. 10.00-12.30am and 3.30-6pm; Sunday, 10 12.30am. Closed Monday. Admission, € 2,58 ridotti € 1,55. Scuola Grande di S.Giovanni Evangelista S. Polo 2454, (San Tomà 1-82 Actv) Tel. 041.71.82.34 Phone reservations required. Admission with donation. Scuola Grande dei Carmini Ca’ Rezzonico (linea 1 Actv) Tel. 041.528.94.20 Painting cycle dedicated to the Madonna del Carmine. Canvases by Tiepolo and Padovanino. Daily 9am-6pm; Sunday 9am-4pm. Admission € 5,00/4,00. Museo Comunità Ebraica Cannaregio, 2902/b (S.Marcuola linee 1-82 Actv) Tel. 041.71.53.59 Objects and works related to the religious and social Jewish life displayed in two 16th-century synagogues. Open 10am-6pm; closed Sat. and Jewish holidays. Admission, € 3 (discounts, € 2). Guided tours at synagogues (departing from Museum): 10.30am, 11.30am, 12.30pm, 1.30pm, 2.30pm, 3.30pm, 4.30pm (italian-english). Guided tours in various languages, by reservation, € 8/6,50. Museo Diocesano P.te della Canonica (S.Zaccaria linee 1-52 Actv) Tel. 041.522.91.66 Religious furniture and objects from now-abolished churches and convents. Nearby, one of the most compelling Romanesque cloisters in the city. Weekdays, weekends and holidays, 10.30am-12.30pm; closed Sunday. Admission, free, with donation. Oratorio dei Crociferi Cannaregio 4905, Campo dei Gesuiti (linea 1 Actv) Tel. 041.271.90.12 (IRE) Small oratory opposite the similarly named old convent. Painting cycle by Palma il Giovane. April-October: Friday and Saturday 3.30pm-6.30pm. Admission € 2. Convento di S. Francesco del Deserto S. Francesco del Deserto (Burano linea 12/14 Actv) Tel. 041.528.68.63 Important Franciscan convent on one of the most beautiful lagoon islands. Open 9am-11am and 3pm-5pm. Admission, free, with donation. Monastero Mekhitarista Isola San Lazzaro degli Armeni (S.Zaccaria linee 10/20 Actv ore 15.10) Tel. 041.526.01.04 Library and collection of works, miniatures and documents of Armenian history. Weekdays, weekends and holidays, 3.20pm-5pm (guided visit). Admission, € 6 (discounts, € 3). ARCHIVI E BIBLIOTECHE: Biblioteca Nazionale Marciana Piazzetta San Marco, n. 7 (S.Zaccaria linee 1-52 Actv). Tel. 041.520.87.88 Most important Venetian collection of books. Building designed by Sansovino. Ornaments and other works by notable artists. Reading rooms, Mon. - Fri.: 8.10am-6,30pm; Sat. 8.30am-1.30pm Sansovino Room: weekdays 9am-5pm; Admission at the Correr Museum (Ala napoleonica). See MUSEI di SAN MARCO Archivio di Stato - Frari, San Polo 3002 (S.Tomà linee 1-82 Actv) Tel. 041.522.22.81 One of the largest archival complexes in the world, housed in an old Franciscan convent. Manuscripts, texts and documents related to the history of the Venetian Serenissima . Reading rooms, Mon., and Sat., 8.30am-2pm; Tue., Wed. and Thu. Fri., 8.30am-6pm. Archivio Storico delle Arti Contemporanee de La Biennale di Venezia Santa Croce, 2214 (S.Stae linea 1 Actv) Tel. 041.521.87.11 Closed for restauration. ALTRI LUOGHI D'ARTE: Scala Contarini del Bovolo Corte dei risi o del bovolo, San Marco 4299 (Rialto linea 1-82 Actv) Tel. 041.271.90.12 (IRE) April-October daily 10am-6pm November-March Saturday and Sunday 10am-4pm Ingresso € 3 (€ 2.50 ridotto per gruppi) con visita guidata Sala della Musica - Ospedaletto Castello 6691, Barbaria de le tole (San Zaccaria, linee 1-52 Actv ) Tel. 041.271.90.12 (IRE) Tuesday, Friday, Saturday 3.30pm-6.30pm. Music Room € 2 with guided visit. Times may be subjet to variation The Ticket Offices close half an hour before. VILLEVENETE Riviera del Brenta Villa Foscari “La Malcontenta” Malcontenta (VE) - Tel. 041.547.00.12. Closed until 31 March. Open Tuesday and Saturday 9-12am. Barchessa Valmarana Villa Widmann Foscari, Mira (VE) Tel. 041.426.63.87. Open Tue.-Sun. 9,30-12am/2,30-6pm. Closed on Monday. Open for Groups only. Reservation required. Villa Nazionale Pisani ex Reale Stra (Venezia) - Tel. 049.50.20.74. Opening time: from october to april 9am-4pm. Closed on Monday. Admission Park and Museum euro 5, disc. euro 2,50. Only Park euro 2,58, discount 1,29 euro. Park closed in winter Closed 25 December and 1 January. Villa Foscarini Rossi Museo della calzatura d’autore Stra (Ve) - Tel. 049.980.10.91. Permanent exhibition of shoes. Opening time: from Monday to Friday 9am-12.30pm/2.30pm-6pm. Closed Sunday, and holidays and from 22th December to 6th January 2003 Admission euro 5, disc. euro 2,50, groups euro 3. Villa Widmann Foscari Rezzonico Mira (VE) -Tel.041.560.06.90. January-March: Sat., Sun. and holidays 10-17. April and October: Tue.-Sun. 10-17, Closed on Monday. May-September: Tue.-Sun. 10-18, Closed on Monday. Admission euro 5,16, discount 2,58 with guided tours. VILLEVENETE Treviso e dintorni Villa Barbaro Maser (Treviso) - Tel. 0423.92.30.04 Opening: Saturday, Sunday and holidays 2,30pm-5pm. Closed Sunday morning. Groups for bookings. Castello di Roncade Roncade (Tv). - Tel. 0422.70.87.36 - Fax 0422.84.09.64 Opening time: daily 8,30am-12,30pm/2,30pm-5,30pm Guided tours. by reservation Admission: 4 euro. VILLEVENETE Padova e dintorni Villa Contarini Piazzola sul Brenta (Padova) - Tel. 049.559.09.95 Opening time: Weekdays 9am-12am/2pm-5pm; weekends and holidays 9am-12am/1,30pm-6pm; Closed on Monday. Villa Barbarigo Pizzoni Ardemani Valsanzibio (Padova) uscita casello Terme Euganee Tel. 049.913.00.29-42. Closed from December to march Weekdays, weekends and holidays 9am-12am and 1,30pm until sunset. Admission 7 euro VILLEVENETE Vicenza e dintorni VILLA ALMERICO CAPRA VALMARANA Via della Rotonda 45 (Vicenza) - tel. 0444/321793 Masterpiece of Andrea Palladio, is included in the Word Heritage List of Unesco. Open on Wednesday: 10-12am/3-6pm. Admission park 3 euro, museum 6 euro. Times can be subject to some variation | |
| GUIDED TOURS | |
| Period | |
| DOGE’S PALACE St. Mark’s Side Square – Boat lines 1-3-4-82 to S. Marco Secret Trails. Daily guided tour, booking required: In Italian at 9.30am, 11.10am; English, 9.55am, 10.45am and 11.35am; French, 10.20am, 12 noon and 12.25pm. Admission: € 12.50, discounts, € 7/4. Info, tel. 041.271.59.11. GRAN TEATRO LA FENICE Campo San Fantin, San Marco 1965 Boat lines 1-82 to San Marco / S. Maria del Giglio Guided tours of the Theater. Guided tours (booking required) of the theater and its various halls. Lasting 40 minutes. In Italian, French, English, German and Spanish. Groups of 25 or less. Tickets: € 7; discounts, € 5 (children and senior citizens). To book, call 041.24.24 (daily from 7.30am to 8pm), or buy tickets at HelloVenezia booths at the Fenice Theater (Campo San Fantin - St. Mark), P.le Roma, Railway Station and Mestre. GIORGIO CINI FOUNDATION Island of San Giorgio – Boat line 82 to San Giorgio Guided tours at San Giorgio Maggiore. Guided tours organized by the Foundation to the most important parts in its building complex, once a Benedictine monastery. These one-hour tours are offered Saturdays and Sundays from 10am to 4.30pm in Italian, English, French and German. Weekday tours require prior booking, for groups of 15 or more. Admission, € 12; discounts, € 10 (over 65 and under 18). Information: Codess Cultura, tel. 041.524.01.19. Web site: www.cini.it, e.mail: info@codesscultura.it MARCIANA LIBRARY (entrance through Correr Museum) St. Mark’s Square Boat lines 1, 82 to S. Marco Sansovino Library - Monumental Halls Free guided visits (booking required). Telephone bookings on Saturdays and Sundays (9am-5pm) - tel. 041.240.72.23. CA’ CORNER Fondamenta Paguri, San Marco 2662 Boat lines 1-3-4-82 to San Marco Free guided tours (booking required) of Ca’ Corner della Ca’ Granda, a prestigious historical palazzo on the Grand Canal, designed by Jacopo Sansovino. For information and booking, call 041.296.07.26. CHORUS – VENETIAN CHURCHES ASSOCIATION San Polo 2986 Guided tours at some of the most important city churches. Booking required. The two-hour tours are offered at the following churches: S. Sebastiano and S. Maria del Rosario (Gesuati): The Explosion of Light: From Veronese to Tiepolo. S. Alvise and Madonna dell’Orto: Great Masters and Monastic Orders: Tintoretto and Tiepolo. Frari and S. Giacomo dall’Orio: Romanesque and Gothic Art in Venice. S. Maria dei Miracoli and S. Maria Formosa: Flourishing of the Renaissance in Venice. S. Giovanni Elemosinario (Rialto) and S. Polo: Venice’s Belly. Also available are tours by request to fit requirements of each group. Free: € 130.00 (Chorus Pass included). Groups of 30 or less. Additional information: Chorus, tel. 041.275.04.62, fax 041.275.04.94, info@chorusvenezia.org. Web site: www.chorusvenezia.org PUNTOLAGUNA Campo S. Stefano 2949 – Boat lines 1-82 to Accademia Information Booth with material about projects for the safeguarding of Venice and the lagoon. Set up to help all those who wish to learn about the situation of the lagoon ecosystem and what is being done to improve it. Open mornings (by booking) and afternoons from 2.30pm to 5.30pm. Free. Info, tel. 041.52.93.593 - 041.52.93.582. Web site: www.salve.it/it/puntoL/home.htm CAMPO SAN STAE (ACTV boat landing stage) San Polo – Boat line 1 to San Stae “The hidden Venice of Sherlock Holmes”. Tour of the places described in the novel “Sherlock Holmes in Venice.” Sunday 11am, booking required. Additional Information at Trattoria Antica Sacrestia, tel. 041.523.07.49 or 349/15.83.278 (Ivo Lombardo). IMAGO srl MUSEUM AND ART PROGRAMS – MANAGEMENT AND ORGANIZATION Church tours. Guided tours to discover churches and monuments that are excluded from the standard tour itineraries: Basilica of Santa Maria Assunta (Torcello), Church of S. Bartolomeo, S. Moisè, the Carmini, of S. Trovaso, S. Giovanni in Bragora, S. Salvador, Barnaba, Church of S.S. Pietro and Caterina Vergine Martire (Mazzorbo-Burano). Information, tel. 041.270.24.64. CA’ VENDRAMIN CALERGI – WAGNERIAN HALLS San Marcuola Boat lines 1-82 to S. Marcuola Guided tours at Richard Wagner’s apartment. Booking required. Offered by the Richard Wagner Association of Venice. Every Saturday, except holidays. To book, call the Richard Wager Association of Venice, no later than Friday, 10am-12. Information, tel. 349.593.69.90 / 041.523.25.44. VENETIAN ITINERARIES Venus in Venice: Places of Love. All new and passionate series of tours with the poet Lucio Marco Zorzi: curious tales and poetry read against the backdrop of the tight panorama of Venetian alleyways. «Places of Giacomo Casanova»: the legend of the famous libertine revealed through his writings: Wednesday 3.30pm. «Charm of the City»: Homes of famous painters viewed in an emotional and poetic tour rich with symbols: Thursday 4pm. «Heart of Venice»: Rialto, the courtesans. An essentially erotic Venice, recounted with humor and passion by means of poetry and literature: Friday 4pm. «Giorgione’s Legend»: Initiation tour to finally exposes to Venetian light the mysterious painter and the places where he lived and worked: Saturday, 3.30pm. Booking strictly required. Call 041.630.761 / 333.854.77.63 from 9am to 12 noon. | |
| BRIEF HISTORY OF VENICE | |
| Period | |
| In the Roman times the term Venice stood for the North-Eastern region of Italy, but following the collapse of the Roman Empire and particularly the arrival of the Longobards (568), it started to indicate a part of the small settlements that were created on the islands of the lagoon between the Adige and the Piave rivers. Their economy was based on the trade activities between the Near-East countries and Northern Europe (Germany and Flanders). They established a federation legally dependent on Byzantium but their relations became increasingly looser as the latter's decay proceeded, and they acquired complete independence towards the end of the 9th century. Hence, ever since the beginning of the 9th century, the domination of Eraclea and Malamocco were followed by that of Rivo alto (Rialto, today's Venice). This event coincided with the failure of the Franks' attempt to conquer the islands. After driving back the Arab invasions and eliminating in the year 1000 the Croat piracy in the Adriatic sea, the political expansion to Istria and Dalmatia started, under the leadership of a class of shipowners and merchants who had managed to prevent some of the major families (Partecipazio, Candiano, Orseolo) from introducing the hereditary power system. In order to prevent the closure of the Otranto canal (the gateway to the East) and of the passes on the Alps that were so vital to trade with northern countries, Venice had to fight the Normans, Suevians and Angevins who were trying to settle along the Albanian and Epirot coasts, and at the same time it joined the Lombard League to prevent the Emperor from acquiring an excessive power. The Fourth Crusade (1202 - 1204) enabled Venice to found a vast colonial empire in the Balkan peninsula and the Aegean Sea, which withstood the restoration of the Byzantine Empire (1261) but exacerbated the rivalry with Genoa. This originated numerous naval battles with alternating victories on both parts. At the beginning of the 14th century, a period marked by the setting up of signories, some attempts were made (Baiamonte Tiepolo, 1310; Marin Faliero, 1355) to turn into a signory the oligarchic government of Venice too (since 1297 it had been restricted to a limited number of families) thanks to the support of the populace (sailors, fishermen), but they failed. In the meantime Venice started to expand to the hinterland (in particular after the serious threat faced in 1378 during the war for Chioggia, when the lagoon was besieged both by sea and land by Hungary, Padua and Genoa which had joined in a coalition). As the context was favourable, within few years Venice conquered the whole Veneto region, Friuli, Brescia and Bergamo starting a long series of wars against Milan and later on against Florence and Ferrara too. The gains in Puglia (1495) and Romagna (1503) and the ill-advised idea to help the French conquer Milan in order to acquire the Cremona area (1499) proved fatal to Venice: it was attacked by all European powers, set up against it by the pope Julius II (League of Cambrai) and defeated by the French at Agnadello (1509), which definitely stopped its expansion in Italy. Meanwhile, despite its strong resistance, it lost its dominions in the East under the Turkish attacks, and the discovery of America diverted trade (to which it owed its prosperity) from the Mediterranean to the Atlantic. That marked the beginning of Venice's slow and glorious decline: it fought the Turks in Cyprus (1571-73) and at Candia (1644 - 86), reconquering the Morea for some time (18th century), and humiliated the Barbaresques in Tunis (1784-86). The Habsburg, eager to unify the Tyrol and Milan, soon became Venice's new mortal enemy, but they only managed to achieve their objective when Napoleon, through the Campoformio Treaty (1797), ceded the old republic to Austria in exchange for the Duchy of Milan. In 1805 it was annexed to the Neapolitan Kingdom of Italy, in 1813 it was returned to Austria and, following the Vienna Treaty, it became the capital of the supposed Lombard-Venetian Kingdom together with Milan. In 1848 it rose against the Austrians and was proclaimed Republic by Daniele Manin. On the eve of the Armistice of Salasco it joined the Savoy monarchy. After the restoration of the republic it fought the Austrians till August 1849, which marked the end of a long and memorable seige. At last the third war of independence (1866) marked its annexation to Italy. | |
| CORTO MALTESE'S VENICE | |||
| Period | |||
| Following the adventures of Corto Maltese let us introduce you to a different Venice with six very special itineraries all around the city, that starting from THE VENICE INNS, will take you to discover a different VENICE FIRST ITINERARY “San Bartolomio” is the starting point of our first walk. This square, thanks to its central position, is one of the most frequented squares by the Venetian who meat here to have a drink in the many sorrounding pubs. Giving the back to the monument of Carlo Goldoni we find the “Salizzada of the Fontego dei Tedeschi”, actual Venice main post office...... SECOND ITINERARY Giving the back to the “Rialto Bridge”, rich of small stores and from which you can enjoy a stupendous view of the Grand Canal, we are in the island of “Rivo Alto”, the economic center of the old "Serenísima Republic". In this island merchants of different countries met to exchange a huge number of merchandises: fabrics from Holland, shawls, curtains of silk, fragrances and oriental balms...... THIRD ITINERARY We begin our itinerary visiting the “Ca' D'Oro”, stupendous palace of the century V characterized by the polychrome marbles of the facade overlooking the Grand Canal. In the "patio" with the "vera da pozzo” of Bartolomeo Bon, and the series of Byzantine drawings you can find the exterior stairway to the upper floor...... FOURTH ITINERARY Our itinerary begins visiting the “Accademia” to which you can arrive by vaporetto no. 1 or no. 82. In front of the boatstop you can find the “Gallerie dell' Accademia”, which for sure worths a visit for the presence of important paintings of Giorgione, Titian, Tintoretto etc...... FIFTH ITINERARY We get off from the vaporetto at San Zaccaria stop, in front of the old Hotel Danieli in which there is a rich and elegant bar where Pratt use to have his drinks. We cross the bridge near the hotel and a little bit before the monument of Vittorio Emanuele II°, we twist to our left gorging the small entry that carries us in front of the pretty facade of the “church of San Zaccaria”, a construction of the fifteenth century which worths a visit....... SIXTH ITINERARY This new walk begins from the “Giardini Napoleonici”. After getting off from the vaporetto (no. 1-82) we walk to the left and we cross a small bridge without steps that carries us to a wide wooded avenue...... |
| ||
| VENETIAN RECIPES | |
| Period | |
| SPAGHETTI ALLE VONGOLE VERACI Ingredients for 4 persons: 240 grammes of spaghetti 400 grammes of very fresh large clams 1 clove of garlic a sprinkling of chopped parsley pepper and extra virgin olive oil Preparation: Braise the vongole in the extra vergine oil, and when they have opened up completely, add the chopped garlic and parsley. Leave them to simmer for another three or four minutes. Meanwhile, cook the spaghetti only till they still quiet firm (al dente). Once they are ready and drained, pour them straight onto the clams and turn them briefly on a high flame. Serve right away with just a touch of pepper. To be accompanied this dish with a good Prosecco wine. TAGLIATELLE WITH SCALLOPS IN A SAUCE OF THYME AND FRESH TOMATO Ingredients for 4 persons 320 gr. of tagliatelle (made with egg) 8 scallops 4 ripe tomatoes 2 sprigs of thyme 1 shallot 1/2 a glass of white wine fine quality olive oil, salt & pepper. Preparation: Clean the scallops and cut them in two; brown the chopped shallot in oil, and brown the scallops; pour a dash of white wine on and add the tomatoes cut into cubes, and the leafs of thyme; leave to cook for 3-4 minutes. Cook the tagliatelle in plenty of salted water and sauté in the pan with the prepared sauce. Grind some fresh pepper over the dish. EGG TAGLIOLINI Ingredients for 4 persons: 3 very fresh mackerel salty capers 2 small aubergines 240 gr. of egg tagliolini half a clove of garlic 40 gr. of pure 'extra vergine' olive oil 1 bay leaf 4 small Pachino tomatoes 2 tablespoons of white wine. Preparation: Cut the aubergines into small cubes and toss them about in a pan with a drop of oil and bay leaf; then put aside. Heat a pan with 20 gr. of oil; put in the tomatoes with the 2 tablespoons of white wine, and let them simmer lightly. Add the gutted mackerel in big pieces, stir all together with the aubergine and capers. Meanwhile, cook the tagliolini in plenty of salted water, strain them directly into the pan, and stir them quickly into the sauce. Serve on very hot plates. An appropriate wine might be Sauvignon Friulano. RADICCHIO SOUP Prepare a good poultry and beef broth; cool, scoop off all the fat, and then set it to simmer for a quarter of an hour with plenty of Chioggia red chicory leaves cut into strips. Serve boiling-hot with oil-fried croutons with a drop of olive oil and a pinch of pepper. In the south they add some lemon juice; in the north a sprinkling of Parmigiano instead, or another seasoned cheese. It is an energizing and depurative soup but we must point out that it is best to only use the outer leaves of the 'rose of Chioggia'. CASARECCI ALLA PORTOFINO The dish we suggest is the fruit of a slight blending of Venetian gastronomy with that of Liguria, both in any case inspired by the sea. Ingredients (for 4 persons): 320 gr. of fresh homemade pasta 2 teaspoons of pesto alla genovese (basil pesto) 10 Cirio tomatoes 10 fresh shelled medium-sized scampi 1 clove of garlic 1/2 a medium-sized onion brandy 1/2 a glass of white wine extravergine olive oil Prepare the tomato sauce in advance, by frying finely chopped garlic and onion in hot oil till they are golden; then add the tomatoes, salt and pepper to taste, and leave to simmer for about half an hour. Fry a clove of garlic in a pan with a drop of oil and then add the shelled scampi, and add salt and pepper to taste; let them cook until they take colour; a sprinkling of brandy and half a glass of white wine go on next. Let them cook on a high flame until the brandy and wine have evaporated, then add the tomato sauce and continue to cook for about 3 or 4 minutes. Meanwhile, boil the pasta in plenty of salted water and drain it when still al dente (quite firm). Add the pesto alla genovese to the scampi and tomato sauce, add the drained pasta to this and mix over a high flame for a few seconds: now serve it up at once. And buon appetito! GNOCCHI DEL DOGE This recipe makes servings for four persons and is easy to prepare, good for any season, and relies on local ingredients. The name renders honour to the ruler of Venice, as Caorle played a role in the city's history. Ingredients: 100 g of fresh-shelled scampi 400 g of small-sized potato gnocchi 250 ml of fresh cream 150 ml white wine 2 cloves of garlic salt and pepper to taste olive oil 1 tablespoon of parmigiano reggiano cheese Preparation Brown the garlic in a drop of olive oil; then eliminate the garlic and add the white wine, being careful that it does not burn; add the liquid cream and thicken for five minutes; add the scampi, salt and pepper to taste and thicken for another five minutes. In the meantime, boil the gnocchi in a pot of salted water; when they come to the surface, add them to the thickened base. Blend all with a tablespoon of parmigiano reggiano. Place on the plate and sprinkle with parsley at will, adding spiny spider crab eggs for decoration. And buon appetito! PASTICCIO DI VERDURE Strictly separated from one another, cook the vegetables with a pinch of salt, a little onion and 'extravergine' olive oil: as though they were to be served separately. Then bring them together, being careful how you spread them over the sheet of egg pasta - that has been prepared beforehand and is very thin. First a layer of vegetables and a fine layer of light béchamel. Continue like that, alternating the layers until completed. Cover everything with the last light layer of béchamel and cook in the oven at 160°/180° for 20 minutes, until you see it's golden brown on top. And I hope you enjoy it!. Ingredients: 8-10 artichokes 200 gr of peas 250 gr of zucchini 50 gr of spinach 50 gr of dried 'porcini' mushrooms 50 gr of silver beet Parmesan cheese, pepper, and parsley MUSSELS AND PRAWNS The complete name of this seafood dish is: tagliolini with mussels and prawns. We suggest this because it leaves our guests with a taste that will mix with the recollection of things seen in the Venetian light that appear more beautiful than anything. Add a glass of white wine and salt and pepper to taste, continuing to cook them for a few minutes until the wine has evaporated. Pour in a little tomato pulp at will, and a little finely chopped parsley. In the meantime, in a pot of boiling water we have cooked the tagliolini till they are al dente (i.e. don't let them turn soft); now we drain the water off and add them to the sauce we have prepared in the pan, and we mix all thoroughly together over a high flame for a moment until - presto - they are ready to be served.Here is how to do it. Lightly fry a clove of garlic in olive oil in a pan; remove the garlic before it browns, and add the previously cleaned and washed mussels and the shelled prawns, leaving them all to simmer for about 4 or 5 minutes. MARINATED SARDINES a classic of Venetian gastronomy: "le sarde in saor" sometimes simply called" il saor". Ingredients: 600 gr. fresh sardines 600 gr. of white onion 2.5 dl. of red vinegar 100 gr. of pine-nuts (optional) 100 gr. of sultanas (optional) frying oil white flour salt and pepper Remove the head, the innards and scale the sardines; wash them and leave to drain. Clean and slice the onions. Put the sultanas to soak. Fry the onions on a low flame until lightly done, salt them. Just before removing from the fire, add the vinegar. Leave to cool and add the sultanas and pine-nuts (optional). Dip the sardines in the flour and fry them. Leave them to dry on absorbent paper and salt them. When they are cool, lay them in a bowl alternating one layer of sardines and one layer of onions with their cooking sauce. For best results, keep them in a fresh place for at least two days. JOHN DORY AND SCAMPI ALLA CARLINA Ingredients: Filets of John Dory scampi tails - 3 portions flour as required extra virgin olive oil - 2 tablespoons fresh tomato sauce - 50 gr. squeezed lemon - 1/2 chopped parsley - 1 pinch Worchester sauce - 1 tablespoon melted butter - 30 gr. capers from Pantelleria and gherkins - 1 tablespoon salt and pepper to taste Here's the procedure: wash the shelled scampi tails and the filets of already prepared filets of John Dory. Pass them lightly in the flour, and cook them on both sides in a wide frying pan on a medium flame for about 4 or 5 minutes, adding salt and pepper. When they are ready place them carefully in an oven-proof dish. Remove the oil from the pan, add the butter and parsley, and cook for about 30 to 40 seconds. At this point, lift the pan from the flame. Sprinkle the filets of John Dory and the scampi with the capers and washed and dried gherkins, adding a few drops of lemon, Worchester sauce and a little of the tomato sauce. Pour the melted butter into the pan, sprinkle a little parsley and serve straight away. This dish is usually accompanied by pilaf rice. For the preparation of this dish it is essential to find very fresh John Dory and already shelled scampi tails. TUNA WITH ROSEMARY What we present is a simple dish - suitable for the summer, because it's light and digestible - but very easy to prepare too. Ingredients A slice of tuna fish - 1 kg Salt and pepper to taste Rosemary - 2 or 3 sprigs Extra virgin olive oil - 100 grams Preparation Take a slice of fresh tuna fish, cut it into a cylindrical form; then rinse it well under fresh water. Let it rest an hour, and then rinse it again. Dry it well and, using your hands, rub it with salt and pepper. Pour a glass of oil and rosemary into a baking dish lined with oven paper, and place the tuna on it. Cook it in a preheated oven at 200° for ten minutes. Next, turn off the oven and leave it for another six or seven minutes. Then take it out and let it cool. Cut the tuna into one centimetre-thick slices and lay them on a bed of rucola (rocket). Before serving, sprinkle some of the cooking juice oil over it. And buon appetito! POLENTA I have hoticed that foreigners sometimes seem mystified by Polenta. It comes with the food they ordered but is often left untouched and even people who know exactly what it is think they do not like it. Its appearance is rather unprepossessing so this want of interest is understandable, but it is an unfortunate loss because its neutral flavor truly brings out and enhances a food's taste. For Venetians, however, this behaviour is strange for they cannot imagine eating certain things without Polenta. PREPARATION: 1)Boil the salted water; sprinkle in the flour slowly so that no lumps are formed and the water does not come off the boil, mixing it at once with a wooden spoon (the traditional mescola). Continue stirring in the same direction, trying to blend together the surface and bottom layers. Little by little, as the polenta becomes denser it might be easier to mix it with your two hands; if it is too hot you might like to add a little hot water. 2)After 30-40 minutes, the polenta will begin to separate from the sides of the pot, and if you wished you could serve it already; however, it is better to keep it on the fire for another 20-30 minutes. Polenta is said to be better the longer it is cooked, and you cannot overcook it. 3)When the polenta is considered ready, it is poured into a traditional wooden bread-board, from which it is served in slices cut with a special wire (never a knife). Some like to pour it into a terra-cotta bowl, especially if it is particularly soft, and it is then apportioned with a spoon. POLENTA ( for 4 persons) 350 gr. yellow maize flour 11 litres of water 1 spoon of salt LE CASTAGNOLE Venice published the world's first book of gastronomy, De onesta voluptate et valetitudine, by Platina, opened the first coffee shop in the West - before any other European capital - and suggested the use of the fork, until then unknown and brought from Byzantium as part of the 'dowry' of the princess Teodora Ducas, wife of Doge Domenico Silvio. Venice was long the home of spices, of wines made from raisins, of fish in sweet and sour sauce, and dried fish. Over and above its contribution in turning simple cooking into a gastronomic art so refined as to adorn a Doge's table, Venice's traditional folk dishes should not be overlooked with their delicious offerings, many of which can still be found. And seeing that it is Carnival time, we suggest a recipe for those popular little chestnut-shaped cakes, castagnole. Ingredients 300 gr. of flour, half a teaspoon of baking soda, 60 gr. of castor sugar and likewise of butter, 2 eggs, half packet of dried yeast, 1 glass of rosolio cordial or of white grappa, a pinch of salt, grated untreated orange o lemon peel, seed oil, icing-sugar. Add the eggs, sugar, salt, melted butter, and grappa to the flour and baking soda, and the yeast freshly diluted in water. Mix by hand; roll the pastry, cut out the chestnut shapes and flatten slightly. Cover and leave to rise for half an hour. Fry in plenty of oil, drain and leave to dry on absorbent kitchen paper, then sprinkle with icing-sugar. Serve hot. FRITOLE OR FRITTELLE ALLA VENEZIANA Ingredients: 25 gr. of yeast 625 gr. flour 375 cl. milk 2 eggs 125 gr. sugar 120 gr. butter Mix the eggs and sugar together with yeast dissolved in a little warm milk, and butter. Add the flour and the rest of the milk to form a thick dough to which is added: 150 gr. of rum-soaked raisins, 50 gr. of pine-seeds, 100 gr. of diced candied orange, a pinch of salt, grated lemon peel, vanilla essence. Put it in a warm place to leaven. When the dough is well risen, knead it again and leave to rise again. Then spoon the dough into the hot oil and fry. The golden brown fritole can be drained on absorbent paper and then rolled in castor sugar. gALANI VENETI Ingredients: 0.500 kg. flour - 100gr. sugar 50 gr. butter - 2 eggs - 125 cl. white wine a pinch of salt - grated lemon peel - rum and vanilla essence Mix all, leave standing in a fresh place for about half an hour; then roll out a thin dough and cut it into strips with a wheel-knife to form frills (galani). Fry them in plenty of olive oil, or seed oil or lard, as preferred. Drain on absorbent paper and and sprinkle with icing-sugar. Zabaglione Mousse with Madeira on meringue with gianduia chocolate sauce Ingredients for four persons For the meringue: 4 egg whites, 200 gr. of castor sugar, 4 drops of lemon For the zabaglione: 4 egg yolks, 50 gr. of Madeira, 100 gr. of castor sugar, 400 gr. of flour, 12 small amaretti (almond liqueur biscuits). For the sauce: 100 gr. of fresh cream, 50 gr. gianduia chocolate Preparations The meringue: whip the egg whites with 100 grams of sugar, adding the remaining sugar last with the drops of lemon, and cook in the oven at about 100° for 60/70 minutes. The zabaglione: whip the egg yolks with the Madeira and the sugar; add the whipped cream separately and delicately fold them in. Fill little moulds with the mousse after having laid 3 amaretti on the bottom and leave in the fridge for about 3 hours. The sauce Bring the fresh cream to the boil adding the gianduia melted in a bain-marie, and mix well. | |
| VENETIAN TAVERNS TOUR | |
| Period | |
| In Venice, 50,000 "ombre" (glasses of wine) are drunk each day. This is a remarkable figure for a city where the recent demographic drop has left just 60,000 inhabitants. Legend has it that long ago, street sellers selling wine in Piazza San Marco would move round with the shadow (ombra) thrown by the bell tower to keep the wine cool. An etymology a touch less romantic but rather more plausible comes from the use of the word "ombra" to indicate a small amount. The quantity of wine contained in an "ombra" is about 100 ml, even less if you ask for an "ombretta". The term "bacaro" is said to go back to the exclamation of a gondolier who one day tasted a new wine from the south of Italy: "Bon bon! Questo xe proprio un vin de b?caro" (Very good indeed! This is indeed a wine fit for making merry). The Venetian expression "far b?cara" is equivalent to the Italian "far baldoria", to eat and drink in good company. And for this, "vin de b?caro" is the perfect choice. According to this legend reported by Elio Zorzo in his book "Osterie Veneziane" published in 1928, the gondolier had invented a new term which became a synonym for wine from Puglia and the wine-shops were it was sold. The "bacaro" became a favourite meeting place for all Venetians and to drink an "ombra" together was a social ritual, a declaration of friendship and solidarity renewed day after day, hour after hour. If you are not from Venice, then a visit to our "bacari" could be a real key to understanding the different dimension of a city where being in a hurry is unheard of, where the rhythms are those of the sing-song cadence of the Venetian dialect, the steps which slowly echo down the secret, hidden lanes. A city where you never need to make a date, because each day you bump into the same people again and again in a series of fortuitous encounters which follow the laws of predestination. Where popping out for a moment is nothing but a wish to find yourself in familiar surroundings with familiar people. | |
| THE GONDOLA | |||
| Period | |||
| The gondola is certainly the most photographed craft in the world and its image has become, for millions of tourists, the symbol itself of Venice. If the lagoonal city is " unique in the world", likewise it is for the gondola:the unique boat of as much as 11 metres length and 600 kilos weight that can be driven with lightness and easiness by a single man and with a single oar! But it is unique even for its building characteristics: it is asymmetric, as its left side is larger than the right one by 24 cm and so it always navigates inclined on one side. It has its bottom flat ; this allows it to cross even depth of few cm . For its construction they are used 8 different kinds of wood and it is composed of 280 pieces. The only elements in metal are the characteristic "iron" of the head and the " risso" of the stern. The iron of The head, was, originally, an element of longitudinal stability, which had to balance the weight of the gondolier. The popular tradition wants that the front "pettini" represent the sestieri (six quarters) in which the city is divided and the back one is Giudecca island; the double "S" bending should simulate the proceeding of "Grand Canal " and the lunette , situated under a stylized dogal horn , Rialto bridge. Until few decades ago it was placed in the centre of gondola a cabin of wood movable called "felze", that helps as protection to the passengers during winter time; today it is almost completely out of order as it obstructs the visibility and then it is little indicated for the tourists. The gondola had many changes during the centuries, both in the structure and in the finishings, and the one we see nowadays is the result of a long process of evolution and of adaptation to the different needs of sailors and to the changed characteristics of waters. The history of gondola intersects ,therefore, with the history of the town. This boat is mentioned for the first time in an official document in 1094. It is about a decree of doge Vitale Falier , which dispensed the citizens of a place in the south of Venice from giving a "gondulam".The origin of the name is very uncertain and discussed:some make it date back to the Latin "cymbula" ( little boat) or to "cuncula", diminutive of"concha" ( shell). Others look back to the Greek "kundy" ( navicula) or to "kuntò-helas"( push -craft). Of the first periods we don't have any useful documentation to be able to reconstruct the appearance of it and we must wait for the end of the fifteenth century - beginning of the sixteenth century to be able to draw to a pictorial production that gives us iconographic indications of a certain precision. |
| ||
| THE VENITIAN VILLAS | |
| Period | |
| I Battelli del Brenta The passenger boat operator "I Battelli del Brenta®" (The boats of the Brenta Canal) provide enjoyable guided public cruises, from Venice to Padua or viceversa, along the Brenta Canal (Riviera del Brenta), visiting some of the Venetian Villas, summer residences of the 16th century, with stops at the monumental palaces with its legendary frescoes. Once along this waterway sailed the “burchielli”, boats that carried the Venetian nobleman; nowadays all the boats that cruise along the Brenta Canal are called “burchielli”. The company "I Battelli del Brenta" has many boat carrying from 70 to 135 passengers and romantic "Burci", restored wooden old barges. A charming cruise, through nine swing bridges and five locks real "water lifts", allowing the descending of an almost 10-metre high water slope between Venice and Padua. The guided cruises usually include boat trips from Venice to Padua (Venezia, Fusina, Malcontenta, Oriago, Mira, Dolo, Strà, Padua) or from Padua to Venice (Padua, Strà, Dolo, Mira, Oriago, Malcontenta, Fusina, Venezia); the visits to the Villa Gradenigo of Oriago, to the Villa Widmann or Barchessa Valmarana of Mira, to the Villa Pisani of Strà, to the Villa Foscari Malcontenta; the guide and the lunch optional on restaurant; other programs include the Venetian Lagoon. We have also included in our programs a particular visit of the Ancient Mills of the 16th century, historically very important for the economy of this area. Some programs include departure or arrival in the historical centre of Padua at the new landing stage of "Porte Contarine" lock or at the old fluvial port "Portello" with its Steps of the 16th century. A daily cruise from 09.00 to 18.00 proposes navigation, stops and the visit to three Venetian Villas, the visit to the Ancient Mills of the 16th century in Dolo and the guide; lunch is optional on restaurant. Special short cruises and half day public and private group programs are available. We are also a receptive operator; rates for transfers by boat or coach, excursions and visits to the sights and the parks, hotel accommodation and more on request VILLE VENETE Villa Foscari “La Malcontenta” Barchessa Valmarana Villa Widmann Foscari, Mira (VE) Tel. 041.426.63.87. Villa Nazionale Pisani ex Reale Stra (Venezia) - Tel. 049.50.20.74. Villa Foscarini Rossi Museo della calzatura d’autore Stra (Ve) - Tel. 049.980.10.91. Villa Widmann Foscari Rezzonico Mira (VE) -Tel.041.560.06.90. | |
| THE REDENTORE FESTIVITY | ||
| Period | ||
| The Redentore is one of the Venetians’ most treasured festivities, and is a tourist attraction thanks to the spectacular firework display in the evening. It falls on the third Sunday in July, when Holy Mass is held in the presence of the Patriarch, followed by a religious procession. But the special moment of the festivity takes place on Saturday night: with the unbeatable backdrop of Saint Mark’s Basin, a play of lights and reflections produce a kaleidoscope of colours with the silhouetted spires, domes and bell towers of the city behind. The weekend ends with a gondola regatta. |
| |
| EXCURSIONS IN THE LAGOON | |
| Period | |
| We can arrange special excursions in the Venetian Lagoon by private boat to discover the wonders of the nature and the secret islands of this marvellous water world. | |
| HISTORICAL REGATTA | ||
| Period | ||
| The rowing races are preceded by a magnificent historical procession consisting of splendid, elaborately carved boats complete with hundreds of figures in gorgeous brocade costumes. The water procession re-evokes the triumphant welcome accorded by the Serenissima to the Queen of Cyprus, Caterina Cornaro, who had "donated" her kingdom to Venice in 1489.The historical procession is followed by the boats representing the city's various rowing associations (about sixty).For the occasion the Department of Tourism sets up the Machina (a grandstand of honour for the authorities) near Ca' Foscari where, for centuries, the Venetian regattas have finished.There are four actual races (each one on special boats): the first is reserved for the Very Young, the second for Women, the third for male crews (on 6-oared caorline) while the fourth constitutes the high spot of the event, that is to say it sees the famous rowing champions compete on gondolini which are a sporting development of the gondola and are only used in the city's major rowing contest. |
| |
| THE VOGALONGA | |
| Period | |
| This event originated 31 years ago with the aim of making Venetians aware of the problem of swell created by engine-powered boats, thanks to the initiative of a group of Venetians who were lovers of rowing and of the traditions of the "Serenissima". Since then the number of participants, especially from abroad, has continued to grow, with entries totalling up to 1500 boats.In the morning a large number of boats of every type and shape gather in St. Mark's Basin opposite the Doge's Palace to await the start; they then set off on a roughly 30 kilometre long course that winds its way among the lagoon islands before returning to Venice along the Rio di Cannaregio to finish at the Punta della Dogana.The success of this event not only encouraged the creation of rowing clubs but also stimulated the then dying crafts of boat restoration and construction. Participation in the Vogalonga, a non-competitive event, is also an opportunity for everyone to rediscover the lagoon, its landscapes and its habitat. | |
| BOAT RENTAL | |
| Period | |
| We offer the possibility to rent boats also for one day to visit the wonders of the Venetian Lagoon and see Venice from a privileged point of view : its channels.. | |
| RUNNING EXPOSITIONS | |
| Period | |
| For an updated information about shows and exposititions,please visit http://www.turismovenezia.it | |
| VENICE: A DELICATE ENVIRONMENT | |
| Period | |
| The buildings of Venice are constructed on closely spaced wood piles (under water, in the absence of oxygen, wood does not decay) which penetrate alternating layers of clay and sand. Most of these piles are still intact after centuries of submersion. The foundations rest on the piles, and buildings of brick or stone sit above these footings. The buildings are often threatened by flood tides pushing in from the Adriatic between autumn and early spring. Six hundred years ago, Venetians protected themselves from land-based attacks by diverting all the major rivers flowing into the lagoon and thus preventing sediment from filling the area around the city. This created an ever-deeper lagoon environment. During the 20th century, when many artesian wells were sunk into the periphery of the lagoon to draw water for local industry, Venice began to subside. It was realised that extraction of the aquifer was the cause. This sinking process has slowed markedly since artesian wells were banned in the 1960s. However, the city is still threatened by more frequent low-level floods (so-called Acqua alta, "high water") that creep to a height of several centimeters over its quays, regularly following certain tides. In many old houses the former staircases used by people to unload goods are now flooded, rendering the former ground floor uninhabitable. Thus, many Venetians resorted to moving up to the upper floors and continue with their lives. Some recent studies have suggested that the city is no longer sinking [citation needed], but this is not yet certain; therefore, a state of alert has not been revoked. In May 2003 the Italian Prime Minister, inaugurated the MOSE project. MOSE, the acronym for the experimental model created to test the gates' performance (Modulo Sperimentale Elettromeccanico), will lay a series of 79 inflatable pontoons across the sea bed at the three entrances to the lagoon. When tides are predicted to rise above 110 centimetres, the pontoons will be filled with air and block the incoming water from the Adriatic sea. This challenging engineering work is due to be completed by 2011. However, sea levels are rising anyway, and in fact, the whole east coast of Italy is sinking (although very slowly). Some experts say that the best way to protect Venice is to physically lift the City to a greater height above sea level - by pumping water into the soil underneath the city. This way, some hope, it could rise above sea levels, protecting it for hundreds of years, and eventually the MOSE project may not be necessary (it will, controversially, alter the tidal patterns in the lagoon, damaging some wildlife). A further point about the "lifting" system would be that it would be permanent - the MOSE Project is, by its very nature, a temporary system: it is expected to protect Venice for "only" 100 years. If sinking is prevented, today's engineers hope that future generations will - perhaps in thousands of years time - remember the current work being done, for saving one of the most romantic cities in the world. | |
| TANGO IN VENICE | ||
| Period | ||
| Cà Arco Antico, typical guest house in Venice, offers to its guests, the possibility to partecipate to the tango nights organized by the famous venetian school of tango El Dia Que Me Quieras |
| |
| COMING EVENTS | |
| Period | |
| VENETIAN GARDENS FESTIVAL 2009. “Between Roses and Fragrant Grass…” Venice, 11-14 June. Annual festival with guided tours, walks and parties in private gardens or gardens of historical-environmental value. Wigwam Club Giardini Storici Venezia, tel. 041.61.07.91. e-mail: giardinistorici.ve@wigwam.it Millennium Concert. Basilica of Santa Maria Assunta, Torcello, 21 June. The Solisti Veneti conducted by Claudio Scimone in a tribute performance at the Basilica of Santa Maria Assunta. Program includes works by Galuppi, Dragonetti and Vivaldi. Info, tel. 041.277.17.02. email: comitatotorcello@patriarcatovenezia.it - www.veneziaubc.org Day of the Redentore. St. Mark’s Basin and Island of Giudecca, 18-19 July. Traditional holiday celebrating the Redeemer: procession over a pontoon bridge, Holy Mass, fireworks show over the lagoon, related events and boat races. Web site: www.comune.venezia.it/turismo 66th Venice Film Festival. Palazzo del Cinema, Lido: 2-12 September 2009. Annual celebration of the international film industry, presented by the Venice Biennale. Director, Marco Muller. Venice Biennale, tel. 041.521.88.61 - www.labiennale.org OPEN: 12th International Exhibition of Sculptures and Installations. Islands of Lido and San Servolo: 3 September to 4 October. Twelfth edition of the annual open-air show coinciding with the Venice Film Festival: sculptures, installations, happenings, performances. Info, tel. 041.526.45.46 - www.artecommunications.com FUTURISM 100: Abstractions. Correr Museum, 4 September to 13 December 2009. Second of three shows presented in Rovereto (Mart), Venice and Milan (Palazzo Reale) in celebrating the 100th anniversary of the movement founded in 1909. Info, tel. 041.274.76.07-14 – www.museiciviciveneziani.it 47th Campiello Literary Prize Confindustria Veneto. Fenice Theater, 5 September. Gala evening and award ceremony of the literary prize for contemporary fiction writing. Campiello Foundation, tel. 041.251.75.21. Web site: www.premiocampiello.org Historical Regatta. Grand Canal, Sunday 6 September 2009. Most spectacular rowing event in Venice, with a costumed historical boat procession and rowing races. City of Venice, Office of Tourism, tel. 041.274.77.44. Web site: www.comune.venezia.it/turismo Venice Country Show. City of Venice international horse show. Park of San Giuliano, Venice, 11-13 September 2009. Second edition of the international competition and its parallel fair dedicated to horses and country style. VeneziaFiere, tel. 041.71.40.66 – www.veneziafiere.it BETWEEN BYZANTIUM AND VENICE. Torcello: Art and History. Diocesan Museum, 9 September - 10 January 2010. Exhibition focusing on the origins of Venice and its continuing relations with the Orient and Europe. Info, tel. 041.277.17.02. email: comitatotorcello@patriarcatovenezia.it - www.veneziaubc.org Air Festival. Sport Aviation Expo. Nicelli Airport, Lido, 25-27 September. Back in Venice with a big show is lightweight and sport aviation. Program includes trade displays, exhibition flights and conferences. ExpoVenice, tel. 041.533.48.50. Web site: www.festivaldell’aria.it 23rd Venice Marathon. Stra (Riviera del Brenta) - Venice: Sunday 25 October. Annual return of one of the major Italian marathons, scheduled as the great Venetian autumn classic. Info, tel. 041.94.06.44 - www.venicemarathon.it Bbcc EXPO. 8th Fair of Cultural Heritage and Activities & Restoration. Venice Passenger Terminal, 3-5 December 2009. Annual meeting dedicated to operators in the trade of cultural heritage conservation and promotion. Accompanied by the Fifth Restoration Fair. VeneziaFiere, tel. 041.71.40.66. Web site: www.veneziafiere.it Arthur Rubinstein Lifetime Achievement Award. Fenice Theater, 12 December 2009. Thirtieth edition. Gala evening and award ceremony of the prestigious prize given this year to one of the finest living pianists and conductors: Maestro Daniel Barenboim. Web site: www.teatrolafenice.it | |
