Italian Trip Diary -- Day #17 -- Venice to Rome

Friday, June 28, 2001, Venice to Rome:

On the last morning in Venice we took the elevator to the top of the campanile.

Campanile on Piazza San Marco with the Basilica on the left.  The tower rises 323 feet.
It was originally built in 1514, but collapsed in 1902 and was rebuilt in 1912.
Photo by Blomme-McClure

The views of the city are splendid and just as we reached the viewing platform the sun began to break through the clouds.  The domes and spires of San Marco below bathed in early morning sunlight,

Domes of the Basilica of San Marco from the top of the Campanile.
Photo by Blomme-McClure

La Salute rising across the Grand Canal,

Punta della Dogana (left) and Basilica of Santa Maria della Salute (right) at junction of the Grand Canal (foreground) and the Guidecca Canal with the Church of Santissima Rendatore in the left background.
Photo by Blomme-McClure

and San Giorgio Maggiore

San Giorgio Maggiore by Palladio was begun in 1566.  The facade was under restoration in 2001 when we were in Venice.  Photo by Blomme-McClure

perched on its own island in the lagoon

The island of San Giorgio Maggiore in the Venetian Lagoon with a corner of the Ducal Palace (left)
 and the Piazzetta with the twin columns topped by the Venetian Lion and 
St. Theodore Slaying the Dragon.
Photo by Blomme-McClure

were all splendid sights and reminders of the delightful days we spent in Venice.

Palazzo Ducal from the top of the campanile showing the rhythmic facade on the exterior 
and the more haphazard facade in the interior courtyard.  
Photo by Blomme-McClure

Piazza San Marco from the top of the campanile.
Photo by Blomme-McClure

The evangelist St. Mark preaching from the highest ogee arch of the facade of the Basilica of San Marco,
with angels climbing up the arch toward him amid the spires.  Most of the sculpture on the facade dates from 1414 to 1419 and is by  Paolo di Jacobo delle Masegne and Nicolai di Pietro Lamberti, although some that fell in an earthquake in 1511 were later replaced by Giorgio Albanese in 1618.
Photo by Blomme-McClure 

The campanile rises above the facade of a building along the Piazetta.
Photo by Blomme-McClure

Santa Maria della Salute across the Grand Canal.  Photo by Blomme-McClure

At noon we took a water taxi to the airport,

A favorite gondolier who worked from the basin near our hotel.  Photo by Blomme-McClure

Traffic jam on the way to the airport.  Photo by Blomme-McClure

crossing the lagoon along San Michelle

The cemetery island of San Michelle in the lagoon between the city and the airport.  Photo by Blomme-McClure

and arriving at a dock right next to the airport terminal.  The flight to Rome was uneventful, but then the fun began.

We took a taxi from the airport to the Jolly Hotel (where we had stayed at the start of our trip) -- but in the confusion of getting out of the taxi one bag was left in the trunk (warning to travelers #1 -- always count your luggage during transfers).  It happened to be the bag that had all of our prescription drugs in it (warning to travelers #2 -- always carry your prescription drugs in you backpack).  Frantic calls to our doctor in New York were followed by a trip to the Farmacia Internazionale (Piazza Barberini 49, Rome) where the pharmacist spoke little English and was reluctant to give us many of the prescriptions (warning to travelers #3 -- always carry copies of your prescriptions and a list of prescriptions with generic names as well as brand names).  Fortunately for us, a proctologist from Baltimore who spoke Italian was in the store and was able to intercede on our behalf.

When we got back to the hotel, there was a phone call from the taxi driver saying that he had found the bag in his trunk and that he would drive back into the city to return it -- if we would pay him for the round trip fare.  We agreed and eventually he arrived with the bag all ripped open with the contents rifled through.  We gladly paid him an excessive 'ransom' to get the prescriptions back, but then found ourselves the laughing stock of the hotel staff for paying off 'Al Capone, the bandito'.

Exhausted from the journey and subsequent events, we stumbled across the street for pizza at Il Pomodorino (Via Campania 45e, Rome, 06/42.011.356) where we requested a table served by our friend, Emmanuela.   

Italian Trip Diary -- Day #16 -- Venice

Thursday, June 28, 2001, Venice:

On our last full day in Venice we decided that we’d spend the morning going to I Frari, the art-filled church toward the railroad station from our hotel.  We decided to take the vaporetto from San Marco.  

Basilica di Santa Maria Gloriosa dei Frari, main facade in Venetian Gothic style.  Photo by Blomme-McClure

The morning was grey and there were a few sprinkles as we got off the boat, so we didn’t linger too long viewing the exterior, a red brick perpendicular Gothic structure with the second tallest (after San Marco) campanile in Venice. 

 Campanile of Frari, the second tallest in Venice.  Photo by Blomme-McClure

It is similar in style to San Zanipolo.  The interior is another treasure house of Venetian art. 

Nave of Frari looking east.  The rood screen surrounding the choir is the only one still in place in Venice.
Photo by Blomme-McClure

The main altarpiece is an 'Assumption of the Virgin' by Titian done in rich reds and golds.

Choir of dei Frari with Titian's 'Assumption of the Virgin' above altar.  Photo by Blomme-McClure

There are three distinct sections – the Apostles in shadows at the bottom, the Virgin rising on an arc of cherubs and clouds at the center, and a welcoming God the father with two angels in a dark streak at the top. The altarpiece is set against an arc of quadruple stacked lancet windows and closed off from the nave by a choir screen of marble.  Throughout the church there are tombs and monuments to famous Venetians, including the striking almost art nouveau pyramid in white marble for the sculptor Canova

The tomb which Antonio Canova designed for himself in the church of dei Frari.  Note the winged Lion of Venice sleeping just to the left of the doorway.  Photo by Blomme-McClure

and a huge triumphal arch for Titian.

This grandiose arch replaced a simple floor tile in the mid-19th century to mark the grave of the artist Titian.
Note the relief sculpture depicting Titian's 'Assumption of the Virgin' which is the church's altarpiece.
Photo by Blomme-McClure

Titan's 'Madonna of the Pesaro Family' above a side altar in dei Frari.  Photo by Blomme-McClure

'John the Baptist' by Donatello in the center of this altarpiece.
It is the only work by Donatello in Venice.  Photo by Blomme-McClure

'Triptych of St. Mark (center) with Saints John, Jerome, Peter and Nicholas' by Bartolomeo Vivarini, 1474.
Photo by Blomme-McClure

'Altarpiece of St. Ambrose' by Alvise Vivarini, 1503.  The Vivarinis were sort of the in house
artists for the basilica.  Photo by Blomme-McClure.

We had to get back to our hotel so that we could assemble a picnic lunch of tramazinni and sodas and be ready for the water taxi that we had reserved at noon for a two-hour tour.  Doug plotted a route on a map from the concierge that took us through the canals behind San Marco going by San Zanipolo

The unfinished facade of San Giovanni and San Paolo, a.k.a San Zanipolo.  Photo by Blomme-McClure

and San Lazzaro dei Mendicanti;

Church of San Lazzaro dei Mendicanti designed by Vincenzo Scamozzi in 1601.
It is surrounded by the Ospedale Civile which is on the site of the old lepers hospital.
Photo by Blomme-McClure 

then out along the cemetery island of San Michelle

Isola di San Michele, the cemetery island of Venice where Sergei Diaghilev and Igor Stravinsky are buried.
Photo by Blomme-McClure

(where Diaghilev and Stravinsky are buried).

Church of San Michele on Isola di San Michele.  The church is dedicated to the Archangel Michael who holds the
scales on Judgement Day -- fitting for a cemetery church.  Photo by Blomme-McClure

The Church of Santa Maria Assunta, a.k.a. I Gesuiti, near the Lagoon.  This is where St. Ignatius of Loyola
founded the Jesuit order in 1535.  The church was designed by Domenico Rossi.  The statues on the gable are
by Giuseppe Torretti and portray 'The Assumption of the Virgin' (they seem a little bulky for the overall scale of the facade).  Photo by Blomme-McClure 

Leaving the lagoon we headed back into the city along the Rio di Sant'Alvise and 

Church of Madonna dell'Orto north of the railroad station.  The facade dating from 1464-1466
is in the mature Venetian Gothic style.  The contrast between the filigreed marble decoration
 and the warm red brick is striking.  Photo by Blomme-McClure

through the Ghetto;

Approaching the Ponte dei Tre Archi on the Cannaregio Canal.  It's the only three arched bridge in Venice.
Photo by Blomme-McClure

across the Grand Canal near the railroad station; 

Santa Maria di Nazareth, a.k.a. Chiesa degli Scalzi,designed by Baldassarre Longhena and built
between 1672 and 1680 sits on the Grand Canal near the station.  Photo by Blomme-McClure
.

down through Santa Croce and Dorsoduro; then along the Guidecca Canal between the church of I Gesuati designed by Massari

Santa Maria del Rosario, a.k.a. I Gesuati designed by Giorgio Massari on the Guidecca Canal begun in 1726.

Photo by Blomme-McClure 

and the church of Il Redentore considered by many to be Palladio's masterpiece.

Andrea Palladio's Chiesa del Santissimo Redentore, a.k.a. Il Redentore, built in 1577 to 1592 to celebrate the deliverance of Venice from the plague in 1575-76.  Like Palladio's San Giorgio Maggiore, the facade was under wraps when we were there in June, 2001.  Photo by Blomme-McClure

The dome and double campaniles of Il Rendentore by Palladio from Rio della Croce
 that cuts through the Giudecca.  Photo by Blomme-McClure

After bisecting the Giudecca on the Rio della Croce, we came up alongside of the Cipriani Hotel to our left and San Giorgio Maggiore to our right with the Palazzo Ducale and San Marco straight ahead.

Campanile, a bit of San Marco, and the Doges Palace.  Photo by Blomme-McClure

Coasting behind the island of San Giorgio Maggiore we got a lovely view of Palladio's church and campanile

Church and Campanile of San Giorgio Maggiore with marina.  Photo by Blomme-McClure

before making a trip up the Rio di Giardini to see the church and leaning tower of San Pietro di Castello near the Arsenale.

Looking down the Rio de le Virgine to the leaning Campanile of San Pietro di Castello.
Photo by Blomme-McClure

Then we headed back along the Riva degli Schiavoni toward the Dogana di Mare

Dogana di Mare at the junction of the Giudecca and Grand Canals.  Photo by Blomme-McClure

and up the Grand Canal past the Salute

Santa Maria della Salute on the Grand Canal.  Photo by Blomme-McClure

to the Rio di San Luca,

Palazzo Salviati (Hotel) on the Grand Canal.  Photo by Blomme-McClure

then back to our hotel’s water door. 

Gondoliers and bridge on canals near our hotel.  Photo by Blomme-McClure

Somehow, the driver took us along the entire route while we merrily snapped pictures of the wonderful passing scene – churches, palazzos, bridges, campaniles, gondolas, vaporetti – almost too enchanted to remember to eat our picnic lunch.

Our water taxi and driver pulling away from the 'water door' of the Hotel Cavalletto.  Photo by Blomme-McClure

Returning from this midday tour, we decided to have ice cream in San Marco at Caffe’ Lavena (Piazza San Marco, Venezia) one of the outdoor cafes on the piazza. Then, in order to have the requisite gondola ride in Venice, we took the traghetto near the Gritti Palace Hotel across the Grand Canal and back with a walk along the small canals on the other side between trips.

Gritti Palace Hotel (right) from the traghetto landing across the Grand Canal.  The traghetto is a wide gondola
that is used to get across the Grand Canal where there are no bridges.  George and I stayed at the Gritti Palace
on our first trip to Italy in the 70's.  Photo by Blomme-McClure

For our final evening in Venice, we decided to have dinner at Harry’s Dolci on the Giudecca Canal (Giudecca 773, Venezia, 041-5224844 or 041 5208337).  We took the vaporetto to the Palanca stop and then walked along the Fondamenta San Euphemia to Harry’s as the sun began going down.  The restaurant is on the quay with La Salute and the campanile of San Marco rising on the far side of the canal.  As we dined, the sun set and the lights of the city came on.  It was a magical place for a leisurely dinner with almost loving service and delicious food – a perfect summation and conclusion for our magical days in 'La Serinissima'.