Cannaregio


CannaregioOur visit to Sestiere Cannaregio, owing its name to the Canal Regio, starts from the crowded Santa Lucia Railway Station. Leaving Ponte degli Scalzi to our right, we enter the long Strada Nova “corridor”.
Inaugurated in 1871, Strada Nova opened a corridor through the maze of existing buildings that were gradually demolished for the purpose of connecting, for strategic reasons as well, the Railway Station to the centre of Venice.
We walk down Lista di Spagna and in Campo San Geremia we admire the imposing Palazzo Labia, a beautiful building of the XVII century planned by Andrea Cominelli hosting the superb Tiepolo’s frescos.
Santa Lucia Church, in the same campo, houses the remains of the martyr of Syracuse since 1871.

After Ponte delle Guglie, we temporarily abandon the main road and head for the Ghetto.
Divided into three areas: Gheto Vecio, Novo and Novissimo, the Ghetto was created in 1516 as forced residence for the Jewish community. It has a unique architecture for Venice, with multi-storey-buildings and low ceilings due to the little space available.
In Campo del Gheto, a monument pays tribute to the tragic holocaust death toll of Venetian Jews during World War Two.
The area of the Jewish Ghetto and its surroundings are particularly interesting for their frequent scenes every day life as well.
The washing hanging out between houses, the small shops and the osterie where you will find almost exclusively local people.  Not far from here, we can admire the Madonna dell’Orto Church, an extraordinary example of gothic architecture, located in the homonymous campo with the traditional brick paving in a herringbone pattern.
Inside the Church, the ‘Universal Judgement’ by Tintoretto waits for us. Not to be missed for any reason. 

A few more steps, a stop in one of the many ethnic restaurants in Fondamenta della Misericordia and we are back in Strada Nova, near Campo Santa Sofia. Not far, Cà d’Oro - one of the most beautiful palazzi overlooking the Grand Canal. Built in 1420, this classic example of floral gothic style, with elegant lancet windows, oriental pinnacles and fine marble fretworks, seduces us with its flaunted exoticism.  Inside the palazzo, visit the Franchetti Gallery, which among its works has two masterpieces of Italian art: Saint Sebastian by Andrea Mantegna and Tiziano Vecellio’s Venus. 
After the lively Campo Santi Apostoli, when our walk seems to be reaching its end, after a tangled maze of small calli, we are literally dazzled by the polychrome marbles of the façade of Santa Maria dei Miracoli, Renaissance jewel built by Pietro Lombardo in 1489.
While admiring this casket, we are once again grateful to this city that, the more it discloses itself, the more it astonishes us.
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