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SAN POLO
SAN POLO
Sestiere San Polo and Santa Croce , bounded by the upper bend in the Canal Grande , were named after the churches which were within their borders. It is believed that the first inhabitants settled on a group of small islands called Rivus Altus ( High Coast ) or Rialto . When you are in the 11 century that the market, this district became the commercial center of Venice.
San Polo is still one of the most important areas in the city, with market stalls, small shops and bars nearby. Bustle of market replaces the maze of narrow streets that open towards the squares. The most interesting are the large Campo San Polo , the Frari Church and the adjacent Scuola di San Rocco.
Heavenly devotion and earthly delights are neighbours in San Polo, where you`ll find both truly divine art and the city`s ancient red-light district, now home to artisans` workshops and excellent osterie (restaurant-bars).
The pride of the sestiere (neighbourhood) is a pair of fraternal-twin masterpieces that couldn`t be more different: I Frari, with Titian`s glowing, gorgeous Madonna; and the Scuola Grande di San Rocco, with its action - packed, turbulent Tintoretto`s. Foodies can have a different kind of religious experience at the Rialto markets, where mounds of exceptionally fresh seafood and produce look more like offerings to the gods.
Photographers elbow drooling gourmets aside to capture glistening fish artfully balanced on their tails atop hillocks of ice, and row after row of exotic vegetables from marshy lagoon gardens. But if it`s a retail high you`re after, San Polo`s artisans` studios will make you think you`ve died and gone to shopping heaven - without being hell on your wallet.ALISON BING
Comedians, musicians and writers will feel inspiration bubbling up like a belly laugh from the stone floors at the birthplace of Carlo Goldoni(1707 - 93), creator of opera buffa (comic opera) and delicious social satires. As the 1st-floor display explains, Goldoni was a master of second and third acts: he was a doctor`s apprentice before switching to law, a back-up career that proved handy when some comedies didn`t sell. But Goldoni had the last laugh, with salon sitcoms that made socialites chuckle at themselves. The main draws in the museum are the 18th-century marionettes and puppet theatre, but don`t miss chamber - music concerts held here; see the museum`s website for a schedule. (Casa Goldoni website)ALISON BING
This 9th-century Byzantine church has kept a low profile over the centuries while housing grew up around it, so most travellers speed past without realising it`s there. With a high ship`s-keel ceiling and stained-glass windows from the 14th to 15th centuries, San Polo is surprisingly airy inside, if a little dark - and the same is true of the art. Tintoretto`s Last Supper is rife with tension, as apostles react with outrage, hurt and anger at Jesus` news that one of them will betray him.
Giandomenico Tiepolo (son of baroque ceiling maestro Giambattista) shows the dark side of humanity in his Stations of the Cross: jeering onlookers torment Jesus, his blood-stained rags contrasting with their baroque finery. Literally and figuratively, Tiepolo lays it on thickly, so that when a lushly painted Jesus leaps from his tomb on the gold ceiling, it`s the ultimate comeuppance for his tormentors.ALISON BING
literature: Bing Alison. Venice Encounter: Sestieri - San Polo. ISBN 9781741049978. London: Lonely Planet Publications Pty Ltd ABN36005607983, 2009., 84.pg.
Is it hot in here, or is it just Titian`s 1518Madonna of the Assumption? This smouldering altar masterpiece draws visitors into the apse and out of this world, capturing the moment the Madonna escapes this mortal coil and reaches heavenward, her signature Titian red robe in glorious disarray as she finds her footing on a cloud. Inside the painting, onlookers below gasp and point out the ascending Madonna to one another - not unlike the modern-day visitors to the church.
As if this weren`t already too much to handle, the lofty Gothic brick church has other wow-factor features: minuscule puzzlework marquetry in the coro (choir stalls), Giovanni Bellini`s achingly sweet sacristy triptych, Titian`s Madonna of Ca` Pesaro to the left of the choir, and the marble-pyramid mausoleum of Antonio Canova, which the artist had originally intended as a monument to Titian. Titian was lost to the plague aged 90 in 1576, but legend has it that, in light of his contribution to I Frari, the strict rules of quarantine were bent to allow his burial in the church.ALISON BING
It was built between 1489 and 1508 by Bartolomeo Bon, at the same time as the nearby Scoletta. Of the original structure, only the apse and the door, afterwards positioned facing the Scuola, now remain. The rest of the Church was reconstructed in 1725 by Giovanni Scalfarotto.
The facade now existing was erected between 1765 and 1771 by Bernardino Maccaruzzi following the style of the nearby Scuola.
Inside, besides the paintings listed here below, the main altar above which lies the urn with St. Roch`s body is worthy of notice; the statue of the Saint is by Bartolomeo Bon.
`Tits Bridge` got its name in the late 15th century, when neighbourhood prostitutes were encouraged to display their wares in the windows instead of taking their marketing campaigns to the streets. Crossing over the bridge, you`ll reach Rio Tera della Carampane, named after the house of a noble family (Ca` Rampani) that became notorious as a meeting place for local working girls, who to this day are known as carampane. ALISON BING
PONTE DELLE TETE
literature: Bing Alison. Venice Encounter: Sestieri - San Polo. ISBN 9781741049978. London: Lonely Planet Publications Pty Ltd ABN36005607983, 2009., 85.pg.
An amazing feat of engineering in its day, Antonio da Ponte`s 1592 marble bridge was for centuries the only land link across the Grand Canal. The construction cost250 000 gold ducats, a staggering sum that puts cost overruns for the new Ponte di Calatrava into perspective.
Now that the Rialto is clogged with kiosk and foot-traffic jams, locals go out of their way to avoid it, or zip up the less scenic northern side of the bridge. The southern side faces San Marco and, after the crowds of shutterbugs and tour groups clear out around sunset, it offers panoramas of a picturesque stretch of the Grand Canal lined with palazzi (palaces or mansions).ALISON BING
literature: Bing Alison. Venice Encounter: Sestieri - San Polo. ISBN 9781741049978. London: Lonely Planet Publications Pty Ltd ABN36005607983, 2009., 86.pg.
Tintoretto`s masterpiece took 23 years to complete (1575 - 1587), but it`s so fresh and immediate you`d swear the paint is still wet. Everyone wanted the commission to paint this building, dedicated to the patron saint of the plague stricken, so Tintoretto had to produce something exceptional - and, just to be sure he won, he cheated a little.
Instead of producing sketches like his rival Paolo Veronese, Tintoretto painted a ceiling piece and dedicated it to the saint - knowing the confraternity couldn`t refuse an offering to San Rocco, and that other painters would have to work around the piece. Tintoretto went all out in the upstairs Sala Grande Superiore, covering the walls with action-packed biblical scenes that read like a graphic novel. This painting cycle seems to come with its own sound effect: you can almost hear the swoop! Overhead as an angel dives down to feed an ailing Elijah.
Unlike the Venetian colourists, Tintoretto concentrated on dynamic lines, and you can see the roots of modern abstract expressionism in Agony in the Garden, where a sketchy, anxious Jesus faces his fate against a black, X-shaped void.ALISON BING
literature: Bing Alison. Venice Encounter: Sestieri - San Polo. ISBN 9781741049978. London: Lonely Planet Publications Pty Ltd ABN36005607983, 2009., 86.pg.
Santa Croce is mainly Sestiere is very narrow, densely crammed streets and squares where you will see a modest life in Venice . Her most impressive palazzi were lined up along the Canale Grande . Less attractive to Piazzale Roma , a vast city parking lot, which stretches west.
So this is how Venice lives when it`s not busy entertaining . Santa Croce is a network of winding lanes lined with artisans` studios, campi (squares) where kids tear around on tricycles while adults sip prosecco, pizza joints that are cheap enough for teenagers on dates, alternative - culture outposts and (since this is Venice, after all) a couple of charmingly quirky museums in historic palazzi (palaces or mansions).
When the Rialto scene gets too overwhelming, wander west through Santa Croce past Byzantine churches and baroque houses, stopping frequently for outstanding gelato (perennial local favourite: pistachio). Beyond the museums and a couple of churches, there`s not much here of major tourist interest, which is what makes it an ideal place to really unwind. No traffic or souvenir salespeople here; instead, there`s just the murmur of idle chatter in backstreet bacari (restaurant-bars), water lapping at the canal banks, and unhurried footsteps along single-file calle (streets).ALISON BING
literature: Bing Alison. Venice Encounter: Sestieri - Santa Croce. ISBN 9781741049978. London: Lonely Planet Publications Pty Ltd ABN36005607983, 2009., 98.pg.
This highly eccentric museum is really a three-in-one special: modern art plus Japanese antiques, all in a 1710Baldassare Longhena - designed palazzo. The ground-floor Galleria d`Arte Moderna begins with the shamelessly self-promoting early days of the Biennale, and its emphasis on Venetian landscapes, Venetian painters (notably Giacomo Favretto) and socialites who supposedly embodied mythological virtues.
But the savvy Biennale foundation bought key works shown in other national pavilions too - notably Gustav Klimt`s 1909Judith II (Salome) and Marc Chagall`s Rabbi of Vitebsk (1914 - 1922). The Pesaro family comissioned the 1901 portrait of grande dame Letizia from future futurist Giacomo Balla, while the De Lisi bequest in 1961 added Kandinskys and Morandis to the mix.
Upstairs is the wonderfully quirky Museo Orientale, the result of an 1887 - 1889 shopping spree across Asia by Prince Enricodi Borbone. He reached Japan when Edo art was being discounted in favour of modern Meiji, and his Edo-era swords, netsukes (miniature sculptures), musical instruments and lacquerware writing sets are highlights of this collection of 30 000 objects d`art.
SAN GIOVANNI EVANGELISTA
literature: Bing Alison. Venice Encounter: Sestieri - Santa Croce. ISBN 9781741049978. London: Lonely Planet Publications Pty Ltd ABN36005607983, 2009., 99.pg.
Fashionistasand fans of costume drama shouldn`t miss this museum of textiles, housed in the swanky 18th-century salons of a GothicGrand Canal palace. It`s easy to imagine romance blossoming under the ceiling fresco in the green drawing room, and elections of the doge (Venice`s leader) being negotiated in the count`s library - seven Mocenigo family members served as dogi.
Each
room features appropriate garments: a lethal - looking corset in the
contessa`s bedroom, English-influenced damask rose gowns with plunging
necklines in the red living room, and deep red procurators` robes that
hid expanding waistlines in the dining room.ALISON BING
literature: Bing Alison. Venice Encounter: Sestieri - Santa Croce. ISBN 9781741049978. London: Lonely Planet Publications Pty Ltd ABN36005607983, 2009., 102.pg.
PONTE DI CALATRAVA
The Calatrava Bridge
has already been called many things: a fish tail, a fantasy,
unnecessary, overdue, pleasingly streamlined and displeasingly
wheelchair inaccessible. There are, however, two things that everyone
agrees on: it was expensive and it was late. Budgeted at around 4 € million in 2001, the cost of the bridge trebled as engineers corrected a 4cm
tolerance that raised questions about its stability. Decide for
yourself if the time and money paid off - then join the ongoing debates
at happy hour across Venice.ALISON BING
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