Heart of Venice: San Polo and Santa Croce

Last – for now at least – trip to Venetian sestieri will take us to two central districts San Polo and Santa Croce. These two are often grouped as first of all they are very tiny and secondly it is not quite certain where one ends and the other starts (different maps might give you slightly different info). So we will not be any original here. Probably most tourists have one or other way crossed them as they lay on the way to San Marco from bus & train station. But they are worth your attention not only as a transit destination: they are full of churches, unpretentious from the outside but full of surprises inside.

(1) Sit in the shade of one of the few Venetian public gardens Giardini Papodopoli

(2) Visit unusual church of Tolentini, have a glass at a real bácaro

     and see how modern architecture integrates with history

(3) Be swept away by fury and passion of Tintoretto’s frescoes

     at Scuola Grande di San Rocco

(4) Visit the tomb of Titian, Canova, doges and admirals at Frari

(5) See real Venetian life on Campo San Polo

(6) Find a painting with a horror-movie scene with chopped hands

     in the church of San Giacomo dell’Orio

(7) Meditate with a glass of prosecco in front of San Stae overlooking the Grand Canal

(8) Visit the former heart of Venetian sex trade in Ca’Rampani

(9) Find the ‘guild church’ of Venetion prostitutes at San Cassiano

(10) Join Venetian housewives discussing the catch of the day at Rialto fish market

(11) Check the time on the ancient clock at San Giacomo di Rialto,

       the oldest church in Venice, just like Venetian merchants used to centuries ago

Right across from the bus or train station – whichever way you come – is something common if not mundane in other cities but rather a rarity in Venice – city gardens Giardini Papadopoli (1) named after the former owner. Remember this spot if you want to have a picnic: Coop supermarket located next to Piazzale Roma vaporetto station is a good spot to get picnic supplies.

This is the former location of Santa Croce church that gave the name to the district but then disappeared, only the name and one column (now incorporated into the building of hotel Canal) remain.

Behind a rather faceless building of Sofitel hotel you will find a not very typically Venetian church with a heavy Corinthian portico that rather makes you think of Roman or Parisian Pantheon than Venice.

This is a huge church of San Nicolò da Tolentino simply called Tolentini (2) (see map) with an imposing pier in front as the church was visited by Doge once a year.

Part of the Tolentini pier

Inside – contrary to usual Venetian patriotism – two paintings by foreigners: a Flemish (‘Saint Hieronymus’) and a Genoese (Saint Laurent). Inside the altar on the left is another baroque piece: monument to Patriarch Francesco Morosini with so many chaotically moving figurines that even the deceased himself cannot lay still starts lifting on his death bed. Tolentini can be visited Tu-Fr: 8:00-12:00, 16:00-19:00, Sa-Su: 8:00-12:00.

Between the church and the canal lays rather spacious Campo Del Tolentini. On its right (looking at the cathedral) is a tiny dark door that easily might remain unnoticed. Better do not miss it for it leasds to Bacareto Da Lele one of the few remaining authentic bácaro, Venetian wine bars. This is a real hole in the wall where the locals mix with tourists, wine is sold by glass accompanied by chiccheti and drinks are taken out to the canal side. Nothing fancy but gives you a taste and feel of ‘Venice without tourists’.

Back to Tolentini. Go through the portico.

Turn left and you will see a gem of XX century architecture (3), the gate of architectural faculty by Venetian architect Carlo Scarpa (who was also its dean for a long time). In fact, for a long time we took for a monument of some sort but in fact it leads to the inner yard with a decorative pool a café and a bookstore specializing in architectural books located in the former monastery of Teatin order (which later turned into Tolentini).

Continue following the signs pointing at Rialto and you will find yourselves next to two big scuolas (3) – Scuola di San Rocco, world famous for its architecture but more by Tintorettos’s frescoes, and Scuola di San Giovanni, architecturally beautiful but rarely visited by tourists (see map).

But first a word about this very Venetian notion of scuola. Despite its similarity to the word ‘school’ it has nothing to do with education: Venetian scuola is rather a confraternity. In Venice every adult man was a part of some organization: aristocrats served in the city administration while middle class grouped in various Scuole. Started as religious unions they later grew into professional guilds (like those of goldsmiths, barbers or shoemakers) or unions by nationailty (Greeks, Albanians and even Jews – the synagogues were called ‘scuole’ too) geared to provide support and help find jobs for countrymen.

In the XIII century several of them – purely religious charity organization – were officially recognized as Big (Scuole Grande). They were also the richest and served as a sort of elite ‘members only’ club for wealthy merchants.  By the end of the Republic there were 7 of them: we already visited Santa Maria dellaMisericordia on our trip to Cannaregio and today we will see two more Scuole Grande San Giovanni and San Rocco.

Scuole were dismissed by Napoleon. Today only two of them are active charity organizations: Scuola San Rocco and Scuola San Giorgio degli Schiavoni.

Scuola San Rocco was named after a French saint who fell sick with plague and was doomed to die but miraculously healed with the help of his dog who brought him bread (so don’t be surprised to see a dog next to the Saint). As Venetians were scared of plague they moved Saint Roch’s relics to Venice which started his cult (bordering hysteria) that immediately made the newly-created Scuola filthy rich so naturally a new building was ordered to fashionable architect Bartolomeo Bon.

The interior paintings were taken even more seriously and the competition was announced. It was won by Tintoretto who resorted to a ruse: while other contestants presented small-size sketches he theatrically opened up the curtain to reveal a ready painting on the ceiling. In the following 23 years this productive artist filled up the entire building with his artworks.

The result makes some cry while others say it makes the room sultry and hard to breathe. The best is to form your own opinion starting with Albergo (hall on the second floor). Here you will find the painted ceiling with Saint Roch that helped Tintoretto win the contest as well as 12-meteres high ‘Golgotha’ that some consider to be not less than the best painting of all times. In the right part of the painting you can see the artist himself, leaning against a rock, observing. Mind it, Tintoretto painted it all for free, just to be the sole artist to decorate the building. The first floor was done in the 1580’s when the artist was already old and they seem to be more solemn and profound.

The nearby Saint Roch’s church is free to visit (open 8:00-12:30 / 15:00-17:00, winter afternoon opening times are 14:00-16:00) and contains 4 Tintorettos depicting Saint Roch’s history in the altar (most of the time they are hard to see as they are either in the shade or reflecting the sun). As in most Venetian churches the custodian will be following you every step of the way making sure you do not take pictures so you only have one shot before he stops you.

The second nearby Scuola Grande di San Giovanni Evangelista is less known, harder to find and its architecture is more fragile and refined. In order to find it look for calle del Magazzen. This scuola was founded in 1261 by Flagellants, the monks who practiced whipping their flesh with various instruments (this was popular in deeply religious XII century but luckily afterwards its popularity winded down). In XIV century the confraternity got hold of a relic of the true cross which made it so rich that they could afford to order a series of paintings by Vittorio Carpaccio and Gentile Bellini. Unfortunately for the scuola (but to benefit of regular spectators) Napoleon decided to make them public and they have since been kept in Accademia gallery so the architecture is the only thing left to admire. The scuola is built to impress and opens up gradually: from the street you see almost theatrical perspective with Renaissance screen serving as a curtain, behind there is a campo with a church, Gothic façade of the scuola itself and a palazzo. 

Renaissance screen atop with eagle, symbol of San Giovanni

Whichever scuola you see first, you will undoubtedly end up on Campo dei Frari with a seemingly enormous building of the Frari church (4) (see map). This is something that happens only Venice and is still difficult to get used to: the churches, even huge ones, are not visible until you are literally next to them. In other cities you can see the bell towers and spires from afar, they stick out from behind the roofs and chimneys giving you an unmistakable point of reference. In Venice you wonder in the maze of narrow streets, bridges, couple of times get stuck in dead-ends, turn around, cross more bridges and then all of a sudden you find yourself in front of a huge church wondering how it could have gotten there without you noticing. Frari is no exception: you do not even realize that you are already next to the church walls until you reach the canal and look back. From here (or better from across the canal) is also the only spot to capture the entire building (and still it is better to have a wide angle).

Otherwise you can enjoy the reflection in the canal waters. Or a very close crop.

Architecturally Frari is a typical Franciscan church, similar to those built across Europe in XII century: laconic (the order preached simplicity) and huge (to fit in more new parishioners). The most ancient part is the apse seen from Campo San Rocco and – as the case with many Venetian churches – campanile. 

Frari is a part of Chorus system and is open Mo-Sa 10:00-17:00 and Su 13:00-17:00. Just like with other Chorus churches the photography there is prohibited but the interior contains many wonders. 

Interior impresses by its spaciousness (nice break from narrow streets) but inside the architecture is overruled by paintings. Already from the entrance you can see astonishing Titian’s Assunta that was created specifically for this church so that vertical move of the virgin echoes Gothic architecture and the mystical dimmed space above the painting seems to continue to the infinity. It was such a revolutionary composition for the time that believers fell on their knees and wept. 

On the opposite wall – another Titian: Madonna Pesaro, created for Jacopo Pesaro, the archbishop of Pathos on Cyprus. It was not new to depict the sponsors together with the saints, but Titian presented it as a sort of introduction of the family to the high-level saints: Saint Francis recommends the Pesaros to Virgin Mary while strict Saint Peter verifies their records. In order to confirm his merits Jacopo brought a character in turban – in addition from being archbishop he was also a military commander who defeated Turks. 

You can see Jacopo Pesaro once more – he is taking a nap on his tomb right around the corner. 

Titian himself is buried here as well but unfortunately his tomb does not follow the artist’s last will to be adorned by his last masterpiece Pieta: during the occupation the Austrians took Assunta and Pieta to the Accademia gallery and carved a marble copy of Assunta on his tomb instead. Assunta then returned to Frari but Pieta is still in Accademia… 

The altar part gives a nice overview of Venetian tomb sculpture: Renaissance tomb of Nicolo Tron talks about exploit so the deceased is depicted twice – in the lower tier during his heroic action and on the deathbed. Gothic is represented by Francesco Foscari tomb. Despite the fact that the Doge lays quietly while Jesus takes his soul to Heaven the deceased was quite a contradictory character. He got Venice engaged in the war that was lost, his son was accused of treason and then killed, the Doge himself was forced to resign (a very rare occurrence in Venetian history) and a week later he died. Other types of tomb sculpture are represented by an equestrian statue of Paolo Savelli, there is terracotta coffin of blissful Poncifico (who is not depicted on the monument as the tomb was made for another person who ceased it to the Saint). In the center – another contradictory figure, admiral Pesaro who achieved a great success in naval combats despite the fact he only became admiral at the age of 70. However his mores left much to be desired: he kept his mistress on ship and chopped heads of those officer who disagreed with his decisions. Around the corner in the main nave there is a hanging black coffin that was meant for Condotier Carmagnola but never got a ‘tenant’ since the Condotier was executed for treason. The idea of a hanging coffin might seem creepy but the idea behind it was how quietly the hero is waiting for his resurrection. 

The two monuments of a later period are Doge Giovanni Pesaros’ tomb with several layers of moors in jogging pants, skeletons and the Doge himself looking at it with horror. Next to the exit is the monument to sculptor Antonio Canova that was built with the money that was collected across Europe, the project was done by Canova himself for Titian’s tomb and later built for the Empress Maria and Vienna. However this monument has nothing to do with Venetian traditions: the Republic already ended. 

During the Napoleonic rule the Frari convent (Convento dei Frari) right next to the church was transformed into the State Archive containing now over 700 million documents. The contents of the documents is very characteristic of Venice: not that many memories and chronicles, no newspapers but plenty denunciations. Here are also kept the archives of the Council of Ten, Grand Council, scuole, geographical maps, autographs by famous Venetians and the famous ‘Libro d’Oro’ where all the Venetian aristocracy was registered.

As you continue through Campiello Meloni and Calle Madoneta you will suddenly end up on a giant Campo San Polo (5) (see map) This is real Venice for Venetians: the stream of tourists headed to san Marco only touches the edge of the Campo while its rest is occupied by locals. Here they drink beer, eat panini (Birrarie La Cortte located here has such a rarity in Venice as a few trees providing shade for panini eaters), walk the dogs, play football and – in the summer – watch movies in open-air movie theater.

On one side Casmpo is flanked by palazzi that contrary to Venetian tradition face the campo, not canal. However there is no mistake: there used to be a canal in front of them but was filled and added to the campo. The owner of Palazzo Soranzo (that is now used by local boys as a football gate) was so impressed by the violinist talent of a 20-year old Casanova that he adopted the young man which brought Casanova his first money.

Church of Saint Paul the Apostle (San Polo) is very difficult to photograph: from the campo you can only see the apse, the entrance is also from the side (next to the relief with the angels stretching a long scroll) and it is very difficult to see the campanile and the façade – almost impossible. 

The church is a part of the Chorus system and is open Mo-Sa 10:00-17:00. It is worth a visit to see the Last Supper by Tintoretto and the Crucifixion chapel with paintings by a young Giandomenico Tiepolo (you could see his works in Ca’Rezzonico).

A little to the side from the main path leading to San Marco but definitely worth a visit is the church of San Giacomo dell’Orio (6) (see map) traditionally showing its apse to the eponymous campo. The name probably derives from laurel tree (alloro) that used to grow here. Since it is a little off the main path the campo is spacious, quiet, sunny and has a village-like feel. . Venetians try to protect this quiet place from tourists using the tried and true method of nizioleti pointing at San Marco and Rialto. But do not follow the signs yet, not until you visit the church.

From the outside San Giacomo looks like a juxtaposition of cubes and cylinders but inside it is surprisingly harmonious. The church dates back to XIII century, the campanile – a century older, the ceiling is wooden and low (the floor was raised several times) but it only makes the church cozier. It is so quiet that you can hear the boys playing football outside and the ball beating against the walls. Lazy rays of sun penetrate through the small medieval window highlighting the traces that centuries of footsteps left on the floor, it smells like candle wax and an artist in the corner seems to blend in seamlessly.

There are a few archaic sculptures with XIII century Oranta being the most famous.

Oranta

More 'modern' paintings (only XVI century) in the sacristy belong to the overly productive Palma the Younger, the side chapels offer yet another attempt of creating a false perspective and trompe-l'oeil effect.

Even though more 'modern' paintings are more technically advanced and showcase anatomically correct human body from every possible angle they seem to lack the simplicty and naivety  of earlier works.

There is an interesting Last Supper with Jesus being the only participant with a halo with others being some Venetian ladies, wine-pourers and even a little boy. Jesus is tucked somewhere in the back while the Venetian nobles get way more attention and little boy becomes almost a centerpiece.

Ultima Cena (Last Supper)

But the most unusual piece hangs next to the entrance, to your right as you enter the church. It is very easy to glance right past it and continue to other artworks. But look closer and you will be stupefied to see two neatly chopped hands 'glued' to Madonna's dead body and their 'handless' former owner fallen on the ground besides. This is something you expect to see in The Texas Chain Saw Massacre but not in the XIII century church. Nevertheless it is correct: the painting depicts a legend of someone who doubted that Virgin Mary was indeed a blessed saint. In order to prove she is not poor fellow touched her and immediately got his hands detached from his body.

The time seemed to stop there: lazy sunlight was still flowing through the narrow windows, the artist was still trying to capture the moment on her drawing pad and the candles kept spreading the warm smell of wax...

As you exit the church for a moment it is hard to believe you are back in XXI century with cars, cellphones and supermarkets. Speaking of which: right here on Campo San Giacomo dell'Orio there is a supermarket, a good place to stock up on fruits, freshly baked bread, pate, artisan cheeses, marinated anchovies, prosciutto, prosecco... whatever tickles your fancy. Remember that in Venice any supermarket is stocked up better than most US deli stores but are not easy to find.

And you will need some picnic supplies as our next stop will offer a perfect opportunity for a break from running up and down the bridges.

Try to get to the Grand Canal - as always in Venice it is not easy to describe the road but try to keep your destination in mind and take turns more or less leading your in the chosen direction. Soon you will find yourself on Salizada San Stae and soon will see a medieval campanile (as often the oldest part of the church). At the Canal turn around and - what a contrast to the brick apse! - before you stands a chic marble late-Baroque facade. This is the church of Saint Eustachius –  the name that Venetians shortened to just San Stae (7) (see map). Inside you will find artworks by several prominent artists, San Stae is a part of Chorus system and is open Mo-Sa: 10:00-17:00 and Su: 13:00-17:00.

Tiny red building on the left is Scuola Tiraoro e Battioro – confraternity of goldsmiths – dates back to XVIII century. By the end of Venetian Republic it went bankrupt and auditors found in its vault 132 liras to against ten thousand in debts. 

Campo in front of the church is an ideal picnic spot: most of the day there will be very much needed shade, you have the most beautiful backdrop for 'bragging pictures' and the most amazing view – Grand Canal with its never-ending procession of boats, vaporetti and gondolas...

While savoring on some Italian treats every once in a while look back: where else in the world can you have picnic surrounded by angels, saints and muses?

Enough enjoying the views, we still have so much to cover!

Not far from here lays a district that back in the days was Venice's main red-light zone. It starts from Ponte delle Tette – Tits Bridge – because the city ordinance stipulated that all the sex workers should hang about in windows and doorways with bare breasts in order to encourage business (8) (see map). The relationship between the city fathers and the prostitution was always complicated ranging from love to hate: several times the sex workers were expelled from the city and several times they triumphantly returned when the authorities realized that Venetian men grew very keen on sodomizing each other. The authorities decided to choose a lesser evil and encourage sex trade whilst those successfully prosecuted for sodomy found themselves executed and incinerated between the columns on Piazzetta San Marco.

The prostitutes were designated an area next to the house of Rampani family – Ca'Rampani. As many Venetian families Rampani did not leave a heir (rich families did not want to split their wealth to the point that younger offsprings were not allowed to have kids) and their houses became property of the Republic. The area gave to Venetian sex workers this typically Venetian name carampani which now became a part of Italian language with a slightly different meaning and denotes mutton-dressed-as-lamb kind of lady.

Prostitutes constituted a large social group: over 11 thousand for 160,000 inhabitants or one third of all women. Just like any other guild or confraternity in Venice they had their corporate church – San Cassiano (9) (see map), located on the same island. Inside you will find 3 Tintorettos and a painting by Antonio Balestra depicting the story of Saint Cassian: he was a teacher stabbed to death by his own pupils - with fountain pens. Nevertheless this horrendous experience qualified him to be the patron saint of teachers.
San Cassiano can be visited Mo-Sa: 9:00-12:00, 14:30-19:00.

Painted ceiling at San Cassiano

We are now getting closer to the beating heart of Venice, Rialto market (10) (see map). Trade has been the livelihood of the city where everyone, including aristocracy from the Godlen Book was in some sort of business. And the center of Venetian trade has been here, on the 'high bank’ – Rivo Alto – since 810 when the former capital Malamocco was conquered; also until 1842 when Accademia bridge was built, Rialto bridge was the only pedestrian link between the two sides of the Canal. Surprisingly enough, despite being a very touristic city, Rialto market retained its function and until now here and on the adjacent Campo della Pescaria you can see a fisherman showing the catch of the day from the lagoon to some local signora. You will see these ladies traditionally dressed in black checking how bright the fish eyes are, sniffing them, touching them, and haggling over the price. At about 1pm the trade dies out, red curtains are lowered and the only people there are the washers with the hose.

In Venice where the trade and business was taken with utmost seriousness the market was managed not only be earthly means (the higher floor were occupied by court of law) but also by heavenly supervisors. Their headquarters has always been here: in tiny ancient (some even say the most ancient in Venice) church of San Giacomo di Rialto. The merchants had different altars depending on the type of merchandise they were selling so each promised to their saints not cheat and then asked for forgiveness if they did. Today it still remains a church 'for internal use' – there is not much to do for art lovers. But its ancient style with Greek portico renders well the spirit of 'ole good times – the church was rebuilt several times but always kept the initial shape of Greek cross with a dome.
For those who want to feel the spirit of ancient Venice San Giacomo di Rialto is open Mo-Sa: 9:30-12:00, 16:00-18:00.

Another reminder of old times is the clock with its face divided into 24 hours that Venetian merchants used as the standard time for all business deals.

Across from the church is a plinth from where all the laws were read to the public (simultaneously they were read at San Marco) held by a sculpture known as Gobbo di Rialto (Hunchback of Rialto). The expression on his face makes you think of 'severe but just' laws of Venetian Republic. 
Around the Campo San Giacomo di Rialto were the stalls of moneylenders and moneychangers that later later turned into banks. This is where the first state bank opened its doors in XV century.
Today local boys use the very much needed shade next to the Gobbo to play football, nowadays passion of all Italian boys, including Venetians.

With this we say 'bye' to Venice. For now. We were supposed to return but the cards fell differently and we ended up in the other hemisphere, in the Bahamas.
There is still so much more to photograph and to write about. There is still the biggest sestiere Castello that we have not covered. There are the islands of the lagoon: the most famous Murano, little less known Burano with its colorful houses, beach island Lido and almost deserted Torcello (even though back in the days it was the most populous island of the lagoon) with VII century churches and XI century mosaics. There are nearby towns Padua, Treviso, Bassano del Grappa...
But maybe we also needed some time away from it. Some time to start missing the Serenissima... 

<<<<Previous post                Next post >>>>