Venice – Cannaregio.
The northernmost part of Venice, CANNAREGIO, can be bypassed in full in a very short time. The areas are not far from the busy train station and the ugly Lista di Spagna street, which even though they are no longer rural (the name Cannaregio comes from the word canna, "cane”), they are still one of the quietest and prettiest in the city. This district had the dubious honor of having the world's oldest ghetto.
The area around the station
Near the train station, the first building worth visiting is the Scalzi church located to the left of the entrance to the station (or Santa Maria di Nazareth). The interior design of this church (the work of Baldassare Longheny), erected in the seventies of the seventeenth century for the Order of Discalced Carmelites (barefoot), it is a feast for adherents of the Baroque. In the first chapel on the left and the second on the right, there are frescoes by Giambattista Tiepolo, but his main work, painting on the vault, was destroyed by an Austrian bomb, which fell on Scalzi in a year 1915. Only two fragments survived the crash, which are currently stored at Accademia.
This one district used to be home to foreign embassies, because in this way it was easier for the Venetian authorities to control them. List di Spagna derives its name from the number that used to be here 168 the Spanish Embassy, but at present it is only a tourist street: there are shops here, stalls, bars, restaurants and hotels. As with major train stations in many other cities, whatever you might look for here, souvenirs, dinner or overnight, it's always cheaper elsewhere.
The Church of San Geremia is known mainly as the resting place of Saint Lucia. She became the patron saint of the blind, because she gouged out her own eyes, not wanting to hear constant compliments about their beauty from an unwanted suitor. Lucia died as a martyr in Syracuse in a year 304, her body was stolen from Constantinople by the Venetian Crusaders in the year 1204, and in the year 1863 removed from the one erected by Palladio, but demolished during the construction of the railway station of the church named after her. Today the saint lies in a glass sarcophagus on the main altar. An architectural curiosity of the church is one of the oldest- older people in the city, 12th-century belfry.
Near the church there is Palazzo Labia, whose ballroom is decorated with frescoes by Giambattista Tiepolo and his assistants (1745-50), illustrating the story of Antony and Cleopatra. The current owner of the palace, state radio RAI, allows you to visit the hall for two hours a week, but the opening times vary. You need to ask for the current timetable at the gate, or call »781111. Concerts are also recorded in this hall, in which the audience participates free of charge (You can also ask for dates at the gate, and entry cards are reserved by phone).
The main access road to Venice, before the construction of a railway and road bridge, był Cannaregio Canal. Walking along it, you can reach the Church of San Giobbe. Physical suffering, with which God allowed Satan to exercise Job's faith (“He was covered with malignant leprosy from the toe to the top of his head”) made it especially popular with the Venetians, who have been regularly experienced with malaria, with the plague and the abundance of others, caused by moisture, diseases. The church was erected on the site of the former chapel, based on the design of the Gothic architect of Venice, Anthony Gambello. Later, he was assisted by Piętro Lombardo, which introduced some elements of the Tuscan Renaissance. The door to the church is the work of Lombard, presbytery and statues of St.. Anthony, Bernard and Ludwik. The best images from this church, Madonna on the throne among the saints Giovanni Bellini and Visit to the Carpaccia Temple, have been protected against moisture by placing them in Accademia.
Jet
The Venetian ghetto was the first in the world. The very word "ghetto” comes from getar (melt metal) and the ghetto (ironworks) in the Venetian dialect, because up to a year 1390 metal smelters were located in this area. In year 1516 all Jews from the city were ordered to move to the island of Ghetto Nuovo, access to which was closed at night by Christian guards (the Jews themselves had to pay for them). Even though all Jews had to wear distinctive badges and skullcaps, and social and financial restrictions were imposed on them, the repression against them was lighter here than in other parts of Europe (it was one of the few countries, which officially tolerated the existence of the Mosaic religion). When Jews were expelled from Spain in 1492 and from Portugal a year 1497, many of them have just arrived in Venice.
Each wave of Jewish immigration built its own synagogue and established its own rite. Established in the year 1538 Scola Levantina and Scola Spagnola, built probably twenty years later, reflect the wealth of these immigrant groups, who achieved important commercial status in the Venetian state. This second synagogue was rebuilt approx. 1584 r. by Longhena (Jews were forbidden to practice as an architect), as part of a general synagogue redevelopment project. Both synagogues are still used for cult purposes, but together with the Scola Tedesca they can be visited today in guided groups (they tell very interesting stories in different languages), organized by the Jewish Museum in Campo Ghetto Nuovo (VII-X Mon.-Sat. 10.30-17.00, nd. 10.30-13.00; III-VI Mon.-Sat. 10.30-13.00 i 14.30-17.00, nd. 10.30-13.00; XI-III mon.-sat. 10.00-12.30; close. on Jewish holidays; 2000L, with 6000L guide). The museum's collection mainly includes silverware, embroidery and other utility exhibits.
The ghetto looks completely different to the rest of the city. At its peak, the number of Jews living here reached 4000 and despite the permission to extend the ghetto area to include Ghetto Vecchio and Ghetto Nuovissima, it was very densely populated. Because, according to the regulations, the ghetto buildings could not be higher than the surrounding houses by more than a third of their height, The first residential blocks in the present meaning of the word with rooms with relatively low ceilings were built here. In year 1797 Napoleon ordered the ghetto gates to be removed, but a year later the Austrians brought them back. Venetian Jews did not get equal rights until the unification of Italy in the year 1866.
Sant Alvise, Madonna dell'Orto i okolice
The area to the northeast of the ghetto is one of the quieter in Venice. Long, dotted with grocery stores, boulevard bars and restaurants, the red walls and green shutters of the houses and the yellow and blue hulls of the boats create the scene, which brings to mind Henry James' vision of the essence of Venice: “I just see a narrow canal in the heart of the city, a piece of greenish water and a pink wall surface”.
A few minutes' walk north of the ghetto is the Church of Sant Alvise, the construction of which was commissioned by the daughter of the Doge Antonio Veniera, Antonia, after that, like a year 1388 this saint appeared to her in a dream. There is one great painting in the church, The road to Calvary, painted in a year 1743 by Giambattista Tiepolo. On the right side there are his earlier works The Crowning with Thorns and the Flagellation. Under the choir, on the right from the entrance to the church, There are eight pictures painted with tempera, which, thanks to the power that was once spoken, but Ruskin's not factual opinion, are commonly known as Carpaccio's children's works. They come from the childhood of Carpaccio (ok. 1470), but they were not painted by him.
A circular walk eastbound will lead you to the Gothic Church of Madonna delTOrto (in summer 9.00-12.00 i 15.00-19.00; in winter only until 17.00). In year 1350 the church was dedicated to St.. Krzysztof. However, the name was changed shortly thereafter, because in one of the local vegetable gardens (vegetable garden) an abandoned stone statue of the Madonna by Giovanni de Santi was found, who began to work miracles. In year 1377 she was placed in the church, where (w Chapel of San Mauro) it can be seen to this day, although numerous restoration works were carried out on it.
The main sculpture on the facade is the 15th-century St.. Krzysztof, made by the Florentine artist Nicolo di Giovanni, while the portal was designed in a year 1460, just before his death, Bartolomeo Bon. The interior design was changed considerably in the 1860s, and despite the fact that during the restoration works in the 1930s, some of the paint applied then on the old decoration was removed, the church still largely has the appearance of the nineteenth century. Fragments of frescoes on the arches and painted ceiling beams, however, give some idea of this, what it might have looked like in the 16th century. After the floods of the year 1966, this church was the first, which has been completely renovated; a new floor was laid, the lower parts of the walls were rebuilt, the chapels were restored to their appearance from a year ago 1864 and cleaned up all images. Moreover, in. Krzysztof above the door was the first stone sculpture from Istria, which was renovated in Venice.
It was the parish church of Tintoretto, therefore the artist is buried in the chapel on the right side of the main altar. His children are also lying here, Dominic i Marietta. Out of several of his paintings here, huge ones stand out, canvases placed on both sides of the altar, The worship of the golden calf and the Last Supper. Among his other works, they deserve attention: Mary enters the temple (at the end of the right aisle), The Appearance of the Cross and in. Peter and the Beheading of St.. peacock (on both sides of the Annunciation of Palma il Giovane in the presbytery). In addition, you can admire two interesting canvases from the end of the previous century, Saint John the Baptist and other saints of Cima da Conegliano (first altar on the right) and the Madonna and Child by Giovanni Bellini (first chapel on the left).