20 Great Things to do in Venice 4/20 - View over Venice

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Get a bird's-eye view of Venice

At almost 99m (325ft), the Campanile is the city’s tallest building, originally built between 888 and 912 (in July 1902 it collapsed, imploding in a neat pyramid of rubble. It was rebuilt exactly 'as it was, where it was', as the town council of the day promised). Holy Roman Emperor Frederick III rode a horse to the top of the original in 1451; these days visitors take the lift. The view is superb, taking in the Lido, the whole lagoon and (on a clear day) the Dolomites in the distance.

Photo By: Marco Secchi

But my favourite view is from the Campanile of San Giorgio.....

The Campanile (bell tower) of San Giorgio Maggiore is one of the best viewpoints in Venice, offering a different perspective compared to the more famous Campanile di San Marco. You can enjoy breathtaking panoramic views of Venice and its surroundings from the Campanile of San Giorgio Maggiore. Here's what you can expect to see from this vantage point:

Piazza San Marco and Campanile di San Marco: One of the most iconic views from the Campanile of San Giorgio Maggiore is looking directly at the Piazza San Marco and its Campanile. The famous square looks even more impressive from this angle, framed by the red roofs of Venice.

The Grand Canal: Venice's main waterway can be seen snaking its way through the city, with historic palazzos lining its edges and gondolas and vaporettos cruising the canal.

Basilica di Santa Maria della Salute: This iconic church, located at the entrance of the Grand Canal, stands out with its impressive dome and baroque architecture.

The Venetian Lagoon: Beyond the city, you'll have a clear view of the expansive Venetian Lagoon, with its myriad of islands. On a clear day, you might also spot the distant islands of Murano, Burano, and Torcello.

The Dolomite Mountains: On exceptionally clear days, it's possible to see the snow-capped peaks of the Dolomites in the distance, providing a stunning backdrop to the city.

Venetian Rooftops: The dense clustering of buildings, red-tiled roofs, and church domes offers a picturesque view of Venetian architecture from above.

Sunsets: If you happen to be at the Campanile during sunset, the views can be especially magical. The warm hues of the setting sun cast a golden glow over the city, making it a favorite time for photographers.

P&O Cruise Ship "Oriana" enters Canale della Giudecca

Ponte della Paglia

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One of the most beautiful bridges of Venice is the Ponte della Paglia (“Bridge of Straw”. This masterpiece is located behind the Palazzo Ducale close to which crosses the Rio di Palazzo. It’s a very important bridge because it links the Districts of San Marco and Castello and allows the passage from the pier on the Piazza San Marco and Riva degli Schiavoni. The view that you can have the Ponte della Paglia is really unparalleled, starting from the glimpse of the Ponte dei Sospiri (“Bridge of Sighs”). But from there you can also have an excellent and charming view of S Giorgio. (Marco Secchi)

Also another sight that offers this historic passage, is the beautiful and romantic sunset with the sun that sets behind the Basilica della Salute.  Interesting and curious is the origin of the name “of straw”: in fact this bridge was a place of habitual mooring for boats laden with straw, and this has been known for old ordinances prohibiting this practice, probably for safety reasons related to fires.

Carpaccio at Scuola S. Giorgio degli Schiavoni

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While working 24/7 on a book about Canaletto...and being only at the 2 chapter out of 9 and well behind schedule  I fell in love today with Carpaccio and in particular with this painting

The works dates to Carpaccio's mature period, when he was called by the "scuola" (guild or corporation) of the Schiavoni (Dalmatians) to executed a cycle of seven paintings on the stories of patron saints (George, Jerome and Tryphon) and evangelic episodes.

The work portrays the traditional episode of St. Jerome appearing to St. Augustine to announce his imminent death and departure to Heaven. Carpaccio portrayed the African saint in his studio, in the moment in which he is distracted from his reading by the voice of Jerome, coming as a luminous shape in the window near the desk. The room is that typical of an acculturated humanist of the painter's age, depicted with his usual attention to details.

The room is grossly rectangular, with a painted ceiling. Augustine sits on a bench over a pad, covered with green cloth and lined with studs; the desk is supported by a candelabrum. Some of the books show musical lines. Under the window is are a file and a hourglass. Other elements depicted include measurement instruments, precious caskets, a bell, a shell, an armillary sphere, vases, bottles and others.

In the center is a niche with an altar, where, as shown by the curtain moved aside, are Augustine's liturgic objects: a vest, a mitre, the crosier and a thurible which hands from two candelabra. At the side of the altars are two twin portals, with fine decorations in Renaissance style. The left one is open, and shows a small room with a window, according to the taste for different lightning sources inspired by the Flemish painting: this had become popular in Venice after its use by Antonello da Messina in paintings such as St. Jerome in His Study, which Carpaccio could perhaps observe and study. Here is a further number of details: a table with three couples of crossed legs and covered by a red tablecloth, further books, and, on a shelf running for the room's perimeter, several scientific and astronomical instruments, including Regiomontanus' astrolabe which, at the time, was owned only by John Bessarion, to who it is likely to have inspired Carpaccio for the saint's representation.

On the left two long shelves, housing more books with gaudy covers, a series of antiques (vases, bronze and others), a candle basement shaped as a lion paw (another is placed symmetrically on the opposite wall) and, below, large volumes, a seat and a prie-dieu. In the center of the room is a Maltese dog and, nearby, a cartouche with the artist's signature and the date.

Seeing this painting reminded me that I saw at the British Museum the preparatory work of the very same painting...and is here as you may see there was and ermelin!