Rick Steves

VENICE

Rick Steves & Gene Openshaw

CONTENTS

Venice

Orientation to Venice

Sights in Venice

Self-Guided Tours

Grand Canal Cruise

St. Mark’s Square Tour

St. Mark’s Basilica Tour

Doge’s Palace Tour

Correr Museum Tour

San Giorgio Maggiore Tour

Accademia Tour

Peggy Guggenheim Collection Tour

La Salute Church Tour

Ca’ Rezzonico Tour

Frari Church Tour

Scuola San Rocco Tour

Venice’s Lagoon Tour

Self-Guided Walks

St. Mark’s to Rialto Loop Walk

Rialto to Frari Church Walk

St. Mark’s to San Zaccaria Walk

Sleeping in Venice

Eating in Venice

Venice with Children

Shopping in Venice

Nightlife in Venice

Venice Connections

Near Venice

Padua

Vicenza

Verona

Ravenna

Venetian History

Practicalities

Appendix

Index

Map Index

Credits

Copyright

Welcome to Rick Steves’ Europe

Travel is intensified living—maximum thrills per minute and one of the last great sources of legal adventure. Travel is freedom. It’s recess, and we need it.

I discovered a passion for European travel as a teen and have been sharing it ever since—through my bus tours, public television and radio shows, and travel guidebooks. Over the years, I’ve taught millions of travelers how to best enjoy Europe’s blockbuster sights—and experience “Back Door” discoveries that most tourists miss.

Written with my talented co-author, Gene Openshaw, this book offers a balanced mix of Venice’s artistic splendors and backstreet charm, from its impressive museums to its tranquil and colorful canals. It’s selective: Rather than listing a dozen glassblowing demonstrations, we recommend only the best. And it’s in-depth: Our self-guided museum tours and city walks provide insight into the city’s vibrant history and today’s living, breathing culture.

We advocate traveling simply and smartly. Take advantage of our money- and time-saving tips on sightseeing, transportation, and more. Try local, characteristic alternatives to expensive hotels and restaurants. In many ways, spending more money only builds a thicker wall between you and what you traveled so far to see.

We visit Venice to experience it—to become temporary locals. Thoughtful travel engages us with the world, as we learn to appreciate other cultures and new ways to measure quality of life.

Judging by the positive feedback we receive from readers, this book will help you enjoy a fun, affordable, and rewarding vacation—whether it’s your first trip or your tenth.

Buon viaggio! Happy travels!

VENICE

Map: Venice by Neighborhood

VENICE DISTRICTS

Planning and Budgeting

PLANNING YOUR TIME

PLANNING YOUR BUDGET

BEFORE YOU GO

Travel Smart

Engineers love Venice—a completely man-made environment rising from the sea, with no visible means of support. Romantics revel in its elegant decay, seeing the peeling plaster and seaweed-covered stairs as a metaphor for beauty in decline. And first-time visitors are often stirred deeply, awaking from their ordinary lives to a fantasy world unlike anything they’ve experienced before.

Frankly, Venice can also be an overcrowded, prepackaged tourist trap. But Venice is unique. Built on a hundred islands with wealth from trade with the East, Venice’s exotic-looking palaces are laced together by sun-speckled canals. It can seem like one giant amusement park for grown-ups, centuries in the making. And yet, the longer you’re here—and the more you explore its back streets—the clearer it becomes that this is a real, living town, with its own personality and challenges.

By day, Venice is a collection of churches and museums, packed with great art. Nearly everything is within a half-hour walk. Climb the Campanile bell tower for stunning seascape views. Linger over lunch, trying to crack a crustacean with weird legs and antennae. Sip a spritz at a café on St. Mark’s Square while an orchestra plays “New York, New York.”

At night, when the day-trippers have gone, another Venice appears. Dance across a floodlit square. Or pretend its Carnevale time, don a mask—or just a fresh shirt—and become someone else for the night.

With mountains of capital, plenty of traders with ready ships, and a strong military, Venice was a commercial powerhouse from roughly 1100 to 1500. While the city-state didn’t have vast land holdings, it was a mighty trading empire—built upon a network of Mediterranean ports and a mastery of the sea. If you needed gold from Egypt, silk from Byzantium, or a fleet of ships for the Crusades, Venice delivered.

Basilica di San Vitale in Ravenna; twilight dining with a view in Venice

But with the discovery of trade routes outside the Mediterranean—to America in 1492 and to India in 1498—Venice’s power plummeted. As it fell, its appetite for decadence grew. Through the 17th and 18th centuries, the Venetians partied on, as if drunk on accumulated wealth. Venice was easy pickings for Napoleon in 1797 and passed into Austria’s hands after Waterloo. The city threw its hat in with Italy in 1866 and not much has changed here since.

Today, Venice’s beautifully decrepit cityscape enchants visitors, who are here to soak up the atmosphere as much as the sights. Among the city’s iconic attractions are St. Mark’s Basilica and the Bridge of Sighs, the Doge’s Palace and Ca’ Rezzonico palazzo, as well as the Correr, Accademia, and Peggy Guggenheim museums.

Venice’s calm lagoon harbors the islands of glassmaking Murano, colorful Burano, and the city’s birthplace, Torcello, all connected by vaporetti. Nearby towns on the mainland are art-filled Padua, fun-to-explore Verona, and historic Ravenna, glittering with Byzantine mosaics. All are worthy of a day trip...but be back in Venice by nightfall to enjoy its ethereal beauty.

Unmasking Venice’s Carnevale

Every February Venice celebrates Carnevale—its unique take on Mardi Gras—with a weeks-long extravaganza of costumes, food, drink, and entertainment.

In pagan times Carnevale was a wild, end-of-winter festival. With Christianity’s arrival, Carnevale evolved into the final debauchery before Lent (the period before Easter when Christians abstain from worldly things). Aristocrats from all over Europe, Africa, and the Middle East came to revel in hedonism, wearing ornate masks and outrageous costumes for anonymity.

Like Easter, Carnevale’s start date changes from year to year. The festival can extend a dozen days or more, always ending on the day before Ash Wednesday—called Fat Tuesday or Shrove Tuesday. It kicks off with a centuries-old ritual: The Flight of the Angel, when a young woman in a costume (and harness) floats down from St. Mark’s Basilica to greet the thousands gathered in the square. In the weeks that follow, parties, dinners, and parades fill Venice’s streets and canals. The energy ramps up as Fat Tuesday approaches, and the festivities end with a huge dance and fireworks on St. Mark’s Square.

For a visit during Carnevale, prepare for high prices and reserve a room as soon as your dates are set. If Venice is full, you could stay in nearby Padua (30 minutes away by train). Rent a costume and join in the fun, from intimate dinners and masquerade balls to cabaret shows and cruises (www.Venice-Carnival-Italy.com).

Carnevale partiers don’t just don costumes, they inhabit roles—letting fun and fantasy take over.

A flooded St. Mark’s Square reflects twinkling lights; enjoy the night scene as your gondola plies narrow canals.

Enjoy a relaxing dinner in a romantic canalside or piazza setting, then stroll the squares with a gelato in hand. Or munch your way through a series of small plates on a cicchetti bar crawl. From your perch on the Rialto Bridge, watch boats artfully navigate traffic in the Grand Canal. For most, the best entertainment is just being in St. Mark’s Square, where the age-old glories of Venice still swirl. It’s a magical scene, every night.

For the ultimate after-dark activity, glide on a gondola through your own private Venice. With music echoing down narrow canals, follow the moon as it sails past otherwise unseen buildings. Back-door glimpses of the city emerge that mere pedestrians miss. Silhouettes gaze down from bridges while window glitter spills onto the black water. It could be any century. But it can only be one city—Venice.

Venice by Neighborhood

The island city of Venice is shaped like a fish. The Grand Canal winds through the middle of the fish, starting at the mouth where people enter, passing under the Rialto Bridge, and ending at St. Mark’s Square. The city has six districts: touristy San Marco (with St. Mark’s Square), Dorsoduro, San Polo, Santa Croce, Cannaregio, and Castello.

VENICE DISTRICTS

San Marco

The bustling district surrounding the irresistible St. Mark’s Square has the most tourists and the most sights: St. Mark’s Basilica, the Doge’s Palace, Bridge of Sighs, Campanile bell tower, Correr art museum, and café orchestras on the square. The square is the starting point for two of my self-guided walks: to the Rialto Bridge and to the Church of San Zaccaria. The San Zaccaria dock is a transit hub for boats up the Grand Canal and to the island of San Giorgio Maggiore (for views of Venice). Accommodations and eateries are plentiful.

Dorsoduro

Quiet Dorsoduro, across a wide wooden bridge from San Marco, hosts sights along the Grand Canal: the Accademia (Venetian Renaissance art), modern art museums (Peggy Guggenheim Collection and Punta della Dogana), the iconic La Salute Church, and Ca’ Rezzonico (museum on 18th-century Venice). To the south lies the Giudecca Canal, fronted by a canalside promenade and view restaurants. In between are mom-and-pop eateries and accommodations on tucked-away squares.

San Polo

This lively district has the graceful Rialto Bridge, busy produce and fish markets, exquisite Frari Church, and Scuola San Rocco (Tintoretto paintings). Link the Rialto and Frari Church with my self-guided walk. This area is dotted with cicchetti bars, restaurants, and accommodations.

Bronze horses at St. Mark’s Basilica (opposite); St. Mark’s Basilica viewpoint; Grand Canal; painting-filled Scuola San Rocco; enticing cicchetti snacks

Campo Santa Maria Formosa; colorful Burano Island; Padua’s Basilica of St. Anthony; mosaics in Ravenna’s Mausoleum of Galla Placidia

Santa Croce

Santa Croce, across the canal from the train station, features modern art (at Ca’ Pesaro) and period costumes (at Palazzo Mocenigo). The neighborhood itself is plain—ideally sleep elsewhere, farther from the station.

Cannaregio

Canneregio contains the controversial Calatrava Bridge, train station, historic Jewish Ghetto (with museum and memorials), and Ca’ d’Oro (classy palazzo with art).

Castello

Untouristy Castello, on the east side of the city, has the picturesque Campo Santa Maria Formosa (with eateries and accommodations nearby), a Dalmatian chapel, the Naval Museum and Arsenale, and the slice-of-Venetian-life neighborhood along Via Garibaldi. The big park is peaceful (when it’s not hosting the Biennale art exhibit).

Venice’s Lagoon

Beyond Venice are more islands. San Giorgio Maggiore, a short vaporetto ride from St. Mark’s Square, offers a classic church with the best cityscape view of Venice. You can link four other islands on a day trip: San Michele (old cemetery), Murano (famous for glassmaking), Burano (lacemaking), and Torcello (old church). The skinny Lido has Venice’s beach.

Day Trips

Here are good options, all accessible by train: The university town of Padua is famous for Giotto’s frescoes at the Scrovegni Chapel and the pilgrim-packed Basilica of St. Anthony. Verona has a remarkable ancient Roman arena and Romeo and Juliet lore. Little Vicenza, between Padua and Verona, features Palladio’s architecture. And Ravenna, with shimmering mosaics in churches and mausoleums, was once the western bastion of the Byzantine Empire.

Planning and Budgeting

The best trips start with good planning. Here are ideas to help you decide when to go, design a smart itinerary, set a travel budget, and prepare for your trip. For my best general advice on sightseeing, accommodations, restaurants, and more, see the Practicalities chapter.

PLANNING YOUR TIME

As you read this book and learn your options...

Decide when to go.

Venice’s best travel months (also its busiest and most expensive) are April, May, June, September, and October.

Summer in Venice is more temperate (high 70s and 80s) than in Italy’s scorching inland cities. Most Venetian hotels come with air-conditioning—important in the summer—but it’s usually available only from May (at the earliest) through September. Spring and fall can be cool, and many hotels—thanks to a national interest in not wasting energy—are not allowed to turn on their heat until winter.

Between November and March, you can usually expect mild winter weather (with lows in the 30s and 40s), occasional flooding, shorter lines, lower prices, and fewer tourists (except during the Carnevale festival). March offers a good balance of low-season prices and reasonable weather. For more tips on off-season travel, see here.

For specifics, see the climate chart in the appendix.

Work out a day-by-day itinerary.

The following day plans offer suggestions for how to maximize your sightseeing, depending on how many days you have. You can adapt these itineraries to fit your own interests. To find out when sights are open, check the “Daily Reminder” in the Orientation chapter. Note sights where advance reservations are smart or a free Rick Steves audio tour is available. Remember that Venice itself is its greatest sight. Make time to wander, explore, shop, and simply be.

Venice in One Busy Day (plus the night before)

On the night you arrive, walk or boat to the train station and then, aboard an empty vaporetto #1, take my self-guided Grand Canal Cruise to St. Mark’s Square (it’s less crowded and more romantic at night).

9:00

Follow my self-guided St. Mark’s to Rialto Loop Walk as far as the Rialto Bridge.

10:00

Enjoy the action at the Rialto Bridge and Rialto Market.

11:00

Follow my Rialto to Frari Church Walk.

12:00

Tour the Frari Church.

13:00

Explore and have lunch in the Dorsoduro district. Tour the Accademia (if you’re an art lover), then stroll across the Accademia Bridge and back to St. Mark’s Square.

15:30

Tour St. Mark’s Basilica.

17:00

Visit the Doge’s Palace.

18:30

Take my St. Mark’s Square Tour.

19:30

Dinner and maybe a gondola ride (or vice versa; a gondola ride at sunset is best).

22:00

Enjoy a drink with the orchestras on St. Mark’s Square.

Venice in Two or More Days (plus the night before)

On the night you arrive, walk or boat to the train station and then, aboard an empty vaporetto #1, take my self-guided Grand Canal Cruise to St. Mark’s Square.

Day 1: Essential Venice

9:00

Ride to the top of the Campanile.

10:00

Take my self-guided St. Mark’s Square Tour.

11:00

Enjoy my St. Mark’s to Rialto Loop Walk, then visit the T Fondaco dei Tedeschi view terrace (reserve ahead).

13:00

Lunch.

14:00

Tour the Correr Museum (ticket includes Doge’s Palace).

15:30

Tour St. Mark’s Basilica (reserve ahead).

17:00

Visit the Doge’s Palace.

19:00

Dinner and maybe a gondola ride (or vice versa; a gondola ride at sunset is best).

22:00

Enjoy a drink with the orchestras on St. Mark’s Square.

Day 2: More Venice Landmarks

9:00

Take in the action at the Rialto Bridge and Rialto Market.

10:00

Follow my Rialto to Frari Church Walk.

11:00

Tour the Frari Church.

12:00

Explore the Dorsoduro district and have lunch along the Giudecca Canal.

14:00

Tour Ca’ Rezzonico (museum of 18th-century Venice).

16:00

Tour the Accademia museum (for art lovers), then stroll across the Accademia Bridge and back to St. Mark’s Square.

18:00

Commence a cicchetti  pub crawl for dinner.

20:00

Enjoy a concert or gondola ride.

Day 3: Lagoon Tour

10:00

Catch a boat at Fondamente Nove to San Michele (old cemetery), then continue to Murano.

11:00

Tour Murano.

13:00

Boat to Burano for lunch and browsing.

15:00

Boat to Torcello, tour church, back to Burano.

18:00

Zip back to Fondamente Nove in 45 minutes, or—if you’d like to see more of the lagoon—take the long way back by boat via Punta Sabbioni and the Lido (no need to stop there—just enjoy the cruise).

20:00

Dinner and/or concert in Venice.

T Fondaco dei Tedeschi view terrace; shopping at Rialto Mercato; exploring Murano island; music on St. Mark’s Square

Day 4 and Beyond

You have many options:

Visit more sights, such as this art-filled cluster in Dorsoduro: Peggy Guggenheim Collection, Punta della Dogana, and La Salute Church. Or head back to the San Polo neighborhood to take in the Scuola San Rocco’s Tintorettos.

Hop a quick vaporetto to the Church of San Giorgio Maggiore for Venice views. Take my self-guided walk from St. Mark’s Square to San Zaccaria for a behind-the-square look at Venice. Go on a guided history or food tour, or attend a performance at La Fenice Opera House. Beach lovers bask on the Lido.

Stroll the Riva—the harborside promenade running from St. Mark’s Square to the city’s east end—and enjoy the neighborhood action along Via Garibaldi.

Browse Venice’s characteristic back streets in Dorsoduro (between Campo Santa Margarita and Campo San Barnaba, and the sleepy part behind the Accademia and Guggenheim). In Cannaregio, explore the Jewish Ghetto.

For heavy-duty sightseeing, day-trippers head to Padua for art, Verona for Roman ruins, and Ravenna for Byzantine mosaics.

Verona’s Roman Arena; Giotti’s frescoes in Padua’s Scrovegni Chapel

PLANNING YOUR BUDGET

Run a reality check on your dream trip. You’ll have major transportation costs in addition to daily expenses.

Flight: A round-trip flight from the US to Venice (or even cheaper, Milan) costs about $900-1,500, depending on where you fly from and when.

Public Transportation: For a one-week visit, allow about $70 for a vaporetto pass. For a one-way trip between Venice’s airport and the city, allow about $10 by bus, $18 by Alilaguna water bus, or $130 by water taxi (for 4 people; extra passengers cost more).

Round-trip, second-class train transportation to day-trip destinations is affordable if you avoid express trains (about $5 each way to Padua and $10 to Verona by local train).

Be Prepared to Splurge: Venice is expensive for both residents and tourists, as everything must be shipped in and hand-trucked to its final destination. I find that the best way to enjoy Venice is just to succumb to its charms, accept that prices are 20 percent higher than on the mainland, and blow through a little money. It’s a unique place that’s worth paying a premium to fully experience.

When you splurge, choose an experience you’ll always remember, such as a walking tour or a gondola ride. Minimize souvenir shopping; focus instead on collecting wonderful memories.

Budget Tips: To cut your daily expenses, take advantage of the deals you’ll find throughout Venice and mentioned in this book.

To get around by vaporetto, buy a pass rather than individual tickets.

Consider the various sightseeing passes; for busy museum-goers, the best choice is the Museum Pass. Or, visit only the sights you most want to see, and seek out free sights and experiences (people-watching counts).

Some businesses—especially hotels and walking-tour companies—offer discounts to my readers (look for the RS% symbol in the listings in this book).

Reserve your rooms directly with the hotel. Some hotels offer a discount if you pay in cash and/or stay three or more nights (check online or ask). Room prices can be about 25-50 percent lower November through March. And even seniors can sleep cheaply in hostels (most have private rooms) for about $30 per person. Or check Airbnb-type sites for deals.

It’s no hardship to eat inexpensively in Venice. You can get tasty, affordable meals at pizza joints, bars, cafés, and self-service cafeterias. Cultivate the art of picnicking in atmospheric settings (but note it’s illegal on St. Mark’s Square).

BEFORE YOU GO

You’ll have a smoother trip if you tackle a few things ahead of time. For more details on these topics, see the Practicalities chapter and RickSteves.com, which has helpful travel-tip articles and videos.

Make sure your travel documents are valid. If your passport is due to expire within six months of your ticketed date of return, you need to renew it. Allow six weeks or more

to renew or get a passport (www.travel.state.gov). Check for current Covid entry requirements, such as proof of vaccination or a negative Covid-19 test result.

Arrange your transportation. Book your international flights. Overall, Kayak.com is the best place to start searching for flights. If you’ll be traveling beyond Venice, figure out your transportation options: bus or train (and either a rail pass or individual train tickets), rental car, or a cheap flight. (You can wing it in Europe, but it may cost more.) Drivers: Consider bringing an International Driving Permit (sold at AAA offices in the US, www.aaa.com) along with your license.

Book rooms well in advance, especially if your trip falls during peak season or any major holidays or festivals.

Reserve ahead for key sights. In Venice, consider reserving entry slots in advance for St. Mark’s Basilica, the Doge’s Palace, and the Campanile bell tower. Reservations are required for the T Fondaco dei Tedeschi view terrace. In Padua, reservations are mandatory to visit the Scrovegni Chapel, famous for Giotto’s frescoes—book well in advance.

Consider travel insurance. Compare the cost of insurance to the cost of your potential loss. Check whether your existing insurance (health, homeowners, or renters) covers you and your possessions overseas.

Call your bank. Alert your bank that you’ll be using your debit and credit cards in Europe. Ask about transaction fees, and, if you don’t already have one, get a “contactless” credit card (request your card PIN too). You don’t need to bring euros along; you can withdraw euros from cash machines in Europe.

Use your smartphone smartly. Sign up for an international service plan to reduce your costs, or rely on Wi-Fi in Europe instead. Download any apps you’ll want on the road, such as maps, translators, and Rick Steves Audio Europe (see sidebar).

Pack light. You’ll walk with your luggage more than you think. I travel for weeks with a single carry-on bag and a day pack. Use the packing checklist in the appendix as a guide.

Rick’s Free Video Clips and Audio Tours

Travel smarter with these free, fun resources:

Rick Steves Classroom Europe, a powerful tool for teachers, is also useful for travelers. This video library contains about 500 short clips excerpted from my public television series. Enjoy these videos as you sort through options for your trip and to better understand what you’ll see in Europe. Check it out at Classroom.RickSteves.com (just enter a topic to find everything I’ve filmed on a subject).

Rick Steves Audio Europe, a free app, makes it easy to download my audio tours and listen to them offline as you travel. For this book (look for the ), these audio tours include my Grand Canal Cruise and tours of St. Mark’s Basilica, St. Mark’s Square, and the Frari Church. The app also offers interviews (organized by country) from my public radio show with experts from Europe and around the globe. Find it in your app store or at RickSteves.com/AudioEurope.

Travel Smart

If you have a positive attitude, equip yourself with good information (this book), and expect to travel smart, you will.

Read—and reread—this book. To have an “A” trip, be an “A” student. Note opening hours of sights, closed days, crowd-beating tips, and whether reservations are required or advisable. Check out the latest at RickSteves.com/update.

Be your own tour guide. As you travel, get up-to-date info on sights, reserve tickets and tours, reconfirm your hotel, and check transit connections. Visit the local tourist information office (TI).

Outsmart thieves. Pickpockets abound in crowded places where tourists congregate. Treat commotions as smokescreens for theft. Keep your cash, credit cards, and passport secure in a money belt tucked under your clothes; carry only a day’s spending money in your front pocket or wallet. Don’t set valuable items down on counters or café tabletops, where they can be quickly stolen or easily forgotten.

Minimize potential loss. Keep expensive gear to a minimum. Bring copies or take photos of important documents (passport and cards) to aid in replacement if they’re lost or stolen. Back up photos and files frequently.

Beat the summer heat. If you wilt easily, choose a hotel with air-conditioning, start your day early, take a midday siesta, and resume your sightseeing later. Churches offer a cool haven (though dress modestly—no bare shoulders or shorts). Take frequent gelato breaks. Join the passeggiata, when locals stroll in the cool of the evening.

Guard your time and energy. Taking a vaporetto ride can be smart if it saves you an exhausting walk. To avoid long lines, follow my crowd-beating tips, such as making advance reservations, or sightseeing early or late.

Be flexible. Even if you have a well-planned itinerary, expect changes, strikes, closures, sore feet, bad weather, and so on. Your Plan B could turn out to be even better.

Attempt the language. Many Italians—especially in the tourist trade and in cities—speak English, but if you learn some Italian, even just a few pleasantries, you’ll get more smiles and make more friends. Apps such as Google Translate work for on-the-go translation help, but you can get a head start by practicing the survival phrases near the end of this book.

Connect with the culture. Interacting with locals carbonates your experience. Enjoy the friendliness of the Italian people. Ask questions; most locals are happy to point you in their idea of the right direction. Set up your own quest for the tastiest gelato, craziest mask, or prettiest little square complete with cafés. When an opportunity pops up, make it a habit to say “yes.”

Venice...here you come!

ORIENTATION TO VENICE

Overview

TOURIST INFORMATION

ARRIVAL IN VENICE

HELPFUL HINTS

GETTING AROUND VENICE

Map: Venice Overview

Tours in Venice

Venice is a carless kaleidoscope of people, bridges, and canals. It’s made up of more than a hundred small islands—but for simplicity, I refer to the whole shebang as “the island.”

The easiest way to navigate is by landmarks. Many street corners have a sign pointing you to (per) the nearest major landmark, such as San Marco, Accademia, Rialto, and Ferrovia (train station). Obedient visitors stick to the main thoroughfares as directed by these signs...and miss the charm of back-street Venice.

Beyond the city’s core lie several other islands, including San Giorgio (with great views of Venice), Giudecca (more views), San Michele (old cemetery), Murano (famous for glass), Burano (lacemaking), Torcello (old church), and Lido (with Venice’s beach).

This chapter offers helpful hints and details on Venice’s tourist services, a rundown of your options for getting around, and recommendations for organized tours. For an overview of the city’s neighborhoods and detailed day plans, see the previous chapter.

Overview

TOURIST INFORMATION

With this book, a free city map from your hotel, and the events schedule on the TI’s website, there’s little need to make an in-person visit to a Venice TI. That’s fortunate, because though the city’s TIs try to help, they’re understaffed and have few free printed materials to hand out. To check or confirm something, visit VeneziaUnica.it; this website can be more helpful than the actual TI office. Other useful websites are VisitMuve.it (city-run museums in Venice), UnOspiteDiVenezia.it/en (sights and events), VeniceExplorer.com [URL inactive] (mapping), and VeniceForVisitors.com (general travel advice).

Daily Reminder

Sunday: While anyone is welcome to worship, most churches are closed to sightseers on Sunday morning. They reopen in the afternoon: St. Mark’s Basilica (14:00-17:00, until 16:30 Nov-Easter), Frari Church (13:00-18:00), and the Church of San Zaccaria (16:00-18:00). The Church of San Polo is closed all day, and the Rialto open-air market consists mainly of souvenir stalls (fish and produce sections closed). It’s a bad day for a pub crawl, as most pubs are closed.

Monday: All sights are open except the Rialto fish market, Ca’ d’Oro, Ca’ Pesaro, Palazzo Mocenigo Costume Museum, Lace Museum (on the island of Burano), and the church museum on the island of Torcello. The Accademia closes at 14:00. Don’t side-trip to Verona today, as most sights there are closed in the morning.

Tuesday: All sights are open except the Peggy Guggenheim Collection, Ca’ Rezzonico, and Punta della Dogana.

Wednesday/Thursday/Friday: All sights are open.

Saturday: All sights are open except the Jewish Museum.

If you must visit a TI, you’ll find offices at St. Mark’s Square (#71B, in the far-left corner with your back to the basilica), Marco Polo airport (arrivals area), Piazzale Roma (at the Autorimessa Comunale parking garage), and the train station (across from track 2).

Be wary of the travel agencies or special information services that masquerade as TIs but serve fancy hotels and tour companies. They’re in the business of selling things you don’t need.

Maps: Of all places, Venice demands a good map. Hotels give away freebies, and TIs and some vaporetto ticket booths sell decent maps—but you can find a wider range at bookshops, newsstands, and postcard stands. Getting a map that shows all the tiny alleys may be the best money you spend in Venice. But know you’ll still spend some time “exploring” (read: lost). Many just rely on Google Maps and do fine.

ARRIVAL IN VENICE

For a rundown on Venice’s train station, bus station, airport, and cruise terminal, and tips for drivers, see the Venice Connections chapter.

HELPFUL HINTS

Sightseeing Tips: Venice offers plenty of sightseeing passes, but only a few are worth the money. For more on passes and other sightseeing advice, see here.

Day-tripper Tax: Beginning in January 2023, Venice plans to charge day-trippers a tourism fee (ranging from €3 to €10) to enter the city center. Check the TI website for the latest.

Theft Alert: The dark, late-night streets of Venice are generally safe. Even so, pickpockets (often elegantly dressed) work all the extremely crowded areas: main streets, docks, and vaporetti. Be particularly careful at St. Mark’s Square, near the Accademia or Rialto bridges (especially if you’re preoccupied with snapping photos), or on a tightly packed vaporetto.

A handy polizia station is on the right side of St. Mark’s Square as you face the basilica (at #63, near Caffè Florian). To call the police, dial 112.

The Venice TI handles complaints—which must be submitted in writing—about local crooks, including gondoliers, restaurants, and hotel rip-offs (complaint.apt@turismovenezia.it).

Medical Help: Venice’s Santi Giovanni e Paolo hospital (+39 041 529 4111) is a 10-minute walk from either the Rialto or San Marco neighborhoods, located behind the big church of the same name on Fondamenta dei Mendicanti (toward Fondamente Nove). You can take vaporetto #4.1 from San Zaccaria, or #5.2 from the train station or Piazzale Roma, to the Ospedale stop.

There’s also a first-aid station staffed by English-speaking doctors on St. Mark’s Square (at #63 next to Caffè Florian—same address as polizia station, daily 8:00-20:00, +39 041 2960 784).

Behave in Venice: Remember that Venice is a community of about 51,000 people who welcome visitors but feel violated when tourists don’t respect the city they love. The vast majority of visitors are day-trippers stampeding in, seeing the famous stuff, and stampeding out. Venetians ask that a few simple rules are followed: Dress decently, don’t swim in the canals, don’t litter, stay on the right as you walk, and treat things as if they are both historic and fragile...because they are.

Dress Modestly: When visiting St. Mark’s Basilica or other major churches, men, women, and even children must cover their shoulders and knees. Remove hats when entering a church.

Picnics: Picnicking is illegal anywhere on St. Mark’s Square, and offenders can be fined. The only place nearby for a legal picnic is in Giardinetti Reali, the small bench-filled park along the waterfront west of the Piazzetta near St. Mark’s Square. Elsewhere in Venice, picnicking is no problem.

Bookstores: In keeping with its literary heritage, Venice has classy and inviting bookstores. The well-stocked Studium, a block behind St. Mark’s Basilica, has a carefully chosen selection of new English books, including my guidebooks (Mon-Sat 9:30-19:30, shorter hours Sun, on Calle de la Canonica at #337, +39 041 522 2382).

Used-bookstore lovers will appreciate the funky Acqua Alta (“high water”) bookstore, whose quirky owner Luigi has prepared for the next flood by displaying his wares in a selection of vessels, including bathtubs and a gondola. Look for the “book stairs” in his back garden (daily 9:00-19:30, large and classically disorganized selection includes prints of Venice, just beyond Campo Santa Maria Formosa on Lunga Santa Maria Formosa, Castello 5176, +39 041 296 0841). For a solid selection of used books in English, visit Libreria Marco Polo on Campo Santa Margherita (Tue-Sat 11:00-13:00 & 15:00-19:00, closed Sun-Mon, Dorsoduro 2915, +39 041 822 4843). For bookstore locations, see the map on here.

Public Toilets: Handy pay WCs are near major landmarks, including St. Mark’s Square (behind the Correr Museum and at the waterfront park, Giardinetti Reali), behind St. Mark’s Basilica (just off Campo Santi Filippo e Giacomo), Rialto, and the Accademia Bridge. Or use free toilets at any museum you’re visiting, or any tables-and-chairs café you’re eating in.

Laundry: Across the Grand Canal from the train station is the coin-operated Orange Self-Service Lavanderia (daily 7:30-23:00, on Ramo de le Chioverete, Santa Croce 665a—see map on here, mobile +39 346 972 5446).

These laundry places are near St. Mark’s Square (see here for locations): Self-service Effe Erre is off Campo Santa Maria Formosa (daily 6:30-23:30, on Ruga Giuffa, Castello 4826, mobile +39 340 712 5290). Lavanderia Gabriella offers full-service laundry, a few streets north of St. Mark’s Square (drop off Mon-Fri 8:00-12:30, closed Sat-Sun; pick up 2 hours later or next working day, on Rio Terà de le Colonne, San Marco 985, +39 041 522 1758, friendly Elisabetta).

English Church Services: St. George’s Anglican Church welcomes all to its English-language Eucharist (Sun at 10:30, located on Campo San Vio in Dorsoduro, midway between Accademia and Peggy Guggenheim Collection, www.stgeorgesvenice.com).

Where to Find Venice’s Best Views

• The soaring Campanile on St. Mark’s Square

• The balcony of St. Mark’s Basilica

• Rialto Bridge, with a free, expansive view of the Grand Canal (and a cooling breeze)

• The luxury “mall” T Fondaco dei Tedeschi (just north of the Rialto Bridge) with great Grand Canal views

• Accademia Bridge, overlooking the Grand Canal and dome of La Salute Church

• The cupola of La Salute Church

• The Church of San Giorgio Maggiore’s bell tower, with views of Venice and all around the lagoon

Water: I carry a water bottle to refill at public fountains. Venetians pride themselves on having pure, safe, and tasty tap water piped in from the foothills of the Italian Alps. You can actually see the mountains from Venice’s bell towers on crisp, clear winter days.

Pigeon Poop: If your head is bombed by a pigeon, resist the initial response to wipe it off immediately—it’ll just smear into your hair. Wait until it dries, and it should flake off cleanly. But if the poop splatters on your clothes, wipe it off immediately to avoid a stain.

GETTING AROUND VENICE

Venice is small. You can walk across it, from head to tail, in about an hour. Nearly all of your sightseeing is within a 20-minute walk of the Rialto Bridge or St. Mark’s Square.

On Foot

The city’s “streets” are narrow pedestrian walkways connecting its docks, squares, bridges, and courtyards. To navigate, look for signs on street corners pointing you to (per) the nearest major landmark. The first landmarks you’ll get to know are San Marco (St. Mark’s Square), Rialto (the bridge), Accademia (another bridge), Ferrovia (literally “railroad,” meaning the train station), and Piazzale Roma (the bus station). Determine whether your destination is in the direction of a major signposted landmark, then follow the signs through the maze.

As you get more comfortable with the city, dare to disobey these signs, avoid the posted routes, and make your own discoveries. While 80 percent of Venice is, in fact, not touristy, 80 percent of the tourists never notice. Escape the crowds and explore on foot. Walk and walk to the far reaches of the town.

Don’t worry about getting lost—in fact, get as lost as possible. Keep reminding yourself, “I’m on an island, and I can’t get off.” When it comes time to find your way, just follow the arrows on building corners or simply ask a local, “Dov’è San Marco?” (“Where is St. Mark’s?”) Most Venetians speak some English. If they don’t, listen politely, watch where their hands point, say “Grazie,” and head off in that direction. In a few blocks, ask again. If you’re lost, refer to a map, or pop into a hotel and ask for their business card—it probably comes with a map and a prominent “You are here.” Some helpful terminology: Campo means square, a campiello is a small square, calle (pronounced “KAH-lay” with an “L” sound) means street, and ponte is a bridge. A fondamenta is the embankment along a canal or the lagoon. A rio terà is a street that was once a canal and has been filled in. A sotoportego is a covered passageway. Salizzada literally means a paved area (usually a wide street). The abbreviations S. and SS. mean “saint” and “saints,” respectively. Don’t get hung up on the exact spelling of street and square names, which may sometimes appear in Venetian dialect (which uses de la, novo, and vechio) and other times in standard Italian (which uses della, nuovo, and vecchio).

Venetian Addresses: For centuries, Venice got along without any official street names or numbering. Navigating was by landmarks alone (“the fourth alley after the fruit stand closest to the canal”). But when Austria took over in 1798, it imposed the sometimes-confusing system that’s still used today.

Handy Vaporetti from San Zaccaria, near St. Mark’s Square

Several vaporetti leave from the San Zaccaria docks, located 150 yards east of St. Mark’s Square. The five docks are spaced about 70 yards apart, with seven different berths, lettered A to F. Check the big electronic board (next to the C/D dock), which indicates the departure time, line number, destination, and berth of upcoming vaporetti. Once you’ve figured out which boat you want, go to that letter berth and hop on.

Line #1: This vaporetto goes up the Grand Canal, making all the stops, including both San Marco stops, Rialto, Ferrovia (train station), and Piazzale Roma—but it does not go as far as Tronchetto (dock E). In the other direction, it goes from San Zaccaria to Arsenale and Giardini before ending on the Lido (dock F).

Line #2: This vaporetto zips over to San Giorgio Maggiore, the island church across from St. Mark’s Square. From there, it continues on to stops on the island of Giudecca, the parking lot at Tronchetto, and then down the Grand Canal as far as Piazzale Roma (dock B). In summer, line #2 also runs up the Grand Canal to Rialto, Ferrovia, and Piazzale Roma (dock E).

Line #4.1: This boat goes to San Michele (cemetery) and Murano (45 minutes, dock D).

Line #7: This is the express boat to Murano (25 minutes, dock D).

Hilton Molino Stucky Shuttle Boat: This boat takes even nonguests to the Hilton Hotel on Giudecca, with its popular view bar (20-minute ride, 2-3/hour, dock B-1).

Lines #5.1 and #5.2: These are the circulare (cheer-koo-LAH-ray), making a loop around the perimeter of the island, with a stop at the Lido—perfect if you just like riding boats. Line #5.1 goes counterclockwise, and #5.2 goes clockwise. Both run less frequently in the evenings (#5.1 leaves from dock F, #5.2 from dock C).

Alilaguna Shuttle Boat: This runs to and from the airport (dock B-1).

The Austrians picked a starting point in each sestiere (district) and assigned numbers to each house. In the San Marco sestiere, for example, numbering started at the Doge’s Palace (San Marco 1) and kept going to the last house (San Marco 5562). To the ongoing chagrin of tourists, official addresses still contain just the district name and house number, but no street. That’s fine for the postman, but for the sake of others, many businesses and individuals now add a street name.

By Vaporetto

Venice’s public transit system, run by a company called ACTV, is a fleet of motorized bus-boats called vaporetti. They work like city buses except that they never get a flat, the stops are docks, and if you jump off between stops, you might drown. For the same prices, you can purchase tickets and passes at docks and from ACTV affiliate VèneziaUnica (ACTV-+39 041 2424, www.actv.it; VèneziaUnica-www.veneziaunica.it).

Tickets and Passes

Individual Vaporetto Tickets: A single ticket costs €9.50 (kids under 6 travel free). Tickets are good for 75 minutes of one-way travel; you can hop on and off at stops and change boats during that time.

Vaporetto Passes: Because single tickets are pricey, these passes pay for themselves in a hurry. You can buy a pass for unlimited use of vaporetti: €25/24 hours, €35/48 hours, €45/72 hours, €65/7-day pass (the clock starts ticking the first time you use it). Think through your Venice itinerary before you step up to the ticket booth to pay for your first vaporetto trip. The 48-hour pass pays for itself with five rides (for example: to your hotel on your arrival, on a Grand Canal joyride, into the lagoon and back, to the train station...and that spur-of-the-moment moonlight cruise). It’s fun to be able to hop on and off spontaneously and avoid long ticket lines. Some smaller and outlying stops are unstaffed—another reason to buy a pass.

Travelers ages 6-29 can get a 72-hour pass for €28 if they also buy a Rolling Venice discount card for €6 (see here).

Passes are also valid on some of ACTV’s mainland buses, including bus #2 to Mestre (but not the #5 to the airport or the airport buses run by ATVO, a separate company).

Buying and Validating Tickets and Passes: Purchase tickets and passes from the machines at most stops (English-language option, credit cards accepted), from ticket windows (at larger stops), or from the VèneziaUnica offices at the train station, bus station, and Tronchetto parking lot. If you’re unable to purchase a ticket before boarding, seek out the conductor immediately to buy a single ticket (or risk a hefty fine).

Before you board, validate your ticket or pass by touching it to the small white pad on the dock until you hear a pinging sound (you need to touch the pass each time you board a boat). The machine readout shows how long your ticket is valid—and inspectors do come by now and then to check tickets.

Important Vaporetto Lines

For most travelers, only a few vaporetto lines matter.

Line #1 leaves every 10 minutes or so and goes up and down the Grand Canal, between the “mouth” of the fish at one end and St. Mark’s Square at the other. Making every stop along the way, it takes 45 minutes to complete the full route.

Line #2 runs between Piazzale Roma (bus station) and San Marco/San Zaccaria via Giudecca (35 minutes); the companion line #2/ goes from Piazzale Roma to Ferrovia (train station) and Rialto via the Grand Canal (10 minutes). From late May to mid-September, line #2 also runs an express route up and down the Grand Canal, between Piazzale Roma and San Marco/San Zaccaria (35 minutes).

Take time to study the maps at docks before you board. Some boats run on circular routes, in one direction only (for example, lines #5.1 and #5.2).

To clear up any confusion, ask a ticket-seller or conductor for help (sometimes they’re stationed on the dock to help confused tourists). Get a copy of the most current ACTV map and timetable (in English and Italian, download from www.actv.it, theoretically free at ticket booths but often unavailable), or consult the maps online. System maps are posted at stops. The easy-to-use CheBateo? app can help you figure out routes and schedules.

Boarding and Riding

Once you know which line you want, you need to find the right departure platform (many stops have more than one). At these larger stops, check the electronic departure board to see which boats are coming next, when, where they’re going, and from which platform they leave (for example, “Line 2 to San Marco, from platform B”). At smaller stops without electronic displays, signs on each platform show the vaporetto lines that stop there and the direction they are headed. Once you find your platform, be aware that other boats may also be leaving from the same platform. When the boat arrives, confirm the direction posted on the bow (“Line 2, San Marco”). To double-check, ask the conductor when you board (“San Marco?”).

You’ll notice at some big stops that there are two entries—one for tourists and one for locals (a reasonable way to protect locals from the frustrating mobs of visitors that flood their city in peak times). Sometimes boats arrive and can’t accommodate everyone in line...leaving you to wait ten minutes until the next vaporetto.

Crowd-Beating Tips

For fun, take the Grand Canal Cruise (see that chapter). But be warned: Grand Canal vaporetti can be absolutely jam-packed, especially during the tourist rush hour (during mornings heading in from Piazzale Roma, and in evenings heading out to Piazzale Roma). Riding at night, with nearly empty boats and chandelier-lit palace interiors viewable from the Grand Canal, can be a highlight of your Venetian experience.

By Traghetto

Only four bridges cross the Grand Canal, but traghetti (shuttle gondolas) ferry locals and in-the-know tourists across the Grand Canal at three additional locations (see the map on here). Just step in, hand the gondolier €2, and enjoy the ride—standing or sitting. Some traghetti are seasonal, some stop running as early as 12:30, and all stop by 18:00. Traghetti are not covered by any transit pass.

By Water Taxi

Venetian taxis, like speedboat limos, hang out at busy points along the Grand Canal. Prices are regulated and fixed by destination (for example, the 20-minute trip from the train station to San Marco costs €70). Despite regulation, prices can be soft; negotiate and settle on the price or rate before stepping in. For travelers with lots of luggage or small groups who can split the cost, taxi-boat rides can be a worthwhile and time-saving convenience—and skipping across the lagoon in a classic wooden motorboat is a cool indulgence. For about €120 an hour, you can have a private, unguided taxi-boat tour. You may find more competitive rates if you prebook through the Consorzio Motoscafi water taxi association (prices good for up to 4 people, one bag/person, extra passengers-€10 each, maximum 9 people, extra fees for late night and extra bags, +39 041 522 2303, www.motoscafivenezia.it). For info on taking a water taxi to/from the airport, see here.

By Gondola

If you’re interested in hiring a gondolier for your own private cruise, see the Nightlife in Venice chapter. But note that gondolas are not in business to be a floating Uber service. They only make loop tours.

Tours in Venice

Local guides and tour companies offer plenty of walking tours that cater to a variety of interests.

To sightsee on your own, download my free audio tours that illuminate some of Venice’s top sights and neighborhoods.

Avventure Bellissime Venice Tours

This company offers several small-group, English-only tours, including a basic two-hour St. Mark’s Square introduction that includes skip-the-line tickets to the basilica (€39, includes church entry, Mon-Sat at 11:00, 20 people maximum), an hour-long boat tour of the Grand Canal (€55, Mon-Sat at 10:00, 10 people maximum), and mainland excursions (RS%—10 percent discount on some tours, contact them before booking for a promo code; details at www.tours-italy.com, +39 041 970 499, info@tours-italy.com).

Alessandro’s Classic Venice Bars Backstreets Tours

Alessandro Schezzini is a connoisseur of Venetian bacari—classic old bars serving wine and traditional cicchetti snacks. He organizes two-hour Venetian bar tours (€40/person, most nights at 17:30) that include sampling cicchetti with wines at three bacari. (If you think of this tour as a light dinner with a local friend, it’s a particularly good value.) Tours depart almost daily in season when six or more sign up. They meet 50 yards north of the Rialto Bridge under the big clock on Campo San Giacomo. (Book via email, alessandro@schezzini.it, or by phone at 335-530-9024; www.schezzini.it.)

Venicescapes

Michael Broderick’s private, themed tours of Venice are intellectually demanding and engrossing for history buffs. Michael, a passionate teacher, has spent 30 years living and studying in Venice. He’s an instinctive “dot connector”: His tours intertwine history, art, politics, economics, culture, and religion (various 4- to 6-hour itineraries, 2 people-€280-320 or the USD equivalent, €60/person after that, admissions and transport extra, +39 041 850 5742, mobile +39 349 479 7406, www.venicescapes.org, info@venicescapes.org).

Local Guides

Plenty of licensed, trained guides are available (figure on €75/hour with a 2-hour minimum). I’ve enjoyed working with the following guides and groups:

Walks Inside Venice is enthusiastic about teaching (€280/3 hours per group of up to 6, RS%; Roberta: mobile +39 347 253 0560; Sara: mobile +39 335 522 9714; www.walksinsidevenice.com, info@walksinsidevenice.com). Along with their four-hour “Grand Tour,” they do Ghetto and Plague tours.

Elisabetta Morelli and Corine Govi, who run 2Guides4Venice, are informative and reliable (Elisabetta: mobile +39 328 753 5220, elisabettamorelli61@gmail.com; Corine: mobile +39 347 966 8346, corinegovi@gmail.com; www.2guides4venice.com).

Venice with a Guide, a co-op of eight good Venetian guides, offers a range of tours (€75/hour, www.venicewithaguide.com).

BestVeniceGuides.it offers a smartly organized online catalog of about 100 local guides, with information to help you pick the right guide for you. Note that Italy allows all licensed guides to lead tours anywhere in the country, so it behooves the thoughtful traveler to book a Venetian guide for the best Venetian experience (family-friendly guides, shared group tours available, most guides about €75/hour, www.bestveniceguides.it). Guides also contribute to the site’s blog about Italian art and culture.

Tour Leader Venice specializes in getting you outside of Venice by car or minivan—to countryside villas, prosecco and cheese tastings, and the Dolomites—but also offers guided walks in Venice (mobile +39 348 900 0700 or +39 333 411 2840, www.tourleadervenice.com, info@tourleadervenice.com; Igor). They also provide transfer services to Venice’s airports and cruise terminals, as well as farther destinations.

SIGHTS IN VENICE

Venice at a Glance

SIGHTSEEING STRATEGIES

Avoiding Lines and Crowds

Map: Venice

Sightseeing Passes and Discounts

Sightseeing in the Off-Season

SAN MARCO DISTRICT

▲▲▲St. Mark’s Square (Piazza San Marco)

▲▲▲St. Mark’s Basilica (Basilica di San Marco)

▲▲▲Doge’s Palace (Palazzo Ducale)

▲▲Correr Museum (Museo Correr)

Clock Tower (Torre dell’Orologio)

▲Campanile (Campanile di San Marco)

La Fenice Opera House (Gran Teatro alla Fenice)

Palazzo Grassi

BEHIND ST. MARK’S BASILICA

▲Bridge of Sighs

Church of San Zaccaria

ACROSS THE LAGOON FROM ST. MARK’S SQUARE

▲Island and Church of San Giorgio Maggiore

DORSODURO DISTRICT

▲▲Accademia (Galleria dell’Accademia)

▲▲Peggy Guggenheim Collection

▲La Salute Church (Santa Maria della Salute)

▲Punta della Dogana

▲▲Ca’ Rezzonico (Museum of 18th-Century Venice)

SAN POLO DISTRICT

▲▲▲Rialto Bridge

▲T Fondaco dei Tedeschi View Terrace

▲▲Frari Church (Basilica di Santa Maria Gloriosa dei Frari)

▲▲Scuola San Rocco

SANTA CROCE DISTRICT

▲Ca’ Pesaro International Gallery of Modern Art

Palazzo Mocenigo Costume Museum (Museo di Palazzo Mocenigo)

CANNAREGIO DISTRICT

Jewish Ghetto

Map: Jewish Ghetto

Calatrava Bridge (a.k.a. Ponte della Costituzione)

Ca’ d’Oro

CASTELLO DISTRICT

▲Scuola Dalmata di SS Giorgio e Trifone

Naval History Museum, Arsenale, and Ships Pavilion

▲Via Garibaldi: A Neighborhood of Venetians

Sant’Elena

La Biennale

VENICE’S LAGOON

San Michele (a.k.a. Cimitero)

▲Murano

▲Burano

▲Torcello

Lido Beaches

Venice’s greatest sight is the city itself. As well as seeing world-class museums and buildings, make time to wander narrow lanes, linger over a meal, or enjoy evening magic on St. Mark’s Square. One of Venice’s most delightful experiences—a gondola ride, worth ▲▲▲—is covered in the Nightlife in Venice chapter.

When you see a in a listing, it means the sight is described in greater detail in a self-guided walk or tour later in this book. A means the walk or tour is also available as a free audio tour (via my Rick Steves Audio Europe app—see here). Some walks and tours are available in both formats—take your pick. This is why some of Venice’s most important sights get the least coverage in this chapter—we’ll explore them in greater depth elsewhere in this book.

SIGHTSEEING STRATEGIES

Avoiding Lines and Crowds

Venice is inundated with day-trippers from the mainland and cruise-ship passengers daily from 10:00 to about 16:00. Major sights are busiest in the late morning, making this a smart time to explore the back lanes. Sights that have crowd problems get even more packed when it rains.

Three sights are often plagued by long lines: Saint Mark’s Basilica, the Doge’s Palace, and the Campanile bell tower—and the only way to be sure to avoid a wait is to book a timed-entry ticket online in advance. You may also save time by booking ahead for the Accademia. For the rest of Venice’s sights, you should be fine just dropping by at any time.

If you didn’t plan ahead, and are confronted by a long line for the Doge’s Palace, purchase your ticket at the Correr Museum across St. Mark’s Square. And for the Campanile bell tower, remember that you can skip it entirely if you’re going to the similar San Giorgio Maggiore bell tower—which actually offers a better view.

Avoid Free-Entry Crowds: For most of the year, state museums in Italy are free on the first Sunday of each month (no reservations are available). In Venice, these include the Accademia and Ca’ d’Oro museums. Free days are actually bad news—they attract crowds. Make a point to avoid these days.

Sightseeing Passes and Discounts

Venice offers a dizzying array of combo-tickets and sightseeing passes. Note that many of the most visit-worthy sights in town (the Accademia, Peggy Guggenheim Collection, Scuola San Rocco, Campanile, and St. Mark’s Basilica—and its sights within that charge admission) are not covered by any basic pass. All the passes described here are sold at the TI, and most are also available at participating sights.

Museum Pass: Busy sightseers may find value in this pass, which covers the Doge’s Palace, Correr Museum, Ca’ Rezzonico (Museum of 18th-Century Venice); Palazzo Mocenigo Costume Museum; Casa Goldoni (home of the Italian playwright); Ca’ Pesaro (modern art); Museum of Natural History in the Santa Croce district; the Glass Museum on the island of Murano; and the Lace Museum on the island of Burano. At €35 (€18 for youth and seniors), this pass is an obvious value if you plan to see the Doge’s Palace, Correr Museum, and one or two of the other covered museums. Buy it at any participating museum or via their websites (www.visitmuve.it).

Chorus Pass: This pass gives church lovers admission to 17 of Venice’s churches and their art (generally €3-4 each) for €12 (www.chorusvenezia.org). The Frari Church and St. Mark’s are not included.

Vènezia Unica City Pass: The basic version of this pass includes 12 city-run museums (including the Doge’s Palace) and the churches covered by the Chorus Pass, plus a few minor discounts, for €47.50. The pass can be customized with add-ons such as vaporetto access and additional museum admissions (the TI and website have all the details, www.veneziaunica.it).

Rolling Venice: If you’re under 30, this €6 youth pass offers free admission and/or discounts at dozens of sights and shops, but its best deal is for transit. It lets you buy a 72-hour transit pass for a discounted €28 (sold at TIs and vaporetto ticket offices).

Youth and Senior Discounts: The 11 city-run museums run by MUVE (Fondazione Musei Civici Venezia), including the Doge’s Palace, Correr Museum, and Ca’ Rezzonico, offer good discounts on youth/student (6-25) and senior (65+) tickets. For the complete list, see VisitMuve.it.

Sightseeing in the Off-Season

Off-season has none of the sweat and stress of the tourist season and rooms may be cheaper, but sights may have shorter hours, lunchtime breaks, and fewer activities. Here are several things to keep in mind if you visit Venice off-season, roughly November through March.

• Most sights close early, often at 17:00.

• The orchestras in St. Mark’s Square may stop playing at 18:00 (and may not play at all in bad weather or during their annual vacations, usually in March).

• Vaporetto service on the Grand Canal is reduced to the slow boat, vaporetto #1, which makes every stop along the way. The faster #2 boat is reduced to a shuttle route between Piazzale Roma, Ferrovia (train station), and Rialto.

• Expect occasional flooding, particularly at St. Mark’s Square.

Venice has two main weather patterns: Wind from the southeast (the Balkans) brings cold and dry weather, while the sirocco wind from the south (north Africa) brings warm and wet weather, pushing more water into the lagoon and causing flooding (acqua alta). This shouldn’t greatly affect your sightseeing plans. Tabacchi (tobacco shops) and some souvenir shops sell boots to keep your feet dry. Elevated wooden walkways are sometimes set up in the busier, more flooded squares to keep you above the water. And it’s worth a trip to St. Mark’s Square to see waiters in fancy tuxes and rubber boots.

SAN MARCO DISTRICT

▲▲▲St. Mark’s Square (Piazza San Marco)

This grand square is surrounded by splashy, historic buildings and sights: St. Mark’s Basilica, the Doge’s Palace, the Campanile bell tower, the Clock Tower, and the Correr Museum. The square is filled with music, lovers, pigeons, and tourists by day, and is your private rendezvous with the Venetian past late at night, when Europe’s most magnificent dance floor is the romantic place to be.

For a slow and pricey evening thrill, invest €15 or so (including service and cover charge for the music) for a drink at one of the elegant cafés with the dueling orchestras (see “Cafés on St. Mark’s Square” on here). For an unmatched experience that offers the best people-watching, it’s worth the splurge.

Venice at a Glance

▲▲▲St. Mark’s Square Venice’s grand main square.

▲▲▲St. Mark’s Basilica Cathedral with mosaics, saint’s bones, treasury, museum, and viewpoint of square. Hours: Mon-Sat 9:30-17:00, Sun 14:00-17:00 (Sun until 16:30 Nov-Easter).

▲▲▲Doge’s Palace Art-splashed palace of former rulers, with prison accessible through Bridge of Sighs. Hours: Daily 9:00-18:00, off-season until 17:00.

▲▲▲Rialto Bridge Distinctive bridge spanning the Grand Canal, with a market nearby. Hours: Market—souvenir stalls open daily, produce market closed Sun, fish market closed Sun-Mon.

▲▲Correr Museum Venetian history and art. Hours: Daily 10:00-19:00, Nov-March 10:30-17:00.

▲▲Accademia Venice’s top art museum. Hours: Tue-Sun 8:15-19:15, Mon until 14:00.

▲▲Peggy Guggenheim Collection Popular display of 20th-century art. Hours: Wed-Mon 10:00-18:00, closed Tue.

▲▲Frari Church Franciscan church featuring Renaissance masters. Hours: Mon-Sat 9:00-18:00, Sun from 13:00.

▲▲Scuola San Rocco “Tintoretto’s Sistine Chapel.” Hours: Daily 9:30-17:30.

▲▲Ca’ Rezzonico Posh Grand Canal palazzo with 18th-century Venetian art. Hours: Wed-Mon 10:00-18:00, Nov-March until 17:00, closed Tue year-round.

▲Campanile Dramatic bell tower on St. Mark’s Square with elevator to the top. Hours: Daily. roughly 9:30-20:45, shorter hours off-season.

▲Bridge of Sighs Famous enclosed bridge, part of Doge’s Palace, near St. Mark’s Square.

▲La Salute Church Striking church dedicated to the Virgin Mary. Hours: Daily 9:30-12:00 & 15:00-17:30.

▲Punta della Dogana Museum of contemporary art. Hours: Wed-Mon 10:00-19:00, closed Tue.

▲Ca’ Pesaro International Gallery of Modern Art Fine museum in a canalside palazzo. Hours: Tue-Sun 10:00-18:00, Nov-March until 17:00, closed Mon year-round.

▲T Fondaco dei Tedeschi View Terrace Rooftop terrace atop luxury mall, with views over the Grand Canal. Hours: Daily 10:30-18:30, June-Aug until 20:15, Nov-March until 19:15.

▲Scuola Dalmata di SS San Giorgio e Trifone Exquisite Renaissance meeting house. Hours: Mon 13:30-17:30, Tue-Sat 9:30-17:30, Sun 9:30-13:30.

▲Via Garibaldi Walkable residential area with welcoming restaurants, parks, and shops.

Church of San Zaccaria Final resting place of St. Zechariah, plus a Bellini altarpiece and an eerie crypt. Hours: Mon-Sat 10:00-12:00 & 16:00-18:00, Sun 16:00-18:00.

Nearby Islands

▲Burano Sleepy island known for lacemaking and lace museum. Hours: Museum open Tue-Sun 10:00-16:00, closed Mon.

▲San Giorgio Maggiore Island facing St. Mark’s Square, featuring dreamy church and fine views back on Venice. Hours: Daily 9:00-19:00, Nov-March 8:30-18:00.

▲Murano Island famous for glass factories and an illuminating Glass Museum. Hours: Glass Museum open daily 10:30-18:30, Nov-March until 16:30.

▲Torcello Near-deserted island with old church, bell tower, and museum. Hours: Church open daily 10:30-17:30, Nov-Feb 10:00-17:00, museum closed Mon.

For more on the square, the Clock Tower, the Campanile, and other sights on the square, see the St. Mark’s Square Tour chapter or download my free St. Mark’s Square audio tour.

▲▲▲St. Mark’s Basilica (Basilica di San Marco)

Built in the 11th century to replace an earlier church, this basilica’s distinctly Eastern-style architecture underlines Venice’s connection with Byzantium (which protected it from the ambition of Charlemagne and his Holy Roman Empire). It’s decorated with booty from returning sea captains—a kind of architectural Venetian trophy chest. The interior glows mysteriously with gold mosaics and colored marble. Since about AD 830, the saint’s bones have been housed on this site. The San Marco Museum within holds the original bronze horses (copies of these overlook the square), and a balcony offering a remarkable view over St. Mark’s Square.

Cost and Hours: Basilica entry is €3, though if you reserve a timed-entry ticket online in advance (€6), you can skip the line. Once inside, you can add on any of three separate exhibits within the church (or buy ahead online): Treasury-€5, Golden Altarpiece-€5, and San Marco Museum-€7. Church and all exhibits open Mon-Sat 9:30-17:00, Sun 14:00-17:00 (Sun until 16:30 Nov-Easter), +39 041 270 8311, www.basilicasanmarco.it.

See the St. Mark’s Basilica Tour chapter or download my free audio tour.

▲▲▲Doge’s Palace (Palazzo Ducale)

The seat of the Venetian government and home of its ruling duke, or doge, this was the most powerful half-acre in Europe for 400 years. The Doge’s Palace was built to show off the power and wealth of the Republic. The doge lived with his family on the first floor up, near the halls of power. From his once-lavish (now sparse) quarters, you’ll follow the one-way tour through the public rooms of the top floor, finishing with the Bridge of Sighs and the prison. The place is wallpapered with masterpieces by Veronese and Tintoretto.

Cost and Hours: €30 combo-ticket includes Correr Museum, €1 fee for online reservation (timed-entry), €15 for youth and seniors, covered by Museum Pass; Sun-Thu 8:30-21:00, Fri-Sat until 23:00, Nov-March daily until 19:00; daily 9:00-18:00, off-season until 17:00, last entry one hour before closing; café, next to St. Mark’s Basilica, just off St. Mark’s Square, vaporetto stops: San Marco or San Zaccaria, +39 041 271 5911, http://palazzoducale.visitmuve.it.

Avoiding Lines: There are three lanes for entering the Doge’s Palace: for those with a ticket or a pass, for those without a ticket, and for those booked on a Secret Itineraries tour. To enter directly through the turnstile without a wait, buy your ticket online in advance or from the uncrowded Correr Museum across the square.

See the Doge’s Palace Tour chapter.

▲▲Correr Museum (Museo Correr)

This uncrowded museum gives you a good overview of Venetian history and art. The doge memorabilia, armor, banners, statues (by Canova), and paintings (by the Bellini family and others) re-create the festive days of the Venetian Republic. And it’s all accompanied—throughout the museum—by good English descriptions and views of St. Mark’s Square.

Cost and Hours: €30 combo-ticket includes Doge’s Palace, €15 for youth and seniors, covered by Museum Pass; daily 10:00-19:00, Nov-March 10:30-17:00; free and mandatory bag check, elegant café, enter at far end of square directly opposite basilica, +39 041 240 5211, http://correr.visitmuve.it.

See the Correr Museum Tour chapter.

Clock Tower (Torre dell’Orologio)

Built during the Renaissance in 1496, the Clock Tower marks the entry to the main shopping drag, called the Mercerie (or “Marzarie,” in Venetian dialect), which connects St. Mark’s Square with the Rialto Bridge. From the piazza, you can see the bronze men swing their huge clappers at the top of each hour. In the 17th century, one of them knocked an unsuspecting worker off the top and to his death—probably the first ever killing by a robot. Notice one of the world’s first “digital” clocks on the tower facing the square (with dramatic flips every five minutes).

You can go inside the Clock Tower with a prebooked 45-minute guided tour that takes you close to the clock’s innards and out to a terrace with good views over the square and city rooftops.

Cost and Hours: €13 tour ticket includes admission to the Correr Museum—where the tour starts—as well as the National Archaeological Museum and the Monumental Rooms of the Biblioteca Marciana; tours in English Mon at 11:00, Tue-Wed at 14:00, Fri and Sun at 11:00 and 14:00; no kids under age 6.

Reservations: To ensure a spot in advance, book online at http://torreorologio.visitmuve.it or call +39 041 4273 0892 (call center open daily 9:00-13:00).

▲Campanile (Campanile di San Marco)

This dramatic bell tower replaced a shorter tower, part of the original fortress that guarded the entry of the Grand Canal. That tower crumbled into a pile of bricks in 1902, a thousand years after it was built. Ride the elevator 325 feet to the top of the bell tower for the best view in Venice (especially at sunset). For an ear-shattering experience, be on top when the bells ring. The golden archangel Gabriel at the top always faces into the wind. Beat the crowds and plan your summit to enjoy the crisp morning air or the cool evening breeze.

Cost and Hours: €10 on-site, where you’ll wait in line; €12 timed-entry ticket lets you skip the line (buy online in advance or use the posted QR code at the entrance to book on the spot); daily roughly 9:30-20:45, shorter hours off-season; may close during bad weather, www.basilicasanmarco.it.

La Fenice Opera House (Gran Teatro alla Fenice)

During Venice’s glorious decline in the 18th century, this was one of seven opera houses in the city, and one of the most famous in Europe. For 200 years, great operas and famous divas debuted here, applauded by ladies and gentlemen in their finery. Then in 1996, an arson fire completely gutted the theater. But La Fenice (“The Phoenix”) rose from the ashes, thanks to an eight-year effort to rebuild the historic landmark according to photographic archives of the interior. To see the results at their most glorious, attend an evening performance (theater box office open daily 10:00-17:00, +39 041 272 2699, www.teatrolafenice.it).

During the day, you can take an audioguide tour of the opera house. All you really see is the theater itself; there’s no “backstage” tour of dressing rooms, or an opera museum, and the dry 45-minute guide mainly recounts two centuries of construction. But the auditorium, ringed with box seats, is impressive: pastel blue with sparkling gold filigree, muses depicted on the ceiling, and a starburst chandelier. It’s also a bit saccharine and brings sadness to Venetians who remember the place before the fire. Other than a minor exhibit of opera scores and Maria Callas memorabilia, there’s little to see from the world of opera. To save money and get just a peek at the place, walk into the entrance hall and browse the small bookshop.

For more on the opera house, see the St. Mark’s to Rialto Loop Walk chapter.

Cost and Hours: €11 audioguide tour (or download their app), generally open daily 9:30-18:00, but can vary depending on the performance schedule—to confirm, check calendar at www.festfenice.com. La Fenice is on Campo San Fantin, between St. Mark’s Square and the Accademia Bridge.

Palazzo Grassi

This former palace, gleaming proudly on the San Marco side of the Grand Canal, holds a branch of the Punta della Dogana contemporary art museum (for details, see Punta della Dogana listing, later; www.palazzograssi.it).

BEHIND ST. MARK’S BASILICA

▲Bridge of Sighs

This much-photographed bridge connects the Doge’s Palace with the prison. Travelers popularized this bridge in the Romantic 19th century. Supposedly, a condemned man would be led over this bridge on his way to the prison, take one last look at the glory of Venice, and sigh. Though overhyped, the Bridge of Sighs is undeniably tingle-worthy—especially after dark, when the crowds have dispersed and it’s just you and floodlit Venice. In the middle of the day, however, being immersed in the pandemonium of global tourism (and selfie sticks) can be a fascinating experience in itself.

Getting There: The Bridge of Sighs is around the corner from the Doge’s Palace. Walk toward the waterfront, turn left along the water, and look up the first canal on your left. You can walk across the bridge (from the inside) only by visiting the Doge’s Palace.

For more on the Bridge of Sighs, see the St. Mark’s to San Zaccaria Walk chapter and the Doge’s Palace Tour chapter.

Church of San Zaccaria

This historic church is home to a sometimes-waterlogged crypt, a Bellini altarpiece, a Tintoretto painting, and the final resting place of St. Zechariah, the father of John the Baptist.

Cost and Hours: Free, €3 to enter the crypt and choir chapel, €1 coin to light up Bellini’s altarpiece; Mon-Sat 10:00-12:00 & 16:00-18:00, Sun 16:00-18:00 only; two canals behind St. Mark’s Basilica.

For details on visiting the church, see the St. Mark’s to San Zaccaria Walk chapter.

ACROSS THE LAGOON FROM ST. MARK’S SQUARE

▲Island and Church of San Giorgio Maggiore

This is the dreamy church-topped island you can see from the waterfront by St. Mark’s Square. The striking 16th-century church, designed by Andrea Palladio with his trademark classical touch, features art by Tintoretto, a bell tower, and unforgettable views of Venice.

Cost and Hours: Church—free, open daily 9:00-19:00, Nov-March 8:30-18:00; bell tower elevator—€8, runs daily 10:00-18:00 (in off-season, may close for lunch 13:00-14:00), does not run during Sun services; +39 041 522 7827.

Getting There: To reach the island from St. Mark’s Square, take the five-minute ride on vaporetto line #2 from San Zaccaria (runs every 12 minutes from dock B, direction: Piazzale Roma). Remember that one vaporetto ticket is good for 75 minutes of one-way travel, allowing for a quick and free visit here on the way to somewhere else.

See the San Giorgio Maggiore Tour chapter.

DORSODURO DISTRICT

▲▲Accademia (Galleria dell’Accademia)

Venice’s top art museum, packed with highlights of the Venetian Renaissance, features paintings by the Bellini family, Titian, Tintoretto, Veronese, Tiepolo, Giorgione, and Canaletto. It’s just over the wooden Accademia Bridge from the San Marco action.

Cost and Hours: €12, €14 for timed-entry ticket that allows you to skip the line (buy online in advance); Tue-Sun 8:15-19:15, Mon until 14:00, last entry one hour before closing; dull audioguide—€6, vaporetto: Accademia, +39 041 524 3354, www.gallerieaccademia.it.

Venice Early and Late

Most sightseeing in Venice is restricted to the hours between 10:00 and 18:00. Here are some exceptions:

Sights Open Early

Accademia: Daily at 8:15

Doge’s Palace: Daily at 9:00

Frari Church: Mon-Sat at 9:00

San Giorgio Maggiore: Daily at 9:00, Nov-March at 8:30

Campanile: May-Sept at 9:30

La Salute Church: Daily at 9:30

Scuola Dalmata di SS Giorgio e Trifone: Tue-Sun at 9:30

Scuola San Rocco: Daily at 9:30

St. Mark’s Basilica: Mon-Sat at 9:30

Sights Open Late

Correr Museum: April-Oct daily until 19:00

Punta della Dogana: Wed-Mon until 19:00

Accademia: Tue-Sun until 19:15

Ca’ d’Oro: Tue-Sun until 19:00

Campanile: May-Sept daily until 20:45

Doge’s Palace: Sun-Thu until 21:00, Fri-Sat until 23:00, Nov-March daily until 19:00

Always Open

St. Mark’s Square and the Rialto Bridge are always open, uncrowded in the early morning, and magical at night.

See the Accademia Tour chapter.

▲▲Peggy Guggenheim Collection

The popular museum of far-out art, housed in the American heiress’ former retirement palazzo, offers one of Europe’s best reviews of the art of the first half of the 20th century. Stroll through styles represented by artists whom Peggy knew personally—Cubism (Picasso, Braque), Surrealism (Dalí, Ernst), Futurism (Boccioni), American Abstract Expressionism (Pollock), and a sprinkling of Klee, Calder, and Chagall.

Cost and Hours: €16; Wed-Mon 10:00-18:00, closed Tue; audioguide—€7, pricey café, vaporetto: Accademia or Salute, +39 041 240 5411, www.guggenheim-venice.it.

See the Peggy Guggenheim Collection Tour chapter.

▲La Salute Church (Santa Maria della Salute)

This impressive church, a prime example of Venetian Baroque, was built and dedicated to the Virgin Mary by grateful survivors of the 1630 plague. Ornate and gleaming white, with a huge, crown-shaped dome, the landmark church dominates the skyline where the Grand Canal meets the lagoon. A number of minor works by Titian and a Tintoretto are kept in the church’s sacristy. There are plans to eventually open the dome of La Salute to visitors, which will make for another breathtaking viewpoint.

Cost and Hours: Church—free; sacristy—€4; church open daily 9:30-12:00 & 15:00-17:30; sacristy open Mon-Sat 10:00-12:00 & 15:00-17:00, Sun 15:00-17:00; 10-minute walk from the Accademia Bridge, vaporetto: Salute, +39 041 274 3928, www.basilicasalutevenezia.it/la-basilica/.

See the La Salute Church Tour chapter.

▲Punta della Dogana

This museum of contemporary art, opened in 2009, makes the Dorsoduro a major destination for art lovers. Housed in the former Customs House at one end of the Grand Canal, it features cutting-edge 21st-century art in spacious rooms. This isn’t Picasso and Matisse, or even Pollock and Warhol—those guys are ancient history. But if you’re into the likes of Jeff Koons, Cy Twombly, Rachel Whiteread, and a host of newer artists, the museum is world class. The displays change completely about every year, drawn from the museum’s large collection—so large it also fills Palazzo Grassi, farther up the Grand Canal.

Cost and Hours: €20 (varies depending on exhibit); Wed-Mon 10:00-19:00, closed Tue, last entry one hour before closing; small café, +39 199 112 112 within Italy, 041-200-1057 from abroad, www.palazzograssi.it.

Getting There: Punta della Dogana is near La Salute Church (vaporetto: Salute). Palazzo Grassi is a bit upstream, on the east side of the Grand Canal (vaporetto: San Samuele).

▲▲Ca’ Rezzonico (Museum of 18th-Century Venice)

This Grand Canal palazzo offers the most insightful look at the life of Venice’s rich and famous in the 1700s. Wander under ceilings by Tiepolo, among furnishings from that most decadent century, enjoying views of the canal and paintings by Guardi, Canaletto, and Longhi.

Cost and Hours: €10, €1 fee to reserve online, covered by Museum Pass; Wed-Mon 10:00-18:00, Nov-March until 17:00, closed Tue year-round; ticket office closes one hour before museum, audioguide—€4, café on the Grand Canal, vaporetto: Ca’ Rezzonico, +39 041 241 0100, http://carezzonico.visitmuve.it.

See the Ca’ Rezzonico Tour chapter.

SAN POLO DISTRICT

▲▲▲Rialto Bridge

One of the world’s most famous bridges, this distinctive and dramatic stone structure crosses the Grand Canal with a single confident span. Designed in 1588 by architect Antonio da Ponte, it took only five years to complete. The arcades along the top of the bridge help reinforce the structure...and offer some enjoyable shopping diversions, as does the Rialto Market nearby (produce market closed Sun, fish market closed Sun-Mon).

For more on the Rialto Bridge, see the St. Mark’s to Rialto Loop Walk chapter. For more on the markets, see the Rialto to Frari Church Walk chapter.

▲T Fondaco dei Tedeschi View Terrace

In the Middle Ages, Venice was the world’s trading center, hosting scores of nationalities, each with its own caravanserai-like center. The most famous, just off the Rialto Bridge, was once the home of the Tedeschi (German) traders. Later, the building served as the main post office of Venice before being purchased by a global conglomerate and turned into a luxury mall catering to travelers from China and cruise ships. The ground floor features gourmet food shops and ritzy cafés.

The mall’s top-floor terrace offers a unique perspective over the roofs of Venice and an unforgettable view of the big bend in the Grand Canal. Four times an hour, 70 people are allowed onto the roof for 15 minutes. As you ride the red-carpet elevator to the top floor, notice how the old architectural bones of the structure survive.

Cost and Hours: The terrace is free but access requires a reservation (15-minute time slots, book online at www.dfs.com/en/info/t-fondaco-rooftop-terrace; walk-ins are welcome if there’s space, but no guarantees). Terrace open daily 10:30-18:30, June-Aug until 20:15; east side of Rialto Bridge, +39 041 314 2000.

▲▲Frari Church (Basilica di Santa Maria Gloriosa dei Frari)

My favorite art experience in Venice is seeing art in the setting for which it was designed—as it is at the Frari Church. The Franciscan “Church of the Brothers” and the art that decorates it are warmed by the spirit of St. Francis. It features the work of three great Renaissance masters: Donatello, Giovanni Bellini, and Titian—each showing worshippers the glory of God in human terms.

Cost and Hours: €5; Mon-Thu 9:00-19:30, Fri until 23:00, Sat until 18:00, Sun 13:00-18:00, shorter hours off-season; modest dress recommended, on Campo dei Frari, near San Tomà vaporetto and traghetto stops, +39 041 272 8611, www.basilicadeifrari.it.

See the Frari Church Tour chapter or download my free audio tour.

▲▲Scuola San Rocco

Sometimes called “Tintoretto’s Sistine Chapel,” this lavish meeting hall (behind the Frari Church) has some 50 large, colorful Tintoretto paintings plastered to the walls and ceilings. The best paintings are upstairs in the grand Chapter Room and, especially, in an adjacent smaller room, with Tintoretto’s Crucifixion. View the neck-breaking splendor with the mirrors available in the Chapter Room.

Cost and Hours: €10, daily 9:30-17:30, +39 041 523 4864, www.scuolagrandesanrocco.org.

See the Scuola San Rocco Tour chapter.

SANTA CROCE DISTRICT

▲Ca’ Pesaro International Gallery of Modern Art

This museum features 19th- and early-20th-century art in a 17th-century canalside palazzo. The collection is strongest on Italian (especially Venetian) artists, but also presents a broad array of other well-known artists. While the Peggy Guggenheim Collection is undisputedly Venice’s best modern collection, Ca’ Pesaro comes in a clear second—and features a handful of recognizable masterpieces (most notably Klimt’s Judith II, Kandinsky’s White Zig Zags, and Chagall’s Rabbi #2).

Cost and Hours: €14, covered by Museum Pass; Tue-Sun 10:00-18:00, Nov-March until 17:00, closed Mon year-round, last entry one hour before closing; 2-minute walk from vaporetto: San Stae, +39 041 721 127, http://capesaro.visitmuve.it.

Visiting the Museum: After buying your tickets, head upstairs and make your way through the rooms. You’ll start with 19th-century sculpture (Rodin and Medardo Rossi, Room 1), then Romanticism (Room 2), and then in Rooms 3-4, Impressionism and turn-of-the-century art, including Klimt’s beautiful/creepy Judith II, with her eagle-talon fingers. Room 5 has more sculpture (including by the Milanese sculptor Adolfo Wildt), as well as Chagall’s surprisingly realistic portrait of his hometown rabbi, Rabbi #2 (a.k.a. The Rabbi of Vitebsk). Room 6 shows off Venetian Impressionism. Rooms 7-9 are devoted to Modernist art from the 1920s and 1930s, including Bonnard’s colorful Nude in the Mirror, which flattens the 3-D scene into a 2-D pattern of rectangles. Room 10 moves on to the 1930s and 1940s, while Room 11 has big international names including Klee, Kandinsky, Picasso, Calder, and Ernst. Abstract art is in Rooms 12-14, and finally, Dada and Pop Art in Room 15. Forgotten on the top floor is the skippable Museum of Oriental Art.

A Dying City?

Venice’s population (fewer than 51,000 in the historic city) is half what it was just 30 years ago, and people are leaving at a rate of a thousand a year. Of those who stay, 25 percent are 65 or older.

Sad, yes, but imagine raising a family here: Apartments are small, high up, and expensive. Humidity and occasional flooding make basic maintenance a pain. Home-improvement projects require navigating miles of red tape, and you must follow regulations intended to preserve the historical ambience. Everything is expensive because it has to be shipped in from the mainland. You can easily get glass and tourist trinkets, but it’s hard to find groceries or get your shoes fixed. Running basic errands involves lots of walking and stairs—imagine crossing over arched bridges while pushing a child in a stroller and carrying a day’s worth of groceries.

With millions of visitors a year (150,000 a day at peak times), on any given day Venetians are likely outnumbered by tourists. Despite government efforts to subsidize rents and build cheap housing, the city is losing its residents. The economy itself is thriving, thanks to tourist dollars and rich foreigners buying second homes. But the culture is dying.

Greedy residents could sink Venice long before the sea swallows it up. Locals happily rent apartments to tourists a few times a month rather than affordably to local families, and shopkeepers sell trinkets to tourists before pots and pans to the local population. Even the most hopeful city planners worry that in a few decades Venice will not be a city at all, but a museum, a cultural theme park, a decaying Disneyland for adults.

Palazzo Mocenigo Costume Museum (Museo di Palazzo Mocenigo)

This museum offers a pleasant walk through a dozen rooms in a fine 17th-century mansion. Besides viewing period clothing and accessories, you can sniff an array of perfumes and spices and watch a video about the history of perfume in Venice. The rooms provide a sense of aristocratic life during Venice’s golden age, with furnishings, family portraits, ceilings painted (c. 1790) with family triumphs (the Mocenigos produced seven doges), and Murano glass chandeliers in situ. English-language cards in each room give sparse descriptions.

Cost and Hours: €8, covered by Museum Pass; Tue-Sun 10:00-18:00, Nov-March until 17:00, closed Mon year-round; a block in from vaporetto: San Stae, +39 041 721 798, http://mocenigo.visitmuve.it.

CANNAREGIO DISTRICT

Jewish Ghetto

Tucked away in the Cannaregio district is the ghetto where Venice’s Jewish population once lived, segregated from the rest of the city. While today’s Jewish population is dwindling, the neighborhood still has centuries of history, Jewish-themed sights, and eateries.

Getting There: From the train station, walk five minutes to the Ponte de Guglie bridge over the Cannaregio Canal. Cross the bridge and turn left. About 50 yards north of the bridge, a small covered alleyway (Sotoportego del Gheto Vechio) leads between the farmacia and the Gam-Gam Kosher Restaurant, through a newer Jewish section, across a second bridge, and into the historic core of the ghetto at Campo de Gheto Novo.

Before you reach the second bridge and Campo de Gheto Novo, consider stopping at the information point run by the Jewish community, at #1222 (open Sun-Fri 10:00-17:30 Oct-May, closed Sat, on Calle del Gheto Vechio, +39 041 523 7565, www.jvenice.org).

Visiting the Jewish Ghetto: Campo de Gheto Novo must have been quite a scene in the 17th century, ringed by 70 shops and with all of Venice’s Jewish commerce compressed into this one spot. Today there are only about 500 Jews in all of Venice—and only a few dozen live in the actual ghetto. The square is still surrounded by the six-story “skyscrapers” that once made this a densely packed neighborhood.

Today the square, with its three cistern wells, is quiet. The Jewish people you may see here are likely tourists. Look for the large Jewish senior center/community center (Casa Israelitica di Riposo), flanked by two different Holocaust memorials by the Lithuanian artist Arbit Blatas. The barbed wire and bronze plaques remind us that it was on this spot that the Nazis rounded up 200 Jews for deportation (only 8 returned). After visiting, exit through Sotoportego del Gheto Novo for the best view of the “fortress ghetto,” with tall tenement buildings rising from the canal and an easy-to-lock-up little bridge and gateway.

The Jewish Museum (Museo Ebraico, may be closed for renovation) is small but well presented. Exhibits include silver menorahs, cloth covers for Torah scrolls, and a concise bilingual exhibit on the Venetian Jewish community (€10, Sun-Thu 10:30-17:30, Fri until 15:00, Oct-May closes at 17:00, closed Jewish holidays and Sat year-round, modest dress required, bookstore, small café, temporary office at Calle del Forno 1107, +39 041 715 359, www.museoebraico.it). The museum offers guided tours of the neighborhood in English (€12, typically Sun-Fri at 11:00, 12:00, 14:00 and 15:00, no tours Sat and Jewish holidays, reservations.mev@coopculture.it).

Jews in Venice’s Ghetto

In medieval times, Jews were grudgingly allowed to do business in Venice, but they weren’t permitted to live here until 1385 (subject to strict laws and special taxes). Anti-Semitic forces tried to oust them from the city, but in 1516, the government compromised by restricting Jews to a special (undesirable) neighborhood. It was located on an easy-to-isolate island near a former foundry (geto). In time, the word “ghetto” caught on across Europe as a term for any segregated neighborhood.

The population swelled with immigrants from elsewhere in Europe, reaching 5,000 in the 1600s. Restricted within their tiny neighborhood (the Gheto Novo—“New Ghetto”), they expanded upward, building six-story “skyscrapers” that still stand today. The community’s five synagogues were built atop the high-rise tenements. As space was very tight and you couldn’t live above a house of worship, this was the most practical use of precious land. Only two synagogues are still active. You can spot them (with their five windows) from the square; to visit them, book a tour through the Jewish Museum.

Relations with the non-Jewish community were complex: While Jewish moneylenders were treated harshly, Jewish merchants were more valued and treated with more respect. The island’s two bridges were locked at night, when only Jewish doctors—coming to the aid of Venetians—were allowed to come and go. Eventually the ghetto community was given more land and spread to adjacent blocks.

In 1797, Napoleon opened the ghetto gates and ended its isolation. Complete emancipation for Venice’s Jews came with the founding of the Italian republic in the 1860s.

Calatrava Bridge (a.k.a. Ponte della Costituzione)

This controversial bridge, designed by Spanish architect Santiago Calatrava, is just upstream from the train station. Only the fourth bridge to cross the Grand Canal, it carries foot traffic between the train station and bus terminal at Piazzale Roma.

The bridge draws snorts from Venetians. Its modern design is a sore point for a city with such rich medieval and Renaissance architecture. With an original price tag of €4 million, the cost rose to around €11 million by the time it finally opened, after lengthy delays, in 2008. Then someone noticed that people in wheelchairs couldn’t cross, so the bridge was retrofitted with a special, orb-shaped carriage on a track—which famously stuck, and has since been removed. A bridge designed to look sleek and elegant, isn’t. And, to add practical insult to aesthetic injury, its tempered glass steps—very slippery when wet—are scheduled to be replaced with stone.

Ca’ d’Oro

This “House of Gold” palace, fronting the Grand Canal, is quintessential Venetian Gothic (Gothic seasoned with Byzantine and Islamic accents—see “Ca’ d’Oro” on here). Inside, the permanent collection includes a few big names in Renaissance painting (Ghirlandaio, Signorelli, and Mantegna), a glimpse at a lush courtyard, and a grand view of the Grand Canal.

Cost and Hours: €6; Tue-Sun 10:00-19:00, closed Mon; dry audioguide—€4, vaporetto: Ca’ d’Oro, +39 041 520 0345, www.cadoro.org.

CASTELLO DISTRICT

▲Scuola Dalmata di SS Giorgio e Trifone

This little-visited scuola (which, in this case, means a gild or fraternity) features an exquisite wood-paneled chapel decorated with the world’s best collection of paintings by Vittorio Carpaccio (1465-1526).

The Scuola, a reminder that cosmopolitan Venice was once Europe’s trade hub, was one of scores of such community centers for various ethnic, religious, and economic groups, supported by the government partly to keep an eye on foreigners. It was here that the Dalmatians (from a region of Croatia) worshipped in their own way, held neighborhood meetings, and preserved their culture. Your entry fee contributes to one of five such fraternities in Venice still active in this century.

Cost and Hours: €6; Tue-Sat 9:30-17:30, Sun 9:30-13:30, Mon 13:30-17:30; reservations may be required—check website or email segreteria@scuoladalmatavenezia.com; on Calle dei Furlani at Castello 3259a, +39 041 522 8828, www.scuoladalmatavenezia.com.

Getting There: The Scuola is located midway between St. Mark’s Square and the Arsenale. Go north from Campo San Provolo (by the Church of San Zaccaria), following the street as it changes names from L’Osmarin to St. George to Greci. At the second bridge, turn left on Fondamenta dei Furlani.

Visiting the Scuola: The chapel on the ground floor is one of the best-preserved Renaissance interiors in Venice. Ringing the room is the cycle of paintings that Carpaccio was hired to paint (1502-1507).

The scenes run clockwise around the room, telling the story of St. George (Dalmatia’s patron saint), who slew a dragon and metaphorically conquered paganism. In the first panel on the far left, George meets the dragon (each day given a sacrificial victim) on the barren plain. The ground is littered with corpses...and the princess is next. George heroically charges forward, and jams his lance through the dragon’s skull, to the relief of the damsel in distress (in red). This is one of Carpaccio’s masterpieces.

The story continues in the next panel, as George leads the bedraggled dragon (lance still in its head) before the thankful, wealthy pagan king and queen. Next, they kneel before George (now with a red sash, far right) as he holds a pan of water, baptizing them.

The rest of the panels (about St. Jerome and St. Tryphone) are also by Carpaccio. In the last panel on the right, St. Augustine pauses while writing. He hears something. The dog hears it, too. It’s the encouraging voice of St. Jerome, echoing mysteriously through the spacious room. Carpaccio sweated small details like the scattered books and the shadow cast by the statue of Christ.

In the adjoining room, see the cross and censers (incense burners) used by the community in religious processions. Upstairs is another paneled room with more depictions of St. George (but not by Carpaccio).

Naval History Museum, Arsenale, and Ships Pavilion

The mighty Republic of Venice was home to Europe’s first great military-industrial complex: a state-of-the-art shipyard that could build a powerful warship of standardized parts in an assembly line (and did so to intimidate visiting heads of state). While the Arsenale shipyard isn’t open to the public, you can visit the Naval History Museum and (if it’s open) the Ships Pavilion.

Cost and Hours: €10 ticket covers museum and Ships Pavilion; Wed-Mon 11:00-17:00, closed Tue, last entry one hour before closing; off Riva San Biasio, Castello 2148, +39 041 244 1399, www.visitmuve.it/en/museums.

Getting There: From the Doge’s Palace, hike six bridges east along the waterfront to the Naval History Museum.

Visiting the Complex: See the museum first, then (holding on to your museum ticket) walk down the canal to the Ships Pavilion, next to the Arsenale gate.

The Naval History Museum (Museo Storico Navale) is old-school and military-run, but anyone into maritime history or sailing will find its several floors of exhibits interesting. With limited energy, focus on floors 1 and 3. The first floor features ships and instruments of the republic, including a model of the doge’s ornate state barge. The third floor has gondolas (with hard tops and canopies, including Peggy Guggenheim’s private gondola) and Venetian boats of the 19th century.

The Arsenale (which took up one-eighth of the city) is still a military base and is therefore closed to the public, but its massive and evocative gate, the Porta Magna, is worth a look. (To see the gate, turn left as you face the Naval History Museum and follow the canal.) The Porta Magna (c. 1450) was one of the first Renaissance structures in Venice. The lions flanking the big doors were looted from Greece. Imagine newly constructed warships parading regally and ominously from the Arsenale down the canal, ready to defend the Venetian Republic.

The Ships Pavilion (Padiglione delle Navi) shows bigger Venetian boats from the 19th century. It’s near the Arsenale gate, just across the Arsenale Bridge.

▲Via Garibaldi: A Neighborhood of Venetians

A 10-minute walk down the Riva from the Doge’s Palace, past the Arsenale, in “the tail” of Venice is a delightful residential zone around Via Garibaldi. This street—big and wide—was once a canal. Today, it’s the spine of a vital neighborhood—lively with locals, inviting restaurants, and cicchetti bars. Stroll the entire length of Via Garibaldi: You’ll find real shops rather than souvenir stores, side lanes flanked with laundry flying like flags, children at play, and reasonable prices.

Midway on the right, you’ll pass the grand, gated entry to Giardino Garibaldi (leading past a classic old flower shop with a café/bar and on toward the Giardini Pubblici park and its vaporetto stop). Continue on Via Garibaldi for about 50 yards to find a rare surviving produce boat moored at the end of the street (busy in the morning). From the bridge at the end of Via Garibaldi, look left to see the huge walls protecting the massive Arsenale shipyard.

Of the many eateries on this street, consider these two: $$$ Ristorante Nevodi is a local favorite named for a couple of nephews and run by Uncle Silvio (indoor and promenade seating, daily 12:00 until late, Castello 1788, +39 041 241 1136). At the end of the promenade, just past the park gates, $$ Hostaria All’Ombra serves typical Venetian cuisine (Tue-Sun 12:00-22:00, closed Mon, Castello 1252, +39 041 523 1179).

Sant’Elena

Farther from the action and even less touristy is the neighborhood of Sant’Elena, at the far end of the fish’s tail. For a pleasant peek at this residential side of Venice, walk or catch vaporetto #1 from St. Mark’s Square to the Sant’Elena stop. This 100-year-old suburb lives as if there were no tourism. You’ll find a kid-friendly park, a few lazy restaurants, and beautiful sunsets over San Marco.

La Biennale

From roughly April through November, Venice hosts an annual art fair—alternating between contemporary art one year and architecture the next—in buildings and pavilions scattered throughout Giardini Pubblici park and the Arsenale. The festival is an excuse for temporary art exhibitions, concerts, and other cultural events around the city (for more information, see here; www.labiennale.org).

VENICE’S LAGOON

With more time, venture to some nearby islands in Venice’s lagoon. While still touristy, they offer an escape from the crowds, a chance to get out on a boat, and some enjoyable diversions for fans of glassmaking, lace, and sunbathing.

The first four islands are listed in order of proximity to Venice, from nearest to farthest. For more information, see the Venice’s Lagoon Tour chapter. The fifth island has the beach.

San Michele (a.k.a. Cimitero)

This island is the final resting place of Venetians and a few foreign VIPs, from poet Ezra Pound to composer Igor Stravinsky (cemetery open daily 7:30-18:00, Oct-March until 16:30).

▲Murano

Famous for its glassmaking, this island is home to several glass factories and the inviting ▲ Glass Museum (Museo del Vetro), which traces the history of this delicate art and is the best place to see real Murano glass (€10, covered by Museum Pass; daily 10:30-18:30, Nov-March until 16:30, +39 041 739 586, http://museovetro.visitmuve.it).

▲Burano

This island’s claim to fame is lacemaking, and (along with countless lace shops) it offers a delightful pastel village alternative to big, bustling Venice. Its Lace Museum (Museo del Merletto di Burano) shows the island’s lace heritage (€5, covered by Museum Pass; Tue-Sun 10:00-16:00, closed Mon year-round, +39 041 730 034, http://museomerletto.visitmuve.it). The museum also runs a lace shop, Il Merletto, just off St. Mark’s Square (open daily, San Marco 95—see the map on here).

▲Torcello

This sparsely populated island features Venice’s oldest church—Santa Maria Assunta—with impressive mosaics, a climbable bell tower, and a modest museum of Roman sculpture and medieval sculpture and manuscripts (church-€6, museum-€4; church open daily 10:30-17:30, Nov-Feb 10:00-17:00, museum closed Mon year-round; museum +39 041 730 761).

Lido Beaches

Venice’s nearest beaches are at the Lido, across the lagoon on an island connected to the mainland (which means car traffic). Stretching along the Adriatic, the sandy beachfront is a mix of beach clubs and free-to-enter expanses of sand. All are pleasant, family-friendly, and good for swimming. At most places, you can rent an umbrella and lounge chair, buy beach gear, get food, or have a drink (vaporetto: Lido S.M.E., walk 10 minutes on Gran Viale S. Maria Elisabetta to beach entry).

GRAND CANAL CRUISE

Canal Grande

Orientation

Map: Grand Canal

BACKGROUND

The Tour Begins

1   Ferrovia

2   Riva de Biasio

3   San Marcuola

4   San Stae

5   Ca’ d’Oro

6   Rialto Mercato

7   Rialto

8   San Silvestro

9   Sant’Angelo

10   San Tomà

11   Ca’ Rezzonico

12   Accademia

13   Santa Maria del Giglio

14   Salute

15   San Marco

16   San Zaccaria

Take a joyride and introduce yourself to Venice by boat. Cruise the Canal Grande on vaporetto line #1 all the way to St. Mark’s Square, starting at the train station (Ferrovia) or the bus station (Piazzale Roma).

If it’s your first trip down the Grand Canal, you might want to stow this book and just take it all in—Venice is a barrage on the senses that hardly needs narration. On the other hand, these notes give the cruise meaning and help orient you to this great city.

To help you enjoy the visual parade of canal wonders, the tour is keyed to each boat stop. I’ll point out both what you can see from the current stop, and what to look forward to as you cruise to the next stop.

If you download my free audio tour, you can focus entirely on the view without having to look at the book.

Orientation

Length of This Tour: Allow 45 minutes.

Cost: €9.50 for a 75-minute vaporetto ticket, or covered by a pass—best choice if you want to hop on and off (see here).

When to Go: Boats run every 10 minutes or so. Enjoy the best light and the fewest crowds by riding late in the day. Avoid the morning rush hour (8:00-10:00), when local workers and tourists commute into town from Ferrovia to San Marco. In the evening, the crowds head the opposite way, and boats to San Marco are less crowded. Sunset bathes the buildings in gold (particularly on the left side, the San Marco side). After dark, boats are nearly empty as chandeliers light up building interiors. (Boat #1 goes 3/hour through the night, and is labeled N after 23:30).

Seating Strategies: As the vaporetti can be jammed, strategize about where to sit—then, when the boat pulls up, make a beeline for your preference. You’re more likely to find an empty seat if you catch the vaporetto at Piazzale Roma—the stop before Ferrovia (a five-minute walk away).

A few remaining older vaporetti have seats in the bow (in front of the captain’s bridge), the perfect vantage point for spotting sights left, right, and forward. With a standard boat and normal crowds, I’d head for the open-air section in the stern and grab the middle seat. While views directly ahead are obliterated by the boat’s cabin, you’ll have a good view of my described sights on both sides of the boat. If it’s not crowded, you can hang out in the middle (loading zone) and bop from side to side (especially easy after dark). Your worst option is sitting inside and trying to look out the window.

Which Boat? This tour is designed to be done on the slow boat #1—any other boat skips too many stops.

Getting There: This tour starts at the Ferrovia vaporetto stop (at Santa Lucia train station). In summer, the #1 boat to San Marco generally leaves from dock E (far to the right).

Stops to Consider: You can break up the tour by hopping on and off at various sights—but remember, a single-fare vaporetto ticket is good for just 75 minutes (passes let you hop on and off all day). These stops are all worth considering: San Marcuola (Jewish Ghetto), Rialto Mercato (fish market and famous bridge), Ca’ Rezzonico (Museum of 18th-Century Venice), Accademia (art museum and the nearby Peggy Guggenheim Collection), and Salute (huge and interesting church and nearby Punta della Dogana contemporary art museum).

Tours: Download my free Grand Canal Cruise audio tour.

Starring: Palaces, markets, boats, bridges—Venice.

BACKGROUND

The Grand Canal is Venice’s “Main Street.” At more than two miles long, nearly 150 feet wide, and nearly 15 feet deep, it’s the city’s largest canal, lined with its most impressive palaces. It’s the remnant of a river that once spilled from the mainland into the Adriatic. The sediment it carried formed barrier islands that cut Venice off from the sea, forming a lagoon.

Venice was built on the marshy islands of the former delta, sitting on wood pilings driven nearly 15 feet into the clay (alder was the preferred wood). About 25 miles of canals drain the city, dumping like streams into the Grand Canal. Technically, Venice has only three canals: Grand, Giudecca, and Cannaregio. The 45 small waterways that dump into the Grand Canal are referred to as rivers (e.g., Rio Novo).

Venice is a city of palaces, dating from the days when the city was the world’s richest. The most lavish palaces formed a grand architectural cancan along the Grand Canal. Once frescoed in reds and blues, with black-and-white borders and gold-leaf trim, they made Venice a city of dazzling color. This cruise is the only way to truly appreciate the palaces, approaching them at water level, where their main entrances were located. Today, strict laws prohibit any changes in these buildings, so while landowners gnash their teeth, we can enjoy Europe’s best-preserved medieval/Renaissance city—slowly rotting. Many of the grand buildings are now vacant. Others harbor chandeliered elegance above mossy, empty (often flooded) ground floors.

The Tour Begins

1   Ferrovia

This site has been the gateway into Venice since 1860, when the first train station was built. The Santa Lucia station, one of the few modern buildings in town, was built in 1954. The “F.S.” logo above the entry stands for “Ferrovie dello Stato,” the Italian state railway system. Consider that before the causeway was built in the mid-1800s, Venice was an island with no road or train access and no water system. With the causeway the city got a train line, an aqueduct, and a highway.

More than 20,000 people a day commute in from the mainland, making this the busiest part of Venice during rush hour. The nearby Calatrava Bridge, spanning the Grand Canal between the train station and Piazzale Roma upstream, was built in 2008 to alleviate some of the congestion.

Opposite the train station, atop the green dome of San Simeon Piccolo church, St. Simeon waves ciao to whoever enters or leaves the “old” city. The pink church with the white Carrara-marble facade, just beyond the station, is the Church of the Scalzi (Church of the Barefoot, named after the shoeless Carmelite monks), where the last doge (Venetian ruler) rests. It looks relatively new because it was partially rebuilt after being bombed in 1915 by Austrians aiming (poorly) at the train station. The stately Scalzi Bridge was rebuilt simply and elegantly under Mussolini.

2   Riva de Biasio

Venice’s main thoroughfare is busy with all kinds of boats: taxis, police boats, garbage boats, ambulances, construction cranes, and even brown-and-white UPS boats. Somehow they all manage to share the canal in relative peace.

About 25 yards past the Riva de Biasio stop, look left down the broad Cannaregio Canal to see what was the Jewish Ghetto. The twin, pale pink, six-story “skyscrapers”—the tallest buildings you’ll see at this end of the canal—are reminders of how densely populated the world’s original ghetto was. Set aside as the local Jewish quarter in 1516, this area became extremely crowded. This urban island developed into one of the most closely knit business and cultural quarters of all the Jewish communities in Italy, and gave us our word “ghetto” (from geto, for the copper foundry once located here).

3   San Marcuola

At this stop, facing a tiny square just ahead, stands the unfinished Church of San Marcuola, one of only five churches fronting the Grand Canal. Centuries ago, this canal was a commercial drag of expensive real estate in high demand by wealthy merchants. About 20 yards ahead on the right (across the Grand Canal) stands the stately gray Turkish Exchange (Fondaco dei Turchi), one of the oldest houses in Venice. Its horseshoe arches and roofline of triangles and dingle balls are reminders of its Byzantine heritage. Turkish traders in turbans docked here, unloaded their goods into the warehouse on the bottom story, then went upstairs for a home-style meal and a place to sleep. Venice in the 1500s was very cosmopolitan, welcoming every religion and ethnicity, so long as they carried cash. (Today the building contains the city’s Museum of Natural History—and Venice’s only dinosaur skeleton.)

Just 100 yards ahead on the left (the tallest building with the red canopy), Venice’s Casinò is housed in the palace where German composer Richard (The Ring) Wagner died in 1883. See his distinct, strong-jawed profile in the white plaque on the brick wall. In the 1700s, Venice was Europe’s Vegas, with casinos and prostitutes everywhere. Casinòs (“little houses” in Venetian dialect) have long provided Italians with a handy escape from daily life. Today they’re run by the state to keep Mafia influence at bay. Notice the fancy front porch, rolling out the red carpet for high rollers arriving by taxi or hotel boat. Across the canal, the plain brick 15th-century building was a granary. Now it’s a grade school.

4   San Stae

The San Stae Church sports a delightful Baroque facade. Opposite the San Stae stop is a little canal opening—on the second building to the right of that opening, look for the peeling plaster that once made up frescoes (you can barely distinguish the scant remains of little angels on the lower floors). Imagine the facades of the Grand Canal at their finest. Most of them would have been covered in frescoes by the best artists of the day. As colorful as the city is today, it’s still only a faded, sepia-toned remnant of a long-gone era, a time of lavishly decorated, brilliantly colored palaces.

Just ahead (on the right, with blue posts) is the ornate white facade of Ca’ Pesaro (which houses the International Gallery of Modern Art). “Ca’” is short for casa (house). Because only the house of the doge (Venetian ruler) could be called a palace (palazzo), all other Venetian palaces are technically “Ca’.”

In this city of masks, notice how the rich marble facades along the Grand Canal mask what are generally just simple, no-nonsense brick buildings. Most merchants enjoyed showing off. However, being smart businessmen, they only decorated the sides of the buildings that would be seen and appreciated. But look back as you pass Ca’ Pesaro. It’s the only building you’ll see with a fine side facade. Ahead (about 100 yards on the left) is Ca’ d’Oro, with its glorious triple-decker medieval arcade (just before the next stop).

5   Ca’ d’Oro

The lacy Ca’ d’Oro (House of Gold) is the best example of Venetian Gothic architecture on the canal. Although a simple brick construction, its facade is one of the city’s finest. Its three stories offer different variations on balcony design, topped with a spiny white roofline. Venetian Gothic mixes traditional Gothic (pointed arches and round medallions stamped with a four-leaf clover) with Byzantine styles (tall, narrow arches atop thin columns), filled in with Islamic frills. Like all the palaces, this was originally painted and gilded to make it even more glorious than it is now. Today the Ca’ d’Oro is an art gallery.

Look at the Venetian chorus line of palaces in front of the boat. On the right is the arcade of the covered fish market, with the open-air produce market just beyond. It bustles in the morning but is quiet the rest of the day. This is a great scene to wander through—even though European Union hygiene standards have made it cleaner but less colorful than it once was.

Find the traghetto gondola ferrying shoppers—standing like Washington crossing the Delaware—back and forth. While once much more numerous, today only three traghetto crossings survive along the Grand Canal, each one marked by a classy low-key green-and-black sign. Piloting a traghetto isn’t the normal day job of these gondoliers. As a public service, all gondoliers are obliged to row a traghetto a few days a month. Make a point to use them. At €2 a ride, traghetti offer the cheapest gondola ride in Venice (but at this price, don’t expect them to sing to you).

6   Rialto Mercato

This stop serves the busy market. The long, official-looking building at the stop is the Venice courthouse. Directly ahead (on the left), is the former trading center for German merchants, built in the 16th century. Later the central post office, it’s now T Fondaco dei Tedeschi, a luxury shopping mall with great rooftop views. Rising above it is the tip of the Campanile (bell tower), crowned by its golden-angel weathervane at St. Mark’s Square, where this tour will end.

You’ll cruise by some trendy and beautifully situated wine bars on the right, but look ahead as you round the corner and see the impressive Rialto Bridge come into view.

A major landmark, the Rialto Bridge is lined with shops and tourists. Constructed in 1588, it’s the third bridge built on this spot. Until the 1850s, this was the only bridge crossing the Grand Canal. With a span of 160 feet and foundations stretching 650 feet on either side, the Rialto was an impressive engineering feat in its day. Earlier bridges here could open to let big ships in, but not this one. By the time it was completed in the 16th century, Venetian trading power was ebbing. After that, much of the Grand Canal was closed to shipping and became a canal of palaces.

When gondoliers pass under the fat arch of the Rialto Bridge, they take full advantage of its acoustics: “Volare, oh, oh...”

7   Rialto

Rialto, a separate town in the early days of Venice, has always been the commercial district, while San Marco was the religious and governmental center. Today, a winding street called the Mercerie connects the two, providing travelers with human traffic jams and a mesmerizing gauntlet of shopping temptations. This is one of the only stretches of the historic Grand Canal with landings upon which you can walk. Boats unloaded the city’s basic necessities here: oil, wine, charcoal, iron. Today, the quay is lined with tourist-trap restaurants.

Venice’s sleek, black, graceful gondolas are a symbol of the city. With about 500 gondoliers joyriding amid the churning vaporetti, there’s a lot of congestion on the Grand Canal. Pay attention—this is where most of the gondola and vaporetto accidents take place. While the Rialto is the highlight of many gondola rides, gondoliers understandably prefer the quieter small canals. Watch your vaporetto driver curse the better-paid gondoliers.

Ahead 100 yards on the left, two gray-colored palaces stand side by side (City Hall and the mayor’s office). Their horseshoe-shaped, arched windows are similar and their stories are the same height, lining up to create the effect of one long balcony.

8   San Silvestro

We now enter a long stretch of important merchants’ palaces, each with proud and different facades. Because ships couldn’t navigate beyond the Rialto Bridge, the biggest palaces—with the major shipping needs—line this last stretch of the navigable Grand Canal.

Palaces like these were multifunctional: ground floor for the warehouse, offices and showrooms upstairs, and living quarters above, on the “noble floors” (with big windows to allow in maximum light). Servants lived and worked on the very top floors (with the smallest windows). For fire-safety reasons, kitchens were also located on the top floors. Peek into the noble floors to catch a glimpse of their still-glorious chandeliers of Murano glass.

The Palazzo Grimani (across from the San Silvestro dock) sports a heavy white Roman-style facade—a reminder that the Grimani family included a cardinal and had strong Roman connections.

The Palazzo Papadopoli, with the two obelisks on its roof (50 yards beyond the San Silvestro stop on the right, with the blue posts), is the very fancy Aman Hotel where George and Amal Clooney were married in 2014.

9   Sant’Angelo

Notice how many buildings have a foundation of waterproof white stone (pietra d’Istria) upon which the bricks sit high and dry. Many canal-level floors are abandoned as the rising water level takes its toll.

The posts—historically painted gaily with the equivalent of family coats of arms—don’t rot underwater. But the wood at the waterline, where it’s exposed to oxygen, does. On the smallest canals, little “no motorboats” signs indicate that these canals are for gondolas only (no motorized craft, 5 kph speed limit, no wake).

10   San Tomà

Fifty yards ahead, on the right side (with twin obelisks on the rooftop) stands Palazzo Balbi, the palace of an early-17th-century captain general of the sea. These Venetian equivalents of five-star admirals were honored with twin obelisks decorating their palaces. This palace, like so many in the city, flies three flags: Italy (green-white-red), the European Union (blue with ring of stars), and Venice (a lion on a field of red and gold). Today it houses the administrative headquarters of the regional government.

Just past the admiral’s palace, look immediately to the right, down a side canal. On the right side of that canal, before the bridge, see the traffic light and the fire station (the 1930s Mussolini-era building with four arches hiding fireboats parked and ready to go).

The impressive Ca’ Foscari, with a classic Venetian facade (on the corner, across from the fire station), dominates the bend in the canal. This is the main building of the University of Venice, which has about 25,000 students. Notice the elegant lamp on the corner—needed in the old days to light this intersection.

The grand, heavy, white Ca’ Rezzonico (photo next page), just before the stop of the same name, houses the Museum of 18th-Century Venice. Across the canal is the cleaner and leaner Palazzo Grassi, the last major palace built on the canal, erected in the late 1700s. It was purchased by a French tycoon and now displays part of Punta della Dogana’s contemporary art collection.

11   Ca’ Rezzonico

Up ahead, the Accademia Bridge leads over the Grand Canal to the Accademia Gallery (right side), filled with the best Venetian paintings. There was no bridge here until 1854, when a cast-iron one was built. It was replaced with this wooden bridge in 1933. While meant to be temporary, it still stands today, nearly a century later.

12   Accademia

From here, look through the graceful bridge and way ahead to enjoy a classic view of La Salute Church, topped by a crown-shaped dome supported by scrolls. This Church of St. Mary of Good Health was built to ask God to deliver Venetians from the devastating plague of 1630 (which had killed about a third of the city’s population).

The low, white building among greenery (100 yards ahead, on the right, between the Accademia Bridge and the church) is the Peggy Guggenheim Collection. The American heiress and art patron relocated here after World War II, sprucing up a palace that had been abandoned in mid-construction. Peggy willed the city her fine collection of modern art.

As you approach the next stop, notice on the right how the fine line of higgledy-piggledy palaces evokes old-time Venice. Two doors past the Guggenheim, Palazzo Dario has a great set of characteristic funnel-shaped chimneys. These forced embers through a loop-the-loop channel until they were dead—required in the days when stone palaces were surrounded by humble wooden buildings, and a live spark could make a merchant’s workforce homeless. Notice this early Renaissance building’s flat-feeling facade with “pasted-on” Renaissance motifs. Three doors later is the Salviati building, which once served as a glassworks. Its fine Art Nouveau mosaic, done in the early 20th century, features Venice as a queen being appreciated by the big shots of society.

13   Santa Maria del Giglio

Back on the left stands the fancy Gritti Palace hotel. Hemingway and Woody Allen both stayed here.

Take a deep whiff of Venice. What’s all this nonsense about stinky canals? All I smell is my shirt. By the way, how’s your captain? Smooth dockings?

14   Salute

The huge La Salute Church towers overhead as if squirted from a can of Catholic Reddi-wip. Like Venice itself, the church rests upon pilings. To build the foundation for the city, thousands of trees were piled together, reaching beneath the mud to the solid clay. Much of the surrounding countryside was deforested by Venice. Trees were imported and consumed locally—to fuel the furnaces of Venice’s booming glass industry, to build Europe’s biggest merchant marine, to form light and flexible beams for nearly all the buildings in town, and to prop up this city in the mud.

As the Grand Canal opens up into the lagoon, the last building on the right with the golden ball is the 17th-century Customs House, which now houses the Punta della Dogana contemporary art museum. Its two bronze Atlases hold a statue of Fortune riding the ball. Arriving ships stopped here to pay their tolls.

15   San Marco

Up ahead on the left, the green pointed tip of the Campanile marks St. Mark’s Square, the political and religious center of Venice...and the final destination of this tour. You could get off at the San Marco stop and go straight to St. Mark’s Square. But I’m staying on the boat for one more stop, just past St. Mark’s Square (it’s a quick walk back).

Survey the lagoon. Opposite St. Mark’s Square, across the water, the ghostly white church with the pointy bell tower is San Giorgio Maggiore, with great views of Venice. Next to it is the residential island Giudecca, stretching from close to San Giorgio Maggiore past the Venice youth hostel (with a nice view, directly across) to the Hilton Hotel (good nighttime view, far right end of island).

Still on board? If you are, as we leave the San Marco stop look left and prepare for a drive-by view of St. Mark’s Square. First comes the bold white facade of the old mint (in front of the bell tower) marked by a tiny cupola yet as sturdy as Fort Knox, where Venice’s golden ducat, the “dollar” of the Venetian Republic, was made. Next door is the library, its facade just three windows wide. Then comes the city’s ceremonial front door: twin columns topped by St. Theodore standing on a crocodile and the winged lion of St. Mark, who’ve welcomed visitors since the 15th century. Between the columns, catch a glimpse of two giant figures atop the Clock Tower—they’ve been whacking their clappers every hour since 1499.

The domes of St. Mark’s Basilica are soon eclipsed by the lacy facade of the Doge’s Palace. Next you’ll see many gondolas with their green breakwater buoys, the Bridge of Sighs (leading from the palace to the prison—check out the maximum-security bars), and finally the grand harborside promenade—the Riva.

Follow the Riva with your eye, past elegant hotels to the green area in the distance. This is the largest of Venice’s few parks, which hosts the international Biennale art exhibit. Much farther in the distance is the Lido, the island with Venice’s beaches. Its sand and casinos are tempting, though given its car traffic, it lacks the medieval charm of Venice.

16   San Zaccaria

OK, you’re at your last stop. Quick—muscle your way off this boat! (If you don’t, you’ll eventually end up at the Lido.)

At San Zaccaria, you’re right in the thick of the action. A number of other vaporetti depart from here (see here). Otherwise, it’s a short walk back along the Riva to St. Mark’s Square. Ahoy!

ST. MARK’S SQUARE TOUR

Piazza San Marco

Orientation

Map: St. Mark’s Square

The Tour Begins

The Piazza

St. Mark’s Basilica

Clock Tower (Torre dell’Orologio)

Campanile

Piazzetta

Tetrarchs and the Doge’s Palace’s Seventh Column

Bridge of Sighs

Venice was once Europe’s richest city, and Piazza San Marco was its center. As middleman in the trade between Asia and Europe, wealthy Venice profited from both sides. In 1450, at its peak, Venice had 150,000 citizens (many more than London) and a gross “national” product that exceeded that of entire countries.

The rich Venetians taught the rest of Europe about the good life—silks, spices, and jewels from the East, crafts from northern Europe, good food and wine, fine architecture, music, theater, and laughter. Venice was a vibrant city full of painted palaces, glittering canals, and impressed visitors. Five centuries after its power began to decline, Venice still has all of these things, with the added charm of romantic decay. In this tour, we’ll spend an hour in the heart of this Old World superpower.

Orientation

Getting There: Signs all over town point to San Marco—meaning both the square and the basilica—located where the Grand Canal spills out into the lagoon. Vaporetto stops: San Marco or San Zaccaria.

Campanile: €10 on-site; €12 timed-entry ticket lets you skip the line (buy online in advance or use the posted QR code at the entrance to book on the spot); daily roughly 9:30-20:45, shorter hours off-season; may close during bad weather.

Clock Tower: To see the interior, you need to book a spot on a tour (see here for specifics).

Tours: Download my free St. Mark’s Square audio tour.

Services: Pay WCs are behind the Correr Museum and also at the waterfront park, Giardinetti Reali (near San Marco-Vallaresso vaporetto dock).

Eating: Cafés with live music provide an engaging soundtrack for St. Mark’s Square (see the “Cafés on St. Mark’s Square” sidebar, in this chapter). The Correr Museum (at the end of the square opposite the basilica) has a quiet upstairs coffee shop overlooking the crowded square. For a list of restaurants in the area, see here.

Starring: Byzantine domes, Gothic arches, Renaissance arches...and the wonderful, musical space they enclose.

The Tour Begins

• For an overview of this grand square and the buildings that surround it, view it from the west end of the square (away from St. Mark’s Basilica).

The Piazza

Take in this spacious vista—ringed with historic buildings, lined with cafés and glitzy shops, and filled with tourists and pigeons.

St. Mark’s Basilica dominates the square with its Eastern-style onion domes and glowing mosaics. Mark Twain said it looked like “a vast warty bug taking a meditative walk.” (I say it looks like tiara-wearing ladybugs copulating.) To the right of the basilica is its 325-foot-tall Campanile. Behind the Campanile, you can catch a glimpse of the pale pink Doge’s Palace. Lining the square are the former government offices (procuratie) that administered the Venetian empire’s vast network of trading outposts, which stretched all the way to Turkey.

The square is big, but it feels intimate with its cafés and dueling orchestras. By day, it’s great for people-watching and pigeon-chasing. By night, under lantern light, it transports you to another century, complete with its own romantic soundtrack. The piazza draws Indians in saris, English nobles in blue blazers, and Nebraskans in shorts. Napoleon called the piazza “the most beautiful living room in Europe.” Napoleon himself added to the intimacy by building the final wing, opposite the basilica, that encloses the square.

For architecture buffs, here are three centuries of styles, bam, side by side, uno-due-tre, for easy comparison:

1. On the left (as you face the basilica) are the “old” offices, built about 1500 in solid, column-and-arch Renaissance style. Closed to the public for 500 years, the offices (called the Procuratie Vecchie) are being restored to host art exhibitions, installations, and seminars (may open in 2020).

2. The “new” offices (on the right), in a High Renaissance style from a century later (c. 1600), are a little heavier and more ornate. This wing mixes arches and the three orders of columns in layers from bottom to top—Doric, Ionic, and Corinthian.

3. Napoleon’s wing, at the end opposite from the basilica, is later and designed to fit in. The dozen Roman emperors decorating the parapet were once joined by Napoleon in the middle, but today the French emperor is gone. The Correr Museum is housed in this wing.

The arcade ringing the square provides an elegant promenade—complete with drapes to provide relief from the sun.

Imagine this square full of water. That happens every so often at very high tides (acqua alta), a reminder that Venice and the sea are intertwined. (Now, as one sinks and the other rises, they are more intertwined than ever.)

Venice became Europe’s richest city from its trade with northern Europeans, Ottoman Muslims, and Byzantine Christians. Here in St. Mark’s Square, the exact center of this East-West axis, we see the luxury and cosmopolitan mix of East and West.

Watch out for pigeon speckle. Venetians don’t like pigeons, but they do like seagulls—because they eat pigeons. In 2008, Venice outlawed the feeding of pigeons. But tourists—eager for a pigeon-clad photo op—haven’t gotten that message.

• Now approach the basilica. If it’s hot and you’re tired, grab a shady spot at the foot of the Campanile.

St. Mark’s Basilica

The facade is a wild mix of East and West, with round, Roman-style arches over the doorways, golden Byzantine mosaics, a roofline ringed with pointed Gothic pinnacles, and topped with Muslim-style onion domes (made of wood, covered with lead). The brick-structure building is blanketed in marble that came from Constantinople (in 1204), which originally had looted the materials from throughout the eastern Mediterranean. There are columns from Alexandria, capitals from Sicily, and carvings from Anatolia. The columns flanking the doorways show the facade’s variety—purple, green, gray, white, yellow, some speckled, some striped horizontally, some vertically, some fluted—all topped with a variety of different capitals.

What’s amazing isn’t so much the variety as the fact that the whole thing comes together in a bizarre sort of harmony. St. Mark’s is simply the most interesting church in Europe, a church that (to paraphrase Goethe) “can only be compared with itself.”

For more on the basilica, inside and out, see the St. Mark’s Basilica Tour chapter.

• Facing the basilica, turn 90 degrees to the left to see the...

Clock Tower (Torre dell’Orologio)

Any proper Renaissance city wanted to have a prominent gate with a clock tower as its formal entrance. In Venice’s case, its entry was visible from the sea. The Clock Tower retains some of its original blue and gold pigments, a reminder that, in centuries past, this city glowed with bright color.

Two bronze “Moors” stand atop the Clock Tower. Built originally in 1499 to be Caucasian giants, they only switched ethnicity when their metal darkened over the centuries. At the top of each hour they swing their giant clappers. The clock dial shows the 24 hours, the signs of the zodiac, and in the blue center, the phases of the moon—practical information, as a maritime city with a shallow lagoon needs to know the tides. Above the dial is the world’s first digital clock (added in 1858), which changes every five minutes.

An alert winged lion, the symbol of St. Mark and the city, looks down on the crowded square. He opens a book that reads “Pax Tibi Marce,” or “Peace to you, Mark.” As legend goes, these were the comforting words that an angel spoke to the stressed evangelist, assuring him he would find serenity during a stormy night that the saint spent here on the island. Eventually, St. Mark’s body found its final resting place inside the basilica, and now his winged-lion symbol is everywhere. (Find four in 20 seconds. Go.)

Venice’s many lions express the city’s various mood swings through history—triumphant after a naval victory, sad when a favorite son has died, hollow-eyed after a plague, and smiling when the soccer team wins. Every Venetian child born since the dawn of cameras has probably been photographed riding one of the pair of lions squatting between the Clock Tower and the basilica.

Campanile

The original Campanile (bell tower) was an observation tower and a marvel of medieval and Renaissance architecture until 1902, when it toppled into the center of the piazza. It had groaned ominously the night before, sending people scurrying from the cafés. The next morning...crash! The golden angel on top landed right at the basilica’s front door, standing up.

The Campanile was rebuilt 10 years later complete with its golden archangel Gabriel, who always faces the breeze. You can ride an elevator to the top for one of the best views of Venice (though it can be crowded at peak times).

Because St. Mark’s Square is the first place in town to start flooding, there are tide gauges at the outside base of the Campanile (near the exit, facing the square) that show the current sea level (livello marea). Find the stone plaque (near the exit door) that commemorates the high-water 77-inch level from the disastrous floods of 1966. In November 2019, Venice suffered another terrible high tide, cresting at 60 inches.

If the tide is mild (around 20 inches), the water merely seeps up through the drains. But when there’s a strong tide (around 40 inches), it looks like someone’s turned on a faucet down below. The water bubbles upward and flows like a river to the lowest points in the square, which can be covered with a few inches of water in an hour or so. When the water level rises one meter above mean sea level, a warning siren sounds, and it repeats if a serious flood is imminent.

Many doorways have three-foot-high wooden or metal barriers to block the high water (acqua alta), but the seawater still seeps in through floors and drains, rendering the barriers nearly useless. (For background on what causes the flooding, see the sidebar on here.)

You might see stacked wooden benches in the square; during floods, the benches are placed end-to-end to create elevated sidewalks. If you think the square is crowded now, when it’s flooded it turns into total gridlock, as all the people normally sharing the whole square jostle for space on the narrow, raised wooden walkways.

In 2006, the pavement around St. Mark’s Square was taken up, and the entire height of the square was raised by adding a layer of sand and then replacing the stones. If the columns along the ground floor of the Doge’s Palace look stubby, it’s because this process has been carried out many times over the centuries, buying a little more time as the sea slowly swallows the city.

Cafés on St. Mark’s Square

In Venice’s heyday, it was said that the freedoms a gentleman could experience here went far beyond what any true gentleman would actually care to indulge in. But one extravagance all could enjoy was the ritual of publicly consuming coffee: showing off with an affordable luxury, doing something trendy, while sharing the ideas of the Enlightenment.

Exotic coffee was made to order for the fancy café scene. Traders introduced coffee, called the “wine of Islam,” from the Middle East (the plant is native to Ethiopia). The first coffeehouses opened in the 17th century, and by 1750 there were dozens of cafés lining Piazza San Marco and 200 operating in Venice.

Today, several fine old cafés survive and still line the square. Those with live music feature similar food, prices, and a three- to five-piece combo playing a selection of classical and pop hits, from Brahms to “Bésame Mucho.”

You can wander around the square listening to the different orchestras, or take a seat at a café. At any place with live music, it’s perfectly acceptable to nurse a cappuccino for an hour—you’re paying for the music with the cover charge. Or you can sip your coffee at the bar at a nearly normal price. The prices are clearly posted. If you sit outside and get just an espresso (your cheapest option), expect to pay €12.50-€6.50 for the coffee and a €6 cover charge when the orchestra is playing (which is most of the day). Service is included (no need to tip).

Caffè Florian (on the right as you face the church) is the most famous Venetian café and was one of the first places in Europe to serve coffee (daily 9:00-24:00, shorter hours in winter, www.caffeflorian.com). It was originally named “Triumphant Venice” (Venezia Trionfante). But under French occupation, in the early 19th century, that politically incorrect name was changed.

The Florian has been a popular spot for a discreet rendezvous in Venice since 1720. Each room has a historic or artistic theme. For example, the “Room of the Illustrious Men” (inside, far right) features portraits of great Venetians from Marco Polo to Titian. The outside tables are the main action, but do walk inside through the richly decorated, old-time rooms where Casanova, Lord Byron, Charles Dickens, and Woody Allen have all paid too much for a drink. The café’s orchestra—the most serious on the square—plays daily from 10:00 to 24:00. Each hour comes with a musical theme (operetta, Latin, Romantic, jazz, Venetian, and so on—you can ask for the program).

Gran Caffè Quadri, opposite the Florian and established in 1780, has another illustrious roster of famous clientele.

Gran Caffè Lavena, near the Clock Tower, is less storied—although it dates from 1750 and counts composer Richard Wagner as a former regular—so it’s less intimidating than the more formal cafés here. It was the hangout of gondoliers and lantern bearers for local bigwigs. Drop in to check out its dazzling but politically incorrect chandelier.

Gran Caffè Chioggia, on the Piazzetta facing the Doge’s Palace, charges no cover and has one or two musicians playing—usually a pianist (€7 cocktails, music from 10:30 to 23:00—jazz after 21:00).

Eden Bar and Caffè Aurora are less expensive and don’t have live music.

• The small square between the basilica and the water is the...

Piazzetta

This “Little Square” is framed by the Doge’s Palace on the left, the library on the right, and the waterfront of the lagoon. In former days, the Piazzetta was closed to the public for a few hours a day so that government officials and bigwigs could gather in the sun to strike shady deals.

The pale pink Doge’s Palace is the epitome of the style known as Venetian Gothic. Columns support traditional, pointed Gothic arches, but with a Venetian flair—they’re curved to a point, ornamented with a trefoil (three-leaf clover), and topped with a round medallion of a quatrefoil (four-leaf clover). The pattern is found on buildings all over Venice and on the formerly Venetian-controlled Croatian coast, but nowhere else in the world (except Las Vegas).

The two large 12th-century columns near the water were (like so much else) looted from Constantinople. Mark’s winged lion sits on top of one. The lion’s body (nearly 15 feet long) predates the wings and is more than 2,000 years old. The other column holds St. Theodore (battling a crocodile), the former patron saint who was replaced by Mark. I guess stabbing crocs in the back isn’t classy enough for an upwardly mobile world power. After public ridicule, criminals were executed by being hung from these columns in the hope that the public could learn its lessons vicariously.

Venice was the “Bride of the Sea” because she depended on sea trading for her livelihood. This “marriage” was celebrated annually by the people on Ascension Day. The doge, in full regalia, boarded a ritual boat here at the edge of the Piazzetta and sailed out into the lagoon. There a vow was made, and he dropped a jeweled ring into the water to seal the marriage.

In the distance, on an island across the lagoon, is one of the grandest views in the city, of the Church of San Giorgio Maggiore. With its four tall columns as the entryway, the church, designed by the late-Renaissance architect Andrea Palladio, influenced the appearance of future government and bank buildings around the world.

Palladio’s sober classical lines are pure and intellectual, but with their love of extravagance, Venetians wanted something more exuberant. More to local taste was the High Renaissance style of Jacopo Sansovino, who (around 1530) designed the library (here on the Piazzetta) and the delicate Loggetta at the base of the Campanile (destroyed by the collapse of the tower in 1902 and then pieced back together).

Tetrarchs and the Doge’s Palace’s Seventh Column

Where the basilica meets the Doge’s Palace is the traditional entrance to the palace, decorated with an ancient Roman statue of the four Tetrarchs. This dates from the fourth century AD, after Rome was divided into two empires. It features the emperors of the east and west (bearded and wise), each with their younger (and not bearded) successors. It serves as a decorative cornerstone of a tower from the doges’ fortress (which was destroyed in 976). I like to think they’re the scared leaders of a divided Rome during its fall, holding their swords and each other as all hell breaks loose around them. These statues—made of precious purple porphyry stone (quarried in Egypt)—are symbols of power. They were looted from Constantinople (1204), and then placed here proudly as spoils of war.

Escape from St. Mark’s Square

Crowds getting to you? Here are some relatively quiet areas on or near St. Mark’s Square.

Correr Museum Café: Sip a cappuccino in the café of this uncrowded history museum that overlooks St. Mark’s Square (entrance at far end of the piazza, no museum ticket necessary). See the Correr Museum Tour chapter.

Giardinetti Reali: This small park along the waterfront is the only place near the square for a legal picnic (it’s west of the Piazzetta—facing the water, turn right).

Il Merletto: This lace shop is in a small, decommissioned chapel near the northwest corner of St. Mark’s Square (go through Sotoportego del Cavalletto and across the little bridge on the right; for details, see here of the Shopping in Venice chapter).

La Salute Church: This cool church in a quiet neighborhood is a short hop on vaporetto #1 from the San Marco-Vallaresso stop. See the La Salute Church Tour chapter.

Caffè Florian: The plush interior of this luxurious 18th-century café on St. Mark’s Square is generally quiet and nearly empty. A coffee here can be a wonderful break (see the “Cafés on St. Mark’s Square” sidebar in this chapter).

Nearby is more booty from the Crusades. The two square pillars to the left decorated a Genovese fortress in Palestine that was taken by the Venetians in the 13th century. And just beyond that, at the corner of the basilica, is a purple four-foot-tall column—a pedestal for the official government herald announcing decrees, laws, and news...more loot from Constantinople.

About two-thirds of the way down the Doge’s Palace, look for a column that’s slightly shorter and fatter than the rest (it’s the seventh from the water). Its carved capital tells a story of love, romance, and tragedy: 1) In the first scene (the carving facing the Piazzetta), a woman on a balcony is wooed by her lover, who says, “Babe, I want you!” 2) She responds, “Why, little ol’ me?” 3) They get married. 4) Kiss. 5) Hit the sack—pretty racy for 14th-century art. 6) Nine months later, guess what? 7) The baby takes its first steps. 8) And as was all too common in the 1300s...the child dies.

• Continue down the Piazzetta to the waterfront. Turn left and walk (east) along the water. At the top of the first bridge, look inland at the...

Bridge of Sighs

In the Doge’s Palace (on your left), the government doled out justice. On your right are the prisons. (Don’t let the palatial facade fool you—see the bars on the windows?) Prisoners sentenced in the palace crossed to the prisons by way of the covered bridge in front of you. This was called the Prisons’ Bridge until the Romantic poet Lord Byron renamed it in the 19th century. From this bridge, the convicted got their final view of sunny, joyous Venice before entering the black and dank prisons. According to the Romantic legend, they sighed.

Venice has been a major tourist center for four centuries. Anyone who’s ever come here has stood on this very spot, looking at the Bridge of Sighs. Lean on the railing leaned on by everyone from Casanova to Byron to Hemingway.

I stood in Venice, on the Bridge of Sighs;

A palace and a prison on each hand:

I saw from out the wave, her structures rise

As from the stroke of the enchanter’s wand:

A thousand years their cloudy wings expand

Around me, and a dying glory smiles

O’er the far times when many a subject land

Looked to the winged Lion’s marble piles,

Where Venice sat in state, throned on her hundred isles!

—Lord Byron, Childe Harold’s Pilgrimage, Canto 4

ST. MARK’S BASILICA TOUR

Basilica di San Marco

Orientation

The Tour Begins

EXTERIOR

1   Mosaic of Mark’s Relics

Map: St. Mark’s Basilica

INTERIOR

2   Atrium Mosaic of Noah’s Ark and the Great Flood

3   The Nave: Mosaics Above and Below

4   Pentecost Mosaic

5   Central Dome Ascension Mosaic

The Church as Theater

8   Nicopeia (North Transept)

ST. MARK’S MUSEUMS

9   Treasury (Tesoro)

10   Golden Altarpiece (Pala d’Oro)

11   San Marco Museum (Museo di San Marco)

Among Europe’s churches, St. Mark’s is peerless. From the outside, it’s a riot of domes, columns, and statues, completely unlike the towering Gothic churches of northern Europe or the heavy Baroque of much of the rest of Italy. Inside is a decor of mosaics, colored marbles, and Byzantine treasures that’s rarely seen elsewhere. The Christian symbolism is unfamiliar to Western eyes, done in the style of Byzantine icons and even Islamic designs. Older than most of Europe’s churches, it feels like a remnant of a lost world. To truly say you’ve “seen” the basilica, plan to visit three paid-admission sights within it, which give an up-close look at the church’s treasures. This is your best chance in Italy (outside of Ravenna) to glimpse a forgotten and somewhat mysterious part of the human story—Byzantium.

Orientation

Cost: General admission-€3, timed-entry ticket-€6. Once inside, you can add on any of three separate exhibits within the church (or buy ahead online): Treasury-€5, Golden Altarpiece-€5, and San Marco Museum-€7.

Hours: The church and its three museums are open Mon-Sat 9:30-17:00, Sun 14:00-17:00 (Sun until 16:30 Nov-Easter).

Information: +39 041 270 8311, www.basilicasanmarco.it.

Reservations Recommended: There’s almost always a long line to get into St. Mark’s. By far the smartest workaround is to reserve an entry time online in advance, which lets you bypass the general admission line for a separate entrance. A limited number of line-skipping spots are available each day, so if you’re visiting during busy times, book ahead by several days at least.

If you arrive without a reservation, you can head to the “line-skipping” entrance and scan the posted QR code. If there are time slots available—either immediately or for later that day—you can buy a ticket on your mobile phone on the spot. For shorter lines and fewer crowds in general, visit early or late.

Dress Code: Modest dress (no bare knees or bare shoulders) is strictly enforced for men, women, and even kids. Shorts are OK if they cover the knees.

Getting There: Signs throughout Venice point to San Marco, meaning both the square and the church (vaporetto: San Marco or San Zaccaria).

Prayers and Church Services: Worshippers may enter the church daily 8:00-19:30 using the Porta dei Fiori door on the north (left) side (Mass times are listed on the basilica website).

Photographers, Take Note: The interior is brilliantly lit Mon-Sat 11:30-12:45. After that, many of the mosaics are in shadow.

Tours: Free, hour-long English tours (heavy on the mosaics’ religious symbolism) may be offered, typically at 11:00 (check website for current schedule). Audioguides (€5) are on sale as you enter.

Download my free St. Mark’s Basilica audio tour.

Length of This Tour: Allow one hour. If you have less time, forgo one (or all) of the basilica’s three museums.

Baggage Check: The church will not let you in with a bag. On the north (left) side of the church, you’ll find automated storage lockers (€3).

Visitor Services: A WC is inside the San Marco Museum.

Starring: St. Mark, Byzantium, mosaics, and ancient bronze horses.

The Tour Begins

EXTERIOR

• Start outside in the square, far enough back to take in the whole facade. Then zero in on the details.

1   Mosaic of Mark’s Relics

St. Mark’s Basilica is a treasure chest of booty that was looted during Venice’s glory days. That’s most appropriate for a church built on the stolen bones of a saint.

The mosaic over the far left door shows the theft that put Venice on the pilgrimage map. Two men (in the center, with crooked staffs) enter the church bearing a coffin with the body of St. Mark, who looks pretty grumpy from the long voyage.

St. Mark was the author of one of the Gospels, the four Bible books (Matthew, Mark, Luke, and John) telling the story of Jesus’ life. Eight centuries after Mark’s death, his holy body was in Muslim-occupied Alexandria, Egypt. In AD 829, two visiting Venetian merchants “rescued” the body from the “infidels” and spirited it away to Venice.

St. Mark’s...Cathedral, Church, or Basilica?

All three are correct. The church is also a cathedral, because it’s the home church of the local bishop. It’s a basilica, because the Roman Catholic Church gives that special designation to certain churches of religious importance. Coincidentally, it’s also a basilica in the architectural sense. Its floor plan (if you ignore the transepts) has a central nave with flanking side aisles, a layout patterned after the ancient Roman public buildings called “basilicas.” The transepts turn the basilica plan into a cross—in this case, a Greek cross, as it has four equal arms.

The merchants presented the body—not to a pope or bishop—but to the doge (with white ermine collar, on the right) and his wife, the dogaressa (with entourage, on the left), giving instant status to Venice’s budding secular state. They built a church here over Mark’s bones and made him the patron saint of the city. You’ll see his symbol, the winged lion, all over Venice.

The original church burned down in AD 976. Today’s structure was begun in 1063. The mosaic, from 1260, shows that the church hasn’t changed much since then—you can see the onion domes and famous bronze horses on the balcony.

The St. Mark’s you see today, mostly from the 11th century, was modeled after a great fourth-century church in Constantinople/Istanbul (the long-gone Church of the Holy Apostles), giving the city deep (if faux) roots.

In subsequent centuries, the church was encrusted with materials looted from buildings throughout the Venetian empire (see the “Byzantium, the Fourth Crusade, and Venice” sidebar, later). The facade was decorated with a mishmash of plundered columns. The main entrance is a sixth-century, bronze-paneled Byzantine door that likely swung in Constantinople’s Hagia Sophia church. Their prize booty was the four bronze horses that adorn the balcony, stolen from Constantinople during the Fourth Crusade. (These are copies; the originals are inside the church museum.) The atrium you’re about to enter was added to serve as their pedestal. No wonder the architectural style of St. Mark’s has been called “Early Ransack.”

INTERIOR

• Enter the atrium of the basilica and find a place to view its ceiling mosaics. (Note that, depending on where the current entrance and exit are, you may have a better chance to study these fine atrium mosaics on your way out.) Don’t be bullied by the crowd. Step aside and find an eddy to enjoy the amazing space at your tempo. Start by finding a golden arch overhead with scenes of Noah’s Ark.

2   Atrium Mosaic of Noah’s Ark and the Great Flood

Of all the famous mosaics of St. Mark’s, this Flood scene is one of the oldest (13th century) and finest. The mosaics, with their picture symbols, were easily understood in medieval times, even by illiterate masses.

The scenes show Noah and his sons sawing logs to build the Ark. Venetians—who were great ship builders—could relate. At its peak, Venice’s Arsenale warship-building plant employed several thousand workers.

Below that are scenes of Noah putting all species of animals into the Ark, two by two. (Who’s at the head of the line? Lions.) Then the Flood hits in full force, drowning the wicked. Noah sends out a dove twice to see whether there’s any dry land where he can dock. He finds it, leaves the Ark with a gorgeous rainbow overhead, and offers a sacrifice of thanks to God. Easy, huh?

A few steps from Noah’s arch is a dome full of mosaics telling the story of Genesis. Ringing the base of the dome, there’s Adam lonely in the Garden of Eden, the creation of Eve, the happy couple, and then trouble: from succumbing to temptation, to fig leaf, to banishment.

• Now that our medieval literacy rate has risen, rejoin the slow flow of people. Climb a few steps into the church. Just inside the door, step out of the flow and survey the church.

Christ as Pantocrator

Most Eastern Orthodox churches—whose roots lay in the Greek Byzantine world—have at least one mosaic or painting of Christ in a standard pose: as “Pantocrator,” a Greek word meaning “Ruler of All.” St. Mark’s features several images of Christ as Pantocrator (for example, over the altar, in the central dome, and over the entrance door). The image, so familiar to Orthodox Christians, may be a bit foreign to Protestants, Catholics, and secularists.

As King of the Universe, Christ sits (usually on a throne) facing directly out, with penetrating eyes. He wears a halo divided with a cross. In his left hand is a Bible, while his right hand blesses, with the fingers forming the Greek letters chi and rho, the first two letters of “Christos.” The thumb touches the fingers, symbolizing how Christ unites both his divinity and his humanity. On either side of Christ’s head are the Greek letters “IC XC,” short for “IesuC XristoC.”

3   The Nave: Mosaics Above and Below

As your eyes adjust to the dark, notice that the entire upper part of the church is decorated in mosaic—nearly 5,000 square yards (imagine paving a football field with contact lenses). These golden mosaics are in the Byzantine style, though many were designed by artists from the Italian Renaissance and later. The often-overlooked lower walls are covered with green-, yellow-, purple-, and rose-colored marble slabs, cut to expose the grain, and laid out in geometric patterns. Even the floor is mosaic, with mostly geometrical designs. It rolls like the sea. Venice is sinking and shifting, creating these cresting waves of stone.

Those familiar with Eastern Orthodox churches will find familiar elements in St. Mark’s: a central floor plan, domes, mosaics, and iconic images of Mary and Christ as Pantocrator—ruler of all things. As your eyes adjust, the mosaics start to give off a mystical, golden luminosity, the atmosphere of the Byzantine heaven. The air itself seems almost visible, like a cloud of incense. It’s a subtle effect, one that grows as the filtered light changes. There are more beautiful, bigger, more overwhelming, and even holier churches, but none is as stately.

• Find the chandelier in the nave (in the shape of a cathedral space station), and run your eyes up the support chain to the dome above. This has one of the church’s greatest mosaics.

4   Pentecost Mosaic

In a golden heaven, the dove of the Holy Spirit shoots out a pinwheel of spiritual lasers, igniting tongues of fire on the heads of the 12 apostles below, giving them the ability to speak other languages without a Rick Steves phrase book. You’d think they’d be amazed, but their expressions are as solemn as...icons. One of the oldest mosaics in the church (c. 1125), it has distinct “Byzantine” features: a gold background and apostles with halos, solemn faces, almond eyes, delicate blessing hands, and rumpled robes, all facing forward.

This is art from a society still touchy about the Bible’s commandment against making “graven images” of holy things. Byzantium suffered two centuries of iconoclasm, in which statues and paintings were broken and burned as sinful “false gods.” So the Pentecost Mosaic emphasizes otherworldliness rather than literal human detail.

• Shuffle along with the crowds up to the center of the church.

5   Central Dome Ascension Mosaic

Here at the center of the church, notice the layout: the church has four equal arms, each topped with a dome, radiating out to form a Greek cross (+). The symmetrical floor plan symbolizes perfection, rather than the more common Latin cross of the Crucifixion (emphasizing man’s sinfulness).

Now gape upward into the central dome, the very heart of the church. Christ—having lived his miraculous life and having been crucified for man’s sins—ascends into the starry sky on a rainbow. He raises his right hand and blesses the universe. This isn’t the crucified, mortal Jesus featured in most churches, but a powerful, resurrected God, the ruler of all.

Christ’s blessing radiates, rippling down to the ring of white-robed apostles below. They stand amid the trees of the Mount of Olives, waving goodbye as Christ ascends. Mary is with them, wearing blue with golden Greek crosses on each shoulder and looking ready to play patty-cake. From these saints, goodness descends, creating the Virtues and Beatitudes that ring the base of the dome between the windows. In Byzantine churches, the window-lit dome represented heaven, while the dark church below represented earth—a microcosm of the hierarchical universe.

Mosaics

St. Mark’s mosaics are pictures made by pressing small tiles of colored stone or glass (called tesserae) into wet plaster. Ancient Romans paved floors, walls, and ceilings with them. When Rome “fell,” the art form died out in the West but was carried on by Byzantine craftsmen. They perfected the gold background effect by sandwiching pieces of gold leaf between glass. The surfaces of the tiles are purposely cut unevenly to capture light and give off a shimmering effect. The reflecting gold mosaics helped to light thick-walled, small-windowed, lantern-lit Byzantine churches, creating a golden glow that symbolized the divine light of heaven.

St. Mark’s mosaics tell the entire Christian history from end to beginning. Entering the church, you’re greeted with scenes from the end of the world (Apocalypse) and the Pentecost. As you approach the altar, you walk backward in time to the source, experiencing Jesus’ Passion and Crucifixion, his miraculous life, and continuing back to his birth and Old Testament predecessors. Over the altar at the far end of the church (and over the entrance door at the near end) are images of Christ—the beginning and the end, the Alpha and Omega of the Christian universe.

Beneath the dome at the four corners, the four Gospel writers (“Matev,” “Marc,” “Luca,” and “Ioh”) thoughtfully scribble down the heavenly events. This wisdom flows down as water pouring from jugs, symbolizing the four great rivers below them, spreading through the church’s four equal arms (the “four corners” of the world), and baptizing the congregation with God’s love. The church building is a series of perfect circles within perfect squares—the cosmic order—with Christ in the center solemnly blessing us. God’s in his heaven, saints are on earth, and all’s right with the world.

The Church as Theater

Look around at the church’s furnishings and imagine a service here. The   6   rood screen (like the iconostasis in a Greek church), topped with 14 saints, separates the congregation from the high altar, heightening the “mystery” of the Mass. The   7   pulpit (the purple one on the right) was reserved for the doge, who led prayers and made important announcements.

Even today, the Venetian church service is a theatrical multimedia spectacle, combining words (prayers, Bible readings in Latin and Greek), music (chants, choir, organ, musicians), set design (mosaics, rood screen), costumes and props (robes, reliquaries, candles, incense), and even stage direction (processionals through the crowd). Coincidentally or not, the first modern opera—also a multimedia theatrical experience—was written here in Venice by St. Mark’s maestro di cappella, Claudio Monteverdi (1567-1643).

• In the north transept (left of the altar) is an area usually reserved for prayer. The worshippers are facing a big stone canopy, which houses a small painting of the Virgin Mary.

8   Nicopeia (North Transept)

Venetians then and now pray to a painted wooden icon of Mary and Baby Jesus known as Nicopeia, or Our Lady of Victory. Supposedly painted by the evangelist Luke, it was once enameled with bright paint and precious stones, and Mary was adorned with a crown and necklace of gold and jewels (now on display in the Treasury). For centuries, Nicopeia was venerated by the Byzantines, who asked Mary to protect them in battle. When Venetian Crusaders captured it, the icon came to protect Venice. This Madonna has helped the city persevere through plagues, wars, and crucial soccer games.

ST. MARK’S MUSEUMS

Inside the church are three sights, each requiring a separate admission. These let you experience the richness of Byzantium up close and learn about the mosaics. They also provide great views over the inside of the church, as well as to St. Mark’s Square outside.

9   Treasury (Tesoro)

• Locate the tiny, two-room Treasury in the south transept (may be closed for restoration).

If you’re not into metalworking or religious objects, you may find the Treasury’s cramped collection somewhat underwhelming, but the objects become more interesting when you consider that some are nearly 2,000 years old. It’s a beautiful collection of chalices, reliquaries, and jewels, most of them stolen from Constantinople. As Venice thought of itself as the granddaughter of Rome and the daughter of Byzantium, Venetians consider these treasures not stolen, but inherited. Less sophisticated thieves would have smelted these pieces, but the Venetians safely stored them here for posterity. Some pieces represent the fruits of labor by different civilizations over a thousand-year period. For example, an ancient rock-crystal chalice made by the Romans might have been augmented later with Byzantine enamels then finished with gold filigree by Venetian goldsmiths. This is marvelous handiwork, but all the more marvelous for having been done when Western Europe was still mired in the Dark Ages.

Byzantium, the Fourth Crusade, and Venice

The Byzantine Empire was the eastern half of the ancient Roman Empire that didn’t “fall” in AD 476. It remained Christian, Greek-speaking, and enlightened for another thousand years.

In AD 330, Constantine, the first Christian emperor, moved the Roman Empire’s capital to the newly expanded city of Byzantium, which he humbly renamed Constantinople. With him went Rome’s best and brightest. When the city of Rome decayed and fell, plunging Western Europe into its “Dark Ages,” Constantinople lived on. Western Europeans considered it to be the leading city in Christendom, and the Byzantine emperor was thought of as the civilized world’s supreme ruler.

From its earliest days, Venice had strong ties with Byzantium. In the sixth century, Byzantine Emperor Justinian invaded northern Italy, briefly reuniting East and West, and making Ravenna his regional capital. In 810, Venetians asked the emperor in Constantinople to protect them from Charlemagne’s marauding Franks.

Soon Venetian merchants were granted trading rights to Byzantine ports in the Adriatic and eastern Mediterranean. They traded raw materials from Western Europe for luxury goods from the East. By the 10th century, about 10,000 Venetian merchants lived and worked in Constantinople. Meanwhile, relations between Byzantine Christians and Roman Catholics were souring across Europe over religious grounds—and because Constantinople’s local merchants felt crowded out by the powerful Venetians, the corporate titans of the day. In 1171, the Byzantine emperor expelled the Venetian merchants from Constantinople; after another decade of conflict, the entire Roman Catholic population—about 60,000 people—was either slaughtered or expelled from the city in what historians call the Massacre of the Latins.

Powerful, rich Venice wasn’t about to stand for it—the Venetians had virtually no economy without trade. Two decades later, they saw their chance: The pope was organizing the Fourth Crusade to “save” the Holy Land from Muslim influence. Venice offered her ships to transport more than 30,000 Crusaders. They set out bound for Jerusalem—but the ships, led by the Venetian doge, diverted to Constantinople. The Crusaders sacked the Byzantine capital and occupied it from 1204 to 1261, turning the city into a quarry—one wide open for plunder. During that period, any ship traveling from Constantinople to Venice was required to bring with it a souvenir for the Venetian Republic. Eventually the riches of Constantinople ended up in Venice—much of it here, in St. Mark’s Basilica.

You can still see much of what the Venetians carried home: the bronze horses, bronze doors of Hagia Sophia, Golden Altarpiece enamels, the Treasury’s treasures, the Nicopeia icon, and much of the marble that now covers the (brick) church. A good portion of the artistic riches adorning the church and filling its treasury was 700 years old when it was brought here...800 years ago.

The Venetians were clearly thieves, albeit thieves with good taste. While you could argue that much of the treasure belongs in Turkey today, a good Venetian would argue that had they not “rescued” it, much of it (especially anything made from precious metal) never would have survived the centuries.

After the Fourth Crusade, Venice rose while the Byzantine Empire faded. Then both civilizations nose-dived when Constantinople finally fell to the Ottomans in 1453, severely damaging Venice’s trading empire and ending Byzantium entirely. Constantinople, however, soon began to thrive again—once a bustling Christian city of a thousand churches, it flourished again as the newly Islamic city of Istanbul. Meanwhile, Christian scholars and artists fled to the West, fueling the Renaissance.

Today, we find hints of Byzantium in the Eastern Orthodox Church, in mosaics and icons, and in the churches of Venice and Ravenna.

• Entering, you’ll be directed into the small room of the reliquaries in glass cases.

Relics Room: The first display cases (to the left) contain a glass reliquary with the bones of Doge Orseolo (r. 976-978), who built the church that preceded the current structure, and the bones of St. George, the legendary dragon slayer.

Straight ahead, the glass case over the glowing alabaster altar contains elaborate gold-and-glass reliquaries holding relics of Jesus’ Passion—his torture and execution. The central reliquary showing Christ tied to a column and being whipped (from 1125) holds a stone from that very column he was tied to. You may scoff, but of Europe’s many “Crown of Thorns” relics, these have at least some claim of authenticity. Legend has it that Christ’s possessions were gathered up in the fourth century by Constantine’s mother and taken to Constantinople. During the Crusade heist of 1204, Venetians brought them here. They’ve been paraded through the city every Good Friday for 800 years.

• Now enter the...

Main Room: Start with the large glass case in the center of the room. It holds the most precious Byzantine objects (mostly war booty brought here during the Fourth Crusade in 1204). Work your way around the case, taking your time with these beautiful and precious treasures.

The first piece you encounter is a hanging lamp (with protruding seashells and fish) made from a fourth-century Roman rock crystal framed in 11th-century Byzantine metalwork. Just behind the lamp, a black bucket, carved in the fourth century with scenes of satyrs chasing nymphs, epitomizes the pagan world that was fading as Christianity triumphed.

Circling to the right, you’ll come across a couple of rectangular golden icons with (extremely precious) blue lapis lazuli scenes of the Crucifixion. Next, browse the array of chalices (cups used for bread and wine during Mass) made of amber-colored sardonyx, agate, and rock crystal, all trimmed in gold filigree.

Around back, see a display of a Byzantine specialty: enamel work (which we’ll see at the Golden Altarpiece). The “Grotto of the Virgin” is made from a Roman-era piece of rock crystal sitting on a Byzantine-enamel pedestal, with a gilded Venetian Virgin.

Nearby is an incense burner shaped like a domed church. And finally, find the jewel-encrusted icon of Archangel Michael—standing like an action hero, ready to conquer evil in the name of Christ.

• Along the walls, find the following displays (working counterclockwise around the room).

The first three glass cases have more bowls and urns. Note a Venetian specialty: elaborately laced filigree (twisted wires of precious metal). You’ll also see an old dagger, a huge topaz, and a turquoise-blue bowl from Persia. These blend elements from the three medieval cultures that cross-pollinated in the Eastern Mediterranean: Venetian, Byzantine, and Islamic.

Next, on a wooden pedestal, comes the Urn of Artaxerxes I (next to window in right wall). This Egyptian-made object was fashioned from extremely hard diorite. It once held the ashes of the great Persian king who ruled 2,500 years ago and is mentioned in the Bible as a friend to the Israelites.

The next cases hold religious paraphernalia used for High Mass—chalices, reliquaries, candlesticks, and a 600-year-old ceremonial crosier (reminiscent of a shepherd’s staff) still used today by the chief priest on holy days.

Next is the Ciborio di Anastasia (far left corner), a small marble canopy that once arched over the blessed communion wafer during Mass. The object may be a gift from “Anastasia,” the name carved on it in Greek. She was a lady-in-waiting in the court of the emperor Justinian (483-565). Christian legend has it that she was so beautiful that Justinian (a married man) pursued her amorously, so she had to dress like a monk and flee to a desert monastery.

Moving to the next wall, you’ll see two large golden panels that once fronted an altar. The bottom one shows 14 scenes from the life of St. Mark. Flanking the panels are two golden candlesticks. Study the one on the left from top to bottom. What detail! Find the smiling angels at the top, the literary lion, the man with the weight on his shoulders, the two queens flanking the Crucifixion...all the way down to the roots. Nearby, see a photo of a Madonna adorned with the jewels, gold, and enamel that are used to grace the Nicopeia.

Finally, next to the Madonna, notice the granite column that extends below current floor level—you can see how the floor has risen as the basilica has settled in the last 1,000 years.

• Return to the nave and follow the crowds through the turnstile and behind the main altar to the ...

10   Golden Altarpiece (Pala d’Oro)

Under the green marble canopy, supported by four intricately carved, seventh-century alabaster columns (plundered from far away), sits the high altar. Inside the altar is an urn (not visible) with the mortal remains of Mark, the Gospel writer. (Look through the grate of the altar to read Corpus Divi Marci Evangelistae, or “Body of the Evangelist Mark.”) He rests in peace, as an angel had promised him. Shh.

As you shuffle along, notice the marble canopy’s support columns carved with New Testament scenes.

The Golden Altarpiece itself is a stunning golden wall made of 250 blue-backed enamels with religious scenes, all set in a gold frame and studded with 15 hefty rubies, 300 emeralds, 1,500 pearls, and assorted sapphires, amethysts, and topaz. The Byzantine-made enamels were part of the Venetians’ plunder of 1204, subsequently pieced together by Byzantine craftsmen specifically for St. Mark’s high altar. It’s a bit much to take in all at once, but get up close and find several details you might recognize:

In the center, Jesus as Ruler of the Cosmos sits on a golden throne, with a halo of jewels and pearls. Like a good Byzantine Pantocrator, he dutifully faces forward and gives his blessing while stealing a glance offstage at Mark (“Marcus”) and the other saints.

Along the bottom row, Old Testament prophets show off the books of the Bible they’ve written. With halos, solemn faces, and elaborately creased robes, they epitomize the Byzantine icon style.

Mark’s story is told in the vertical panels on each side. In the bottom left panel, Mark meets Peter (seated) at the gates of Rome. Peter gives Mark the eyewitness account of Jesus’ life that Mark would write down in his Gospel. Mark’s story ends in the bottom right panels with the two Venetian merchants returning by ship, carrying his coffin here in 829 to be laid to rest.

Cloisonné enameling like this was a Byzantine specialty. A piece of gold leaf is stamped with a design, then filled in with pools of enamel paste, and then fired. Look at a single saint to see the detail work: The gold background around the saint is the gold-leaf medallion that gets stamped. The golden folds in the robe are the raised edges of the impression; in the recessed areas, each different color of the robe was baked on in a separate firing. Some saints even have pearl crowns or jewel collars pinned on. This kind of craftsmanship—and the social infrastructure that could afford it—made Byzantium seem like an enchanted world during Europe’s dim Middle Ages.

The Legend (Mixed with a Little Truth) of Mark and Venice

Mark (died c. AD 68) was a Jewish-born Christian, and he might have actually met Jesus. He traveled with fellow convert Paul, eventually settling in Alexandria as the city’s first Christian bishop. On a trip to Rome, Peter—Jesus’ right-hand man—asked him to write down the events of Jesus’ life. This became the Gospel of Mark.

During his travels, Mark stopped in the lagoon (in Aquileia on the north coast of the Adriatic), where he dreamed of a Latin-speaking angel who said, “Pax tibi Marce, evangelista meus” (“Peace to you, Mark, my evangelist”), promising him rest after death. Back in Alexandria, Mark was attacked by an anti-Christian mob. They tied him with ropes and dragged his body through the streets until he died.

Eight centuries later, his body lay in an Alexandrian church that was about to be vandalized by Muslim fanatics. Two Venetian traders on a business trip saved the relics from desecration by hiding them in a basket of pork—a meat considered unclean by Muslims—and quickly setting sail. The doge received the body, and in 832 they built the first church of St. Mark’s to house it. After construction of the current church started in 1063, Mark’s relics were temporarily lost, and it took another miracle to find them, hidden inside a column. Today, Venetians celebrate Mark on the traditional date of his martyrdom, April 25.

After you’ve looked at some individual scenes, back up as far as this small room will allow and let yourself be dazzled by the whole picture—this “mosaic” of Byzantine greatness—and marvel at the fact that it’s still here. The altarpiece contains 30 pounds of gold, but Napoleon’s plundering soldiers thought it was just gold leaf, so they didn’t bother melting it down. And during World War II, the altarpiece almost certainly would have been snatched by the Nazis, had it not been hidden away in an Umbrian villa.

This magnificent altarpiece sits on a swivel (notice the mechanism at its base) and is swung around on festival Sundays so the entire congregation can enjoy it, as Venetians have for so many centuries.

• To reach the museum, return to the back of the church, near the main entrance, and climb the steep staircase. Follow signs to Museo e Loggia, or Loggia dei Cavalli, Museo. Buy your ticket at the top of the stairs.

11   San Marco Museum (Museo di San Marco)

The museum’s highlights are the original bronze horses, the view of the basilica interior, and the view of the square.

• The museum loops you along on a suggested one-way route. Along the way, you’ll see...

Mosaic Fragments

These mosaics once hung in the church, but when they became damaged or aesthetically old-fashioned, they were replaced by more fashionable decor. These few fragments avoided the garbage can. You’ll see mosaics from the church’s earliest days (and most “Byzantine” style, c. 1070) to more recent times (1700s, more realistic and detailed). Many are accompanied by small photos that show where the fragment used to fit into a larger scene.

The mosaics—made from small tiles of stone or colored glass pressed into wet clay—were assembled on the ground, then cemented onto the walls. Artists drew the pattern on paper, laid it on the wet clay, and slowly cut the paper away as they replaced it with tiles. The first mosaic on your left as you enter shows a reproduction of a paper “cast” of a mosaic.

Continuing on, down a set of stairs, you’ll see other artwork and catch glimpses of the interior of the church from the north transept. Here you get a close-up view of the Tree of Jesse mosaic, showing Jesus’ distant ancestor at the root and his mom at the top. This mosaic is from 1540, during the High Renaissance—it’s much more modern than those decorating the domes, which date mostly from the 1200s.

• Continue on to the Sala dei Banchetti (WCs near the room’s entrance).

Sala dei Banchetti

This large, ornate room—once the doge’s banquet hall—is filled with religious objects, tapestries, and carpets that once adorned the church, Burano-made lace vestments, illuminated music manuscripts, a doge’s throne, and much more.

Try reading some music. The manuscripts date from the 16th century—before the age of treble and bass clefs. You’ll see a C clef along the left margin of each staff. Notice that it is a “sliding clef” and could mark a different line of the staff. This established which line was middle C. From this, you could chant notes in proper relationship to each other, following the rhythm indicated.

In the center of the hall stands the most prestigious artwork here, the Pala Feriale, by Paolo Veneziano (1345). These 14 scenes painted on wood formed a cover for the basilica’s Golden Altarpiece. The top row shows seven saints, including crucified Christ. Below are seven episodes in Mark’s life, told with impressive realism. In the first panel, Mark kneels before a red-robed Saint Peter and receives his calling. Next, he arrives in Alexandria and makes his first convert. Then Jesus appears to Mark. Mark is beaten to death and dragged through the streets.

Pay special attention to the dramatic panel with the sailboat that recounts the Venetian merchants’ trip home with Mark’s relics. A storm billows the ship’s sails, ripples the flag, churns the waves, and scares the crew as the ship heads toward the rocks. But then Mark himself appears miraculously at the stern and calms the storm, bringing the ship (and his own body) safely to Venice. Paolo proudly signed his name along the bottom of this most impressive panel. In the next panel, Mark’s long-lost body is rediscovered hidden in a column. Finally, worshippers gather at Mark’s tomb by the altar of the basilica.

• Now the route doubles back, through displays of stone fragments from the church, finally arriving at the...

Bronze Horses (La Quadriga)

Stepping lively in pairs and with smiles on their faces, these four bronze horses exude a spirited exuberance. They long stood in the most prominent spot in Venice—above the main door of St. Mark’s Basilica, overlooking St. Mark’s Square. Originally they were part of a larger ensemble shown pulling a chariot, Ben-Hur style.

The realism is remarkable: the halters around their necks, the bulging veins in their faces, their chest muscles, and the creases in their necks as they rear back. With flashing eyes, flaring nostrils, erect ears, and open mouths, they’re the picture of equestrian energy.

They are clearly teammates. Each raises its hoof at the same time and same height. They cock their heads to the side, seemingly communicating with their brothers with equine ESP.

These bronze statues are rare survivors of that remarkable ancient technology known as the lost-wax method. They were not hammered into shape by metalsmiths, but cast—made by pouring molten bronze into clay molds. Each horse weighs nearly a ton. During the Dark Ages, barbarians melted most metal masterpieces down for reuse, but these survived. Originally gilded, they still have some streaks of gold leaf. Long gone are the ruby pupils that made their fiery eyes glisten in the sun.

Their expressive faces seem to say, “Oh boy, Wilbur, have we done some travelin’.” That’s because megalomaniacs through the ages have coveted these horses not only for their artistic value, but because they symbolize Apollo, the god of the sun...and symbol of power.

The horses are old—much older even than Venice. Legend says they were made in Greece during the time of Alexander the Great (fourth century BC). They were then taken by Nero to Rome. Constantine brought them to his new capital in Constantinople to adorn the chariot racecourse. In 1204, during the Fourth Crusade, the Venetians stole them. They placed them on the balcony of St. Mark’s from where the doge would speak to his people—the horses providing a powerful backdrop. Six centuries later, Napoleon conquered Venice and took the horses. They stood atop a triumphal arch in Paris until Napoleon fell and they were returned to their “rightful” home in Venice.

In the 1970s, the horses made their shortest and final journey. With the threat of oxidation from polluted air, they were replaced by modern copies. The originals galloped for cover inside the basilica, where they are displayed today.

For all their travel, this fearsome foursome still seems fresh. They’re more than just art. They stand as a testament to how each civilization conquers the previous one, assimilates the best elements from it, and builds upon it.

• Belly up to the stone balustrade beyond the horses to survey the church interior.

View of Church Interior

Scan the church, with its thousands of square yards of mosaics, then take a closer look at the Pentecost Mosaic (first dome above you). The unique design at the very top signifies the Trinity: throne (God), Gospels (Christ), and dove (Holy Spirit). The couples below the ring of apostles are the people of the world (I can find Judaea, Cappadocia, and Asia), who, despite their different languages, still understood the Spirit’s message.

If you were a woman in medieval Venice, you’d enjoy this same close-up view, because in the Middle Ages, women climbed the same stairs you just did and found a spot along the balconies at your feet. The balcony was for women, the nave for men, and the altar for the priests. Back then the rood screen (the fence with the 14 figures on it) separated the priest from the public. The doge was also allowed to address his public from the pulpit, thereby amplifying the power of his political speeches with the force of God.

Looking down at the nave, appreciate the patterns of the mosaic floor—one of the finest in Italy—that unfurl like a Persian carpet.

Take a moment to view the models and drawings of the church at various stages of its history (near the balustrade). In the big cutaway model, notice how the original domes, once squat, were made taller in the 13th century, leaving today’s church with a dome-within-a-dome structure.

• The visit ends outside on the balcony overlooking St. Mark’s Square.

Loggia and View of St. Mark’s Square

You’ll be drawn repeatedly to the viewpoint of the square, but remember to look at the facade also to see how cleverly all the looted architectural elements blend together. Ramble among the statues of water-bearing slaves that serve as drain spouts. The horses are modern copies (note the 1978 date on the hoof of the horse to the right).

Be a doge, and stand aside the bronze horses overlooking St. Mark’s Square. Under the gilded lion of St. Mark, and flanked—like Apollo—by the four glorious horses, he inspired the Venetians in the square below to great things.

Admire the mesmerizing, commanding view of the center of this city, which so long ago was Europe’s great superpower. Today it’s just a small town with a big history and a one-of-a-kind basilica that attracts visitors from across the globe.

DOGE’S PALACE TOUR

Palazzo Ducale

Orientation

Map: Doge’s Palace

The Tour Begins

Exterior

Courtyard Stairway of Giants (Scala dei Giganti)

Mouth of Truth

Golden Staircase (Scala d’Oro)

Doge’s Apartments (Appartamento del Doge)

Square Room (Atrio Quadrato)

Map: Executive & Legislative Rooms

Room of the Four Doors (Sala delle Quattro Porte)

Ante-Collegio Hall (Sala dell’Anticollegio)

Collegio Hall (Sala del Collegio)

Senate Hall (Sala del Senato)

Hall of the Council of Ten (Sala del Consiglio dei Dieci)

Armory Museum (L’Armeria)

Map: Judicial Rooms

Hall of the Grand Council (Sala del Maggiore Consiglio)

Map: Hall of the Grand Council

Prisons

Bridge of Sighs

Venice is a city of beautiful facades—palaces, churches, carnival masks—that cover darker interiors of intrigue and decay. The Doge’s Palace, with its frilly pink exterior, hides the fact that the “Most Serene Republic” (as Venice called itself—“serene” meaning stable) was far from serene in its heyday.

The Doge’s Palace housed the fascinating government of this rich and powerful empire. It also served as the home for the Venetian ruler known as the doge (pronounced “dohzh”), or duke. For four centuries (about 1150 to 1550), this was the most powerful half-acre in Europe. The rest of Europe marveled at the way Venice could govern itself without a dominant king, bishop, or tyrant. The doges wanted their palace to reflect the wealth and secular values of the Republic, impressing visitors and serving as a reminder that the Venetians were Number One in Europe.

Today, you’ll walk through majestic rooms where doges lived and where the Venetian government met to administer the empire. Many rooms are decorated with large and colorful paintings by Venice’s greatest artists. You’ll end your visit by crossing the famed Bridge of Sighs into the dank bowels of the notorious prisons.

Orientation

Cost: €30 combo-ticket includes the Correr Museum, €1 fee for online reservation (timed-entry), €15 for youth and seniors, covered by Museum Pass.

Hours: Daily 9:00-18:00, until 17:00 off-season, last entry one hour before closing.

Information: +39 041 271 5911, http://palazzoducale.visitmuve.it.

Avoiding Lines: There are three lanes for entering the Doge’s Palace: for those with a ticket or a pass, for those without a ticket, and for those booked on a Secret Itineraries tour. To enter directly through the turnstile without a wait, buy your ticket online in advance or from the uncrowded Correr Museum across the square.

Getting There: The palace is next to St. Mark’s Basilica, on the lagoon waterfront, and just off St. Mark’s Square. Vaporetto stop: San Marco or San Zaccaria.

Tours: The fine Secret Itineraries Tour follows the doge’s footsteps through rooms not included in the general admission ticket. Though the tour skips the palace’s main hall, you’re welcome to visit it afterward on your own. Three 75-minute English-language tours run each morning. Reserve ahead, as tours can fill up several weeks in advance—although you can try just showing up at the information desk (€28, includes Doge’s Palace admission but not Correr Museum, €15 with combo-ticket; reserve over the phone or online: +39 041 4273 0892, http://palazzoducale.visitmuve.it, €1 fee). Don’t confuse this with the Doge’s Hidden Treasures Tour, which isn’t worth its cost.

The audioguide is dry but informative (€5, 1.5 hours, need ID for deposit).

Length of This Tour: Allow 1.5 hours. If you need to shave some time off your visit, head straight to the third floor (the Square Room) and follow my tour from there to the Hall of the Grand Council. Skip the prisons.

Services: WCs are in the courtyard and halfway up the stairs to the balcony level. An elevator is available off the courtyard. Any bag bigger than a large purse must be checked (free) in the courtyard.

Eating: A café is off the palace courtyard (it’s tucked in the gallery behind the Stairway of Giants, and the tour route also deposits you there). I’d head instead for the good sandwich bars on Calle de le Rasse (two blocks behind the palace—see here).

Starring: Big rooms bare of furnishings but crammed with history, Tintoretto and Veronese masterpieces, and the doges.

The Tour Begins

Exterior

“The Wedding Cake,” “The Tablecloth,” or “The Pink House” is also sometimes known as the Doge’s Palace. The style is called Venetian Gothic—a fusion of Italian Gothic with a delicate Islamic flair. The columns originally had bases on the bottoms, but these were covered over as the columns sank, and the square was built up over the centuries. If you compare this lacy, top-heavy structure with the massive fortress-palaces of Florence, you realize the wisdom of building a city in the middle of the sea—you have no natural enemies except gravity. This unfortified palace in a city with no city wall was the doge’s way of saying, “I am an elected and loved ruler. I do not fear my own people.”

The palace was originally built in the 800s, but most of what we see came after 1300, as it was expanded to meet the needs of the empire. Each doge wanted to leave his mark on history with a new wing, but so much of the city’s money was spent on the palace that finally a law was passed levying an enormous fine on anyone who even mentioned any new building. That worked for a while, until one brave (and wealthy) doge proposed a new wing, paid his fine...and started building again.

• Enter the Doge’s Palace from along the waterfront. After you pass through the turnstile, ignore the Recommended Itinerary signs for a moment, and enter the courtyard.

Courtyard and Stairway of Giants (Scala dei Giganti)

Here in this vast space, you’re surrounded by the buildings that housed Venice’s ruling class. The courtyard is a hodgepodge of architectural styles, reflecting how the palace was refurbished repeatedly over the centuries: bare brick walls, round Renaissance arches, Baroque flourishes, and Gothic spires. Notice the two fine wellheads, as the courtyard once functioned as a cistern.

At one end of the courtyard, the palace is attached to the basilica, symbolically welding church and state. Both buildings have ugly brick behind a painted-lady veneer of marble. In this tour, we’ll see the similarly harsh inner workings of an outwardly serene, polished republic.

• Head to the far end of the courtyard (near the basilica), and stand at the foot of the grand staircase topped by two statues.

Imagine yourself as a foreign dignitary on business to meet the doge. You’d enter the palace up these stairs topped with two nearly nude statues of, I think, Moses and Paul Newman (more likely, Neptune and Mars, representing Venice’s prowess at sea and at war). The doge and his aides would be waiting for you at the top, between the two statues and beneath the winged lion. No matter who you were—king, pope, or emperor—you’d have to hoof it up. The powerful doge would descend the stairs for no one.

Many doges were crowned right here, between the two statues. The doge was something like an elected king—which makes sense only in the dictatorial republic that was Venice. Technically, he was just a noble selected by other nobles to carry out their laws and decisions. Many doges tried to extend their powers and rule more as divine-right kings. Many others just put on their funny hats and accepted their role as figureheads and ceremonial ribbon-cutters. Because doges served a lifelong term, most were geezers, elected in their 70s and committed to preserving Venetian traditions.

Paintings by Titian, Veronese, and Tintoretto

Only the top Venetian painters decorated the Doge’s Palace. It was once rich in Titians, but fires in the late 1500s destroyed nearly all the work by the greatest Venetian master. As the palace was hastily reconstructed, the empty spaces left by the Titians were quickly patched in with works by Veronese and Tintoretto.

Veronese used the best pigments available—made from minerals and precious stones—and his colors have survived vividly. These Veronese paintings are by the artist’s hand and are fine examples of his genius. Tintoretto, on the other hand, didn’t really have his heart in these commissions, and the pieces here were done by his workshop.

The paintings of the Doge’s Palace are a study of long-ago Venice, with fine views of the old city and its inhabitants. The extravagant women’s gowns in the paintings by Veronese show off a major local industry—textiles. While the paintings are not generally of masterpiece quality, they’re historically interesting. They prove that in the old days, Venice had no pigeons.

• Let’s go inside. Cross back to the entrance and follow the signs up the tourists’ staircase to the first-floor balcony (loggia). From this point on, it’s hard to get lost. It’s a one-way system, so just follow the arrows. Admire the views from the balcony, then join the flow. Midway along the balcony, you’ll find a face in the wall, the...

Mouth of Truth

This fierce-looking androgyne opens his/her mouth, ready to swallow a piece of paper, hungry for gossip. Letterboxes like this (some with lions’ heads) were scattered throughout the palace. Originally, anyone who had a complaint or suspicion about anyone else could accuse him anonymously (denontie secrete) by simply dropping a slip of paper in the mouth. This set the blades of justice turning inside the palace.

• A few steps toward Paul Newman is the entrance to the...

Golden Staircase (Scala d’Oro)

The palace was architectural propaganda, designed to impress visitors. As ambassadors arrived to meet the doge, they were routed up this ceremonial staircase. With its 24-karat gilded ceiling, it was something for them to write home about.

• Start up the first few steps of the Golden Staircase. Midway up, at the first landing, turn right, which loops you through a dozen rooms (often closed or used for temporary exhibitions). If they’re open, enter and enjoy the...

Doge’s Apartments (Appartamento del Doge)

The dozen or so rooms on the first floor are where the doge actually lived. The blue-and-gold-hued Sala dei Scarlatti (Room 5) is typical of the palace’s interior decoration: gold-coffered ceiling, big stone fireplace, silky walls with paintings, and a speckled floor. There’s very little original furniture, as doges were expected to bring their own. Despite his high office, the doge had to obey several rules that bound him to the city. He couldn’t leave the palace unescorted, he couldn’t open official mail in private, and he and his family had to leave their own home and live in the Doge’s Palace.

The large Room 6, the Sala dello Scudo (Shield Hall), is full of maps and globes. The main map illustrates the reach of Venice’s maritime realm, which stretched across most of the eastern Mediterranean. The Venetian Republic was a mighty trading empire, built not on vast land holdings but upon a network of ports and a mastery of the sea. With the maps in this room you can trace the eye-opening trip across Asia—from Italy to Greece to Palestine, Arabia, and “Irac”—of local boy Marco Polo (c. 1254-1325). Finally, he arrived at the other side of the world. This last map (at the far end of the room) is shown “upside-down,” with south on top, giving a glimpse of the Venetian worldview circa 1550. It depicts China, Taiwan (Formosa), and Japan (Giapan), while America is a nearby island made up of California and lots of Terre Incognite with antropofagi (cannibals).

In Room 7, the Sala Grimani, are several paintings of the lion of St. Mark, including the famous one by Vittore Carpaccio of a smiling lion (on the long wall). The lion holds open a book with these words, “Pax Tibi Marce...” (“Peace to you, Mark”), which, according to legend, were spoken by an angel welcoming St. Mark to Venice. In the background are the Doge’s Palace and the Campanile.

Find Room 10, the Sala dei Filosofi (Philosophers’ Hall), look for the first doorway on the right, pop up the humble stairway, and look back at a Titian quickie, painted in just three days. This fresco of St. Christopher carrying the Christ Child across the lagoon was made for a doge who believed that if you looked at St. Christopher, you wouldn’t die that day.

• The visitors route through the Doge’s Apartments returns you to the Golden Staircase. So, whether you visited the apartments or not, continue up the Golden Staircase to the third floor, which was the “public” part of the palace. As you ascend the stairs, look back at the floor below and marvel at its 3-D pattern. The room right at the top of the stairs is the...

Square Room (Atrio Quadrato)

In this room, visitors would catch their breath and prepare to be admitted into the heart of the palace. The ceiling painting, Justice Presenting the Sword and Scales to Doge Girolamo Priuli, is by Jacopo Tintoretto. (Stand at the top of the painting for the full 3-D effect.) It’s a late-Renaissance masterpiece, worthy of any museum in the world. So what? As you’ll soon see, this palace is wallpapered with Titians, Tintorettos, and Veroneses. Many have the same theme: a doge, in his ermine cape, gold-brocaded robe, and funny one-horned hat with earflaps, kneeling in the presence of saints, gods, or mythological figures.

• Enter the next room.

Room of the Four Doors (Sala delle Quattro Porte)

This was the central clearinghouse for all the goings-on in the palace. Visitors presented themselves here and were directed to their destination—the courts, councils, or the doge himself.

The room was designed by Andrea Palladio, the architect who did the impressive Church of San Giorgio Maggiore, across the Grand Canal from St. Mark’s Square. On the intricate stucco ceiling, notice the feet of the women dangling down below the edge (above the windows), extending the illusion.

On the wall to the right of the door you entered from is a painting by Titian (ho-hum), showing a woman embodying Faith holding the Cross of Jesus, while a doge kneels with great piety. Notice old Venice in the misty distance under the cross. This is one of many paintings you’ll see of doges in uncharacteristically humble poses—paid for, of course, by the doges themselves.

At the end of the room, find G. B. Tiepolo’s well-known Venice Receiving Neptune high up on the wall above the windows. (This is a copy, but the original is often displayed on an easel nearby.) The painting shows Venice as a woman—Venice is always a woman to artists—reclining in luxury. She’s dressed in the ermine cape and pearl necklace of a doge’s wife (dogaressa). Crude Neptune, enthralled by the First Lady’s beauty, arrives bearing a seashell bulging with gold ducats. A bored Venice points and says, “Put it over there with the other stuff.”

• Enter the small room with the big fireplace and several paintings.

Ante-Collegio Hall (Sala dell’Anticollegio)

If the doge agreed to see you, you’d wait in this room—combing your hair, adjusting your robe, popping a breath mint, and preparing the gifts you’d brought. While you cooled your heels and warmed your hands at the elaborate fireplace, you might look at some of the paintings—among the finest in the palace and the world of art.

The Rape of Europa (on the wall opposite the fireplace), by Paolo Veronese, most likely shocked many small-town visitors with its risqué subject matter. Here Zeus, the king of the Greek gods, appears in the form of a bull with a foot fetish, seducing a beautiful bare-breasted earthling, while cupids spin playfully overhead. The Venetian Renaissance looked back to pagan Greek and Roman art, a big change from the saints and crucifixions of the Middle Ages. This painting is no medieval condemnation of sex and violence, but rather a celebration in cheery pastel colors of the earthy, optimistic spirit of the Renaissance.

Tintoretto’s Bacchus and Ariadne (to the right of the fireplace) is another colorful display of Venice’s sensual tastes. The God of Wine seeks a threesome, offering a ring to the mortal Ariadne, who’s being crowned with stars by Venus, who turns slowly in zero gravity. The ring is the center of a spinning wheel of flesh, with the three arms like spokes.

But wait, the doge is ready for us. Let’s go in.

• Enter the next room and approach your imaginary doge.

Collegio Hall (Sala del Collegio)

Flanked by his cabinet of six advisers—one for each Venetian neighborhood—the doge would sit on the wood-paneled platform at the far end to receive ambassadors, who laid their gifts at his feet and pleaded their countries’ cases. All official ceremonies, such as the ratification of treaties, were held here.

At other times, it was the “Oval Office” where the doge and his cabinet (the executive branch) would meet in private, pull files from the cabinets (along the right wall) regarding business with Byzantium, or rehearse a meeting with the pope. The wooden benches around the sides (where they sat) are original. The clock on the wall is a backward-running 24-hour clock with Roman numerals and a sword for its single hand.

The ceiling is gilded, with paintings by Veronese. These are not frescoes (painting on wet plaster), like those in the Sistine Chapel, but actual canvases painted in Veronese’s studio and then placed on the ceiling. A couple are worth pointing out.

The T-shaped painting of the woman admiring the spider web (on the ceiling, opposite the big window) represents the Venetian symbol of Discussion. You can imagine the webs of truth and lies woven in this room by the doge’s scheming advisers.

In Mars and Neptune with Campanile and Lion (the ceiling painting near the entrance), Veronese presents four symbols of the Republic’s strength—military, sea trade, city, and government (plus a cherub about to be circumcised by the Campanile).

In the big paintings on the walls (not by Veronese), note that nearly each one features a different doge identified by his oval family crest.

• Enter the large Senate Hall.

Senate Hall (Sala del Senato)

This huge hall is where some 120 senators met to pass legislation. While the doge presided from the stage, senators mounted the podium (middle of the wall with windows) to address their colleagues.

Venice prided itself on its self-rule (independent of popes, kings, and tyrants), with most power placed in the hands of these annually elected noble men. Which branch of government really ruled? All of them. It was an elaborate system of checks and balances to make sure no one rocked the gondola, no one got too powerful, and the ship of state sailed smoothly ahead.

Tintoretto’s large Triumph of Venice on the ceiling (central painting, best viewed from the top) is an allegory of the city in all her glory. Lady Venice is up in heaven with the Greek gods, while barbaric lesser nations swirl up to give her gifts and tribute. Do you get the feeling the Venetians were proud of their city?

On the wall are two large clocks, one of which has the signs of the zodiac and phases of the moon. And there’s one final oddity in this room, in case you hadn’t noticed it yet. In one of the wall paintings (above the entry door), there’s actually a doge...not kneeling.

• Exiting the Senate Hall, pass again through the Room of the Four Doors, then around the corner into a hall with a semicircular carved-wood platform.

Hall of the Council of Ten (Sala del Consiglio dei Dieci)

The dreaded Council of Ten—10 judges, plus the doge and his six advisers—met here to dole out punishment to traitors, murderers, and “morals” violators.

Venice developed a worldwide reputation for swift, harsh, and secret justice. The Council of Ten had their own force of police officers, guards, spies, informers, and even assassins. They had their own budget and were in practice accountable to no one, at times making them the de facto ruling body of the “Republic.” It seemed no one was safe from the spying eye of the “Terrible Ten.” You could be accused of crimes anonymously (by a letter dropped into a Mouth of Truth), swept off the streets, tried, judged, and thrown into the dark dungeons in the palace for the rest of your life without so much as a Miranda warning.

It was in this room that the Council decided who lived or died, and who was decapitated, tortured, or merely thrown in jail. The small, hard-to-find door leading off the platform (the fifth panel to the right of center) leads directly through secret passages to the prisons and torture chambers.

The large central ceiling painting by Veronese (a copy of the original stolen by Napoleon and still in the Louvre) shows Jupiter Descending from Heaven to Strike Down the Vices, redundantly informing the accused that justice in Venice was swift and harsh. To the left of that, Veronese painted the happy result: Juno showering Lady Venice with coins, crowns, and peace.

Though the dreaded Council of Ten was eventually disbanded, today their descendants enforce the dress code at St. Mark’s Basilica.

• Pass through the next room, turn right, and head up the stairs to the Armory Museum.

Armory Museum (L’Armeria)

The aesthetic of killing is beyond me, but I must admit I’ve never seen a better collection of halberds, falchions, ranseurs, targes, morions, and brigandines in my life. The weapons in these four rooms make you realize the important role the military played in keeping the East-West trade lines open.

Room 1: In the glass case on the right, you’ll see the suit of armor worn by the great Venetian mercenary general Gattamelata (far right, on horseback), as well as “baby’s first armor” (how soon they grow up!). A full suit of armor could weigh 66 pounds. Before gunpowder, crossbows (look up) were made still more lethal by turning a crank on the end to draw the bow with extra force.

Room 2: In the thick of battle, even horses needed helmets. The hefty broadswords were brandished two-handed by the strongest and bravest soldiers who waded into enemy lines. Opposite the window stands the fine armor of Henry IV, a 16th-century king of France. Behind him is a cell for VIP prisoners.

Room 3: On the walls and weapons, the “C-X” insignia means that this was the private stash of the “Council of Ten.”

Room 4: In this room, rifles and pistols enter the picture. At the far (left) end of the room is a very, very early (17th-century) attempt at a 20-barrel machine gun. Don’t miss the glass case in the corner, with a tiny crossbow, some torture devices (including an effective-looking thumbscrew), the wooden “devil’s box” (a clever item that could fire in four directions at once), and a nasty, two-holed chastity belt. These disheartening “iron breeches” were worn by the devoted wife of the Lord of Padua. Out the windows are fine views of San Giorgio Maggiore. And the window around the corner, to the left, comes with fine views of the Riva.

• Exit the Armory Museum (after enjoying a closer look at that early machine gun). Go downstairs and turn left into the long hall with a wood-beam ceiling. You’ll wind through some often-interesting exhibits in the side rooms before opening your eyes as wide as you can to see the...

Hall of the Grand Council (Sala del Maggiore Consiglio)

It took a room this size to contain the grandeur of the Most Serene Republic. This huge room (175 by 80 feet) could accommodate up to 2,600 people at one time. The engineering is remarkable. The ceiling is like the deck of a ship—its hull is the rooftop, creating a huge attic above that.

The doge presided from the raised dais, while the nobles—the backbone of the empire—filled the center and lined the long walls. Nobles were generally wealthy men over 25, but the title had less to do with money than with long bloodlines. In theory, the doge, the Senate, and the Council of Ten were all subordinate to the Grand Council of nobles who met here to elect them.

On the wall over the doge’s throne is Tintoretto’s monsterpiece, Paradise, the largest painted canvas in Venice. At 570 square feet, it could be sliced up to wallpaper an apartment with enough left over for placemats.

Christ and Mary are at the top of heaven, surrounded by 500 people. It’s rush hour in heaven, and all the good Venetians made it. The painting leaves you feeling that you get to heaven not by being a good Christian, but by being a good Venetian. Tintoretto worked on this in the last years of his long life. On the day it was finished, his daughter died. He got his brush out again and painted her as saint number 501. She’s dead center with the blue skirt, hands clasped, getting sucked up to heaven. (At least, that’s what an Italian tour guide told me.)

Veronese’s Apotheosis of Venice (on the ceiling at the Tintoretto end—view it from the top) is a typically unsubtle work showing Lady Venice being crowned a goddess by an angel.

Ringing the top of the hall are portraits, in chronological order, of the first 76 doges. The one at the far end that’s blacked out (in the left corner) is the notorious Doge Marin Falier, who opposed the will of the Grand Council in 1355. He was tried for treason, beheaded, and airbrushed from history.

Along the entire wall to the right of Paradise, a series of paintings called the Siege of Constantinople (by Tintoretto’s son, Domenico) chronicles Venice’s greatest military (if not moral) victory: the conquest of the fellow Christian city of Constantinople during the Fourth Crusade (1204, see sidebar on here). Focus on the fifth painting from the left, showing the dramatic climax of the siege. In the background are the mighty walls of Constantinople, which had repelled every attack for nearly a thousand years. But the sneaky Venetians circled around back and attacked where the walls rose straight up from the water’s edge. Skillful Venetian oarsmen cozied their galleys right up to the dock, allowing soldiers to scoot along crossbeams attached to the masts and on to the top of the city walls. In the foreground, an archer cranks up his crossbow. The gates are opened, the Byzantine emperor parades out to surrender, and tiny Doge Dandolo (dressed in gold with his fancy doge’s hat) says, “Let’s go in and steal some bronze horses.”

Step into the adjoining Sala dello Scrutinio. If the windows are open, there’s a fine view of the domes of the basilica, the palace courtyard below, and Paul Newman. Another window overlooks the Piazzetta; from its balcony, a newly elected doge was presented to the people of Venice. A noble would announce, “Here is your doge, if it pleases you.” That was fine, until one time when the people weren’t pleased. From then on they just said, “Here is your doge.”

The room’s huge paintings burst with action. The enormous Battle of Lepanto depicts the great Venetian empire’s last hurrah. The Venetians’ sleek ships with skilled oarsmen plowed through the Ottoman navy to victory in 1571.

But Venice had already begun its long slide into historical oblivion. With the rise of new sea-trading powers like Spain and Portugal, Venice’s East-West trade monopoly was broken. One by one, the Ottomans gobbled up Venice’s trading outposts. Venice remained a glorious city to visit, but not the world power she once was. Finally, in 1797, the French general Napoleon marched into town shouting “Liberté, égalité, fraternité,” the Most Serene Republic was conquered, and the last doge was forced to abdicate.

• Our final stop is the prisons. Consider reading about them here in the Grand Council Hall, where there are more benches and fewer rats.

To reach the prisons, exit the Hall of the Grand Council by squeezing through the door to the left of Tintoretto’s monsterpiece. Follow signs for Prigioni/Ponte dei Sospiri, passing through several rooms. You’ll reach a narrow staircase going down, following signs to the prisons. (It’s near Room 31; if you miss it, you’ll pass the prisons altogether and end up at the bookshop near the exit.) Then cross the covered Bridge of Sighs over the canal to the prisons.

Prisons

Musty, humid, and clammy, with heavy stone walls and thick iron bars—these are rooms that wouldn’t rate a single star in a Rick Steves book. These were the palace’s special dungeons. In the privacy of his own home, a doge could oversee the sentencing, torturing, and jailing of political opponents.

Circle the cells, walking down narrow corridors and glancing into the various cells. Justice here was harsh. The cells consisted of cold stone with heavily barred windows, a wooden plank for a bed, a shelf, and a bucket. (My question: What did they put on the shelf?) You can feel the cold and damp.

In the far corner of the complex, look closely at the windowsills of the cells. There are carvings scratched by prisoners, dating from olden days up until the 1920s.

Surprisingly, these cells were considered the modern “new” prisons. The originals were in the basement of the Doge’s Palace, called “the wells” because they were so deep, wet, and cramped. By the 1500s, the notorious wells were so full of political prisoners that these new prisons were built across the canal from the palace and connected with a covered bridge—the Bridge of Sighs.

While a small taste of the prisons is enough for most visitors, if you have more time and interest, explore the cellblocks one and two floors down (following signs for Complete Tour). Or stay on this floor, where there’s a room of displays, including ceramic shards found in archaeological digs. Adjoining that are more cells, including one (the farthest) where you can see the bored prisoners’ compelling and sometimes artistic sketches on the walls. The singing gondoliers outside are a reminder of how tantalizingly close these pitiful prisoners were to one of the world’s finest cities.

• Wherever you roam, you’ll end up where you entered. Head back over the bridge that once carried prisoners to their grim fate, and stand in the middle.

Bridge of Sighs

Gaze through the stonework windows at the view of Venice. According to romantic legend, criminals were tried and sentenced in the palace, then marched across the canal to the dark prisons. On this bridge, they got one last look at Venice. They gazed out at the sky, the water, and the beautiful buildings, and...sighed.

• Take one last look at all the tourists and the heavenly Church of San Giorgio Maggiore, heave one last sigh, and leave the palace.

CORRER MUSEUM TOUR

Museo Correr

Orientation

Map: Correr Museum—First Floor

The Tour Begins

FIRST FLOOR: NEOCLASSICAL ROOMS AND VENETIAN HISTORY

Canova Rooms

Government Offices

Coins and the Treasury

Venice and the Sea

The Arsenale

Marciana National Library

Imperial Rooms for Empress Sisi

SECOND FLOOR: VENETIAN PAINTING

Medieval to Renaissance

Map: Correr Museum—Second Floor

Influences from North and South

The Bellini Family

Vittore Carpaccio

A doge’s hat, an empress’ bathroom, gleaming statues by Canova, and paintings by the illustrious Bellini family—for some people, that’s a major museum, for others a musty bore. But the Correr Museum has one more thing to offer, and that’s a quiet refuge—an elegant Neoclassical space—in which to rise above St. Mark’s Square when the piazza is too hot, too rainy, or too overrun with tourists. Besides, the museum is included if you’ve bought a ticket to the Doge’s Palace...whether you want it or not. Those who enter are rewarded with an easy-to-manage overview of Venice’s art and history.

Because the Correr is more a museum for browsing, use this tour to get you started, then let the collection surprise you.

Orientation

Cost: €25 combo-ticket includes the Doge’s Palace, €15 for youth and seniors, covered by Museum Pass.

Tickets to tour the Clock Tower (see here) include admission to the Correr but not the Doge’s Palace.

Hours: Daily 10:00-19:00, Nov-March 10:30-17:00, last entry one hour before closing.

Getting There: The entrance is on St. Mark’s Square in the building at the far end of the square, opposite the basilica. Climb the staircase to the first-floor ticket office and bookstore.

Information: +39 041 240 5211, http://correr.visitmuve.it.

Renovation: Like many museums in Venice, the Correr is often reorganized for special exhibits, occasionally causing room numbers and locations of pieces to change.

Length of This Tour: Allow one to two hours. With less time, stick to the first floor and skip the second-floor paintings.

Baggage Check: Free and mandatory for bags bigger than a large purse.

Cuisine Art: The classy museum café offers a peaceful retreat. It has good sandwiches, pastas, and salads, and a few tables have outstanding views of St. Mark’s Square (same hours as museum, no museum entry required).

Starring: Canova statues, a royal suite, Venetian historical artifacts, the Bellini family, and a Carpaccio.

The Tour Begins

The Correr Museum is housed in the Napoleonic Wing of the grand edifice that rings St. Mark’s Square. The building was started in 1809 by Napoleon, who wanted a private ballroom and reception hall overlooking the square. (On the facade, a line of Roman emperors reminded everyone of his authority.) Napoleon never danced in the ballroom, which was only completed five years after his Waterloo. After Napoleon fell and the Austrian Habsburgs annexed Venice, this palatial wing was their imperial residence. It eventually became a museum, named for the Venetian art collector who donated the collection to the city.

This tour covers the two long, skinny floors that parallel St. Mark’s Square: The first floor contains imperial rooms, Canova statues, and Venetian history; the second floor displays Venetian paintings. Delightful temporary exhibitions often take the place of the permanent displays. Be flexible and enjoy things in a general way.

FIRST FLOOR: NEOCLASSICAL ROOMS AND VENETIAN HISTORY

• You’ll enter the museum through the long loggia overlooking the square, making your way to a handful of rooms with statues by Canova. (If routed a different way, don’t worry—just use the map in this book to navigate.)

Canova Rooms

Rooms 4-6 are dedicated to the famed Neoclassical sculptor Antonio Canova (1757-1822). Son of a Venetian stonemason, Canova grew up with a chisel in his hand in a studio along the Grand Canal, precociously mastering the sentimental, elegant Rococo style of the late 1700s. At 23, he went to Rome and beyond, studying ancient statues at the recently discovered ruins of Pompeii. These archaeological finds inspired a revival of classical style. Canova’s pure, understated “neo”-classical style soon became the rage all over Europe.

Called to Paris, Canova became Napoleon’s court sculptor and carved perhaps his best-known work: Napoleon’s sister as a seminude Venus, reclining on a couch (now in the Borghese Gallery in Rome). Canova combined Rococo sentiment with the cool, minimal lines of classicism.

Look for these major Canova works:

Orpheus and Eurydice (Orfeo e Euridice, 1776) shows Orpheus leading his beloved back from hell, when she is suddenly tugged from behind by the cloudy darkness. She calls for help. Orpheus looks back and smacks his forehead in horror...but he can do nothing to help, and he has to hurry on.

In this youthful work, Canova already shows elements of his later style: high-polished, slender, beautiful figures; an ensemble arrangement, with more than one figure; open space between the figures that’s almost as compelling as the figures themselves; and a statue group that’s interesting from many angles.

Carved by a teenage Canova, this piece captures the Rococo spirit of Venice in the late 1700s—it’s beautiful, but tinged with bittersweet loss. Even Canova’s later works—which were more sober, minimalist, and emotionally restrained—retained the grace and romantic sentiment of the last days of the Venetian Republic.

In Daedalus and Icarus (Dedalo e Icaro, 1778-1779), serious Daedalus straps wax-and-feather wings, which he’s just crafted, onto his son’s shoulders. The boy is thrilled with the new toy, not knowing what we know—that the wax in the wings will soon melt in the sun and plunge him to his death. Daedalus’ middle-aged, slightly saggy skin contrasts with Icarus’ supple form. Canova displays the tools of his family’s stonemason trade on the base.

Canova was only 20 when Venice’s procurator commissioned this work from the hometown prodigy. It was so realistic that it caused a stir—skeptics accused Canova of not really sculpting it, but making it from plaster casts of live humans.

The statue of Paris (Paride, 1807)—looking like a guy with black measles—is not a marble statue of Paris; it’s a plaster of Paris, a life-size model that Canova used in carving the real one in stone. The dots are sculptor’s “points,” which tell the sculptor how far into the block he should chisel to establish the figure’s rough outline.

• Now, enter the world of Venice’s doges (Rooms 7-10—often with special exhibits).

Government Offices

Some of the rich furnishings are reminders that these rooms once housed the administrative offices of a wealthy, sophisticated, trade-oriented republic. Among the displays (which can change often), you might see pictures of doges and other bigwigs, a doge’s cap, rare books in walnut bookcases, and a Murano chandelier under a wood-beamed ceiling.

• Move to Room 11 to view Venetian coins. The collection runs chronologically, clockwise around the room (starting on the far side of the room in the year 814).

Coins and the Treasury

The Venetian ducat weighed only a bit more than a US penny, but was mostly gold (by decree, 99 percent pure gold, weighing 3.5 grams). First minted around 1280 (find Giovanni Dandolo’s zecchino, or “sequin,” in the first glass case to the right of the door that leads into the next room), it became the strongest currency in all Europe for nearly 700 years, eventually replacing the Florentine florin. In Renaissance times, 100 ducats would be an excellent salary for a year. The most common design on the ducat coin showed Christ on the “heads” side, standing in an oval of stars. “Tails” featured the current doge kneeling before St. Mark and the inscription “sacred money of Venice” (SM Veneti).

Hanging above the newest coins, find Tintoretto’s St. Justina and the Treasurers (1580), showing three red-robed treasury officials who handled ducats in these offices. The richness of their fur-lined robes suggests the almost religious devotion that officials were expected to have as caretakers of the “sacred money” of Venice.

To the left is a painting of a doge: He’s throwing his personal money to the crowds, as was expected after a doge’s election. With this tradition, Venetians clamored for a wealthy ruler.

• Advance into Rooms 12-15, which focus on…

Venice and the Sea

Venice’s wealth came from its sea trade. Raw materials from Europe were exchanged for luxury goods from eastern lands controlled by Muslim Ottomans and Byzantine Christians.

Among the displays, you may see various models of galleys. These fast oar- and wind-powered warships rode shotgun for Venice’s commercial fleets plying the Mediterranean. With up to 150 men (four per oar, some prisoners, most proud professionals) and three horizontal sails, they could cruise from Venice to Constantinople in about a month. In battle, they specialized in turning on a dime to aim cannons, or in quickly building up speed to ram other ships with their formidable prows. Also displayed are large lanterns from a galley’s stern.

To see these galleys in action, find a painting of the Battle of Lepanto (Battaglia di Lepanto, c. 1571—likely in Room 15). This captures the confusion of a famous battle fought off the coast of Greece in 1571 between the Venetians (part of a coalition of Christians) and the Muslim Ottomans. Sort it out by their flags. The turbaned Ottomans fought under the crescent moon. On the Christian side, Venetians had the winged lion, the pope’s troops flew the cross, and Spain was marked with the Habsburg eagle.

The fighting was fierce and hand-to-hand as the combatants boarded each other’s ships and cannons blasted away point-blank. Miguel de Cervantes fought in this battle; he lost his hand and had to pen Don Quixote one-handed.

Thanks largely to Venice, the Christians won, sinking 113 enemy ships and killing up to 30,000. It was a major psychological victory, as it was a turning point in the Ottoman threat to Europe.

But for Venice, it coincided with the end of an era. Despite the victory, the city—already in decline—lost 4,000 men and many ships, and never fully recovered its trading empire in Ottoman lands. Moreover, Spain’s cannon-laden sailing ships proved to be masters of the waves, making Spain the next true naval power. Venice’s shallow-hulled galleys, so swift in the placid Mediterranean, were no match on the high seas.

• Next up…

The Arsenale

Find the various sketches that depict the city’s famed shipbuilding center—the Arsenale, located near the tail of Venice. Guarded by two stone lions to this day, this rectangular, artificial harbor was surrounded by workshops where ships could be mass-produced as though on a modern assembly line (but it was the workers who moved). If needed, they could crank out a galley a day. You’ll see scale models of various galleys and ships—carpenters relied on these models, not drawings, when assembling a new boat.

• Browse your way into Rooms 16-18, where you’ll pass through the fascinating Armory, filled with everything from swords and pikes to early guns.

Next, you enter two sections technically considered separate museums but included as if part of the Correr. Walk through six rooms filled with ancient statues (Archaeological Museum) until you reach the corner room and enter the so-called Monumental Rooms of the...

Marciana National Library

This “library” has two rooms: a reading room and a classroom, meant for the sons of the elites and therefore the future rulers of Venice. While the rooms are now empty of furniture, they are still rich in paintings—mostly on the ceilings. These constantly reminded the boys of the importance and value of education and good character.

First you enter the library reading room. There were once rows of desks in the center (the most valuable codices would have been chained to them) and low shelves around the sides where other books were kept. In Renaissance times, Venice was a major center of printing and secular knowledge, and you may see some early manuscripts on display.

On the ceiling are 21 tondi (round paintings). The three tondi in the second row (from the entrance) are by Paolo Veronese. Many of the ceiling paintings illustrate the virtues needed to overcome obstacles on the road to learning: Look for the bare-breasted figure of Lust being driven away by Madam Diligence, who tells the young student to get back to his books. The walls are richly decorated with portraits of famous scholars and ancient philosophers who twist and turn in their niches in a typical Mannerist style.

Study the central painting, Ecstasy, where the figure on the right rises above her base desires and contemplates the radiant divine light. Education in Renaissance Venice was quite philosophical. Knowledge freed the individual from being sidetracked by simple and material goals, and revealed loftier truths through intellect. This also brought fame and glory (the trumpet and laurel branch). The high thinking of the philosophers portrayed in this room all applaud that enlightened approach to life.

Classes and lectures were once held in the smaller room beyond the large hall. On the ceiling, a trompe l’oeil effect makes the room appear even higher than it is. The painting in the center, by Titian, shows Lady Wisdom seated in the clouds and holding a scroll as she contemplates her reality in a mirror. Check out the antique globes and a huge, pre-Columbian map of the world. Surveying this room, you really get a sense of how high-minded Venetian culture was in its day.

• Now backtrack through the Archaeological Museum and a series of narrow rooms that lead to stairs to the next floor up. If you are headed to the Correr’s Picture Gallery, take the stairs. Otherwise, proceed straight ahead for the palace’s Imperial Rooms (and the exit). You’ll pass through galleries displaying artifacts of Venetian life (look for the teetering high heels—ideal for negotiating acqua alta) before eventually making your way to the…

Imperial Rooms for Empress Sisi

In 1856, 18-year-old Empress Elizabeth of Austria (fondly nicknamed “Sisi”) arrived in Venice with her husband Emperor Franz Josef. The two spent a few weeks in these chandeliered rooms. The famously beautiful-yet-reclusive Sisi was the Princess Diana of the age. Though the Venetians loathed their Austrian overlords, Sisi’s charm won many over, and she returned to Venice later for a longer stay. Years later, estranged from her husband and court life, she was murdered by an Italian anarchist while vacationing in Switzerland.

These nine opulent rooms reflect the eclectic tastes of 19th-century aristocrats. You’ll stroll through the dining room, with its squiggly-lined “grotesque” decor, and the red-walled throne room, where (in 1838) the Habsburg Emperor Ferdinand was presented with his Italian holdings. Sisi’s study has a nice Murano chandelier, and her dressing room (Room VI) has a ceiling painting of the Goddess of Art that’s actually Sisi herself. In Sisi’s bedroom (VII), the bed (not Sisi’s) belonged to Napoleon’s stepson, who was declared “Prince of Venice.” Finally, you reach the Oval Room, where Sisi and close friends enjoyed their private meals together.

• That’s it for the first floor. For some, that may be enough. But to round out the museum, there’s a fine collection of Venetian paintings upstairs. To get to them, backtrack to Room 14 (WCs nearby) and climb the stairs, following signs to La Quadreria—Picture Gallery. Enter Room 25.

SECOND FLOOR: VENETIAN PAINTING

The collection is laid out chronologically, with thoughtful English descriptions throughout, letting you trace the development of Venetian painting from golden Byzantine icons to Florentine-inspired 3-D to the natural beauty of Bellini and Carpaccio. I’ve highlighted just a few to look for.

Medieval to Renaissance

Sweep quickly through the first rooms (25-31). Start with the grandfather of Venetian art, Paolo Veneziano. His Six Saints (Room 25) dates from about 1350 and has the Venetian focus on decoration and warm colors, combining the gold-backed style of Byzantine icons with budding realism and individualized faces. Skipping ahead to Room 29, find two long panels by the Master of the Jarves Cassoni (early 15th century) depicting the joyous exploits—feasting, hunting, and sailing—of Europe’s aristocrats, dressed in their gold-brocade finery.

In Room 31, Antonio Leonelli da Crevalcore’s Portrait of a Young Man (c. 1475) shows the subject dressed in red. He is not a saint, king, or pope, but an ordinary citizen painted, literally, wart and all. Behind the young man, the curtain opens to reveal a new world—a spacious 3-D vista courtesy of the Tuscan Renaissance.

• The large Room 32 often has interesting large-scale exhibits. Now, seek out a few paintings of special interest, starting in Room 33.

Influences from North and South

The detailed, everyday landscapes of Northern masters strongly influenced Venetian artists. In Pieter Brueghel II’s Adoration of the Magi (Room 33), Baby Jesus is lost in a snowy scene of the secular working world, in a stable (lower left) worshipped by the Magi. Venetians learned that landscape creates its own mood, and humans don’t have to be the center of every painting.

The Sicilian painter Messina wowed Venice with his Pietà (Room 34) when he visited in 1475, bringing a Renaissance style and Flemish painting techniques. After a thousand years of standing rigidly on medieval crucifixes, the body of Christ finally softens into a natural human posture. The scene is set in a realistic, distant landscape.

The Bellini Family

One family single-handedly brought Venetian painting into the Renaissance—the Bellinis (Room 36). You may see a Crucifixion (c. 1450) by Jacopo Bellini (c. 1400-1470), the patriarch of the clan. Jacopo had studied in Florence when Donatello and Brunelleschi were pioneering 3-D naturalism. His daughter Nicolosia (though not a painter) married the pioneering artist Mantegna, whose precise lines and statuesque figures influenced his brothers-in-law.

Elder son Gentile (c. 1429-1507) took over the family business and established a reputation for documenting Venice’s rulers and official ceremonies. With his straightforward style and attention to detail he captured the ordinary essence of a regal man in his Portrait of Doge Mocenigo.

Younger son Giovanni (c. 1430-1516) became the most famous Bellini, the man who pioneered new techniques and subject matter, trained Titian and Giorgione, and almost single-handedly invented the Venetian High Renaissance. In his Crucifixion, he weeds out all the crowded, medieval mourners, leaving only Mary and John. Behind, he paints a spacious (Mantegnesque) landscape, with a lake and mountains in the distance. Our eyes follow the winding road from Christ to the airy horizon, ascending like a soul to heaven.

In his Dead Christ Supported by Two Angels, Giovanni explores human anatomy, with exaggerated veins, a heaving diaphragm, and even a hint of pubic hair.

It was Giovanni who would help reinvent the art of painting with the new invention of oil-based paint. Armed with this more transparent paint, artists could add subtler shades of color and rely less on sharply outlined forms.

• Finish the tour with a stop in Room 38, where you’ll find a distinctive Venetian masterpiece by...

Vittore Carpaccio

In Two Venetian Gentlewomen (Due Dame Veneziane, c. 1490), the great narrative Venetian painter Carpaccio depicts two well-dressed Venetians looking totally bored, despite being surrounded by a wealth of exotic pets and amusements. One lady absentmindedly plays with a dog, while the other stares into space. Romantics imagined them to be kept ladies awaiting lovers, but the recent discovery of the once-missing companion painting tells us they’re waiting for their menfolk to return from hunting. If you like Carpaccio, the Scuola Dalmata (between St. Mark’s Square and Arsenale) has an excellent collection; see here.

The colorful details and love of luxury are elements that would dominate the Venetian High Renaissance. Fascinating stuff, but my eyes—like theirs—are starting to glaze over...

SAN GIORGIO MAGGIORE TOUR

Orientation

The Tour Begins

EXTERIOR

Map: San Giorgio Maggiore

INTERIOR

MORE ART INSIDE THE CHURCH

BELL TOWER

Map: View from San Giorgio Maggiore

If you look out over the canal from St. Mark’s Square, you can’t miss the classical facade, dome, and tower of San Giorgio Maggiore. This iconic church is only a five-minute vaporetto ride away. Even if you’re not interested in Palladio’s influential architecture, Tintoretto’s famous Last Supper, or the stunning bell-tower views of Venice and the lagoon, it’s worth a trip just to escape tourist-mobbed St. Mark’s Square. And from San Giorgio Maggiore, you view the Doge’s Palace, and Venice, as if you’re aboard an approaching ship.

Orientation

Cost: Admission to the church is free. It costs €8 to go up the bell tower.

Hours: Church open daily 9:00-19:00, Nov-March 8:30-18:00. The tower elevator runs daily 10:00-18:00 (in off-season, may close for lunch 13:00-14:00), does not run during Sunday Mass.

Information: +39 041 522 7827, www.abbaziasangiorgio.it.

Avoiding Crowds: The church is never crowded, but the bell tower and elevator can be. Come early or late to have it to yourself.

Getting There: To reach the island from St. Mark’s Square, take the one-stop, five-minute ride on vaporetto line #2 from San Zaccaria (runs every 12 minutes from dock B, direction: Piazzale Roma). Remember that one vaporetto ticket is good for 75 minutes of one-way travel, allowing for a quick visit here on the way to somewhere else.

Church Services: Mass is held on Sundays at 11:00; during that time, the church is open to worshippers, but not sightseers. In the winter, when it’s too cold inside the church, Mass is held in the adjacent chapel (enter to the right of the high altar).

Monastery Tours: Tours of the Benedictine monastery and an ensemble of modern art and architecture within it are sometimes available—check at the bell tower ticket office or email visite@abbaziasangiorgio.it. Escorted one-hour audioguide tours are also run by the Cini Foundation, which occupies a portion of the site (€15, must book online in advance, www.visitcini.com).

Length of This Tour: Allow one hour.

Eating: The fine little harborside $ San Giorgio Café, rarely used by tourists, is about 150 yards around the left of the church. Its terrace is peaceful—except at lunchtime, when it’s mobbed by librarians (daily 10:00-20:00, off-season 11:00-15:00).

The Rest of the Island: You can walk along the left side of the church to the San Giorgio Café and view the pleasure boats in the marina. Inside the pink building just beyond the café is Le Stanze del Vetro, a super-modern space with rotating exhibits relating to art glass, both historical and contemporary (free entry, Thu-Tue 10:00-19:00, closed Wed, +39 041 522 9138, www.lestanzedelvetro.org).

Starring: Palladio, Tintoretto, and views of Venice.

The Tour Begins

EXTERIOR

The facade looks like a Greek temple, a style well-known today because of its architect, Andrea Palladio (1508-1580). Palladio’s hugely influential treatise on architecture inspired centuries of architects in England and America with its expert application of Greco-Roman styles. Countless villas, palaces, and churches look like this. They are “Palladian.”

Palladio’s ingenious facade overlaps two temple fronts. Four tall columns, topped by a triangular pediment resembling a Greek porch, mark the entryway to the tall, central nave. This is superimposed over the facade of the lower side aisles. Behind the facade rises a dome topped with a statue of St. George (the Christian slayer of medieval dragons) holding a flag. The whole complex is completed by the bell tower, which echoes the Campanile in St. Mark’s Square across the water.

This church feels so striking because it just doesn’t fit with old-school Venice. Palladio made no concessions to the Byzantine legacy of Venice that you see across the water at the Doge’s Palace.

• Walk into the interior of the church.

INTERIOR

1   View down the Nave, then up the Nave

The interior matches the outer facade, with a high nave flanked by lower side aisles. The walls are white (Palladio’s favorite color); the windows have clear, rather than stained, glass; and the well-lit church has the clarity, orderliness, and mathematical perfection of the classical world. In keeping with Palladio’s classical sensitivity, the interior decor is all in harmony (compared to the relative chaos of, say, the Frari Church). Oh, the stout, stony symmetry and mathematical purity—with light spilling in from the canal—it’s enough to give a Renaissance architect a...never mind.

• Head down the nave to the...

2   Main Altar

The altar, made after the voyages of Columbus and company, is topped with a bronze globe of the world. When this place was being built, Church doctrine was being challenged by the discovery of the New World, the founding of secular societies, and the groundbreaking scientific advancements of the Enlightenment. With this altar, the globe is embraced as if to declare the universality of the Christian message. God, overhead, is wearing a triangular halo, reminding us he’s part of the Trinity.

• On the wall to the right of the altar is a masterpiece by Tintoretto (you can walk around to get a closer look).

3   Tintoretto, Last Supper, 1592-1594

This is the last of several versions of the Last Supper by Tintoretto (1518-1594) that decorate Venice, each one different and inventive (compare it with the Scuola San Rocco version, pictured on here). Here, the table stretches diagonally away from us on a tiled floor. The convincing perspective effect is theatrical, engaging the viewer. The scene is crowded—servants and cats mingle with wispy angels. A blazing lamp, radiating supernatural light, illuminates the otherwise dark interior. At the far left, a beggar is fed, illustrating Christ’s concern for the poor. The devilish guy on the right rejects a basket of communion wafers while eyeing a more hedonistic banquet. Your eyes go straight to a well-lit Christ, serving his faithful with both hands—wholeheartedly. While most Last Suppers capture the moment Jesus says, “One of you will betray me,” this one depicts Jesus sharing the first Eucharist (in keeping with the Counter-Reformation notion that only proper Roman Catholic Christians can be saved).

San Giorgio was the church for a Benedictine monastery, an order that stressed a simple lifestyle and concern for the poor. They hired Tintoretto (a common-man’s painter) and worked closely with him to hone the message that all are welcome—saints, servants, beggars, sinners—into the Christian faith. The monks appreciated Tintoretto’s jumble of the spiritual with the mundane, proclaiming that God works miraculously with us on an everyday level.

This canvas works together theologically with the other canvas flanking the altar.

• On the wall to the left of the altar is...

4   Tintoretto, Manna from Heaven, 1591-1592

This painting illustrates the Benedictine motto: Work and pray. Here we see the sunny morning after the storm, when God rained bread down on the hungry Israelites. Many are working, others relax prayerfully, and others gather the heavenly meal in baskets, basking in the glow of the miracle. The message: Work and pray, and God will take care of you.

• Behind the altar is the...

5   Choir

This beautiful space features 82 stalls elaborately carved in walnut. Here, monks stood and sang, carrying on the prayers, chants, and traditions of the Benedictine order, whose relationship with the island stretched back to AD 982 (the monastery closed in 1807, but was revived on a smaller scale in the 20th century). The choir was designed with acoustics in mind, and the barrel-vault ceiling is backed up with a woofer-shaped apse—ideal for amplifying Gregorian chant. (Suddenly I feel a cough coming on...my, the echoes.)

MORE ART INSIDE THE CHURCH

As long as you’re here, check out a few more works. They’re minor pieces in art-drenched Venice, but they’d be stars in any American museum.

Back near the entrance, in the first chapel on the right as you face the altar, is Jacopo Bassano’s   6   Nativity and Adoration of the Shepherds, where a radiant Baby Jesus lights the dim canvas. In the next chapel is a carved   7   Crucifix once attributed to Florentine dome builder Filippo Brunelleschi.

In the transepts are two works by Jacopo Tintoretto’s son, Domenico. In the right transept, the static   8   St. Benedict and Other Saints shows the early monk (to left, in black, bald and bearded) along with Pope Gregory (who wrote about him) having a heavenly vision.   9   The Stoning of St. Stephen (left transept) shows that Domenico had his father’s raw talent, but not his flair for dramatic compositions that recede into the distance.

On your way to the bell tower, you’ll pass the original   10   statue of an angel that once stood atop the tower (a copy stands there today). Made in the 18th century of laminated wood covered in lead, it was destroyed by lightning in 1993. Restorers have pieced it back together.

• You’ll find the elevator to the top of the bell tower in the far left corner.

BELL TOWER

11   View from the Bell Tower

The bell tower here has wonderfully unobstructed views in all directions and is less crowded than the Campanile at St. Mark’s.

Start by looking at the city (to the north), and go clockwise:

Facing North (toward the city): This is the famous view of Venice’s skyline, dominated by St. Mark’s Campanile. The big, long, brick church farther inland is Santi Giovanni e Paolo. Farther to the right (east) is the barely visible basin of the Arsenale, the former shipyard, which in its medieval heyday bragged that it was capable of producing a ship a day. Farther still is Giardini Pubblici park, where the Venice Biennale international exhibition is held annually (alternating each year between art and architecture). North of Venice, in the hazy distance (just to the right of Santi Giovanni e Paolo), you can glimpse several islands. Tiny San Michele (with cypress trees) is the city’s cemetery—from here, the island looks connected to Venice. Murano, the next closest, appears to be an extension of the forested cemetery. Burano is to the distant right, with its leaning bell tower. And Torcello (trust me) is just beyond Burano.

Facing East and South: Look out at the lagoon, which leads to the open Adriatic. This tower was once used to spot approaching enemy boats. The lagoon is too shallow for serious shipping; posts mark the channels dredged to let boats pass through. There’s a strict speed limit: 5 knots per hour (kph) on the small canals, 7 kph on the Grand Canal, and 11 kph around the perimeter of the island city.

The long, narrow sandbar island of Lido in the distance is six miles long and only a half-mile wide (with cars and ferry service to the mainland). The green dome on the island marks the Lido’s town center, home to modern hotels and beaches. The Lido serves as a natural breakwater against the wind and waves of the Adriatic Sea, helping create the placid waters of the Venetian lagoon. At the right end of the Lido (visible from here, but not obvious) is the narrow opening to the Adriatic, where the long-awaited underwater flood barriers known as MOSE are installed. Designed to block the acqua alta flooding, the multibillion-dollar project consists of a series of hinged barriers intended to rise up to block high tides threatening the lagoon (for more on MOSE, see here).

Once a year, the mayor of Venice sails to the opening of the Adriatic to celebrate the ritual marriage of Venice and the sea—the same ritual performed centuries ago by the doges in their gold-leaf boat.

Between the Lido and San Giorgio Maggiore are several smaller islands, which have been home over the centuries to monasteries and hospitals. The plain, rectangular white building on San Servolo, the little island just before the Lido, was a hospital for the insane in the 18th century and now houses a university.

At your feet are the green gardens and the cloisters of the Benedictine abbey of San Giorgio.

Facing West: Below is the church, with its dome topped by a green St. George carrying a flag (or is his arm still missing?). You can see the back sides of the white statues atop Palladio’s facade. Arcing gracefully to the left is the island of Giudecca, which is oh-so-close to the island you’re on, but must be reached by a short swim or vaporetto #2. The Giudecca, which has always been isolated from the rest of the city, was a popular place to build villas in Venice’s heyday. The island’s separation also made it a perfect place for exiles such as Michelangelo, who found refuge and peace here between commissions—there’s even a street named after him. Today, except for a few churches, a youth hostel, and a couple of luxury hotels, the Giudecca is home to locals going about their quiet lives, oblivious to the tourism that dominates the rest of Venice. If you want a quiet café away from the tourist mobs, consider a morning jaunt here, where you can see the city sprawl out before you and listen to the hum of the boat traffic. You can see the swimming pool of the jet-setty Ciprani Hotel, the domes of other Palladian churches (the only sights on this otherwise residential island), and, at the far end, the Molino Stucky, an old industrial flour mill that reopened in 2007 as a Hilton hotel.

Directly across from you is the grand dome of La Salute Church. At the head of the Grand Canal stands the golden globe of the old Customs House, now the Punta della Dogana contemporary art museum. Looming beyond La Salute’s dome, and a bit to the right, is Venice’s cruise port. And in the far distance, through the smog, are the burning smokestacks and cranes of lovely Mestre, on the mainland.

Looking Up: The bells chime on the hour and half-hour, and ring especially loudly at noon. Try being here then, and when people ask you, “How did you enjoy San Giorgio Maggiore?” you can say, “What?”

ACCADEMIA TOUR

Galleria dell’Accademia

Orientation

The Tour Begins

VENICE: SWIMMING IN LUXURY

Map: Accademia

MEDIEVAL ART

EARLY RENAISSANCE (1450-1500)

VENETIAN HIGH RENAISSANCE (1500-1600)

The Accademia is the greatest museum anywhere for Venetian Renaissance art and a good overview of painters whose works you’ll see all over town. Venetian art is underrated and, I think, misunderstood. It’s nowhere near as famous today as the work of the florescent Florentines, but—with historical slices of Venice, ravishing nudes, and very human Madonnas—it’s livelier, more colorful, and simply more fun.

Orientation

Cost: €12, €14 for advance timed-entry ticket.

Hours: Tue-Sun 8:15-19:15, Mon until 14:00, last entry one hour before closing.

Information: +39 041 522 2247, www.gallerieaccademia.it.

Avoiding Lines: Just 400 people are allowed into the gallery at one time, so in busy times you may have to wait. You can skip the line by booking a timed-entry ticket online in advance, but it’s generally not necessary at this less-visited museum.

Getting There: The museum faces the Grand Canal, just over the Accademia Bridge (vaporetto stop: Accademia). It’s a 15-minute walk from St. Mark’s Square—just follow the signs.

Visitor Information: The bookshop sells guidebooks for €10.

Tours: The dull audioguide costs €6.

Length of This Tour: Allow one hour.

Baggage Check: You must use a pay locker for large bags.

Eating: For forgettable food at inflated prices but priceless Grand Canal views, Bar Foscarini is right next door (at the base of the Accademia Bridge); for a more characteristic Venetian experience, walk less than five minutes to the delightful Enoteca Cantine del Vino Già Schiavi cicchetti bar (both described on here, along with other options nearby).

Nearby: While you’re in the Accademia neighborhood, consider visiting Ca’ Rezzonico, Peggy Guggenheim Collection, historic La Salute Church, and Punta della Dogana contemporary art museum (see here).

Starring: Titian, Veronese, Giorgione, Bellini, and Tintoretto.

The Tour Begins

VENICE: SWIMMING IN LUXURY

The Venetian love of luxury shines through in Venetian painting. We’ll see grand canvases of colorful, spacious settings peopled with happy locals in extravagant clothes having a great time. The museum proceeds chronologically from the Middle Ages to the 1700s. But before we start at the medieval beginning, let’s sneak a peek at a typically colorful work by the greatest Venetian Renaissance master, Titian.

• Buy your ticket, check your bag, and ignore signs (“tour starts here”) that direct you into the ground-floor galleries (17th-18th century paintings). Instead, head up the grand staircase that flanks the entrance to reach a large hall filled with gold-leaf altarpieces. At the top of the stairs, enter the small Room 24, on the left.

1   Titian, Presentation of the Virgin (Presentazione della Vergine), 1534-1538

A colorful crowd gathers at the foot of a stone staircase. A dog eats a bagel, a mother handles a squirming baby, an old lady sells eggs, and onlookers lean out the windows. Suddenly the crowd turns and points at something. Your eye follows up the stairs to a larger-than-life high priest in a jeweled robe.

But wait! What’s that along the way? In a pale blue dress that sets her apart from all the other colored robes, dwarfed by the enormous staircase and columns, the tiny, shiny figure of the child Mary almost floats up to the astonished priest. She’s unnaturally small, easily overlooked at first glance. When we finally notice her, we realize all the more how delicate she is amid the bustling crowd, hard stone, and epic grandeur. Venetians love this painting and call it, appropriately enough, the “Little Mary.”

The painting is a parade of colors. Titian leads your eyes from the massive buildings to the deep blue sky and mountains in the background to the bright red robe of the man in the crowd to glowing Little Mary. Titian painted the work especially for this room, fitting it neatly around the door on the right. The door on the left was added later, cutting into Titian’s masterpiece.

This work is typical of Venetian Renaissance art. Here and throughout this museum, you will find: 1) bright, rich color; 2) big canvases; 3) Renaissance architectural backgrounds; 4) slice-of-life scenes of Venice; and 5) 3-D realism. It’s a religious scene, yes, but it’s really just an excuse to display secular splendor—Renaissance architecture, colorful robes, and human details.

Now that we’ve gotten a taste of Renaissance Venice at its peak, let’s backtrack and see art by some of Titian’s predecessors.

• Return to Room 1, stopping at a painting in a freestanding case (front right side of gallery) of Mary and Baby Jesus.

MEDIEVAL ART

2   Paolo Veneziano, Madonna and Child with Two Donors (Madonna col Bambino e Due Committenti), c. 1325

Mary sits in heaven. The child Jesus is a baby in a bubble, a symbol of his “aura” of holiness.

Notice how two-dimensional and unrealistic this painting is. The sizes of the figures reflect their religious importance—Mary is huge, being the mother of Christ as well as the “Holy Mother Church.” Jesus is next in size, then the two angels who crown Mary. Finally, in the corner, are two mere mortals kneeling in devotion. The golden halos let us know who’s holy and who’s not. Medieval Venetian artists, with their close ties to the East, borrowed techniques such as gold-leafing, frontal poses, and “iconic” faces from the religious icons of Constantinople.

Most of the paintings in Room 1 are altarpieces like this one, intended to sit in a church for the faithful to meditate on during services. Many feature the Virgin Mary being crowned in triumph. Very impressive. But it took Renaissance artists to remove Mary from her golden never-never land, clothe her in human flesh, and bring her down to the real world we inhabit.

• Farther along in Room 1 (in the far left corner), you’ll find...

3   Jacobello del Fiore, Coronation of the Virgin in Paradise (Incoronazione della Vergine in Paradiso), 1438

This swarming beehive of saints and angels is an attempt to cram as much religious information as possible into one space. The architectural setting is a clumsy try at three-dimensionality (the railings of the wedding-cake structure are literally glued on). The color-coordinated saints are simply stacked one on top of the other, rather than receding into the distance as they would in real life.

• Enter Room 2 at the far end of this hall.

EARLY RENAISSANCE (1450-1500)

Only a few decades later, artists rediscovered the natural world and ways to capture it on canvas. With this Renaissance, or “rebirth,” of the arts and attitudes of ancient Greece and Rome, painters took a giant leap forward. They weeded out the jumble of symbols, fleshed out cardboard characters into real people, and placed them in spacious 3-D settings.

4   Giovanni Bellini, Enthroned Madonna with Child, Sacra Conversazione, a.k.a. San Giobbe Altarpiece, c. 1480

Mary and the Baby Jesus meet with saints beneath an arched half-dome, engaging in a sacred conversation (sacra conversazione). A trio of musician angels jams at her feet. In its original church setting, the painting’s pillars and arches matched the real ones around it, as though Bellini had blown a hole in the wall and built another chapel, allowing us mortals to mingle with the saints.

Giovanni Bellini (bell-EE-nee) takes only a few figures, places them in this spacious architectural setting, and balances them, half on one side of Mary and half on the other. Left to right, you’ll find St. Francis (medieval founder of an order of friars), John the Baptist, Job, St. Dominic (founder of another order of monks), St. Sebastian, and St. Louis.

The painting has a series of descending arches. At the top is a Roman arch. Hanging below that is a triangular canopy. Then comes a pyramid-shaped “arch” formed by the figures themselves, with Mary’s head at the peak, echoed below by the pose of the three musicians. Subconsciously, this creates a mood of serenity, order, and balance, not the hubbub of the Coronation. Look at St. Sebastian—even arrows can’t disturb his serenity.

In Bellini’s long career, he painted many altarpieces in the sacra conversazione formula: The Virgin and Child surrounded by saints “conversing” informally about holy matters while listening to some tunes. The formula, developed in the 1430s and 1440s by Fra Angelico (1400-1455) and other Florentine artists, became a common Renaissance theme. Compare this painting with other sacras by Bellini in the Frari Church (see here) and the Church of San Zaccaria (see here).

• Climb the small staircase, pass through Room 3 into the small Room 4, and find a small painting...

5   Andrea Mantegna, St. George (San Giorgio), c. 1460

This Christian dragon slayer is essentially a Greek nude sculpture with armor painted on. He rests his weight on one leg in the same asymmetrical pose (contrapposto) as a classical sculpture, Michelangelo’s David, or an Italian guy on the street corner. The doorway he stands in resembles a niche designed for a classical statue.

Mantegna (mahn-TAYN-yah) was trained in the Tuscan tradition, in which painters were like sculptors, “carving” out figures (like this) with sharp outlines, filling them in with color, and setting them in distant backdrops like the winding road behind George. When Mantegna married Giovanni Bellini’s sister, he brought Florentine realism and draftsmanship to his in-laws.

St. George radiates Renaissance optimism—he’s alert but relaxed, at rest but ready to spring into action, humble but confident. With the broken lance in his hand and the dragon at his feet, George is the strong Renaissance Man slaying the medieval dragon of superstition and oppression.

• Nearby, in the adjoining Room 5, find three women and a baby on a black background.

6   Giovanni Bellini, Madonna and Child between St. Catherine and Mary Magdalene (Madonna col Bambino tra Sta. Caterina e Maria Maddalena), c. 1490

In contrast to Mantegna’s sharp-focus 3-D, this painting features three female heads on a flat plane with a black-velvet backdrop. Their features are soft, hazy, and atmospheric, glowing out of the darkness as though lit by soft candlelight. It’s not the sculptural line that’s important here, but color—warm, golden, glowing flesh tones. The faces emerge from the canvas like cameos.

Bellini painted dozens of Madonna and Childs in his day. (Others are nearby.) This Virgin Mary is pretty, but she’s upstaged by the sheer idealized beauty of Mary Magdalene (on the right). Mary Magdalene’s hair is down, like the prostitute that legend says she was, yet she has a childlike face, thoughtful and repentant. This is the perfect image of the innocent woman who sinned by loving too much.

Bellini was the teacher of two more Venetian greats, Titian and Giorgione, schooling them in the new medium of oil painting. Mantegna painted St. George using tempera paint (pigments dissolved in egg yolk), while Bellini pioneered oils (pigments in vegetable oil)—a more versatile medium. Applying layer upon transparent layer, Bellini painted creamy complexions with soft outlines, bathed in an even light. His gift to the Venetian Renaissance was the “haze” he put over his scenes, giving them an idealized, glowing, serene, and much-copied atmosphere. (You can see more of Bellini’s work at the Correr Museum, Frari Church, and the Church of San Zaccaria.)

• Make your way to Room 8, where you’ll find a well-known work...

7   Giorgione, The Tempest (La Tempesta), c. 1505

It’s the calm before the storm. The atmosphere is heavy—luminous but ominous. There’s a sense of mystery. Why is the woman nursing her baby in the middle of the countryside? And the soldier—is he ogling her or protecting her? Will lightning strike? Do they know that the serenity of this beautiful landscape is about to be shattered by an approaching storm?

The mystery is heightened by contrasting elements. The armed soldier contrasts with the naked mother and her baby. The austere, ruined columns contrast with the lusciousness of Nature. And, most important, the stillness of the foreground scene is in direct opposition to the threatening storm in the background. The landscape itself is the main subject, creating a mood, regardless of what the painting is “about.”

Giorgione (jor-JONE-ay) was as mysterious as his few paintings, yet he left a lasting impression. A student of Bellini, he learned to use haziness to create a melancholy mood of beauty. But nothing beautiful lasts—flowers fade, Mary Magdalenes grow old, and Giorgione died at 33. In The Tempest, the fleeting stillness is about to be shattered by the slash of lightning, the true center of the composition.

• When you’ve finished browsing the rooms near the Giorgione, climb five steps into the large Room 10 to see an epic Venetian Renaissance canvas.

VENETIAN HIGH RENAISSANCE (1500-1600)

8   Paolo Veronese, Feast in the House of Levi (Convito in Casa di Levi), 1573

Parrrrty!! Stand about 10 yards away from this enormous canvas, to where it just fills your field of vision...and hey, you’re invited. Venice loves the good life, and the celebration is in full swing. You’re in a huge room with a great view of Venice. Everyone’s dressed to kill in colorful silk and velvet robes. Conversation roars, and the servants bring on the food and drink.

This captures the Venetian attitude (more love, less attitude) as well as the style of Venetian Renaissance painting. Remember: 1) bright colors, 2) big canvases, 3) Renaissance architectural settings, 4) scenes of Venetian life, and 5) 3-D realism. Painters had mastered realism and now gloried in it.

The Feast in the House of Levi is, believe it or not, a religious work painted for a convent. The original title was The Last Supper. In the center of all the wild goings-on, there’s Jesus, flanked by his disciples, sharing a final meal before his Crucifixion.

This festive feast captures the optimistic spirit of Renaissance Venice. Life was a good thing and beauty was to be enjoyed. Renaissance men and women saw the divine in the beauties of Nature and glorified God by glorifying man.

Uh-uh, said the Church. In its eyes, the new humanism was the same as the old hedonism. The false spring of the Renaissance froze quickly after the Reformation, when half of Europe left the Catholic Church and became Protestant, and the Catholic Church countered with the Counter-Reformation.

Veronese (vayr-oh-NAY-zay) was hauled before the Inquisition, the Church tribunal that punished heretics. What did he mean by painting such a bawdy Last Supper? With dwarf jesters? And apostles picking their teeth (between the columns, left of center)? And dogs and cats? And a black man, God forbid? And worst of all, some German soldiers—maybe even Protestants!—at the far right?

Veronese argued that it was just artistic license, so they asked to see his—it had expired. But the solution was simple. Rather than change the painting, just fine-tune the title. Sì, no problema. Veronese got out his brush, and The Last Supper became the Feast in the House of Levi, written in Latin on the railing to the left: “FECIT D. COVI. MAGNV. LEVI”.

• Head into Room 11, with two more Venetian masterworks.

9   Tintoretto, The Removal of St. Mark’s Body (Trafugamento del Corpo di San Marco), 1562-1566

The event that put Venice on the map is frozen at its most dramatic moment. Muslim fundamentalists in Alexandria are about to burn St. Mark’s body (there’s the smoke from the fire in the center), when a sudden hailstorm sent them running for cover. (See the wisps of baby-angel faces in the storm, blowing on the infidels? Look hard, on the left-hand side.) Meanwhile, Venetian merchants whisk away the body.

Tintoretto makes us part of the action. The square tiles in the courtyard run straight away from us, an extension of our reality, as though we could step right into the scene—or the merchants could carry Mark into ours.

Tintoretto would have made a great black-velvet painter. His colors burn with a metallic sheen, and he does everything possible to make his subject popular with common people.

In fact, Tintoretto was a common man himself, self-taught, who apprenticed only briefly with Titian before striking out on his own. He sold paintings in the marketplace in his youth and insisted on living in the poor part of town, even after he became famous.

Tintorettos abound here, in the next room, and throughout Venice. Look for these characteristics, some of which became standard features of the Mannerist and Baroque art that followed the Renaissance: 1) heightened drama, violent scenes, strong emotions; 2) elongated bodies in twisting poses; 3) strong contrasts between dark and light; 4) bright colors; and 5) diagonal compositions.

(Tintoretto fans will want to see his “Sistine Chapel”; see the Scuola San Rocco Tour chapter.)

• The next canvas is…

10   Titian, Pietà, c. 1573

Jesus has just been executed, and his followers grieve over his body before burying it. Titian painted this to hang over his own tomb.

Titian was the most famous painter of his day—perhaps even more famous than Michelangelo. He excelled in every subject: portraits of dukes, kings, and popes; racy nudes for their bedrooms; solemn altarpieces for churches; and pagan scenes from Greek mythology. He was cultured and witty, a fine musician and businessman—an all-around Renaissance kind of guy.

Titian was old when he painted this. He had seen the rise and decline of the Renaissance and had experienced much sadness in his own life. Unlike Titian’s colorful and exuberant “Little Mary” (which we saw way back at the beginning of this tour), done at the height of the Renaissance, this canvas is dark, the mood more somber.

The dead Christ is framed by a Renaissance arch like the one in Bellini’s Enthroned Madonna, but here the massive stones overpower the figures, making them look puny and helpless. The lion statues are downright scary. Instead of the clear realism of Renaissance paintings, Titian uses rough, messy brushstrokes, a technique that would be picked up by the Impressionists three centuries later. Titian adds a dramatic compositional element—starting with the lion at lower right, a line of motion sweeps up diagonally along the figures, culminating in the grief-stricken Mary Magdalene, who turns away, flinging her arm and howling out loud.

The kneeling figure of an old, bald man is a self-portrait of the aging Titian, tending to the corpse of Jesus, who symbolizes the once powerful, now dead Renaissance Man. In the lower right, a painting-within-the-painting shows Titian and his son kneeling, asking the Virgin to spare them from the plague of 1576. Unfortunately, Titian’s son eventually died of the plague.

• Spend some time in these last two rooms, the peak of the Venetian Renaissance and the climax of the museum. From here on, there are two must-visit spots: Room 20 (Gentile Bellini) and Room 21 (Vittore Carpaccio).With the help of your map, start in Room 20, with...

11   Gentile Bellini, Procession in St. Mark’s Square (Processione in Piazza San Marco), 1496

Here’s a chance to look back at Venice in its heyday. Painted by Giovanni’s big brother, this wide-angle view—more than any human eye could take in at once—reminds us how little Venice has changed over the centuries. There is St. Mark’s: gleaming gold with mosaics, the four bronze horses, the three flagpoles out front, the old Campanile on the right, and the Doge’s Palace. There’s the guy selling 10 postcards for a euro. (But there’s no Clock Tower with the two bronze Moors yet, the pavement’s different, the church is covered with gold, and there are no café orchestras playing “New York, New York.”) Every detail is in perfect focus, regardless of its distance from us, and presented for our inspection.

Take some time to linger over this and the other views of old Venice in this room. Opposite the big procession is a painting by Carpaccio showing a slice of Venetian life circa 1500: the old wooden drawbridge version of the Rialto, nobles in private gondolas with their fancy-pants gondoliers, elegant faces of city folk, pent-up promiscuity awaiting carnival. Notice it’s a man’s world. (According to an old Venetian rhyme, “A woman is to be silent, good looking, and stay at home with children.”)

• From here, turn left and enter Room 21.

12   Vittore Carpaccio, The Legend of Saint Ursula, c. 1490

This ensemble of nine paintings tells the story of Ursula, patron saint of girls needing to get married (and needing a dowry). Working clockwise around the room you follow her odyssey.

The first scene sets things up: She wants to escape marriage to a non-Christian. Her father, the king, sends her and her suitor from Brittany to Rome to see the pope in hopes that the young man will convert. (Notice how the artist had no idea what Brittany looked like.) Then the story ramps up: Somehow she meets Attila and his Huns, she and her 11,000 ladies in waiting are massacred, and it all ends with her funeral and ascension. While the scenes are hard to follow, they nicely show off Venice’s architecture, ships, and textiles. Carpaccio gives us a trip back in time—a fantasy chance to visit Venice 500 years ago.

• You’ve seen the highlights of the Accademia, which means you’ve seen the highlights of the Venetian Renaissance. Now you’re free to get back out into the amazing city that inspired all this beauty.

PEGGY GUGGENHEIM COLLECTION TOUR

Orientation

The Tour Begins

PEGGY’S GRAVE (AND THAT OF HER DOGS)

Map: Peggy Guggenheim Collection

ENTRANCE HALL

CUBISTS IN THE DINING ROOM

ABSTRACTION AND VARIOUS “-ISMS”

EXHIBITIONISTS ON THE TERRACE

ABSTRACT SURREALISTS

PARIS AND NEW YORK

THE POSTWAR YEARS

PEGGY IN THE BEDROOM

PEGEEN

REST OF THE MUSEUM

Peggy Guggenheim (1898-1979)—an American-born heiress to the Guggenheim mining fortune and niece of Solomon Guggenheim (who built New York’s modern-art museum of the same name)—made her mark as a friend, lover, and patron of modern artists.

As a gallery owner, she introduced Europe’s avant-garde to a skeptical America. As a collector, she gave instant status to modern art that was too radical for serious museums. As a patron, she fed starving artists such as Jackson Pollock. And as a person, she lived larger than life, unconventional and original, with a succession of lovers that enhanced her reputation as a female Casanova.

In 1948, Peggy moved to Venice, renovating a small, unfinished palazzo on the Grand Canal. Today it’s a fun museum, decorated much as it was during her lifetime, with one of the best collections anywhere of 20th-century art. It’s the only museum I can think of where the owner is buried in the garden.

Orientation

Cost: €16, €9 students under 26, free for kids under 10. You can skip the line by reserving a timed-entry ticket in advance online (a smart idea when Venice is hopping).

Hours: Wed-Mon 10:00-18:00, closed Tue.

Information: +39 041 240 5411, www.guggenheim-venice.it.

Getting There: The museum overlooks the Grand Canal, a five-minute walk from the Accademia Bridge (vaporetto: Accademia) or from La Salute Church (vaporetto: Salute). A cool way to cross the Grand Canal is via the Santa Maria del Giglio traghetto (see here for more on riding the traghetto).

Tours: An audioguide costs €7. Free presentations by museum staff are offered several times daily in the galleries or the garden (check website for current schedule and topics).

Visitor Information: Art interns guarding the works are happy to tell you about particular pieces if you ask. The ticket desk and museum shop sell an excellent guidebook.

Length of This Tour: Allow one hour.

Baggage Check: Free and required for anything bigger than a small purse.

Cuisine Art: There’s a $$ café on-site, but you have plenty of better options in the Dorsoduro neighborhood, especially in the area around the Accademia.

Nearby: If you like contemporary art, this is your neighborhood. Browse the art galleries, and visit the Punta della Dogana museum (next to La Salute, see here).

Starring: Picasso, Kandinsky, Mondrian, Dalí, Pollock...and Peggy herself.

The Tour Begins

You’ll enter a garden courtyard sprinkled with statues. There’s a wing to the left (with the café) and a wing to the right (with the main collection, where you start), plus a modern annex. The collection is (very) roughly chronological, starting with Cubism and ending with post-World War II artists.

The collection’s strength is its Abstract, Surrealist, and Abstract-Surrealist art. The placement of the paintings may change, so use this chapter as an overview, not a painting-by-painting tour. What makes this collection unique is that it hangs here in Peggy’s home, much as it did in her lifetime. Another plus is that it’s staffed by fresh young art students, not the tired civil servants that you meet at Venice’s publicly run museums.

• For a unique introduction to this unique woman, start your tour in her sculpture garden. Pay your respects to the woman who changed the art world. In the far corner of the garden (along a brick wall), find...

PEGGY’S GRAVE (AND THAT OF HER DOGS)

“Here Lie My Beloved Babies” marks the grave of Peggy’s many dogs, her steady companions as she grew old. Note the names of some of these small, long-haired Lhasa Apsos. Along with “Cappuccino” and “Baby,” you’ll see “Pegeen,” after her daughter, and “Sir Herbert,” for Herbert Read, the art critic who helped Peggy select her collection.

Peggy’s ashes are buried alongside, marked with a simple plaque: “Here Rests Peggy Guggenheim 1898-1979.” Over your right shoulder, the flourishing olive tree is a gift from one of Peggy’s old traveling buddies—Yoko Ono.

In the nonconformist 1960s, Peggy’s once shocking art and unconventional lifestyle became more acceptable, even commonplace. By the 1970s, she was universally recognized as a major force in early modern art and was finally even honored by the Venetians with the nickname, L’Ultima Dogaressa—The Last Dogaressa.

• Now walk through Peggy’s collection and her life. From the sculpture garden, head up the stairs and through the black wrought-iron doors, into the...

ENTRANCE HALL

Picture Peggy Guggenheim greeting guests here—standing before the trembling-leaf mobile by Alexander Calder, flanked by Picasso and Magritte paintings, surrounded by her yapping dogs and meowing cats, and wearing her Calder-designed earrings, Mondrian-print dress, and Catwoman sunglasses.

During the 1950s and 1960s, this old palazzo on the Grand Canal was a mecca for “Moderns,” from composer Igor Stravinsky to actor Marlon Brando, from painter Mark Rothko to writer Truman Capote, from choreographer George Balanchine to Beatle John Lennon and performance artist Yoko Ono. They came to sip cocktails, tour the great art, talk about ideas, and meet the woman who had become a living legend.

Pablo Picasso, On the Beach, 1937

Curious, balloon-animal women play with a sailboat while their friend across the water looks on. Of all of Peggy’s many paintings, this was her favorite.

By the time Peggy Guggenheim first became serious about modern art (about the time this was painted), Pablo Picasso—the most famous and versatile 20th-century artist—had already been through his Blue, Rose, Fauve, Cubist, Synthetic Cubist, Classical, Abstract, and Surrealist phases, finally arriving at a synthesis of these styles. Peggy had some catching up to do.

René Magritte, Empire of Light, 1953-1954

Magritte found that, even under a sunny blue sky dotted with fluffy clouds, life has its dark side. The improbable combination of daylight sky and nighttime street in one scene is the kind of bizarre paradox that Surrealists loved.

• Enter the first room to the left, and you’ll see a skinny dining-room table in the center.

CUBISTS IN THE DINING ROOM

Peggy’s dining-room table reminds us that this museum was, indeed, her home for the last 30 years of her life. Most of the furniture is now gone, but the walls are decorated much as they were when she lived here, with paintings and statues by her friends, colleagues, and mentors. Here, she entertained countless artists and celebrities (more name-dropping), from actor Paul Newman to poet Allen Ginsberg, from sculptor Henry Moore to playwright Tennessee Williams, from James Bond creator Ian Fleming to glass sculptor Dale Chihuly.

Most of the art in the dining room dates from Peggy’s childhood, when she was raised in the lap of luxury in New York, oblivious to the artistic upheavals going on in Europe. Her grandfather, Meyer Guggenheim, had emigrated from Switzerland to America and then had the good fortune to invest in the silver mines at Leadville, Colorado.

In 1912, the Titanic went down, taking Peggy’s playboy tycoon father with it...and leaving his 14-year-old daughter with a small but comfortable trust fund and a man-sized hole in her life.

Approaching adulthood, Peggy rejected her traditional American upbringing. She started hanging out at a radical bookstore, got a nose job (a botched operation, leaving her with a rather bulbous schnozz)...and began planning a trip to Europe.

In 1920, 21-year-old Peggy arrived in Paris, where a revolution in art was taking place.

• Find the following art (or similar pieces) in the Dining Room. (These and other items sometimes move around—if you don’t see them where I mention them, keep looking.)

Pablo Picasso, The Poet, 1911

The young Picasso, a Spaniard living in Paris, shattered the Old World into brown shards (“cubes”) and reassembled it in Cubist style. It’s a vaguely recognizable portrait of a man from the waist up—tapering to a head at the top, smoking a pipe(?), and cradling the traditional lyre of a poet. While the newfangled motion-picture camera could capture a moving image, Picasso suggests motion with a collage of stills.

Marcel Duchamp, Nude (Study), Sad Young Man on a Train, 1911-1912

In a self-portrait, Duchamp poses gracefully with a cane, but the moving train jiggles the image into a blur of brown. Duchamp is best known not for paintings like this, but for his outrageous conceptual pieces: his urinal-as-statue (Fountain) and his moustache on the Mona Lisa (titled L.H.O.O.Q., which—when spoken aloud in French—is a pun that translates loosely as “she has a hot ass”). In a 2004 poll of British artists, Duchamp’s urinal was named the most influential modern artwork of all time.

Constantin Brancusi, Maiastra, c. 1912

For the generation born before air travel, flying was magical. This high-polished bird is the first of many by Brancusi, who dreamed of flight. But this bronze bird just sits there. For centuries, a good sculptor was one who could capture movement in stone. Brancusi reverts to the essential forms of “primitive” African art, in which even the simplest statues radiate mojo.

• Head next door, into the mainly Kandinsky Kitchen.

ABSTRACTION AND VARIOUS “-ISMS”

In the Roaring Twenties, Peggy spent her twenties right in the center of avant-garde craziness: Paris. For the rest of her life, Europe—not America—would be her permanent address.

In Paris, trust-funded Peggy lived the bohemian life. Post-WWI Paris was cheap and, after the bitter war years, ready to party. Days were spent drinking coffee in cafés, talking ideas with the likes of activist Emma Goldman, writer Djuna (Nightwood) Barnes, and photographer Man Ray. Nights were spent abusing the drug forbidden in America (alcohol), dancing to jazz music into the wee hours, and talking about Freud and s-e-x.

One night, at the top of the Eiffel Tower, a dashing artist and intellectual nicknamed “The King of Bohemia” popped the question. Peggy and Laurence Vail soon married and had two children, but the partying only slowed somewhat. This thoroughly modern couple dug the wild life and the wild art it produced.

Vassily Kandinsky, White Cross, 1922

I see white, I see crosses, but where’s the white cross? Oh, there it is on the right, camouflaged among black squares.

Like a jazz musician improvising from a set scale, Kandinsky plays with new patterns of related colors and lines, creating something that’s simply beautiful, even if it doesn’t “mean” anything. As Kandinsky himself would say, his art was like “visual music—just open your eyes and look.”

• Wander briefly through the hall to find...

Marc Chagall, Rain, 1911

The rain clouds gather over a farmhouse, the wind blows the trees and people, and everyone prepares for the storm. Quick, put the horse in the barn, grab an umbrella, take a leak, and round up the goats in the clouds.

Marc Chagall, a Russian living in France, reinvented scenes from his homeland with a romantic, weightless, childlike joy in topsy-turvy Paris.

• Step from the hall into the Living Room.

Piet Mondrian, Composition with Red, 1938-1939

Like a blueprint for Modernism, Mondrian’s T-square style boils painting down to its basic building blocks—black lines, white canvas, and the three primary colors (red, yellow, and blue) arranged in orderly patterns. This stripped-down canvas even omits yellow and blue.

Mondrian started out painting realistic landscapes of the orderly fields in his native Holland. Increasingly, he simplified things into horizontal and vertical grids, creating rectangles of different proportions. This one has horizontal lines to the left, vertical ones to the right. The horizontals appear to dominate, until we see that they’re balanced by the tiny patch of red.

For Mondrian, who was heavily into Eastern mysticism, up vs. down and left vs. right were metaphors for life’s ever-shifting dualities: good vs. evil, man vs. woman, fascism vs. communism. The canvas is a bird’s-eye view of Mondrian’s personal landscape.

• Continue into the Library next door, for more abstraction. Then pass through the hall and out the wrought-iron doors onto the terrace.

EXHIBITIONISTS ON THE TERRACE

You fall in love with the city itself. There is nothing left over in your heart for anyone else.

—Peggy Guggenheim

The obviously exuberant figure in Marino Marini’s equestrian statue, The Angel of the City (1948), faces the Grand Canal, spreads his arms wide, and tosses his head back in sheer joy, with an eternal hard-on for the city of Venice. Every morning, Peggy must have felt a similar exhilaration as she sipped coffee while taking in this unbelievable view.

Marini originally designed his bronze rider with a screw-off penis (which sounds dirtier than it is) that could be removed for prudish guests or by curious ones. Someone stole it for some unknown purpose, so the current organ is permanently welded on.

The palazzo—formally Palazzo Venier dei Leoni—looks modern but is old. Construction began in 1748, but only the ground floor was completed. Legend has it that members of a rival family across the canal squelched plans for the upper stories so their home wouldn’t be upstaged. The palazzo remained unfinished until Peggy bought it in 1948 and spruced it up. She added the annex in 1958. The lions (leoni) of the original palace still guard the waterfront entrance.

Peggy’s outlandish and rather foreign presence in Venice—drinking, dressing up outrageously, and sunbathing on her rooftop for all to see—was not immediately embraced by the Venetians. But for artists in the 1950s and 1960s, Peggy’s palazzo was the place to be, especially when the Biennale brought the jet set. Everyone from actor Alec Guinness, to political satirist Art Buchwald, to gossip columnist Hedda Hopper signed her guest book. Picture Peggy and guests, decked out in evening clothes, hopping into her custom-built gondola (nicknamed La Barchessa, after the doge’s private boat) to ride slowly down the canal for a martini or a Bellini at Harry’s Bar.

• Now enter the Guest Bedroom for a hefty dose of Surrealism.

ABSTRACT SURREALISTS

In 1928, Peggy’s marriage to Laurence Vail ended, and she entered into a series of romantic attachments. Though not stunningly attractive, she was easy to be with, and she truly admired artistic men.

In 1937, she began an on-again, off-again relationship with playwright Samuel (Waiting for Godot) Beckett. Beckett steered her toward modern painting and sculpture—things she’d never paid much attention to.

She started hanging out with the French Surrealists, from artist Marcel Duchamp to writer André Breton to filmmaker/artist Jean (Beauty and the Beast) Cocteau. Duchamp, in particular, mentored her in modern art, encouraging her to use her money to collect and promote it. Nearing 40, she moved to London and launched a new career.

Paul Delvaux, The Break of Day, 1937

Full-breasted ladies with roots cast long shadows and awaken to a mysterious dawn. If you’re counting boobs, don’t forget the one reflected in the nightstand mirror.

Yves Tanguy, The Sun in Its Jewel Case, 1937

In May 1938, this painting was featured at Guggenheim Jeune, the art gallery Peggy opened in London. Tanguy’s painting sums up the turbulent art that shocked a sleepy London during that first season.

Weird, phallic, tissue-and-bone protuberances cast long shadows across a moody, dreamlike landscape—the landscape of the mind. (Peggy said the picture “frightened” her, but added, “I got over my fear...and now I own it.”) The figures are abstract (unrecognizable), and the mood is surreal, producing the style cleverly dubbed Abstract Surrealism.

Peggy was drawn to Yves Tanguy and had a short but intense affair with the married man. Tanguy, like his art, was wacky and spontaneous, occasionally shocking friends by suddenly catching and gobbling up a spider and washing it down with white wine. The Surrealists saw themselves as spokesmen for Freud’s “id,” the untamed part of the personality that thinks dirty thoughts when the “ego” goes to sleep.

The Guggenheim Jeune gallery exhibited many of the artists we see in this museum, including Kandinsky, Mondrian, and Calder. Guggenheim Jeune closed as a financial flop after just two years, but its shocking paintings certainly created a buzz in the art world, and as the years passed the gallery’s failure gained a rosy glow of success.

Abstract Art

Abstract art simplifies. A man becomes a stick figure. A squiggle is a wave. A streak of red expresses anger. Arches make you want a cheeseburger. These are universal symbols that everyone from a caveman to a banker understands. Abstract artists capture the essence of reality in a few lines and colors, even things a camera can’t—emotions, theoretical concepts, musical rhythms, and spiritual states of mind.

Most 20th- and 21st-century paintings are a mix of the real world (“representation”) and the colorful patterns of “abstract” art. An abstract artist purposely “abstracts” only some elements of camera-eye reality to make the resulting canvas more provocative, expressive, or challenging.

Salvador Dalí, The Birth of Liquid Desires, 1931-1932

Salvador Dalí could draw exceptionally well. He painted “unreal” scenes with photographic realism, making us believe they could truly happen. This air of mystery—the feeling that anything is possible—is both exciting and unsettling. His men explore the caves of the dream world and morph into something else before our eyes.

Personally, Peggy didn’t like Dalí or his work, but she dutifully bought this canvas (through his wife, Gala) to complete her collection.

Max Ernst, The Antipope, c. 1942

The horse-headed nude in red is a portrait of Peggy—at least, that’s what she thought when she saw it. She loved the painting and insisted that Ernst, whom she would later marry, give it to her as a wedding present, renamed The Mystic Marriage.

Others read more into it. Is the horse-headed warrior (at right) Ernst himself? Is he being wooed by one of his art students? Is that Peggy’s daughter, Pegeen (center), watching the scene, sadly, from a distance? And is Peggy turning toward her beloved Max, subconsciously suspicious of the young student...who would (in fact) end up stealing Max from her? Ernst uses his considerable painting skill to bring to light a tangle of secret urges, desires, and fears—hidden like the grotesque animal faces in the reef they stand on.

PARIS AND NEW YORK

Peggy moved back to Paris in 1939 and rented an apartment on the Ile St. Louis. In September, Nazi Germany invaded Poland, sparking World War II. All of France waited...and waited...and waited for the inevitable Nazi attack on Paris.

Meanwhile, Peggy spent her days shopping for masterpieces. Using a list compiled by Duchamp and others, she personally visited artists in their studios—from Brancusi to Dalí to Giacometti—often negotiating directly with them. (Picasso initially turned Peggy down, thinking of her as a gauche, bargain-hunting housewife. When she entered his studio he said, “Madame, you’ll find the lingerie department on the second floor.”) In a few short months, she bought 37 of the paintings now in the collection, perhaps saving them from a Nazi regime that labeled such art “decadent.”

In 1941, with the Nazis occupying Paris and most of Europe, Peggy fled her adopted homeland. With her stash of paintings and her new companion, Max Ernst, she sailed from Lisbon to safety in New York.

Peggy spent the war years, 1941-1945, in America. She married Ernst, and their house in New York City became a gathering place for exiled French Surrealists and young American artists. In 1942, she opened a gallery/museum in New York called Art of This Century that featured, well, essentially the collection we see here in Venice. But patriotic, gung-ho America was not quite ready for the nonconformist, intellectual art of Europe.

• Now head into the East Wing.

THE POSTWAR YEARS

Certain young American painters—from Mark Rothko to Robert Motherwell to Robert De Niro Sr. (the actor’s father)—were strongly influenced by Peggy’s collection. Adopting the abstract style of Kandinsky, they practiced surrealist spontaneity to “express” themselves in the physical act of putting paint on canvas. The resulting style (duh): Abstract Expressionism.

Jackson Pollock, Enchanted Forest, 1947

“Jack the Dripper” attacked America’s postwar conformity with a can of paint, dripping and splashing a dense web onto the canvas. Picture Pollock in his studio, jiving to the hi-fi, bouncing off the walls, throwing paint in a moment of alcohol-fueled enlightenment.

Peggy helped make Pollock a celebrity. She bought his earliest works (which show Abstract-Surrealist roots), exhibited his work at her gallery, and even paid him a monthly stipend to keep experimenting.

By the way, if you haven’t yet tried the Venetian specialty spaghetti al nero di seppia (spaghetti with squid in its own ink), it looks something like this.

In 1946, Peggy published her memoirs, titled Out of This Century: The Informal Memoirs of Peggy Guggenheim. The front cover was designed by Max Ernst, the back by Pollock. Peggy herself was now a celebrity.

• Step into the boudoir.

PEGGY IN THE BEDROOM

As America’s postwar factories turned swords into kitchen appliances, Peggy longed to return “home” to Europe. The one place that kept calling to her was Venice, which she had visited with Laurence Vail in the 1920s. “I decided Venice would be my future home,” she wrote. “I felt I would be happy alone there.”

In 1947, after a grand finale exhibition by Pollock, she closed the Art of This Century gallery, crated up her collection, and shipped it to Venice. In 1948, she bought this palazzo and moved in.

This was Peggy’s bedroom. She painted it turquoise. She commissioned the silver headboard by Alexander Calder for her canopy bed, using its silver frame to hang her collection of earrings, handmade by the likes of Calder and Tanguy. Venetian mirrors hung on the walls, along with a sentimental portrait of herself and her sister as children. Ex-husband Laurence Vail’s collage-decorated bottles sat on the nightstand.

The same year she moved in, Peggy showed her collection in its own pavilion at the Biennale, Venice’s world’s fair of art, and it was the hit of the show. Europeans were astounded and a bit dumbfounded, finally seeing the kind of “degenerate” art forbidden during the fascist years, plus the radical new stuff coming out of New York City.

In 1951, Peggy met the last great love of her life, an easygoing, blue-collar Italian with absolutely no interest in art. She was 53, Raoul was 30. When Raoul died in 1954 in a car accident, Peggy comforted herself with her pets.

• The tiny corner room adjoining the bedroom displays paintings by...

PEGEEN

Peggy’s daughter, Pegeen, inherited some of Laurence Vail’s artistic talent, painting childlike scenes of Venice, populated by skinny Barbie dolls with antennae. She married twice, had four children, suffered badly from depression, and died of a barbiturate overdose in 1967.

The Guest Bedroom (where the Surrealists are) was a busy place. Pegeen and her brother, Sinbad, visited their mother in Venice, as did Peggy’s ex-husbands and their new loves. Other overnight guests ranged from sculptor Alberto Giacometti (who honeymooned here), to author and cultural explorer Paul Bowles, to artist Jean Arp.

REST OF THE MUSEUM

• We’ve seen the core of Peggy’s collection (and home). But the museum complex also houses other pieces donated by Peggy’s fellow art lovers, as well as a fine garden.

Schulhof Collection

The Schulhof Collection, comprising 80-some works of post-WWII American art, brings the museum into the late 20th century. It’s exhibited in the small wing perpendicular to the main house (which you can enter from near Peggy’s bedroom).

In the 1950s and ’60s, the trend was toward bigger canvases, abstract designs, and experimentation with new materials and techniques. Enjoy the simple lines and colors of big, empty canvases by Americans Ellsworth Kelly, Barnett Newman, and Mark Rothko. They were following in the footsteps of abstract artists such as Mondrian and Kandinsky (whose work they must have considered busy). Calder’s mobile is like a hanging Kandinsky, brought to life by a gust of wind. The geometrical forms here reflect the same search for order, but these artists painted to the 5/4 asymmetry of Dave Brubeck’s jazz classic, “Take Five.”

Other painters explored a new dimension: texture. Some works (such as those by de Kooning) have very thick paint piled on. Some (by Dubuffet or Tàpies) applied material such as real dirt and organic waste to the canvas. Fontana punctured the canvas so that the fabric itself (and the hole) becomes the subject. The canvas is a tray, serving up a delightful array of substances with interesting colors, patterns, shapes, and textures.

In the psychedelic ’60s, Pop Art (Warhol) raised pop-ular cultural icons to the level of high art, and Op Art (Riley) featured optical illusions that mess with your mind when you stare at them. Cy Twombly added crayon-scribbled doodles to the canvas, suggesting handwritten messages with mysterious meanings. By the way, many of the Schulhof artists—Calder, Fontana, Chillida, Riley, and Twombly—were first introduced to the world at the Venice Biennale.

Sculpture Garden

Peggy opened her impressive collection of sculpture to the Venetian public for free. It features first-rate works by all the greats, from Brancusi to Giacometti (some pieces are on loan from private collectors). After so much art already, you might find the trees—so rare in urban Venice—more interesting.

Other Exhibits

The long building facing the main palazzo from across the garden houses temporary exhibits, along with a café and shop.

Here you’ll find a selection of paintings and sculptures by the postwar generation of Italians artists who were strongly influenced by Peggy’s collection.

You’ll see a lone canvas by Modigliani, pieces by the Futurists, and some fine sculptural works by the father of Futurism, Umberto Boccioni. His Dynamism of a Speeding Horse + Houses (1915), assembled from wood, cardboard, and metal, captures the blurred motion of a modern world—accelerated by technology, then shattered by World War I, which would leave nine million Europeans dead and everyone’s moral compass spinning. (In fact, this statue was shattered by the destructive force of Boccioni’s own kids, who scattered the cardboard “houses” while using it as a rocking horse.)

Boccioni’s bronze Unique Forms of Continuity in Space (1913) seems inspired by the flowing works by Picasso and Duchamp we saw earlier. The energetic cyborg speeds forward, rippled by the winds of history, as it strides purposefully into the future. This work may look familiar—check your pocket for one of Italy’s €0.20 coins and compare.

Step into the café just to peruse the fascinating black-and-white photos of Peggy standing alongside her art, taken in the very same rooms in which the paintings now hang. If, after your visit here, you still don’t like modern art, think of what Peggy used to tell puzzled visitors: “Come back again in 50 years.”

LA SALUTE CHURCH TOUR

Santa Maria della Salute

Orientation

The Tour Begins

EXTERIOR

INTERIOR

Map: La Salute Church

Where the Grand Canal opens up into the lagoon stands one of Venice’s most distinctive landmarks, the church dedicated to Santa Maria della Salute (Our Lady of Health). The architect, Baldassare Longhena—who also did St. Mark’s Square’s “new” wing and the Ca’ Rezzonico—remade Venice in the Baroque style. Crown-shaped La Salute was his crowning achievement, and the last grand Venetian structure built before Venice’s decline began.

Orientation

Cost: Free entry to church; €6 to visit the sacristy; €8 for 30-minute panoramic dome terrace visit. Tickets for sacristy and dome visits can be booked in advance online or purchased on-site, depending on availability.

Hours: The church is open daily 9:00-12:00 & 15:00-17:30 (from 9:30 in winter). The sacristy is open Tue 14:00-15:30 & 16:40-17:30, Wed-Sat 10:00-12:30 & 14:00-17:30 (but closed 15:30-16:40), Sun 10:00-10:30 & 14:00-17:30, closed Mon; shorter hours in off-season. Dome visits can be booked Wed-Sun 10:00-17:00.

Information: +39 041 274 3928, www.basilicasalutevenezia.it/la-basilica.

Getting There: The church is on the Grand Canal, near the point where the canal spills into the lagoon. It’s a 10-minute walk from the Accademia Bridge (past the Peggy Guggenheim Collection). By boat, vaporetto #1 delivers you to its doorstep. The traghetto from S.M. del Giglio is nearby.

Church Services: Mass is said Mon-Fri at 16:00 and on Sun at 11:00. Check online for schedule for vespers and organ music.

Length of This Tour: Allow 30 minutes.

Starring: Baldassare Longhena’s church, minor works by Titian and Giordano, and the Sacristy, with major works by Tintoretto and Titian.

The Tour Begins

EXTERIOR

The white stone church has a steep dome that rises above the octagonal structure. It’s encrusted with Baroque scrolls, leafy Corinthian columns, and 125 statues, including the lovely ladies lounging over the central doorway. The architect conceived of the church in the shape of a crown.

During the bitter plague of 1630, the Virgin Mary took pity on the city of Venice, miraculously allowing only one in three Venetians (46,000 souls) to die. During this terrible time, Venetians built this church in honor of Our Lady of Health. Her statue tops the lantern, and she’s dressed as an admiral, hand on a rudder, welcoming ships to the Grand Canal.

Even today, Mary’s intercession is celebrated every November 21, when a floating bridge is erected across the Grand Canal so Venetians can walk from San Marco across the water and right up the seaweed-covered steps to the front door.

At age 32, architect Baldassare Longhena (1598-1682) supported the city’s heaviest dome by sinking thousands of pilings into the sandy soil to provide an adequate foundation. The 12 Baroque scrolls at the dome’s base function as buttresses to help support the mammoth structure.

• If you’ve booked a visit to the dome terrace, you’ll meet at the main entrance of the basilica, where we’re going next.

INTERIOR

1   View from the Entrance

The church has a bright, healthy glow, with white stone (turned gray because of a fungus) illuminated by light filtering through the dome’s windows. The nave is circular, surrounded by chapels. In contrast to the ornate Baroque exterior, the inside is simple, with only Corinthian columns and two useless balcony railings up in the dome. The red, white, and yellow marble of the floor adds a cheerful note.

Longhena focuses our immediate attention on the main altar. Every other view is blocked by heavy pillars. A master of “theatrical architecture,” Longhena reveals the side chapels only one by one, as we walk around and explore. Viewed from the center of the church, the altar and side chapels are framed by arches.

Some of the “marble” is actually brick covered with marble dust. The windows, with clear glass in a honeycomb pattern, bring in maximum light.

• Look at the pillars near the entrance, opposite the altar, to find the...

2   Bronze Plaques

The church is dedicated not just to physical health but to spiritual health as well. The plaques relate that on September 16, 1972, Albino Luciani, the future Pope John Paul I, visited here and paid homage to the Virgin of Health (six years later, he fell sick and died after only 30 days in office).

3   Main Altar

The marble statues on the top of the main altar tell the church’s story: The Virgin and Child (center) are approached for help by a kneeling, humble Lady Venice (left). Mary shows compassion and sends an angel baby (right) to drive away Old Lady Plague.

The icon of a black, sad-eyed Madonna with a black baby (12th-century Byzantine) is not meant to be ethnically accurate. Here, a “black” Madonna means an otherworldly one.

• Find the entrance to the Sacristy, if it’s open. There’s a fee to get in, but those who don’t want to pay can get a glimpse of the paintings for free by standing outside the entry.

4   Sacristy

Along the right wall is Tintoretto’s big and colorful Marriage at Cana (1551). The receding dinner table leads the eye to Jesus, who is surrounded by the bustle of the wedding feast. On the right, the host (in gray) orders the servant to bring more wine. The apostles at the table portray leading Venetian artists of the day. (The man in front with an orange robe and big white beard may be Titian.)

On the ceiling are three ultra-dramatic paintings by Titian, with gruesome subjects (pick up a mirror for easier viewing): Cain Clubbing Abel, Abraham Sacrificing His Son, and David Slaying Goliath (c. 1543-1544). The panels—featuring stormy clouds, windblown hair, flat tones, and overwrought poses—date from Titian’s “Mannerist crisis.” After visiting Rome and seeing the work of Michelangelo in the Sistine Chapel, Titian abandoned his standard, sweet, and tested style to paint epic, statuesque, and dramatic works in the Mannerist style. To appreciate his range of styles, contrast the ceiling panels with the painting over the altar, Titian’s stately St. Mark Enthroned with Saints (c. 1511).

• Back in the circular nave, there are six side chapels—three to the left, three to the right. Start near the main altar, on the right side (to your right as you face the altar).

Side Chapel Paintings

Luca Giordano (1632-1705) celebrates the Virgin in three paintings with similar compositions—heaven and angels above, dark earth below. Giordano, a prolific artist from Naples, was known as “Luca fa presto” (Fast Luke) for the speed (some would say sloppiness) with which he dashed off his paintings.

• In the chapel to the right of the altar is...

5   Giordano, Birth of the Virgin (1674): Little baby Mary in her mom’s arms seems like nothing special. But God the Father looks down from above and sends the dove of the Holy Spirit.

• In the middle chapel (on the right side), look for...

6   Giordano, Assumption of the Virgin (1667): Mary, at the end of her life, is being taken gloriously, by winged babies, up from the dark earth to the golden light of heaven. The apostles cringe in amazement. A later artist thought his statue was better and planted it right in our way.

• In the chapel closest to the entrance, see...

7   Giordano, Presentation of the Virgin in the Temple (early 1670s): Notice how the painting fits the surrounding architecture. It’s great to enjoy art in situ. The child Mary (in blue, with wispy halo) ascends a staircase that goes diagonally “into” the canvas. Giordano places us viewers at the foot of the stairs. The lady in the lower left asks her kids, “Why can’t you be more like her?!”

• From here, look directly across to the other side of the nave at Titian’s Pentecost, in the chapel closest to the main altar. The painting looks its best from this distance and angle.

8   Titian, Pentecost (1546): The dove of the Holy Spirit sends spiritual rays that fan out to the apostles below, giving them tongues of fire above their heads. They gyrate in amazement, each one in a different direction. Using floor tiles and ceiling panels, Titian has created the 3-D illusion of a barrel-arched chapel, with the dove coming right into the church through a fake window. But the painting was not designed for this location and, up close, the whole fake niche looks...fake.

CA’ REZZONICO TOUR

Museum of 18th-Century Venice (Museo del Settecento Veneziano)

Orientation

OVERVIEW

The Tour Begins

FIRST FLOOR

Map: Ca’ Rezzonico—First Floor

SECOND FLOOR

Map: Ca’ Rezzonico—Second Floor

Endowed by nature with a pleasing physical appearance, a confirmed gambler, a great talker, far from modest, always running after pretty women...I was certain to be disliked. But, as I was always willing to take responsibility for my actions, I decided I had a right to do anything I pleased.

—The Memoirs of Giacomo Casanova

Venice in the 1700s was the playground for Europe’s aristocrats, including the wealthy Rezzonico (ret-ZON-ee-koh) family, who owned this palace. Today, the Ca’ Rezzonico (a.k.a. the Museo del Settecento Veneziano) contains furniture, decoration, and artwork from the period. This grand home on the Grand Canal is the best place in town to experience the luxurious, decadent spirit of Venice in the Settecento (the 1700s).

Orientation

Cost: €10, €1 fee to reserve online, covered by Museum Pass.

Hours: Wed-Mon 10:00-18:00, Nov-March until 17:00, closed Tue year-round, ticket office closes one hour before museum.

Getting There: The museum is located in Dorsoduro, on the west bank of the Grand Canal at the Ca’ Rezzonico vaporetto stop. It’s a 10-minute walk from the Accademia Bridge and 20 minutes from the Rialto.

Information: +39 041 241 0100, http://carezzonico.visitmuve.it.

Tours: The audioguide costs €4.

Length of This Tour: Allow one hour (more if you want to explore the third floor on your own). If you have less than an hour, focus on Rooms 1-7 on the first floor, with their Tiepolo ceilings and ambience.

Baggage Check: Free and required for large items.

Cuisine Art: The museum’s café has simple fare (panini and pasta, no museum entry required) with tables on the Grand Canal. The delightful Campo San Barnaba is just a three-minute walk away; for eateries on and near that square, see here.

Starring: A beautiful palace with 18th-century furnishings and paintings by G. B. Tiepolo, Canaletto, and Guardi.

OVERVIEW

Our Ca’ Rezzonico tour covers two floors. The first floor has palatial rooms decorated with period furniture and ceiling frescoes by G. B. Tiepolo. On the second floor, paintings by Canaletto, Guardi, G. D. Tiepolo, Longhi, and others bring the era to life. (The third-floor painting gallery—which is skippable—shows lots of flesh in lots of rooms.)

The Tour Begins

• If you’re arriving by vaporetto, admire Ca’ Rezzonico’s heavy stone facade facing the Grand Canal. The dock was, of course, the main entrance back in the 1700s. Then, as you enter the palazzo courtyard, admire the 1700s-era gondola on display. Picture this arriving at the Ca’s dock for a party during Carnevale. A charcoal heater inside kept the masked and caped passengers warm, as they sipped prosecco and chatted in French, enjoying their winter holiday away from home.

Buy tickets on the ground floor, then ascend the grand staircase to the first floor (where you show your ticket).

FIRST FLOOR

• You’ll start in the ballroom. From here, simply follow the one-way route through the numbered rooms.

Room 2: Ballroom

This would be a great place for a wedding reception. At 5,600 square feet, it could be the biggest private venue in the city. Stand in the center, and the room gets even bigger, with a ceiling painting that opens up to the heavens and trompe l’oeil (optical illusion) columns and arches that open onto fake alcoves.

Imagine a party here in the 1700s when the Rezzonicos reigned supreme. Guests dance under candlelit chandeliers to Vivaldi’s Four Seasons. Servants glide by with drinks and finger foods. The gentlemen wear powdered wigs, linen shirts with lacy sleeves, tight velvet coats and breeches, striped stockings, and shoes with big buckles. They carry snuffboxes with dirty pictures inside the lids. The ladies powder their hair, pile it high, and weave in stuff—pictures of their children or locks of a lover’s hair. And everyone carries a mask on a stick to change identity in a second.

The chandeliers of gold-covered wood are original. But while most of the furniture we’ll see is from the 1700s, it’s not from the Rezzonico family collection.

• Promenade across the floor, bearing left into the next room.

Room 3: Nuptial Allegory Salon

In fact, there was a wedding here—see the happy couple on the ceiling, arriving in a chariot pulled by four white horses and serenaded by angels, cupids, and Virtues. It was in this room, in 1758, that Ludovico Rezzonico exchanged vows with Faustina Savorgnan, under the bellies of the horses painted for the occasion by Giovanni Battista (“John the Baptist”) Tiepolo. G. B. Tiepolo (1696-1770), the best-known decorator of Europe’s palaces, was at the height of his fame and technique. He knocked this out in 12 days. His bright colors, mastery of painting figures from every possible angle, wide knowledge of classical literary subjects, and sheer, unbridled imagination made his frescoes blend seamlessly with ornate Baroque and Rococo furniture.

Famous 18th-Century Venetians

Canaletto (Giovanni Antonio Canal): Painter of Venice views

Antonio Canova: Neoclassical sculptor

Giacomo Casanova: Gambler, womanizer, revolutionary

Carlo Goldoni: Playwright of realistic comedies

Francesco Guardi: Painter of romantic Enlightened ideas

Giovanni Battista (G. B.) Tiepolo: Painter of Rococo ceilings

Giovanni Domenico (G. D.) Tiepolo: Painter son of the more famous Tiepolo

The Portrait of Clement XIII, pink-cheeked and well-fed, shows the most famous Rezzonico, who presided over the family’s greatest era. This portrait shows him as a military man, with his billowing cape and commander’s baton. Elected pope in 1758, Clement spent his reign defending the Jesuit society from anti-Catholic European nobles.

The Rezzonico were a family of nouveaux riches who bought their way into the exclusive club of Venetian patrician families. The state, which needed money for its military adventures, actually sold noble status to parvenu families like the Rezzonico. These upwardly mobile families then followed a strategy to be accepted by the old nobility. Over the course of several generations, the Rezzonico bought and decorated this fancy palace, married into high society, managed to secure a prestigious Venetian office, and even put one of their relatives on the papal throne. In early times, art was about scoring religious points to gain entry to heaven. In the 18th century, wealthy people commissioned art like the works in this palace simply to gain respect. They also threw great parties.

A prayer kneeler (in the tiny adjoining chapel) looks heavily used, dating from the sin-and-repent era of Settecento Venice.

Room 4: Pastel Room

Several portraits grace this room, showing aristocratic ladies and gentlemen of the era. Several are by Europe’s most celebrated painter of portraits in pastels—the Venetian artist Rosalba Carriera (1673-1757). Wealthy French and English tourists on holiday wanted a souvenir of Venice, and Carriera obliged, with miniature portraits on ivory rather than the traditional vellum (soft animal skin). These were products of narcissism—the Instagram photos of the 18th century that proclaimed, “Look how charming/interesting I am.”

She progressed to portraits in pastel, a medium that caught the luminous, pale-skin, white-haired, heavy-makeup look that was considered so desirable. Still, her Portrait (Ritratto) of Sister Maria Caterina has a warts-and-all realism that doesn’t hide the nun’s heavy eyebrows, long nose, and forehead vein, which only intensifies the spirituality she radiates.

At age 47, Carriera was invited to Paris, where she became the toast of the town. Returning triumphantly to Venice, she settled into her home on the Grand Canal and painted until her eyesight failed.

Also in the room is a portrait (not by Carriera) of Cecilia Guardi Tiepolo. She was the wife of G. B. Tiepolo, sister of famous painter Francesco Guardi, and mother of not-very-famous painter Lorenzo Tiepolo, who painted this when he was 21.

Room 5: Tapestry Room

This room’s decor gives a sense of the Rococo luxury of the wealth of Venice in the 1700s. There are tapestries, furniture, a mirror, and a door with Asian themes that shows an opium smoker on his own little island paradise (lower panel). In a century dominated by the French court at Versailles, Venice was one of the few cities that could hold its own. The furniture ensemble of gilded wood chairs, tables, and chests hints at the Louis XIV (claw-foot) style, but the pieces were made in a Venetian workshop.

Despite Venice’s mask of gaiety, in the 1700s it was a poor, politically bankrupt, dirty city. Garbage floated in the canals, the streets were either unpaved or slippery with slime, and tourists could hardly stand visiting St. Mark’s Basilica or the Doge’s Palace because of the stench of mildew. But its reputation for decay and sleaze was actually romanticized into a metaphor for adventures into shady morality. With licensed casinos and thousands of courtesans (prostitutes), it was a fun city for foreigners freed from hometown blinders.

Giacomo Casanova (1725-1798)

I began to lead a life of complete freedom, caring for nothing except what pleased me.

—The Memoirs of Giacomo Casanova

Casanova, a real person who wrote an exaggerated autobiography, typifies the Venice that so entranced the rest of Europe. In his life, he adopted many personae, worked in a number of professions, and always took the adventurous path.

Casanova was born just across the Grand Canal from the Ca’ Rezzonico. The son of an actor, Casanova trained to be a priest, but was expelled for seducing nuns. To Venetians he was first known as a fiery violinist at fancy parties in palaces such as the Ca’ Rezzonico. He would later serve time in the Doge’s Palace prison, accused of being a magician.

As a professional gambler and charmer, he roamed Europe’s capitals seducing noblewomen, dueling with fellow men of honor, and impressing nobles with his knowledge of Greek literature, religion, politics, and the female sex. His memoirs, published after his death, cemented his reputation as a genial but cunning rake, rogue, and rapscallion.

Room 6: Throne Room

“Nowhere in Europe are there so many and such splendid fêtes, ceremonies, and public entertainments of all kinds as there are in Venice,” wrote a visitor from France. As you check out the view of the Grand Canal, imagine once again that you’re attending a party here. You could watch the Forze d’Ercole (Force of Hercules) acrobats, who stood in boats and kept building a human pyramid—of up to 50 bodies—until they tumbled, laughing, into the Grand Canal. At midnight the hosts would dim the mirrored candleholders on the walls, so you could look out on a fireworks display over the water.

Carnevale, Venice’s prime party time, stretched from the day after Christmas to Lent. Everyone wore masks. Frenchmen, dressed as turbaned Ottoman Turks, mingled with Turkish traders dressed as harlequins. Fake Barbary pirates fought playfully with skin-blackened “Moors.” And long-nosed Pulcinella clowns were everywhere, reveling in the time when all social classes partied as one because “the mask levels all distinctions.”

The ceiling fresco, again by Giovanni Battista Tiepolo, certainly trompes my oeil. (It’s best viewed from the center.) Tiepolo opens the room’s sunroof, allowing angels to descend to earth to pick up the Rezzonico clan’s patriarch. The old, bald, bearded fellow is crowned with laurels and begins to rise on a cloud up to the translucent temple of glory. The angels hold Venice’s Golden Book, where the names of the city’s nobles were listed. In 1687, the Rezzonico family bought their way into the exclusive club. Tiepolo captures the moment just as the gang is exiting through the “hole” in the ceiling. The leg of the lady in white seems to dangle over the “edge” of the fake oval. Tiepolo creates a zero-gravity universe that must have astounded visitors. Walk in circles under the fresco, and watch the bugling angel spin.

• Pass through the large next room and into...

Room 7: Tiepolo

This was the game room, and you can see a card table in the center. The big walnut cabinet along the wall is one of the few original pieces of furniture from the Rezzonico collection.

The ceiling painting by G. B. Tiepolo depicts Nobility and Virtue as a kind of bare-breasted, Thelma-and-Louise duo defeating Treachery, who tumbles down. The painting—which is on canvas, not a fresco like the others—was moved here from another palazzo.

Portraits around the room are by Tiepolo and his sons, Lorenzo and Giovanni Domenico. The paintings are sober and down-to-earth, demonstrating the artistic range of this exceptional family. G. B. was known for his flamboyance, but he passed to his sons his penchant for painting wrinkled, wizened old men in the Rembrandt style. In later years, G. B. had the pleasure of traveling with his sons to distant capitals, meeting royalty, and working on palace ceilings. Giovanni Domenico (G. D.) contributed some of the minor figures in the Ca’ Rezzonico ceilings and went on to a successful artistic career of his own—as we’ll see upstairs.

Room 8: Library

In the 1800s, the English poet Robert Browning (1812-1889) spent his later years here. Imagine him in this study, in a melancholy mood after a long winter, reading a book and thinking of words from a poem of his: “Oh to be in England, now that April’s there....”

Room 9: Lazzarini

The big, colorful paintings are by Gregorio Lazzarini (1655-1730), Tiepolo’s teacher. Tiepolo took Lazzarini’s color, motion, and twisted poses and suspended them overhead.

Room 10: Brustolon

Andrea Brustolon (1662-1732) carved Baroque fantasies into the custom-made tables, chairs, and vase stands that he crafted in his Venice workshop. In black ebony, reddish boxwood, and brown walnut, they overwhelm with the sheer number of figures, yet each carving is a gem worth admiring. The big vase stand is a harmony of different colors: a white vase supported by ebony slaves in chains and a brown boxwood Hercules. The slaves’ chains are carved from a single piece of wood—a racist motif, but an impressive artistic feat.

The room’s flowery Murano glass chandelier—of pastel pinks, blues, and turquoise—is original.

• Backtrack to Room 9, then turn into the large, sparsely decorated reception space (the portego).

Room 11: Portico (Portego)

That funny little cabin in the room is a sedan chair, a servant-powered taxi for Venice’s nobles. Four strong-shouldered men ran poles through the iron brackets on either side, then carried it on their shoulders, while the rich rode in red-velvet luxury above the slimy streets.

• The staircase to the second floor is in Room 11, in the middle of the long wall.

SECOND FLOOR

The first floor showed the rooms and furniture of the 1700s. The second-floor paintings depict the people who sat in those chairs.

• Begin in Room 12, lined with paintings. Of special interest are two works by Venice’s great painter of urban landscapes, Canaletto, found on the opposite wall.

Room 12: Painting Portego (Canaletto)

Rich tourists wanting to remember their stay in Venice sought out Giovanni Antonio Canal, a.k.a., Canaletto (1697-1768), for a “postcard” view. The View of Rio dei Mendicante chronicles every chimney, every open shutter, every pair of underwear hanging out to dry.

Canaletto was a young theater-set painter working on Scarlatti operas in Rome when he decided his true calling was painting reality, not Baroque fantasy. He moved home to Venice, set up his easel outside, and painted scenes directly from nature. It was considered a very odd thing to do in his day.

The Grand Canal from Palazzo Balbi to Rialto captures the view you’d see from the palazzo two doors down. With photographic clarity, Canaletto depicts buildings, boats, and shadows on the water, leading the eye to the tiny, half-hidden Rialto Bridge on the distant horizon.

Despite the seeming photo-realism and crystal clarity, these wide-angle views are more than any human eye could take in without turning side to side. Canaletto, who meticulously studied the mathematics of perspective, was not above tweaking those rules to compress more of Venice into the frame.

In the Grand Canal from Palazzo Balbi to Rialto, notice there are shadows along both sides of the canal—physically impossible, but more picturesque. His paintings still have a theater-set look to them, but here, the Venice backdrop is the star.

To meet the demand for postcard scenes of Venice, Canaletto resorted in later years to painting from engravings or following formulas. But these two early works reflect his pure vision to accurately paint the city he loved.

Grand Tour visitors routinely reported that Venice pleased the eye but not the heart or mind. Just as they experienced the city without feeling any real passion, these paintings let you see it, marvel, and move on.

• From here, face the canal and enter the room to the right. We’ll move roughly clockwise around the second floor.

Room 16: Longhi

There is no better look at 1700s Venice than these genre scenes by Pietro Longhi (1701-1785), depicting everyday life among the upper classes. See ladies and gentlemen going to the hairdresser or to the dentist, dressed in the finery that was standard in every public situation. These small easel works provide a psychoanalytic insight into society. They come with an overwhelming sense of boredom. There’s no dynamism. There aren’t even any windows. It’s a society closed to the world, without initiative, and—it seems—with no shortage of leisure time.

Contrast these straightforward scenes with one final work by G. B. Tiepolo—a sumptuous ceiling painting of nude gods and goddesses. The Rococo fantasy world of aristocrats was slipping increasingly into the more prosaic era of the bourgeoisie.

• Pass through several rooms to the far corner.

Room 19: Alcove

Casanova daydreamed of fancy boudoirs like this one, complete with a large bed (topped with a Madonna by Rosalba Carriera), a walnut dresser, Neoclassical wallpaper, and silver toiletries. Even the presence of the baby cradle would not have dimmed his ardor.

• Backtrack to Room 18, cross over the big main room, and enter Room 13 and a maze of several more rooms.

Room 13: G. D. Tiepolo’s Frescoes from the Villa Zianigo

The son of G. B. Tiepolo decorated the family villa with frescoes for his own enjoyment. They’re far more down-to-earth than G. B.’s high-flying fantasies. New World features butts, as ordinary folk crowd around a building with a peep-show window. The only faces we see are the two men in profile—Giovanni Domenico Tiepolo (far right, with eyeglass) and his father, G. B. (arms folded)—and baby brother Lorenzo (center). The Pulcinella Room (far corner) has several scenes (including one overhead) of the hook-nosed, white-clothed, hunchbacked clown who, at Carnevale time, represented the lovable country bumpkin. But here, he and his similarly dressed companions seem tired, lecherous, and stupid. The decadent gaiety of Settecento Venice was at odds with the Liberté, Egalité, and Fraternité erupting in France.

The 18th century was a time of great change. The fresh ideas and innovations of the Enlightenment swept more adaptable societies upward into a thriving new modern age. Meanwhile, a Venice in denial declined.

Venetians bought into their own propaganda. The modern ideas coming out of France threatened the very foundation of what La Serenissima was all about. Over time Venetians stopped trading, stopped traveling, and became stuck in the mud. Like Marie Antoinette retreating into her little hamlet at Versailles, the aristocracy of Venice withdrew into their palaces. Insisting their city remained exceptional, Venetian society chose to dance rather than to adapt. As Venice fell, its appetite for decadence grew. Through the 18th century, the Venetians partied and partied, as if drunk on the wealth accumulated through earlier centuries as a trading power.

• Wind your way into the room with a harpsichord.

Room 14: Harpsichord Room

The 1700s saw the development of new keyboard instruments that would culminate by century’s end in the modern piano. This particular specimen has strings that are not hammered (like a piano) but plucked. At this point, a pluck was just a pluck—always the same volume. When hammers were introduced shortly after this, the novelty of being able to play both soft and loud sounds prompted Italians to name the instrument the pianoforte (the soft-loud).

Room 15: Parlor

Francesco Guardi (1712-1793), like Canaletto, supplied foreigners with scenes of Venice. But Guardi uses rougher brushwork that casts a romantic haze over the decaying city.

The Parlor (Il Parlatorio delle Monache di S. Zaccaria) is an interior landscape featuring visiting day at a convent school. The girls, secluded with their servant girls behind grills, chat and have tea with family members, friends, ladies with their pets, and potential suitors. Convents were like finishing schools for aristocratic girls, where they got an education and learned manners before re-entering the world. Note the puppet show (starring spouse-abusing Pulcinella).

Guardi’s Il Ridotto di Palazzo Dandolo shows partygoers in masks at a Venetian palace licensed for gambling. Casanova and others claimed that these casino houses had back rooms for the private use of patrons and courtesans. The men wear the traditional bautta—a three-piece outfit consisting of a face mask, three-cornered hat, and cowl. This getup was actually required by law in certain seedy establishments to ensure that every sinner was equally anonymous. The women wear Lone Ranger masks, and parade a hint of cleavage to potential customers.

• The final and most skippable part of the museum is the top floor, containing a large collection of Venetian paintings amassed by a local scholar named Egidio Martini. Most are by lesser-known artists from the 1600s and 1700s, but there’s one room of 19th- and early-20th-century works, including a few Impressionists.

FRARI CHURCH TOUR

Basilica di Santa Maria Gloriosa

Orientation

The Tour Begins

1   Church Interior and Choir, 1250-1443

Map: Frari Church

2   Titian, Assumption of the Virgin, 1516-1518

3   Tomb of Doge Foscari, 15th Century

4   Donatello, Statue of John the Baptist, 1438

5   Paolo Veneziano, Madonna and Child with Doge Francesco Dandolo, c. 1339

6   Giovanni Bellini, Madonna and Child with Saints and Angels, 1488

7   Titian, Madonna of Ca’ Pesaro, 1519-1526

8   Longhena’s Tomb of Pesaro

9   Canova Monument, 1827

10   Titian Monument, 1852

For me, this church offers the best art-appreciation experience in Venice, because so much of its great art is in situ—right where it was designed to be seen, rather than hanging in museums. Because Venice’s spongy ground could never support a real stone Gothic church (such as those you’d find in France), the Frari is made of light and flexible brick. As with Venetian architecture in general, the white limestone foundation insulates the building from the wet soil.

The church was built by the Franciscan order and consecrated in 1492. Franciscan men and women were inspired by St. Francis of Assisi (c. 1182-1226), who dedicated himself to a nonmaterialistic lifestyle—part of a reform movement that spread across Europe in the early 1200s. The Roman Church felt distant and corrupt, and there was a hunger for religious teaching that connected with everyday people. While some of these movements were dubbed heretical (like that of the Cathars in southern France), the Franciscans (and Dominicans) eventually earned the Church’s blessing.

Many great Venetians chose to be buried in this church, and we’ll see their impressive tombs. Its high-quality altarpieces make the church a kind of mini museum of sacred art.

The spirit of St. Francis of Assisi warms both the church of his “brothers” (frari) and the art that decorates it. The Franciscan love of all of creation—Nature and Humanity—later inspired Renaissance painters to capture the beauty of the physical world and human emotions, showing worshippers the glory of God in human terms.

Orientation

Cost: €5.

Hours: Mon-Thu 9:00-19:30, Fri until 23:00, Sat until 18:00, Sun 13:00-18:00, shorter hours in winter.

Information: +39 041 272 8611, www.basilicadeifrari.it.

Dress Code: Modest dress is recommended.

Getting There: It’s on Campo dei Frari, near the San Tomà vaporetto and traghetto stops. From the dock, follow signs to Scuola Grande di San Rocco. For a pleasant stroll from the Rialto Bridge, take the Rialto to Frari Church Walk.

Tours: You can rent an audioguide for €2.

Download my free Frari Church audio tour.

Length of This Tour: Allow one hour. Don’t miss Titian’s Assumption, Donatello’s statue, or Bellini’s altarpiece.

Eating: The church square is ringed with small, simple, reasonably priced cafés. The Bottega del Caffè Dersut (around to the left, facing the side of the church, inside seating only) serves salads and fresh sandwiches.

Nearby: For efficient sightseeing, combine your visit with the Scuola San Rocco, located behind the Frari Church. The Ca’ Rezzonico is a seven-minute walk away, following signs to Accademia.

Starring: Titian, Giovanni Bellini, Paolo Veneziano, and Donatello.

The Tour Begins

• Enter the church, let your eyes adjust, and stand just inside the door with a good view down the long nave toward the altar.

1   Church Interior and Choir, 1250-1443

The simple, spacious (110-yard-long), well-lit Gothic church—with rough wood crossbeams and a red-and-white color scheme—is truly a remarkable sight in a city otherwise crammed with exotic froufrou. Traditionally, churches in Venice were cross-shaped, but because the Franciscans were an international order, they weren’t limited to Venetian tastes. This new T-shaped footprint featured a long, lofty nave—flooded with light and suited to large gatherings—where common people heard sermons. The T, or tau, is the symbol of the Franciscan order. St. Francis chose the tau as his personal symbol, wearing it on his clothes and using it in place of his signature.

The carved-marble choir area in the center of the nave allowed friars to hold smaller, more intimate services. As worshippers entered the church and looked down the long nave to the altar, they were greeted by Titian’s glorious painted altarpiece—then, as now, framed by the arch of the choir entrance. When Titian was chosen to paint the altarpiece, he surely had this perspective in mind.

• Walk prayerfully toward Titian’s heavenly Virgin, passing through the gorgeously carved wooden stalls of the 1480s choir.

Notice the fine inlay above the chairs, showing the Renaissance enthusiasm for Florentine-style depth and perspective. Surviving choirs such as this are rare. (In response to Luther’s challenge, Counter-Reformation churches did away with choirs and altar screens in order to get priests closer to their flocks.)

2   Titian, Assumption of the Virgin, 1516-1518

Glowing red and gold like a stained-glass window, this altarpiece sets a tone of exuberant beauty. At the end of her life (though looking 17 here), Mary was miraculously “assumed” into heaven. As cherubs lift her up to meet a Jupiter-like God, the stunned apostles on earth reach up to touch the floating bubble of light.

Look around. The church is littered with chapels and tombs “made possible by the generous financial support” of rich people who donated to the Franciscans for the good of their souls (and usually for tomb-topping statues of themselves, as well). But the Franciscans didn’t sell their main altar; instead they hired the new whiz artist, Titian, to create a dramatic altar painting.

Unveiled in 1518, the work scandalized a Venice accustomed to simpler, more contemplative church art. The rich colors, twisting poses, and mix of saccharine angels with blue-collar apostles were unheard of. Most striking, this Virgin is fully human—a real woman in the golden glow of heaven, not a stiff icon on a throne. The Franciscans thought this woman aroused excitement rather than spirituality. They agreed to pay Titian only after the Holy Roman Emperor offered to buy the altar if they refused.

In a burst of youthful innovation, Titian (c. 1490-1576) had rewritten the formula for church art, hinting at changes to come with the Mannerist and Baroque styles. He energized the scene with a complex composition, overlapping a circle (Mary’s bubble) and a triangle (draw a line from the apostle reaching up to Mary’s face and down the other side) on three horizontal levels (God in heaven, Man on earth, Mary in between). Together, these elements draw our eyes from the swirl of arms and legs to the painting’s focus—the radiant face of a triumphant Mary, “assumed body and soul into heaven.”

• Flanking the painting are marble tombs lining the walls. On the wall to the right of the altar is the...

3   Tomb of Doge Foscari, 15th Century

This heavy, ornate tomb honors the great Venetian who ruled Venice at the peak of its power. Doge Francesco Foscari (1373-1457) assumed control of the city’s powerful seafaring empire and then tried to expand it onto the mainland. Unfortunately, he ended up battling Milan in a 31-year war of attrition that swept through northern Italy. Meanwhile, on the unprotected eastern front, the Ottomans took Constantinople (1453) and scuttled Venice’s trade. Venice’s long slide into historical oblivion had begun. Financially drained city fathers forced Foscari to resign, turn in his funny hat, and hand over the keys to the Doge’s Palace.

• In the first chapel to the right of the altar, you’ll find...

4   Donatello, Statue of John the Baptist, 1438

In the center of the altarpiece, the cockeyed prophet of the desert—emaciated from his breakfast of bugs ’n’ honey and dressed in animal skins—freezes mid-rant when he spies something in the distance. His jaw goes slack, he twists his face and raises his hand to announce the coming of...the Renaissance.

Florentine expatriates in Venice considered the Frari their home church. They commissioned the Florentine Donatello to make this wooden statue in a style reminiscent of home. The Renaissance began in Florence, where Donatello (1386-1466) created realistic statues with a full range of human emotions. This warts-and-all John the Baptist contrasts greatly with, say, Titian’s sweet Mary. Florentine art (including painting) was sculptural, strongly outlined, and harshly realistic, with muted colors. Venetian art was painterly, soft focus, and beautiful, with bright colors. Notice how the statues flanking John (sculpted at about the same time but by lesser artists) are clearly behind Donatello’s work in realism.

• Enter the sacristy through the door at the far end of the right transept. You’ll bump into an elaborate altar crammed with reliquaries. The most treasured relic is in the center—a vial supposedly containing a drop of Christ’s blood. With that religious mindset, let’s see some great Venetian altarpieces, starting with one that helped start it all. Facing the relic, enter the room to the right.

5   Paolo Veneziano, Madonna and Child with Doge Francesco Dandolo, c. 1339

Paolo Veneziano (literally, “Paul the Venetian”) was the first “name” artist in Venice, the man who helped shape the distinctive painting style of his city. In turn, Veneziano was inspired by Byzantine artists who had come to Venice in search of greater freedom of expression. They had chafed under strict societies (Byzantine and, in some locales, Islamic) that frowned on painting figurative images. In Venice, these expats found an eager community of rich patrons who indulged their love of deeper color, sentiment, movement, and decoration. (Venice clung to this style for so long that its art eventually lagged behind the rest of Western Europe.)

In this altarpiece, Veneziano paints Byzantine icons and sets them in motion. Baby Jesus turns to greet a kneeling Doge Dandolo, while rosy-cheeked Mary turns to acknowledge the doge’s wife. None other than St. Francis presents “Francis” (Francesco) Dandolo to the Madonna. Both he and St. Elizabeth (on the right) bend at the waist and gesture as naturally as 14th-century icons can.

Notice the color. Venetians were enthusiastic about color. With the thriving glass industry, Venetian painters had access to more and better pigments than their rivals from other towns. Veneziano’s painting, like others we’ll see, has the city’s emblematic colors—blue, gold, and red.

• This room also has a clock intricately carved from a single piece of wood. Now return to the relics room and the glowing altarpiece at the end of the room.

6   Giovanni Bellini, Madonna and Child with Saints and Angels, 1488

This sacristy and Bellini masterpiece were funded by the Pesaro family, who negotiated an acceptable price for their family tomb. (More on them as we go.)

Mary sits on a throne under a half-dome, propping up Baby Jesus (who’s just learning to stand), flanked by saints and serenaded by musician angels. Bellini (c. 1430-1516), the father of the Venetian Renaissance, had learned the budding realism of Veneziano, but he took it to another level. He painted fake columns and a dome to match the real ones in the gold frame, making the painting seem to be an extension of the room. He completes the illusion with glimpses of open sky in the background. Next, he fills the artificial niches with symmetrically posed, thoughtful saints—left to right, find Saints Nicholas, Peter, Mark, and Sean Connery (Benedict).

Bellini combined the meditative poses of the Venetian Byzantine tradition with Renaissance improvements in modern art. He helped pioneer the transition from painting with medieval tempera (egg yolk-based) to painting in oil (pigments dissolved in vegetable oil). Oils allowed a subtler treatment of colors because artists could apply them in successive layers. And because darker colors aren’t so muddy when painted in oil, they “pop”—effectively giving the artist a brighter palette.

Bellini virtually invented the formula (later to be broken by his precocious pupil, Titian) for Venetian altarpieces. Instead of just standing around, his saints seem to interact in a holy conversation (sacra conversazione).

Renaissance humanism demanded Madonnas and saints that were accessible and human. Bellini delivers, but places them in a physical setting so beautiful that it creates its own mood of serene holiness. The scene is lit from the left, but nothing casts a harsh shadow—Mary and the babe are enveloped in a glowing aura of reflected light from the golden dome. The beauty is in the details—the writing in the dome, the red brocade backdrop, the swirls in the marble steps, and the angels’ dimpled legs.

• Return to the nave and head left, toward the door you entered through. Just past the choir, look right and find Titian’s colorful painting on the wall.

7   Titian, Madonna of Ca’ Pesaro, 1519-1526

Titian’s second altarpiece for the Frari Church displays all that he’d learned from his forebears. Like his teacher Bellini, he puts Mary (seated) and baby (standing) on a throne, surrounded by saints having a holy conversation. Also like Bellini, he paints fake columns that echo the church’s real ones.

But wait. Mary is off-center, Titian’s idealized saints mingle with Venetians sporting five o’clock shadows, and the stairs run diagonally away from us. Mary sits not on a throne but on a pedestal. Baby Jesus is restless. The precious keys of St. Peter seem to dangle unnoticed. These things upset traditional Renaissance symmetry, but they turn a group of figures into a true scene. St. Peter (center, in blue and gold, with book) looks down at Jacopo Pesaro, who kneels to thank the Virgin for his recent naval victory over the Ottomans (1502). A flag-carrying lieutenant drags in a turbaned captive. Meanwhile, St. Francis talks to Baby Jesus while gesturing down to more members of the Pesaro family. The little guy looking out at us (lower right) is the Pesaro descendant who administered the trust fund to keep prayers coming for his dead uncle.

Titian combines opposites: a soft-focus Madonna with photorealistic portraits, chubby winged angels with a Muslim prisoner, and a Christian cross with a battle flag. In keeping with the spirit of St. Francis’ humanism, Titian lets mere mortals mingle with saints. And we’re right there with them.

• Let’s see some monuments, starting with one made for another Pesaro ancestor. It’s the hard-to-miss tomb with black statues wearing ragged white clothes.

8   Longhena’s Tomb of Pesaro

This eye-catching wall of stone was built for the next generation of wealthy Pesaro family members, and honors the only one to become a doge. It’s the work of Baldassare Longhena, the same man who designed the over-the-top La Salute church. As the Renaissance world moved into the Baroque, the style became more busy, exuberant, and awe-inspiring. Longhena’s (politically incorrect) black statues represent African prisoners who seem to support the upper story on their brawny shoulders (cushioned by pillows), where Doge Pesaro oversees it all.

• Contrast Longhena’s emotional Baroque tomb from the 1600s with the calmer Neoclassical lines of the 1700s in the next tomb over, the pyramid-shaped...

9   Canova Monument, 1827

Antonio Canova (1757-1822, see his portrait above the door) was Venice’s greatest sculptor. He created gleaming white, highly polished statues of beautiful Greek gods and goddesses in the Neoclassical style. (See several of his works at the Correr Museum.)

The pyramid shape is timeless, suggesting pharaohs’ tombs and the Christian Trinity. Mourners, bent over with grief, shuffle up to pay homage to the master artist. Even the winged lion is choked up.

Follow me here. Canova himself designed this pyramid-shaped tomb, not for his own use but as the tomb of an artist he greatly admired: Titian. But the Frari picked another design for Titian’s tomb, so Canova used the pyramid for an Austrian princess...in Vienna. After his death, Canova’s pupils copied the design here to honor their master. In fact, Canova isn’t buried here. But inside the tomb’s open door, you can (barely) see an urn, which contains his heart.

• We’ll finish with a monument directly across the nave from the Canova Monument—commemorating Venice’s greatest artist.

10   Titian Monument, 1852

The enormous carved marble monument is labeled “Titiano Ferdinandus MDCCCLII.” It celebrates both the man (the center statue shows Titian with a beard and crown of laurels) and his famous paintings (depicted in the background reliefs).

Titian was the greatest Venetian painter, excelling equally in inspirational altarpieces, realistic portraits, joyous mythological scenes, and erotic female nudes.

He moved to Venice as a child, studying first as a mosaic-maker and then under Giovanni Bellini and Giorgione before establishing his own bold style, which featured teenage Madonnas (see a relief of The Assumption of the Virgin behind Titian). He became wealthy and famous, traveling Europe to paint stately portraits of kings and nobles, and colorful, sexy works for their bedrooms. Titian resisted the temptation of big money that drew so many of his contemporary Venetian artists to Rome. Instead he always returned to his beloved Venice (see winged lion on top)...and favorite Frari Church.

In his old age, Titian painted dark, tragic masterpieces, including the Pietà (see relief in upper left) that was intended for his tomb but ended up in the Accademia (see here). Nearing 90, he labored to finish the Pietà as the plague enveloped Venice. Over a quarter of the population died, including Titian’s son and assistant, Orazio. Heartbroken, Titian died soon afterward, in August 1576. He was buried in the Frari, his grave barely marked. Three centuries later, this grandiose monument was built to remember and honor this great Venetian. The inscription reads: “To Titian from Ferdinand I, the Habsburg Emperor who paid for this.”

Thanks to Titian’s genius, the beauty of the heavenly world could be brought down to earth, to be enjoyed by everyday people.

• While this church is a great example of art in situ, in a sense, all of Venice is art in situ. At the Frari, you’re away from the touristy center. Before returning to the mobs, why not explore some back lanes and lonely canals from here and enjoy a softer, more meditative side of town?

SCUOLA SAN ROCCO TOUR

Scuola Grande di San Rocco

Orientation

Map: Scuola San Rocco

The Tour Begins

GROUND FLOOR HALL

SALA DELL’ALBERGO: CHRIST’S PASSION

CHAPTER ROOM

The 50-plus paintings in the Scuola Grande di San Rocco—often called “Tintoretto’s Sistine Chapel”—present one man’s very personal vision of Christian history. Tintoretto spent the last 20 years of his life working practically for free, driven by the spirit of charity that the Scuola, a Christian organization, promoted. For Tintoretto fans, this is the ultimate. Even for the art-weary, his large, dramatic canvases, framed in gold on the walls and ceilings of a grand upper hall, are an impressive sight.

Orientation

Cost: €10, free for kids under 18.

Hours: Daily 9:30-17:30.

Information: +39 041 523 4864, www.scuolagrandesanrocco.org.

Getting There: It’s behind the Frari Church (vaporetto: San Tomà). For an easy route on foot from the Rialto Bridge, take the Rialto to Frari Church Walk, following signs to Scuola Grande di San Rocco.

Tours: The €5 audioguide provides only sketchy descriptions.

Mirrors: Use the mirrors scattered about the museum’s Chapter Room. Much of this art is on the ceiling and, therefore, a pain in the neck.

Length of This Tour: Allow one hour.

Nearby: Right next door is the Church of San Rocco, featuring still more Tintorettos (free, same hours as the Scuola).

Starring: Tintoretto, Tintoretto, and Tintoretto.

The Tour Begins

The art of the Scuola is contained in three rooms—the Ground Floor Hall (where you enter) and two rooms upstairs, including the Chapter Room, with the biggest canvases. Your ticket also admits you to the Scuola’s small and skippable treasury (one more flight up).

• Enter on the ground floor, which is lined with big, colorful Tintoretto canvases. Begin with the first canvas on the left—a great introduction to Tintoretto’s distinctive style.

GROUND FLOOR HALL

1   The Annunciation

An angel swoops through the doorway, dragging a trail of naked baby angels with him, to tell a startled Mary that she’ll give birth to Jesus. This canvas has many of Tintoretto’s typical characteristics:

• The miraculous and the everyday mingle side by side. Glorious angels are in a broken-down house with stacks of lumber and a frayed chair.

• Bright light and dark shadows. A bright light strikes the brick column, highlighting Mary’s face and the angel’s shoulder, but casting dark shadows across the room.

• Strong 3-D sucks you into the scene. Tintoretto literally tears down Mary’s wall to let us in. The floor tiles recede sharply into the distance, making Mary’s room an extension of our real space.

• Colors that are bright, almost harsh, with a metallic “black-velvet” sheen, especially when contrasted with the soft-focus haze of Bellini, Giorgione, Veronese, and (sometimes) Titian.

• Twisting, muscular poses. The angel turns one way, Mary turns the other, and the baby angels turn every which way.

• Diagonal composition. Shadows run diagonally on the floor as Mary leans back diagonally.

• Rough brushwork. The sketchy pattern on Mary’s ceiling contrasts with the precise photo-realism of the brick column.

And finally, The Annunciation exemplifies the general theme of the San Rocco paintings—God intervenes miraculously in our everyday lives in order to save us.

• Let’s get right to the highlights. Climb the staircase, taking time to admire the plague scenes (that are not by Tintoretto), which hint at the mission of the Scuola. Admire the impressive...

Jacopo Tintoretto (1518-1594)

The son of a silk dyer (“Tintoretto” is a nickname meaning “little dyer”), Tintoretto applied a blue-collar work ethic to painting, becoming one of the most prolific artists ever. He trained briefly under Titian, but their egos clashed. He was influenced more by Michelangelo’s recently completed Last Judgment, with its muscular, twisting, hovering nudes and epic scale.

By age 30, Tintoretto was famous, astounding Venice with the innovative St. Mark Freeing the Slave (now in the Accademia). He married, had eight children (three of whom became his assistants), and dedicated himself to work and family, shunning publicity and living his whole life in his old Venice neighborhood.

Twenty years of his life were spent decorating the Scuola Grande di San Rocco. It was a labor of love, showing his religious faith, his compassion for the poor, and his artistic passion.

2   View of the Chapter Room

Wow! This enormous hall—lined with wood paneling, lit by lanterns, and topped with a golden coffered ceiling crusted with Tintoretto paintings—is where members of the Scuola convened. The Scuola Grande di San Rocco was a kind of Venetian “Elks Club” whose favorite charity was poor plague victims. Tintoretto was himself a member. His paintings here explore themes dear to this charitable fraternity, like the suffering of the victimized, and the joy that comes from helping them out.

• Before we tackle the big canvases in this huge room, let’s start where Tintoretto did, with his very first painting for the Scuola. It’s in the Sala d’Albergo—the small room that’s just off the Chapter Room. On the ceiling there is an oval painting of St. Roch, best viewed from the doorway.

SALA DELL’ALBERGO: CHRIST’S PASSION

3   St. Roch in Glory, 1564

Start at the feet of St. Roch (San Rocco), a French medical student in the 1300s who dedicated his short life to treating plague victims. His work inspired the Scuola, established in his name.

This is the first of Tintoretto’s 50-plus paintings in the Scuola. It’s also the one that got him the job, beating entries by Veronese and others.

Tintoretto amazed the judges by showing the saint from directly beneath, as though he hovered above in a circle of glory. This Venetian taste for dramatic angles and illusion would later become standard in Baroque ceilings. Tintoretto trained by dangling wax models from the ceiling and lighting them from odd angles.

• On the walls are scenes of Christ’s trial, torture, and execution. Christ’s troubles mirrored those of the sick and poor that the Scuola vowed to help. Start with the painting to the right of the door (as you face it), then work counterclockwise around the room.

4   Christ Before Pilate (Ecce Homo)

Jesus has been arrested and brought before the Roman authorities in a cavernous hall. Although he says nothing in his own defense, he stands head and shoulders above the crowd, literally “rising above” the slanders. Tintoretto shines a bright light on his white robe, making Christ radiate innocence.

At Christ’s feet, an old, bearded man in white stoops over to record the events on paper—it’s Tintoretto himself.

5   Christ Crowned with Thorns

Jesus was beaten, whipped, then mocked by the soldiers, who dressed him as a king “crowned” with thorns. Seeing the bloodstains on the cloth must have touched the hearts of Scuola members, generating compassion for those who suffer.

6   The Way to Calvary

Silhouetted against a stormy sky, Jesus and two other prisoners trudge up a steep hill, carrying their own crosses to the execution site. The cycle culminates with...

7   The Crucifixion

The crucified Christ is the calm center of this huge and chaotic scene that fills the wall. Workers struggle to hoist crosses, mourners swoon, riffraff gamble for Christ’s clothes, and soldiers mill about aimlessly. Scarcely anyone pays any attention to the Son of God...except us, because Tintoretto directs our eye there.

All the lines of sight point to Christ at the center: the ladder on the ground, the cross being raised, the cross still on the ground, the horses on the right, and the hillsides that slope in. In a trick of multiple perspectives, the cross being raised seems to suck us in toward the center, while the cross still on the ground seems to cause the figures to be sucked toward us.

Above the chaos stands Christ, high above the horizon, higher than everyone, glowing against the dark sky. Tintoretto lets us appreciate the quiet irony lost on the frenetic participants—that this minor criminal suffering such apparent degradation is, in fact, triumphant.

• Displayed on an easel to the left of and beneath The Crucifixion is a small fragment of...

8   Three Apples

This fragment, from the frieze around the upper reaches of the Sala dell’Albergo, was discovered folded under the frieze in 1905. Because it was never exposed to light, it still retains Tintoretto’s original bright colors. All of his paintings are darker today, despite cleaning, due to the irreversible chemical alteration of the pigments. Imagine the original brightness of these rooms.

• Now step back out into the Chapter Room.

CHAPTER ROOM

Thirty-four enormous oil canvases, set into gold frames on the ceiling and along the walls of this impressive room, tell biblical history from Adam and Eve to the Ascension of Christ. Tintoretto’s storytelling style is straightforward, and anyone with knowledge of the Bible can quickly get the gist. Tintoretto’s success in the Sala dell’Albergo won him the job of the enormous Chapter Room.

The ceiling displays Old Testament scenes; the walls show events from the New Testament. Beyond that, the layout is not chronological but symbolic, linked by common themes. Tintoretto shows how God leads mankind to salvation. Evil enters the world with the Original Sin of Adam and Eve (at the Albergo end of room, on the ceiling). From there, man must go through many trials, as the ceiling shows—the struggles of Moses and the Israelites, Jonah, and Abraham. But God is always there to help—bringing water in the desert, healing the sick, feeding the hungry. The New Testament scenes on the walls show how God helps man spiritually, from sin to salvation. This art captures the charitable spirit of the school—just as God helps those who suffer, so should we.

• Let’s look at a few pieces in depth. Start with the big rectangular painting on the ceiling at the Albergo end of the hall.

9   Moses Strikes Water from the Rocks

Moses (in pink, in the center) hits a rock in the desert with his staff, and it miraculously spouts water, which the thirsty Israelites catch in jars. The water spurts like a ray of light. Moses is a strong, calm center to a spinning wheel of activity.

Tintoretto worked fast, and, if nothing else, his art is exuberant. He trained in fresco painting, which must be finished before the plaster dries. With these paintings, he sketched an outline right onto the canvas, then improvised details as he went.

The sheer magnitude of the San Rocco project is staggering. This canvas alone is 300 square feet—like painting a bathroom with an artist’s tiny brush. The whole project, counting the Sala dell’Albergo, Chapter Room, and the Ground Floor Hall together, totals some 8,500 square feet—more than enough to cover a typical house, inside and out. (The Sistine Chapel ceiling, by comparison, is 5,700 square feet.)

• Now continue up the hall to the center of the room for the biggest painting of all. For the best perspective, view it from the top (the Albergo end), not directly underneath.

10   The Miracle of the Bronze Serpent

The tangle of half-naked bodies (at the bottom of the painting) represents the children of Israel, wrestling with poisonous snakes and writhing in pain. At the top of the pile, a young woman gestures toward Moses (in pink), who points to a pole carrying a bronze serpent. Those who looked at the statue were miraculously healed. His work all done, God (above in the clouds) high-fives an angel.

This was the first of the Great Hall panels Tintoretto painted in response to a terrible plague that hit Venice in 1575. About one in three died. Four hundred a day were buried. Like today’s Red Cross, the Scuola sprang into action, raising funds, sending doctors, and giving beds to the sick—and aid to their families. Tintoretto saw the dead and dying firsthand. While capturing their suffering, he gave a ray of hope that help was on the way: Turn to the cross, and be saved by your faith.

There are dozens of figures in the painting, shown from every conceivable angle. Tintoretto was well aware of where it would hang and how it would be viewed. Walk around beneath it and see the different angles come alive. The painting becomes a movie, and the children of Israel writhe like snakes.

• The rectangular panel at the altar end of the hall is...

11   The Fall of Manna in the Desert

It’s snowing bread, as God feeds the hungry Israelites with a miraculous storm. They stretch a blanket to catch it and gather it up in baskets. Up in the center of the dark cloud is a radiant, almost transparent God, painted with sketchy brushstrokes to suggest he’s an unseen presence.

Tintoretto tells these Bible stories with a literalness that was very popular with the poor, uneducated sick people who sought help from the Scuola. He was the Spielberg of his day, with the technical know-how to bring imagination to life, to make the miraculous tangible.

• You could grow old studying all the art here, so we’ll select just a couple of the New Testament paintings on the walls. Start at the Albergo end. As you face the altar, it’s the first painting on the left.

12   The Adoration of the Shepherds

Christ’s glorious life begins in a straw-filled stable with cows, chickens, and peasants who pass plates of food up to the new parents. It’s night, with just a few details lit by moonlight: the kneeling shepherd’s forehead and leggings, the serving girl’s shoulders, the faces of Mary and Joseph...and little Baby Jesus, a smudge of light.

Notice the different points of view. Tintoretto clearly has placed us on the lower floor, about eye level with the cow, looking up through the roof beams at the night sky. But we also see Mary and Joseph in the loft above as though they were at eye level. By using multiple perspectives (and ignoring the laws of physics), Tintoretto could portray every detail at its perfect angle and create an otherworldly atmosphere.

• In the middle of the long wall, on the same side, find...

13   The Resurrection

Angels lift the sepulchre lid, and Jesus springs forth in a blaze of light. The contrast between dark and light is extreme, with great dramatic effect.

• Head for The Last Supper, in the corner to the left of the altar. On the way there, look on the wall for a   14   woodcarving of Tintoretto (third statue from altar, directly opposite entry staircase). The artist holds the tools of his trade. His craggy, wrinkled face peers out from under a black cap and behind a scraggly beard.

15   The Last Supper

A dog, a beggar, and a serving girl dominate the foreground of Christ’s final Passover meal with his followers. More servants work in the background. The disciples themselves are dining in the dark, some with their backs to us, with only a few stray highlights to show us what’s going on. Tintoretto emphasizes the human, everyday element of that gathering, in contrast to, say, Leonardo da Vinci’s more stately version. And he sets the scene at a diagonal for dramatic effect. The angle connects this holy scene with Mass as it’s being performed.

The table stretches across a tiled floor, a commonly used device to create 3-D space. But Tintoretto makes the more distant tiles unnaturally small to exaggerate the distance. Similarly, the table and the people get proportionally smaller and lower until, at the far end of the table, tiny Jesus (with glowing head) is only half the size of the disciple at the near end.

Theatrically, Tintoretto leaves it to us to piece together the familiar narrative. The disciples are asking each other, “Is it I who will betray the Lord?” Jesus, meanwhile, unconcerned, hands out Communion bread.

Though Tintoretto garnered plenty of fame and well-paying jobs throughout his long and prolific career, he asked for almost no money for his work at the Scuola. It stands as one man’s very personal contribution to the poor, to the Christian faith, and to art.

VENICE’S LAGOON TOUR

San Michele • Murano • Burano • Torcello

Orientation

Map: Venice’s Lagoon

STARTING YOUR JOURNEY

Map: Lagoon Tour

THE ROUTE

The Tour Begins

SAN MICHELE

MURANO

Map: Murano

BURANO

Map: Burano

TORCELLO

Fascinating islands hide out in Venice’s lagoon, a calm section of the Adriatic protected from wind and waves by the natural breakwater of the Lido. The brackish marsh—a mix of fresh water and silt from the mainland’s rivers, plus the tide-driven saltwater of the Adriatic—is dotted with a maze of sandbars. The lagoon is big (212 square miles) and so shallow that you could walk across most of it without getting your hair wet. Centuries ago, the shallow water and treacherous sandbars made the isle of Venice safe from attack by land or sea. Venice is the only great medieval city that never needed a wall.

Cradled by the lagoon, north of the city, are four islands easily laced together in a pleasant day trip, a nice escape from the hubbub of Venice. Though they’re all basically satellites of Venice, each one has its own personality and claims to fame: Murano is known for glass; Burano for lace and photogenic, exuberantly colorful houses; and tranquil Torcello for its antique church’s fine mosaics. San Michele is the cemetery island, the last stop for its residents, but the first stop for the vaporetto from Venice. The lagoon is home to many more islands, but these four are the most worthwhile for visitors.

We’ll sail first from Venice to Murano (stopping at San Michele on the way), and then to Burano, from where we’ll make a side-trip to Torcello before returning to Venice.

Orientation

Getting There: This tour is by vaporetto. Since single vaporetto tickets are only valid for 75 minutes, getting a vaporetto pass for this lagoon excursion makes sense (for details on tickets and passes, see here). Make sure to confirm vaporetto times at www.actv.it.

For guided tours of the islands, see the sidebar in this chapter.

Avoiding Crowds: You aren’t the only tourist in Venice spending your day seeing these sights, in this same order. Vaporetti can be very crowded; if you want a seat for the longer rides, consider showing up at the boat dock a bit early to get in line.

Planning Your Time: Since it takes a minimum of three hours round-trip from St. Mark’s to Torcello, allow at least six hours to blitz all four islands. Eight hours (or more) lets you slow down, browse, and enjoy. For an hour-by-hour itinerary, see here. If you only have a few hours to spare, pick just Murano or Burano/Torcello. Keep in mind that Burano’s Lace Museum and Torcello’s church museum are closed Mondays.

Cemetery (San Michele): Daily 7:30-18:00, Oct-March until 16:30; reception to the left as you enter, free WC to the right, no picnicking.

Glass Museum (Murano): €10, covered by Museum Pass; daily 10:30-18:30, Nov-March until 16:30; Fondamenta Giustinian 8, +39 041 739 586, http://museovetro.visitmuve.it.

Lace Museum (Burano): €5, covered by Museum Pass; Tue-Sun 10:00-16:00, closed Mon; +39 041 730 034, http://museomerletto.visitmuve.it.

Santa Maria Assunta Church (Torcello): Church-€6, museum-€4; church open daily 10:30-17:30, Nov-Feb 10:00-17:00; museum and bell tower close 30 minutes earlier, museum closed Mon year-round; museum +39 041 730 761.

Visitor Information: Pick up a free map of the lagoon and its islands from any TI. Two words you’ll see all day: vetri (glass, Murano’s specialty) and merletti (lace, Burano’s specialty).

Starring: World-famous Venetian glass and lace, the mosaics of the oldest Venetian church, outrageously colorful fishermen’s villages, and the quieter side of Venice.

STARTING YOUR JOURNEY

Our tour starts at the Fondamente Nove vaporetto stop, on Venice’s north shore (the “back” of the fish).

Fondamente Nove is a pleasant 15- to 20-minute walk from Rialto or St. Mark’s. Start by making your way to Campo Santa Maria Formosa. Then navigate north, following signs to the Church of SS. Giovanni e Paolo. Continue north, walking alongside the long straight canal, on Fondamenta dei Mendicanti. When you reach the lagoon, turn left and walk a few blocks to Fondamente Nove.

Alternatively, you could reach Fondamente Nove by vaporetto: From San Zaccaria (near St. Mark’s), take the #4.1 (35 minutes). From the train or bus station, take #4.2 (30 minutes).

Note that during summer, there are (slightly faster) express vaporetti that go directly to Murano-Colonna (if you’re OK with skipping the first stop on our tour, the cemetery on San Michele): From San Zaccaria, catch the #7, or from the train/bus stations catch the #3.

THE ROUTE

From Fondamente Nove, take the #4.1 or #4.2 vaporetto for Murano (about every 10 minutes). On the way, get off at the Cimitero stop on the island of San Michele to see the cemetery (6-minute ride). Continue on to Murano, arriving at the Murano-Colonna stop (3-minute ride). Sightsee Murano, as you make your way to the Murano-Faro stop, where you board vaporetto #12 for the trip to Burano (30-40 minutes). From Burano, you can side-trip to Torcello (on the #9, 5-minute trip each way). To return to Venice from Burano, take vaporetto #12 all the way back to Fondamente Nove (45 minutes). For a longer, more scenic return past even more lagoon islands, you could take the #14 from Burano to the San Zaccaria dock near St. Mark’s Square (70 minutes).

The Tour Begins

• After leaving Fondamente Nove, the next stop of the #4.1 and #4.2 vaporetto lines is Cimitero. On the way you may see a sculpture in the water of two people in a boat heading toward the cemetery. It’s The Barque of Dante, ferrying Dante and Virgil to the afterlife. At the dock, hop off for a short visit to...

SAN MICHELE

The cemetery island’s location—directly across the water from the emergency room of Venice’s Santi Giovanni e Paolo hospital—is just a coincidence. The stopover is easy, since boats are frequent. If you even half-enjoy wandering through old cemeteries, you’ll dig this one—it’s full of flowers, trees, scurrying lizards, and birdsong, and has an intriguing chapel.

The island, which is dedicated to St. Michael and holds a Renaissance church, became Venice’s cemetery in 1806 when Napoleon decreed that it was unhygienic to bury bodies within a city. As a result, Venice’s coffins were shipped out to San Michele, and since then, Venetians have been buried here. You’ll find the dearly departed (many with their photos) sorted into sections (campi) of priests (preti), nuns (suore), monks (frati), children (bambini), civilian victims of war, soldiers, military sailors (marinai), and so on. The cemetery is divided into numbered zones called recinti.

Foreign Romantics and artists who made Venice their adopted hometown have also chosen this spot as their final resting place. Because many came from other cultures and weren’t Catholic, you’ll find them in the Evangelico (Protestant) section, Recinto XV; and the Greco (Orthodox) section, Recinto XIV. To find these sections—with the graves of the most famous foreigners—go basically straight ahead from the entrance to the far end, following the maps and signs.

In Recinto XV lies Idaho-born poet Ezra Pound. While his works are less familiar than his contemporaries’, he was a huge influence on his fellow Modernists, most notably James Joyce and T. S. Eliot. A fan of Mussolini, he made anti-American broadcasts during World War II. Instead of being tried for treason after the war, he spent 12 years in a hospital for the “criminally insane.” Eliot, Robert Frost, Ernest Hemingway, and others eventually lobbied for his release, which came in 1958. From the Evangelico gate, he’s in the near-left quarter of the section—look for a small stone in a large plot, with three large bushes.

Nearby is the grave of Nobel Laureate and onetime US Poet Laureate Joseph Brodsky (1940-1996), who was expelled from Soviet Russia, lived the rest of his life in America, and asked to be buried here in Venice. It’s in the far-left quarter, facing the gravel path and Ezra Pound.

Recinto XIV (the “Greco” section) is nearby: Exit the Evangelico gate and turn left, following the wall until you reach the gate marked Rec. Greco. Inside, go to the back wall (far right side) to find Russian-born Modernist composer Igor Stravinsky (alongside his wife) and the Russian dancer/choreographer Diaghilev (back wall, left side; the canopied tomb is often piled with ballet slippers left in homage by his admirers).

• Return to the dock and catch any #4.1 or #4.2 vaporetto heading toward the right (boats leave every 10 minutes). While you’re waiting, look for the blue funeral boat with a rack on wheels for the coffin. It’s usually moored next to the vaporetto.

It’s just a three-minute crossing to the Murano-Colonna stop. (If the vaporetto’s too crowded, you could just swim it.) As you approach the island of Murano, you’ll see its ghostly lighthouse (faro) off to the right. In centuries past, the faro guided boats from the open sea into town. Near the lighthouse is the stop where you’ll leave Murano for the island of Burano.

MURANO

Murano (worth ▲) is famous for its glass factories. A 1292 Venetian law restricted glass production (and its dangerous furnaces) to Murano to prevent fires on the main island...and to protect the secrets of Venetian glassmaking. Originally, glassmakers made mosaic tiles, later branching out to produce the ornate vases, beaded necklaces, glass sculptures, and wine decanters you’ll see here today.

Murano may seem dominated by glassworks and the glass shops that line its main canal, but there’s much more to the island. If you take time to wander, you’ll find impressive churches, scenically situated restaurants, and untouristed residential areas.

1   Fondamenta dei Vetrai: From the Colonna vaporetto stop, skip the glass shops in front of you, walk to the right, and wander up the street along the canal, Fondamenta dei Vetrai (Glassmakers’ Embankment). The Faro district of Murano, on the other side of the canal, is packed with factories (fabriche) and their furnaces (fornaci). The brick buildings give Murano a 19th-century, Industrial Age look and feel. At #14 is the entry to the island’s small indoor shopping mall, with a Despar supermarket on the upper floor (closed Sun).

You’ll pass dozens more glass shops along the canal. Window-shopping here can be as much fun as buying—the personality, style, and prices of wares vary wildly from place to place. Early along this promenade, at #37, the gallery of Murano native Cesare Toffolo displays his delicately crafted vases, glasses, and jars in a range of Venetian colors (www.toffolo.com). Farther along, at #47, is the high-class and pricey Venini shop, with an interior showing off the ultimate in modern Venetian glass design (closed Sun). The storefronts along here display everything from knickknacks to vases to, well, glasses. Note that the really cheap places likely aren’t selling authentic Murano glass; if that matters to you, ask. (Several shops sport signs pointedly reminding potential customers that their glass may be a bit more expensive...because it’s not made in China.) If your browsing starts turning to buying, be sure to read my tips on here. And remember, if you see something you like, get it...you may not find it elsewhere.

Continue up Fondamenta dei Vetrai until you see a tower (built as a fire lookout in this city of furnaces) on your right and a church on your left.

2   Church of San Pietro Martire: The church (free) features Giovanni Bellini’s richly color Virgin Enthroned with Mark and a Kneeling Doge (right wall, center). This votive painting—showing a doge being presented to the Virgin Mary by St. Mark—was the doge’s way of asking for divine protection and favor during his reign. The doge wears a luxurious ermine cloak (a symbol of royalty) and a ducal crown hat.

The sacristy/museum (€3, closed Sat-Sun) displays sacred vessels and items from the 1600s and later. You’ll see ceremonial religious objects and statues, as well as photos showing these objects being used in modern-day Venetian parades. The piles of relics in glass cases are shown alongside their corresponding certificates of authenticity issued by the Vatican.

3   Residential Murano: For a slice of local life, continue past the church along the canal, bending left and passing the big, green metal bridge. Keep going as the promenade bears left and feeds you down the street called Ramo da Mula, and wander this very tidy “subdivision.” In this old shell there’s a new vibrancy, as tourist-swamped Venice’s high rents and real-estate prices have driven locals to the outlying islands. Behind the glass shops, Murano is a workaday community of 6,000 residents. It has real neighborhoods, with moms shopping at markets, schools filled with noisy children, bikes in the front yards, and benches warmed by Venetian old-timers.

Guided Tours to Murano

I recommend the self-guided tour in this chapter. But if you’d like to travel with a group or test your ability to resist a smooth-talking Italian glass salesperson, consider these alternative ways to get there.

By Speedboat Tour to Murano, Burano, and Torcello

The easiest—and priciest—way to see Murano, Burano, and Torcello is to pay €25 for a rushed and touristy 4.5-hour “Green Line” speedboat tour, run by Alilaguna (the same outfit that runs the airport boats). They leave up to seven times per day in summer from the San Marco-Giardinetti dock; book online or look and listen for guides calling out for potential passengers (generally every half-hour 9:00-16:00, fewer cruises Nov-March, +39 041 240 1711, www.alilaguna.it). The tours are speedy indeed—live guides race through the commentary in up to five languages—and boats stop for roughly 40 minutes at each island. The stops are for glassblowing and lacemaking demonstrations followed by sales spiels, leaving no time to explore on your own.

A Free Ride to Murano—with a Sales Pitch

You can also get to Murano for free on a speedboat. Tourists are practically kidnapped from St. Mark’s Square by the aggressive sales reps who then ferry them out to the island (35-minute ride). Your only obligation is to sit through a fairly interesting 20-minute glassmaking demonstration and a high-pressure sales pitch. After that, you’re on your own. (In fact, they don’t promise you a trip back to Venice.)

Backtrack to the embankment, and use the green bridge to cross the Grand Canal of Murano. Once across, turn right. If you’re in the mood for a gelato, duck down the first real side street, Calle dal Mistro, to the tiny Murano Gelateria, where you can try classic (lime) as well as limited edition (seaweed) flavors. Back on the embankment, you’ll pass another unique shop, La Murrina, with elegant and modern home-decor items, such as striking chandeliers (closed Tue, Riva Longa 17).

Continue past the shop, then pass a smaller Co-op supermarket and the Murano-Museo vaporetto stop. Where the canal bends left, look for Murano’s Glass Museum (a large white building).

4   Glass Museum: Housed in a fine patrician building, Murano’s ▲ Glass Museum (Museo del Vetro) has been preserving glass produced on the island since 1861. With cleanly designed galleries and a stellar collection, this is the best place in Venice to learn about the history of glass and its various techniques. Of particular interest are the rooms devoted to the golden age of Venetian glass art—the era between the 14th and 17th centuries. It was then that Venetian craftsmen figured out, for the first time, how to make entirely transparent glass. In the central hall, don’t miss the chandeliers overhead, made for and displayed at the 1867 Paris World’s Fair.

5   Santa Maria e San Donato Church: One hundred yards farther along the canal is Santa Maria e San Donato Church, the architectural highlight of Murano. Note the fine Byzantine Romanesque exterior—especially the stonework of its apse, facing the canal. At the base of the towering campanile is an elaborate memorial to residents of the Veneto (the region surrounding Venice) who have been lost fighting in all wars. Now head inside the church (free). The interior takes you back to the 12th century. Built when St. Mark’s Basilica was under construction, the highlights are its inlaid stone floor and the gorgeous mosaic above the altar. It features Mary as God’s mother, gliding in from heaven on her carpet, blessing the faithful with two open hands.

From the church, backtrack to the green bridge and cross back toward San Pietro Martire. Near the church, cross the narrow canal and turn right onto Fondamenta Daniele Manin.

6   Mosaici Donà Murano: This fourth-generation shop, at #86, makes glass pieces for mosaics. Many of the beautiful panels you’ve seen in churches here or in Venice had their origin on Murano. Glass plates in different textures and colors come out like pizzas, then are cut into smaller pieces for easy placement. Small bags of mixed glass pieces make an affordable, fun, and lightweight souvenir (closed Sun, www.mosaicidonamurano.com).

Continue down Fondamenta Daniele Manin, then turn left on the street called Bressagio, which takes you toward the white-stone lighthouse (faro). To your right are some of Murano’s actual glass factories and their showrooms, including...

7   Ai Dogi: At #25, the Ai Dogi factory’s showroom has an open kiln area where you can watch a glassblower at work. While most such demos on Murano come with a pushy sales pitch, Ai Dogi just lets you watch a maestro work their magic (roughly 9:30-15:30—often with a lunch break, no activity Sat-Sun or on particularly hot days).

• To continue our tour, walk over to the Murano-Faro vaporetto stop and catch the #12 vaporetto to Burano (2-3/hour, 30-40 minutes, boat destination may say Treporti or Punta Sabbioni). If you’d prefer to head straight back to Venice, take either the #3 vaporetto (for the train station and bus station), the #4.2, #12, or #13 (for Fondamente Nove), or the #7 (for St. Mark’s Square). The #4.1 is a much slower way back, as it loops around Murano before heading back to Fondamente Nove.

BURANO

Famous for its lace and outlandishly colorful houses, Burano (worth ▲) is a sleepy island with a sleepy community (pop. 2,700)—village Venice without the glitz. Its vibrantly painted homes look like Venice before the plaster peeled off. Each adjoining townhouse is painted its own color. When Venice was a showy city of merchants, Burano was a humble town of fishermen. Though tourists clog the island’s main drag by day, at night it’s quiet. Laundry hangs over alleyways, and sunshades (typical of the area) cover the doors of residents’ homes. The church’s bell tower leans at a five-degree angle...the same as Pisa’s. Beyond the touristy core, Burano holds many back lanes and Technicolor-tranquil canals.

This town’s history is ancient, dating back to when the island was, like Torcello, a haven for mainlanders fleeing from barbarian invasions. “Burano” likely comes from “Porta Boreana”—the city gate from the settlers’ hometown that faced the bracing Bora wind. It’s that same wind that meant survival on the lagoon. It kept away the malaria-carrying mosquitoes that made other places (like Torcello) less habitable, and whisked sailing fishermen away from the stagnant waters nearby. (Nevertheless, Burano is often engulfed in the fog that’s so common on the lagoon—the island’s vividly painted facades helped those fishermen find their way home in the mist.)

Burano can be covered in a 15-minute stroll. From the vaporetto dock, follow the crowds into the center. The tight main drag is packed with tourists and lined with shops, some of which sell Burano’s locally produced white wine. Soon you’ll hit the first of many picture-perfect Burano canals; turn left and follow it straight ahead to a bridge, which deposits you on the main square, Piazza Galuppi—jammed with lace shops, restaurants, and happy shutterbugs.

Lace Shops: Most tourists visit Burano for its lace, and they’re not disappointed. Lace is cheaper in Burano than in Venice, and serious shoppers should comparison-shop in Venice before visiting Burano. Of the many lace shops, I like Merletti d’Arte dalla Lidia for its fine private museum (in the rear of the shop and upstairs). Paola, who speaks English, gives visitors a warm welcome as she shows off masterpieces of lace from all over Europe. Use a magnifying glass to marvel at the intricate knots, and be sure to go upstairs (just off the big square opposite the leaning tower at Via Baldassarre Galuppi 215, +39 041 730 052, www.dallalidia.com).

Lace Museum: Lace fans enjoy the Lace Museum (Museo del Merletto di Burano), with a small but modern and well-presented exhibit about Burano’s favorite product. The visit begins on the ground floor, with a 20-minute film telling the history of Burano and the significance of lace during Venice’s golden age. You’ll learn how the intricate patterns of lace were inspired by the ornate Gothic facades of Venice, the city where they claim the craft was invented, or at least perfected. Then you’ll head upstairs to see lots of actual antique lace (slide the drawers to see more samples) as well as some actual, antique lacemakers, squinting at the windows while they work.

Boating in Venice

Italian law stipulates that a luxury tax is levied on all boats—except in Venice, where they’re considered a necessity. Venetians go everywhere by boat. Calling a taxi? A boat comes. Going to the hospital to have a baby? Just hop on the vaporetto. Garbage day? You put your bag on the canal edge, and a garbage boat mashes it and takes it away.

Many residents own a boat, though it’s not always practical for everyday activities. If you want to cruise to the grocery store, you first have to check the tide table to make sure your boat can fit beneath certain bridges. And parking is always a huge problem everywhere—either you know a friend nearby with a grandfathered parking space, or your partner has to “circle the block” while you shop.

Locals rely more on the public vaporetti and traghetti. While tourists pay plenty for these boats, Venetians ride cheap and easy. An all-year pass costs less than €1 a day.

Gondolas are strictly for tourists these days, but in earlier times, these flat-bottomed boats were the only way to negotiate the tricky, shallow lagoon. The oarsman had to stand up in the back of the boat to see oncoming sandbars. Today, boats ply confidently between the shifting sandbanks of the lagoon, thanks to thoroughfares defined by modern pilings.

While many Venetians own a car for driving on the isle of Lido or the mainland, they admit they’re “not very much beloved on the road.”

San Martino Vescovo Church and Leaning Bell Tower: Enter the church from the corner of the square (free entry, typically closed 12:00-15:00). It has a fine, restored Tiepolo painting of the Crucifixion (along the left wall of the nave, near the back).

Now circle around the back of the church to appreciate the bell tower’s angle of repose (from the main street, it actually looks straight). Here at the far end of the island, the mood shifts. A grassy area, with benches and a waterside promenade, makes for a pretty picnic spot. Continuing all the way around the church brings you into a peaceful yet intensely colorful small-town world and, eventually, back to the main street or the vaporetto dock. The park next to the dock is also good for a picnic.

Eating on Burano: You’ll find plenty of touristy eateries on Burano, all enthusiastic about their fish. While you have plenty of options for a quick bite, if you want to dine, consider family-run $$$ Trattoria al Gatto Nero da Ruggero. For three generations, they’ve been serving good, traditional dishes outside overlooking the peaceful canal or in the dressy interior (Tue-Sat 12:30-15:00 & 18:00-21:00, lunch only on Sun, closed Mon, reservations smart, crisp service, 5-minute walk from the ferry dock and from the thriving main tourist drag at Fondamenta de la Giudecca 88, +39 041 730 120, www.gattonero.com).

• To reach our tour’s next stop, Torcello, board #9 vaporetto shuttle (4/hour, 5-minute ride, leaves from dock A, just left of the main Burano dock; shuttle runs between 9:30 and 18:00—outside those times, #12 stops at Torcello). If you want to skip Torcello and return to Venice, see the end of the chapter for your options.

TORCELLO

This is the birthplace of Venice, where some of the first mainland refugees settled, escaping the barbarian hordes. Yet today, Torcello (worth ▲) is the least-developed island (pop. 20) in the most natural state, marshy and shrub-covered. Come here to escape the crowds and relax—the island will not demand much of you. There are a few cafés with leafy outdoor seating, and those interested in church art can view Santa Maria Assunta Church, the oldest in the Venetian lagoon (built in 639; reconstructed in 1008). It still sports some impressive Venetian-Byzantine mosaics. It’s a 10-minute walk, with full sun, from the vaporetto dock to the church.

As you stroll from the dock through a salty canalside landscape, think of the original inhabitants. Romanized farmers came here, escaping the Germanic barbarians who started streaming through the mainland in the fifth century. By the 11th century, the teeny island had 11 churches. But one look around makes it easy to understand why this place was inhospitable—the farming was poor, there was no fresh water, and mosquitoes and malaria were big problems. Even though residents diverted the flow of mainland rivers, the lagoon silted up around them anyway, and the island was slowly abandoned.

Approaching the church, you’ll pass by the remote yet fancy Locanda Cipriani Hotel next door. With just five rooms, it’s hosted Thomas Mann, Queen Elizabeth II, and Princess Diana. Its restaurant is the most expensive of the five or so that vie to feed the lunch crowd on Torcello. Of these, the best pick is probably the $$$ Villa 600, with its shaded garden terrace (Thu-Tue 12:00-15:30, bar open 11:00-18:30, closed Wed, +39 041 527 2254, www.villa600.it).

Santa Maria Assunta Church: This complex consists of four sights—the church itself; the bell tower (may be closed for renovation when you visit, behind the church, climb a ramped stairway for great lagoon views); a small museum (facing the church, in two separate buildings, but with little to see—mainly just sparsely described artifacts, including a few sixth-century mosaic fragments); and the smaller, free church of Santa Fosca (by the Sacrum sign). The main church is the only one of these really worth paying to visit, but various combo-tickets let you get into the other sights as you like. There’s a pay WC in a corner behind the museum.

The circular ruins in front of the church are what’s left of a baptistery from the ninth century; in those days, you couldn’t enter a church until you were baptized.

Inside the church, the brick walls and wood beams of the ceiling are classically Venetian building materials—that is, flexible, to accommodate the ever-shifting sands underneath.

The altar has the relics of St. Heliodorus (d. 390), a local-born bishop who was the travel partner of the famed St. Jerome on a trip to the Holy Land. The columns of the rood screen (separating the altar area from the congregation) were obviously scavenged from elsewhere—note the variety of capitals.

The apse mosaic (over the altar) shows Mary and Baby Jesus above and the 12 apostles below. Her three stars symbolize her virginity: before, during, and after giving birth to Jesus.

In the right apse, with its sumptuous vault, find Christ Pantocrator, ruler of all, flanked by archangels Michael and Gabriel. On the ceiling, Christ is represented by the sacrificial lamb.

The mosaic on the back wall is justifiably famous and worth examining. Six horizontal bands depict the Last Judgment (and other scenes). From top to bottom, see:

1. The Crucifixion.

2. A striding Christ pulling an elderly, bearded Adam (with Eve behind him) out from Limbo while stepping on a devil.

3. Christ, in an almond-shaped bubble, as the Creator, flanked by John the Baptist, Mary, and other holy souls in Paradise. From the bottom of the bubble pours a river of fire, which runs down the wall to hell.

4. Angels preparing the Throne of Judgment—empty except for a book (whose seven seals, it was predicted, will be broken during Judgment Day). Note Adam and Eve kneeling below.

5 and 6. Archangel Michael (over the door) weighing souls on a scale, while mischievous devils try to tip the scales in their favor.

On the right are the fires of hell, where sinners—many of them turbaned Muslims—are tormented by black-skinned demons. A crude display of the seven deadly sins appears at the lower right: pride (crowned heads in flames), lust (bodies in flames), gluttony (guys eating even their fingers), envy (skulls with worms eating out their coveting eyes), anger (men waist-deep in cold water to cool down), greed (fancy earrings), and laziness (useless hands and cut-off feet).

• Avoid the eighth deadly sin—missing your vaporetto—by allowing at least 15 minutes to get from the church back to the boat dock.

From Torcello, return to Burano on the #9 vaporetto, and then board vaporetto #12 for Fondamente Nove, where we started this tour (45 minutes).

For a longer cruise back to Venice, you can take the #14 from Burano, which stops at Treporti and Punta Sabbioni, then the Lido, and finally the San Zaccaria dock near St. Mark’s Square (hourly, 70-minute trip).

ST. MARK’S TO RIALTO LOOP WALK

Orientation

The Walk Begins

St. Mark’s Square

1   Harry’s American Bar

Map: St. Mark’s to Rialto Loop Walk

2   San Moisè Church

3   La Fenice Opera House (Gran Teatro alla Fenice)

4   Ponte de la Verona

5   Campo Manin

6   Scala Contarini del Bovolo

7   Teatro Goldoni

8   Rialto Bridge

9   Campo San Bartolomeo

Mercerie

10   Casino

Just a few right and left turns (simple!) can get you from St. Mark’s Square to the Rialto Bridge via a completely different route from the one most tourists take. Along the way, take in some lesser sights in the area west of St. Mark’s Square. Then we’ll return to St. Mark’s along the tourists’ main drag, the Mercerie.

Orientation

Length of This Walk: Allow one hour for a leisurely walk.

San Moisè Church: Free, Mon-Sat 9:30-12:30 & 15:30-19:30, Sun 15:30-19:30.

La Fenice Opera House: €11 for dry 45-minute audioguide tour, generally open daily 9:30-18:00, theater box office open daily 10:00-17:00.

Rialto Market: The souvenir stalls are open daily, the produce market is closed on Sunday, and the fish market is closed on Sunday and Monday. The market is lively only in the morning.

The Walk Begins

St. Mark’s Square

• From the square, walk to the waterfront and stop between the two columns. You’re walking on recently raised Venice—in 2006, the stones were taken up and six inches of extra sand put down to minimize flooding.

You’re at the front porch of Venice. Survey this grand scene with your back to the water. It reflects the Renaissance ideal of an urban layout: A proper city needs a formal entry. These pillars say “welcome to an aristocratic republic.” The library (on your left) represents wisdom. The palace (right), with Lady Justice (never blindfolded in Venice) on top, represents righteousness. Medieval towns were cluttered. A grand Renaissance city has grand vistas. At the far end, the Clock Tower lets all know how much daylight is left (“XXIIII” is not set at midnight but changes with sunset). This monumentality wasn’t always here. Before the 16th century there was no library. That’s where you’d find the baker, butcher, and cheese shops.

• Now, turn left to walk past the library, heading for a white pavilion.

Beyond the library stands the old mint—looking pretty Fort Knox-y. In the 16th century the Venetian ducat—the dollar of Europe—was minted here.

Along the busy waterfront, you’ll see the various boats that ply Venice’s waters. Classic wooden motorboats operating as water taxis. Gondolas ferrying lovestruck tourists. Hotel shuttle boats bringing guests here from distant, $700-a-night hotels.

Run the gauntlet of souvenir stands to the entrance to the Giardinetti Reali (Royal Gardens, once the site of a huge grain-storage depot that was destroyed by Napoleon). The grounds (with ample benches) offer some precious greenery in a city built of stone on mud.

After the park entrance, the walkway takes you to a cute 18th-century former coffeehouse pavilion. Go around the left side of the pavilion and—from atop the bridge—look across the mouth of the Grand Canal to view the big dome of La Salute Church. The guy balancing a bronze ball on one foot is on top of the old Customs House, which now houses the Punta della Dogana contemporary art museum.

• Twelve steps down and 20 yards ahead on the right is...

1   Harry’s American Bar

Hemingway put this bar on the map by making it his hangout in the late 1940s. Today, you’ll see plenty of dressed-up Americans looking around for celebrities. The discreet (and overpriced) restaurant upstairs is where the glitterati hang out. The street-level bar is for gawkers. If you wear something a bit fancy (or artsy bohemian), you can pull up a stool at the tiny bar by the entrance and pay too much for a Bellini (prosecco and peach puree), which was invented right here.

• Head inland down Calle Vallaresso, one of Venice’s most exclusive streets, past fancy boutiques such as Tiffany, Brunello Cucinelli, and Roberto Cavalli. At the T intersection, turn left and head west on Salizada San Moisè (which becomes Calle Larga XXII Marzo)—the Fifth Avenue of Venice with Gucci, Prada, Versace, and company. (A left turn down Calle del Ridotto leads to the fine, recommended canalfront bar, L’Ombra del Leone.) Continue to the first bridge and a square dominated by the fancy facade of a church. Climb the bridge and, against a soundtrack of tourists negotiating with hustling gondoliers, look back at the ornate...

2   San Moisè Church

This is the parish church for St Mark’s; because of tourist crowds at the basilica, this is where the community worships. While it’s one of Venice’s oldest churches, dating from the 10th century (note the old tower on the right), its busy facade is 17th-century Baroque. This was an age when big shots who funded such projects expected to see their faces featured (see the bust of Mr. Fini in the center—flanked by tombs of his brother and nephew all actually buried into the facade). Moses (Moisè) caps the facade.

Inside, the altarpiece depicts Mount Sinai, with Moses (kneeling) receiving the two tablets with the Ten Commandments. The alcove to the left of the altar has Tintoretto’s 16th-century Christ Washing the Disciples’ Feet.

• Continue over the bridge, down Calle Larga XXII Marzo, a big street that seems too wide and large for Venice. It was created during the 19th century by filling in a canal. You can make out the outline of the sidewalks that once flanked the now-gone canal. Pass by the Vivaldi look-alikes selling concert tickets and vendors illegally selling knockoffs of Prada bags.

Halfway down the street, after passing the grand Borsa (the former stock exchange), turn right on tiny Calle del Sartor da Veste. Go straight, crossing a bridge. At the next square, you’ll find...

3   La Fenice Opera House (Gran Teatro alla Fenice)

Venice’s famed opera house, completed in 1792 (read the “MDCCXCII” on the facade), was started as a business venture by a group of nobles who recognized that Venice was short on entertainment opportunities for the well-heeled set. (In the 18th century, aristocrats strolled around several months out of the year with little to do.)

La Fenice was reduced to a hollowed-out shell by a disastrous fire in 1996. After a vigorous restoration campaign, “The Phoenix”—true to its name—has risen again from the ashes. La Fenice resumed opera productions in 2004, opening with La Traviata. The theater is usually open daily to the public (for information, see here).

Venice is one of the cradles of the art form known as opera. An opera is a sung play and a multimedia event, blending music, words, story, costume, and set design. Some of the great operas were first performed here in this luxurious setting. Verdi’s Rigoletto (1851) and La Traviata (1853) were actually commissioned by La Fenice. The man who put words to some of Mozart’s opera tunes was a Venetian, Lorenzo da Ponte, who drew inspiration from the city’s libertine ways and joie de vivre. In recent years, La Fenice’s musical standing was overshadowed by its reputation as a place for the wealthy to parade in furs and jewels.

• Passing La Fenice, continue north along the same street (now called Calle de la Verona), to a small bridge over a quiet canal.

4   Ponte de la Verona

Pause atop this bridge, where reflections can make you wonder which end is up. Looking above you, see bridges of stone propping up leaning buildings.

People actually live in Venice. Notice their rooftop gardens, their laundry, their plumbing, the electricity lines snaking into their apartments, and the rusted iron bars and bolts that hold their crumbling homes together. On one building, find centuries-old relief carvings—a bearded face and a panel of an eagle with its prey. Below you is an old water gate indicating that this was once a merchant’s house.

While many Venetians own (and love) their own boats, parking watercraft is a huge problem. Getting a spot is tough, and when you finally find one, it’s very expensive and rarely near your apartment. (For more on boating in Venice, see here.)

People once swam freely in the canals. Find the sign that reads Divieto di Nuoto (“swimming not allowed”).

• Continue north. At the T intersection, turn right on Calle de la Mandola. You’ll cross over a bridge into a spacious square dominated by a statue and an out-of-place modern building.

5   Campo Manin

The centerpiece of the square is a statue of Daniele Manin (1804-1857), one of a group of patriotic visionaries who foresaw the unification of Italy (the Risorgimento) 20 years before it happened. The statue faces the red house Manin lived in. Chafing under Austrian rule, the Venetians rose up in 1848. The Austrians laid siege to the city (1849) and bombarded it into surrender. The fiery leader Manin was banished and spent his final years in Paris, still proudly drumming up support for modern Italy. In a rare honor, he’s buried at St. Mark’s Basilica.

• Our next stop, the Scala Contarini del Bovolo, is a block south of here, with yellow signs pointing the way. Facing the Manin statue, turn right and exit the square down an alley. Turn left with the street, then immediately follow yellow signs to the right, into a courtyard with one of Venice’s hidden treasures.

6   Scala Contarini del Bovolo

Spiraling up the facade of an old palazzo, the scala (staircase) is a cylindrical brick tower with five floors faced with white limestone banisters.

Built in 1499, the external staircase broadcast the wealth of the palazzo owners and saved interior space for rooms. Architecture buffs admire the successful blend of a Gothic building with a Renaissance staircase. The garden is a graveyard of old cistern wellheads.

If the tower is open, you can pay €8 to wind your way up the “snail shell” (bovolo in the local dialect). It’s 113 steps to the top, where you’re rewarded with views of the Venetian skyline (www.gioiellinascostidivenezia.it).

• Unwind and return to the Manin statue. Continue east, circling around the right side of the big Cassa di Risparmio bank, marveling at its Modernist ugliness. At Campo San Luca, walk halfway through the square, then turn left (north) on Calle del Forno. Heading north, glance 20 yards down the street to the right at the flag-bedecked...

7   Teatro Goldoni

Though this theater dates from the 1930s, there’s been a theater here since the 1500s, when Venice was at the forefront of secular entertainment. Many of Carlo Goldoni’s (1707-1793) groundbreaking comedies were first performed here. Before Goldoni’s time, most Italian theater was formulaic and somewhat contrived, but Goldoni portrayed real-life situations of the new middle class—and with a refreshing sense of humor and honesty. Thanks in part to his ample use of the Venetian dialect, he remains especially popular in his native city, and the theater was renamed in his honor. Today, Teatro Goldoni is still a working theater of mainly Italian productions.

• Continue north on Calle del Forno. You’re very close to the Grand Canal. Keep going north. At the small square, jog left and then right onto a lane that leads past a big modern Co-op supermarket to the Grand Canal. Walk right out to the end of the small wooden pier for a grand view. On your right is the Rialto Bridge. The two palaces a few steps behind you are Venice’s City Hall—blue posts with golden lions mark city government buildings. Notice the speedboats with shiny varnish parked and awaiting their VIPs. Now look down the Grand Canal (opposite the Rialto Bridge). Obelisks atop the palace across the canal mark the former home of a five-star admiral—a rank only bestowed in wartime—and the family gets obelisk bragging rights for centuries. (Today those twin obelisks mark the ritzy hotel where George Clooney got hitched.)

Continue to the...

8   Rialto Bridge

Of Venice’s more than 400 bridges, only four cross the Grand Canal. Rialto was the first among these four.

The original Rialto Bridge, dating from 1180, was a platform supported by boats tied together. It linked the political side (Palazzo Ducale) of Venice with the economic center (Rialto). Rialto, which takes its name from rivo alto (high bank), was one of the earliest Venetian settlements. When Venice was Europe’s economic superpower, this was where bankers, brokers, and merchants conducted their daily business.

Rialto Bridge II was a 13th-century wooden drawbridge. It was replaced in 1588 by the current structure, with its bold single arch (spanning 160 feet) and arcades on top designed to strengthen the stone span. Its immense foundations stretch 650 feet on either side. Heavy buildings were then built atop the foundations to hold everything in place. The Rialto remained the only bridge crossing the Grand Canal until 1854.

Marking the geographical center of Venice (midway down the Grand Canal), the Rialto is the most sensible location for retail shops. The government built it with the (accurate) expectation that it’d soon pay for itself with rent from the shops built into it. Like the (older) Ponte Vecchio in Florence, the Rialto was originally lined with luxury gold and jewelry shops. The bridge is cleverly designed to generate maximum rent: three lanes, two rows of 12 shops each, with a warehouse area above each shop under the lead-and-timber roof.

Reliefs of the Venetian Republic’s main mascots, St. Mark and St. Theodore, crown the arch. Barges and vaporetti run the busy waterways below, and merchants vie for tourists’ attention on top.

The Rialto has long been a symbol of Venice. Aristocratic inhabitants built magnificent palaces just to be near it. The poetic Lord Byron swam to it all the way from Lido Island. And thousands of marriage proposals have been sealed right here, with a kiss, as the moon floated over La Serenissima.

• From here, you can continue this walk and return to St. Mark’s Square or pick up my Rialto to Frari Church Walk (next chapter). Either way, you might want to take a break to check out the fish and produce market that lies just over the bridge. To continue this walk, follow me along the Mercerie, the most direct (and tourist-clogged) route back to St. Mark’s. From the base of the Rialto Bridge (on the San Marco side), go 100 yards directly to...

9   Campo San Bartolomeo

This square is one of the city’s main crossroads. Locals routinely meet at the statue of Carlo Goldoni, the beloved and innovative 18th-century playwright for whom Teatro Goldoni, which we saw earlier, was named. The pharmacy on this square (marked by a green cross) keeps an electronic counter in its window, ticking down the population of Venice as it shrinks (52,981 on my last visit).

• Head to the right 100 yards, down Via 2 Aprile, setting your sights on the green and red umbrellas on the corner. They mark a stretch of town once famous for selling umbrellas and handbags. From there, turn left and follow the crowds 100 yards more along Marzaria San Salvador, a.k.a. the...

Mercerie

You’re in the city’s high-rent district. The Mercerie (or “Marzarie,” in Venetian dialect) is a string of connecting streets lined mostly with tacky tourist shops. Much of the glass displayed here is Chinese, not Venetian. (If you’re shopping for glass that’s actually made in Venice, look for the Murano seal.)

• When you get to the yellow two-way arrow “directing” you to San Marco, head right and then follow the flow left another 100 yards until you reach a bridge that makes for a fun gondola-viewing perch. At the top of the bridge, belly up to the railing on the left. Above the arcade on your left is the little iron balcony of the city’s best-preserved...

10   Casino

While humble from the outside, the interior is a great example of a classic Venetian space. If the windows are open, spy the lacy pastel and stucco ceilings inside. Though only a few of Venice’s casinos still exist, the city once had over a hundred of these “little houses”—city-center retreats for the palazzo-dwelling set. For many patricians, they served as 18th-century man caves, used for entertaining, gambling, and/or intimate encounters. For well-to-do women, casinos provided a different kind of escape: Inspired by Madame de Pompadour (Louis XV’s mistress), ladies would hold court with writers, artists, and avant-garde types.

• Cross the bridge and continue straight for 100 yards along Marzaria San Zulian. On the way, notice the metal, two-foot-high flood barrier braces at shop doors—and how merchandise is elevated in anticipation of high water (local insurance doesn’t cover floods).

When you hit the next schizophrenic Per S. Marco arrow (in front of the church), go right a few steps, then left onto Marzaria dell’Orologio, a street named for where you’re heading: the Clock Tower. You’re approaching St. Mark’s Square (back where you started this walk) and the city’s front door.

RIALTO TO FRARI CHURCH WALK

Orientation

Map: Rialto to Frari Church Walk

The Walk Begins

1   Campo San Giacomo

2   Historic Docks

3   Produce Market (Erberia)

4   Fish Market (Pescaria)

5   The Ruga

6   Campo San Polo

7   Church of San Polo (S. Paolo Apostolo)

8   Tragicomica Mask Shop

Cross the Rialto Bridge, and dive headlong into Venice’s thriving market area. The area west of the Grand Canal feels less touristy—a place where more “real” Venetians live. This chapter is less a collection of sights than it is an easy-to-follow route from the Rialto Bridge to the Frari Church and Scuola San Rocco. We’ll start by exploring a few down-home places near the Rialto, especially the lively produce and stinky fish markets. Then we’ll pick up the pace and walk a direct route through the San Polo area. Along the way, you’ll see everyday shops, pubs, and quiet squares that are at least a bit off the tourist path. We’ll end at the Frari Church and nearby Scuola San Rocco—a delightful artistic dessert.

Orientation

Length of This Walk: To walk directly from the Rialto Bridge to the Frari Church only takes 20 minutes. But allow a leisurely hour to see the markets and explore along the way.

When to Go: The markets are lively only in the morning. The produce market is closed on Sunday, and the fish market is closed on Sunday and Monday.

Church of San Polo: €3, Mon-Sat 10:30-13:30 & 14:30-17:00, closed Sun.

Tragicomica Mask Shop: Mon-Sat 10:00-13:00 & 14:00-19:00, on Calle dei Nomboli at #2800, +39 041 721 102, www.tragicomica.it. The owners are generally happy to show their workshop on weekdays to customers who buy a mask, though it’s best to make a reservation.

The Walk Begins

Start atop the Rialto Bridge. Gaze down the bridge (away from the St. Mark’s side) at the long street lined with a gauntlet of merchants’ stands. This area is where Venice got its start centuries ago as a global commercial power. The neighborhood still houses the city’s main market. And behind all those tourist-trinket stands are still real jewelry shops with a long tradition. In fact, it’s been called “Street of Jewelers” for more than 500 years.

• Let’s walk into the heart of Venice’s historic commercial center. Head down the bridge and start up the street. About 50 yards onward, you’ll see an old square on your right. Go to its fountain.

1   Campo San Giacomo

This square, named for the church that faces it, was ground zero for Venice’s lively global trade in the 1500s. As ships docked near Rialto Bridge and unloaded their goods, this courtyard became the center of trade and banking. It was decked out in High Renaissance style in the year 1520 (see the date “MDXX” on the arcade directly opposite the church). The square was designed to collect rainwater and store it in a cistern that once fed this fountain (for more on this ingenious system, see here).

Traders needed bankers, so this square also became Venice’s “Wall Street.” The line of buildings on the long side of the courtyard (now restaurants) was once a strip of banks. It’s still called Bancogiro, which means the place where merchants banked. In the days when carrying cash meant carrying gold and silver—heavy and dangerous—paper transfers between bank accounts were a godsend. Today, these popular eateries are worth checking out (described on here).

Opposite the church, find the granite statue of a hunchback supporting steps leading to a column. Back when this neighborhood was the Wall Street of medieval Europe, this column was the closest thing they had to a Wall Street Journal. Someone climbed the stair each noon and stood on the column to read aloud the daily news from the doge: which ships had docked, which foreign ambassadors were in town, the price of pepper, and so on. Behind the hunchback is Calle de la Sicurtà, named for the maritime insurance companies that once did business here.

The church facade is one of the oldest in town. Back before clocks had minute hands, its porch was a shelter for the poor. The spirit of St. James the Minor, for whom the church is named, watched over the business community, encouraging honesty in a time when banking regulations were nonexistent.

Today the church’s tranquil interior hosts an exhibition of historical musical instruments. Step inside (it’s free) to see a collection of old stringed instruments (mandolins, violins) that Venice helped popularize.

• Facing the church, turn left and walk between the Bancogiro buildings to the edge of the Grand Canal.

2   Historic Docks

Back when the Rialto Bridge was still a drawbridge (until the 1590s), big ships docked right here. Imagine the commotion as ships tied up to load and unload their spices, oil, wine, and jewels. They’d exchange money and goods at the Bancogiro banks—notice that the buildings face this way, too. The large white building nearby was and still is the city’s fiscal administration building. Notice how it tilts out (probably because the bridge’s huge foundation is compressing the mud beneath it).

Now walk toward the Rialto Bridge along the canal to a little canalside dead-end. Take in the great view of the bridge. The big building directly across the Grand Canal was originally used by German merchants for lodging and trade (see the “Germanicus” seal). It’s been reincarnated as a shopping center popular for its roof terrace with a magnificent view.

You’re standing under a former prison. Study the iron grills over the windows. Notice the interlocking pipes with alternating joints—you couldn’t cut just one to escape.

• Now let’s see where goods are still unloaded today—at Venice’s market. From the prison, walk back along the canal and proceed through the triple archway. You’ll reach the stands (in the square named Casaria) of Venice’s...

3   Produce Market (Erberia)

Colorful stalls offer fresh fruit and vegetables, some quite exotic. Nothing is grown on the island of Venice, so everything is shipped in daily from the mainland or distant points on the lagoon. The Mercato Rialto vaporetto stop is a convenient place for boats to unload their wares, here in the heart of fish-shaped Venice. With the city’s narrow streets, everything must be hand-hauled on dollies by hardworking stevedores and deliverymen. At #203 (halfway down the first set of stalls, on the left), the shop called Macelleria Equina sells horse (cavallo) and donkey (asino) meat. Continue along the canal, exploring the produce stalls.

• Follow your nose straight ahead until you enter the brick open-air arcade that houses the fish market. Turn left and explore your way through the other arcade, as well.

4   Fish Market (Pescaria)

This market is especially vibrant and colorful in the morning. The open-air stalls have the catch of the day—Venice’s culinary specialty. Find eels, scallops, crustaceans with five-inch antennae, and squid destined for tonight’s risotto soaking in their own ink. This is the Venice that has existed for centuries: Workers toss boxes of fish from delivery boats while shoppers step from the traghetto (gondola shuttle) into the action. It’s a good peek at workaday Venice. Customers are exacting and expect to know if the fish is fresh or frozen, farmed or wild, Atlantic or Mediterranean (look for labels at some stands). Local fish are small and considered particularly tasty because of the high concentration of salt at this end of the Adriatic. Any salmon you see are farmed, mostly from northern Europe. It’s not unusual to pay €30 per kilo (about 2.2 pounds) for the best fish.

In the courtyard between the two market buildings, find the plaque on the wall that lists the minimum length a fish must be for it to be sold. Sardines must be seven centimeters; peocio (mussels) must be three centimeters. (Below that, someone has added a penis joke.)

• Continue exploring the market while walking away from the water. You emerge on Campo de la Becarie (“Butchers Square”). Turn left and follow Ruga dei Spezieri (“Spicers Road”) for about 100 yards. Along the way, pop into Antica Drogheria Mascari (on the right at #380), a small storefront that hides a vast enoteca inside holding 600 different Italian wines arranged by region, plus spices and lots of gifty edibles. Thirty yards past the drogheria, turn right. You’re at the head of a major street, called Ruga Vechia San Giovanni.

5   The Ruga

This busy street is lined with shops that Venetians patronize for their basic goods. It gets progressively less touristy and more practical the farther you go. There are fewer trinkets and more clothes, bread, shoes, blenders, shampoo, and underwear.

Note that the second street you pass on the right, Sotoportego dei Do Mori, leads to several recommended cicchetti bars. These local bars (clustered around Calle de le Do Spade) serve the Venetian version of tapas. If it’s lunchtime, consider dropping by one or more for a progressive feast. (See these options listed on here.)

• At this point, you can pretty much put this book down and walk for a while checking out the scene. Walk up the Ruga, which changes names as you go. Just keep heading basically straight (with a few little jogs). When in doubt, follow signs pointing to Ferrovia (train station). Our next stop is just a few minutes away—the vast, hard-to-miss square called...

6   Campo San Polo

One of the largest squares in Venice, Campo San Polo is shaped like an amphitheater, with its church tucked away in the corner (just ahead of you). Antica Birraria la Corte, a fine and family-friendly pizzeria/ristorante, is located at the far side (see listing on here). The square’s amphitheater shape was determined by a curved canal at the base of the buildings on the right. Today, the former canal is now a rio terà—a street made of landfill. A few rare trees grace the square, as do rare benches occupied by grateful locals. In the summer, bleachers and a screen are erected for open-air movies.

• On the square is the...

7   Church of San Polo (S. Paolo Apostolo)

This church, one of the oldest in Venice, dates from the ninth century (English description at ticket desk). The wooden, boat-shaped ceiling recalls the earliest basilicas built after Rome’s fall. While the church is skippable for many, art enthusiasts visit to see Tintoretto’s Last Supper (near the entrance) and Giovanni Battista Tiepolo’s Virgin Appearing to St. John of Nepomuk (middle of the long wall).

The highlight here is a series of dramatic paintings by Tiepolo’s son Domenico—The Stations of the Cross. Spend some time following the stops Jesus made from the moment he was condemned to death, to carrying his own cross, to crucifixion, to his bloody burial in the tomb. Find Domenico’s happy ending on the ceiling—the Resurrection, with Jesus springing from the tomb.

• From the Church of San Polo, continue about 200 yards (following Ferrovia signs). Along the narrow alley called Calle dei Nomboli, on the right at #2800 and directly across the alley from the Casa Goldoni museum, you’ll see the...

8   Tragicomica Mask Shop

One of Venice’s best mask stores, Tragicomica is also a workshop that offers a glimpse into the process of mask making. Venice’s masks have always been a central feature of the celebration of Carnevale—the local pre-Lent, Mardi Gras-like blowout. (The translation of Carnevale is “goodbye to meat,” referring to the lean days of Lent. For more on Carnevale, see the sidebar on here.) You’ll see Walter, Alessandra, and Giuliana hard at work.

Many masks are patterned after standard characters of the theater style known as commedia dell’arte: the famous trickster Harlequin, the beautiful and cunning Columbina, the country bumpkin Pulcinella (who later evolved into the wife-beating Punch of marionette shows), and the solemn, long-nosed Doctor (dottore). For more on masks, see the “Mask Making” sidebar in the Shopping in Venice chapter.

• Continuing along, cross the bridge and veer right. You’ll soon see purple signs directing you to Scuola Grande di San Rocco. Follow these until you bump into the back end of the Frari Church, with Scuola San Rocco next door. (Each sight is good enough to merit its own chapter in this book.) If you’re looking for perhaps the best Venetian art in situ, you’ve found it.

ST. MARK’S TO SAN ZACCARIA WALK

Orientation

The Walk Begins

1   Piazzetta dei Leoni

Map: St. Mark’s to San Zaccaria Walk

2   Back View of the Bridge of Sighs

3   Church of San Zaccaria

4   Riva

5   Famous View of the Bridge of Sighs

San Zaccaria, one of the oldest churches in Venice, is just a few minutes on foot from St. Mark’s Square. The church features a Bellini altarpiece and a mysterious submerged crypt that might be the oldest place in Venice. This short, easy-to-follow walk gets you away from the bustle of St. Mark’s, includes a stroll along the waterfront, and brings you right back to where you started.

Orientation

Length of This Walk: Allow about an hour for a leisurely walk and stop inside the church (though the actual distance is short).

Church of San Zaccaria: Free, €3 to enter crypt and choir chapel, €1 coin to illuminate Bellini’s altarpiece, Mon-Sat 10:00-12:00 & 16:00-18:00, Sun 16:00-18:00 only. Mass is held daily at 18:30 and Sun also at 10:00 and 12:00.

The Walk Begins

1   Piazzetta dei Leoni

Facing St. Mark’s Basilica, start in the small square to the left of the church (Piazzetta dei Leoni), with the 18th-century stone lions that kids love to play on. See the well and those drains in the pavement (behind the lions)? The felines are sitting on a cistern, fed by four drains.

Notice the nicely restored north side of the basilica, with fine 14th-century reliefs. Notice also the prayer entrance below the exquisite Porta dei Fiori. To the left, behind a black metal fence, is the tomb of Daniele Manin, the great 19th-century Italian and Venetian patriot.

The big white building at the far end of the square houses the offices of Venice’s “patriarch,” the special title given to St. Mark’s bishop. Venice’s most famous patriarch went on to be Pope John XXIII, the popular “Sixties Pope,” who oversaw major reforms in the Catholic Church (Vatican II). Locals still refer to him as “Il Papa Buono” (the good pope). A plaque on the building calls him “Beato Giovanni XXIII,” and in 2013, Pope Francis made him a saint.

• Head east along Calle de la Canonica, past a fine English-language bookstore, then turn right and circle behind the basilica. Passing some of the sexiest gondoliers in town, you’ll reach a bridge (Ponte Selfie Stick) with a...

2   Back View of the Bridge of Sighs

This lesser-known view of the Bridge of Sighs also lets you see the tourists who are ogling it, with cameras cocked. You can just see the Lady Justice relief (centered above the windows), with her sword and scales—a reminder that the courts were to the right and the prison to the left.

On the basilica side of the bridge is a common sight in neighborhood Venice: a streetside altarpiece and donation box. As the street signs tell you, the bridge you’re on marks the boundary between two traditional neighborhoods, the sestiere (district) of San Marco and that of Castello.

• Continue east, passing through a lively, small square. Notice the two archaic relics of bygone days—an old well and a newspaper stand. You’ll cross another bridge with a view of a “Modern Bridge of Sighs,” which connects two wings of the exclusive Danieli Hotel. Continue east another 50 yards, through the Gothic gate of what was once a cloistered Benedictine convent, and into a square where you see the...

3   Church of San Zaccaria

Back in the ninth century—when Venice was just a collection of wooden houses and before there was a St. Mark’s Basilica—a stone church and monastery stood here. Today’s structure dates mostly from the 15th century.

The tall facade designed by Mauro Codussi (who also did the Clock Tower in St. Mark’s Square) and others is early Renaissance. The “vertical” effect produced by the four support pillars that rise up to an arched crown is tempered by the horizontal, many-layered stories and curved shoulders.

In the northwest corner of Campo San Zaccaria (near where you entered) is a weathered plaque from 1620 listing all the things that were prohibited “in this square” (in questo campo), including games, obscenities, dishonesty, and robbery, all “under grave penalty” (sotto gravis pene).

• Enter the church. The second altar on the right holds the...

Body of Zechariah (S. Zaccaria)

Of the two bodies interred above the altar, the lower one in the glass case is the reputed body of the church’s namesake—Zechariah, the father of John the Baptist. Back when mortal remains were venerated and thought to bring miracles to the faithful, Venice was proud to own the bones of St. Zechariah (“San Zaccaria,” also known as Zacharias).

• The church is blessed with fine art. On the opposite side of the nave (second altar on the left), you’ll find...

Giovanni Bellini, Madonna and Child with Saints (Sacra Conversazione), 1505

Mary and the baby, under a pavilion, are surrounded by various saints interacting in a so-called sacra conversazione (holy conversation), which in this painting is more like a quiet meditation. The saints’ mood is melancholy, portrayed with lidded eyes and downturned faces. A violinist angel plays a sad solo at Mary’s feet.

This is one of the last of Bellini’s paintings in the sacra conversazione formula, the newer type of altarpiece that liberated the Virgin, Child, and saints from the separate cells of the older triptych style. Compare this to his other variations on this theme in the Accademia (see Accademia Tour chapter) and Frari Church (see Frari Church Tour chapter). The life-size saints stand in an imaginary niche in the church wall—the pavilion’s painted columns match those of the real church. We see a glimpse of trees and a cloudy sky beyond. Bellini establishes a 3-D effect using floor tiles. The four saints pose symmetrically, and there’s a harmony in the big blocks of richly colored robes—blue, green, red, white, and yellow. A cool white light envelops the whole scene, creating a holy ambience. (To add even more light, drop a €1 coin in the box in front of the altar.)

The ever-innovative Bellini was productive until the end of his long life—he painted this masterpiece at age 75. The German artist Albrecht Dürer said of him: “He is very old, and still he is the best painter of them all.”

• On the right-hand side of the nave is the entrance to the...

Crypt

Before you descend into the crypt, pause in the first room (Chapel of Sant’Atanasio) to study Tintoretto’s Birth of John the Baptist (c. 1560s, on the altar), which tells the back story of Zechariah. In the background, old Zechariah’s wife, Elizabeth, props herself up in bed while nurses hold and coo over her newborn son, little John the Baptist. The birth was a miracle, as she was past childbearing age. On the far right, old bearded Zechariah—the star of this church—witnesses the heavens opening up, bringing this miracle to earth.

The five gold thrones (displayed in this room or one of the next rooms) were once seats for doges. Every Easter, the current doge would walk from St. Mark’s Square to this religious center and thank the nuns of San Zaccaria for giving the land for the square.

The small next room contains religious objects as well as an engraving of the doge parading into Campo San Zaccaria.

Next comes the Chapel of San Tarasio, dominated by an impressive 15th-century prickly gold altarpiece by Antonio Vivarini. The predella (seven small scenes beneath the altarpiece) may be by Paolo Veneziano, the 14th-century grandfather of Venetian painting. Look down through glass in the floor to see the 12th-century mosaic floor from the original church. In fact, these rooms were parts of the earlier churches.

Finally, go down the nearby staircase to the crypt—the foundation of a church built in the 10th century. The crypt is low and the water table high, so the room is often flooded, submerging the bases of the columns. An old stone altar topped with a Virgin statue heightens the mystery...calling up echoes of the Dark Ages.

• Emerge from the Church of San Zaccaria back into the small campo. Before leaving the campo, check out the small (free) art gallery tucked behind the trees, the thirst-quenching water fountain, and the pink Carabinieri police station (a former monastery), marked by the Italian flag. Then exit the square at the far end, and head south until you pop out at the waterfront, right on the...

4   Riva

The waterfront promenade known as the Riva was built not for tourists but as part of the port of San Marco. Until recently, big ships tied up here. Today it’s home to some of the town’s finest and most famous hotels—and provides a great view of the Church of San Giorgio Maggiore (one stop away on vaporetto #2).

Before turning right, look left. The big equestrian monument depicts Victor Emmanuel II, who helped lead Italy to unification and became the country’s first king in 1861. Beyond that (over the bridge) is the four-columned La Pietà Church, where Antonio Vivaldi once directed the music. Five bridges farther along (not visible from here) are the Arsenale and Naval History Museum (described in the Sights in Venice chapter).

For a peek at the most famous and luxurious hotel, turn right, cross over one bridge, and nip into the Danieli Hotel. Tuck in your shirt, stand tall and aristocratic, and (with all the confidence of a paying guest) be swept by the revolving door into the sumptuous interior of what was once the Gothic Palazzo Dandolo. As was the design of Venetian palazzi, the ground floor was originally a warehouse with the offices and living quarters upstairs. While you check out the Danieli’s restaurant menu (that’s why you’re there, isn’t it?), admire the lobby, the old-style chandeliers, the water-taxi drive-up entrance, and the occasional celebrity. Since 1820, the Neo-Gothic Danieli has been Venice’s most exclusive hotel. Exquisite as all this is, it still gets flooded routinely in the winter.

• Facing the water, turn right and head west toward St. Mark’s Square. The commotion atop a little bridge marks the...

5   Famous View of the Bridge of Sighs

The Bridge of Sighs connects the Doge’s Palace (left) with the doge’s prison (right). The bridge let justice be very swift indeed, as convicted criminals could, upon sentencing, be escorted directly from the palace’s secretive courtroom to prison without being seen in public.

Notice the beefy bars on the prison. There were no windows, so throughout the year it would alternate between very hot and very cold. The top floor, below the lead roof, was nicknamed “The Oven.” While designed for 300 people, the prison routinely held 500.

From this historic bridge (according to romantic legend), prisoners took one last look at Venice before entering the dark and unpleasant prison. And sighed. Lord Byron picked up on the legend in the early 1800s and gave the bridge its famous nickname, making this sad little span a big stop on the Grand Tour. Look high up on your left—although that rogue Casanova wrote of the bridge in his memoirs, he was actually imprisoned here in the Doge’s Palace. Check out the carved relief on the palace corner, to your left, showing the biblical scene of drunken Noah spilling his wine.

Nowadays, while the bridge is a human traffic jam of gawking tourists during the day, it remains breathtakingly romantic in the lonely late-night hours.

• Your tour’s over, and the place where you started is just around the corner. (By the way, if you need some quick cash, this is a great place to pick a pocket. There’s lots of bumping, and everyone’s distracted...)

SLEEPING IN VENICE

NEAR ST. MARK’S SQUARE

East of St. Mark’s Square

North of St. Mark’s Square

Near Campo Santa Maria Formosa

Map: Hotels & Restaurants near St. Mark’s Square

West of St. Mark’s Square

NEAR THE RIALTO BRIDGE

NEAR THE ACCADEMIA BRIDGE

South of the Accademia Bridge, in Dorsoduro

North of the Accademia Bridge

Map: Hotels & Restaurants near Accademia Bridge

NEAR THE TRAIN STATION

Close to the Station

Across the Bridge from the Train Station

Farther from the Station, Toward the Jewish Ghetto and Rialto

OTHER ACCOMMODATIONS IN VENICE

More Venice Hotels

Map: Hotels & Restaurants near the Train Station

Cheap Dormitory Accommodations

ON THE MAINLAND, IN MESTRE

Right in Front of the Station

A Bit Farther, but Still Walkable

Behind Mestre Station, in Marghera

Beyond Mestre

I’ve listed rooms in five areas: St. Mark’s bustle, the Rialto action, the quiet Dorsoduro area behind the Accademia art museum, near the train station, and on the mainland in Mestre (handy for drivers and train travelers, but far from the action). In general, the closer to St. Mark’s you are, the less value and more touristy atmosphere you’ll get. As many hotels in central Venice are in historic buildings, rooms tend to be small and stairs are often plentiful. Unless noted, these listings do not have an elevator.

Addresses: Hotels in Venice can be tricky to locate. Remember that the city has six districts: San Marco, Castello, Cannaregio, San Polo, Santa Croce, and Dorsoduro. Traditionally Venetian addresses include the district name and house number (such as “Castello 4647”)—but no street name. To help your wayfinding, the listings that follow include the street name, district name, and house number (along with any useful landmarks).

Hotel websites are particularly valuable for Venice because they often include detailed directions and maps. Also keep your eyes peeled for green or white oval signs with drawings of keys by the door; these often mark accommodation entrances. The Venice Explorer website (https://venicexplorer.com/venice-map [URL inactive]) works well for pinpointing addresses. Zooming in on the Venice map at the website TuttoCitta.it shows house numbers and can be a help.

Flexible Floors

All over town, from palaces to cheap, old hotels, you’ll find speckled floors (pavimento alla Veneziana). While they might look like basic linoleum, these are historic—protected by the government and a pain for Venetian landlords to maintain. As Venice was built, it needed flexible flooring to absorb the inevitable settling of the buildings. Through an expensive and laborious process, several layers of material were built up and finished with a broken marble top that was shaved and polished to what you see today. While patterns were sometimes designed into the flooring, it’s often just a speckled hodgepodge. Keep an eye open for this. Once a year, the floor is rubbed with natural oil to maintain its flexibility, and craftspeople still give landlords fits when repairs are needed.

Hotel Tips: I rank accommodations from $ budget to $$$$ splurge. For the best deal, contact small, family-run places directly by phone or email. When you book direct, the owner avoids a commission and may be able to offer a discount or perk such as free breakfast. Book well in advance for peak season (April-June and Sept-Oct) or if your trip coincides with a major holiday or festival (see the appendix).

For some travelers, short-term, Airbnb-type rentals can be a good alternative; search for places in my recommended hotel neighborhoods. Several of my recommended hotels also rent apartments (these are noted in my listings).

For details on reservations, short-term rentals, and more, see the “Sleeping” section in the Practicalities chapter.

NEAR ST. MARK’S SQUARE

To get here from the train station or Piazzale Roma bus station, ride the slow vaporetto #1 to San Zaccaria; in summer you can usually ride the fast #2 to San Marco. If you take #1, consider using your ride to follow my tour of the Grand Canal ( see Grand Canal Cruise chapter). To confirm that your boat stops where you’re headed, ask if it goes “per” your destination (for example, “per San Zaccaria?”).

Laundry: For full service, look for Lavanderia Gabriella, a few streets north of St. Mark’s Square. Effe Erre is a modern self-service lavanderia near the recommended Hotel al Piave. For details see here.

East of St. Mark’s Square

Located near the Bridge of Sighs, just off the Riva degli Schiavoni waterfront promenade, these places rub drainpipes with Venice’s most palatial five-star hotels.

$$$$ Hotel Campiello, lacy and bright, was once part of a 19th-century convent. Ideally located 50 yards off the waterfront on a tiny square, its 16 rooms offer a tranquil, friendly refuge for travelers who appreciate comfort and professional service (RS%, air-con, elevator, just steps from the San Zaccaria vaporetto stop, on Campiello del Vin at Castello 4647; +39 041 520 5764, www.hcampiello.it, campiello@hcampiello.it; family-run for four generations, currently by Thomas, Nicoletta, and Monica). They also rent three modern, upscale, and quiet family apartments for up to six people, under rustic timbers just steps away from the hotel.

$$$$ Hotel Fontana, two bridges behind St. Mark’s Square, is a pleasant family-run place with 15 sparse but classic-feeling rooms overlooking a lively square (RS%, several rooms with terraces, family rooms, breakfast on terrace in good weather, air-con, elevator, closed Jan, on Campo San Provolo at Castello 4701, +39 041 522 0533, www.hotelfontana.it, info@hotelfontana.it, cousins Diego and Gabriele).

$$$$ Hotel la Residenza is a grand old palace facing a peaceful square. It has 16 rooms on three levels (with no elevator) and a huge, luxurious lounge. This is a good value for romantics—you’ll feel like you’re in the Doge’s Palace after hours (2-night minimum on weekends, air-con; from the Riva degli Schiavone, go down Calle del Dose to Campo Bandiera e Moro at Castello 3608; +39 041 528 5315, www.venicelaresidenza.com, info@venicelaresidenza.com, Valentina).

$$$$ Locanda al Leon, which feels a little like a medieval tower house, is conscientiously run and rents 12 rooms just off Campo Santi Filippo e Giacomo (RS%, some view rooms, family rooms, air-con, one- and two-bedroom apartments, on Campo Santi Filippo e Giacomo at Castello 4270; +39 041 277 0393, www.hotelalleon.com, leon@hotelalleon.com, Giuliano and Marcella). They run two annexes: B&B Ca’ Marcella, just down the street, has three newer, classy, and spacious rooms for the same rates (check in at main hotel); Ca’ San Marco, overlooking a quiet canal, has six additional rooms.

$$ Albergo Doni, situated along a quiet canal, is dark and quiet. This time-warp—with creaky floors and 13 well-worn, once-classy rooms—is run by friendly Tessa and her two brothers, Barnaba and (now “retired”) Italian stallion Nikos (RS%, cheaper rooms with shared bath, family rooms, ceiling fans, a few rooms have air-con, Wi-Fi in common areas, on Fondamenta del Vin at Castello 4656, +39 348 511 1007, albergodoni@hotmail.it). The hotel also has three nice overflow apartments (www.leoncinivenezia.it).

North of St. Mark’s Square

$$$$ Hotel Orion rents 21 simple, welcoming, pricey rooms in the center of the action (you’re paying a premium for the location). Steep stairs (there’s no elevator) take you from the bustling street into a peaceful world high above (RS%, air-con; from San Zulian Church it’s just a few steps down Calle Spadaria, San Marco 700a; +39 041 522 3053, www.hotelorion.it, info@hotelorion.it)

$$$ Hotel al Piave, with 25 rooms above a bright, tight lobby and breakfast room, is comfortable and cheery, and you’ll enjoy the neighborhood (RS%, family rooms, lots of narrow stairs, air-con, on Ruga Giuffa at Castello 4838, +39 041 528 5174, www.hotelalpiave.com, info@hotelalpiave.com; Mirella, Paolo, Ilaria, and Federico).

$$$ Locanda Casa Querini rents six bright, high-ceilinged rooms on a quiet square tucked away behind St. Mark’s. You can enjoy your breakfast or a sunny happy-hour picnic sitting at their tables right on the sleepy little square (RS%, family rooms, in-room fridges, air-con, on Campo San Zaninovo/Giovanni Novo at Castello 4388, +39 041 241 1294, www.locandaquerini.com, info@locandaquerini.com; Patrizia and Caterina).

$$$ Locanda Silva is a well-located hotel with a functional 1960s feel and a small terrace. It rents 23 simple rooms with small bathrooms (RS%, a few cheaper rooms with shared bathrooms, closed Dec-Jan, family rooms, air-con, lots of stairs, on Fondamenta del Remedio at Castello 4423, +39 041 522 7643, www.locandasilva.it, info@locandasilva.it; Sandra and Katia).

$$ Corte Campana B&B, run by enthusiastic and helpful Riccardo and his Californian wife Grace, rents three quiet, spacious, characteristic rooms in a homey flat just behind St. Mark’s Square. For one room, the private bath is down the hall (cash only, 2-3 night minimum, family rooms, air-con, elevator, on Calle del Remedio at Castello 4410, +39 041 523 3603, mobile +39 389 272 6500, www.cortecampana.com, info@cortecampana.com).

Near Campo Santa Maria Formosa

A bit farther north of the options listed above, these are in the quiet, somewhat less touristy Castello area, beyond the inviting Campo Santa Maria Formosa (for locations, see the map on here).

$$$ Locanda la Corte is perfumed with elegance without being snooty. Its 12 attractive, high-ceilinged, wood-beamed rooms—Venetian-style, done in earthy pastels—circle a small, sun-drenched courtyard and a ground-level restaurant (RS%, family rooms, air-con, on Calle Bressana at Castello 6317, +39 041 241 1300, www.locandalacorte.it, info@locandalacorte.it).

$$ Alloggi Barbaria, a good budget choice, rents eight simple, characterless rooms on one floor around a bright but institutional-feeling common area. Beyond Campo San Zanipolo/Santi Giovanni e Paolo, it’s a fair walk from the action, but in a pleasant residential neighborhood. The Ospedale vaporetto stop is two minutes away on foot, with no steps (RS%, family rooms, limited continental breakfast, air-con in summer, Wi-Fi in common areas, on Calle de le Capucine at Castello 6573, +39 041 522 2750, www.alloggibarbaria.it, info@alloggibarbaria.it, friendly Fausto). You can reach the Ospedale stop on vaporetto #5.2 from the train or bus stations, or via the Alilaguna blue line from the airport.

West of St. Mark’s Square

These more expensive hotels are solid choices in a more elegant neighborhood.

$$$$ Hotel Flora sits buried in a sea of fancy designer boutiques and elegant hotels almost on the Grand Canal. It’s formal, with uniformed staff and grand public spaces, yet the 40 rooms have a homey warmth and the garden oasis is a sanctuary for well-heeled, foot-weary guests (air-con, elevator, great family-size apartment, on Calle Bergamaschi at San Marco 2283a, +39 041 520 5844, www.hotelflora.it, info@hotelflora.it).

$$$$ Hotel Bel Sito offers pleasing Old World character, 34 smallish rooms, generous public spaces, a peaceful courtyard, a private water taxi dock, and a picturesque location—facing a church on a small square between St. Mark’s Square and the Accademia (RS%, some view rooms, air-con, elevator; near Santa Maria del Giglio vaporetto stop—line #1, on Campo Santa Maria Zobenigo/del Giglio at San Marco 2517, +39 041 522 3365, www.hotelbelsitovenezia.it, info@hotelbelsitovenezia.it, graceful Rossella).

$$$$ Hotel Mercurio, a lesser value a block from La Fenice Opera House, offers 29 peaceful, comfortable rooms (some view rooms, family rooms, air-con, lots of stairs, on Calle del Fruttariol at San Marco 1848, +39 041 522 0947, www.hotelmercurio.com, info@hotelmercurio.com).

NEAR THE RIALTO BRIDGE

These places are on opposite sides of the Grand Canal, within a short walk of the Rialto Bridge. Express vaporetto #2 brings you to the Rialto quickly from the train station, the Piazzale Roma bus station, and the parking-lot island of Tronchetto, but you’ll need to take the “local” vaporetto #1 to reach the minor stops closer to the last two listings. To locate the following hotels, see the map on here.

$$$$ Hotel al Ponte Antico, in a restored 14th-century building, is exquisite, professional, and small. With nine plush rooms, a velvety royal living/breakfast room, and its own dock for water taxi arrivals, it’s perfect for a romantic anniversary. Because its wonderful terrace overlooks the Grand Canal, Rialto Bridge, and market action, its rooms without a canal view may be a better value (air-con, 100 yards from Rialto Bridge on Calle dell’Aseo, Cannaregio 5768, use Rialto vaporetto stop, +39 041 241 1944, www.alponteantico.com, info@alponteantico.com, Matteo makes you feel like royalty).

$$$ Pensione Guerrato, right above the colorful Rialto produce market and just two minutes from the Rialto Bridge, is run by friendly, creative, and hardworking Roberto, Piero, Monica, and Matilde. Their 800-year-old building—with 22 spacious, charming rooms—is simple, airy, and wonderfully characteristic. It’s a great value considering the location and charm (RS%, cheaper rooms with shared bath, family rooms, air-con; take vaporetto #1 to Rialto Mercato stop to save walk over bridge—from the boat, go through the passageway, turn right onto Casaria, then take the second left to Calle drio la Scimia, San Polo 240a; +39 041 528 5927, www.hotelguerrato.com, info@hotelguerrato.com). My tour groups book this place for 60 nights each year. Sorry. The Guerrato also rents family apartments in the old center (great for groups of 4-8).

$$$ Hotel al Ponte Mocenigo is off the beaten path—a 10-minute walk northwest of the Rialto Bridge—but it’s lovely and a great value. This 16th-century Venetian palazzo has a garden terrace and 15 comfy, beautifully appointed, and tranquil rooms (RS%, air-con; take vaporetto #1 to San Stae stop, then head inland along the right side of the church on Salizada San Stae to Santa Croce 1985; +39 041 524 4797, www.alpontemocenigo.com, info@alpontemocenigo.com, Sandro and Valter).

NEAR THE ACCADEMIA BRIDGE

South of the Accademia Bridge, in Dorsoduro

As you step over the Accademia Bridge, the commotion of touristy Venice is soon replaced by a sleepy village laced with canals. This quiet area, next to the best Venetian painting museum in town, is a 15-minute walk from the Rialto or St. Mark’s Square. In summer, the fast vaporetto #2 to the Accademia stop is the typical way to get here from the train station, Piazzale Roma bus station, or St. Mark’s Square (otherwise take the slower #1). For hotels near the Zattere stop, vaporetto #5.1 or the Alilaguna boat from the airport are good options.

$$$$ Pensione Accademia fills the 17th-century Villa Maravege like a Bellini painting. Its 27 comfortable, elegant rooms gild the lily. You’ll feel aristocratic gliding through its grand public spaces and lounging in its wistful, breezy gardens (family rooms, air-con, no elevator but most rooms on ground floor or one floor up, on Fondamenta Bollani at Dorsoduro 1058, +39 041 521 0188, www.pensioneaccademia.it, info@pensioneaccademia.it).

$$$$ Hotel la Calcina, the home of English writer John Ruskin in 1876, maintains a 19th-century formality. It comes with three-star comforts in a professional yet intimate package. Its 25 tasteful rooms are squeaky clean, with nice wood furniture, hardwood floors, and a peaceful waterside setting facing Giudecca Island (some view rooms, air-con, no elevator and lots of stairs, rooftop terrace, buffet breakfast outdoors in good weather on platform over lagoon, near Zattere vaporetto stop at south end of Rio de San Vio at Dorsoduro 780, +39 041 520 6466, www.lacalcina.com, info@lacalcina.com).

$$$$ Hotel Galleria has nine old-fashioned and velvety rooms, half with views of the Grand Canal. Some rooms are quite narrow, but you can open your window to watch boats pass by at any time. It’s run with a family feel by Luciano and Lucio (one cheaper room with detached private bath, breakfast voucher for Foscarini café downstairs, ceiling fans; 30 yards from Accademia art museum, right near the bridge on Rio Terà A. Foscarini at Dorsoduro 878a; +39 041 523 2489, www.hotelgalleria.it, info@hotelgalleria.it).

$$$$ Hotel Belle Arti, with a stiff, serious staff, lacks personality but has a grand entry, an inviting garden terrace, and 67 heavily decorated rooms (air-con, elevator, 100 yards behind Accademia art museum on Rio Terà A. Foscarini at Dorsoduro 912a, +39 041 522 6230, www.hotelbellearti.com, info@hotelbellearti.com).

$$$$ Don Orione Religious Guest House is a big cultural center dedicated to the work of a local man who became a saint in modern times. With 80 rooms filling an old monastery, it feels cookie-cutter-institutional (like a modern retreat center), but is also classy, clean, peaceful, and strictly run. It’s beautifully located, comfortable, and supports a fine cause: Profits go to mission work in the developing world (family rooms, groups welcome, air-con, elevator, on Rio Terà A. Foscarini, Dorsoduro 909a, +39 041 522 4077, www.donorione-venezia.it, info@donorione-venezia.it).

$$$$ Ca’ San Trovaso rents six pleasant rooms in a little three-floor, formerly residential building. The location is peaceful, on a small, out-of-the-way canal (RS%, some view rooms, breakfast voucher for nearby café, tiny roof terrace, apartments available with 3-night minimum; near Zattere vaporetto stop, off Fondamenta de le Romite at Dorsoduro 1350; +39 041 241 2215, mobile +39 349 125 3890, www.casantrovaso.com, info@casantrovaso.com, Anna and Alessandra).

$$ Casa di Sara, a colorfully decorated B&B, is hidden in a leafy courtyard in a humble back-street area overlooking a canal. Their four quiet rooms and tiny roof terrace offer the maximum in privacy (air-con, along Fondamenta de le Romite at Dorsoduro 1330, mobile +39 342 596 3563, www.casadisara.com, info@casadisara.com, Emanuele).

North of the Accademia Bridge

These places are between the Accademia Bridge and St. Mark’s Square, near Campo Santo Stefano.

$$$$ Novecento Hotel rents nine plush rooms on three floors, complemented by a big, welcoming lounge, an elegant living room, and a small breakfast garden. This boutique hotel, with helpful staff, is nicely situated in a quiet location (air-con, lots of stairs, on Calle del Dose, off Campo San Maurizio at San Marco 2684, +39 041 241 3765, www.novecento.biz, info@novecento.biz).

$$$$ Foresteria Levi, run by a foundation that promotes research on Venetian music, offers 32 quiet, institutional yet comfortable and spacious rooms—some are loft quads, a good deal for families (air-con, elevator, on Calle Giustinian at San Marco 2893, +39 041 277 0542, www.foresterialevi.it, info@foresterialevi.it). From the base of the Accademia Bridge, it’s just over the tiny Ponte Giustinian.

$$$$ Domus Ciliota is a big, efficient, and sparkling-clean place—well-run, well-located, church-owned, and plainly furnished—with 30 dorm-like rooms and a peaceful courtyard. If you want comfort with no stress and don’t need much character, this is a fine value. During the school year, half the rooms are used by students (air-con, elevator; just off Campo Santo Stefano at Calle delle Muneghe, San Marco 2976; +39 041 520 4888, www.ciliota.it, info@ciliota.it).

$$$ Hotel San Samuele rents 10 tidy rooms in an old residence near Campo Santo Stefano. Antique furniture and restored original floors give this place a homey feel. It’s in a great locale, and the rooms with shared bath can be a good deal (RS%, no breakfast, fans, plenty of stairs, on Salizada San Samuele at San Marco 3358, +39 041 520 5165, www.hotelsansamuele.com, info@hotelsansamuele.com, Judith).

NEAR THE TRAIN STATION

I don’t recommend the train station area. It’s crawling with noisy, disoriented tourists with too much baggage and people whose life’s calling is to scam visitors out of their money. Still, some like to park their bags near the station, and if so, these places stand out. The farther you get from the station, the more pleasant the surroundings.

Laundry: A self-service launderette is across the Grand Canal from the station (see here).

Close to the Station

These hotels are close to the station, but each is down a side street, away from the throngs.

$$$$ Hotel Abbazia fills a former abbey with both history and class. The refectory makes a grand living room for guests, a garden fills the old courtyard, and the halls leading to 50 rooms are monkishly wide (RS%, air-con, no elevator, some ground-floor rooms, fun-loving staff, 2 blocks from the station on the very quiet Calle Priuli dei Cavaletti, Cannaregio 68, +39 041 717 333, www.abbaziahotel.com, info@abbaziahotel.com).

$$ Hotel S. Lucia, 150 yards from the train station, is oddly modern and sterile, with bright and spacious rooms and tight showers. Its 13 rooms are simple and clean. Guests enjoy their sunny garden area out front (cheaper rooms with shared bath, air-con, closed Nov-Feb, on Calle de la Misericordia at Cannaregio 358, +39 041 715 180, www.hotelslucia.com, info@hotelslucia.com, Gianni, Alessandra, and their son, Lorenzo).

$ Hotel Rossi, sitting quietly at the end of a dead-end street off the main Lista di Spagna, rents 14 tired, well-worn rooms that are cheap in every sense—the budget-minded will find it tolerable for a night or two, but consider yourself forewarned (cheaper rooms with shared bath, air-con, lots of stairs, on Calle de le Procuratie, Cannaregio 262, +39 041 715 164, hotelrossi.venezia@gmail.com).

Across the Bridge from the Train Station

These two places are in a quieter area on the other side of the Grand Canal from the train station—you’ll have to haul your bags across a big bridge. Both are also convenient to the bus station at Piazzale Roma.

$$$ Albergo Marin is loosely run, with 19 nice but sloppily kept rooms. It’s close enough to the station to be convenient, but far enough to be quiet, sane, and residential (air-con, on Ramo de le Chioverete at Santa Croce 670b, +39 041 718 022, www.albergomarin.it, info@albergomarin.it, Giacomo).

$$ Hotel ai Tolentini is a pleasant couple-hundred yards from the Piazzale Roma bus station—just far enough to make you feel like you’re actually in Venice. The seven rooms are on two floors, up narrow stairs above a restaurant that can be noisy (no breakfast, air-con, on Calle Amai at Santa Croce 197g, +39 041 275 9140, www.albergoaitolentini.it, info@albergoaitolentini.it).

Farther from the Station, Toward the Jewish Ghetto and Rialto

While still walkable from the station, these listings are just outside the chaotic station neighborhood, in a far more pleasant residential zone close to the former Jewish Ghetto. The nearest Grand Canal vaporetto stop is San Marcuola.

$$$ Locanda Ca’ San Marcuola is a peaceful, characteristic, good-value oldie-but-goodie renting 14 fine rooms a few steps from the Grand Canal (family rooms, air-con, elevator, next to San Marcuola vaporetto stop on Campo San Marcuola, Cannaregio 1763, +39 041 716 048, www.casanmarcuola.com, info@283.it).

$$ Locanda Herion, tucked down a sleepy lane just off a busy shopping street, rents 13 beige-tiled, homey rooms (RS%—use code STEVES, a few shared terraces, one room is wheelchair accessible, air-con, on Campiello Augusto Picutti, Cannaregio 1697a, +39 041 275 9426, http://locandaherion.it, herionguesthouse@gmail.com.)

OTHER ACCOMMODATIONS IN VENICE

More Venice Hotels

If all my other listings are full, try one of the following $$$$ hotels, which frequently have steep discounts if you book through their websites. For locations, see the “Hotels & Restaurants near St. Mark’s Square” map: Hotel Casa Verardo (elegant and quietly parked on a canal behind St. Mark’s, stately, 22 rooms, www.casaverardo.it); Hotel Donà Palace, Hotel all’Angelo, and Hotel al Ponte dei Sospiri (three sister hotels sitting in the touristy zone a few blocks behind St. Mark’s Basilica, with formal service and 100 overpriced rooms that are getting a bit long in the tooth, all on Calle Larga San Marco, www.carrainhotelsgroup.com); Hotel La Fenice et des Artistes (68 classy but unpretentious rooms on a sleepy square near opera house at Campiello della Fenice, San Marco 1936, +39 041 523 2333, www.fenicehotels.com), or Hotel dei Dragomanni (modern, stylish, and pricey, some rooms face the Grand Canal, on Calle Dose da Ponte at San Marco 2711, +39 041 277 1300, www.hoteldragomanni.com—see “Hotels & Restaurants near Accademia Bridge” map for location).

Cheap Dormitory Accommodations

$$ Foresteria della Chiesa Valdese is ramshackle, chilly, run-down, yet charming. It rents 75 beds—mostly in tight (6- to 10-bed) dorms, but with nine fine doubles and some larger private rooms sleeping up to six. It comes with generous public spaces and classic paintings on the walls and ceilings. Its profits support the charity work of the Waldesian and Methodist Church (some view rooms; must check in and out when office is open—8:30-20:00; free concerts on site Wed and Sat, no air-con, elevator, near Campo Santa Maria Formosa on Fondamenta Cavagnis at Castello 5170, see the “Hotels & Restaurants near the Rialto Bridge” map, +39 041 528 6797, www.foresteriavenezia.it, info@foresteriavenezia.it).

¢ Generator Venice, on Giudecca Island with 243 beds and grand views across the Bay of San Marco, is a godsend for backpackers shell-shocked by Venetian prices. Though the facility has many 21st-century touches, at heart it’s still a classic hostel—big rooms stacked with bunk beds (rates vary wildly, private and family rooms available, office open 24 hours, Fondamenta Zitelle 86, +39 041 877 8288, www.staygenerator.com/venice, venice@staygenerator.com). From the bus or train stations, take vaporetto #4.1 (faster) or #2 (more frequent) to the Zitelle stop, then walk right along the embankment to #86. (From the Tronchetto parking lot, take vaporetto #2.)

ON THE MAINLAND, IN MESTRE

Drivers wanting to do a one-day blitz of Venice can sleep in Mestre for two nights and park right at their hotel. Mestre (MEH-streh) is a gloomy, industrial, concrete burg where Venice’s causeway meets the mainland. The streets surrounding the Mestre station are a stark contrast to Venice: big, dingy buildings, rough corners, and modern roads buzzing with traffic. These places are cheaper than hotels of a similar standard in Venice proper, but unless you have a car, it’s hard to justify sleeping here when the magic of Venice is so close. Bunking here does have a few other advantages, though: Your money buys more comfort and amenities; it’s extra handy for side-tripping by rail to other towns (such as Padua, Vicenza, and Verona); and it’s more likely to have affordable rooms when Venice proper is chockablock with festivals.

It’s easy to get between Mestre and Venice. From the big Mestre station, frequent trains zip to Venezia Santa Lucia Station (right on the Grand Canal) in about 10 minutes for €1.40 (10/hour, 10 minutes, buy tickets at machines; validate before boarding). Alternatively, you can catch bus #2, right in front of Mestre’s train station, and ride it to Venice’s Piazzale Roma in 15 minutes (€1.50, buy ticket from machine).

These hotels all charge around €100-150 for a double in peak season and all have parking—mostly pay on-site or discounted at the big Parcheggio Stazione garage across from the station (figure €10-16/day; request when you reserve); a few offer free parking.

Right in Front of the Station

$$ Hotel Tritone, a high-rise Best Western hotel with 60 rooms varying in decor from business to mod, has the most convenient location, facing Mestre’s train station (air-con, elevator, pay parking; leaving the station, cross the street, turn right, and walk to the end of the block to find Viale Stazione 16, +39 041 538 3125, www.hoteltritonevenice.com, info@hoteltritonevenice.com).

$$ Hotel Paris is a few doors down from the station and worth considering if you can get a deal. It has 18 small, modern, modestly stylish rooms (air-con, on-site parking, Via Venezia 11, +39 041 926 037, www.hotelparis.it, info@hotelparis.it). It’s hiding in a drab sea of apartment blocks: Leaving the station, cross the street, turn left along Viale Stazione, and turn right after one block up Via Venezia.

A Bit Farther, but Still Walkable

While slightly less handy to the station (about a 10-minute walk), these options are a better value and have more of a neighborhood feel. To reach them from the station, cross the street and go up Via Piave. After about four blocks, turn left for Hotel Villa Costanza or Hotel Cris, or (soon after) right for Hotel Aaron. For these hotels, the bus (which stops along Via Piave) can be a faster and easier way to reach Venice than the train (and lets you skip the station-area chaos).

$$ Hotel Villa Costanza is the nicest place I could find in Mestre. This stylish, professional-feeling boutique hotel fills an old villa on a sleepy residential street with 26 classy rooms, an inviting modern lounge, and a covered terrace (RS%, air-con, elevator, on-site pay parking, Via Monte Nero 25, +39 041 932 624, www.hotelvillacostanza.com, info@hotelvillacostanza.com, Monica).

$$ Hotel Cris, a simpler option with a quiet courtyard up the street from Hotel Villa Costanza, has 18 nondescript rooms (air-con, free on-site parking, Via Monte Nero 3a, +39 041 926 773, www.hotelcris.it, info@hotelcris.it).

$$ Hotel Aaron oozes modern artistic style, with 20 sleek, good-value, spacious rooms on a pleasant street just off Viale Piave. Frequent online discounts can make this a great value (air-con, elevator, on-site pay parking, Via Felisati 187, +39 041 538 5868, www.hotelaaron.com, info@hotelaaron.com).

Behind Mestre Station, in Marghera

If you leave the station through its back door (follow the underground tunnel connecting platforms to the end beyond tracks 12/13), you’ll pop out into Marghera, a pleasant, residential area with freestanding homes, gardens, and trees. Exiting the station, turn left down the first street, then right onto Via Rizzardi. This main drag is lined with lots of big tour hotels, as well as this smaller, charming option.

$$ Casa Villa Gardenia, just before the roundabout on the right (about a 10-minute walk from the station’s tracks), is sweetly run by Lorenza, who rents six rooms in a pleasant old villa (family rooms, air-con, free on-site parking, Via Rizzardi 36c, Marghera, +39 041 930 207, www.casavillagardenia.com, info@casavillagardenia.com).

Beyond Mestre

This place, beyond the urban core of Mestre, combines fine prices with easy bus links into Venice.

$ Villa Mocenigo Agriturismo, about 20 miles from Marco Polo Airport, is a working, family-run farm with 10 simple rooms in a peaceful rural location between Venice and Padua (dinner about €20/person, air-con, free parking, Via Viasana 59 in Mirano-Venezia, +39 041 433 246, mobile +39 338 362 9268, www.villamocenigo.com, info@villamocenigo.com). Email for directions. Buses to Venice stop a 10-minute walk away (2/hour, 45 minutes).

EATING IN VENICE

EATING TIPS

NEAR THE RIALTO BRIDGE

North of the Bridge

East of the Rialto Bridge

Map: Hotels & Restaurants near the Rialto Bridge

Rialto Market Area

Between the Rialto Bridge and Frari Church

NEAR ST. MARK’S SQUARE

A Quick Lunch Behind St. Mark’s Basilica

Fine Dining North of St. Mark’s Square, near Campo Santa Maria Formosa

DORSODURO

Near the Accademia Bridge

Zattere

On or near Campo San Barnaba

On Campo Santa Margarita

CANNAREGIO

Near the Jewish Ghetto

Along the Main Drag

SPLURGING ON A WATER (OR OTHERWISE GREAT) VIEW

PICNICS AND SWEETS

Picnicking

Good Gelato and Chocolate Spots

The hard fact is that Venice is slowly becoming one big tourist attraction. As its population shrinks and the cost of business rises, eateries are forced to accommodate the changing market. To make matters worse, that market is increasingly day-trippers looking for low-end snacks and bar food like pizzas and sandwiches. In frustration, many of my favorite restaurateurs have sold in recent years, making it harder and harder to find places with both soul and ethics. For a special meal, Venetians (and savvy travelers) will venture far away from the center to distant corners of the lagoon.

Having said that, there are still good places, and (just like Disneyland) you have plenty of choices. The best values are no secret, so if you have your heart set on a particular place, make a reservation. Without a reservation, you may get lucky if you’re at the door right when a place opens—but don’t count on it. Eating early gives you fewer crowds and fewer Italians; eating later is more crowded and with fewer tourists. When considering prices, gird yourself for a 50 percent “charm tax”...you’re eating in Venice! Enjoy.

EATING TIPS

I rank eateries from $ budget to $$$$ splurge. For more advice on eating in Venice, including ordering, tipping, and Italian cuisine and beverages, see the “Eating” section of the Practicalities chapter.

Restaurant Hours: Most restaurants close their kitchens between lunch and dinner, typically reopening around 19:00 or later. Even if a restaurant is fully booked for later that evening, it may accommodate walk-in diners who are willing to eat early and quickly.

Eating Well: While touristy restaurants are the norm in Venice, you can still make the most of your meal by dining at one of my recommended listings and following these tips. First trick: Walk away from triple-language menus or laminated pictures of food. Second trick: For freshness, eat fish. Many seafood dishes are the catch of the day. Third trick: Eat later. A place may feel touristy at 19:00, but if you come back at 21:00, it can be filled with locals...or, at least, Italian visitors. Tourists eat barbarically early, which is fine with the restaurants because they turn tables that would otherwise be used only once in an evening.

Budget Eating: The keys to eating affordably in Venice are pizza, bars/cafés (see below), self-service cafeterias, and picnics. For a colorful picnic experience, gather your ingredients in the morning at a produce market (most fun at and around the big Rialto Market).

Bars/Cafés: Venetians often eat a snack—cicchetti or panini—while standing at a bar. (You’ll usually pay more if you sit.) You can get a filling plate of typically Venetian appetizers at nearly any bar.

I like small, fun, stand-up mini meals at cicchetti bars best. Unique to Venice, cicchetti bars specialize in finger foods and appetizers that combine to make a speedy and tasty meal. Cicchetti (the Venetian version of tapas) was designed as a quick meal for working people. The selection and ambience are best on workdays—Monday through Saturday for lunch or early dinner (see “The Stand-Up Progressive Venetian Pub-Crawl Dinner” sidebar in this chapter). I list a couple of stretches in Venice where you can go from bar to bar sampling cicchetti.

Sandwiches are sold fast and cheaply at bars everywhere (order a panini, piadini, or tramezzini). A great “sandwich row” of cheap cafés is near St. Mark’s Square. You can eat your sandwich at the bar or take it with you.

Aperitivo: A favorite Italian tradition is the aperitivo (predinner drink). The dominant aperitivo among Venetians is the spritz. This refreshing cocktail mixes white wine, soda, and ice with a liquor of your choice and is garnished with an olive or skewer of fruit. When you order, you’ll be asked if you’d like your spritz con Campari (bitter) or con Aperol (sweeter). Between 18:00 and 20:00, this happy pink drink dominates Venice’s watering holes.

NEAR THE RIALTO BRIDGE

North of the Bridge

These four places are serious restaurants located in Cannaregio. The first three are just steps off the Strada Nova, the main drag in the district; the last, Taverna al Remer, is closer to the Rialto Bridge. Consider reservations necessary at each.

$$$ Trattoria da Bepi, bright and paneled in knotty pine, feels like a classic, where Loris carries on his mother’s passion for good, traditional Venetian cuisine and the freshest of ingredients. Like anywhere, be sure you understand the menu and your bill here. There’s good seating inside and out (Fri-Wed 12:00-15:00 & 19:00-22:00, closed Thu; half a block off Campo Santi Apostoli on Salizada Pistor, Cannaregio 4550; +39 041 528 5031, www.dabepi.it).

$$ Trattoria Ca’ d’Oro Alla Vedova is a venerable place respected for its traditional Venetian cuisine. It’s compact yet romantic, with a tiny cicchetti bar at the door, where regulars sip and munch, and dressy tables in tight quarters beyond (Fri-Wed 11:00-14:30 & 18:30-22:30, closed Thu; from the Ca’ d’Oro vaporetto stop, follow the small lane right across Strada Nova to Calle del Pistor, Cannaregio 3912; +39 041 528 5324).

$$$$ Vini da Gigio, a more expensive option, has a traditional Venetian menu and a classy but welcoming setting that’s a pleasant mix of traditional and contemporary (Wed-Sun 12:00-14:30 & 19:00-22:30, closed Mon-Tue, 4 blocks from Ca’ d’Oro vaporetto stop on Fondamenta San Felice, behind the church on Campo San Felice, Cannaregio 3628a, +39 041 528 5140, www.vinidagigio.com).

$$$$ Taverna al Remer hides out down a narrow alley with its own little courtyard on the Grand Canal, 100 meters from the Rialto Bridge. Their Venetian mixed-fish appetizer plate is a hit. You’ll dine romantically by candlelight under brick vaults and old timbers, often with live mellow jazz serenading you. While Yuli, the owner, advertises “art food, drink, and charm,” locals would call it fake charm for tourists (Wed-Mon 12:00-14:30 & 19:00-22:30, closed Tue; find it down the unmarked lane between Burger King and Bacaro Bar, near the Church of San Giovanni Crisostomo, Cannaregio 5701; +39 041 52 8789, https://tavernaremer.com).

East of the Rialto Bridge

The next few places hide away in the twisty lanes between the Rialto Bridge and Campo Santa Maria Formosa. Osteria da Alberto is a tad farther north of the others.

$$ Rosticceria Gislon is an institution in its neighborhood—a tavola calda (buffet line of cooked food) in a bright and practical diner setting with salads, fried mozzarella, pastas, seafood and more, all at good prices (from Campo San Bartolomeo, look for the neon green “Rosticceria” sign and head through the passageway to Calle de la Bissa, San Marco 5424a, +39 041 522 3569).

Pizza in Venice

While not the home of pizza, Venice is enthusiastic about it. For tourists, a great way to enjoy a delightful Venetian setting at a painless price is to have a €10 pizza with a beer or carafe of house wine at a canalside restaurant. Consider one of these places (all described in more detail in this chapter):

Several fun-loving, youthful pizzerias feature inexpensive and good pizzas, big pizza parlor-type interiors, and relaxing outdoor seating, such as Pizzeria al Profeta (with a leafy garden, near Campo San Barnaba), Pizzeria Oke (with casual tables overlooking the Giudecca Canal), Antica Birraria la Corte (on a big, breezy neighborhood square), Pizzeria Vesuvio (with streetside tables, near the Jewish Ghetto), and Rossopomodoro (a big and thriving pizzeria near San Marco). For basic pizza with one of the city’s most picturesque settings—on the Grand Canal under the Accademia Bridge—check out Bar Foscarini. And for top-shelf pizza served in a more formal restaurant setting, consider Terrazza dei Nobili (with elegant seating overlooking the Giudecca Canal).

For takeout, you’ll find hole-in-the-wall shops in every neighborhood baking round, family-size pizzas (about 20 inches across) for €8-15, or “normal” ones (12 inches) for €4-8. Some sell pizza al taglio (by the slice, usually reheated). Takeout prices increase dramatically as you near the Rialto and St. Mark’s Square. For instance, at the base of the Rialto Bridge, family-size pizzas are cut into eight slices for about €4.50 each, but around Campo Santa Maria Formosa or Campo San Barnaba, they’re cut into six larger slices (€2 each). For more tips on pizza, see the “Eating” section of the Practicalities chapter.

$$ Cicchetti near Campo San Bartolomeo: Three fun and tiny cicchetti bars cluster within ten yards of each other (all are open daily). If the statue on Campo San Bartolomeo turned around, walked to the far right-hand corner, and explored the back lanes there, he’d find them in this order: Osteria I Rusteghi is more than your rough cicchetti bar. It’s an enoteca gastronomica—a wine bar that pairs fine dishes with fine wines. It has a serious list of good wines by the glass and a jazzy interior on its own tiny, tranquil square (Corte dei Tentor 5513, +39 338 760 6034). Modern little Bar SEPA attracts a young crowd and sells good cicchetti, clearly priced. Push past the crowd of smokers at the door to find space at a stand-up barrel inside—no table seating here (on Calle della Bissa). Bacarando Bar is old school, with clearly marked and priced little dishes at the counter and two floors of table seating (Corte dell’Orso 5495).

$$ Osteria al Portego is a small and popular neighborhood eatery near Campo San Lio. Carlo serves good meals, bargain-priced house wine, and excellent €1-4 cicchetti—best enjoyed around 18:00 (picked over by 21:00). The cicchetti here can make a great meal, but consider sitting down for a dinner from their blackboard-fresh menu. Their six tables are reserved for those ordering from the menu; reserve ahead if you want a table (daily 11:30-15:00 & 17:30-22:00, on Calle de la Malvasia at Castello 6015, +39 041 522 9038, www.osteriaalportego.org, Federica). From Campo San Bartolomeo, continue over a bridge to Campo San Lio, turn left, and follow Calle Carminati straight 50 yards over another bridge.

$$ Osteria da Alberto, near Campo Santa Maria Novo, is one of my standbys, with locals at lunch and tourists at dinner. They offer excellent daily specials: seafood, pastas, and a good house wine in a woody and characteristic interior. It’s smart to reserve at night—I’d request a table in front in “the first room” (daily 12:00-15:00 & 18:30-22:00; on Calle Larga Giacinto Gallina, midway between Campo Santi Apostoli and Campo San Zanipolo/Santi Giovanni e Paolo, and next to Ponte de la Panada bridge at Calle Larga Giacinto Gallina, Cannaregio 5401; +39 041 523 8153, www.osteriadaalberto.it, run by Graziano and Giovanni).

Rialto Market Area

The north end of the Rialto Bridge is thriving with places to eat and drink. As with market neighborhoods anywhere, you’ll find lots of holes-in-the-wall with a line on the freshest of ingredients and catering to local shoppers needing a quick, affordable bite. This area is crowded by day, nearly empty early in the evening, and packed with young Venetians and tourists later.

My listings include a stretch of dark and rustic pubs serving cicchetti (Venetian tapas), a strip of trendy places fronting the Grand Canal, a few little places on the market, and a couple of “normal” restaurants serving solid pasta, pizza, and secondi.

The Cicchetti Strip: Four Venetian Tapas Bars

The 100-yard-long stretch starting two blocks inland from the Rialto Market (along Sotoportego dei Do Mori and Calle de le Do Spade) has long been a favorite among Venetian cicchetti enthusiasts for its bar munchies, wine by the glass, and fun stand-up conviviality. These $ places serve food all day, but the spread is best at around noon (generally open daily 12:00-15:00 & 18:00-20:00 or 21:00). Each place offers a fine bar-and-stools scene, and a couple can be treated like a restaurant—order from their rustic menu and grab a table. Scout these places in advance to help decide which ambience is right for the experience you have in mind. Then pick one, dig in, and drink up.

At each place, look for the list of snacks and wine by the glass at the bar or on the wall. For a simple €1 glass of house wine, ask for an “ombra.” Better wine costs around €3, and cicchetti cost €2. They get unworkably crowded later in the evening.

Bar all’Arco is a bustling one-room joint serving mostly crostini—small open-faced sandwiches (Thu-Tue 10:00-14:30, closed Wed, Campo San Polo 436; Francesco, Anna, Matteo).

Cantina Do Mori serves a forest of little edibles on toothpicks and francobolli (a spicy selection of tiny, mayo-soaked sandwiches nicknamed “stamps”). Go here to be abused in a fine atmosphere—the frowns are part of the shtick—and be aware that prices can add up quickly (Mon-Sat 8:00-19:30, closed Sun, can be shoulder-to-shoulder, on Calle Do Mori at San Polo 430).

Osteria ai Storti, with a cool photo of the market in 1909, is more of a sit-down place (tables inside and on street). Study his cute little menu. Alessandro serves a selection of €2 fried little gut bombs and enjoys helping educate travelers (around corner from Cantina Do Mori on Calle San Matio, San Polo 819).

Cantina Do Spade is run by Francesco, who clearly lists the cicchetti (mostly deep fried) and wines of the day. It’s also good for sit-down restaurant-style meals (30 yards from Osteria ai Storti down Calle de le Do Spade at San Polo 860, +39 041 521 0583).

The Bancogiro Stretch: Five Places Overlooking the Grand Canal

Just past the Rialto Bridge, between Campo San Giacomo and the Grand Canal, this strip of popular places in a recently renovated old building has some of the best canalside seating in Venice. I call this the “Bancogiro Stretch” (the restaurants front a former banking building called Bancogiro).

Each place has a unique character and formula. Unless otherwise noted, all are open daily and serve drinks, cicchetti, and somewhat pricey sit-down meals. While you can get a drink anytime, dinner is typically served only after 19:00 or 19:30. During meals, they charge more and limit table seating to those ordering full lunches or dinners; but between mealtimes you can enjoy a drink or a snack at fine prices. After dinner hours, the Bancogiro Stretch—especially in the surrounding alleys that house low-rent bars—becomes a youthful and trendy nightspot. Before or after dinner, this strip is one of the best places in town for a spritz.

Here’s the rundown (in the order you’ll reach them from the Rialto Bridge): $$$ Bar Naranzaria serves Italian dishes at the best prices, open-faced sandwiches, and wines by the glass (closed Mon). $$ Caffè Vergnano is your cheapest option during mealtimes (pasta, salads, pizza, vegetarian dishes, and a busy microwave oven; long hours daily). $$$ Osteria al Pesador has a more extensive menu with a friendly staff serving local specialties (also seating upstairs; open daily). $$$ Osteria Bancogiro has a more sophisticated menu and the best reputation for dinner, a passion for the best cheese, and good cicchetti options at the bar. They offer fine dining upstairs (nice cheese plate, closed Mon, reservations smart, +39 041 523 2061, www.osteriabancogiro.it).

$ Al Mercà Bar (“At the Market”), a few steps away and off the canal, is a lively little nook with a happy crowd, where law-office workers have lunch and young locals gather in the evening for drinks (quality wine by the glass) and little snacks (€2 mini-sandwiches). The price list is clear, and the youthful crowd seems to enjoy connecting with curious tourists (stand at bar or in square—there are no tables and no interior, Mon-Sat 10:00-14:30 & 18:00-21:00, closed Sun, on Campo Bella Vienna, San Polo 213).

Restaurants near the Rialto Market

$$$ Trattoria alla Madonna is an old-school favorite frequented by retired locals who appreciate its traditional dishes (mostly seafood), formal waiters, white tablecloths, relaxing old-Venetian atmosphere, and fair prices. It’s big and spacious for Venice, with high ceilings (inside dining only, lunch from 12:00, dinner from 19:00, closed Wed; on a quiet lane two blocks from the Rialto Bridge, Calle della Madonna, San Polo 594; +39 041 522 3824).

$$ Ristorante Vini da Pinto is a tourist-friendly eatery facing the fish market, with a large menu and relaxing outdoor seating and a dressy, spacious interior. Owner Giorgio visits the market each morning to select the day’s best catch. Enjoy the lunch-only, fixed-price, three-course seafood meal for €18, including a pasta, seafood sampler plate, and veggies. Grander versions cost €25. Dinner à la carte can range from simple and inexpensive to a delightful splurge. Rick Steves readers receive a welcoming prosecco and a farewell limoncello and homemade cookie (daily 11:00-23:00, Campo de le Becarie, San Polo 367a, +39 041 522 4599). If dining outside, be careful to sit at a da Pinto table.

$$ Osteria al Ponte Storto, a little place on a quiet canalside corner a block off the main drag, is worth seeking out for its good-value fish dishes and peaceful location. Their small, hand-written menu changes with the daily specials. Rather than a romantic place, it feels like the corner favorite of the neighborhood (Mon-Sat 12:00-15:00 & 18:00-21:45, closed Sun, down Calle Bianca from San Aponal church, San Polo 1278, reservations smart, +39 041 528 2144).

The Stand-Up Progressive Venetian Pub-Crawl Dinner

My favorite Venetian dinner is a pub crawl (giro d’ombra)— a tradition unique to Venice, where no cars means easy crawling. (Giro means stroll, and ombra—slang for a glass of wine—means shade, from the old days when a portable wine bar scooted with the shadow of the Campanile bell tower across St. Mark’s Square.)

Venice’s residential back streets hide plenty of characteristic bars (bacari), with countless trays of interesting toothpick munchies (cicchetti) and blackboards listing the wines that are uncorked and served by the glass. This is a great way to mingle and have fun with the Venetians. Bars don’t stay open very late, and the cicchetti selection is best early, so go at lunch or start your evening by 18:00. Many bars are closed on Sunday. For a stress-free pub crawl, consider taking a tour with the charming Alessandro Schezzini (see here).

The Cicchetti Experience

Cicchetti bars have a social stand-up zone and a cozy gaggle of tables where you can generally sit down with your cicchetti or order from a simple menu. In some of the more popular places, the crowds happily spill out into the street. Food generally costs the same whether you stand or sit. Bars are often clustered together, making the “pub crawl” approach very workable.

Look for a place that’s more “bar” than “restaurant.” Lately many are getting lazy and offering only little open face sandwiches and fried items. I much prefer a wider selection with fewer gut-bombs and less bread. Make sure they have cicchetti on display. Bar-hopping Venetians enjoy an aperitivo, a before-dinner drink. Sip your drink and make the scene while standing at the bar. Next, order a cicchetto or two by pointing. Chill some more, while munching and sipping. Then order another one or two. Find a stool or table nearby where you can sit (but don’t sit at tables with tablecloths—those are for diners). Pay when you’re ready to leave. If you’ve crawled enough, most of my recommended bars make a fine one-stop, sit-down dinner.

What to Eat (and Drink)

While you can order a plate, Venetians prefer going one-by-one...sipping their wine and trying this...then give me one of those...and so on. Try deep-fried mozzarella cheese, gorgonzola, calamari, artichoke hearts, and anything ugly on a toothpick. Crostini (small toasted bread with a topping) are popular, as are marinated seafood, olives, and prosciutto with melon. Meat and fish (pesce; PESH-ay) munchies can be expensive; veggies (verdure) are cheap, at about €3 for a meal-sized plate. In many places, there’s a set price per food item (for example, €1.50). To get a plate of assorted appetizers for €8 (or more, depending on how hungry you are), ask for “Un piatto classico di cicchetti misti da €8” (oon pee-AH-toh KLAH-see-koh dee cheh-KET-tee MEE-stee dah OH-toh eh-OO-roh). Bread sticks (grissini) are free for the asking.

For drinks, start with an aperitivo: Order a Bellini, a spritz con Aperol, or a prosecco, and draw approving looks from the natives. Enjoy the house wines with the food. An ombra (“shadow”) is a small glass of wine often offered with cicchetti. An ombra rosso (red) or ombra bianco (white), or a small beer (birrino), costs about €1. The house keg wine is cheap—€1 per glass, about €4 per liter. Vin bon, Venetian for fine wine, may run you from €2 to €6 per little glass. There are usually several fine wines uncorked and available by the glass. A good last drink is fragolino, the local sweet wine—bianco or rosso. It often comes with a little cookie (biscotto) for dipping.

Between the Rialto Bridge and Frari Church

$$$$ Trattoria Antiche Carampane is a dressy, family-run place with an open kitchen and a local following. They have a passion for fish (and make a point: no pizza) and serve traditional Venetian dishes with a fresh twist that change with the season. It’s small—there are just 30 seats with six tables on the street (Tue-Sat 12:45-14:30 & 19:30-22:30, closed Sun-Mon, reservations necessary, Rio Tera delle Carampane, San Polo 1911, +39 041 524 0165, www.antichecarampane.com, Francesco).

$$ Antica Birraria la Corte is an everyday eatery on the delightful Campo San Polo. Popular for its huge array of pizza—and smaller selection of hearty salads, pasta, and secondi—it fills the far side of this cozy, family-filled square. Although the interior is sprawling and modern, it’s a joy to eat on the square, where metal tables teeter on the cobbles, the wind plays with the paper mats, and children run free (daily 12:00-15:00 & 18:00-22:30, on Campo San Polo at #2168—see map on here, +39 041 275 0570).

NEAR ST. MARK’S SQUARE

Other than the first place, a more serious restaurant, the other eateries listed here are cheap-and-cheery options convenient to your sightseeing. For locations, see the map on here.

$$$$ Ristorante Antica Sacrestia is a classic restaurant where the owner, Pino, takes a hands-on approach to greeting guests. His staff serves creative fixed-price meals (€37, €52, or €80), a humdrum menù del giorno, and wonderful pizzas. You can also order à la carte; their antipasto spread looks like a lagoon aquarium spread out on a plate. My readers are welcome to a free sgroppino (lemon vodka after-dinner drink) upon request (Tue-Sun 11:30-15:00 & 18:00-23:00, closed Mon, behind San Zaninovo/Giovanni Novo Church on Calle Corona, Castello 4463, +39 041 523 0749, www.anticasacrestia.it). There’s no wine by the glass. Order carefully. Pizza is your only budget escape.

$$$ Al Giardinetto da Severino Ristorante serves traditional Venetian fare (proudly no pizza) with a homey-dressy vibe and white tablecloth elegance inside, and a big, peaceful garden filled with tables out back. The waitstaff works to provide a memorable and romantic dining experience, rare at this price (Fri-Wed 12:00-15:00 & 19:00-22:00, closed Thu, reservations smart, off Ruga Giuffa on Salizada Zorzi, Castello 4928, +39 041 528 5332, www.algiardinetto.it).

$$ Rossopomodoro Pizzeria is a big, fun, and practical pizzeria offering top quality, good prices, and a very handy location. They cook Naples-style pizzas in their wood oven and also offer a selection of hearty salads and pastas (long hours daily, Calle Larga San Marco 404, +39 041 243 8949).

$$$ L’Ombra del Leone is a big, modern, and classy bar (with attached restaurant), but its best feature is an elegant outdoor terrace right on the Grand Canal. Be sure to request the reasonably priced bar menu of salads and sandwiches (the restaurant menu is excellent but pricey). This spot is a hive of waterfront activity and popular with water taxi captains. Find the terrace at the very end of Calle Ridotto, past the Biennale archway (long hours daily, in Ca’ Giustinian—the Biennale offices, behind San Moisè Church at Sestiere San Marco 1364, +39 041 241 3519).

A Quick Lunch Behind St. Mark’s Basilica

The best place for a reasonable value so close to the epicenter of tourism is a couple blocks behind the basilica on or near Campo Santi Filippo e Giacomo. As you enter the square from St. Mark’s, on the left you’ll first find Birreria Penasa and, a few steps beyond, Aciugheta; for Birreria Forst, continue a half-block beyond the square to Calle de le Rasse.

$ Birreria Penasa is a fast and practical place slamming out slate plates with cheap toasted sandwiches and beer. While you can sit and chose from the menu, I’d go inside to the bar and point to what looks good. Tables are set up like theater seating, so you can enjoy watching the parade of tourists shuffle by (daily 7:00-24:00, Campo Santi Filippo e Giacomo, +39 041 523 7202).

$$ Aciugheta Pizzeria is a handy place for lunch or a casual dinner with great outdoor and indoor seating. They take quality seriously when it comes to their pizzas and cicchetti (see the display under glass at the bar). Inside seating can be an oasis of quiet. And tables outside give you a great perch from the corner of the lively square (daily 12:00-24:00, Campo Santi Filippo e Giacomo, +39 041 522 4292).

$ Birreria Forst, halfway down Calle de le Rasse at #4540, serves busy local workers a selection of meaty sandwiches with tasty sauce on wheat bread, or made-to-order sandwiches. Order at the bar and grab a place at a rustic wooden table in their busy little dining room (daily 9:30-23:00, air-con, +39 041 523 0557).

Fine Dining North of St. Mark’s Square, near Campo Santa Maria Formosa

Two Michelin-rated restaurants are near Campo Santa Maria Formosa. Each is romantic, expensive, requires a reservation, and is a rare and fine value for a gourmet experience.

$$$$ Osteria alle Testiere is my favorite dining splurge in Venice. Hugely respected, Luca and his staff are dedicated to quality, serving up creative, artfully presented market-fresh seafood (there’s no meat on the menu), homemade pastas, and fine wine in what the chef calls a “Venetian Nouvelle” style. With only 22 seats, it’s tight and homey, with the focus on food and service. They have daily specials, 10 wines by the glass, and one agenda: a great dining experience. This is a good spot to let loose and trust your host. They book up far in advance for lunch (12:00-15:00) and their two dinner seatings: 19:00 and 21:30 (reserve via email or website, plan on spending €75 for dinner, closed Sun-Mon; just off Campo Santa Maria Formosa at Calle del Mondo Novo, Castello 5801; +39 041 522 7220, www.osterialletestiere.it, info@osterialletestiere.it).

$$$$ Osteria di Santa Marina is the spot for a dressy meal among locals. It features creative gourmet Venetian cuisine, both traditional and innovative. More spacious than most Venetian places, the place has comfortable seating on the square and a fine dining room inside filled with character (€30 mains, €65 tasting menu; Tue-Sat 12:30-14:30 & 19:30-23:00, closed Sun-Mon; northwest of Campo Santa Maria Formosa near Campo Santa Marina, off Calle del Frutariol at Castello 5911; +39 041 528 5239). For location, see the “Hotels & Restaurants near the Rialto Bridge” map on here.

DORSODURO

The following recommendations are within a 10-minute walk of the Accademia Bridge (for locations, see the map on here. The Dorsoduro area is great for restaurants and well worth the walk from the more touristy Rialto and San Marco areas. The first listings, near the Accademia, are best for lunch. The places in Zattere overlook the Giudecca Canal. Best for dinner are the restaurants near Campo San Barnaba. Last are a handful of pizzerias and cicchetti bars on Campo Santa Margarita. My top Dorsoduro listing, Ristorante Lineadombra, is described later in “Splurging on a Water (or Otherwise Great) View.”

Near the Accademia Bridge

$$ Bar Foscarini, next to the Accademia Bridge and Galleria, offers edible pizzas and panini in a memorable Grand Canal-view setting. The food is forgettable and drinks are pricey. But you’re paying a premium for this premium location. On each visit to Venice, I grab a pizza lunch here while I ponder the Grand Canal bustle. They also serve breakfast (daily 8:00-23:00, Nov-April until 20:30, on Rio Terà A. Foscarini at Dorsoduro 878c, +39 041 522 7281).

$ Enoteca Cantine del Vino Già Schiavi, with a wonderfully characteristic cicchetti-bar ambience, is much loved for its inexpensive cicchetti, sandwiches (order from list on board), and wine. You’re welcome to enjoy your wine and finger food at the bar, in the back room surrounded by wine bottles, or out on the sidewalk (specify “fuori” to sit outside and they’ll provide plastic cups; don’t sit on the bridge). This is primarily a wine shop with great prices for bottles to go (Mon-Sat 8:30-20:30, closed Sun, 100 yards from Accademia art museum on San Trovaso canal; facing the Accademia, take a right and then a forced left at the canal to the second bridge—it’s on Fondamenta Nani at Dorsoduro 992; +39 041 523 0034; they have no WC).

$$$ Al Vecio Marangon Ristorante glows like a dream come true on its corner tucked away about 100 yards west of the Accademia. This stylishly rustic restaurant serves cicchetti-style dishes and pastas within its picturesque interior (with extremely tight seating) or at a line of outdoor tables. Consider their splittable piatto di cicchetti misti, a sampler of sardines, octopus, codfish, and seafood salad. As they take no reservations, arrive early or be prepared to wait (daily 12:00-22:00, on Calle de la Toletta at Dorsoduro 1210, +39 041 277 8554).

Zattere

The far south side of Dorsoduro has the Fondamenta Zattere, a wide promenade along the Giudecca canal that has a special charm on warm summer evenings. I’d come here not for the food, but to dine on the canal. Each of these places has a big terrace literally on the water. And nearby is the popular Nico Gelateria (with floating seating on the canal).

$$$ Terrazza dei Nobili takes full advantage of the warm, romantic evening sun. They serve regional specialties (especially fish) and pizza at tolerable prices. The breezy and beautiful seaside seating comes with formal service and the rumble of vaporetti from the nearby stop (daily 12:00-24:00; at the Zattere vaporetto stop on the Fondamenta, Dorsoduro 924; +39 041 520 6895).

$$ Pizzeria Oke is playful, with casual tables on the embankment and a sprawling pizza-parlor interior. It’s a hit with young Venetians for its fun atmosphere. While the energy and food are great, be careful to understand the bill—and be warned that dishes presented as free may end up on your check (daily 11:30-23:00, a couple hundred yards from the Zattere vaporetto stop on the Fondamenta, Dorsoduro 1414, +39 041 520 6601).

$$ Pizzeria alle Zattere, where you can enjoy your pizza on a floating dining barge, is next to the Zattere vaporetto stop (Wed-Mon 12:00-22:00, closed Tue, on the Fondamenta at Dorsoduro 791a, +39 041 520 4224).

On or near Campo San Barnaba

This small square is a delight—especially in the evening. As these places are within a few steps of each other—and the energy and atmosphere can vary—I like to survey the options before choosing (although reservations may be necessary to dine later in the evening).

$$ Ristoteca Oniga has an eclectic yet cozy interior and great tables on the square. The menu has a few vegetarian and meat dishes but focuses on fresh fish and other sea creatures, highlighted by their specialty, bucintoro—a pan full of mussels, clams, prawns, calamari, and spaghetti—prepared for two at a premium price (daily 12:00-14:30 & 19:00-22:30, reservations smart, Campo San Barnaba, Dorsoduro 2852, +39 041 522 4410, www.oniga.it).

Venetian Cuisine

Even more so than the rest of Italy, Venetian cuisine relies heavily on fish, shellfish, risotto, and polenta. Along with pizza and pasta, here are some typical foods you’ll encounter. For more on Italian food, see the “Eating” section of the Practicalities chapter.

Sandwiches

Panini: Sandwiches made with rustic bread, filled with meat, vegetables, and cheese, served cold or toasted (riscaldato).

Piadini: Flatbread or wrap-like sandwiches.

Tramezzini: Crustless white sandwiches, served cold (various fillings, such as egg, tuna, or shrimp mixed with mayonnaise).

Antipasti (Appetizers)

Venetians start a meal with a light antipasti or some cicchetti—finger-food appetizers sold in many bars.

Antipasto di mare: Marinated mix of chilled fish and shellfish.

Asiago cheese: Cow’s-milk cheese that’s either mezzano (young, creamy) or stravecchio (aged, pungent).

Sarde in saor: Sardines marinated with onions.

Rice, Pasta, and Polenta

Bigoli in salsa: Long, fat, whole-wheat noodle in anchovy sauce.

Pasta alla buzzara: Pasta in a rich seafood-tomato sauce, generally with shrimp.

Pasta al pomodoro: Pasta in a simple tomato sauce.

Pasta al vongole: Pasta with clams.

Pasta e fagioli: Bean-and-pasta soup.

Polenta: Thick cornmeal porridge served soft or cut into firm slabs and grilled.

Risi e bisi: Rice and peas.

Risotto: Short-grain rice simmered in broth with seafood, meat, or veggies. Risotto al nero—black risotto—is made with squid ink.

Frutti di Mare (Seafood)

Venetian fish are generally smaller than American salmon and trout (think sardines and anchovies). The weirder the seafood (eel, octopus, frogfish), the more local it is.

Baccalà: Preserved Atlantic salt cod that’s rehydrated and served with polenta; also mixed with mayonnaise as a cicchetti topping, called baccalà mantecato.

Branzino: Sea bass, grilled and served whole.

Calamari: Squid, often cut into rings and deep-fried or marinated.

Cozze: Mussels, often steamed in an herb broth with tomato.

Gamberi: Shrimp—gamberetti are small, and gamberoni are large.

Moleche col pien: Fried soft-shell crabs.

Orata: Sea bream, a white fish.

Pesce fritto misto: Deep-fried seafood (often calamari and prawns).

Pesce spada: Swordfish.

Rombo: Turbot, a flatfish similar to flounder.

Rospo: Frogfish, a small fish that’s often grilled.

Salmone: Salmon.

Seppia: Cuttlefish, a squid-like creature. Nero di seppia is the squid served in its own ink, often over spaghetti.

Sogliola: Sole, served poached or oven-roasted.

Vitello di mare: “Sea veal,” like swordfish—firm, mild, and grilled.

Vongole: Clams, often steamed with fresh herbs and wine, or served as spaghetti alle vongole.

Zuppa di pesce: Seafood stew.

Dolci (Desserts)

Rather than order dessert in a restaurant, I like to stroll with a cup or cone of gelato from one of Venice’s popular gelaterie. Cookies are also popular. The numerous varieties are due perhaps to Venice’s position in trade (spices) and love of celebrations.

Bisse: Seahorse-shaped cookies.

Bussola: Ring-shaped cookies made for Easter.

Croccante: Toasted almond confection, similar to peanut brittle.

Fritole: Tiny doughnuts associated with Carnevale (Mardi Gras).

Pinza: Rustic cornmeal and wheat-flour cake filled with dried fruit; made for Epiphany, January 6.

Tiramisù: Spongy ladyfingers soaked in coffee and Marsala, layered with mascarpone cheese and bitter chocolate.

Cocktails and Local Wines

Amarone: Rich and intense red, made from dried Valpolicella grapes that yield a wine high in alcohol—often around 15 percent.

Bardolino: Beaujolais-like wine made from Valpolicella grapes.

Bellini: Cocktail of prosecco and white-peach puree (invented at the pricey Harry’s American Bar near St. Mark’s Square).

Fragolino: A sweet, slightly fizzy dessert wine made from a strawberry-flavored grape.

Prosecco: Sparkling white wine. Connoisseurs say the best hails from Valdobbiadene.

Recioto: Dessert wine made with dried, aged Valpolicella grapes.

Sgroppino: Traditional after-dinner drink of squeezed lemon juice, lemon gelato, and vodka.

Soave: Crisp, dry white wine, great with seafood.

Spritz: White wine and soda or prosecco mixed with Campari (bitter) or Aperol (sweeter), over ice.

Tiziano: Grape juice and prosecco.

Valpolicella: Light, dry, fruity red wine, often served as the vino della casa (house wine).

$$ Osteria Enoteca ai Artisti serves well-presented quality dishes, with seating within its tight little wine-snob interior or at a few petite, romantic canal-side tables. They serve good wines by the glass. When reserving, make sure they know your preference—a table on the canal or inside (great pasta, cheese plates, and fish; Tue-Sat 12:45-14:30 & 19:00-22:00, closed Sun-Mon; Fondamenta de la Toletta, Dorsoduro 1169a, +39 041 523 8944, www.enotecaartisti.com, Vicenzo and chef Francesca).

$ Pizzeria al Profeta is a casual place popular with tourists for great pizza. Its sprawling interior seems to stoke conviviality, as does its leafy garden with spacious seating out back (daily 12:00-14:30 & 19:00-22:30; from Campo San Barnaba, it’s a long walk down Calle Lunga San Barnaba to #2671; +39 041 523 7466, run by hard-working Simone).

$$ Enoteca e Trattoria la Bitta is dark and woody, with a homey bistro feel and tight indoor seating. They serve beautifully presented, traditional Venetian food with—proudly—no fish. Their helpful wait staff and handwritten daily menu are focused on local ingredients (including rabbit) and a “slow food” ethic. They do two dinner seatings (19:00 and 21:00) and require reservations (dinner only, closed Sun, just off Campo San Barnaba on Calle Lunga San Barnaba, Dorsoduro 2753a, +39 041 523 0531, Debora and Marcellino).

On Campo Santa Margarita

For a fresh, youthful, and neighborhood vibe away from the tourist crowds and cutesy Venice, hike out to Campo Santa Margarita, where you’ll find a multigenerational slice-of-life scene by day and a trendy college-bar scene after dark. The square is ringed by bakeries, pubs, pizzerias, and fruit stands offering options for everything from picnics to finer dining. If slumming, a picnic or takeout pizza on this square (with fine benches and trees) is great. The area gets a little sketchy late at night. For the best gelato on the square, find Gelateria Il Doge.

$$ Osteria alla Bifora, a former butcher shop, serves creative plates of mixed cold cuts in their candlelit woody interior and at tables on the square. While it’s almost only cold platters, the presentation is elegant and pairs delightfully with their wine. For rustic cicchetti plates ranging from sardines, anchovies, and cod to platters of fine salamis and cheeses, this is a good choice with a fun-loving energy (daily 12:00-24:00, #2930, +39 041 523 6119, Franco and Mirella).

$$$ Osteria Do Torri, delightfully situated with tables overlooking the action, is your best bet for standard Venetian dishes on the square (daily, #3408, +39 041 522 0686).

$ Campo Santa Margarita’s hole-in-the-wall cicchetti bars (on the square and just off it) serve drinks and cicchetti plates to local eaters with a contagious love of life.

CANNAREGIO

Diners wanting to get off the beaten path can head to Cannaregio, located along the fish’s “back,” just northeast of the train station. I’ve listed restaurants both near the Jewish Ghetto and near a main thoroughfare (see the map on here; these zones are about a 10-minute walk apart).

Near the Jewish Ghetto

This sleepy neighborhood—more residential than touristic—features a grid layout with straight and spacious canalside walks (part of an expansion from the 1400s). Although it lacks the higgledy-piggledy feel of the older part of town, it’s worth the long walk for a look. Instead of coming here just for a meal, I’d make time to explore and then grab a bite while in the neighborhood. Cannaregio is most peaceful at sunset.

$$$ Osteria L’Orto dei Mori is a chic place serving nicely presented, creative Venetian cuisine. You can eat in the elegant, modern interior or on a great neighborhood square with 10 tables surrounded by a classic scene of wellhead, bridges, and canal (smart to reserve for dinner, Wed-Mon 12:30-15:30 & 19:00-24:00, closed Tue, on Campo dei Mori, facing a bridge on Fondamenta dei Mori, Cannaregio 3386; +39 041 524 3677, www.osteriaortodeimori.com).

$$ Osteria ai 40 Ladroni (“The 40 Thieves”) is a characteristic, unpretentious old standby with a few tables on the canal, a rustic interior, and a convivial garden out back. The action is near the bar (they’re proud of their mixed seafood antipasti, Tue-Sun 12:00-14:30 & 19:00-22:15, closed Mon, on Fondamenta de la Sensa near the corner of Calle del Capitello, Cannaregio 3253, +39 041 715 736).

$$ Osteria Enoteca Timon, while nothing earthshaking, has a relaxing canalside setting with a hipster vibe, nice wines, and cicchetti (a block past the Jewish Ghetto on Fondamenta Ormesini near the corner of Calle de la Malvasia, Cannaregio 2754, +39 041 524 6066).

$$ Trattoria Al Mariner, just one bridge east of Osteria Timon, is another fun eatery, with a rustic interior and romantic canalside tables serving delightful local dishes (Mon-Sat 7:00-24:00, closed Sun, Cannaregio 2679, +39 041 458 7021).

$$ Gam Kosher is your best bet for all-kosher Venetian dishes with canalside seating near the Ghetto. While the interior seating is forgettable, the canalside tables will make the meal memorable (great vegetarian options; Sun-Thu 12:00-22:00, Fri 12:00-two hours before Shabbat, Sat one hour after Shabbat-23:00, just underneath the Sotoportego del Gheto Vechio at #1122, +39 366 250 4505).

Along the Main Drag

Closer to the Grand Canal than the options listed above, the following places are a few steps from the main drag that connects the train station to the Rialto/San Marco area. All are near the San Marcuola vaporetto stop.

$$ Pizzeria Vesuvio, a neighborhood favorite, has classy indoor seating and pleasant tables outside (daily 11:00-23:00 except closed Wed Oct-April, on Rio Terà Farsetti, Cannaregio 1837, +39 041 268 9258).

$$ Enoteca Cicchetteria Do Colonne is a local dive with a loyal following and a good spread of cicchetti and sandwiches (no hot food). It’s handy for a drink and a snack. While the food is mediocre, the scene—both at the bar and at the tables outside—feels real and is fun (daily 10:00-21:30, on Rio Terà del Cristo, Cannaregio 1814, +39 041 524 0453).

SPLURGING ON A WATER (OR OTHERWISE GREAT) VIEW

$$$$ Ristorante Lineadombra, immediately behind La Salute Church, has commanding Giudecca Canal views from their big floating terrace and a spacious, modern, and dressy interior. This Michelin-rated place is a gourmet treat, with gorgeously presented dishes that are local and modern at the same time. Each dish is a memory, and even though plates are pricey, you are welcome to share. The appetizers especially are big and are happily served on two smaller plates. Reserve ahead and choose seating inside or on their terrace. Service is friendly yet professional (daily 12:00-15:00 & 19:00-22:00, closed Tue off-season; a short walk behind La Salute Church from the Salute vaporetto stop, Fondamenta Zattere, Dorsoduro 19; +39 041 241 1881, www.ristorantelineadombra.com).

$$$$ Ristorante Algiubagiò, on Fondamente Nove—handy to the docks for the islands of Murano and Burano—is a good place to eat as you look over the northern lagoon. The name joins the names of the four owners—Alberto, Giulio, Barbara, and Giovanna—who strive to impress visitors with quality, creative Venetian cuisine made with the best ingredients. Reserve a waterside table or sit in their classy cantina dining room (daily 12:00-15:00 & 19:00-22:30, between the two sets of vaporetto docks on Fondamente Nove, Cannaregio 5039—see map on here, +39 041 523 6084, www.algiubagio.net).

$$ Ristorante Pizzeria da Alvise, also on Fondamente Nove, is a popular place for traditional dishes and pizza with tables on a terrace with a lagoon view (Tue-Sun 12:00-14:00 & 19:00-22:00, closed Mon, Fondamente Nove 5045c—see map on here, +39 041 520 1515).

$$$$ Gran Caffè Quadri is the place to go if you insist on dining fine on Venice’s main square. Upstairs is their Michelin-star Quadri restaurant, but their Quadrino bistro, also dressy and a bit pretentious, shares the same kitchen, with a more traditional and accessible menu, and prices that won’t completely ruin your appetite. While its 15 tables are all inside, the orchestra is just out the window (Wed-Sun 12:00-15:00 & 19:00-22:30, closed Mon-Tue, reservations smart, San Marco 121—see map on here, +39 041 522 2105, www.alajmo.it/grancaffe-quadri).

On Giudecca Island: A short vaporetto ride from San Marco or Dorsoduro takes you away from the crowds to the more peaceful and residential Giudecca Island. Between the Giudecca Palanca and Redentore stops, you’ll find several canalside dining options. Stroll the embankment and take your pick. The friendly service at $$ Bar La Palanca attracts a happy crowd (lunch until 14:30, closed Sun, no dinner served, at Giudecca 448). $$$ Osteria Ae Botti is white-tablecloth fancy inside, but has a row of tables hugging the embankment outside (closed Tue, Giudecca 609). $$ Trattoria Al Redentore serves up average pizza and pasta, but arguably has the best Venice views (daily, Giudecca 205b).

PICNICS AND SWEETS

Picnicking

You’re legally forbidden from picnicking anywhere on or near St. Mark’s Square except for Giardinetti Reali, the waterfront park near the San Marco vaporetto docks. Though it’s legal to eat outdoors elsewhere around town, you may be besieged by pigeons who are, in turn, besieged by aggressive seagulls.

Venice has one main produce market and several convenient supermarkets:

Outdoor Market near the Rialto Bridge: Assemble a fun picnic at the fruit and vegetable market that sprawls for a few blocks to the north of the Rialto Bridge (best Mon-Sat 8:00-13:00, liveliest in the morning, closed Sun). The adjacent fish market is wonderfully slimy (closed Sun-Mon). Side lanes in this area are speckled with fine hole-in-the-wall munchie bars, bakeries, and cheese shops. The recommended Al Mercà Bar is ideal for a few little sandwiches to go (see listing on here). The Rialto Mercato vaporetto stop is convenient to both.

Romantic Canalside Settings

If you want a meal with a canal view, it generally comes with lower quality and/or a higher price. But if you’re determined to take home a canalside memory, these places can be great.

Recommended Canalside Eateries

The following spots are all described in detail elsewhere in this chapter.

Near the Rialto Bridge: The five places I call the “Bancogiro Stretch” offer wonderful canalside dining and a great place to enjoy a drink and/or a snack between meals or after dinner.

Near the Accademia: For decent pizzas overlooking the canal with no cover or service charge, head to Bar Foscarini, next to the Accademia Bridge.

Overlooking the Giudecca Canal: Particularly nice just before sunset, Terrazza dei Nobili is located in Zattere—on the Venice side of the wide Giudecca Canal (for a cheaper perch on the same canal, consider Pizzeria Oke). Osteria ae Botti, on the island of Giudecca, is a classy restaurant offering romantic canalside seating. Ristorante Lineadombra, with a terrace on the Giudecca Canal, serves gourmet dishes to a dressy crowd.

In Cannaregio, near the Jewish Ghetto: Find memorable canalside dining at Gam Kosher. And nearby, just north of the ghetto, a number of rustic eateries with rickety tables are set up along a peaceful canal, including Osteria Enoteca Timon and Trattoria Al Mariner.

Other Places with a Canal View

Here are some other canalside dining options.

Rialto Bridge Tourist Traps: Venetians are embarrassed by the lousy food and aggressive “service” at the string of joints dominating the best romantic, Grand Canal-fringing real estate in town. Still, if you want to linger over dinner with a view of the most famous bridge and the songs of gondoliers oaring by (and don’t mind eating with other tourists), this can be enjoyable. Don’t trust the waiter’s recommendations for special meals. The budget ideal would be to get a simple pizza or pasta, then savor the ambience without getting ripped off. But few restaurants will allow you to get off that easy. To avoid a dispute over the bill, ask if there’s a minimum charge before you sit down (most places have one).

Ponte dei Greci, East of St. Mark’s Square: Two delightful canals meet at the Ponte dei Greci. Restaurants have gobbled up every inch of canalside real estate to feed tourists forgettable food—and great memories. Several touristy restaurants and pizzerias compete for business along Canal San Provolo. For nicer fare, Ristorante alla Conchiglia and Trattoria da Giorgio ai Greci (on Fondamenta San Lorenzo) are pricier, but have cheaper fixed-price menu options. They’re lit up like Christmas trees after dark, and with gondolas gliding by, you can’t argue with the setting (see the map on here for locations).

Away from the Center

These recommended view eateries are good options if touring the lagoon.

On Fondamente Nove with a View of the Open Lagoon: Eat well while overlooking the north lagoon at Ristorante Algiubagiò; see “Splurging on a Water (or Otherwise Great) View,” earlier.

On Burano: The setting is sublime at Trattoria al Gatto Nero da Ruggero, which sits on a tranquil canal under a tilting bell tower in the pastel townscape of Burano. If you’re touring the lagoon and want to enjoy Burano without the crowds, go late and consider a dinner here (see here).

Produce Stands: Many larger squares have a produce stand. To find the one nearest St. Mark’s Square, face St. Mark’s Basilica, then walk along its left side, heading east down Calle de la Canonica. Cross the bridge and turn left at Campo Santi Filippo e Giacomo. There are also stands on Campo Santa Maria Formosa and Campo Santa Margarita.

Fast and Cheap Eats around Campo Santa Maria Formosa: The veggie stand on Campo Santa Maria Formosa is a fixture. And for döner kebabs and pizza to go, head down Calle Lunga Santa Maria Formosa to $ Peter Pan at #6249 (daily 11:30-23:00, Castello).

Supermarket near St. Mark’s Square: A handy Co-op supermarket is between St. Mark’s and Campo Santa Maria Formosa, on the corner of Salizada San Lio and Calle del Mondo Novo at Castello 5817. It has a deli counter and a great selection of picnic supplies, including packaged salads and fresh sandwiches (daily 8:30-22:00).

Other Supermarkets: The largest supermarket in town is the Co-op at Piazzale Roma, next to the vaporetto stop at Santa Croce 504. It’s an easy walk from the train station, as is a smaller Co-op on Campo San Felice (along the Strada Nova between the train station and Rialto area, Cannaregio 3660). There’s a Despar grocery a few steps from San Zulian church (3-minute walk from St. Mark’s at Calle al Ponte de la Guerra 514). Just beyond the Rialto vaporetto stop is another handy Co-op (facing the Grand Canal at Riva del Carbon 4173). All are open long hours daily.

In Dorsoduro, just around the corner from the Accademia, a tiny Crai grocery has all the basics and some takeaway food (daily, Rio Terrà Foscarini 879a). There are two Conad supermarkets on the Zattere embankment—at the west end, at #1492, by the San Basilio vaporetto stop, and on the east end, at #417, near the Santo Spirito vaporetto stop.

Good Gelato and Chocolate Spots

Venice isn’t known for its quality gelato but you’ll still find good gelaterie in every neighborhood, typically offering one-scoop cones for about €2 (€1 per extra scoop). The words artigianale or produzione propria indicate that a shop makes its own gelato, although sometimes from powder or paste bases (avoid brightly colored gelato or places that have overflowing tubs). The following places are all open long hours daily.

St. Mark’s Side of the Rialto Bridge: A gourmet gelato shop, Gelatoteca Suso, serves delectable flavors in bowls you can eat (next to Campo San Bartolomeo on Calle de la Bissa, San Marco 5453a—see map on here).

St. Mark’s Square: Both Gran Caffè Lavena at #134 and Gelateria al Todaro (on the corner of the Piazzetta at #3, near the water just under the crocodile-topped column) won’t win any awards, but they are convenient if you want something to lick while enjoying the San Marco orchestras. For locations, see the map on here.

Near Campo Santa Maria Formosa: Cioccolateria VizioVirtù (Vice and Virtue) is a hit with chocolate lovers. Across from the recommended Osteria al Portego, it’s a modern lab of deliciousness with fine gelato as a bonus (closed Mon, Calle del Forner, Castello 5988—see map on here.

VENICE WITH CHILDREN

Trip Tips

PLAN AHEAD

EATING (AND DRINKING)

SIGHTSEEING

MONEY AND SAFETY

STAYING CONNECTED

Top Sights and Activities

KID-CENTRIC ATTRACTIONS

MUSEUMS AND EXHIBITS

OUTDOOR ACTIVITIES AND OTHER EXPERIENCES

Some of the best fun I’ve had with my kids has been in Venice. The city doesn’t need an amusement park...it is one big fantasy world. It’s safe, friendly, and like nothing else your kids have ever seen. Though there’s lots of pavement and few parks or playgrounds, just being there—and free to wander—can be delightful.

However, while Venice is great for older children and teens, it presents challenges if you’re traveling with toddlers or infants. You’ll need to keep small children safely in hand, as passageways are narrow and crowded, and there are rarely any fences or walls between the sidewalk and the water. (Campo Santa Maria Formosa is a rare place with railings, because a preschool uses it as their playground.)

With hundreds of stepped bridges, Venice is a frustrating obstacle course for strollers. But considering the dangers, bringing a lightweight stroller is still a good tactic for navigating Venice with a wily preschooler. Parents of infants might find a baby carrier less hassle.

Trip Tips

PLAN AHEAD

Involve your kids in trip planning. Have them read about the places that you may include in your itinerary (even the hotels you’re considering), and let them help with your decisions.

Where to Stay

• If your kids love playing in the sand, consider staying in a hotel or apartment near the Lido. Easy beach access offers a convenient daily activity.

• Apartments can save money over hotel rooms, and having a kitchen can eliminate the stress of restaurant dining with small children. See “Sleeping” in the Practicalities chapter for more on short-term rentals.

What to Bring

• If traveling with infants, bring a light stroller and/or a baby carrier.

• Pack your own drawing supplies and books, as these items are pricey in Italy.

• For a touch of home at the hotel, download some favorite movies to your electronic devices.

• Give your kid a cheap camera. Venice turns anyone into a photographer.

EATING (AND DRINKING)

Venetian fare can be different from the “Italian food” you have at home. While there’s plenty of pasta, it’s often prepared with seafood rather than tomatoes or meat. Picky eaters will want to avoid local seafood dishes such as eel (anguilla) and cuttlefish (seppia). Here are more tips to keep your kids content and well-fed.

• For lunch or a snack, it’s fun to buy pizza by the slice, fold it in half, and eat it as you stroll...or find a perch on a nearby square. Favorite pizza choices for kids include margherita (tomato sauce, cheese, and basil) and spicy diavola or salame piccante, which are the closest things on the menu to pepperoni (if you ask for peperoni, you’ll get bell peppers).

• For ready-made sandwiches and other portable food, drop by an alimentari (deli) or a supermarket. Be aware that you can’t picnic on St. Mark’s Square (but you can at Giardinetti Reali, the nearby waterfront park; see the sidebar on here).

• Choose easy eateries. For good old American food, check out one of the American hamburger joints between the Rialto Bridge and St. Mark’s Square.

• Having food on hand can avoid meltdowns. Stock your day bag with snacks, and plan to buy plenty of gelato.

• Eat dinner early (19:00 at restaurants), and skip the romantic places. If you eat early, you’ll find that children are more welcome in nicer restaurants. Eating al fresco is great with kids. Try places on squares where kids can run free while you dine. You can nearly always order some kind of plain noodles.

• While the official drinking age in Italy is 18, teens 16 and over are sometimes offered wine or beer in restaurants, especially when accompanied by a parent. It’s best to decide on a family policy beforehand.

SIGHTSEEING

The key to a successful Venetian family vacation is to slow down. Tackle one or two key sights each day, mix in a healthy dose of pure fun in a square or on a boat, and take extended breaks when needed. A vaporetto ride is a great way to start your visit.

Planning Your Time

• Incorporate your child’s interests into each day’s plans. Let your kids make some decisions: choosing lunch spots or deciding when to take a gondola ride. Let them lead you through the maze of Venice’s back streets. Get lost together.

• Older kids and teens can help plan the details of a museum visit, such as what to see, how to get there, and ticketing details.

• Follow this book’s crowd-beating tips to a T to avoid long waits in line.

• While Venice is short on parks, its many small squares have served as playgrounds for local children for centuries. Take breaks and let your kids run around while you take a seat at a café or bench.

Successful Sightseeing

• Italy’s national museums generally offer free admission to children under age 18—always ask before buying tickets for your kids.

• Look for family and child discounts. If buying the Doge’s Palace/Correr Museum combo-ticket or a Museum Pass, ask for the family discount. A family ticket is also available for the Chorus Pass, which covers church visits. The Rolling Venice youth discount pass gives discounts on many sights and transportation for young travelers (for details, see here).

• Deputize your child to lead you on my self-guided walks and museum tours. (Standard tip for good guides: a two-scoop gelato.)

• Seek out museums with kid appeal, such as the Doge’s Palace or the Naval History Museum.

• If you’re visiting art museums with younger children, hit the gift shop first so you can buy postcards; then hold a scavenger hunt to find the pictured artwork. When boredom sets in, try “I spy” games or have them count how many babies or dogs they can spot in all the paintings in the room. Museum audioguides are great for older children.

Making or Finding Quality Souvenirs

• Buy your kids a trip journal, and encourage them to write down their observations, thoughts, and favorite memories. This journal could end up being their favorite souvenir.

• For a group project, keep a family journal. Pack a small diary and a glue stick. While relaxing over a gelato, take turns writing or drawing about the day’s events and include mementos such as museum ticket stubs and postcards.

• Teens might love shopping (or even window-shopping). See the Shopping in Venice chapter for fun areas.

MONEY AND SAFETY

Before your trip gets underway, talk to your kids about safety and money.

• Give your child a money belt and an expanded allowance; you are on vacation, after all. Let your children budget their funds and compare and contrast the dollar and euro.

• It’s good to have a “what if” procedure in place in case something goes wrong. If your child has a mobile phone, enable the “Find My Phone” feature in case you get separated. Give your kids a business card from your hotel, along with your contact information and emergency taxi fare. Let them know to ask to use the phone at a hotel if they are lost.

• If you allow kids to explore a museum or neighborhood on their own, be sure to establish a clear meeting time and place.

STAYING CONNECTED

• If your kids have mobile phones, show them how to make calls in Italy (see “Staying Connected” in the Practicalities chapter).

• Most parents find it worth the peace of mind to buy supplemental messaging and data plans for the whole family. Adults can stay connected to teenagers while allowing them maximum independence, and teens can keep in touch with friends both old and new via apps such as FaceTime, WhatsApp, Facebook Messenger, Snapchat, Google Chat, or Skype.

• Readily available Wi-Fi (at hotels and some cafés) makes bringing a mobile device worthwhile.

Top Sights and Activities

KID-CENTRIC ATTRACTIONS

Boat Rides

Ride lots of boats (vaporetto, gondola, traghetto, or speedboat tours of the lagoon). If you can, try to sit in the front seat of a vaporetto for my Grand Canal Cruise. See how many kinds of service boats you can spot while on the canal (UPS, police, fire, garbage, and so on). Venice feels safe; if you have responsible teenagers, you could turn them loose with your hotel card, some euros for lunch, and a vaporetto pass (consider a Rolling Venice pass—see here). Note that vaporetti are free for kids under age 6, but everyone else pays full fare.

St. Mark’s Square

This grand square is surrounded by splashy historic buildings and sights: St. Mark’s Basilica, the Doge’s Palace, the Campanile bell tower, and the Correr Museum. The square is filled with music, romantics, pigeons, and tourists by day. By night, the historical buildings are lit up, small orchestras put on free concerts, and good gelato is only a walk away. Anyone of any age will enjoy the magic of St. Mark’s Square day or night.

The pigeons on the square offer a new breed of bird-watching. (Though feeding them is against the law, most tourists don’t realize that—and enjoy trying to lure as many birds to drape over their kids as possible.) If you yell, the birds will just ignore you, but tossing a sweater into the air will cause a flocking flurry in a hurry.

Elevator Ride

Ride the elevator to the top of the Campanile bell tower to enjoy the grand view, and be there as the huge bells whip into ear-shattering action at the top of each hour. Some prefer the better view from the bell tower on the island of San Giorgio Maggiore. For details, see the St. Mark’s Square Tour and the San Giorgio Maggiore Tour chapters.

Rialto Bridge and Fish Market

The Rialto fish market is as fishy as they get (on the canal two blocks west of Rialto Bridge). Get there early in the day to watch people unload the boats at the market. You can leave by traghetto and cross the Grand Canal (traghetto dock at market). For more on the market, see the Rialto to Frari Church Walk chapter.

Venetian Adventures

To help your kids realize the magic of Venice, stoke their imagination with some of these recommended books, films, and video clips.

Books

Daughter of Venice (Donna Jo Napoli). A young girl disguises herself as a beggar boy to avoid entering a convent in 16th-century Venice.

The Dragon’s Pearl (Devin Jordan). Fictional early adventures of 16-year-old Venetian Marco Polo.

Kids Go Europe: Treasure Hunt Venice (Ellen and Marvin Mouchawar). This tiny, spiral-bound book takes kids on a scavenger hunt through Venice.

Stones in Water and its sequel, Fire in the Hills (Donna Jo Napoli). Fictional account of a young Venetian boy sent to a Nazi labor camp, and his struggles to return to his beloved Venice.

Stravaganza: City of Masks (Mary Hoffman). First in the time-traveling series set in 16th-century “Talia,” an alternate-universe Italy.

The Thief Lord (Cornelia Funke). Orphaned brothers run away to Venice and join a band of street urchins.

This Is Venice (Miroslav Slasek). This classic 1960s picture book captures Venice’s charm with witty illustrations.

Venice: A 3D Keepsake Cityscape (Sarah McMenamy). Illustrated foldouts of Venice’s top sights, with brief descriptions of their significance.

Venice for Kids (Elisabetta Pasqualin). Great guidebook for tweens and up, available at many museum bookshops.

VivaVenice: A Guide to Exploring, Learning, and Having Fun (Paola Zoffoli). Full of interesting facts, and sold at many bookstores in the city.

Films and Clips

Crash Course World History: Venice and the Ottoman Empire (YouTube). Commercial and cultural history of Venice with young-adult author and YouTuber John Green.

The Last Crusade (1989). Third Indiana Jones installment featuring scenes in the Venetian catacombs and a boat chase through the city’s canals.

The Thief Lord (2006). Orphaned brothers run away to Venice, meet a band of child thieves, and discover the hidden secrets of Venice.

MUSEUMS AND EXHIBITS

Be choosy when taking kids to museums. The venerable and fascinating (to adults) Accademia will probably bore children. But the following museums may be enjoyable to kids.

Doge’s Palace

The building is more impressive than the art inside. If your children aren’t wowed by the architecture, they may still enjoy the tour of the dark, dank prison. The dungeon held the notorious lover Giacomo Casanova, sentenced to prison for being a magician. In his memoirs, he describes how he used an iron rod and the help of a fellow prisoner to make his escape. Young swashbucklers may like the swords and crossbows in the Armory. See the Doge’s Palace Tour chapter.

Scuola San Rocco

This museum houses some of the best paintings by Tintoretto, which cover not only the walls, but also the ceilings. Your kids may get a kick out of using the provided mirrors to look at the paintings on the ceiling. See the Scuola San Rocco Tour chapter.

Peggy Guggenheim Collection

This museum shows major works from the first half of the 20th century, including pieces by Picasso, Pollock, Chagall, Magritte, and Dalí. Your children may not understand Surrealism, Futurism, or Abstract Expressionism, but there’s enough variety here that they’ll find something “cool.” For younger kids, the outdoor sculpture garden is a rare green space in Venice where they can burn off some energy. Free workshops every Sunday from 15:00 to 16:30 give kids ages 4-10 a chance to experiment with techniques; though usually in Italian, the activity is sometimes offered in English. See the Peggy Guggenheim Collection Tour chapter.

San Giorgio Maggiore

Located on an island a short boat ride away, this is a great church to visit after battling the hordes of St. Mark’s Square. Enjoy a lagoon ride to the island, then take an elevator to the top of the bell tower. See the San Giorgio Maggiore Tour chapter.

OUTDOOR ACTIVITIES AND OTHER EXPERIENCES

Parks

Venice doesn’t have a lot of green spaces or playgrounds, but there are a few parks for kids.

Giardino Papadopoli: This tiny park, next to Venice’s bus station, has one of the city’s rare playgrounds. The nearest vaporetto stop is Piazzale Roma. Coming from the train station, take the Calatrava Bridge across the Grand Canal, turn left, and take the next bridge over a side canal to the park.

Giardini Pubblici (Public Gardens): An ideal spot for children who want an American park experience, the Public Gardens have swings, slides, a play area, and big trees (unusual in Venice). It’s about a 20-minute walk along the water from St. Mark’s Square, past the Arsenale, going toward the tail of the fish (vaporetto: Giardini).

Parco Delle Rimembranze (Memorial Park): Farther out on the tail, in the Sant’Elena neighborhood, this park contains a soccer field, along with basketball and tennis courts. It’s one of the largest open spaces in Venice (vaporetto: S. Elena).

Lido Beach

The Lido has a fun, clean, sandy beaches (some free, some with a fee) that are good for swimming, with affordable cafés, rentable umbrellas, and beach-gear shops. Even the ride across the lagoon is enjoyable (vaporetto: Lido S.M.E., walk 10 minutes on Gran Viale S. Maria Elisabetta to beaches).

Soccer

Consider attending a Venezia FC soccer game at the Pier Luigi Penzo stadium, located in the Sant’Elena neighborhood. Matches take place on Sundays (see www.veneziafc.it for schedule and ticket info). Buy a scarf with the team colors—black, orange, and green—and join the fun.

Signor Blum

This shop, on Campo San Barnaba—about a 10-minute walk northwest of the Accademia—has an array of colorfully painted wooden decorations. It’s a good place to shop for kid-friendly souvenirs (for details, see the Shopping in Venice chapter).

SHOPPING IN VENICE

SHOPPING NEIGHBORHOODS

WHAT TO BUY

Map: Shopping in Venice

Venetian Glass

Jewelry

Lace

Textiles

Stationery

Handmade Shoes

Art Galleries and Boutiques

Other Goods

The merchants of Venice are abundant, making this a fun city for window-shoppers. Long a city of aristocrats, luxury goods, and trade, Venice was built to entice. Around the train station and the Rialto Bridge, the city feels like one big open-air shopping mall. Trinket stands tuck themselves between internationally famous designer stores and hole-in-the-wall artisan workshops.

Carnevale masks, lace, glass, antique paper products, designer clothing, one-of-a-kind jewelry, custom-made shoes, fancy accessories, hand-painted or printed velvet and silk tapestries, and paintings are all popular with tourists. While no one claims Venice is great for bargains, it has a shopping charm that makes paying too much strangely enjoyable. Anything not made locally is brought in by boat—and therefore generally more expensive than elsewhere in Italy. The shops near St. Mark’s Square charge the most.

In touristy areas, shops are typically open from 9:00 to 19:30 (sometimes with a break at midday), and some stores are open on Sunday. If you’re buying at a market, bargain—it’s accepted and almost expected. In shops, you may save by offering to pay cash.

For information on VAT refunds and customs regulations, see here.

For a private tour focusing on shopping and crafts, contact Walks Inside Venice, which offers several different itineraries (www.walksinsidevenice.com).

SHOPPING NEIGHBORHOODS

St. Mark’s Square and Nearby: The streets closest to St. Mark’s Square, and those along the Mercerie (the route between St. Mark’s and the Rialto Bridge), are the most trafficked, with the highest rents and prices in town. This is where you’ll see all of the big international names.

West of St. Mark’s, toward the Accademia Bridge, is more elegant and exclusive, with high-fashion shops along Calle Vallaresso.

As you get closer to the Accademia Bridge (around Campo Santo Stefano and Salizzada San Samuele), you’ll find more characteristic and affordable stores, such as textile shops, art boutiques, and galleries.

As you get closer to the Accademia Bridge (around Campo Santo Stefano and Salizzada San Samuele), you’ll find more characteristic and affordable textile shops, art boutiques, and galleries.

Dorsoduro: Across the Accademia Bridge, the area immediately around the Accademia and Peggy Guggenheim Collection is touristy but does have some worthwhile places selling glass art and jewelry. In the opposite direction, a 10-minute walk past the Accademia, is Campo San Barnaba, a lower-rent neighborhood that attracts innovative, less-established artisans; this is a great place to window-shop.

Rialto Bridge and Nearby: Right by the bridge, Venice’s historic market area is a cancan of shopping opportunities. Many of the products here are edible, but there are lots of hole-in-the-wall jewelry and trinket stores on the bridge, under the arcades to the north, and on the Ruga (the street running from the Rialto toward Campo San Polo and the Frari Church). Near the east end of the Rialto Bridge is the luxury shopping mall T Fondaco dei Tedeschi.

WHAT TO BUY

Venice has more than its share of ticky-tacky souvenir stores hawking goofy knickknacks and knock-off glassware. But artisanal shops with genuine Murano glass, Burano lace, and Carnevale masks have a long history in the city, and the determined shopper can seek out the real thing. If you press beyond the crowded alleyways around San Marco, you’ll discover many small, authentic boutiques and perhaps meet the designers behind the wares.

Beyond the typical items associated with Venice, you can also find a wealth of unique and locally made items, such as artisan jewelry, handcrafted fabrics, and made-to-order shoes. Although shops selling artisan goods can be quite expensive, they are atmospheric, engaging places to window-shop, daydream...and maybe even splurge.

Venetian Glass

Some visitors feel that because they’re in Venice, they ought to grab the opportunity to buy glass. Remember that you can buy fine glass back home, too (Venice stopped forbidding its glassblowers from leaving the republic a few centuries ago)—and under less time pressure.

It’s important to be an educated shopper if you are interested in buying glass. Avoid the cheap glass you’ll see in touristy shops: Most of it is imported from China or Mexico. Genuine, high-end Venetian glass comes with the signature of the artist etched directly into the glass, along with a number if it’s a limited edition piece (for example, 14/30—number 14 of a total of 30 pieces made).

Shops will ship your purchase home for you, but you’re likely to pay as much or more for shipping as you are for the item(s), and you may have to pay duty on larger purchases. Make sure the shop insures its merchandise (assicurazione), or you’re out of luck if it breaks.

If you’re serious about glass, visit the island of Murano, its glass museum, and its many shops—you’ll find greater variety on the island (see Venice’s Lagoon Tour chapter).

Jewelry

Jewelers abound in Venice. Not surprisingly, glass jewelry and beadwork are particularly popular—you’ll see references to perle di Venezia or perle veneziane, colorfully speckled glass beads. In addition to buying premade pieces, at many shops you can select the beads you like to create your own masterpiece. As with other glass, it’s smart to ask where it was made.

Several jewelers can be found under the arcades (behind the chintzy souvenir stands) on the west (market) side of the Rialto Bridge, including Attombri, selling pieces with a classic, filigree-plus-beads look (Sotoportego de Rialto, San Polo 65, www.attombri.com). Marina e Susanna Sent sells contemporary designs in its upscale showrooms (near the Accademia on Campo San Vio at Dorsoduro 681, and across the Rialto Bridge at Sotoportego dei Oresi San Polo 70, www.marinaesusannasent.com). Perla Madre Design creates classic bracelets and necklaces from beautifully crafted glass beads (behind Ca’ Rezzonico, at Calle delle Botteghe 3182 in Dorsoduro, www.perlamadredesign.com; they also do hands-on bead-making demonstrations). Rialto 79 has wonderful glass beads, all made in the Lagoon and hand-crafted into lovely jewelry (at the foot of the Rialto Bridge, San Polo 79, www.rialto79.com).

Lace

Lace, made from cotton or silk thread, is another Venetian specialty. Prior to the Industrial Revolution, the city was a major trading point for luxury fabrics like lace, silk, and satin, and Venetian Burano lace adorned the clothing of royalty. Venice is particularly known for “needle lace,” with intricate flowers, leaves, and curling stems, which was used for cuffs, gowns, and frilly collars.

Lace lovers will find the journey out to Burano worthwhile. Here you’ll find many shops such as Merletti d’Arte dalla Lidia and the Lace Museum (see Venice’s Lagoon Tour chapter for more details). Today, much of the lace is machine-made, but Burano residents cherish the traditional art form and are attempting to revive it, producing tablecloths, doilies, handkerchiefs, and clothing. Stick to reputable shops to ensure that you are buying an authentic product.

In Venice, the Il Merletto shop just off St. Mark’s Square is convenient, and sells pieces crafted by students of the Scuola dei Merletti, the local lace-making school in Burano. The best pieces of handmade lace are kept behind the counter, so ask to see the genuine thing (exit the square near the northwest corner through Sotoportego del Cavaletto, then cross the little bridge to the right, San Marco 95, +39 041 520 8406). Annelie, in the Dorsoduro district, is another well-respected shop (on Calle Lunga San Barnaba, Dorsoduro 2748).

Textiles

Venetia Studium carries on the Venetian tradition for hand-painted and woodblock-printed fabrics. In addition to velvet cushions and runners, they specialize in hanging lamps decorated with delicate hand-painted silk shades (just east of Campo Santa Maria Zobenigo, San Marco 2425, +39 041 523 6953, www.venetiastudium.com).

Bevilacqua is a big and well-established producer of velvet cushions, tapestries, and so on. Mario and Paola have a few high-profile shops around Venice, as well as an 18th-century, hand-operated loom that they still use. For the budget-conscious, they also sell equally fine machine-made products (easiest to find at the Canonica Bridge behind St. Mark’s Basilica at San Marco 337b, another location just to the right as you look at the Church of Santa Maria Zobenigo at San Marco 2520; +39 041 528 7581, www.bevilacquatessuti.com).

Mask Making

With its misty canals and buildings of arches and domes, Venice is like a movie set—the perfect backdrop for revelers in costume. And throughout Venice, you’ll see fantastical masks—feathered, bejeweled, colorful works of art—festooning shops and galleries.

In the 1700s, when Venice was Europe’s party town, masks were popular—sometimes even mandatory—to preserve the anonymity of visiting nobles doing things forbidden back home. At Carnevale (the weeks-long Mardi Gras leading up to Lent), everyone wore masks. The epicenter was St. Mark’s Square, populated with elaborately garbed and masked lords and ladies, cavorting and gavotting. The most popular masks were based on characters from the lowbrow comedic theater called commedia dell’arte. We all know Harlequin (simple, Lone Ranger-type masks), but there were also long-nosed masks for the hypocritical plague doctor, pretty Columbina masks, and so on.

Masks are made with the simple technique of papier-mâché, formed on a clay mold from layers of paper and glue. You’ll see mask shops all over town. Just behind St. Mark’s Square, on a quiet canal just inland from the Church of San Zaccaria (on Fondamenta de l’Osmarin), is the fascinating mask shop Ca’ del Sol, at #4964 (with two showrooms to either side of a little bridge, www.cadelsolmascherevenezia.com). A few steps farther along the canal is the mask and costume shop Marega Renzo Atelier (#4976A)—just the place for completing your Carnevale look. Just a bit north, a block off Campo Santa Maria Formosa (next to the Acqua Alta bookstore) is the Papier Mâché mask shop of Stefano Gottardo, who proudly sells both traditional and modern masks. You’re welcome to watch the artisans at work (at the end of Calle Lunga Santa Maria Formosa, Castello 5174b, +39 041 522 9995, www.papiermache.it).

Out near the Frari Church is the well-respected Tragicomica mask shop (200 yards past Church of San Polo on Calle dei Nomboli at #2800, +39 041 721 102, www.tragicomica.it; for details see here). Another good option is Ca’ Macana, near Campo San Barnaba, a shop that’s open to anyone who wants to see how traditional Venetian masks are made (they also offer mask-painting classes—arrange in advance; Dorsoduro 3172, +39 041 520 3229, www.camacana.com).

Stationery

A number of shops around town sell handmade paper, colorfully bound books, custom stamps and seals, and fine prints. Il Pavone is known for its marbleized paper and custom stamps (locations at Campiello dei Meloni, San Polo 1478, near Campo San Polo, sign says Zaga; and at Fondamenta Venier, Dorsoduro 721, near the Guggenheim; closed Wed, www.ilpavonevenezia.com). Alberto Valese, a maestro ebru (marbled-paper master), sells colorful cards, notebooks, wrapping paper, and more, some with Venetian motifs (on Campo Santo Stefano, San Marco 347, www.albertovalese-ebru.it). The Italy-wide chain Il Papiro is always worth a look (Calle del Piovan, San Marco 2764, www.ilpapirofirenze.it). Gianni Basso Stampatore produces beautiful letter-pressed note cards, bookplates, and stationery (closed Sun, on Calle del Fumo 5306, in the Cannaregio district).

Handmade Shoes

Fashion-conscious travelers may find it worth the splurge to indulge in custom-made shoes from a trained Venetian cobbler. Some well-regarded options include Daniela Ghezzo (tucked in an adorably cluttered hole-in-the-wall on Calle dei Fuseri near St. Mark’s Square, San Marco 4365, www.danielaghezzo.it). For something distinctly Venetian, check out Piedaterre, which makes and sells handcrafted slippers based on the design of those traditionally worn by gondoliers (Campo Santo Stefano 2906, www.piedaterrevenezia.com).

Art Galleries and Boutiques

You’ll find a fascinating smattering of art boutiques in the zone north and west of Campo Santo Stefano (on the St. Mark’s side of the Accademia Bridge). From that square, head west on Calle Botteghe, which becomes Crosera before it runs into the skinny square called Salizzada San Samuele. Fronting this square are a half-dozen low-profile galleries worth a browse. At the bottom of the square, peek into the shop of Livio de Marchi and marvel at his meticulously detailed wood replicas of everything from handbags and ballet shoes to gloves and teddy bears (at #3157a, www.liviodemarchi.com).

Other Goods

Department Store: The designer shopping mall T Fondaco dei Tedeschi sells international brands that have nothing to do with Venice at premium prices (Calle del Fontego dei Tedeschi, near the Rialto Bridge).

Ceramics: The artisans at Danghyra produce contemporary espresso cups, vases, and bowls, all lined with the store’s signature 24-karat gold glaze (on Calle Cappeller, Dorsoduro 3220, www.danghyra.com).

Housewares: Guadagni Design sells sleek and unique housewares, halfway down Salizzada San Samuele (San Marco 3336, www.guadagnidesign.it).

Toys: Fun for kids and grown-ups, Signor Blum makes and sells delightfully colorful wood-carved letters, symbols, mobiles, and scenes of Venice. It’s located at the bottom corner of Campo San Barnaba, overlooking the canal (at #2840, www.signorblum.com).

Accessories: Located on Campo San Barnaba, next to the Grom gelateria, Madera is an attractive boutique with high-quality jewelry and handbags (closed Sun-Mon, Dorsoduro 2762, www.maderavenezia.it). They’ve also got a chic home and design showroom just a few short blocks down Calle Lunga San Barnaba.

Mirrors: At Canestrelli, soft-spoken Stefano Coluccio makes unique convex mirrors in circular frames, like the ones in old paintings. It’s along Calle de la Toleta, between the Accademia Bridge and Campo San Barnaba (Dorsoduro 1173, www.venicemirrors.com).

NIGHTLIFE IN VENICE

GONDOLA RIDES

ST. MARK’S SQUARE

ENTERTAINMENT

PUBS, CLUBS, AND LATE-NIGHT SPOTS

You must experience Venice after dark. The city is quiet at night, as many tour groups (not mine) stay in the cheaper hotels of Mestre on the mainland, and the masses of day-trippers return to their beach resorts and cruise ships.

Do what you must to reserve energy for the evening: Take a nap, or skip a few sights during the day. When the sun goes down, a cool breeze blows in from the lagoon, the lanterns come on, the peeling plaster glows in the moonlight, and Venice resumes its position as Europe’s most romantic city.

Though Venice comes alive after dark, it does not party into the wee hours. By 22:00, restaurants are winding down; by 23:00, many bars are closing; and by midnight, the city is shut tight. Evenings are made for wandering—even Venice’s dark and distant back lanes are considered safe after nightfall. Enjoy the orchestras on St. Mark’s Square. Experience Vivaldi’s Four Seasons in a candlelit 17th-century church. Pop into small bars for an appetizer and a drink. Lick gelato. As during the day, it’s the city itself that is the star. But Venice under a cloak of darkness has an extra dose of magic and mystery—the ambience that has attracted visitors since the days of Casanova.

GONDOLA RIDES

Riding a gondola is simple, expensive, and one of the great experiences in Europe. Gondoliers hanging out all over town are eager to have you hop in for a ride. While this is a rip-off for some, it’s a traditional must for romantics.

The price for a gondola starts at €80 for a 30-minute ride during the day. You can divide the cost—and the romance—among up to five people per boat, but only two get the love seat. Prices jump to €100 after 19:00—when it’s most romantic and relaxing. Adding a singer and an accordionist will cost an additional €120. If you value budget over romance, you can save money by recruiting fellow travelers to split a gondola. Routes are a loop, and gondoliers generally charge extra to drop you any place other than where you started.

Dozens of gondola stations (servizio gondole) are set up along canals all over town. Because your gondolier might offer narration or conversation during your ride, talk with several and choose one you like. You’re welcome to review the map and discuss the route. Doing so is also a good way to see if you enjoy the gondolier’s personality and language skills. Establish the price, route, and duration of the trip before boarding, enjoy your ride, and pay only when you’re finished. While prices are pretty firm, you might find them softer during the day. Most gondoliers honor the official prices, but a few might try to scam you out of some extra euros, particularly by insisting on a tip. (While not required or even expected, if your gondolier does the full 30 minutes and entertains you en route, a 5-10 percent tip is appreciated; if he’s surly or rushes through the trip, skip it.)

If you’ve hired musicians and want to hear a Venetian song (un canto Veneziano), try requesting “Venezia La Luna e Tu.” Asking to hear “O Sole Mio” (which comes from Naples) is like asking a Chicago lounge singer to sing “Swanee River.”

Glide through nighttime Venice with your head on someone’s shoulder. Follow the moon as it sails past otherwise unseen buildings. Silhouettes gaze down from bridges while window glitter spills onto the black water. You’re anonymous in the city of masks, as the rhythmic thrust of your striped-shirted gondolier turns old crows into songbirds. This is extremely relaxing (and, I think, worth the extra cost to experience at night). Suggestion: Put the camera down and make it a point for you and your partner to enjoy a threesome with Venice. Women, beware...while gondoliers can be extremely charming, locals say that anyone who falls for one of these Venetian Romeos “has slices of ham over her eyes.”

Gondola Alternatives: For cheap water thrills during the day, stick to a one-minute shuttle ride on a Grand Canal traghetto. At night, vaporetti are nearly empty, and it’s a great time to cruise the Grand Canal on the slow boat #1 (labeled N after 23:30). Or hang out on a bridge along the gondola route and wave at fellow romantics.

ST. MARK’S SQUARE

For tourists, St. Mark’s Square is the highlight, with lantern light and live music echoing from the cafés. Just being here after dark is a thrill, as dueling café orchestras entertain. The ultimate Venetian music scene is at the venerable Caffè Florian. But Gran Caffè Chioggia (facing the Doge’s Palace) doesn’t charge extra for music and has good jazz nightly (see the sidebar on here). Every night, enthusiastic musicians play the same songs, creating the same irresistible magic. Hang out for free behind the tables (allowing you to move easily on to the next orchestra when the musicians take a break), or spring for a seat and enjoy a fun and gorgeously set concert. If you sit a while, expect to pay €15 and up (for a drink and the cover charge for music)—money well spent. Dancing on the square is free—and encouraged.

Several venerable cafés and bars on the square serve expensive drinks outside but cheap drinks inside at the bar. The scene in a bar like Gran Caffè Lavena (despite its questionable chandelier) can be great. You’ll hear people talking about the famous Harry’s American Bar, which sells overpriced food and American cocktails to dressy tourists near the San Marco-Vallaresso vaporetto stop. But it’s a rip-off...and the last place Hemingway would drink today. It’s far cheaper to get a drink at any of the hole-in-the-wall bars just off St. Mark’s Square; you can get a bottle of beer or even prosecco-to-go in a plastic cup.

Wherever you end up, streetlamp halos, live music, floodlit history, and a ceiling of stars make St. Mark’s magic at midnight. You’re not a tourist, you’re a living part of a soft Venetian night...an alley cat with money. In the misty light, the moon has a golden hue. Shine with the old lanterns on the gondola piers, where the sloppy lagoon splashes at the Doge’s Palace...reminiscing.

ENTERTAINMENT

Venice has a busy schedule of events, church concerts, festivals, and entertainment. Check at the TI or the TI’s website (www.veneziaunica.it) for listings. The free monthly Un Ospite di Venezia lists all the latest happenings in English (free at fancy hotels, or download a copy at www.unospitedivenezia.it). For locations of these venues, see the maps in the Sleeping in Venice chapter.

Baroque Concerts: Venice is a city of the powdered-wig Baroque era. For about €30, you can take your pick of traditional Vivaldi concerts in churches throughout town. Homegrown Vivaldi is as ubiquitous here as Strauss is in Vienna and Mozart is in Salzburg. In fact, you’ll find frilly young Vivaldis hawking concert tickets on many corners. Most shows start at 20:30 and generally last 1.5 hours. You’ll see posters in hotels all over town (hotels sell tickets at face-value).

Gondolas

Two hundred years ago, there were 10,000 gondolas in Venice. Although the aristocracy preferred horses to boats through the early Middle Ages, beginning in the 14th century, when horses were outlawed from the streets of Venice, the noble class embraced gondolas as a respectable form of transportation.

The boats became the way to get around the lagoon’s islands. To navigate over the countless shifting sandbars, the boats were flat (no keel or rudder) and the captains stood up to see. During the Age of Decadence, wannabe Casanovas would enjoy trysts in gondolas. Part of the gondolier’s professional code was to never reveal what happened under the canopy of his little love boat.

Today, there are about 400 gondolas in service, used only for tourists. The boats are prettier now, but they work the same way they always have. Single oars are used both to propel and to steer the boats, which are built curved a bit on one side so that an oar thrusting from that side sends the gondola in a straight line.

These sleek yet ornate boats typically are about 35 feet long and five feet wide, and weigh about 1,100 pounds. They travel about three miles an hour (same as walking) and take the same energy to row as it does to walk. They’re always painted black (six coats)—the result of a 17th-century law a doge enacted to eliminate competition between nobles for the fanciest rig. But each has unique upholstery, trim, and detailing, such as the squiggly shaped, carved-wood oarlock (fórcola) and metal “hood ornament” (ferro). All in all, it takes about two months to build a gondola.

The boats run about €40,000-60,000, depending on options (air-con, cup holders, etc.). Every so often, the boat’s hull must be treated with a new coat of varnish to protect against a lagoon-dwelling creature that eats into wood. A gondola lasts about 15 years, after which it can be refinished (once) to last another 10 years.

You can see Venice’s most picturesque gondola workshop (from the outside; it’s not open to the public) in the Dorsoduro neighborhood. (Walk down the Accademia side of the canal called Rio San Trovaso; as you approach Giudecca Canal, you’ll glimpse the beached gondolas on your right across the canal.) The workmen, traditionally from Italy’s mountainous Dolomite region (because they need to be good with wood), maintain this refreshingly alpine-feeling little corner of Venice.

Carving the uniquely curvy oarlock is an art form. To see the work in action, seek out one of these wood-carving ateliers (for locations, see map on here). The master carver Paolo Brandolisio has a shop just behind St. Mark’s Square, inland from the Church of San Zaccaria. You can peek through the window to watch him carving both fórcole and traditional oars (closed Sat-Sun, on Calle Corte Rota at #4725, near the Ca’ del Sol mask shop, just off Ponte dei Carmini and the Fondamenta de l’Osmarin). Look up Paolo on YouTube to watch him at work.

In the Dorsoduro district, you can visit the workshop of Saverio Pastor, another fórcola maker, who has scale models for sale (closed Sat-Sun, one canal east of the Peggy Guggenheim Collection, detour south along Fondamenta Soranzo de la Fornace to #341, www.forcole.com).

There are about 400 licensed gondoliers. When one dies, the license passes to his widow. And do the gondoliers sing, as the popular image has it? My mom asked our gondolier that very question, and he replied, “Madame, there are the lovers and there are the singers. I do not sing.”

Tickets for Baroque concerts in Venice can usually be bought the same day as the concert, so don’t bother with websites that sell tickets with a surcharge. The general rule of thumb: Musicians in wigs and tights offer better spectacle; musicians in black-and-white suits are better performers.

The Interpreti Veneziani orchestra, considered the best group in town, generally performs 1.5-hour concerts nightly at 21:00 inside the sumptuous San Vidal Church (€36, church ticket booth open daily 9:30-21:00 or buy online, north end of Accademia Bridge, +39 041 277 0561, www.interpretiveneziani.com).

If you just want a quick, free Vivaldi moment, stop by the Music Museum inside the San Maurizio Church, which Interpreti Veneziani has turned into a bilingual exhibition on the music and instruments of Vivaldi’s time (free, daily 10:30-19:30, between St. Mark’s Square and the Accademia on Campo San Maurizio, +39 041 241 1840, www.museodellamusica.com).

Other Performances: Venice’s most famous theaters are La Fenice (grand old opera house, box office +39 041 2424, see here), Teatro Goldoni (mostly Italian live theater), and Teatro Fondamenta Nuove (theater, music, and dance).

Musica a Palazzo is a unique evening of opera at a Venetian palace on the Grand Canal. You’ll spend about 45 delightful minutes in each of three sumptuous rooms (about 2.25 hours total) as seven musicians (generally three instruments and four singers) perform. They generally present three different Italian operas on successive nights—enthusiasts can experience more than one. With these kinds of surroundings, and under Tiepolo frescoes, you’ll be glad you dressed up. As there are only 70 seats, you must book by phone or online in advance, then pay cash at the door (€85, nightly at 20:30, Palazzo Barbarigo Minotto, Fondamenta Duodo o Barbarigo, vaporetto: Santa Maria del Giglio, San Marco 2504, mobile +39 340 971 7272, www.musicapalazzo.com).

PUBS, CLUBS, AND LATE-NIGHT SPOTS

Unlike other Italian cities, Venice doesn’t have a good dance scene. The close proximity of apartments means loud music isn’t tolerated late at night. The few discoteche are overpriced and exclusive (not tourist-friendly), with expensive drinks and little actual dancing. But there are plenty of zones where people gather to enjoy the late hours. The scene in front of St. Mark’s Basilica is seductive (described earlier), but also consider the following options. For locations of these places, see the maps in the Sleeping in Venice chapter.

Near the Rialto Market: Each night, but especially on weekends, young Venetians and local night owls congregate in bars near the Rialto Market and along a nearby section of the Grand Canal. A strip of canalside restaurants I’ve dubbed the “Bancogiro Stretch” is a great place to enjoy a drink and the scene late at night (see here).

Between the Rialto and St. Mark’s Square: Perhaps the best place to drink beer with an Italian is in an Irish pub—and Venice has several near the Rialto Bridge, including Devil’s Forest Pub (a block off Campo San Bartolomeo on Calle dei Stagneri at San Marco 5185, +39 041 520 0623, www.devilsforestpub.com) and Inishark Pub (closed Mon, on Calle del Mondo Novo, just west of Campo Santa Maria Formosa off Salizada San Lio, at Castello 5787, +39 041 523 5300, www.inisharkpub.com).

Zattere: At the south end of Dorsoduro, a canalfront strip called Zattere (near the Zattere vaporetto stop) has a youthful vibe, with fun-loving pizzerias, gelaterie, and bars open late in season. El Chioschetto alle Zattere is a simple outdoor bar right on the promenade (just west of Zattere vaporetto dock; mobile +39 348 396 8466). The popular Gelateria Nico has a floating terrace for views with your dessert.

Campo Santa Margarita: The university student zone of Campo Santa Margarita, near the Accademia Bridge, is popular with young Venetians. It has a good restaurant, café, and bar scene—especially from May through September. Caffè Rosso is a favorite (unsigned at #2963—with a tiny interior and tons of outdoor seating, +39 041 528 7998). A few doors down (at #2944), Pizza al Volo sells cheap, hearty slices to go until late. Across the square, find the excellent Il Doge gelateria. For more suggestions, see here.

A block away, facing the canal (across Campo San Barnaba), the Venice Jazz Club has live music from 21:00 to 23:00 (nightly except Thu and Sun). Doors open at 19:00 and light meals are served before the music starts (€20 includes first drink, no smoking, near Ponte dei Pugni, Dorsoduro 3102, +39 041 523 2056, mobile +39 340 150 4985, www.venicejazzclub.com, Federico).

Cannaregio: In the back streets of Cannaregio, Il Paradiso Perduto (“Paradise Lost”) is notorious for being noisy late at night. When locals complain, night owls say there’s got to be someplace in Venice that stays open late. The restaurant and bar has a huge following for its good casual food and ambience; there are often live concerts on Monday nights (closed Tue-Wed, on Fondamenta della Misericordia, Cannaregio 2540, vaporetto: San Marcuola, +39 041 720 581).

VENICE CONNECTIONS

By Train

SANTA LUCIA TRAIN STATION

Map: Arrival in Venice

By Plane

MARCO POLO AIRPORT

TREVISO AIRPORT

By Bus

PIAZZALE ROMA BUS STATION

By Car

PARKING IN VENICE

By Cruise Ship

This chapter addresses your arrival and departure from Venice—by train, plane, car, bus, and cruise ship.

A two-mile-long causeway (with highway and train lines) connects Venice to the mainland. Mestre, the sprawling mainland section of Venice, has fewer crowds, cheaper hotels, and plenty of inexpensive parking lots, but zero charm. Don’t stop in Mestre unless you’re changing trains, parking your car, or sleeping there.

By Train

Venice’s train station is called Santa Lucia (a.k.a. Venezia S.L.). All trains to “Venice” stop first at the Venezia Mestre station, on the mainland, and most continue on to Santa Lucia station on the island itself. If your train terminates at Mestre, you’ll need to buy a €1.40 Mestre-Santa Lucia ticket and validate it before hopping any nonexpress, regional train (with an R or RV prefix) for the short ride across the causeway to Venice (10/hour, 10 minutes).

For general information on train travel in Italy—including ticket-buying options—see the Practicalities chapter.

SANTA LUCIA TRAIN STATION

The Santa Lucia train station plops you right into the old town on the Grand Canal, an easy vaporetto ride or fascinating 45-minute walk (with a number of bridges and steps) to St. Mark’s Square.

The station has baggage storage (€19/24 hours, daily 6:00-23:00, no lockers, along track 1). Pay WCs are at track 1 and in the back of the big bar/cafeteria area inside the station (in front of track 3). You’ll find the TI across from track 2. If the station TI is crowded when you arrive, visit the TI at St. Mark’s Square instead.

Buying Tickets: Be aware that there are two train companies: Trenitalia, with most connections (+39 06 6847 5475, www.trenitalia.it), and Italo, with high-speed routes between larger cities (no rail passes accepted, +39 06 8937 1892, www.italotreno.it).

For travel within Italy, it’s quick and easy to buy tickets online; with the Trenitalia app, you can even purchase them minutes before the train departs. If you buy tickets at the station, take advantage of the ticket (biglietti) machines that display schedules and issue tickets.

For international tickets or live help, head to the ticket office in the corner, near track 14, and take a number (Trenitalia open 6:00-21:00; Italo open 7:30-20:00).

Getting from the Train Station to Central Venice

The Ferrovia vaporetto docks are right outside the station’s front door. There are five docks (A, B, C, D, and E), each serving different boats. Dock assignments can change with the season, so check the electronic signboards near the ticket windows to see which boats are leaving when and from which dock. Most tourists want the fast boats #2 or #2/ down the Grand Canal to Rialto (generally from dock B; #2/ goes only as far as Rialto; #2 continues to San Marco late May-mid-Sept) or the slow boat #1 down the Grand Canal, making every stop all the way to Rialto and San Marco (usually dock E).

Buy a ticket before you board—but before buying a single-ride ticket, consider getting a transit pass (see here). If ticket-window lines at the docks are too long, use the nearby self-service machines (English-language option, credit cards accepted) or buy from the TI inside the station. Find your dock and validate your ticket/pass by touching it to the circular pad; the gates will open to let you onto the dock. Because docks serve multiple lines, before you hop on the vaporetto, confirm with the conductor that this particular boat is going to your stop (“per Rialto?”).

A water taxi from the train station to central Venice costs about €70-80 (the taxi dock is to the left of the vaporetto docks).

It’s a pleasant 25-minute walk from the train station to hotels in the Rialto area (head over the big train-station bridge and follow Rialto signs).

From Venice by Train to Other Destinations

Unless otherwise specified, the following connections are for Trenitalia.

Destinations in Italy: Padua (30 minutes, Trenitalia: 4/hour, Italo: about hourly), Vicenza (45 minutes, Trenitalia: 2/hour, Italo: 7/day), Verona (1.5-2 hours, Trenitalia: 2/hour, Italo: 7/day), Ravenna (1-2/hour, 3 hours, transfer in Ferrara or Bologna), Florence (Trenitalia: hourly direct, 2 hours, often crowded—reserve ahead; Italo: 7/day, 2 hours, reservations required), Bolzano (about hourly, 3 hours, transfer in Verona), Milan (Trenitalia: 1-2/hour, some direct, 2.5-3 hours; Italo: every 2 hours, 2.5 hours), Cinque Terre/Monterosso (at least hourly, 6 hours, 1-3 changes), Rome (Trenitalia: hourly, 4 hours; direct night train, 7.5 hours, reserve ahead; Italo: 4/day, 4 hours, reservations required), Naples (Trenitalia: almost hourly, 5.5 hours, some change in Bologna or Rome, reserve ahead; Italo: 5/day, 5.5 hours, reservations required), Brindisi (8/day, 9 or more hours, change in Rome or Bologna).

International Destinations: Interlaken (4/day, 6 hours with 2 changes), Munich (1/day direct, 7 hours, more with change in Verona), Innsbruck (1/day direct, 5 hours, more with change in Verona), Salzburg (4/day, 6.5 hours with change in Villach), Paris (2/day, 11 hours, change in Turin), Geneva (1/day direct, more with change in Milan, 7-8 hours), Vienna (2/day direct, 8 hours; direct night train, 11 hours), Ljubljana (2/day, 5 hours, train to Trieste, then bus or train to Ljubljana). To Ljubljana, there’s also a direct DRD bus from Mestre (1/day, 3 hours, www.drd.si) and a private shuttle service (www.goopti.com).

By Plane

MARCO POLO AIRPORT

Venice’s surprisingly large, modern airport is on the mainland shore of the lagoon, six miles north of the city (code: VCE, +39 041 260 9260, www.veniceairport.it). There’s one sleek terminal, with a TI (daily 9:00-20:00), car-rental agencies, ATMs, a bank, and plenty of shops and eateries.

Getting Between the Airport and Venice

You can get between the airport and central Venice in any of four ways: by Alilaguna boat, water taxi, airport bus, or land taxi.

Type

Speed

Cost

Notes

Alilaguna boat

Slow

Moderate

No transfer

Water taxi

Fast

Expensive

No transfer

Airport bus to Piazzale Roma

Medium

Cheap

Transfer to vaporetto

Land taxi to Piazzale Roma

Medium

Moderate

Transfer to vaporetto

Alilaguna boats reach most of this book’s recommended hotels very simply, with no changes. Hotels near the train station, however, are better served by the bus to Piazzale Roma.

Both Alilaguna boats and water taxis leave from the airport’s boat dock, a 15-minute walk from the terminal. To get there, follow signs along a sleek series of (indoor) moving sidewalks.

When flying out of Venice, allow plenty of time to get to the airport if you are traveling by boat. From your hotel to the airport can take two hours. Alilaguna boats are small and can fill up. In an emergency, you can always hop in a water taxi and get to the airport in 30 minutes.

Alilaguna Airport Boats

These boats make the scenic journey across the lagoon, shuttling passengers between the airport and the island of Venice (€15, €27 round-trip, €1 more if bought on boat, includes 1 suitcase and 1 piece of hand luggage, additional bags-€3 each, roughly 2/hour, 1-1.5-hour trip depending on destination). Alilaguna boats are not covered by city transit passes, but use the same docks and ticket windows as the regular vaporetti. You can buy Alilaguna tickets online for a slight discount, but it does not ensure a reservation as you must still exchange the voucher for a ticket.

Three key Alilaguna lines reach St. Mark’s Square. From the airport, the orange line (linea arancio) runs down the Grand Canal, reaching Guglie (handy for Cannaregio hotels, 45 minutes), Rialto (1 hour), and San Marco (1.25 hours). The blue line (linea blu) heads first to Fondamente Nove (40 minutes), then loops around to San Zaccaria and San Marco (about 1.5 hours) before continuing to Zattere and the cruise terminal (almost 2 hours). In high season, if it’s running, the red line (linea rossa) goes to St. Mark’s in just over an hour (may be suspended—check online). It circumnavigates Murano and then runs parallel to the blue line, ending at the cruise terminal.

For a full schedule, see www.alilaguna.it, visit the TI, call +39 041 240 1701, ask your hotelier, or scan the schedules posted at the docks.

From the Airport to Venice: Buy Alilaguna tickets at the information desk in the arrivals area or the ticket windows at the docks. Any ticket seller can tell you which line to catch to get to your destination. Blue- and orange-line boats from the airport run roughly twice an hour and go all day (until about midnight); when it’s running, the red line goes once an hour (typically runs 9:40-18:40). Ask your hotelier (when you reserve your room) which stop in Venice is best.

From Venice to the Airport: Ask your hotelier which dock and which line is best. Blue-line boats start leaving Venice as early as 3:50 in the morning. Scope out the dock and buy your ticket in advance to avoid last-minute stress. Get there 10 minutes early to assure yourself a seat.

Water Taxis

Luxury taxi speedboats zip directly between the airport and the closest dock to your hotel, getting you within steps of your destination in about 30 minutes. The official price is €130 for up to four people; add €10 for every extra person (9-passenger limit). You may get a higher quote—politely talk it down. A taxi can be a smart investment for small groups and those with an early departure.

From the airport, arrange your ride at the water-taxi desk or with the boat captains at the dock. From Venice, book your taxi trip the day before your departure, either through your hotel or directly with the Consorzio Motoscafi water taxi association (Mon-Fri call +39 041 240 6712, Sat-Sun call +39 041 522 2303, www.motoscafivenezia.it).

Airport Shuttle Buses

Buses between the airport and Venice are fast, frequent, and cheap. They drop you at Venice’s bus station, at the square called Piazzale Roma. From there, you can catch a vaporetto down the Grand Canal—convenient for hotels near the Rialto Bridge and St. Mark’s Square. If you’re staying near the train station, you can walk from Piazzale Roma to your hotel.

Two bus companies serve this route: ACTV and ATVO. ATVO buses take 20 minutes and go nonstop. ACTV buses make a few stops en route and take slightly longer (30 minutes), but you get a discount if you buy a Venice vaporetto pass at the same time (see here). The service is equally good (either bus: €8 one-way, €15 round-trip; ACTV bus with transit-pass discount: €6 one-way, €12 round-trip; runs about 5:00-24:00, 2/hour, drops to 1/hour early and late, check schedules at www.atvo.it or www.actv.it).

From the Airport to Venice: Buses leave from just outside the arrivals terminal. Buy tickets from the TI, the ticket desk in the terminal, the kiosk near baggage claim, or ticket machines. ATVO tickets are not valid on ACTV buses and vice versa. Double-check the destination; you want Piazzale Roma. If taking ACTV, you want bus #5.

From Venice to the Airport: At Piazzale Roma, buy your ticket from the ACTV windows (in the building by the bridge) or the ATVO office (at #497g) before heading out to the platforms (although sometimes an attendant sells tickets near the buses). The newsstand in the center of the lot also sells tickets.

Land Taxi or Private Minivan

It takes about 20 minutes to drive from the airport to Piazzale Roma or the cruise port. A land taxi can do the trip for about €50. To reserve a private minivan, contact Treviso Car Service (minivan—€60, seats up to 8; car—€50, seats up to 3; mobile +39 338 204 4390 or +39 333 411 2840, www.trevisocarservice.com).

TREVISO AIRPORT

Several budget airlines use Treviso Airport, 12 miles northwest of Venice (code: TSF, +39 042 231 5111, www.trevisoairport.it). The fastest option into Venice is on the Barzi express bus, which gets you to the Tronchetto parking lot (convenient if taking vaporetto line #2) in just 40 minutes (€12, buy tickets on board, every 1-2 hours, www.barziservice.com). From Tronchetto, hop on a vaporetto, or take the People Mover monorail to Piazzale Roma for €1.50. ATVO buses are a bit more frequent and drop you right at Piazzale Roma (saving you the People Mover ride), but take nearly twice as long (€12 one-way, €22 round-trip, about 2/hour, 70 minutes, www.atvo.it; buy tickets at the ATVO desk in the airport and stamp them on the bus). Treviso Car Service offers minivan service to Piazzale Roma (minivan—€75, seats up to 8; car—€65, seats up to 3; for contact info, see listing earlier).

By Bus

PIAZZALE ROMA BUS STATION

Venice’s “bus station” is at Piazzale Roma, an open-air parking lot located at the head of the Grand Canal. The square itself is a jumble of different operators, platforms, and crosswalks over busy lanes of traffic. But bus stops are well signed.

The ticket windows for ACTV (including #5 to Marco Polo Airport) are in a building near the modern Calatrava Bridge and the vaporetto stop. The ATVO ticket office (express buses to Marco Polo and Treviso airports and to Padua) is at #497g in the big, white building, on the right side of the square as you face away from the canal (office open daily 7:00-20:00). There’s a small TI located in the Autorimessa Comunale parking structure (across the street from the ACTV ticket windows and up the stairs next to the corner snack bar).

Piazzale Roma also has two big parking garages and the People Mover monorail (€1.50, links to the cruise port and then the parking-lot island of Tronchetto). A baggage-storage office is next to the monorail at #497m (€7/24 hours, daily 7:00-20:00, www.trasbagagli.it [URL inactive]).

Getting from Piazzale Roma to Central Venice

Find the vaporetto docks (just left of the modern bridge) and take boat #1 down the Grand Canal to reach the Rialto, Accademia, or San Marco (St. Mark’s Square) stops; the faster #2 and #2/ travel only as far as the Rialto (except in summer, when line #2 goes all the way to San Marco).

Electronic boards direct you to the dock you want. Before buying a single-ride vaporetto ticket, consider getting a transit pass (see here). If your hotel is near here or near the train station, you can get there on foot.

By Car

PARKING IN VENICE

The freeway (monitored by speed cameras) dead-ends after crossing the causeway to Venice. At the end of the road you have two parking-garage choices: Tronchetto or Piazzale Roma. As you drive into the city, signboards with green and red lights indicate which lots are full. (You can also park in Mestre, on the mainland, but this is less convenient.)

Parking at Tronchetto: This big five-story garage is a bit farther out, but it’s cheaper than the garages at Piazzale Roma, well connected by vaporetto, and with 3,000 spaces, most likely to have a spot (€3-5/hour, €22/24 hours, +39 041 520 7555, www.veniceparking.it [URL inactive]).

From the garage, cross the street to the brick building and go right to the vaporetto dock (not well-signed, look for ACTV). At the dock, catch vaporetto #2 in one of two directions: via the Grand Canal as far as Piazzale Roma (10 minutes), where you can transfer to line #2/ (express to the train station and Rialto) or line #1 for other Grand Canal destinations; or via Giudecca to San Marco/San Zaccaria (30 minutes).

Don’t be waylaid by aggressive water-taxi boatmen. They charge €100 to take you where the vaporetto will for €9.50. Also avoid travel agencies masquerading as TIs; deal only with the ticket booth at the vaporetto dock or the VèneziaUnica public transport office. If you’re going to buy a local transit pass, do it now.

If you’re staying near the bus or train station, you can take the €1.50 People Mover monorail, which brings you from Tronchetto to the bus bays at Piazzale Roma (3-minute trip, buy tickets with cash or credit card from machine). From there, it’s a five-minute walk across the modern Calatrava Bridge to the train station.

Parking at Piazzale Roma: The two garages here are more convenient but more expensive and likelier to be full (but you can reserve ahead online). Both face the busy Piazzale Roma, where the road ends. The big white Autorimessa Comunale building is a city garage (at the end of the bridge before you get to the piazza, €26/24 hours, +39 041 272 7211, www.avmspa.it). In a back corner of the square is the private and much more expensive Garage San Marco (€45/24 hours, +39 041 523 2213, www.garagesanmarco.it). Avoid the Parcheggio Sant’Andrea (expensive short-term parking only).

Parking in Mestre: The Parcheggio Stazione garage across from the train station in Mestre (on the mainland) makes sense if you have light bags and are staying within walking distance of Santa Lucia station (€3/hour, €22/day, www.sabait.it).

By Cruise Ship

As of 2022, larger ships dock at the commercial Marghera port outside of Venice, or at ports in Trieste or Ravenna, and transfer passengers by bus to Venice’s Stazione Marittima, at the west end of town. (Some smaller cruise ships dock directly at Stazione Marittima.) From Stazione Marittima, if it’s running, the most direct way to reach St. Mark’s Square is to take the Alilaguna red line (www.alilaguna.it). Otherwise, walk five minutes to the People Mover monorail for a three-minutes ride to Piazzale Roma, then hop on a vaporetto. Or take an expensive water taxi ride (at least €70-80).

NEAR VENICE

Map: Day Trips from Venice

Venice is just one of many towns in the Italian region of Veneto (VEHN-eh-toh), but few visitors venture off the lagoon. That’s a shame, as there’s much to see within a very short hop of Venice: the important and worthwhile towns of Padua, Verona, Vicenza, and Ravenna.

If you can’t make it to all four, pick the one that interests you. Art lovers will want to head to Padua to see Giotto’s celebrated Scrovegni Chapel or to Ravenna for its sumptuous Byzantine mosaics. History buffs should see Verona’s impressive Roman ruins. Verona is also the pick for star-crossed lovers retracing Romeo and Juliet’s steps. Architecture fans could consider a quick stop in Palladio-designed Vicenza, located about halfway between Padua and Verona.

If you’re Padua-bound, remember that you need to reserve ahead to see the Scrovegni Chapel. Don’t bother visiting Vicenza on a Monday, when many of the top sights are closed; in Verona, the Roman Arena is open only in the afternoon on Mondays.

Spending a day at one of these towns as a side-trip from Venice is exciting and efficient. Padua, Verona, and Vicenza are on the same train line. Connected by at least two trains per hour, they’re easy to visit. Only Ravenna is not on the main Venice-Milan train line. To reach Ravenna, you’ll need to make at least one change, either in Bologna or Ferrara.

Train Tip: When day-tripping here, look on the Trenitalia schedule for economical RV (regionale veloce) trains, which are nearly as fast as the more expensive Freccia trains.

Type of Train

Venice-Padua

Venice-Verona

Venice-Ravenna

R (Regional)

€4.60, 50 minutes

€9.70, 2 hours

none

RV (Fast Regional)

€4.60, 30 minutes

€9.70, 1.5 hours

€14.80-19, 3-3.5 hours (includes regional train)

Frecce (Express)

€17, 30 minutes

€21, 70 minutes

€28-35, 2.5-3 hours (includes regional train)

Italo

€15, 30 minutes

€20, 70 minutes

none

PADUA

Padova • Vicenza

PLANNING YOUR TIME

Orientation to Padua

TOURIST INFORMATION

ARRIVAL IN PADUA

HELPFUL HINTS

GETTING AROUND PADUA

Map: Padua

Sights in Padua

Map: Padua Center

Map: Scrovegni Chapel

Map: Basilica of St. Anthony

Sleeping in Padua

IN THE CENTER

NEAR THE BASILICA OF ST. ANTHONY

Eating in Padua

DINING NEAR THE CENTER

CHEAP EATS AND BARS WITH TAPAS IN THE CENTER

NEAR THE BASILICA OF ST. ANTHONY

Padua Connections

Vicenza

Sights in Vicenza

Map: Vicenza

Vicenza Connections

This easily appreciated city is a fine destination on its own and a convenient base for day trips all around the region. Nicknamed “The brain of Veneto,” Padua (Padova in Italian) is home to the prestigious university (founded in 1222) that hosted Galileo, Copernicus, Dante, and Petrarch. Pilgrims know Padua as the home of the Basilica of St. Anthony, where the reverent assemble to touch his tomb and ogle his remarkably intact lower jaw, tongue, and vocal cords. And lovers of early Renaissance art come here to make a pilgrimage of their own: to gaze at the remarkable frescoes by Giotto in the Scrovegni Chapel. But despite the fact that Padua’s museums and churches hold their own in Italy’s artistic big league, its hotels are reasonably priced, and the city doesn’t feel touristy. Padua’s old town center is elegantly arcaded, filled with students, and sprinkled with surprises, including some of Italy’s most inviting squares for lingering over an aperitivo as the sun slowly dips low in the sky.

From Padua, architecture fans can ride by train (20-30 minutes) to Vicenza and its celebrated Palladian buildings (see the end of this chapter). And Venice is just a half-hour away in the other direction.

PLANNING YOUR TIME

Padua in a Day

Day-trippers can do a quick but enjoyable blitz of Padua—including a visit to the Scrovegni Chapel—in as little as six hours. Trains from Venice are cheap, take 30 minutes, and run frequently. Once in Padua, everything is a 10-minute walk or a quick tram ride apart.

To see Giotto’s Scrovegni Chapel, you need to make a reservation; your entry time will dictate the order of your sightseeing (see “Reservations” on here). When planning your day, also consider these factors: The station has a reliable baggage-check desk; the open-air markets are vibrant in the morning; student life is best at the university late in the day; and the Basilica of St. Anthony is open all day, but the reliquary chapel closes midday.

Ideally, I’d do it this way: 9:00—market action and sightseeing in town center, 11:00—Basilica of St. Anthony, 13:00—lunch, 15:00—Scrovegni Chapel tour. Then, cap off your day with a spritz on the main square.

Orientation to Padua

Padua’s main tourist sights lie on a north-south axis through the heart of the city, from the train station to Scrovegni Chapel to the market squares (the center of town) to the Basilica of St. Anthony. It’s roughly a 10-minute walk between each of these sights, or about 30 minutes from end to end. I’ve designed this chapter around Padua’s wonderful, single tram line, which makes lacing things together quick and easy (see “Getting Around Padua,” later).

TOURIST INFORMATION

Padua has two TIs: in the center (in the alley behind Caffè Pedrocchi at Vicolo Cappellatto Pedrocchi 9, Mon-Sat 9:00-19:00, Sun 10:00-16:00) and at the train station (same hours, +39 049 520 7415, www.turismopadova.it). A seasonal TI kiosk sometimes sets up in the piazza in front of the Basilica of St. Anthony.

Sightseeing Card: The Urbs Picta Card includes entry to eight sights—including the recommended Scrovegni Chapel, Palazzo della Ragione, the Baptistery of the Duomo, and the Oratory of San Giorgio—plus unlimited tram rides (€28/48 hours, €35/72 hours; buy at either TI, the Scrovegni Chapel, or online at the chapel website, where you can make a chapel reservation—www.cappelladegliscrovegni.it).

ARRIVAL IN PADUA

By Train: The efficient station is a user-friendly shopping mall, including a Despar supermarket (long hours daily). Along track 1, on the far right as you face the tracks, are pay WCs and baggage storage (daily 6:30-20:00).

To get downtown, simply hop on Padua’s handy tram (for ticket info, see “Getting Around Padua,” later). Leaving the station, the tram stop is 100 yards to the right at the foot of the bridge (direction: Capolinea Sud). Note that thieves like this tram when it comes to picking tourists’ pockets. A taxi into town (a good option after dark) costs about €12-15.

By Bus: Buses arrive at platforms 100 yards east of the train station. Buses for Venice’s Piazzale Roma and Marco Polo Airport use these platforms. (Buses directly in front of the station are in-city only.)

By Car: Padua has a smart park-and-ride system near each end of the tram line, providing cheap parking and convenient access to town using the tram. The north lot is at the Pontevigodarzere stop, the south lot at the Capolinea Guizza stop. At either lot, buy parking tickets from machines or at the nearby café (€1 for all day and free overnight).

For more costly parking closer to town, try Padova Centro Park (near the train station and the Scrovegni Chapel, €16/24 hours) or Piazza Isaac Rabin (near Prato della Valle, €18/24 hours).

HELPFUL HINTS

Pronunciation: You say Padua (PAD-joo-wah), they say Padova (PAH-doh-vah). The city’s top sight, Scrovegni Chapel, is pronounced skroh-VEHN-yee.

Bookstore: Feltrinelli, with books in English, is one block from the main university building (daily 9:00-19:30, Via San Francesco 7, +39 199 151 173).

Launderette: Self-service Lavami is central, tiny, and modern with English instructions on flip cards (daily 7:00-21:15, Via Marsala 22 near intersection with Via dell’Arco, +39 049 876 4532).

Local Guide: Charming and helpful Cristina Pernechele is a great teacher who is passionate about her hometown (€120/half-day, mobile +39 338 495 5453, cristina@pernechele.eu). If she’s booked, she can suggest other good local guides.

GETTING AROUND PADUA

Ignore the city buses; pretend there is only the tram and rely on it. There’s just one line, which efficiently and without stress connects everything you care about.

With an Urbs Picta Card (see “Sightseeing Card,” earlier), you get unlimited tram use; just show the card upon request. Otherwise, pay onboard by tapping your contactless credit card at the reader at mid-tram, or buy tickets from shops inside the train station or from the low brown rectangular booth in front of the station (with machines and a staffed window) and validate on board. The €1.30 single ticket is good for 75 minutes (€3.80 biglietto giornaliero good for one calendar day; departs every 8 minutes during the day Mon-Sat, every 20 minutes evenings and Sun). There are ticket machines at some stops, but they sell only single tickets and don’t give change. The rubber-wheeled trams run on a single rail.

Before boarding, note the tram direction on posted schedules and above the front window (Pontevigodarzere is northbound, Capolinea Sud is southbound). Stops that matter to tourists include Stazione FS (train and bus stations), Eremitani (Scrovegni Chapel), Ponti Romani (old town center, market squares, university), Tito Livio (ghetto, old town center, Hotel Majestic Toscanelli), and Santo (Basilica of St. Anthony and neighborhood hotels).

Padua’s hop-on, hop-off tour buses are not worth the time or money.

Sights in Padua

IN THE CENTER

▲▲Market Squares

Map: Padua Center

▲Palazzo della Ragione

Piazza dei Signori

▲Caffè Pedrocchi

Museum of the Risorgimento

▲University of Padua

▲Baptistery of the Duomo (Battistero del Duomo)

SCROVEGNI CHAPEL AND CIVIC MUSEUMS

▲▲▲Scrovegni Chapel (Cappella degli Scrovegni)

Map: Scrovegni Chapel

Civic Museums (Musei Civici agli Eremitani)

THE BASILICA AND NEARBY

▲▲▲Basilica of St. Anthony (Basilica di Sant’Antonio)

Map: Basilica of St. Anthony

Near the Basilica

Piazza Prato della Valle

▲Botanic Garden (Orto Botanico)

IN THE CENTER

Padua’s two main sights, the Scrovegni Chapel and the Basilica of St. Anthony, are, respectively, at the north and south ends of the city center. But Padua’s atmospheric, cobbled core—with bustling markets, vibrant student life, and inviting sun- and café-speckled piazzas—is its own ▲▲▲ attraction. You could simply stroll the area aimlessly or seek out some of the following spots.

▲▲Market Squares

The market squares Piazza delle Erbe and Piazza della Frutta, separated by the stately Palazzo della Ragione, are busy each morning and all day Saturday (Mon-Fri roughly 8:00-13:00, Sat 8:00-19:00 but a bit quieter in the afternoon, closed Sun). Second only to the produce market in Italy’s gastronomic capital of Bologna, this market has been renowned for centuries for its selection of fresh herbs, fruits, and vegetables. The presentation is an art in itself. As you wander, appreciate the local passion for good food: Residents can tell the month by the seasonal selections, and merchants share recipe tips with shoppers.

Don’t miss the indoor market zone on the ground floor of the Palazzo della Ragione. Browsing through this H-shaped arcade—where you’ll find butchers, salumerie (delicatessens), cheese shops, bakeries, and fishmongers—is a sensuous experience. For centuries, this was a market for luxury items (furs, fine fabrics, silver, and gold—notice the decorative iron gates used to lock it up each evening). Then, the devastating 1797 fall of the Venetian Republic to the French marked the end of good times, and with no market for luxury items, the arcade was used to sell perishables—meat and cheese—out of the sun.

The Renaissance building with the flags overlooking Piazza delle Erbe is the Palazzo del Podestà. On the wing to the right, notice the 1930s-era panel celebrating Mussolini’s pathetic little empire—Libya, Albania, Somalia, and Ethiopia. Immediately south of Piazza delle Erbe is the former Jewish quarter, a charming zone of arcaded lanes. Padua has some 15 miles of such lanes protected from sun and rain, giving the city an extra boost of elegance.

Students gather in these squares after the markets have closed, spilling out of colorful bars and cafés, drinks in hand (see sidebar). Bars and food stalls offer plenty of refreshments and fun food. Pizza by the slice is dirt-cheap.

On Piazza della Frutta, look for the recommended sandwich stand, Bar dei Osei, and a neighboring squid stand that sets up in the late afternoon (see “Eating in Padua,” later). Just a few steps away from these is a classic old pharmacy that dates to 1841: The licorice-perfumed Ai Due Cantini d’Oro, which stocks retail items like it did before World War II, sells odd foods and specialty items for every dietary need (closed Mon, Piazza della Frutta 46).

▲Palazzo della Ragione

Looming over Padua’s two big central market squares (Piazza delle Erbe and Piazza della Frutta), this grand 13th-century palazzo—commonly called il Salone (the great hall)—once held the medieval law courts.

Cost and Hours: €7; Tue-Sun 9:00-19:00, Nov-Jan until 18:00, closed Mon year-round; Ponti Romani tram stop, +39 049 820 5006.

Visiting the Palazzo: Facing the palazzo from Piazza delle Erbe, climb the grand staircase on the building’s far right side, buy your ticket, and go to the loggia overlooking Piazza delle Erbe. Enjoy the view and the fine vaulting that was painted in the 1300s to celebrate the wealth of the independent Paduan city-state (one of many little states in “the land of a thousand bell towers” that ultimately formed Italy).

Step into the great hall and take it all in. This huge hall—265 feet by 90 feet—was at one time adorned with frescoes by Giotto and his workshop. After a fire in 1420 destroyed Giotto’s work, the walls were repainted with 333 frescoes depicting the signs of the zodiac, labors of the month, symbols representing characteristics of people born under each sign, and, finally, figures of the 12 apostles and favorite saints. Depicting a range of occupations, pursuits, and interests, the frescoes provide rare glimpses into contemporary European life in the early 15th century—from tanners stretching hides to aristocrats playing lawn tennis.

Drinking a Spritz with the Student Crowd

Each early evening, before dinner, students enliven Padua by enjoying a convivial drink in their favorite places. Piazza dei Signori is trendier, with people of all ages, while the scene on Piazza delle Erbe is more bohemian and alternative. Or you could sit in front of the university, nurse your drink, and watch the graduates get roasted with their crazy gangs of friends.

The drink of choice is a spritz, an aperitif generally made with Campari (a red liqueur infused with bitter herbs), white wine or prosecco, and sparkling water, and garnished with a blood-orange wedge. Another version is a sweeter and lighter spritz made with Aperol (an orange-flavored liqueur), which has a lower alcohol content and is not as bitter as the heavier Campari spritz. Padovans brag that Aperol was created here in 1919.

Grab a table and be part of the scene. This is a classic opportunity to enjoy a real discussion with smart, English-speaking students who see tourists not as pests, but as interesting people from far away. For an instant conversation starter, ask about the current political situation in Italy, the right-wing party’s policy on immigrants, or the cultural differences between Italy’s North and South. A question they might ask you: “What the hell is the electoral college?”

The enormous hull-shaped roof you see overhead was installed after the fire, and the partitions that once divided the space were removed, creating what was the largest vaulted room in 15th-century Europe.

As big as the hall is, it is almost dwarfed at one end by a gigantic, very anatomically correct wooden horse. It’s said to be a copy of the bronze equestrian statue by Donatello that stands outside the Basilica of St. Anthony (see here).

At the other end of the hall, find the black “Stone of Shame,” on which debtors sat in punishment during the Middle Ages. St. Anthony reportedly introduced this public humiliation in 1230 as a compassionate alternative to prison. Instead of doing jail time, debtors sat upon this stone, surrendered their possessions, and denounced themselves publicly before being exiled from the city.

Also in the hall is a contemporary Foucault pendulum that demonstrates the rotation of the earth (well described in English).

Piazza dei Signori

Just a block away from Palazzo della Ragione, this square is a busy clothing market in the morning and the most popular gathering place in the evening for students out for a drink. The Palazzo del Capitanio closes off one end of the square, where a circa-1344 clock decorates a tower dedicated to its upkeep. It took three floors of the tower to house the clock mechanism, and the clock caretaker lived on the remaining two floors.

Sitting atop a column near the tower, the aggressive lion with unfurled wings, symbol of Venice and St. Mark, is a reminder that Padua was dominated by the Venetian Republic for nearly 400 years (1405-1797).

▲Caffè Pedrocchi

The white-columned, Neoclassical Pedrocchi building is much more than just a café on the ground floor. A complex of meeting rooms and entertainment venues, it stirs the Italian soul (or the patriotic Italian soul, at least). Built in 1831 during the period of Austrian rule, Caffè Pedrocchi was inaugurated for the fourth Italian Congress of Scientists, which convened during the mid-19th century to stir up nationalistic fervor as Italy struggled to unite as a single country. In 1848, this symbol of patriotic hope was the target (no surprise) of those repressing a student uprising that was being plotted here. (For more on the story of Italy’s unification, visit the upstairs Museum of the Risorgimento; see the next listing.)

Cost and Hours: Café interior free, daily 8:00-23:00, across from Via VIII Febbraio near Ponti Romani tram stop, +39 049 878 1231, www.caffepedrocchi.it.

Visiting the Café: Each of the café’s three dining rooms is decorated and furnished in a different color (denoted by the hue of velvet on the chairs): red, white, or green—representing the colors of the Italian flag. In the outer, unheated Sala Verde (Green Room), people are welcome to sit and relax without ordering anything or having to pay. This is where Italian gentlemen read their newspapers and gather with friends to chat about the old days. In the Sala Rossa (Red Room), the clock over the bar is flanked by marble reliefs of morning and night, a reminder that, back in the 19th century, the room was open 24 hours a day. In the rooms on either side of the bar, maps of the hemispheres with south up top reflect the unconventional spirit of the place. In the Sala Bianca (White Room), where a student revolutionary in that ill-fated 1848 uprising was killed, you can see a bullet hole in the wall (framed in tarnished silver).

The menu offers teahouse fare, including sandwiches and ice-cream sundaes, a variety of breakfast combos, and the writer Stendhal’s beloved zabaglione, a creamy custard made with Marsala wine. A shiny new bar in the center of the building has a pastry counter and serves sandwiches at outdoor tables. Remember that in Italy, you can order a basic coffee standing up at the bar of any place, no matter how fancy, and pay the same low, government-regulated price.

Museum of the Risorgimento

This small museum (above Caffè Pedrocchi) traces Padua’s role in Italian history, from the downfall of the Venetian Republic (1797) to the founding of the Republic of Italy (1946). Exhibits include uniforms, medals, weaponry, old artillery, and fascist propaganda posters—but without English descriptions, this museum is of most interest to passionate students of Italian history.

Cost and Hours: €4; Tue-Sun 9:30-12:30 & 15:30-18:00, closed Mon; enter up staircase on the side of café farthest from Piazza Cavour, +39 049 878 1231.

▲University of Padua

The main building of this prestigious university, known as Palazzo Bo, is just down the street from Caffè Pedrocchi. Founded in 1222, it’s one of the first, greatest, and most progressive universities in Europe. Back when the Church controlled university curricula, a group of professors and students broke free from the University of Bologna to create this liberal school, which would be independent of Catholic constraints and accessible to people of other faiths.

A haven for free thought, the university attracted intellectuals from all over Europe, including the great astronomer Copernicus, who realized here that the universe didn’t revolve around him. And Galileo—notorious for disagreeing with the Church’s views on science—called his 18 years on the faculty here the best of his life.

Anyone can stroll through its two courtyards for free. Tours are given in English several times a day for a deeper look at Palazzo Bo and the famed Anatomy Theater.

Cost and Hours: Grounds—free, closed Sun; University and Anatomy Theater tour—€7 (English tours Mon-Sat generally at 12:00, 14:30, and 16:30, fewer tours off-season, no tours on Sun, maximum 25 people per tour); Via VIII Febbraio 7 (Ponti Romani tram stop), +39 049 827 3939, www.unipd.it/en/guidedtours. Confirm tour times and availability online or by phone, or stop by the ticket desk (in passage between two courtyards).

Visiting the Courtyards on Your Own: You can poke into two of the university’s courtyards on any day but Sunday. Find the entrance on Via VIII Febbraio under the “Gymnasium” inscription (30 yards from Caffè Pedrocchi, facing City Hall). You’ll pop into a 16th-century courtyard, the school’s historic core. It’s littered with the coats of arms of important faculty and leaders of the university over the ages. Classrooms, which open onto the square, are still used. Today, students gather here, surrounded by memories of illustrious alumni, including the first woman in the world to receive a university degree (in 1678).

A passageway leads from here to an adjacent second courtyard, dating from c. 1938 (the New Courtyard). The relief in Fascist style above the arches celebrates the fighting spirit of students of the Paduan goliardia—nowadays something akin to a fraternity—which got its start with the 1848 student revolt against Austrian occupation. Off this courtyard, notice the richly decorated stairway, frescoed in the 1930s with themes celebrating art, science, and the pursuit of knowledge.

The tiny Da Mario Bar, tucked into a corner of the second courtyard, displays photos and artifacts of goliardia rituals and university life (run by octogenerian Mario, famed for his strong spritzes, open Mon-Fri only).

University and Anatomy Theater Tour: Students give 45-minute tours of the university that include a look at Europe’s first great Anatomy Theater (from 1595). Despite the Church’s strict ban on autopsies, more than 300 students would pack this theater to watch professors dissect human cadavers (the bodies of criminals from another town). This had to be done in a “don’t ask, don’t tell” kind of way, because the Roman Catholic Church only started allowing the teaching of anatomy through dissection in the late 1800s.

Graduation Antics in Padua

With 60,000 students, Padua’s university always seems to be hosting graduation ceremonies. There’s a constant trickle of happy grads and their friends and families celebrating the big event.

During the school year, every 20 minutes or so, a student steps into a formal room (upstairs, above the university courtyard) to officially meet with the leading professors of his or her faculty. When they’re finished, the students are given a green laurel wreath. They pose for ceremonial group photos and family snapshots. It’s a sweet scene. Then, craziness takes over.

The new graduates replace their somber clothing with raunchy outfits, as gangs of friends gather around them on Via VIII Febbraio, the street in front of the university. The roast begins. The gang rolls out a giant butcher-paper poster with a generally obscene caricature of the student and a litany of This Is Your Life photos and stories. The new grad, subject to various embarrassing pranks, reads the funny statements out loud. The poster is then taped to the university wall for all to see. (Find the plastic panels to the right of the main entry, facing Via VIII Febbraio. Graduation posters are allowed to stay there for 24 hours. The panels are emptied each morning, but by nighttime a new set of posters is affixed to the plastic shields.)

During the roast, the friends sing the catchy but obscene local university anthem, reminding their newly esteemed friend not to get too huffy: Dottore, dottore, dottore del buso del cul. Vaffancul, vaffancul (loosely translated: “Doctor, doctor. You’re just a doctor of the a-hole...go f-off, go f-off”). After you’ve heard this song (with its fanfare and oom-pah-pah catchiness) and have seen all the good-natured fun, you can’t stop singing it.

The crazy show is usually staged late in the afternoon. Outdoor café tables afford great seats to enjoy the spectacle.

▲Baptistery of the Duomo (Battistero del Duomo)

This richly frescoed little building (next to Padua’s skippable Duomo) was once the private chapel of Padua’s ruling family, the Carraresi. In the 1370s, they hired Florentine artist Giusto de’ Menabuoi to do a little interior redecoration. Later, in 1405, Venice conquered Padua and deposed the Carraresi; the building was turned into a baptistery, but the original decorations survived.

Cost and Hours: €4, Mon 13:30-18:00, Tue-Sun 10:00-13:30 & 14:00-18:00, on Piazza Duomo.

Visiting the Baptistery: The Carraresis intended their private chapel to be a family mausoleum, and accordingly summoned the artist Giusto to create a fresco cycle fitting to that purpose. Almighty Christ, the Pantocrator, is in majesty in the cupola, while approachable Mary and the multitude of saints and angels provide the devout with access to God. In the drum below are scenes from Genesis, including the creation of Eve, who is dramatically being pulled by God from Adam’s side. From those scenes of Creation, a narrative cycle of Old and New Testament scenes spills across the walls. The four evangelists (Matthew, Mark, Luke, and John) with their books and symbols fill the corners. A vivid Crucifixion scene faces a gorgeous Annunciation. And the altar niche features a dim, blue-toned, literal Apocalypse from the book of Revelation.

The Baptistery was created 70 years after Giotto, and it seems relatively conservative compared to Giotto’s Scrovegni Chapel. But even if tentative, Giusto clearly picked up some lessons from Giotto about vivid color, handling perspective, and creating fully formed human figures.

SCROVEGNI CHAPEL AND CIVIC MUSEUMS

Wallpapered with Giotto’s beautifully preserved cycle of nearly 40 frescoes, the glorious Scrovegni Chapel holds scenes depicting the lives of Jesus and Mary. You must make reservations in advance to see the chapel. To protect the paintings from excess humidity, only 25 people are allowed in the chapel at a time. Every 20 minutes, a new group is admitted for a 15-minute video presentation in an anteroom, followed by 15 minutes in the chapel.

The chapel is within the Eremitani museum complex (at Piazza Eremitani 8), which also includes Padua’s Civic Museums (collections of archaeological, medieval, and modern art). With a Scrovegni Chapel ticket you can also visit those museums.

Cost and Hours: €14, covers the Scrovegni Chapel and Civic Museums. Reserve a timed-entry slot when you buy your ticket—see “Reservations,” below. The chapel is open daily 9:00-19:00; the museums are open Tue-Sun 9:00-19:00, closed Mon. Special evening visits to the chapel are available in peak season (see later).

Information: +39 049 201 0020, www.cappelladegliscrovegni.it.

Reservations Required: To enter the chapel, you must make a reservation at least 24 hours in advance (same-day reservations are not possible). Demand is high, so reserve the day and time you want well in advance online (or by phone). Remember that you can get the Urbs Picta Card, which includes the Scrovegni plus other Padua sights and the tram. Buy the card from the chapel website and make your chapel reservation at the same time.

Giotto di Bondone (c. 1267-1337)

Although details of his life are extremely sketchy, we know that the 12-year-old shepherd Giotto was discovered painting pictures of his father’s sheep on rock slabs. He grew to become the wealthiest and most famous painter of his day. His achievement is especially remarkable because painters at that time weren’t considered anything more than craftsmen—and weren’t expected to be innovators.

After making a name for himself by painting frescoes of the life of St. Francis in Assisi, the Florentine tackled the Scrovegni Chapel (c. 1303-1305). At age 35, he was at the height of his powers. His scenes were more realistic and human than anything that had been done for a thousand years. Giotto didn’t learn technique by dissecting corpses or studying the mathematics of 3-D perspective; he had innate talent. And his personality shines through in the humanity of his art.

The Scrovegni frescoes break ground by introducing nature—rocks, trees, animals—as a backdrop for religious scenes. Giotto’s people, with their voluminous, deeply creased robes, are as sturdy and massive as Greek statues, throwbacks to the Byzantine icon art of the Middle Ages. But these figures exude stage presence. Their gestures are simple but expressive: A head tilted down says dejection, an arm flung out indicates grief, clasped hands indicate hope. Giotto created his figures not just by drawing outlines and filling them in with single colors; he filled the outlines in with subtle patchworks of lighter and darker shades, and in doing so pioneered modern modeling techniques. Giotto’s storytelling style is straightforward, and anyone with knowledge of the episodes of Jesus’ life can read the chapel like a comic book.

The Scrovegni represents a turning point in European art and culture—away from scenes of heaven and toward a more down-to-earth, human-centered view.

Unfortunate souls arriving in Padua without a Scrovegni reservation can sometimes buy a same-day ticket at the chapel ticket office, but don’t count on it.

Evening Visit: Special 20-minute evening visits to the chapel are available for €8 (April-Oct daily 19:00-22:00). To book this online, choose “Giotto Under the Stars.”

Helpful Hint: If you packed binoculars, bring them along for a better—and more comfortable—view of the uppermost frescoes.

Getting There: From either the town center or the train station, it’s a 10-minute walk, or a quick tram ride to the Eremitani stop.

Getting In: The entrance to the chapel is through the Eremitani building, where you’ll find the ticket office and the free and mandatory bag check. Though you’re instructed to pick up your tickets at the ticket office one hour before your visit, in practice, 30 minutes is enough to weather any commotion at the desk. Present your confirmation number at the ticket desk, pick up your ticket, and check any bags or purses.

While waiting for your reserved time, read the chapel description below, since you’ll only have a short time in the chapel itself.

From the ticket office, you’ll be directed outside to a path to the chapel, passing some ruins of Roman Padua along the way. Be at the chapel doors at least five minutes before your scheduled visit. If you’re even a minute late, you’ll forfeit your time slot.

At your appointed time, you first enter an anteroom to watch an instructive 15-minute video (with English subtitles) and to establish humidity levels before continuing into the chapel. Although you have only a short visit inside the chapel, it’s divine. You’re inside a Giotto time capsule, looking back at an artist ahead of his time.

▲▲▲Scrovegni Chapel (Cappella degli Scrovegni)

Painted by Giotto and his assistants from 1303 to 1305, this work makes it clear: Europe was breaking out of the Middle Ages. A sign of the Renaissance to come, Giotto shifted the focus from heaven to earth, placing real people in real scenes, expressing real human emotions. These frescoes were radical for their 3-D nature, lively colors, light sources, emotion, and humanism.

The chapel was built out of guilt for white-collar crimes. Reginaldo degli Scrovegni charged sky-high interest rates at a time when the Church forbade the practice. He even caught the attention of Dante, who placed him in one of the levels of hell in his Inferno. When Reginaldo died, the Church denied him a Christian burial. His son Enrico tried to buy forgiveness for his father’s sins by building this superb chapel. After seeing Giotto’s frescoes for the Franciscan monks of St. Anthony, Enrico knew he’d found the right artist to decorate the interior (and, he hoped, to save his father’s soul). The Scrovegni residence once stood next to the chapel, but it was torn down in 1824.

Giotto’s Frescoes: Giotto painted the entire chapel in 200 working days over two years, but you’ll get only 15 minutes to see it.

As you enter the long, narrow chapel, look straight to the far end—the rear wall is covered with Giotto’s big Last Judgment. Christ in a bubble is flanked by crowds of saints and by scenes of heaven and hell. This is the final, climactic scene of the story told in the chapel’s 38 panels—the three-generation history of Jesus, his mother Mary, and Mary’s parents.

The story begins with Jesus’ grandparents, on the long south wall (with the windows) in the upper-left corner.   1   In the first frame, a priest scolds the man who will be Mary’s father (Joachim, with the halo) and kicks him out of the temple for the sin of being childless.   2   In the next panel to the right, Joachim returns dejectedly to his sheep farm.   3   Meanwhile (next panel), his wife is in the bedroom, hearing the miraculous news that their prayers have been answered—she’ll give birth to Mary, the mother of Jesus.

From this humble start, the story of Mary and Jesus spirals clockwise around the chapel, from top to bottom. The top row (both south and north walls) covers Mary’s birth and life.

Jesus enters the picture in the middle row of the south (windowed) wall.   4   The first frame shows his birth in a shedlike manger. In the next frame, the Magi arrive and kneel to kiss his little toes. Then the child is presented in the tiny temple. Fearing danger, the family gets on a horse and flees to Egypt.   5   Meanwhile, back home, all the baby boys are slaughtered in an attempt to prevent the coming of the Messiah (Slaughter of the Innocents).

Spinning clockwise to the opposite (north) wall, you see (in a badly damaged fresco)   6   the child Jesus astounding scholars with his wisdom. Next, Jesus is baptized by John the Baptist. His first miracle, at a wedding, is turning jars of water into wine. Next, he raises a mummy-like Lazarus from the dead. Riding a donkey, he enters Jerusalem triumphantly.   7   In the temple, he drives out the wicked money changers.

Turning again to the south wall (bottom row), we see scenes from Jesus’ final days.   8   In the first frame, he and his followers gather at a table for a Last Supper. Next, Jesus kneels humbly to wash their feet.   9   He is betrayed with a kiss and arrested. Jesus is tried.   10   Then he is beaten and humiliated.

11   Finally (north wall, bottom row), he is forced to carry his own cross, crucified, and prepared for burial, while his followers mourn (  12   Lamentation). Then he is resurrected and ascends to heaven, leaving his disciples to carry on.

13   The whole story concludes on the rear wall, where Jesus reigns at the Last Judgment. The long south wall (ground level) features the Virtues that lead to heaven, while the north wall has the (always more interesting) Vices. And all this unfolds beneath the blue, starry sky overhead on the ceiling.

Some panels deserve a closer look:

Joachim Returns to the Sheepfold (south wall, upper left, second panel): Though difficult to appreciate from ground level, this oft-reproduced scene is groundbreaking. Giotto—a former shepherd himself—uses nature as a stage, setting the scene in front of a backdrop of real-life mountains and adding down-home details like Joachim’s jumping dog, frozen in midair.

Betrayal of Christ, a.k.a. Il Bacio, “The Kiss” (south wall, bottom row, center panel): Amid the crowded chaos of Jesus’ arrest, Giotto skillfully creates a focus upon the central action, where Judas ensnares Jesus in his yellow robe (the color symbolizing envy), establishes meaningful eye contact, and kisses him.

Lamentation, a.k.a. Deposition (north wall, bottom row, middle): Jesus has been crucified, and his followers weep and wail over the lifeless body. John the Evangelist spreads his arms wide and shrieks, his cries echoed by anguished angels above. Each face is a study in grief. Giotto emphasizes these saints’ human vulnerability.

Last Judgment (big west wall): Christ in the center is a glorious vision, but the real action is in hell (lower right). Satan is a Minotaur-headed ogre munching on sinners. Around him, demons give sinners their just desserts in a scene right out of Dante...who was Giotto’s friend and fellow Florentine. Front and center is Enrico Scrovegni, in a violet robe (the color symbolizing penitence), donating the chapel to the Church in exchange for forgiveness of his father’s sins.

Before the guard scoots you out, take a look at the actual altar. Though Enrico’s father’s tomb is lost, Enrico Scrovegni himself is in the tomb at the altar. The three statues are by Giovanni Pisano—Mary (in the center) supports Baby Jesus on her hip with a perfectly natural, maternal S-shape. She’s flanked by anonymous deacons.

Nearby: Between the museum and the chapel are the scant remains of Roman Padua. The remnants are from the wall of an arena (with a reconstructed grand entry gate) and include nicely fitting pipes that once channeled water so that the arena could be flooded for special spectacles.

Civic Museums (Musei Civici agli Eremitani)

The former Augustinian monastery of the Eremitani friars now houses Padua’s Civic Museums: archaeology on the ground floor and paintings upstairs in the Pinacoteca (all included with your Scrovegni Chapel ticket).

Archaeology Museum: Filling the ground floor around the monastery’s courtyards is an impressive collection of ancient statues and artifacts—Egyptian, Venetian, and Roman. Sadly, there are no English descriptions.

Pinacoteca: The entire upper floor of the building is the home of the Pinacoteca (picture gallery). The collection has 13th- to 18th-century paintings by Titian, Tintoretto, Giorgione, Tiepolo, Veronese, Bellini, Canova, and other Veneto artists. But the highlight is the chance to study two masterpieces that affirm Giotto’s greatness. The first is a remarkable crucifix, which originally hung in the Scrovegni Chapel between the Scrovegni family’s private zone and the public’s worshipping zone. If you kneel on the floor and look up, the body really pops. Nearby, and also by Giotto, is L’Eterno Padre (The Eternal Father), which originally occupied a high arch in the chapel. Both works, painted on wood, are fragile and kept here for conservation purposes. (If you can’t locate these pieces, ask for “La Croce di Giotto?”—lah KROH-cheh dee JOH-toh.)

Rest of the Civic Museums: When it’s open, the multimedia room in the basement (take the stairs down from the smaller cloister) contains several exhibits that give more meaning to the Scrovegni Chapel frescoes; there’s also a 15-minute video in a small theater. Across the busy street is the Palazzo Zuckermann, with a commotion of applied and decorative arts (clothing, furniture, and ceramics) from the Venetian Republic (1600s and 1700s) and a collection of 19th-century coins and local Impressionist paintings.

THE BASILICA AND NEARBY

▲▲▲Basilica of St. Anthony (Basilica di Sant’Antonio)

Friar Anthony of Padua, “Christ’s perfect follower and a tireless preacher of the Gospel,” is buried here. Construction of this impressive Romanesque/Gothic church (with its Byzantine-style domes) started immediately after St. Anthony’s death in 1231. As a mark of his universal appeal and importance in the medieval Church, he was sainted within a year of his death. Speedy. And for nearly 800 years, his remains and this glorious church have attracted pilgrims to Padua.

Cost and Hours: The basilica is free and open daily 6:15-19:00 (closes earlier off-season). The Chapel of the Reliquaries is also free and open daily 9:00-12:00 & 14:30-18:30. The nearest tram stop is Santo.

Information: +39 049 822 5652, www.santantonio.org. There’s an information office just inside the cloister entrance, where you can rent a €3 audioguide to the basilica and buy tickets to the other basilica sights (see next).

Other Basilica Sights: A €7 combo-ticket gets you into a cluster of basilica museums—the Antonian Museum (basilica masterpieces), a Donatello exhibit, the Museum of Popular Devotion (votive offerings left by the faithful), the Oratory of San Giorgio, and the Scuola del Santo (the last two are on the piazza in front of the church). These sights are generally open Tue-Sun 9:00-13:00 & 14:00-18:00, closed Mon. Tickets are sold at the info desk at the cloisters and at the museum entries.

Dress Code: A modest dress code is enforced.

Church Services: Mass is generally celebrated several times each morning (the last at 11:00), as well as at 17:00 and 18:00. Confirm the current schedule at the basilica’s website.

Shops: There’s a typical souvenir shop stocked with holy cards and religious statuaries and a more interesting erboristeria selling herbal remedies and a selection of botanical aperitivos.

Self-Guided Tour

1   View of Basilica: Stand outside to view the basilica’s red-brick facade. St. Anthony looks down and blesses all. He holds a book, a symbol of all the knowledge he had accumulated as a quiet monk before starting his preaching career.

St. Anthony of Padua (1195-1231)

One of Christendom’s most popular saints, Anthony is known as a powerful speaker, a miracle worker, and the finder of lost articles.

Born in Lisbon to a rich, well-connected family, Anthony disappointed his parents by choosing to dedicate his life to Christ. He left home at age 15, joined the learned Augustinian order, and was ordained as a priest. He lived contentedly with that order until a chance encounter with some Franciscans who stopped at his abbey while on their way to Morocco to preach the gospel. When news reached Anthony that his Franciscan friends had been martyred, he determined to follow their heroic path. He became a Franciscan and set off for Morocco, fully expecting to face martyrdom. He’d barely arrived when he became terribly ill and was forced to return to Portugal. On his journey home, a ferocious storm blew his ship off-course. He ended up in Italy, where he spent the rest of his life studying, meditating, and tending to the poor.

One day, he joined his fellow monks for an ordination service. The appointed speaker failed to show up, so Anthony was asked to say a few off-the-cuff words to the crowd. He started slowly, but, filled with the Spirit, he became more confident and amazed the audience with his eloquence. Up in Assisi, St. Francis heard about Anthony and sent him on a preaching tour through northern Italy and southern France. Anthony had a strong voice, knew several languages, had an encyclopedic knowledge of theology, and could speak spontaneously as the Spirit moved him. It’s said that he even stood on the shores of the Adriatic Sea in Rimini and enticed a school of fish to listen. Anthony also was known as a prolific miracle worker.

Illness cut his life short at 36. Anthony said, “Happy is the man whose words issue from the Spirit and not from himself!”

A golden angel—the weathervane atop the spire—points her trumpet into the wind.

Guarding the church is Donatello’s life-size equestrian statue of the Venetian mercenary general, Gattamelata. Though it may look like any other man-on-a-horse statue, this life-size equestrian was the first such statue cast from bronze in a thousand years and become the model for subsequent equestrian statues of generals and kings for centuries to come.

The church is technically outside Italy. When you pass the banisters that mark its property line, you’re passing into Vatican territory.

• Enter the basilica and grab a pew in the center of the nave. Let your eyes adjust.

2   Nave: Sit and appreciate the space. Gaze past the crowds and through the incense haze to Donatello’s glorious crucifix rising from the altar, and realize that this is one of the most important pilgrimage sites in Christendom. Along with the crucifix, Donatello’s bronze statues—Mary with Padua’s six favorite saints—grace the high altar. Late in his career, the great Florentine sculptor spent more than a decade in Padua (1444-1455), creating the altar and Gattamelata.

• Head to the left side of the nave to find the gleaming marble masterpiece that is the focus of the visiting pilgrims—the tomb of St. Anthony.

3   St. Anthony’s Tomb: Pilgrims file slowly through this side chapel around the tomb, so focused on the saint that they hardly notice the nine fine marble reliefs. (You can easily skirt around the side of this group for a closer look at each panel.) These Renaissance masterpieces were carved during the 16th century and show scenes and miracles from the life of the saint. As you enjoy each scene, notice the Renaissance mastery of realism and 3-D perspective and the intricate frames, which celebrate life with a burst of exuberance. Note also the vivid faces with their powerful emotions.

The first relief depicts St. Anthony receiving the Franciscan tunic. The architectural setting (such as the perspective of the arches on the left and the open door) illustrates the new ability to show depth by using mathematics. The cityscape above is Padua in about 1500.

In the second relief, a jealous husband has angrily stabbed his wife. Notice the musculature, the emotion, and the determination in the faces of loved ones. Above, in the clouds, Anthony intercedes with God to bring the woman back to life.

The third panel shows Anthony bringing a young man back to life. Above is the Palazzo della Ragione looking as it still does today.

The fourth scene, by the famous Florentine sculptor Jacopo Sansovino, shows three generations: a dead girl, her distraught mom, and a grandmother who’s seen it all. A boy on the right realistically leans on his stick. Of course, Anthony will eventually change the mood, but right now it’s pretty dire. Above is a relief of this basilica.

In the fifth relief, a fisherman holds a net, sadly having retrieved a drowned boy. The mother looks at Anthony, who blesses and revives the boy. Across from here is the saint’s actual tomb. Under thoughtful lighting, it reads Corpus S. Antonii. Prayer letters are dropped behind the iron grill.

The sixth relief shows “the miracle of the miser’s heart.” Anthony’s helper dips his hand into a moneylender’s side to demonstrate the absence of his heart. At his foot, the square tray with coins and a heart illustrates the scriptural verse “for where your treasure is, there your heart will be also.”

For the seventh relief, Anthony holds the foot of a young man who confessed to kicking his mother. Taking a lesson from the saint about respecting your mother a little too literally, the man had cut off his own foot. The hysterical mother implores Anthony’s help, and the saint’s prayers to God enabled him to reattach the foot.

Stand in the corner for a moment, observing the passionate devotion that pilgrims and Paduans alike have for Anthony. Touching his tomb or kneeling in prayer, the faithful believe Anthony is their protector—a confidant and intercessor for the poor. And they believe he works miracles. Believers leave offerings, votives, and written prayers to ask for help or to give thanks for miracles they believe Anthony has performed. By putting their hands on his tomb while saying silent prayers, pilgrims show devotion to Anthony and feel the saint’s presence.

Popular Anthony is the patron saint of dozens of things: orphans, pregnant women, infertile women, and glassblowers. Most pilgrims ask for his help in his role as the “finder of things”—from lost car keys to a life companion. You’ll see dozens of photos posted on his tomb in prayer or as thanks, including many of fervently wished-for newborns.

The eighth scene makes the point that—unlike St. Francis, who was a rowdy youth—Anthony was holy even as a toddler. He tosses the glass (representing his faith), which, rather than shattering, breaks the marble floor.

In the ninth relief, a jealous husband (the bearded man behind Anthony) accuses his wife of cheating. The wife asks Anthony to identify her baby’s father. Anthony asks the child, who speaks and says that the husband is his real dad and his mother was not messing around. Everyone is relieved—whew!

Before leaving, pause to appreciate how the entire chapel is an integrated artistic wonder.

• Leave the chapel (between scenes eight and nine) and step into the oldest part of the church. This is the...

4   Chapel of Beato Luca: This chapel, decorated with beautiful frescoes by Giusto de’ Menabuoi, is dedicated to Luca Belludi, a disciple of St. Anthony. The 13th-century altar preserves his remains. To the left of the altar, note the fine view of medieval Padua, with this church outside the wall (finished by 1300 and looking like it does today). Below the cityscape, in a circa-1380 fresco, Anthony on his cloud promises he’ll watch over Padua.

• Continue your circuit of the church by going behind the altar into the apse. You’ll pass the Polish chapel with its ornate bronze gate and a painting of St. John Paul II (canonized in 2014). Next up is the often-crowded...

5   Chapel of the Reliquaries: The most prized relic is in the glass case at center stage—Anthony’s tongue. When Anthony’s remains were exhumed 32 years after his death (in 1263), his body had decayed to dust, but his tongue was found miraculously unspoiled and red in color. How appropriate for the great preacher who, full of the Spirit, couldn’t stop talking about God.

Entering the chapel, join the parade of pilgrims working their way clockwise around the chapel and up the stairs. First, on the left, look for the red, triangular vestment in which Anthony’s body was wrapped. Next is his rough-hewn wood coffin. Then, up the stairs, is his pillow—a comfy rock (chest level in first glass case). The center display case contains (top to bottom) the saint’s lower jaw with all his teeth impressively intact (il mento, located about 8 feet high), his uncorrupted tongue (lingua, at about eye level), and, finally, his vocal chords (apparato vocale, at about waist level) discovered intact when his remains were examined in 1981. In the last display case, a fragment of the True Cross (la croce) is held in a precious cross-shaped reliquary. You’ll also pass St. Anthony’s holy, and holey, tunic (tonaca). Pilgrims stop at a desk to pick up a small card with a tiny piece of blessed cloth that touched Anthony’s tongue.

Above the relics, decorating the cornice, is the Glorification of St. Anthony. In this Baroque fantasy—made in 1691 of carved marble and stucco—a cloud of angels and giddy putti tumble to the left and right in jubilation as they play their Baroque-era musical instruments to celebrate Anthony’s arrival in heaven.

• Leaving this relic chapel, turn left to the Chapel of Benediction. Here, a priest is waiting to bless anyone who wishes to be blessed.

Next, past the sacristy (where you can peek in at priests preparing for Mass), is a door leading to the cloisters. But before heading out, walk just beyond this passage to the...

6   Chapel of St. James: Exactly opposite the tomb of St. Anthony, this chapel features an exquisite 14th-century fresco by Altichiero da Zevio. Study the vivid commotion around the Crucifixion, clearly inspired by Giotto (this was created 70 years after the Scrovegni Chapel). The faces are real—right off the streets of 14th-century Padua. From this chapel, look across the nave and appreciate how Anthony’s massive tomb is so beautifully integrated into the church architecturally.

• Next, exit out into the cloisters. From the right side of the nave as you face the altar, follow signs to chiostro.

7   Cloisters: Of the four cloisters at the basilica, you can wander in three. The main cloister is dominated by an exceptionally bushy magnolia tree, planted in 1810 (the magnolia was exotic for Europe when it was imported from America in 1760). Also in the cloister are the graves of the most illustrious Paduans, such as Gabriel Fallopius, the scientist who gave his name to his discovery, the Fallopian tube. When Napoleon decreed that graves should be moved out of cities, this once grave-covered courtyard was cleared of tombstones. But the bodies were left in the ground, perhaps contributing to the magnolia tree’s fecundity. Today the tree remains an explosion of life.

In another cloister, you may be able to enter a multimedia exhibit about the life of St. Anthony and the Franciscan mission (free, a slow and evangelical 20 minutes).

In the next cloister over, you’ll find the entrance to the Antonian Museum, a Donatello exhibit, and the Museum of Popular Devotion (all covered by combo-ticket). The latter is filled with votives and folk art recounting miracles attributed to Anthony. The abbreviation PGR that you’ll see on many votives stands for per grazia ricevuta—for answered prayers.

8   Other Basilica Sights: The small but sumptuous Oratory of San Giorgio faces the little square in front of the basilica. Built as a mausoleum for the noble Lupi family, but now a consecrated church, the oratory is filled with vivid, circa-1370 frescoes showing scenes from the life of Christ and the patron saints of the Lupis: St. George, St. Lucia, and St. Catherine. Because many lovers credit St. Anthony with finding them their partners—and this is the closest place to St. Anthony where you can be married—it’s popular for weddings.

Next door and upstairs is the skippable (and often closed) Scuola del Santo (a.k.a. La Scoletta), the former meeting hall of the Confraternity of Anthony. It has frescoes and paintings of the life of St. Anthony by various artists—including some by Titian.

Near the Basilica

Piazza Prato della Valle

This pleasant, 400-yard-long, oval piazza (150 yards southwest of the basilica, down Via Beato Luca Belludi) is actually an artificial island surrounded by a canal. Once the site of a Roman theater and later Anthony’s preaching grounds, the grassy square is lively with fountains, walkways, and dozens of statues of Padua’s eminent citizens. It’s also an active market scene: fruit and vegetables (Mon-Fri morning); clothing, shoes, and household goods (Sat all day), and antiques (third Sun all day). This place is often busy with special events and festivals.

▲Botanic Garden (Orto Botanico)

Green thumbs, science fans, and anyone who wants a break from art or religious sights will appreciate this historic botanical garden, which contains the university’s vast collection of rare plants. Founded in 1545 for the cultivation and study of medicinal plants, it’s the world’s oldest existing academic botanical garden. Because of the Venetian Republic’s vast reach through trade and commerce, and the university’s renown, exotic plants from all over the world made their way to Padua. It’s believed that the first potato, sesame, lilac, and sunflower in Europe were planted in this city.

Cost and Hours: €10; Tue-Sun 10:00-19:00, closes earlier off-season, closed Mon, last entry one hour before closing; the garden’s free app is best suited to plant and science buffs; entrance 150 yards south of Basilica of St. Anthony—with your back to the facade, take a hard left; Santo tram stop, +39 049 201 0222, www.ortobotanicopd.it.

Visiting the Garden: The botanical garden’s original 16th-century square-within-a-circle configuration remains intact. Inside its circular wall, the garden is filled with elegant, geometrical plant beds. Wandering the paths, visitors can also admire a 340-year-old oriental plane tree, a magnolia that’s only 10 years younger than the United States, and the garden’s oldest specimen—a St. Peter’s dwarf palm that was planted in 1585, and inspired Goethe to write his essay on the “Metamorphosis of Plants.”

From the south end of the enclosed garden, find the path over a footbridge that leads to the striking and enormous Biodiversity Garden. The five greenhouse biomes take you on a journey through the world’s major climate zones. Panels provide superb English descriptions of the environments and offer insight into how plant life has influenced the development of humankind—and vice versa.

Sleeping in Padua

Rooms in Padua’s hotels are more spacious and a better value than those in Venice. I’ve listed hotels in the center and near the basilica. All are reachable from the station by tram; only Albergo Verdi is more than a five-minute walk from the nearest tram stop.

IN THE CENTER

$$ Hotel Majestic Toscanelli, an old-fashioned family-run hotel with 34 nicely furnished rooms, owns a perfect location right in the town center—buried in the characteristic ghetto with wonderful cobbled ambience. At night, this area is popular with noisy students; request a quiet room on the back side (RS%, some suites available, air-con, elevator, lounge bar, pay parking, Via dell’Arco 2, Tito Livio tram stop, +39 049 663 244, www.toscanelli.com, majestic@toscanelli.com, Mario Morosi and family). From the tram stop, follow the passageway next to #26, then jog left down Via Marsala and turn right on Via dell’Arco.

$ Albergo Verdi, an Ikea-esque little place, is crammed into an old building on a small back street beyond Piazza dei Signori. While public spaces are tight, the 14 rooms are simple and sufficient (air-con, tiny elevator, Via Dondi dall’Orologio 7, Ponti Romani tram stop, +39 049 836 4163, www.albergoverdipadova.it, info@albergoverdipadova.it). From Piazza dei Signori, walk through the arch under the clock tower and go to the far end of Piazza del Capitaniato; the hotel is on the side street to your right.

NEAR THE BASILICA OF ST. ANTHONY

Santo is the nearest tram stop for the following hotels.

$$ Hotel Al Fagiano feels like an art gallery with eclectic creative touches everywhere. They rent 37 bright and cheery rooms, each uniquely decorated with Rossella Fagiano’s creations (RS%, air-con, elevator, pay parking, 50 yards from the Santo tram stop at Via Antonio Locatelli 45, +39 049 875 0073, www.alfagiano.com, info@alfagiano.com; Anita, Rossella, and Amato).

$ Hotel Al Santo, run with charm by Valentina and Antonio, offers 15 spacious rooms with essential comforts on two floors above their restaurant, a few steps from the basilica. Given the warm welcome and pleasant location, it’s a fine value (family rooms, double-paned windows, quieter rooms off street, some rooms with basilica views, air-con, elevator, pay parking, Via del Santo 147, +39 049 875 2131, www.alsanto.it, alsanto@alsanto.it).

$ Hotel Casa del Pellegrino, with 147 spotless, cheap, bare rooms and straight pricing, is owned by the friars of St. Anthony. It’s home to the pilgrims who come to pay homage to the saint in the basilica next door. Any visitor to Padua is welcome, making it popular with professors and students. Some rooms with basilica views also come with more noise—both from the street and, starting at 6:00 in the morning, the church bells; other rooms are in the hotel’s modern wing (cheaper rooms with shared bath, family rooms, ask for a room off the street, breakfast extra, air-con, elevator, pay parking, Via Melchiorre Cesarotti 21, +39 049 823 9711, www.casadelpellegrino.com, info@casadelpellegrino.com).

Eating in Padua

The university population means cheap, good food abounds. My recommended restaurants are all centrally located in the historic core. You’d think there would be fine dining on the charming market squares, but they’re dominated by takeout pizza, casual bars, and, after dark, students. La Lanterna, at the neighboring Piazza dei Signori, is the best on-square option—but they only offer functional Italian classics. The atmospheric ghetto neighborhood (just off the market squares) thrives after dark with a lively bar scene.

If you want a fun multistop meal of bar food capped with some fine gelato, string together my recommendations under “Cheap Eats and Bars with Tapas in the Center.”

DINING NEAR THE CENTER

$$$ Taverna Nane della Giulia, warm and inviting, serves generous portions of well-made Venetian-style cuisine at fair prices (Wed-Sun 12:00-15:00 & 19:00-24:00, closed Mon-Tue, reservations recommended for dinner, Via Santa Sofia 1, +39 049 660 742).

$$ Osteria L’Anfora is a colorful if chaotic place serving classic dishes in an informal, fun-loving space. Don’t be put off by the woody, ruffian decor, the squat toilet, and the fact that it’s a popular hangout for a premeal drink. They take food seriously and serve it at good prices, and the fun energy and commotion add to the dining experience (meals served Mon-Sat 12:30-15:00 & 19:30-22:30, bar open 9:00-24:00, closed Sun, reservations smart for dinner, Via dei Soncin 13, +39 049 656 629).

$ Osteria dal Capo is a tight and jumbled little bistro with chandeliers and white tablecloths serving classic Veneto meat and fish dishes, home-cooking style (Mon-Sat 12:00-14:30 & 19:00-24:00, closed Sun, inside only, reserve for dinner, Via degli Obizzi 2, +39 049 663 105, www.osteriadalcapo.it).

$$ Enotavola Pino (enotavola means “wine table”) is, in the front, a hip wine bar where owner/chef Pino offers scores of wines by the glass—each with a little plate of mortadella. The back is a bright fish-only restaurant with a busy, open kitchen and spacious seating. If you like the energy in the wine bar, you can order from the menu there, too (daily 12:30-14:30 & 19:30-23:00, Via dell’Arco 37, +39 049 876 2385).

$$$ Enoteca Antonio Ferrari is a top-end wine bar serving quality meat-and-cheese boards to a hungry local crowd. It’s pricey but a good value and feels bright and youthful (daily, Via Umberto 1, +39 049 666 375).

CHEAP EATS AND BARS WITH TAPAS IN THE CENTER

$ Pizza on Piazza dei Signori: Though La Lanterna has a forgettable interior and a predictable menu of pizzas, pastas, and secondi, its prime location provides a rare-in-Padua chance to sit in a grand square under the stars, surrounded by great architecture. Locals know it as the first pizzeria in town (Fri-Wed 12:00-15:00 & 18:00-24:00, closed Thu, Piazza dei Signori 39, +39 049 660 770, www.lalanternapadova.it).

$ Squid, Porchetta, and Spritz on Piazza della Frutta: Just a simple sandwich place, Bar dei Osei has some of the best outdoor seats in town. While Paduans love their delicate tramezzini—white-bread sandwiches with crusts cut off, I’d choose their porchetta—savory roasted pork sandwiches. Wines are listed on the board (Mon-Sat 7:00-21:00, closed Sun, Piazza della Frutta 1, +39 049 875 9606). In the evenings, just a few feet away, La Folperia squid stand sells boiled and spiced plates of squid by weight—indicate small (€6) or big (€12) and request bread (pane). Crowd your way up to the bar, and Massimiliano and Barbara will take care of you (Mon-Sat 17:00-20:30, closed Sun). Even with a plate of La Folperia seafood, you’re welcome to grab a Bar dei Osei table and order a drink from the roaming server.

$ Cicchetti Bars Popular with Students: Surrounding Palazzo della Ragione you’ll find lots of atmospheric bars jammed with students marked by the glowing orange glasses of spritz. These bars also serve little €1 and €2 bites (mostly fried gut bombs and enticing open-face sandwiches). While the tapas aren’t advertised, the walls are scribbled with the various wines, vermouths, and cocktails for sale. Two classy holes-in-the-wall are particularly atmospheric (each about a block off the market squares): Bar Corte Sconta (across the street from the recommended Hotel Majestic Toscanelli, at Via dell’Arco 9) and Bar All’Ombra della Piazza (100 yards off Piazza della Frutta, down the tiny Via Pietro D’Abano at #16).

$ Pasta and Vegetarian on Piazza della Erbe: Pastasuta is a minimalist little pasta joint tucked away in the Palazzo della Ragione arcade (Piazza delle Erbe side). Choose your pasta and sauce combo or enjoy prepared options from their little tavola fredda. Seating is limited, but all of their dishes can be packed to go. Just say, “Per portare via, per favore” (Mon-Sat generally 9:00-15:00 & 17:00-20:00, closed Mon and Wed evenings and all day Sun). Cristina e Massimo, just a few doors down from Pastasuta, serves seasonal and creative vegetarian dishes, from fancy salads to muffins to tarts (Mon-Sat 7:00-20:00, closed Sun).

Gelato: For your best dessert in the market square area, enjoy a high-end gelato at Gnam Gnam (that means “yum yum”) on Piazza dei Signori.

NEAR THE BASILICA OF ST. ANTHONY

$ Pizzeria Pago Pago dishes up wood-fired Neapolitan pizzas (a local favorite) and daily specials depending on what’s in season. They also have good salads, non-pizza dishes, and beer on tap in a bright and high-energy dining area (Wed-Mon 12:00-14:00 & 19:00-24:00, closed Tue; 2 blocks from basilica, up Via del Santo and right onto Via Galileo Galilei to #59; +39 049 665 558, Gaetano and Modesto).

$ Pollodoro la Gastronomica, my pick of the takeout delis near the basilica, sells roast chicken, pastas, pizza, and veggies. They’ll also make sandwiches (Wed-Mon 9:00-14:00, closed Tue, 100 yards from basilica at Via Belludi 34, +39 049 663 718).

Gelato: Portogallo Gelateria is considered the best gelateria in town, with amazing and creative flavors (Via Umberto 1).

Padua Connections

Unless otherwise specified, the following connections are for Trenitalia.

From Padua by Train to: Venice (4/hour, 30 minutes; Italo: about hourly, 30 minutes), Vicenza (at least 3/hour, fewer on weekends, 15-25 minutes), Milan (2-3/hour, 2-3 hours; Italo 7/day, 2 hours), Verona (3/hour, 40-90 minutes), Ravenna (roughly hourly, change in Bologna or Ferrara, 2.5-3.5 hours), Florence (10/day direct, 2 hours, require reservations; otherwise 3 or more hours with connections).

By Bus to: Venice’s Marco Polo Airport (65 minutes, €8.50 from ticket windows, €10 on board, roughly hourly at :25 past the hour from 6:25 to 21:25, leaves from platform 11 at Padua’s bus station, next to the train station; recheck times at www.fsbusitaliaveneto.it).

Vicenza

To many architects, Vicenza (vih-CHEHN-zah) is a pilgrimage site. Entire streets look like the back of a nickel. This is the city of Andrea Palladio (1508-1580), the 16th-century Renaissance architect who defined the Palladian style that is now so influential in countless British country homes. But as grandiose as Vicenza’s Palladian facades may feel, there is little marble here because the city lacked the wealth to build with much more than painted wood and plaster.

If you’re an architecture buff, Vicenza merits a quick day trip on any day but Monday, when major sights are closed. If you’re packing light, it’s an easy stop, located on the same train line as Padua, Verona, and Venice. However, there’s no bag storage at the train station; though in a pinch, the TI is willing to store bags for you while you walk around town.

Tourist Information: The TI is next to the Olympic Theater at Piazza Matteotti 12 (daily 9:00-13:30 & 14:00-17:30, +39 0444 320 854, www.vicenzae.org). Ask for the free brochure on Palladio’s buildings. Architecture fans appreciate the booklet titled Vicenza and the Villas of Andrea Palladio.

Arrival in Vicenza: From the train station, I’d head straight for the most distant sight, the Olympic Theater (with the TI next door) and then see other sights on the way back. Go straight out the train station’s front door and use the crosswalk on the right side of the roundabout. From here, it’s a five-minute walk straight ahead up wide Viale Roma to the Eurospar supermarket at the bottom of Corso Palladio; turn right through the gate, and then it’s a good 10 minutes more down the Corso to the Olympic Theater.

A taxi from the station costs about €8. Drivers can park in one of the cheap parking lots (Parcheggio Bassano and Parcheggio Cricoli) and catch a free shuttle bus to the center.

Sights in Vicenza

Helpful bilingual signs in front of Palladio’s buildings explain their history. Arrows around town point you to his major works.

Sightseeing Passes: All the sights mentioned (except the villas outside town) are covered by the Vicenza Card (€20, good for 8 days, sold at the TI and Palazzo Leoni Montanari Galleries). The 4 Museums Card lets you choose any four sights (€15).

▲▲Olympic Theater (Teatro Olimpico)

Palladio’s last work, one of his greatest, shouldn’t be missed. This indoor theater is a wood-and-stucco festival of classical columns, statues, and an oh-wow stage bursting with perspective tricks. When you step back outside, take another look at the town’s main drag—named after Palladio. It’s the same main street you saw on the stage of his theater.

Cost and Hours: €11; Tue-Sun 10:00-18:00 (9:00-17:00 in winter), closed Mon, very occasionally closed when theater is in use; audioguide available, entrance to left of TI at Piazza Matteotti 11, info +39 0444 222 800, tickets +39 044 496 4380, www.teatrolimpicovicenza.it.

▲Church of Santa Corona (Chiesa di Santa Corona)

A block from the Olympic Theater, this “Church of the Holy Crown” was built in the 13th century to house a thorn from the Crown of Thorns, given to the bishop of Vicenza by the French king Louis IX. The church has two artistic highlights: Paolo Veronese’s Adoration of the Magi (1573) and Giovanni Bellini’s fine Baptism of Christ (c. 1502).

Cost and Hours: Free, Tue-Sun 10:00-18:00 (9:00-17:00 in winter), closed Mon, Contrà Santa Corona 2, +39 0444 323 644.

Archaeological and Natural History Museum (Museo Naturalistico Archeologico)

Located next door to the Church of Santa Corona, this museum’s ground floor features Roman antiquities (mosaics, statues, and artifacts excavated from Rome’s Baths of Caracalla, plus swords) and a barbarian warrior skeleton complete with sword and helmet. Prehistoric scraps are upstairs. Look for English description sheets near exhibit entryways throughout.

Cost and Hours: €5, Tue-Sun 9:00-17:00, closed Mon, Contrà Santa Corona 4, +39 0444 222 815, www.museicivicivicenza.it.

Palazzo Leoni Montanari Galleries (Gallerie di Palazzo Leoni Montanari)

Across the street from the Church of Santa Corona, this small museum is a palatial riot of Baroque, with cherub-cluttered ceilings jumbled like a preschool in heaven. A quick stroll shows off Venetian paintings and a floor of Russian icons.

Cost and Hours: €8.50, Tue-Sun 10:00-18:00, closed Mon, Contrà Santa Corona 25, +39 800 578 875, www.palazzomontanari.com.

Piazza dei Signori

Vicenza’s main square has been the center of town ever since it was the site of the ancient Roman forum. The commanding Basilica Palladiana, with its 270-foot-tall, 13th-century tower, dominates the square. This was once the meeting place for local big shots. It was young Palladio’s proposal to redo Vicenza’s dilapidated Gothic palace of justice in the Neo-Greek style that established him as the city’s favorite architect. The rest of Palladio’s career was a one-man construction boom. The basilica hosts special exhibitions that sometimes involve a fee, but you can often pop in for a free look.

Villas on the Outskirts of Vicenza

Vicenza is surrounded by dreamy Venetian villas. When Venice’s commercial trading empire receded in the 1500s, the city redirected its economic agenda to agribusiness, which led to the construction of lavish country villas, such as Villa la Rotonda, the inspiration for Thomas Jefferson’s Monticello (www.villalarotonda.it), and Villa Valmarana ai Nani (www.villavalmarana.com). Located southeast of the town center, both houses are furnished with period pieces (closed Mon). Pick up the free brochure on Palladio’s villas from the TI if you plan to visit.

Vicenza Connections

From Vicenza by Train to: Venice (Trenitalia: 2/hour, 45 minutes; Italo: 7/day, 45 minutes), Padua (at least 2/hour, 15-25 minutes), Verona (2/hour, 30-40 minutes), Milan (1-2/hour, 2 hours).

VERONA

Orientation to Verona

TOURIST INFORMATION

ARRIVAL IN VERONA

HELPFUL HINTS

Map: Verona

Verona Walk

Map: Verona Walk

Sights in Verona

OUTSIDE THE CITY CENTER

Sleeping in Verona

NEAR PIAZZA ERBE

NEAR PIAZZA BRÀ

Eating in Verona

FINE DINING

MODERATE RESTAURANTS

EATING IN OSTERIE (OLD BARS)

PIZZA, CHEAP EATS, AND SWEETS

Verona Connections

Romeo and Juliet made Verona a household word. Alas, a visit here has nothing to do with those two star-crossed lovers. You can pay to visit the house that falsely claims to be Juliet’s (with an almost believable balcony and a courtyard swarming with tour groups), join in the tradition of rubbing the breast of Juliet’s statue to help find a lover (or to pick up the sweat of someone who can’t), and even make a pilgrimage to what isn’t “La Tomba di Giulietta.”

Fiction aside, Verona has been an important crossroads for 2,000 years and is, therefore, packed with genuine history. R&J fans will take some solace in the fact that two real feuding families, the Montecchi and the Cappellos, were the models for Shakespeare’s Montagues and Capulets. And, if R&J had existed and were alive today, they would still recognize much of their “hometown.”

Verona’s main attractions are its wealth of Roman ruins; the remnants of its 13th- and 14th-century political and cultural boom brought about by its leading family, the Scaligeri; its 21st-century, pedestrian-only ambience; and its world-class summer opera festival. After Venice’s festival of tourism, the Veneto region’s second city is a cool and welcome sip of pure Italy, where dumpsters are painted by schoolchildren as class projects and public spaces are primarily the domain of locals, not tourists. If you like Italy but don’t need blockbuster sights, this town is a joy.

Orientation to Verona

Verona’s old town fills an easy-to-defend bend in the River Adige. The vibrant and enjoyable core of Verona lies along Via Mazzini between Piazza Brà (pronounced “bra”) and Piazza Erbe, Verona’s market square since Roman times. Each evening the two main streets from Piazza Brà to Piazza Erbe, Via Mazzini and Corso Porta Borsari, are enlivened by a wonderful passeggiata...bustling with a slow and elegant parade of strollers. For a good day trip to Verona, take my self-guided walk, beginning with a visit to the Roman Arena.

TOURIST INFORMATION

Verona’s helpful TI is located inside Verona’s City Hall (Palazzo Barbieri). The entrance is just off Piazza Brà, around the corner at Via Leoncino 61 (Mon-Sat 9:00-19:00, Sun 10:00-18:00, shorter hours off-season, +39 045 806 8680, www.turismoverona.eu). If you’re staying the night, ask the TI about concerts.

Sightseeing Passes: The Verona Card covers city transportation and entry to all recommended Verona sights. The card can save day-trippers quite a bit if you’re intent on blitzing the city’s sights (€20/24 hours, €25/48 hours, sold at TI and at participating sights, www.turismoverona.eu).

The €8 Church Card, sold at four churches that require admission (San Zeno, Duomo, Sant’Anastasia, and San Fermo, normally €3 each), pays for itself if you visit two (www.chieseverona.it).

Walking Tours: The TI organizes 90-minute tours in English (€12/person, April-Dec Sat-Sun at 11:00). Tours meet inside the Piazza Brà TI and stroll all the way through the old town (confirm schedule, no reservation necessary).

ARRIVAL IN VERONA

By Train: Verona’s main train station is called Verona Porta Nuova. In the main hall, you’ll find pay WCs and a baggage-check office (daily 8:00-20:00). Buses and taxis are immediately outside.

Avoid the boring 20-minute walk from the station to the center. Buses are cheap, easy, and leave every few minutes (although taxis are smart after sundown). Buy a ticket from the tobacco shop inside the station or from machines at the bus bays (€1.30/90 minutes, €2 from on-board machine, €4 day pass valid until midnight, www.atv.verona.it). Leaving the station, angle right across the street to the bus stalls; helpful signs indicate which bus to take for your destination.

Buses for Piazza Brà (near the Roman Arena) and San Fermo (near the Ponte Navi bridge) depart from platform B1 (#11, #12, #13, #51, and #52 run Mon-Sat until 20:00; #90, #92, and #98 run after 20:00 and all day Sun). For Porta Borsari (ancient city main gate), use platform D2 (#21, #22, #23, #24, #41, and #61 run Mon-Sat; #93, #94, and #95 run evenings and Sundays). If in doubt, confirm that your bus is headed to the city center by asking, “Per il centro?” (pehr eel CHEN-troh). Validate your ticket by stamping it in the machine on the bus.

If getting off at Piazza Brà, you’ll see the can’t-miss-it Roman Arena (bus stops in front of big, yellow Neoclassical City Hall, where you’ll find the TI—see earlier). You can catch return buses to the station from another bus stop on Piazza Brà, near the WCs.

Taxis pick up only at taxi stands (at Piazza Brà, Piazza Erbe, and the train station) and cost €10-12 for the quick ride between the train station and the center of town (€2 more on Sundays and after 22:00, €1/big bag).

By Car: The old town center (where nearly all my recommended hotels are located) is closed to traffic. Your hotel can get you permission to drive in—ask when you book. Otherwise your license plate will be photographed, and an expensive ticket might be waiting in the mail when you get home.

Drivers will find reasonably priced parking in well-marked lots and garages just outside the center. The underground Cittadella garage, at Piazza Cittadella (a block off Piazza Brà), is huge, convenient, and easy to find (€3/hour, €18/24 hours). The Città di Nimes/Parking Stazione lot is near the wall, a five-minute walk from the train station (€1.50/2 hours, €7/day). Street parking is limited to two hours and costs €1/hour (spaces marked with blue lines, buy ticket at a tobacco shop or ticket machine, place ticket on dashboard; some hotels can give you a free street-parking permit—ask).

By Plane: Verona’s airport (known as Catullo or Verona-Villafranca) is 12 miles southwest of the city (code: VRN, +39 045 809 5666, www.aeroportoverona.it). Efficient AeroBus shuttles connect the airport with the train station (€6, valid for 75 minutes on AeroBus and city buses, buy tickets on board or at tobacco shop, 3/hour, 15 minutes).

HELPFUL HINTS

Sightseeing Schedules: Most sights (except churches) are closed on Monday mornings and typically open after lunchtime. The churches are closed Sun morning to sightseers.

Arena Opera Festival: From mid-June through early September, Verona’s opera festival brings the city to life, with 15,000 music fans filling the Roman Arena for almost nightly performances (cheap upper-level seats—€30-40, day-of-show tickets often available). The city is packed and festive—restaurants have set seatings for dinner, and hotels jack up their prices. Book tickets through the official box office (online at www.arena.it or call +39 +39 045 800 5151; during opera season, box office open daily 10:00-17:45, or until 21:00 on performance days; Via Dietro Anfiteatro 6B).

Laundry: The closest self-service laundry is a 20-minute walk from the Arena, over the Ponte Nevi bridge (daily 7:30-22:30, Via XX Settembre 92).

Private Guides: Three enthusiastic Verona guides give private tours of the town and region tailored to specific interests—villas, wine tasting, and so on. They are Marina Menegoi (€125/2 hours, €265/5 hours, mobile +39 328 958 1108, www.marinamenegoi.com, mmenegoi@gmail.com), Valeria Biasi (€150/2 hours, €375/5 hours, mobile +39 348 903 4238, www.veronatours.com, valeria@veronatours.com), and Franklin Baumgarten (€125/2 hours, €265/5 hours, mobile +39 347 566 6765, franklin_baumgarten@web.de).

Verona Walk

1   Piazza Brà

Map: Verona Walk

2   Roman Arena

3   Devotional Column

4   Porta Borsari and Corso Porta Borsari

5   Enoteca Oreste

6   Piazza Erbe

7   House of Juliet

8   Piazza dei Signori

9   Tombs of the Scaligeri Family

11   Basilica of Sant’Anastasia (Basilica di Sant’Anastasia)

12   Ponte Pietra and River View

13   Duomo Complex (Complessa del Duomo)

This walk covers the essential sights in the town core, starting at Piazza Brà and ending at the cathedral. Allow two hours (including the tower climb and some dawdling).

1   Piazza Brà

If you’re wondering about the name, it comes from the local dialect and means “big open space.” A generation ago this piazza was noisy with cars. Now it’s open and people friendly—it’s become the community family room and natural festival grounds.

Grab a bench near the central fountain called “The Alps.” This was a gift from Verona’s sister city Munich, which is just over the mountains to the north. You’ll see in the middle of the fountain the symbols of the two cities separated by the Alps, carved out of pink marble from this region. In general, Verona has a bit of an alpine feel; historically it was the place where people rested and prepared before crossing the mountains, and to this day it’s the place where the main west-east, Milan-Venice train line meets the north-south line up to Bolzano, the Dolomites, and Austria.

The ancient arena looming over the piazza is a reminder that the city’s history goes back to Roman times. On this walk, we’ll meander across what was the ancient city, from the arena on this side to the theater across the river.

With the fall of Rome in the fifth century, Verona became a favored capital of barbarian kings. In the Middle Ages, noble families had to choose sides in the civil struggles between emperors (Ghibellines) and popes (Guelphs). During this time (1200s), the town bristled with several hundred San Gimignano-type towers, built by different families to symbolize their power. When the Scaligeri family rose to power here in the 14th century, they established stability on their terms and made the other noble families lop off their proud towers—only the Scaligeri were allowed to keep theirs. To add insult to injury, the Scaligeri paved the city’s roads with bricks from the other families’ toppled towers. But interfamily feuds made it impossible for the Scaligeri to maintain a stable government, and in 1405 the town essentially gave itself to Venice, which ruled Verona until Napoleon stopped by in 1796. During the 19th century, a tug-of-war between France and Austria actually divided the city for a time, with the river marking the border of each country’s domain. Eventually Verona, like Venice, fell into Austrian hands. Reminders of Austrian rule remain: The huge, yellow, Neoclassical City Hall facing Piazza Brà (look for the flags) was built by the Austrians to serve as their 19th-century military headquarters (the TI is in this building; enter around the corner on Via Leoncino). Their former arsenal stands just across the river, and an Austrian fortress caps the hill looking over the city. But the big equestrian statue is of Italy’s first king, Victor Emmanuel II, celebrating Italian independence and unity, which was won in the 1860s. The statue of a modern soldier striking a David pose, with a machine gun instead of a sling over his shoulder, honors Verona’s war dead.

Apart from all its history, Piazza Brà is about strolling—the evening passeggiata is a kind of national sport in Italy. The broad, shiny sidewalk (named “Liston” after a Venetian promenade; note the fine, Venetian-style marble pavement slabs) was built by 17th-century Venetians, who made it big and wide so that promenading socialites could see and be seen in all their finery.

2   Roman Arena

The Romans built this stadium outside their town walls, just as modern stadiums are usually located outside downtown districts. With 72 aisles, this elliptical, 466-by-400-foot amphitheater is the third largest in Italy (and it was originally 50 percent taller). Most of the stone you see is original. Dating from the first century AD, it looks great in its pink marble. Over the centuries, crowds of up to 25,000 spectators have cheered Roman gladiator battles, medieval executions, rock concerts, and modern plays, all taking advantage of the arena’s famous acoustics. This is also where the popular opera festival is held every summer. Started in 1913, the festival has run continuously ever since, except for brief breaks during both World Wars, when the arena was used as a bomb shelter. While there’s little to see inside except the impressive stonework, it’s memorable to visit a Roman arena that is still a thriving concert venue. If you climb to the top, you’ll enjoy great city views.

The gladiators posing with tourists out front are mostly from Albania and part of a local gang; they’re notorious for overcharging for photos. While they’re a nuisance, the police say it’s better that they’re scamming a living here than finding even more disreputable ways to get by.

Cost and Hours: €10, don’t bother with the combo-ticket that includes the unimpressive Maffei Museum; Tue-Sun 8:30-19:30, Mon from 13:30, closes earlier—likely around 16:00—during summer opera season, last entry one hour before closing; WC near entry, +39 045 800 3204.

• As you exit the arena, look to your right. Where the street splits you’ll see the…

3   Devotional Column

In the Middle Ages, this column blessed a marketplace held here. Ten yards in front of it, a bronze plaque in the sidewalk shows the Roman city plan—a town of 20,000 placed strategically in the bend of the river, which provided protection on three sides. A wall enclosed the peninsula. The center of the grid was the forum, today’s Piazza Erbe. (Look down Via Mazzini, the busy main pedestrian drag—the bell tower in the distance marks Piazza Erbe.)

• After viewing the bronze plaque, turn with your back to the arena and head down Via Oberdan (bearing left at the fork). Continue a couple of blocks (passing a derelict fascist-era theater, the Astra, set back from the street on the left, at #13) until you see an ancient gate to your right.

4   Porta Borsari and Corso Porta Borsari

You’re standing before the main entrance to Roman Verona; back then, this gate functioned as a tollbooth (borsari means purse, referring to the collection of tolls that once took place here). Carved into the rock below the spiral, fluted columns (which parents nickname “tortiglioni”—a pasta kids can relate to), is a tribute to the emperor who restored this gate. Outside the adjacent Caffè Rialto, the stone pillar on the curb is from a tomb: In Roman times, the roads outside the walls were lined with tombstones, because burials were not allowed within the town itself. Turn around, look down Corso Cavour, and imagine it in Roman times, leading away from the city gate and lined with tombs. Step into the café. A glass panel in the floor shows the original Roman foundations and pavement stones.

Back outside, cross under the Roman gate and head into the ancient city. Walk down Corso Porta Borsari, the Roman main drag, toward what was the forum. Make it a scavenger hunt. As you walk, discover bits of the town’s illustrious past—chips of Roman columns, medieval reliefs, fine old facades, fossils in marble—as well as its elegant present of fancy shops, in a setting that prioritizes pedestrians over cars. On the right, you’ll pass the recommended Osteria del Bugiardo, a popular wine bar and a good place to take a break and hang out with Verona’s young and trendy.

• Between Corso Porta Borsari 13 and 15, detour right down Vicolo San Marco in Foro, following the Pozzo dell’Amore sign. Twenty yards ahead on your right, you’ll find...

5   Enoteca Oreste

This funky wine and grappa bar has been run by Oreste like an old-style enoteca for decades. Browse and sample and clown around with Oreste. This historic enoteca was once the private chapel of the archbishop of Verona. Traces of the past hide between the bottles—ask Beverly (Oreste’s Chicagoan wife) to tell you the story (wines by the glass with light snacks, Vicolo San Marco in Foro 7, +39 045 803 4369).

• Return to Corso Porta Borsari and continue one block until you hit a big square.

6   Piazza Erbe

This bustling market square is a photographer’s delight. Its pastel buildings corral the fountains, pigeons, and people who have congregated here since Roman times, when this was a forum. Notice the Venetian lion hovering above the square atop a column, reminding locals of the conquest of 1405. Wander into the market, to the fountain in the middle. A fountain has bubbled here for 2,000 years. The original Roman statue lost its head and arms. After a sculptor added a new head and arms, the statue became Verona’s Madonna. She holds a small banner that reads, roughly, “The city of Verona deserves respect and justice.” During medieval times, the stone canopy in the center of the square (past the fountain) held the scales where merchants measured the weight of goods they bought and sold, such as silk and wool.

If you were standing here in the Middle Ages, you would have been surrounded by proud noble-family towers. Medieval nobles showed off with towers. Renaissance nobles showed off with finely painted facades on their palaces. Find remnants of the 16th-century days when Verona was nicknamed “the painted city.”

Locals like to start their evening with an aperitivo here. Each bar caters to a different market segment. Survey the scene and, if or when the time is right, choose the terrace that suits you and join in the ritual. It’s simple: Grab a spot, adjust your seat for the best view, and order a spritz to drink (€4 with a plate of olives and chips).

• At the far end of Piazza Erbe is a market column featuring St. Zeno, the patron of Verona, who looks at the crazy crowds flushing into the city’s silly claim to touristic fame: the House of Juliet (100 yards down Via Cappello to #23, on the left—just follow the crowds). Side-trip there now (but watch your wallet—it’s a pickpocket’s haven).

7   House of Juliet

The tiny, admittedly romantic courtyard is a spectacle: Tourists from all over the world pose on the balcony, while those hoping for love wait their turn to polish Juliet’s bronze breast. Residents marvel that each year, about 1,600 Japanese tour groups break their Venice-Milan ride for an hour-long stop in Verona just to see this courtyard (courtyard free, gates open roughly 8:30-19:30 or longer; €6 to enter nine-room “museum,” open Tue-Sun 9:00-19:00, closed Mon). It’s fun to stand in the corner and observe the scene, knowing that all this commotion was started by a clever tour guide in the early 1970s as a way to attract visitors to Verona.

The courtyard walls are regularly filled with amorous graffiti that gets painted over just as regularly. The wall of padlocks is a gimmick enabling lovers to blow money in an attempt to prove that their hearts are thoroughly locked up. (The shop that sells the locks also sells pens to write on them.) The red mailbox is for love letters to Juliet. There’s actually a Juliet Club that reviews these—and all the letters mailed from around the world to “Juliet, Verona, Italy.” Each year, the club awards the author of the sweetest letter a free vacation to Verona.

Even those who milk their living out of this sight freely admit that no documentation has been discovered to prove the truth of the legend—but no documentation has disproved it either. The “museum,” which displays art inspired by the love story, plus costumes and the bed from Franco Zeffirelli’s film Romeo and Juliet, is certainly not worth the entry fee.

Was there ever a real Juliet Capulet? You just walked down Via Cappello, the street of the cap makers. Above the courtyard entry (looking out) is a coat of arms featuring a hat—representing a family that made hats and that would be named, logically, Capulet.

The public’s interest in a fictional Romeo and Juliet—or at least Juliet—is a sign that there’s a hunger for a Juliet in our world. Observing the mobs clamoring to polish her breast or blow kisses from her bogus balcony, I try to appreciate what she means to people, and to psychoanalyze what she provides to those who come to Verona specifically for this: the message that love will prevail. In love, you can lose, and still be a winner. Juliet is brave, tragic, honest, outspoken, timeless, and passionate. She’s a mover and a shaker, a dreamer and a fighter. In a way, this is a pagan temple where the spirit of Juliet gives people something to believe in...or maybe it’s just a bunch of baloney appreciated by a simple-minded crowd.

• Return to Piazza Erbe. From the middle of the piazza, head right on Via della Costa and into the big square.

8   Piazza dei Signori

Literally the “Lords’ Square,” this is Verona’s sitting room, quieter and more harmonious than Piazza Erbe. The buildings—which span five centuries—define the square and are all linked by arches. From one arch dangles a whale’s rib. It was likely a souvenir brought home by a traveling merchant from a trip to the Orient, reminding the townspeople that there was a big world out there. The long portico on the left is inspired by a building in Florence: Brunelleschi’s Hospital of the Innocents, considered the first Renaissance building.

Locals call the square Piazza Dante for the statue of the Italian poet Dante Alighieri that dominates it. Dante—always pensive, never smiling—seems to wonder why the tourists choose Juliet over him. Dante was expelled from Florence when that city sided with the pope (who didn’t appreciate Dante’s writing) and banished its greatest poet. Verona and its ruling Scaligeri family, however, were at odds with the pope (siding instead with the Holy Roman Emperor), and granted Dante asylum.

With the whale’s rib behind you, you’re facing the brick, crenellated, 14th-century Scaligeri residence. Behind Dante is the yellowish, 15th-century Venetian Renaissance-style Portico of the Counsel. At Dante’s two o’clock is the 12th-century Romanesque Palazzo della Ragione.

Looking back the way you came, follow the white toilette signs into the courtyard of the Palazzo della Ragione. The impressive stairway is the only surviving Renaissance staircase in Verona. Within the palazzo you can visit the Gallery of Modern Art (skippable) and climb the 12th-century Torre dei Lamberti for a grand city view. The elevator saves you 243 steps—but you’ll still need to walk up 46 more to get to the tower’s first viewing platform (€6 ticket covers tower and Gallery of Modern Art, no individual tower tickets sold; Mon-Fri 10:00-18:00, Sat-Sun 11:00-19:00; ticket office next to staircase, +39 045 927 3027, www.torredeilamberti.it).

• Exit the courtyard the way you entered and turn right, continuing downhill. Within a block, you’ll find the...

9   Tombs of the Scaligeri Family

These exotic and veritable 14th-century Gothic tombs, with their fine, original, wrought-iron protective fencing, evoke the age when one family ruled Verona. The Scaligeri were to Verona what the Medici were to Florence. These were powerful people. They changed the law so that they could be buried within the town. They forbade the building of any noble family’s new towers but their own. And, by building tombs atop pillars, they arranged to be looked up to, even in death.

• Continue 15 yards to the next corner and take the first left on Vicolo Cavalletto. At the first corner, turn right along Corso Sant’Anastasia toward the big, unfinished brick facade of Verona’s largest church. For a fragrant and potentially tasty diversion, pop into   10   two classic grocery stores: Salumeria Caliari (at #33) and Salumeria Albertini (#41).

11   Basilica of Sant’Anastasia (Basilica di Sant’Anastasia)

This church, the biggest in Verona, was built from the late 13th century through the 15th century. Although the facade was never finished (the builders ran out of steam), the interior was—and still is—brilliant. Step inside to see the delightful way this region’s medieval churches were painted. Note the grimacing hunchbacks holding basins of holy water on their backs (near main entrance at base of columns). And don’t miss Pisanello’s fresco of St. George and the Princess of Trebizond (1438; at the tip of the arch, high above chapel to right of altar). Once colorful, it has oxidized over time to its current monochrome state. For a closer look at its wonderful detail, check out the images on the monitor below the fresco. Ask for the English brochure, which describes the story of the church.

Cost and Hours: €4; Mon-Fri 10:00-18:00, Sat from 9:30, Sun 13:00-18:00, shorter hours in winter; www.chieseverona.it.

• As you leave, from the steps make two quick lefts to walk along the right side of the church to Via Sottoriva. To the right, the Sottoriva arcade was once busy with colorful wine bars and osterie, some of which still exist (see “Eating in Verona,” later). But for now, head to the left on Via Sottoriva. In a block, you’ll reach a small riverfront area with stone benches that usually have a few modern-day Romeos and Juliets gazing at each other rather than at the view. Belly up to the river view.

12   Ponte Pietra and River View

The white stones of the Ponte Pietra footbridge are from the original Roman bridge that stood here. After the bridge was bombed in World War II, the Veronese fished the marble chunks out of the river to rebuild it. From here, you can see across the river to the Roman Theater, built into the hillside behind the green hedge (see “Sights in Verona,” later). Way above the theater (behind the cypress trees) is the fortress, Castello San Pietro. The nearby funicular can take you there.

The wide spot in the river here was called the “Millers’ Widening,” where boats stopped and unloaded grain to be milled. Water wheels once lined the river and powered medieval Verona, employing technology imported from the Holy Land by 10th-century Crusaders.

Continue up the river toward the bridge. Walk to its high point and enjoy the view.

• From the bridge, look back 200 yards at the tall white spire...that’s where you’re heading. Walk back off the bridge, then turn right, keeping an eye on the left for the steeple of the...

13   Duomo Complex (Complessa del Duomo)

Verona’s duomo is more than a single building; it’s a complex with the church, a baptistery, and the archaeological remains of much older churches. Early Christian basilicas have stood on this site at least as long ago as the fourth century. After a damaging earthquake in 1117, church fathers enlarged and patched things up, creating the duomo you see today.

Cost and Hours: €4, Mon-Fri 11:00-17:00, Sat until 15:30, Sun 13:30-17:30, shorter hours off-season, www.chieseverona.it.

Visiting the Church: Before entering, note the fine Romanesque double porch at the entry and the figural carvings on its facade.

Now step inside, ask for the leaflet that explains the church’s highlights, and head to the last chapel on the left, with Titian’s Assumption of the Virgin (c. 1530). Mary calmly rides a cloud—direction up—to the shock and bewilderment of the crowd below. Notice a handful of tombs embedded in the walls about 15 feet above floor level—an unusual feature. (Generally, tombs are found in the floor of the church or in crypts below.)

Now head up the aisle to the last door on the left (left of high altar), where you’ll find the ruins of an older church. These are the 10th-century foundations of the Church of St. Elena, turned intriguingly into a modern-day chapel featuring exposed fourth-century mosaic floors from the Roman church that originally stood here.

From there, pass through the little open-air courtyard into the adjacent baptistery, with its clean Romanesque lines, hanging 14th-century crucifix, and fine octagonal font, carved from a single block of marble. Circle around it to identify the eight biblical scenes on its panels (go counterclockwise, starting with the panel just to the right of center): Annunciation; Visitation of Mary to Elizbeth and the Nativity, with animals licking Baby Jesus and giving him a barnyard welcome; announcement to shepherds of Jesus’ birth, with their flock stacked on one side; the Three Kings giving their gifts to Baby Jesus; Herod commanding that all male infants be killed; Slaughter of the Innocents; flight into Egypt; and finally, facing the entry door, John the Baptist baptizing Christ.

Finally, after leaving the church, circle around its left side (as you face the main facade) to find the peaceful Romanesque cloister (chiostro), with mosaics from a fifth-century Christian church exposed below the walk.

Sights in Verona

Several of Verona’s main sights, including the Roman Arena, Church of Sant’Anastasia, and Duomo, are covered in my Verona Walk.

▲▲Evening Passeggiata

For me, the highlight of Verona is the passeggiata (stroll)—especially in the evening. Make a big circle from Piazza Brà through the old town on Via Mazzini (one of Europe’s many “first” pedestrian-only streets) to the colorful Piazza Erbe, and then back down Corso Porta Borsari to Piazza Brà. This is a small town, where people know each other, and they’re all out on parade. Like peacocks, the young and nubile spread their wings. The classy shop windows are integral to the passeggiata as, for many of the ladies, shopping is a sport. Their never-finished wardrobes are considered a work in progress, and this is when they gather ideas. If you’re going to complement your stroll with a stop in a café or bar, the best plan is to enjoy a spritz drink—not on Piazza Brà, but on Piazza Erbe (the oldest and most elegant bars are on the end farthest from Juliet’s balcony).

▲Castelvecchio Museum (Museo di Castelvecchio)

Verona’s powerful Scaligeri family built this castle (c. 1356) as both a residence and a fortress. The huge, crenellated castle, located west of Piazza Brà and the Roman Arena, has two parts: the family palace and the quarters for their private army (separated, for the nervous family’s security, by a fortified wall and an internal moat). Today, it houses the city’s enjoyable art museum, with an interesting but not overwhelming collection of sculpture and paintings from medieval times through the 18th century. An added bonus is access to the castle ramparts, with good city views.

Cost and Hours: €6, Tue-Sun 10:00-18:00, closed Mon, Corso Castelvecchio 2, +39 045 806 2611, www.museodicastelvecchio.comune.verona.it. Info sheets are available throughout, but the €4 audioguide is still worthwhile.

Visiting the Castle: From the ticket desk, you’ll enter the ground-floor galleries, reserved for Romanesque and medieval sculptures from the Verona area. Religious statues were Verona’s medieval forte, and some of the surprisingly expressive examples here, such as the Crucifixion ensemble in Room 4, still show signs of once-bright paint.

From the sculpture galleries, you’ll cross to the next wing and head upstairs to walk through two floors of paintings from the 13th through 18th century. Paolo Veronese, the city’s greatest artist, is represented, as are Mantegna, Titian, Tiepolo, Tintoretto, and others. Here in the residential part of the castle, several rooms show traces of decorative frescoes and walls painted with colorful geometric designs.

Before you exit, you’ll also pass by a small armory collection. En route, watch for stairs that let you roam the ramparts with fine views of the city, river, and Ponte Scaligero. Kids (and kids at heart) enjoy scrambling across the delightfully crenellated parapets. Verona was an independent city-state from 1176 to 1387. Then came a long period of subjugation under other powers, which, in more modern times, included the Austrians. From the ramparts you can see remnants of Austrian rule: the arsenal across the river and the castle atop the distant hill.

Nearby: Next to Castelvecchio, the picturesque red-brick bridge called Ponte Scaligero—fortified and crenellated, as if a continuation of the castle—is free, open to the public, and fun to stroll across. Destroyed by the Germans in World War II, it was rebuilt in the 1950s using many of its original bricks, which were dredged out of the river. Today it’s a favorite for wedding-day photos.

OUTSIDE THE CITY CENTER

▲Basilica of San Zeno (Basilica di San Zeno)

This church, a 15-minute walk upriver beyond Castelvecchio, is dedicated to the patron saint of Verona, whose remains are buried in the crypt under the main altar. In addition to being a fine example of Italian Romanesque, the basilica features Mantegna’s San Zeno Triptych (c. 1459) with its marvelous perspective, peaceful double-columned cloisters, and a set of 11th-century doors covered with 48 bronze panels. Nicknamed “the poor man’s Bible,” the panels illustrate episodes from St. Zeno’s life and Old and New Testament stories—a sort of graphic novel for a medieval “reader.” Facing the altar, on the walls of the right-side aisle, you can see frescoes painted on top of other frescoes and graffiti dating from the 1300s. These were done by people who fled into the church in times of war or flooding and scratched prayers into the walls. Druidic-looking runes are actually decorated letters typical of the Gothic period, like those in illuminated manuscripts.

Cost and Hours: €4; Mon-Sat 9:30-18:00, Sun from 13:00, shorter hours off-season; on Piazza San Zeno, www.chieseverona.it.

Roman Theater (Teatro Romano)

Dating from about the time of Christ, this ancient theater—located across the Roman Bridge, north of the city center—was discovered in the 19th century and restored. Admission includes the Roman Museum, located high in the building above the theater (reach it via elevator—start at the stage and walk up the middle set of stairs, then continue straight on the path through the bushes).

The museum displays a model of the theater, a small chapel, and Roman artifacts, including mosaic floors, busts and other statuary, clay and bronze votive figures, and architectural fragments. There’s not much to see. Unless you’ve never seen a Roman ruin, I’d skip it.

Cost and Hours: €4.50; Tue-Sun 10:00-18:00, closed Mon, last entry one hour before closing; theater located across the river near Ponte Pietra footbridge, +39 045 800 0360. From mid-June through August, the theater stages Shakespeare plays—only a little more difficult to understand in Italian than in Elizabethan English.

Giusti Garden (Giardino Giusti)

You’ll see this picturesque Renaissance-style garden capping the steep hilltop just across the Roman Bridge at the northern edge of the city. It’s a little oasis with manicured box hedges, towering cypress trees, and a city view from the top of its hill. For most people, however, it’s not worth the hike, time, or money.

Cost and Hours: €10, daily 10:00-19:00, until 18:00 in winter, across the river, beyond Ponte Nuovo, at Via Giardino Giusti 2, www.giardinogiusti.com.

Sleeping in Verona

Hotel prices soar from mid-June through early September (opera season), in early April (during the Vinitaly wine festival), and during big trade fairs or major holidays. Unless your goal is opera, consider coming outside the summer months. For hotel locations, see the “Verona” map, at the beginning of this chapter.

NEAR PIAZZA ERBE

$$$ Hotel Aurora, at the corner of Piazza Erbe and Via Pelliciai, has friendly family management, attention to detail, a welcoming terrace with wonderful piazza views, and 18 straightforward rooms (family rooms, air-con, elevator, Piazzetta XIV Novembre 2, +39 045 594 717, www.hotelaurora.biz, info@hotelaurora.biz, Riccardo).

$$$ Albergo Mazzanti, tucked onto a quiet street behind Piazza Erbe, has a great central location. Its 16 classically furnished rooms, spread over two floors of an ancient building, are a good value (air-con, elevator, Mazzanti 6, +39 045 591 690, www.albergomazzanti.it, info@albergomazzanti.it).

$$ Casa Coloniale is just a stone’s throw from Piazza Erbe. The four rooms all have balcony views and are simply but brightly furnished. Energetic owner Lucca runs the nearby Caffè Coloniale (Piazza Viviani Francesco 12), where breakfast is provided, along with B&B check-in after 15:00 (air-con, no elevator, Via Cairoli 6, +39 393 940 8687, mobile +39 337 472 737, www.casa-coloniale.com, info@casa-coloniale.com).

¢ Protezione della Giovane, run by an association that houses poor women, also rents rooms and dorm beds to female tourists (and their children, up to age 12 for boys). Buried deep in the old town and up several flights of stairs, this place offers 10 cheap beds in a clean, institutional, and peaceful setting (women only, no breakfast, 23:00 curfew, reception open 9:00-20:00, Wi-Fi in common areas, Via Pigna 7, +39 045 596 880, www.protezionedellagiovane.it, info@protezionedellagiovane.it).

NEAR PIAZZA BRÀ

You’ll find several options in the quiet streets just off Piazza Brà. From the square, white or yellow signs point you to the hotels. Most of these are big, fairly impersonal business-class places. Albergo Arena and Pepita Lodge are a little farther out, but still within a short walk to Piazza Brà.

$$$$ Hotel Milano is an arty hotel with 56 rooms. The lobby and fancier rooms are tricked out in black and chrome. It has a wonderful terrace and hot tub overlooking the Roman Arena (air-con, elevator, pay parking in garage, Vicolo Tre Marchetti 11, +39 045 596 011, www.hotelmilano-vr.it, info@hotelmilano-vr.it).

$$$ Hotel Giulietta e Romeo is on a quiet side street 100 yards behind the Roman Arena. It’s stylish and well-managed; 10 of its 37 ultra-modern rooms have balconies (air-con, elevator, loaner bikes, fitness room, pay parking in garage or ask for free street-parking permit, Vicolo Tre Marchetti 3, +39 045 800 3554, www.hotelgr.it, info@hotelgr.it).

$$$ Hotel Colomba d’Oro is a sprawling place with old-school elegance, renting 50 spacious rooms with Baroque flourishes. It has generous public spaces, including a peaceful courtyard, and overlooks a quiet and central street (air-con, elevator to every other floor, stairs between the rest, Via C. Cattaneo 10, +39 045 595 300, www.colombahotel.com, info@colombahotel.com).

$$$ Pepita Lodge is convenient for train travelers and a 10-minute walk from Piazza Brà. The artful and spacious rooms have a calm, contemporary, clean-lines vibe. Breakfast is provided across the street at a pasticceria (family rooms, air-con, elevator, pay parking, Corso Porta Nuova 103, reception at #99B, +39 045 800 1393, www.pepitalodge.it, info@pepitalodge.it).

$$ Aparthotel Verona House is a good option if you want hotel amenities and residential comfort. The 23 apartments are swanky and stylish (some can fit up to eight people). The bright, spacious breakfast room has great views onto Castelvecchio and doubles as an honor bar in the afternoon and evening (air-con, elevator, pay parking, loaner bikes, Stradone Provolo 3, +39 045 205 0366, www.veronahouse.com, info@hotels2go.it).

Eating in Verona

Every restaurant listed here is within a 10-minute walk of the others. They’re mostly small and intimate and found along side streets. It’s tempting to grab a table next to the passeggiata action along Piazza Brà, but you’ll be sacrificing service, value, and quality for your view of the floodlit Roman Arena and Verona on parade (perhaps a fair trade-off). Restaurants on the piazza tend to charge a cover and service fee, making even pizza a pricey choice. For restaurant locations, see the Verona map at the beginning of this chapter.

FINE DINING

$$$$ Darì Ristorante & Enoteca, run by longtime Verona restaurateurs Corinna and Giuliano, has a lovely setting inside and out and beautifully presented food (Wed-Mon 12:00-15:00 & 18:30-22:30, closed Tue, Vicolo Cieco San Pietro Incarnario 5, +39 045 595 022, www.ristorantedari.com).

$$ Trattoria al Pompiere bustles with old-school waiters weaving among its tight tables and walls plastered with photos of big shots from the area. Marco and his gang serve regional classics as well as gourmet meat and cheese antipasti from their larger-than-life back counter. Reservations are wise (Mon-Sat 12:40-14:00 & 19:40-22:30, closed Sun; halfway between Piazza Erbe and Juliet’s courtyard—head down narrow side street next to Via Cappello 8 to Vicolo Regina d’Ungheria 5; +39 045 803 0537, www.alpompiere.com).

$$$ Caffè Dante is a high-end place with a 19th-century pedigree and elegant service on the coziest and classiest square in town. You can enjoy a memorable meal of classic Veneto cuisine either at romantic tables on the square or inside. If you want to dress up and enjoy a slow, romantic, memorable meal, this can be a good value. The kitchen has limited hours, but the café is open throughout the day (Tue-Sun 12:00-15:00 & 18:00-23:00, closed Mon, closed Sun afternoon off-season; Piazza dei Signori 2, +39 045 800 0083, www.caffedante.it).

$$$ Bottega del Vino is pricey, venerable, and a bit pretentious. Under a high ceiling and walls of wine bottles, brisk, black-vested waiters match traditional dishes (polenta, duck, game) with glasses of fine wine. Choose from 50 open bottles. The waitstaff, ambience, and food have deep roots in local culture. I like their front room best. Reservations are smart for dinner (good daily specials, daily 11:00-23:00—kitchen closed 14:30-19:00, bar open later, off Via Mazzini at Via Scudo di Francia 3, +39 045 800 4535, www.bottegavini.it).

The Wines of Verona

Wine connoisseurs love the high-quality wines of the Verona area. The hills to the east are covered with grapes to make Soave; to the north is Valpolicella country; and Bardolino comes from vineyards to the west.

Valpolicella grapes, which are used to make the fruity, red Valpolicella table wine (found everywhere), are also the basis for full-bodied red Amarone and the sweet dessert wine Recioto. To produce Amarone, grapes are partially dried (passito) before fermentation, then aged for a minimum of four years in oak casks, resulting in a rich, velvety, full-bodied red. Recioto, which in local dialect means “ears,” uses only the grapes from the top of the cluster (so they sort of look like the “ears” of the cluster’s “head”). Because these grapes get the most sun, they mature the fastest and have the highest concentration of sugar. Before pressing, the grapes are dried for months until all moisture has gone out; the wine is then aged for one to three years.

Bardolino, from the vineyards near Lake Garda, is a light, fruity wine, like a French Beaujolais. It’s a perfect picnic wine.

Soave, one of Italy’s best-known white wines, goes well with seafood and risotto dishes. The best are called “Soave Classico” and come from the heart of the region, near the Soave Castle. Soave is sometimes aged in oak casks, giving it a mellow, rounded flavor.

Sample these and many others at the numerous enoteche (wine-tasting bars) or at any restaurant around town. In early April, Verona hosts Vinitaly, an important international convention of domestic and international wines. Vintners vie for prestigious awards for the past year’s vintage. Hotels book up months in advance. Check with the TI and Vinitaly.com for details.

If you’re visiting the area in the fall, consider a day trip to nearby Monteforte d’Alpone, east of Verona. The town hosts a fun, raucous wine festival in September—ask at the TI for more information on this and other regional wine festivals.

MODERATE RESTAURANTS

$$ Ristorante Torcolo, dressy but not stuffy, is a family restaurant, with mom (Paola) running the kitchen, and father and son (Roberto and Luca) supervising the dining room. Their accessible menu covers all the classics but with modern twists, and the wine list is extensive. Eat in their dining hall or on the courtyard outside (daily 12:30-14:30 & 19:00-22:30, dinner from 17:00 in opera season, just behind the Piazza Brà scene on a quiet street, Via Carlo Cattaneo 11, +39 045 803 3730).

$$ Osteria Caffè Monte Baldo has cafè-style bites plus a full menu with dishes typical of Verona like risotto all’Amarone for two or cacio e pepe alla veronese (with truffles). Or just pop into this cozy, rustic spot for a drink and snack on some tartine (open daily 11:00-15:00 & 18:00-23:00, Via Rosa 12, +39 045 803 0579). Their sister eatery, La Piazzetta, offers a similar menu in a relaxed environment with terrace seating (daily 12:00-15:00 & 19:00-22:30, Corte San Giovanni in Foro 4/A, +39 045 591 099).

$$ Ristorante Sant’Eufemia, on a quiet side street near Piazza Erbe, offers excellent homemade pasta and typical Veronese cuisine at reasonable prices. The outdoor area, under twinkling fairy lights, is especially inviting (Tue-Sun 12:30-15:00 & 19:30-22:00, closed Mon, Corticella San Giovanni in Foro 7, +39 045 800 6865).

EATING IN OSTERIE (OLD BARS)

Wandering around the old town, you’ll see plenty of Verona’s thriving little watering holes. These traditional old bars focus more on wine than food, but most serve memorable and affordable plates. Menus are simple and rustic—sometimes just bar munchies and the daily pasta. Service is relaxed and the clientele is young and local. For drinks it’s mostly wine or water—fine wines are served by the glass, with bottles open and prices listed on blackboards. (I saw one sign suggesting that patrons “don’t drive too much to drink.”)

$$ Osteria Sottoriva survives from an era when Verona’s river served as the town thoroughfare, and business deals could be made over a glass of wine at rustic riverside eateries. Located in a fine old covered arcade (the portico of Via Sottoriva), with both cozy indoor and outdoor seating, Sottoriva serves simple Veneto fare that changes seasonally and with the owner’s whim (daily 11:00-15:00 & 18:00-22:30—but open all day long in summer, closed Wed in winter, behind the Church of Sant’Anastasia at Via Sottoriva 9, +39 045 801 4323).

$ Osteria del Bugiardo is usually jammed with a happy crowd that spills out into the pedestrian-filled Corso Porta Borsari. They have a buffet of little sandwiches, can whip up a plate of top-quality cheeses, and serve a short list of pastas. They showcase their own Buglioni wines and are proud to tell you more about them (daily 11:00-24:00, in the old center at Corso Porta Borsari 17a, +39 045 591 869).

$$ Osteria la Mandorla hides behind its vintage Vini—Liquori/Giovanni Zampieri sign with a tiny bar and a few tables. It’s been stoking conviviality with good wine since 1937. This place is passionate about organic wines, slow food, and craft beers. They don’t serve much food—just some bar munchies and a nice antipasti plate. Locals go for horse’s balls (polpettine di cavallo), which are procured from the butcher down the street (daily 11:00-14:00 & 17:00-late except closed Mon for lunch, a few steps off Piazza Brà and next to Via Mazzini at Via Alberto Mario 23, +39 045 597 053). You’re welcome to play foosball downstairs on what Italians call the calcio balilla (“the little boy soldiers of Mussolini”).

A Mobile Feast Through Verona

Verona is a great town to sample the aperitivo ritual. All over town, locals enjoy a refreshing spritz, ideally on Piazza Erbe between 18:00 and 20:00. Choose a nice perch, and then, for about €4, you’ll get the drink of your choice and a few nibbles (olives and/or potato chips) and a chance to feel very local as you enjoy the passeggiata scene.

Consider this for a fun sampling of many dimensions of the Verona eating and socializing scene: Start with an aperitivo on Piazza Erbe, then walk across Ponte Nuovo to Pizzeria da Salvatore and enjoy the town’s best pizza. If you have to wait for a table, have another spritz at the neighboring bar. Then stroll along the river to Osteria Sottoriva, and enjoy a little sampling of bar food with a glass of Amarone (wine to meditate with) under the old arcade. Finish by meandering through the old center back to Piazza Brà for a gelato at Gelateria Savoia. Buon appetito!

PIZZA, CHEAP EATS, AND SWEETS

$ Pizzeria da Salvatore, Verona’s first pizzeria, opened in 1963, when pizza was considered a foreign food...from Naples. They serve the best pizza in town, and a visit here offers a nice excuse to stroll across the river into a part of town with no tourists. It’s family-friendly, not fancy or romantic, and you’ll squeeze into a tight row of tiny tables, rubbing elbows with your neighbors. While it’s not quite Naples, it’s justifiably popular—come early, or plan to leave your name on the list and wait awhile (Tue-Sat 12:30-14:30 & 19:00-23:00, Sun 19:00-23:00 only, closed Mon, closed Sun in July, no reservations, across Ponte Nuovo to Piazza San Tomaso 6, +39 045 803 0366).

$ Pizzeria Du de Cope is a colorful, high-energy, informal place that buzzes with smartly attired young waiters and locals who keep coming back for the pizza (daily 12:00-14:30 & 19:00-23:00, flamboyant desserts, families welcome, no reservations, at Galleria Pelliciai 10, +39 045 595 562).

$ Döner kebab shops all over town serve hearty, cheap kebabs to munch on from a stool or to take out. Piadine (pita-bread) kebabs are worth the €5, and the super-sized kebabs can fill a couple on a very tight budget for a total of €8. The best kebabs, according to local assessments, are behind the Roman Arena at Via Leoncino 44. There’s another good place on the other side of Piazza Brà at Via Teatro Filarmonico 6b. The benches in the center of Piazza Brà are handy for a scenic place to munch your cheap meal.

Groceries: The PAM supermarket chain has two locations (both generally open 8:00-21:00 with shorter hours on Sun). One is just outside the historic gate on Piazza Brà (exit Piazza Brà through the gate and take the first right to Via dei Mutilati 3). The other one is across the Adige River, beyond Ponte Vittoria (Via IV Novembre 6A). Near the Church of Sant’Anastasia are two classic grocery stores, Salumeria Caliari and Salumeria Albertini (as mentioned in the town walk, earlier).

Gelato: The venerable Gelateria Savoia has been in business since 1939. It’s in an arcade just off Piazza Brà, marked by a crowd licking their specialty semifreddo of bitter-almond amaretto, cream, and cookie (just off Piazza Brà at Via Roma 1b). Near the foot of the Ponte Pietra bridge, Gelateria Ponte Pietra prides itself on using fine ingredients. Besides gelato, they serve Sicilian granite and milkshakes (Via Ponte Pietra 13).

Verona Connections

Every hour, at least two trains connect Verona with Venice, Padua, and Vicenza. Choose one of the cheaper regional trains (R or RV) instead of the faster Italo or Frecce express trains, which get you there slightly sooner but cost much more. Unless otherwise specified, the following connections are for Trenitalia.

From Verona by Train to: Venice (1.5-2 hours, Trenitalia: 2/hour, Italo: 7/day), Padua (2/hour, 40-80 minutes), Vicenza (2/hour, 30-60 minutes), Florence (about hourly, 1.5 hours direct or 2.5 hours with transfer in Bologna; Italo: 4/day, 1.5 hours), Bologna (hourly, 1.5 hours), Milan (2/hour, 1.5-2 hours; Italo: 7/day, 1.5 hours), Rome (at least hourly, 4-5 hours, often with transfer in Padua or Bologna, also 1 night train, 8 hours, with change in Padua; Italo: 4/day, 3.5 hours), and Bolzano (2/hour, 1.5 hours).

RAVENNA

PLANNING YOUR TIME

Orientation to Ravenna

TOURIST INFORMATION

ARRIVAL IN RAVENNA

HELPFUL HINTS

Ravenna Walk

Map: Ravenna

More Sights in Ravenna

EAST OF PIAZZA DEL POPOLO

SOUTH OF PIAZZA DEL POPOLO

WEST OF PIAZZA DEL POPOLO

NEAR RAVENNA

Sleeping in Ravenna

IN THE PEDESTRIAN ZONE, NEAR PIAZZA DEL POPOLO

NEAR THE TRAIN STATION

Eating in Ravenna

RESTAURANTS

FISH AND SEAFOOD

QUICK SNACK SPOTS

Ravenna Connections

Ravenna is on the tourist map for one reason: its 1,500-year-old churches, decorated with best-in-the-West Byzantine mosaics. The city’s churches and mosaics date from the time (c. AD 400-600) when it was the center of Western civilization—a civilization in transition, from Roman to barbarian to Byzantine to medieval. You’ll see all these layers in Ravenna.

In 402, barbarian tribes were zeroing in on the city of Rome. The Roman emperor moved his capital to Ravenna, a city well-known as a home port for the imperial navy (today’s Classe). Because of its location, Ravenna kept close ties with the other Roman capital at Constantinople (called Byzantium).

Ravenna was conquered by the Goths (via Hungary) in 476, and the 1,000 years of the Roman Empire came to an end. But Ravenna continued as the Goths’ capital. They kept much of the Roman infrastructure and legitimized their rule by building sophisticated palaces and churches in the Roman style.

In 540, the Byzantine emperor Justinian conquered the Goths, reuniting Italy with his still-thriving empire to the east and turning Ravenna into a pinnacle of civilization. It remained a flickering light in Europe’s Dark Ages for another 200 years, until the Lombard tribes of Germany booted out the Byzantines (in 751). Ravenna then melted into the backwaters of medieval Italy, staying out of historical sight for a thousand years.

In your sightseeing, you’ll see art from each of these periods: Roman (Mausoleum of Galla Placidia, Neonian Baptistery), barbarian/Gothic (Arian Baptistery, Basilica di Sant’Apollinare in Nuovo), Byzantine (Basilica di San Vitale, House of Stone Carpets, Church of Sant’Apollinare in Classe), and medieval (Tomb of Dante, Basilica di San Francesco).

Today, Ravenna’s economy booms with a big chemical industry, the discovery of offshore gas deposits, and the construction of a new ship canal. More cruise ships than ever are stopping here, six miles from the town center.

From a traveler’s perspective, Ravenna has a delightful small-town quality, providing relief from the touristic intensity of Venice and Florence. The bustling town center is Italy’s best for bicyclists. Residents go about their business, while busloads of tourists (mostly cruise-ship passengers and Italian school groups) slip quietly in and out of town for the best look at the glories of Byzantium this side of Istanbul—specifically, the richest collection anywhere of mosaics from the fifth and sixth centuries. Many are pleasantly surprised by the peaceful charm of this low-key town. If it seems less prettied-up than some of the more famous Italian towns, well...that’s sort of the point.

PLANNING YOUR TIME

While the highlights of Ravenna can be seen in a four-hour stopover, the city can provide an entire day of relaxing and enjoyable sightseeing—particularly for mosaic lovers. Its well-priced lodgings and restaurants offer good value for your money. The town is a doable, though long, day trip from Venice or Padua (about three hours by train each way). It’s more pleasant to spend the night. You could also stop here on your way from Venice or Padua to Florence. Ravenna is busiest between March and mid-June—prime field-trip season.

Famous but Skippable: Nearly all train travelers to Ravenna change in the regional capital of Bologna. While it might be tempting to check your bag at Bologna’s station and spend a few hours in town, I’d resist—Ravenna is much more pleasant. Though well-preserved, Bologna is huge (three times the size of Ravenna), congested, and relatively charmless. If you decide to stop in Bologna anyway, head straight to Piazza Maggiore (a 20-minute walk from the station), home to the Town Hall, the TI, and a famous statue of Neptune. The big Gothic building across the square is the unfinished 14th-century Basilica di San Petronio—destined to be one of the biggest churches in Christendom until the Vatican put the brakes on the project. A few blocks west are Bologna’s twin symbols, a pair of leaning brick towers.

The nearby beach town of Rimini is an overrated, crowded mess.

Orientation to Ravenna

Particularly because its sights are concentrated right downtown, Ravenna feels small for a city of 160,000. Central Ravenna is quiet, with a pedestrian-friendly core and more bikes than cars. Subtle white-brick paving down the center of “pedestrian” streets indicates the bike lane: Keep to the sides and listen for the outta-my-way bells (while watching local pedestrians flagrantly stroll right down the middle).

On a quick visit to Ravenna, follow my self-guided walk and visit the Basilica di San Vitale, its adjacent Mausoleum of Galla Placidia, and the Basilica di Sant’Apollinare Nuovo (all covered by one combo-ticket—see “Helpful Hints,” below).

TOURIST INFORMATION

The helpful TI is near the Basilica di San Francesco—a 15-minute walk (or a 5-minute pedal) from the train station (Mon-Sat 8:30-19:00, Sun 9:30-17:30, shorter hours off-season; Piazza San Francesco 7, +39 0544 35404, www.turismo.ra.it). In summer, you may find a TI kiosk in front of the train station.

ARRIVAL IN RAVENNA

By Train: The compact, manageable train station at Piazza Farini 1 has ticket windows and machines, pay WCs, fast food, and a newsstand. There’s no baggage storage inside the station, but you can pay to check your bag at the bike-rental shop just outside the station to the left (Ravenna Velostation; see “Helpful Hints,” below).

From the station, it’s just a few minutes’ walk straight up the leafy Viale Farini to reach the main square, Piazza del Popolo (my self-guided walk begins with this same stroll from the station). If you prefer to bike, you can rent wheels at Ravenna Velostation.

By Car: Don’t drive into the center, as you’ll be fined. Two inexpensive pay lots are just north of the historic core: one accessible from the west side of Via Roma, at Piazzale Torre Umbriatica, and another at Largo Giustiniano, just north of the Basilica di San Vitale. Or find a free lot south of the station, on Circonvallazione Piazza d’Armi; another is north of the Piazzale Torre Umbratica lot, on Via Monsignore F. Lanzoni. Many lots and places on the street are free overnight (20:00-8:00), and most are free on Sunday.

HELPFUL HINTS

Combo-Ticket: Five of Ravenna’s best mosaic sights are covered by a single €12.50 combo-ticket that’s good for seven days; included are the Basilica di San Vitale, Mausoleum of Galla Placidia, Basilica di Sant’Apollinare Nuovo, Archiepiscopal Museum (with its Chapel of Sant’Andrea), and Neonian Baptistery. All five sights are church-run, distinctly different, and well worth visiting.

Buy the pass in advance online (www.ravennamosaici.it) or on-site at the Archiepiscopal Museum, Basilica di San Vitale, or Basilica di Sant’Apollinare Nuovo; there’s also a ticket office near San Vitale, at Via Argentario 22. Whether you buy online or in person, you’ll be asked to choose an entrance time for the limited-capacity Neonian Baptistery and Mausoleum of Galla Placidia. A three-sight €10.50 version covers just San Vitale, Sant’Apollinare, and the Archiepiscopal Museum.

Laundry: The self-service LavaFlash, 10 minutes south of the train station, is next door to a bountiful produce store (long hours daily, 400 yards south of Via Candiano on right-hand side of Circonvallazione Piazza d’Armi, +39 0544 182 4601).

Bike Rental: Some hotels have loaner bikes, or try Ravenna Velostation, adjacent to the train station (€4/3 hours, €12/day, Mon-Fri 7:00-19:00, Sat 7:30-13:30, closed Sun, photo ID required, Piazza Farini 19, +39 345 718 7028, velostazione.ra.it). They also offer luggage storage.

Local Guide: Private guide Claudia Frassineti is excellent (€110/half-day, +39 335 613 2996, claudia.frassineti@gmail.com).

Ravenna Walk

A visit to Ravenna can be as short as a four-hour loop from the train station. This 45-minute self-guided walk leads you from the train station to Ravenna’s top draw, the Basilica di San Vitale, and the adjacent Mausoleum of Galla Placidia (tickets required for both—see “Combo-Ticket,” earlier). Along the way, you can quickly take in a few other sights.

• Start at the train station, and walk (or pedal) directly into town on the main drag...

Viale Farini

The station and surrounding neighborhood were bombed in World War II, when Ravenna was right on the so-called Gothic Line—the Nazis’ last line of defense against an encroaching Allied surge in 1944. Today the buildings are a mix of old-fashioned Italian, stern interwar fascist, and gloomy postwar concrete.

After a block, on the left, you’ll pass the Basilica of St. John the Evangelist, with a rebuilt facade. This was the palace church of the fifth-century Empress Galla Placidia (we’ll see her mausoleum later on). She and her children were caught at sea in a storm, prayed to St. John (the protector of sailors), and survived. In thanks, she had this church built at the site of their first safe step ashore. At least that’s the story. It is true that in ancient times, the town harbor came right up to here. Historic churches are so abundant in Ravenna that you can skip this one.

The next big building is the high school, with a big Italian unification monument in front. After that, the boulevard narrows to the pedestrianized Via Diaz, an arcaded shopping street. Note that the lighter cobbles are for cyclists.

• At the intersection with Via degli Ariani, side-trip to the right 50 yards to find the...

Arian Baptistery (Battistero degli Ariani)

Built during the reign of the Goths (c. 526), this small octagonal building marks the center of their Arian-style Christian faith (see sidebar, later).

Cost and Hours: €2, daily 9:00-12:00, also open Sat-Sun 14:00-17:00, shorter hours off-season, +39 0544 543 711, www.musei.emiliaromagna.beniculturali.it [URL inactive].

Visiting the Baptistery: Theodoric the Great, the Gothic king of Italy (r. 493-526), built this baptistery to complement the once-Arian cathedral next door (now the Church of the Holy Spirit).

Step inside, and imagine the small baptismal pool that once stood beneath the gloriously decorated mosaic dome. Christ stands waist-deep in the River Jordan, being baptized by John the Baptist (in leopard-skin robe), as the dove of the Holy Spirit descends. The body builder on the left is the personified River Jordan, next to a vase from which the river springs. Notice the realism in John’s stance. The 12 apostles, dynamic, with feet in motion, proceed around the dome. The empty throne between Paul (with scroll) and Peter (with keys) is a reminder that Judgment Day will come.

This mosaic stresses Jesus’ human rather than divine nature (remembering that Arianism essentially denied the absolute divinity of Christ). Jesus is naked, his genitals only partly obscured by the water, and he’s a beardless, human youth. The descending dove spews water to purify Jesus, marking the exact moment when Arians believed Jesus’ divine nature emerged. Besides heretical Arian elements, there’s also the river god, shown in pagan Roman fashion as a bearded older man with a vase and river plant.

To modern eyes, these subtle details mean little. But to Byzantine Emperor Justinian and the Nicenes, these were red flags announcing heresy. While most of Ravenna’s Arian art was destroyed when Justinian took control, this ceiling is one of the rare survivors.

The simple adjacent church, the former cathedral of the Goths (closed to the public), survives mostly intact from the sixth century but with the addition of a Renaissance portico. The ancient mosaics that once decorated the inside were destroyed long ago.

• Now, return to the pedestrian street, turn right, and continue to...

Piazza del Popolo

Marking the town center, this square was created by Ravenna’s Venetian rulers in the 15th century. A river once flowed to about where the two columns stand. But it got mucky and full of mosquitoes. (Dante died here...of malaria.) One column was topped by a Venetian lion until 1509 when, with the support of Rome, Ravenna won its independence from Venice. Ravenna’s citizens pulled down that symbol of Venetian rule and did the local equivalent of tarring and feathering it. The lion was replaced by St. Vitale (a first-century Christian martyr). The column on the left is topped by Ravenna’s first bishop, St. Apollinare. Behind the twin pillars stands City Hall. To the left is a Venetian palace decorated with granite columns and capitals, plundered from a heretical Arian church that was destroyed and then used as a quarry. This square is a fine place to grab a café table and watch the community parade by.

• At the end of Piazza del Popolo, turn left through the arcade, head down Via Cairoli (which becomes Via C. Ricci), and walk two long blocks—crossing a busy street—to find the...

Basilica di San Francesco

Drop into this basilica to see its flooded mosaic-covered crypt below the main altar. Today’s water table is about three feet above the Roman crypt’s floor level—so there’s a pond with goldfish over the fifth-century mosaics. The interior is simple and Franciscan; the altar features a fifth-century Christian sarcophagus with Jesus in the center and the 12 apostles.

Cost and Hours: Free, 7:00-12:00 & 15:00-19:00 (but closed during Masses), Piazza San Francesco, +39 054 433 256.

• With your back to the church, cut right along the short tree-lined walkway, then turn right again. Tucked up against a brick wall, a tall, white, domed chapel marks the...

Tomb of Dante

After he was exiled from Florence for his political beliefs, Dante lived out the rest of his life in Ravenna. The Florentines forgave Dante posthumously and wanted to bring their famous poet’s bones home to rest. To protect Dante’s relics from theft by the Florentines, in 1519 Ravenna hid his bones inside the wall of the Monastery of San Francesco. There the bones lay forgotten for three centuries, until they were rediscovered and eventually placed here in 1865. (Florence’s Santa Croce Church has a Dante memorial that’s often mistaken for a tomb—but it’s empty.)

Cost and Hours: Free, daily 10:00-18:00, Nov-Feb until 16:00, Via D. Alighieri 9.

Visiting the Tomb: The mausoleum is loaded with symbolism. High above the door, for example, the bronze snake eating its own tail—a symbol of eternity—suggests that Dante’s soul (or, at least, his works) will have everlasting life. Capping the structure is an allegorical pinecone: A tasty pine nut hides inside the cone’s lifeless exterior—a reminder of how our spirits can transcend the death of our earthly form. (And, not coincidentally, the pine tree is the symbol of Ravenna.)

The Arian Heresy

Ravenna’s art reflects a centuries-long battle of ideas among Europe’s Christians that came to a violent head right here. As you wonder at the beauty of Ravenna’s mosaics, you’re also witnessing an epic clash between two different interpretations of Christianity.

Around AD 320 in Alexandria, a devout Christian priest named Arius (c. 256-336) began preaching a seemingly simple idea: Jesus, being the Son of God, was therefore created by God the Father. This idea touched off a firestorm of debate and division unmatched in Christianity until the Protestant Reformation. Arius had raised questions about the very nature of the Christian God: Is God a single entity (as the head of a monotheistic religion should be), three different persons (God the Father, Jesus Christ, and the Holy Spirit), or something in between?

To keep the peace, Roman Emperor Constantine convened a Council at Nicea (in AD 325, near modern Istanbul). Arius was accused of doubting the divinity of Christ by making him separate from and inferior to God the Father. The Council branded Arius a heretic and burned his books. After splitting many theological hairs, they issued the Nicene Creed, which defined God as a Trinity: There was one God, existing in three persons “of the same substance.” (Don’t make me try to explain it further, or this book may end up getting burned by some sect somewhere.) The three-in-one Trinity became the standard throughout the Empire, and Arian sects were brutally suppressed. (Don’t confuse the Arian sect with Nazi Germany’s idea of an Aryan race.)

But that didn’t settle the matter. Constantine’s own son, a fervent Arian, sent missionaries north across the Danube to convert the barbarian Goths to Arian-style Christianity. A century later, as Rome was falling, those same Goths came knocking on Italy’s doorstep. They overran Ravenna (476) and made Arian Christianity the official religion of state, though they tolerated the Nicene Christianity of their Italian subjects.

The churches the Goths built—including the Arian Baptistery and Basilica di Sant’Apollinare Nuovo—reflected their Arian faith. Arian mosaics of Jesus emphasized his humanness rather than his divinity.

In 540, the Byzantine Emperor Justinian drove out the Goths. To unite his empire, he demanded both political and theological conformity. Anything with the slightest whiff of Arianism was wiped out. Mosaics were stripped from the walls, statues defaced, and churches were renamed for saints famous for fighting heretics. In their place came art that reflected Byzantine tastes and Trinitarian theology. You’ll see evidence of this shift at many of Ravenna’s top sights.

Ravenna was Arianism’s Waterloo. Sects were snuffed out, Trinitarians triumphed, and the Nicene Creed (in some form) is still said in many Christian churches today.

Just to the right of the tomb, if the gate is open, enter the garden with the mound (tumulo) where Dante’s bones were briefly hidden during World War II.

Nearby: To the left of the tomb are the peaceful twin cloisters of a former Franciscan monastery (attached to the Basilica di San Francesco, which we saw earlier). Today this complex houses the fascinating-to-Italians Dante Museum (described later; worth a visit only if you’re a major fan).

• With your back to Dante’s tomb, walk straight ahead until you reach...

Piazza Garibaldi

With a statue of Giuseppe Garibaldi (the heroic leader in Italy’s unification struggle in the mid-1800s) in the center and the stately, vivid-yellow Alighieri Theater (named for Dante) on the right, this is the humbler of Ravenna’s two main squares. On the wall on your left, on a building housing Ravenna’s post office, look for the plaques honoring patriots from Ravenna (patrioti ravennati) who died in World War II. You’ll see both morti sul patibolo nelle carceri in esilio (died in prisons in exile) and caduti sui campo di battaglia (killed on the field of battle). In the summer and fall of 1944, the Nazis—steadily losing their grip on Italy—dug in near Ravenna and fought determinedly to hang on. The countryside surrounding Ravenna is dotted with WWII cemeteries, as well as a few remaining “bailey bridges”—temporary bridges erected quickly by Allies on the march.

Next to the plaque listing the war dead is one listing the names of the Nazis’ Jewish victims (ebrei) from Ravenna and their age at death.

Continue under the arcade back into Piazza del Popolo, and look at the Il Comune di Ravenna plaque on the towered building to your right, dedicated ai suoi caduti per la liberta (to those “fallen for freedom”). Those killed included partigiani caduti in combattimento (patriots lost in battle) and per rappresaglia—killed by the Nazis in retribution for Allied successes. Ravenna was ultimately liberated by mostly Canadian forces.

• From here, you’ll walk six blocks to the Basilica di San Vitale: With your back to the tower, turn and cross to the far-right corner of the piazza. Turn right and head one block up Via IV Novembre. At the Covered Market (Mercato Coperto), turn left and head down Via Cavour, Ravenna’s favored street for evening strolling and shopping.

About two blocks down Via Cavour, on the right at #43, peek into the courtyard that holds Gastronomia Alpine, a recommended deli selling top-quality local meats and cheeses—you could pull together a classy picnic here.

As you approach the end of the block, the yellow Porta Adriana city gate comes into view straight ahead. A few steps later, turn right onto Via Argentario. Halfway down this block on the left, at #22, is the ticket office for Ravenna’s big sights (look for the “Biglietti/Tickets” awning). Buy your ticket here if you don’t already have one. Then continue down the street to Ravenna’s crown jewel, the Basilica di San Vitale. Of Ravenna’s many impressive and important buildings from this time, the next sights are two of the finest: the basilica itself, with its dazzling mosaics, and across the yard, the small Mausoleum of Galla Placidia.

▲▲▲Basilica di San Vitale

Imagine: It’s AD 540. The city of Rome has been looted, the land is crawling with barbarians, and the infrastructure of Rome’s thousand-year empire is crumbling fast. Into this chaotic world comes Justinian, the emperor of the East, bringing order and stability, briefly reassembling the empire, and making Ravenna a beacon of civilization.

Cost and Hours: Covered by €12.50 combo-ticket that includes the Mausoleum of Galla Placidia, Basilica di Sant’Apollinare Nuovo, Archiepiscopal Museum, and Neonian Baptistery. The church is open daily 9:00-19:00, Oct-March 10:00-17:00, +39 0544 541 688, www.ravennamosaici.it.

Visiting the Basilica: Step into the church, circle around to the middle of the nave, and take it all in.

The basilica, built in 525, stands as a majestic blend of late Roman and Byzantine artistry. It’s impressive enough to see a 1,400-year-old church, but it’s rare to see one whose apse and side walls are decorated with such brilliant mosaics. The art is an intricate ensemble of images whose core message is the peace and stability afforded by allegiance to the imperial (Emperor Justinian on earth) and the divine (God in heaven).

Step up to the altar and position yourself to best see the apse and the side walls flanking it. The centerpiece, high above the altar, is Christ, richly robed and sitting on a celestial orb, overseeing his glorious creation. On the arch above him, the circle with his monogram (I for Jesus and X for Christ) symbolizes perfection and eternity. Floating above the arch, two angels hold rays of sun (Christ is the origin of light). The scene is bookended by two cities: Bethlehem and Jerusalem, where Jesus was born and he died. Above each city are potted grapevines producing wine, symbols of the blood of Christ.

The ceiling directly over the altar is a festive celebration of the creatures of God’s creation. One panel alone shows 80 different birds from the sixth century, most still flying around Ravenna today. (Bird-watchers—who visit with binoculars, of course—can easily identify these by their exquisitely detailed and accurate feathers.) In the very center, all creation swirls around Christ as the sacrificial lamb, supported by four angels.

Now take in the side wall to the left of the altar. Running the show on earth is Justinian, sporting both a halo and a crown to indicate that he’s leader of both the Church and the State. Here Justinian brings together the military leaders and the church leaders, all united by the straight line of eyes. The bald bishop of Ravenna—the only local guy in this group—is portrayed most realistically (with a name tag above reading Maximianus).

On the opposite wall, facing the emperor, is his wife, Theodora, flanked by her entourage. Decked out in jewels and pearls, the former dancer who became Justinian’s mistress (and then empress) carries a chalice with which to consecrate the new church.

The border inside the apse’s arch is lined with cornucopia, these horns of plenty promising prosperity in return for the people’s obedience to God and ruler. Framing the entire apse is a triumphal arch. Its 15 medallions depict 12 apostles, 2 sons of St. Vitale, and a bearded Christ. Notice the realism...the eyes, the hairstyles. Back up a bit to let this space work its magic. Get in a medieval frame of mind and study the composition—with floor, walls, and ceiling all integrated into a cohesive meaning.

Now stand immediately under the main dome surrounded by scallop-shell designs, symbolizing St. James, the patron saint of pilgrims. Beneath your feet, a mosaic floor directs your journey to a 16th-century inlaid marble labyrinth, which, if you do it right, leads you to the altar. The lesson: The pilgrimage of faithful life on earth leads to salvation through Christ.

The intricate basketlike capitals were built to order and shipped from Constantinople to Ravenna. The pilasters surrounding you are brick, covered by sliced marble veneers. Similar marble sheets once covered all the walls.

The church’s octagonal design—clearly Eastern in origin—inspired at least two influential churches, including Hagia Sofia, the church-turned-mosque-turned-museum-turned-mosque built 10 years later in Constantinople (today’s Istanbul). Hagia Sofia, in turn, became the classic architectural model for mosques around the world. In AD 787, Emperor Charlemagne traveled to Ravenna and was so impressed with San Vitale that he returned to Aix-la-Chapelle (now Aachen, Germany) and built a new palace—the power base for his vast empire—with a San Vitale-esque chapel at its core. It still stands as part of Aachen Cathedral, making it the oldest great stone building in northern Europe.

The mid-sixth century was a time of transition, and many consider Ravenna’s mosaics to be both the last ancient Roman and the first medieval European works of art. Standing here, we can witness a culture suddenly lurching forward out of antiquity and into the Middle Ages. Notice, for example, that while the Christ who hovers above the altar is beardless (per standard ancient-Roman depiction), the usual medieval bearded Jesus is encircled atop the arch—yet these mosaics were created within the same generation.

• When you’re ready, exit through the door on the left (as you face the altar) and head across the grounds to the much smaller but even older...

▲▲Mausoleum of Galla Placidia

Just across the courtyard from the Basilica di San Vitale is a tiny, humble-looking mausoleum, with the oldest—and, to many, the most precious—mosaics in Ravenna. Ninety-five percent of the mosaics here are originals, dating from the late Roman period when Ravenna was the capital of a declining West.

Cost and Hours: Same combo-ticket and hours as Basilica di San Vitale; reserve an entry time for the mausoleum when you buy your ticket (see here).

Visiting the Mausoleum: The Mausoleum of Galla Placidia (plah-CHEE-dee-ah) was designed to be the burial place of this daughter, sister, and mother of emperors, who died around AD 450. But Galla Placidia died in Rome and wasn’t buried here. The three sarcophagi, built for the imperial family but likely only used by later Christian leaders, stand empty today. The original floor was about four feet lower, explaining the stunted feel of the interior. The art’s realistic portrayal of tunics and sandals gives us a peek at the fashions of fifth-century Romans.

The little light that sneaks through the thin alabaster panels brings a glow and a twinkle to the themes of redemption, salvation, and conquest of death that fill the small room. Opposite the door is St. Lawrence, about to be martyred on a fiery grill. He’s legendary for mocking his executioners, reportedly saying something like, “I’m done on this side. You can turn me over now.” He was famous as an example of the strength of the feisty early Christians. Note the four Gospels clearly labeled on the bookshelf, more sources of inspiration for these first believers.

The dome is filled with stars glinting in a blue-black sky. Along with Mark’s lion, Luke’s ox, Matthew’s angel, and John’s eagle, the golden cross rises from the east, bringing life to all. Doves drink from fountains, symbolic of souls finding nourishment in the Word of God. In both transepts are deer, reminding worshippers of Psalms 42: “Like the thirsty deer longs for spring water, so my soul longs for you, my God.”

Now look back at the lunette over the mausoleum’s entrance. Cover the light from the door with this book (or close the curtain) to see a beardless Christ, the Good Shepherd. Dressed in gold and purple like a Byzantine emperor, he is the King of Paradise—receiving his faithful flock (lambs). The Eastern influence (perhaps inspired by the designs on fine Persian carpets or silks) is apparent in the vault’s decorative patterns.

• Our walk is done. Got a train to catch? Head straight back to the station. If you have more time, you might visit other sights included on your combo-ticket: the Neonian Baptistery, the Archiepiscopal Museum, and the Basilica di Sant’Apollinare Nuovo.

More Sights in Ravenna

EAST OF PIAZZA DEL POPOLO

▲▲Basilica di Sant’Apollinare Nuovo

This austere sixth-century church has a typical early-Christian basilica floor plan and two huge and wonderfully preserved side panels. The only noteworthy sight in this part of town, it’s on Via di Roma, just a short detour off the main road back to the train station.

Cost and Hours: Same combo-ticket and hours as Basilica di San Vitale, +39 0544 541 688, www.ravennamosaici.it.

Visiting the Basilica: Head inside. Ignoring the Baroque altar from a thousand years later, you can clearly see the rectangular Roman hall of justice (basilica) floor plan—which was adopted by Christian churches and used throughout the Middle Ages.

The important art here is the decoration along the sides of the nave, just above the symmetrical arches. On the left side, a procession of haloed virgins brings gifts to the Madonna and Christ Child; the three wise men are at the head of the queue. Opposite, Christ is on his throne with four angels, awaiting a solemn procession of 26 martyrs.

This basilica started (c. 500) as an Arian church—the palace church of King Theodoric of the Goths. Theodoric decorated it with scenes of himself and his royal palace amid Christ and the saints. When Justinian arrived in 540, he transformed the church in the Byzantine (and Nicene) style. What you see today are elements of both styles.

Look for original, surviving Arian art in the front (on the left, Mary and Baby Jesus; on the right, Jesus and four angels) and in the rear (two cityscapes: Civi Classis—Classe; and Palatium, for the palace in Ravenna). If you study the arcades in the Ravenna cityscape (rear of church, above where you entered), you can see how Justinian kept the palace but erased the Arian figures, leaving only bits of hands and fingers on the columns and blotted-out halos behind the curtains. On the opposite side, see three ships in the ancient harbor and a palace where golden bricks were used to cover Arian figures. The brilliantly white-robed figures parading on both sides were remade in the mid-500s with a Byzantine rather than an Arian message.

The uppermost panels (hard to see without binoculars) are original Theodoric Arian: prophets (between windows), miracles of Christ (top row on the left), and scenes from the last week of Jesus’ life and his Resurrection (top row on the right).

SOUTH OF PIAZZA DEL POPOLO

The first three sights described below are clustered about a 10-minute walk from Piazza del Popolo. The last sight, the Dante Museum, is a few minutes’ walk east of here, right next to the Basilica di San Francesco and Dante’s tomb (both described earlier, on my self-guided walk).

▲▲Archiepiscopal Museum

This impressive museum, attached to the back end of Ravenna’s Duomo, complements all the relatively empty buildings you’ve seen and contains the sixth-century Chapel of Sant’Andrea. Built as the private prayer chapel for the Catholic bishop during Theodoric’s time (c. 500), today it anchors a fine collection of Roman, Byzantine-Christian, and pagan statues, reliefs, and mosaics—all very well described.

Cost and Hours: Same combo-ticket and hours as Basilica di San Vitale, +39 0544 541 688, www.ravennamosaici.it.

Visiting the Museum: At the museum entrance just off Piazza Arcivescovado, climb the stairs and find your way to the Cappella di Sant’Andrea (in Room IE). Enter the room, turn around, and look above the door to see a sixth-century mosaic showing Christ as a religious warrior, stepping triumphantly on a lion and snake (ancient symbols of evil) and carrying the cross as if it were a weapon. The book he holds reads in Latin, “I am the way, the truth, and the life.” This is a strong pro-Trinity statement (Jesus, God, and the Holy Spirit are one) against the Arian heresy. The main chamber of the charming chapel is covered in rich mosaics, with lots of sixth-century symbolism and realistic portrait medallions. Topping the arch just over the door is another clean-shaven Jesus.

Exiting the chapel, turn left into Room IF to see the museum’s other highlight, an exquisite sixth-century Byzantine ivory throne, decorated with intricate scenes from the life of Christ. It was carved for Bishop Maximianus, Justinian’s Trinitarian appointee, the man who oversaw construction of the Basilica di San Vitale, and whose bald head appears in its mosaics. Nearby, in Room IG, is an interesting circular calendar designed to keep track of the dates for Easter between the years 532 and 626. The upstairs, worth a quick look, offers a chance for a close-up view of mosaics and more Byzantine and Venetian-era church art.

• Exiting the museum, turn left to find the...

▲Neonian Baptistery

Also known as the Baptistery of the Orthodox, this octagonal space dates from about the year 400. Imagine pagan adults immersed in the pool under glorious ceiling mosaics as they convert to Christianity. The mosaic portrays the common baptistery theme: John the Baptist baptizing Christ, with the personification of the River Jordan looking on. Twelve apostles with dancing feet—their tunics and cloaks alternating between gold and white—give the room a joyful, rhythmic sense. The acanthus flowers dividing the apostles were the botanical inspiration for the Corinthian capital, the Roman capital of choice. The register below the prophets is ringed by empty chairs, waiting to welcome you to the eternal heavenly banquet. Decoration on the lower walls features dark purple disks made of precious porphyry stone and a gold leafy arcade punctuated with portraits of the prophets.

Over the last 15 centuries, the building has sunk about 10 feet into the mucky local soil. That’s why the floor is higher than the architect planned, which messes up his intended proportion. For that reason also, the baptismal font is not original.

Cost and Hours: Same combo-ticket and hours as Basilica di San Vitale, reserve an entry time for the Baptistery when you buy your ticket, +39 0544 541 688, www.ravennamosaici.it.

• While you’re here, consider at least popping into Ravenna’s Duomo for a quick peek. From the Baptistery door, walk straight ahead (away from the Archiepiscopal Museum) and hook left to reach the front door of the...

Ravenna Duomo (a.k.a. Basilica Ursiana)

Ravenna’s main church is a typically big, Baroque house of worship. Like nearly everything else in this town, it’s built on much older rubble. In the 18th century, to make way for the current structure, its builders razed the gigantic five-nave Basilica Ursiana—but pragmatically repurposed big chunks of the old church to build the new one. Pay close attention to the inlaid floors, made with cross-sections of columns, capitals, and other decorations from the previous church, all neatly sliced and joined together. Just before the right transept, notice the fine sixth-century marble-carved pulpit, covered with two-dimensional images of animals (typical of the Byzantine style). The Latin inscription, referring to the bishop who reconsecrated the Arian churches, reads, “Agnellus made this pulpit.”

Cost and Hours: Free, daily 7:30-12:00 & 14:30-18:30 (closes earlier off-season).

Nearby: The free botanical garden called Giardino Rasponi—with a great view of the cathedral tower—is a delightful spot to rest after so much sightseeing. Exiting the Duomo, turn right and walk up Via G. Rasponi for one block, then make a quick right to find the garden entrance. A little café on-site offers simple lunches, coffee, and wine to enjoy in the garden.

Dante Museum (Museo Dantesco)

This small museum celebrates Dante Alighieri, “the Italian Shakespeare,” who spent his last three years in Ravenna and who now rests in his tomb next door. The museum itself occupies the former monastery of San Francesco, where a 19th-century bricklayer stumbled upon the author’s long-lost remains, tucked in a wooden box simply marked Dantis ossa (“Dante’s bones”—now displayed in the museum). The exhibit takes a strong background on Dante and his Divine Comedy to make a visit here worthwhile: Be prepared to visit hell, purgatory, and paradise (or at least halls representing each of these). Outside, enjoy the two restful, grassy courtyards, one of them with modern statues of St. Francis and St. Claire.

Cost and Hours: €5, Tue-Sun 10:00-17:30, Nov-Feb until 16:00, closed Mon year-round, Via—what else?—Dante Alighieri 4, +39 0544 215 676, www.vivadante.it.

WEST OF PIAZZA DEL POPOLO

House of Stone Carpets (Domus dei Tappeti di Pietra)

Discovered in 1993, excavations beneath the Church of Sant’Eufemia revealed many layers of ancient structures, some dating back to the second century BC. All were peeled away and preserved elsewhere. But the stone mosaic floors of a sixth-century Byzantine house (14 rooms in all) were put back and exhibited here, very close to their original location. The floors, from private and public spaces in the house, show both pictorial images and decorative designs. The highlight is the wonderfully realistic Dance of the Four Seasons (displayed on the wall to your right after you descend the stairs). Don’t miss the jaunty fourth-century Christ as a Shepherd, which some consider the earliest portrayal of Jesus (it’s on the wall facing the Four Seasons). A downloadable audioguide (€1) will add meaning to your visit.

Cost and Hours: €4, daily 10:00-18:30, open weekends only in off-season; entrance through Church of Sant’Eufemia, on Via Barbiani just off Via Cavour near Piazza Baracca, +39 0544 32512, www.domusdeitappetidipietra.it.

More Mosaics: The same association that runs the House of Stone Carpets also runs two other mosaic sights. TAMO has little in the way of historical artifacts but tells the story of mosaic-making (€4, Mon-Fri 10:00-17:00, Sat-Sun 14:00-18:00, shorter hours off-season, Via Rondinelli 2, www.tamoravenna.it). Rasponi Crypt displays a floor of mosaics pieced together from different sites, crazy-quilt style (€2, Mon-Fri 14:00-18:30, Sat-Sun from 10:00, shorter hours off-season, Piazza San Francesco 1, criptarasponi.it).

NEAR RAVENNA

▲▲Church of Sant’Apollinare in Classe

The final major sight for Byzantine mosaic fans is a sixth-century early Christian church standing a few miles outside Ravenna in the suburb of Classe. It’s impressive, but it comes in fourth place after the Basilica di San Vitale, Mausoleum of Galla Placidia, and Basilica di Sant’Apollinare Nuovo. On a quick day trip, it’s certainly skippable.

Cost and Hours: €5, Mon-Sat 8:30-19:30, Sun from 13:00, closed during services, Via Romea Sud 224, +39 0544 527 308, www.turismo.ra.it. On Sunday morning, you can generally get in for free between Masses until 13:00.

Getting There: The church is three miles out of town—an easy bike ride. To go by bus, buy two local bus tickets (€1.30 each) at any tobacco shop, newsstand, or the TI, then catch bus #4 across the street from the train station (on the corner by the park; 3/hour Mon-Sat, 1/hour on Sun, 15 minutes; save second ticket for return trip). The bus also leaves from Piazza Caduti (near the TI, stop is on the corner at Via Guidone). To return to Ravenna from the church, walk back toward town along the main road about 100 yards to find the bus shelter on the right. You could also pay for a taxi (around €15 one-way).

Visiting the Church: The church sits over an ancient burial site where Sant’Apollinare, Ravenna’s first bishop, is interred. The statue of Emperor Augustus, standing in front of the church, is a reminder that Classe was a strategic navy base in Roman times. In early Christian days, Classe was a big pilgrimage destination and home to a large Christian community. Today little remains other than its church.

The artistic treasure here is the mosaic work in the apse, 90 percent of which is original from the sixth century. Apollinare, his hands raised in prayer, is depicted in a leafy green landscape. High above, the hand of God emerges from golden clouds, pointing to the gold cross in a blue circle, symbol of the transfiguration of Jesus—the moment when he revealed his divine nature to apostles James, John, and Peter (the three lambs closest to the cross).

The rest of the church—its mosaics lost to time—is pretty plain. While many churches this old have settled and the bases of their columns are no longer visible, here the floor level remains unchanged, and you can admire the columns’ original bases.

Sleeping in Ravenna

IN THE PEDESTRIAN ZONE, NEAR PIAZZA DEL POPOLO

$$ Hotel Bisanzio is a business-class hotel with generous public spaces, a small garden, and 38 rooms in the city center (air-con, elevator, usually free on-street parking with hotel permit; Via Salara 30, +39 054 421 7111, www.bisanziohotel.com, info@bisanziohotel.com).

$$ M Club B&B is a comfortable and stylishly homey five-room place with a bright breakfast room, spacious bedrooms, and thoughtful touches. Its website describes each unique room in detail (spacious family suite, loaner bikes, Piazza Baracca 26, +39 333 955 6466, www.m-club.it, info@m-club.it, dedicated owner Michael). The M Club faces the Porta Adriana gate at the far end of the old town from the train station (a 15-minute walk).

$$ Casa Masoli B&B, in a comfortably updated 17th-century building, is run with TLC by gracious Fabio, Sandra, and Anna. The six elegantly outfitted rooms have ample space and giant wood-paneled bathrooms (family rooms, air-con, generous breakfast, Via G. Rossi 22, +39 0544 217 682, mobile +39 335 609 9471, www.casamasoli.it, info@casamasoli.it).

$$ Villa Noctis is a hidden gem behind an enclosed courtyard, within striking distance of the covered market and the Neonian Baptistery. Father Massimiliano and son Michele offer six inviting rooms that feel luxurious without the luxe price. The two rooms with private balconies are worth the extra flight of stairs (family rooms, air-con, garden, loaner bikes, pay parking, Via Giuseppe Pasolini 57, +39 329 901 8590, www.villanoctis.it, info@villanoctis.it).

$ A Casa di Paola is a converted private home and family-run, with eight nicely decorated rooms, comfy common spaces, and a treehouse floor plan (family rooms, air-con, loaner bikes, Via P. Costa 31, mobile +39 324 848 6273, www.acasadipaola.it, info@acasadipaola.it).

NEAR THE TRAIN STATION

$$ Hotel Italia, just 100 yards from the train station, lacks character but is handy for drivers. Its 45 rooms provide basic comfort and lots of space (family rooms, air-con, elevator, loaner bikes, free parking—first-come, first-served, turn left out of station, Viale Pallavicini 4, +39 0544 212 363, www.hotelitaliaravenna.com, info@hotelitaliaravenna.com).

Eating in Ravenna

Located in the Emilia-Romagna region—famous for its cheeses and salumi—Ravenna has more than its share of great restaurants. Emilia-Romagna, nestled between farm fields and the sea, boasts seafood that’s as good as its landfood. A local staple—served at carryout stands as well as fine restaurants—is piadina (pee-ah-DEE-nah), unleavened flatbread served plain or with a wide variety of fillings. At the top of every pasta menu is cappelletti (“little hats”), small doughy raviolis of cheese in a variety of sauces. Chefs here also make ample use of squacquerone (“shapeless”), a soft cream cheese that, by necessity, comes in a bowl. For a cheap light meal or to sample several spots, look for restaurant bars offering an aperitivo (free appetizers with your drink).

RESTAURANTS

$$ Ca’ de Ven (“House of Wine”), the most famous restaurant in town, is surprisingly affordable. It fills a 16th-century warehouse with communal seating and residents enjoying quality wine and traditional regional cuisine. Up front is a bar with tables under ornately decorated Baroque domes, with 15-foot-tall wine cabinets towering above; in back is a huge hall under rough barrel vaults. For a light meal, order one of their piadine. Reserve ahead for dinner, and avoid weekend evenings when it’s often overwhelmed (€38 fixed-price meal, no cover, Tue-Sun 11:00-14:30 & 18:30-22:30, closed Mon, 2-minute walk from Piazza del Popolo on Via Cairoli, which turns into Via C. Ricci—look for #24, +39 0544 30163, www.cadeven.it). You can enjoy light meals and/or a glass of fine wine at the bar.

$$ Al Rustichello, a classic trattoria just outside the Porta Adriana city gate, has cozy ambience under heavy timbers. Few diners can resist their cappelletti, served in the pan it was cooked in. Their antipasti plate is a fun, splittable starter (Tue-Sat 12:15-14:15 & 19:30-22:00, closed Sun-Mon, Via Maggiore 21, +39 0544 36043, www.rustichelloravenna.it).

$$ Antica Bottega di Felice, behind the covered market, has a cheese-and-meat shop in front and sit-down eatery in back, serving up new interpretations of local cuisine. While the space is more functional than atmospheric, the food more than compensates (shop open Mon-Sat 8:00-13:00 & 17:00-19:30, osteria serves Mon-Sat 12:00-14:30 & 19:00-22:00 except no lunch on Thu, both closed Sun, Via Ponte Marino 23, +39 0544 240 170).

$$ Passatelli l’Osteria del Mariani has turned a former cinema into a fun and lively place to dine. The big screen adds to the bright, modern, and spacious atmosphere, as does the open kitchen where piadina and pasta are made. They offer tourist comfort fare as well as some Emilia-Romagna favorites and an inviting apertivo in the bar up front (daily 12:00-15:00 & 19:00-24:00, Via Ponte Marino 19, +39 0544 215 206).

$ Ristorante la Gardèla is a local fixture—if Ravenna had a town dining room, this would be it. The fun-loving waitstaff has been here for years, and the restaurant has all the nice touches without the pretense. While there are a few tables outside and upstairs, I like the jolly main floor. Their cappelletti is served in brodo (soup) or al ragù (with meat sauce; €16 and €28 fixed-price meals, Fri-Wed 12:00-14:30 & 19:00-22:00, closed Thu, tucked behind the covered market at Via Ponte Marino 3, +39 0544 217 147).

FISH AND SEAFOOD

$$$ Ristorante Osteria del Tempo Perso is a good choice for seafood, with service as warm as its woody dining room. There’s mellow jazz on the soundtrack and a grown-up vibe, but families fit in here too. I’d ignore the forgettable outdoor seating (daily 19:30-23:00, also Sat-Sun 12:30-14:00, Via Gamba 12, +39 0544 215 393).

$$$ L’Acciuga Osteria (“Anchovy”), hiding at the back of a little courtyard on a residential street just outside the old town center, is well-respected for its short menu of fresh seafood that changes daily. Because everything is fresh and priced by weight, this can get expensive, but it’s worth a trip for seafood lovers. The restaurant is done up like the lower holds of a submarine, but somehow seems stylish rather than tacky (€60 fixed-price meal, Tue-Sat 19:30-23:00, Sun 12:30-15:00, closed Mon, Viale Francesco Baracca 74, +39 0544 212 713).

QUICK SNACK SPOTS

$ Piadina Stands: For the best cheap, traditional lunch in Ravenna, skip the pizza and instead grab a piadina. These tasty flatbread sandwiches are stuffed with a variety of local meats, vegetables, and cheeses (including squacquerone, described earlier), then folded over and grilled. You’ll see several takeout windows in the downtown pedestrian zone selling them. Consider the popular-with-students Profuma di Piadina (on the way from Piazza del Popolo to the Basilica di San Francesco, at Via Cairoli 24) and La Piadina del Melarancio (just off Piazza del Popolo at Via IV Novembre 31). For a break from Italian food, Ali Kebab, across from La Piadina del Melarancio at Via IV Novembre 26, is cheap and fast.

Local Products: Tucked into a small courtyard along the shopping street Via Cavour, Gastronomia Alpine, a “gastronomic boutique,” sells regional cheeses, salumi, country bread, and other products, treating in-the-know picnic shoppers to the bounty of the local Emilia-Romagna region (Mon-Wed 8:00-16:00, Thu-Sun until 21:00, Via Cavour 43, +39 0544 37529). Antica Bottega di Felice, recommended earlier as a restaurant, also has a fine cheese and salumi shop up front.

Ravenna’s centrally located and recently renovated Covered Market (Mercato Coperto) is both a gathering spot, with a few cafés and wine bars, and a commercial space, with a bakery, butcher shop, fishmonger, and more.

Supermarkets: There’s a big Co-op store at the corner of Via di Roma and Via A. Mariani (daily until 20:30) and a small Pam Local on Via Armando Diaz 19 (daily until 21:00). A small Co-op grocery can be found near the covered market (daily until 22:00, Piazza Andrea Costa).

Picnic Spot: A fine place to enjoy your feast is in the shady gardens of the Rocca Brancaleone fortress (daily until 18:00; 5-minute walk from train station, follow Via Maroncelli until you see the walls).

Sweets: Popular Papilla Gelato offers free dips from its chocolate fountain if you like (pricey cones, but small is big here, a block off Piazza del Popolo at Via IV Novembre 8). Leonardi Dolciumi, not far from the covered market, curates fine chocolates and candies from Italian producers that you can mix and match. They also have select wines and regional gourmet products (daily 9:00-19:30, Via Pellegrino Matteucci 5A, mobile +39 340 9699 7947, www.leonardidolciumi.com).

Ravenna Connections

From Ravenna by Train to: Venice (roughly hourly, 3 hours), Padua (roughly hourly, 2.5-3.5 hours), Florence (about hourly, 2.5 hours by fast train, no slow train option). These trips all require a change in either Ferrara or Bologna.

VENETIAN HISTORY

ROME FALLS, VENICE RISES (AD 500)

MEDIEVAL GROWTH (500-1000)

Sights

A SEAFARING POWER (1000-1500)

Map: Venice’s Empire

Sights

Noteworthy Residents

RENAISSANCE AND SEEDS OF DECLINE (1500-1600)

Sights

Noteworthy Residents

ELEGANT DECLINE (1600-1800)

Sights

Noteworthy Residents

MODERN VENICE (1800 TO THE PRESENT)

Sights

Noteworthy Residents

In the Middle Ages, the clever Venetian aristocracy became Europe’s middlemen for East-West trade, creating a great merchant empire presided over by a series of elected dukes, called doges. By smuggling in the bones of St. Mark, Venice gained religious importance as well. But after the discovery of America and new trading routes to the Orient, Venetian power ebbed. Yet as Venice fell, her appetite for decadence grew. Throughout the 17th and 18th centuries, Venice partied on the wealth accumulated during its time as a trading power.

That’s Venetian history in a seashell. Want more? Read on.

ROME FALLS, VENICE RISES (AD 500)

In AD 476, the last Roman emperor abdicated, the empire’s infrastructure was crumbling, and northern Italy was crawling with Germanic-speaking “barbarian” invaders. Hoping these Visigoths, Huns, and Lombards didn’t like water, Latin-speaking mainlanders took refuge on the marshy, uninhabited islands of the Venetian lagoon.

The refugees squatted on this wet and miserable land. Eventually, they sank pilings in the mud to build on, channeled water into canals, and constructed bridges to lace together the motley collection of more than 100 natural islands that would eventually become Venice.

Venice Almanac

Population: While there are approximately 270,000 people in greater Venice, fewer than 51,000 people live on the actual islands.

Nicknames: La Serenissima and The Queen of the Adriatic

City Layout: The city of Venice is built on more than 100 small islands in the Venetian Lagoon along the Adriatic Sea. The historic center is broken up into six districts (sestieri): Cannaregio, Castello, Dorsoduro, San Polo, Santa Croce, and San Marco.

Tallest Structure: The Campanile on St. Mark’s Square reaches 325 feet and offers a beautiful view of the city. Good news: It has an elevator.

Tourist Tracks: Roughly 28 million tourists flock to Venice each year, with at least 30,000 roaming the streets each day of the Carnevale festival. St. Mark’s Square is the most popular sight and the Rialto Bridge is the top photo spot.

Culture Count: Venice’s population has long been almost entirely Italian—but that’s changing. You’ll notice lots of Asians working in shops and restaurants, as well as lots of Senegalese on the streets selling knockoff bags. While Italian is the official language of Italy, most of the Veneto region’s 2 million people speak the Venetian dialect among themselves (you might notice how they don’t roll their r’s). The vast majority of native Venetians are Roman Catholics.

Fun Food Facts: Venice is known for its wine bars (bacari or enoteche) that serve small bite-sized snacks called cicchetti, which are similar to Spanish tapas.

Most Venerable Café: Caffè Florian, on the south side of St. Mark’s Square, opened in 1720. Famous visitors have included Lord Byron and Charles Dickens.

Average Venetian: The average Venetian is 46 years old, has 1.4 children, and will live until the age of 82. Half of the Venetian population works in some sector of the tourism industry. Venetians are more likely to have a gondolier license than a driver’s license, and many go weeks without seeing a car.

MEDIEVAL GROWTH (500-1000)

These first Venetians harvested salt and fish for their livelihood, and traded it on the mainland. Though Venice’s islands were desolate, the area—known to the Romans as the “Seven Seas”—was strategically important. In about 540 AD, the Byzantine Emperor Justinian reconquered Italy from the barbarians and briefly reunited the Roman Empire. He established a capital at Ravenna, bringing the Venetian islands under Byzantine influence.

Soon, Venetians began to elect local rulers whom they called “doges”—the first of many who would rule for more than a thousand years. (Though “doge” is linguistically related to our word “duke,” Venetian rulers were more like constitutional monarchs, elected by their fellow nobles and expected to govern according to the rule of law.) As early as 810, one doge had his seat in the settlement of Rivo Alto (“High Bank”), near today’s Rialto Bridge.

Under Byzantine protection, Venetians became prosperous seagoing merchants. Acting as middlemen, they bought goods from the sophisticated Byzantine and Islamic lands to the East and sold them to consumers in the West.

Venice’s merchant economy boomed while the rest of Europe languished under land-based feudalism. Charlemagne, the Holy Roman Emperor who’d conquered much of Italy (c. 800), eyed the region hungrily. But Venetians, wanting to keep their independence, deposed Charlemagne’s bishop and chose one who was loyal to distant Byzantium.

To legitimize their new bishop, the Venetians managed to smuggle the holy relics of St. Mark from Egypt in 828, thus becoming a religious power overnight. To seal the city’s oriental orientation, Venetian leaders had the grand St. Mark’s Basilica built in a distinctly Eastern style.

Sights

• Gondolas and the network of canals

• Old crypt under San Zaccaria Church

• Santa Maria Assunta Church on Torcello Island

A SEAFARING POWER (1000-1500)

Venetian sea traders established trading outposts in Byzantine and Muslim territories to the east. They used the same alpine passes that we travel today to ship luxury goods to Western Europe. At home, a stable, constitutional government ran an efficient, state-operated multinational corporation. The shallow lagoon was easily defended against attack, making fortifications unnecessary. Grand buildings reflected Venice’s wealth.

Venetian merchants ran a profitable trading triangle: timber from Venice’s mainland to Egypt for gold to Byzantium for luxury goods to Venice. Its merchant fleet was the biggest in the Mediterranean, backed by powerful warships.

By the 12th century, tiny Venice had effectively established itself as an independent, self-ruling country and was running Europe’s first industrial complex, the Arsenale (1104). With more than 1,000 workers using an early form of assembly-line production, the Arsenale could produce about one warship a day. This put the “fear of Venice” into visiting rulers. When France’s King Henry III dropped by the Arsenale, Venice entertained him with a shipbuilding spectacle: from ribs to finished product in four hours.

When Europe launched its Crusades to the Holy Land (1095-1272), Venice transported soldiers and defended Byzantine and Crusader ports in return for commercial privileges. This made the eastern Mediterranean a virtual free-trade zone for a very aggressive Venetian trading community to exploit.

Wealthy Venetian nobles built lavish homes. With a natural lagoon as a defense, these were not fortified castles like the rest of Europe but luxurious palazzi, complete with loading docks, warehouses, and chandeliered ballrooms. The streets were paved. The government provided oil and required that streets be lit—a first in Europe.

Besides sea trade, Venice established strong local industries. Having mastered the art of making glass, Venice was on the cutting edge of the new science of grinding lenses for eyeglasses and telescopes. Understanding medicine as a chemical rather than an herbal pursuit, Venetians developed Europe’s first real pharmaceutical industry. They made Europe’s first affordable paper, from rags rather than from sheepskin (parchment). As the city offered the world’s first copyright protection, its printing and bookmaking industry boomed. With mountains of capital and a sophisticated trade system of insurance, joint ventures, and money drafts, Venice’s merchants eventually became bankers, loaning money at interest—making them early capitalists.

Rather than being ruled by a king—as was standard in feudal Europe—Venice developed a sophisticated government run by voting aristocrats. By the 13th century, Venice was fast becoming a Mediterranean superpower. During the Fourth Crusade (1204), Venetian troops joined other Crusaders in attacking and looting Christian Constantinople. The haul of booty enriched the city, enabling Venice to stand up to its former Byzantine protectors. When Venetian ships routed the fleet of their Genoan rivals at Chioggia (on the south end of the lagoon) in 1381, Venice became the undisputed master of the eastern Mediterranean. Next, they launched attacks on the mainland, conquering much of northern Italy. By 1420, Venice was at the height of its power, with mainland possessions and a powerful overseas trading empire to the east.

Sights

• Doge’s Palace

• St. Mark’s Basilica

• Frari Church

• Buildings decorated in ornate Venetian Gothic style

• Doge paraphernalia and city history at Correr Museum

• Glass Museum, Murano

• Arsenale shipbuilding complex

Noteworthy Residents

Enrico Dandolo (r. 1192-1205): Doge during the Fourth Crusade, when Venetian crusaders looted Constantinople, helping to enrich Venice.

Marco Polo (1254-1324): Traveler to faraway China whose journal, The Book of Marvels, was dismissed by many as fiction.

Paolo Veneziano (1310-1358): Painter who mastered the Byzantine gold-icon style, then added touches of Western realism.

Francesco Foscari (1373-1457): Doge at the peak of Venice’s power, whose ill-advised wars against Milan and the Ottoman Turks started the Republic’s slow fade.

Jacopo Bellini (c. 1400-1470): Father of painting family. His training in Renaissance Florence brought 3-D realism to Venice.

Gentile Bellini (c. 1429-1507): Elder son of painting family, known for straightforward, historical scenes of Venice.

RENAISSANCE AND SEEDS OF DECLINE (1500-1600)

In 1500, Venice was a commercial powerhouse—among the six biggest cities in Europe. Of its estimated 180,000 citizens, nearly 1,000 were of Rockefeller-esque wealth and power. Europe’s richest city-state poured money into the arts. Titian, Tintoretto, Sansovino, the Bellini family, and Palladio called Venice home. St. Mark’s Square became the gathering place for merchants and nobles from Venice’s vast trading empire. Across Europe, Venice had a reputation as a luxury-loving, exotic, cosmopolitan playground.

But Venice’s power had started to wane. The seeds had been sown in the 15th century. In 1492, Columbus sailed the ocean blue, and began to trade with a World that was New. In 1498, Vasco da Gama circled Africa’s Cape of Good Hope, finding a new sea route to eastern markets. Venice’s monopoly was broken.

On the Italian mainland, Venice became locked in draining wars against its rival Milan. Meanwhile, Ottomans were expanding in the East, encroaching on Venice’s former dominions. Venetians and Ottomans became wary trade partners, sometimes dealing peacefully but sometimes battling over strategic ports. In 1453, the Ottomans took Constantinople, and Venice suddenly lost one of its best customers. Venice (and its European allies) scored a temporary victory over the Ottomans at the Battle of Lepanto (1571), but Venice’s navy suffered major damage. Spain, England, and Holland, with their oceangoing vessels, emerged as superior traders in a more global economy.

Sights

• St. Mark’s Square facades and other work by Sansovino

• Palladio’s classical facades (San Giorgio Maggiore and Il Redentore churches)

• Masterpiece paintings by Titian, Giovanni Bellini, Giorgione, and Tintoretto (Accademia, Frari Church, Doge’s Palace, San Zaccaria Church, Correr Museum, Scuola San Rocco)

Typical Church Architecture

History comes to life when you visit a centuries-old church. Even if you wouldn’t know your apse from a hole in the ground, learning a few simple terms will enrich your experience. Note that not every church has every feature, and a “cathedral” isn’t a type of church architecture, but rather a designation for a church that’s a governing center for a local bishop.

Aisles: Long, generally low-ceilinged arcades that flank the nave

Altar: Raised area with a ceremonial table (often adorned with candles or a crucifix), where the priest prepares and serves the bread and wine for Communion

Apse: Space behind the altar, sometimes bordered with small chapels

Barrel Vault: Continuous round-arched ceiling that resembles an extended upside-down U

Choir: Intimate space reserved for clergy and choir, located within the nave near the high altar and often screened off

Cloister: Covered hallways bordering a square or rectangular open-air courtyard, traditionally where monks and nuns got fresh air

Facade: Exterior of the church’s main (west) entrance, usually highly decorated

Groin Vault: Arched ceiling formed where two equal barrel vaults meet at right angles

Narthex: Area (portico or foyer) between the main entry and the nave

Nave: Long central section of the church (running west to east, from the entrance to the altar) where the congregation sits or stands during the service

Transept: One of the two parts forming the “arms” of the cross in a traditional cross-shaped floor plan; runs north-south, perpendicularly crossing the east-west nave

West Portal: Main entry to the church (on the west end, opposite the main altar)

• Jewish Ghetto and Jewish Museum

Noteworthy Residents

Giovanni Bellini (c. 1430-1516): The most famous son in the painting family, whose glowing, colorful, 3-D Madonna-and-Childs started the Venetian Renaissance. Teacher of Titian and Giorgione.

Vittore Carpaccio (c. 1460-1525): Painter of realistic, secular scenes and the impressive Scuola Dalmata.

Giorgione (c. 1477-1511): Innovative painter whose moody realism influenced Bellini (his teacher) and Titian (his friend and fellow painter).

Jacopo Sansovino (1486-1570): Renaissance architect who redid the face of Venice (especially St. Mark’s Square), introducing sober, classical columns and arches to a city previously full of ornate Gothic.

Titian (Tiziano Vecellio, c. 1490-1576): Premier Venetian Renaissance painter. Master of many styles, from teenage Madonnas to sober state portraits to exuberant mythological scenes to centerfold nudes.

Andrea Palladio (1508-1580): Influential architect whose classical style was much imitated around the world, resulting in villas, government buildings, and banks that look like Greek temples.

Tintoretto (Jacopo Robusti, c. 1518-1594): Painter of dramatic religious scenes, using strong 3-D, diagonal compositions, twisting poses, sharp contrast of light and shadow, and bright, “black velvet” colors (late Renaissance/Mannerist style).

Paolo Veronese (1528-1588): Painter of big, colorful canvases, capturing the exuberance and luxury of Renaissance Venice.

ELEGANT DECLINE (1600-1800)

New trade routes, new European powers, and belligerent Ottomans drained Venice’s economy and shrank its commercial empire. At home, however, Venice’s reputation for luxury—and even decadence—still made it a popular tourist destination for Europe’s gentry. In some ways, this is the period that most defines Venice: the city of Baroque monuments, masked balls at Carnevale, velvet-dressed nobles at opera debuts, and the roguish debauchery of Casanova.

Is Venice Sinking?

Venice has battled rising water levels since the fifth century. But today, the water seems to be winning. Several factors, both natural and man-made, cause Venice to flood dozens of times a year—usually from October until late winter—a phenomenon called the acqua alta.

On my last trip I asked a Venetian how much the city is sinking. He said, “Less than the sea is rising.” Venice sits atop sediments deposited at the ancient mouth of the Po River, which are still compacting and settling. Early industrial projects, such as offshore piers and the railroad bridge to the mainland, affected the sea floor and tidal cycles in ways that made the city more vulnerable to flooding. Twentieth-century industry worsened things by pumping massive amounts of groundwater out of the aquifer beneath the lagoon for nearly 50 years before the government stopped the practice in the 1970s. In the last century, Venice has sunk by about nine inches.

Meanwhile, the waters around Venice are rising, a phenomenon that’s especially apparent in winter. The highest so far was in November of 1966, when a huge storm (the same one that famously flooded Florence) raised Venice’s water level to more than six feet above the norm. The notorious acqua alta happens when an unusually high tide combines with strong sirocco winds and a storm. Although tides are minuscule in the Mediterranean, the narrow, shallow Adriatic Sea has about a three-foot tidal range. When a storm—an area of low pressure—travels over a body of water, it pulls the surface of the water up into a dome. As strong sirocco winds from Africa blow storms north up the Adriatic, they push this high water ahead of the front, causing a surging storm tide. Add to that the worldwide sea-level rise that’s resulted from recent climate change (melting ice caps, thermal expansion of the water, more frequent and more powerful storms) and it makes a high sea that much higher.

If the acqua alta appears during your visit, you’ll see the first puddles in the center of paved squares, pooling around the limestone grates at the square’s lowest point. These grates cover cisterns that long held Venice’s only source of drinking water. That’s right: Surrounded by the lagoon and beset by constant flooding, this city had no natural source of fresh water. For centuries, residents carried water from the mainland with much effort and risk. In the ninth century, they devised a way to collect rainwater by using paved, cleverly sloped squares as catchment systems, with limestone filters covering underground clay tubs. Venice’s population grew markedly once citizens were able to access fresh water by simply dropping buckets down into these “wells.” Hundreds of cisterns provided the city with drinking water up until 1884, when an aqueduct was built (paralleling the railroad bridge) to bring in water from nearby mountains. Now the wells are capped, the clay tubs are rotted out, and rain drains from squares into the lagoon—or up from it, as the case may be.

So, what is Venice doing about the flooding? After the 1966 flood, officials knew something had to be done, but it took about four decades to come up with a solution. In 2003, a consortium of engineering firms finally began construction on the MOSE Project. Named for the acronym of its Italian name, Modulo Sperimentale Elettromeccanico, it’s also a nod to Moses and his (albeit temporary) mastery over the sea. But, in good Italian fashion, greedy government officials couldn’t resist the opportunity for personal enrichment, and a corruption scandal stranded the entire project for years.

But finally, in 2020, the system had a promising trial. When high tides reached exceptional peaks, the retractable underwater gates (installed at the three inlets where the sea meets Venice’s lagoon) successfully shut out the Adriatic. But with seas rising faster than engineers anticipated, how long MOSE can protect Venice’s treasures is an open question.

Venice’s empire dwindled economically and politically. In 1669, its last major outpost, Crete, fell to the Ottomans. Several devastating plagues gutted the population at home. The once-enlightened government gained a nasty reputation for corruption and for locking away dissidents in the dank prisons of the Doge’s Palace. In 1797, Napoleon Bonaparte rolled into Venice and toppled the final doge. A thousand-year era of independent rule was over.

Sights

• Ca’ Rezzonico (Museum of 18th-Century Venice)

• La Salute Church

• Masks of the Carnevale tradition

• Old cafés (e.g., the Florian and the Quadri, both on St. Mark’s Square)

• La Fenice Opera House

• Baroque interiors in many churches

• Canova sculptures (Correr Museum)

• G. B. Tiepolo paintings (Accademia, Doge’s Palace, Ca’ Rezzonico)

• Paintings by Canaletto, Guardi, and G. D. Tiepolo (Ca’ Rezzonico)

Noteworthy Residents

Claudio Monteverdi (1567-1643): The composer and maestro di capella at St. Mark’s Basilica who wrote in a budding new medium—opera.

Baldassare Longhena (1598-1682): Architect of the Baroque La Salute Church.

Antonio Vivaldi (1678-1741): Composer of The Four Seasons (“Dah dunt-dunt-duh dutta dah-ah-ah”).

G. B. Tiepolo (Giovanni Battista, 1696-1770): Painter of mythological subjects in colorful Rococo ceilings.

Giovanni Antonio Canal, a.k.a. Canaletto (1697-1768): Painter of photo-realist Venice views.

Carlo Goldoni (1707-1793): Comic playwright who brought refinement to commedia dell’arte buffoonery.

Francesco Guardi (1712-1793): Painter of proto-Impressionist Venice views.

Giacomo Casanova (1725-1798): Gambler, womanizer, and adventurer whose exaggerated memoirs inspired Romantics.

G. D. Tiepolo (Giovanni Domenico, 1727-1804): Painter son of the famous G. B. Tiepolo.

Lorenzo Da Ponte (1749-1838): Mozart’s librettist, who popularized Venice’s sophisticated and decadent high society.

Antonio Canova (1757-1822): Neoclassical sculptor whose beautiful polished-white statues were especially popular in Napoleon’s France.

MODERN VENICE (1800 TO THE PRESENT)

After Napoleon’s defeat at Waterloo, the European allies placed Venice under Austrian rule. Sophisticated Venetians chafed against their Viennese masters. However, Venice was still a key stop on any traveler’s Grand Tour, and Europe’s young aristocrats visited the city to “complete” their education. Venice and Italy became a political backwater as Austrian and French influence dominated.

In 1866, when Prussia dealt Austria a humiliating military defeat, rebellious Venetians seized the moment to join Italy’s independence movement, and annexed themselves to the newly unified, democratic nation of Italy.

Venice joined the Industrial Revolution only reluctantly. A two-mile railroad causeway was built to connect the island city with the mainland during the Austrian period (1846). This was later paralleled by a highway for cars (1932). On the mainland, unbridled industrialization produced pollution (mainly sulfuric acid) that threatened Venice’s stone monuments. In 1966, Venice suffered a disastrous flood, which prompted many plans and projects to control future flooding—some have been enacted, while others are still on the drawing board.

Inside Venice proper, however, there has been little new building for centuries. Today, Venice remains a museum piece—one increasingly threatened by mainland pollution, climate change, floods, and hordes of tourists. But local and national entities are increasing their efforts to preserve the city as a cultural landmark. When Venice’s venerable La Fenice Opera House burned down in 1996, it was rebuilt right away. The government is restricting cruise ships from docking in the city’s historic center, and the city is inching closer to implementing a tourist entry fee to control crowds. While keeping up with what’s new, Venice remains a historic wonderland. Venice is timeless—a place where visitors can easily blink away elements of the modern world and find themselves transported back in time.

Sights

• Correr Museum’s Risorgimento wing

• Statue of Daniele Manin (between St. Mark’s Square and Rialto Bridge)

• Motorized vaporetti and taxis

• Train station (1954)

• Peggy Guggenheim Collection

• Biennale International Art Exhibition

• Pollution from the mainland city of Mestre

• Calatrava Bridge (2008)

• Stazione Marittima cruise port

• Burger King and KFC

Noteworthy Residents

Daniele Manin (1804-1857): Rebel who led 1848 Venetian revolt against the city’s Austrian rulers, eventually allowing Venice to join a united, democratic, modern Italy.

Peggy Guggenheim (1898-1979): American-born art collector, gallery owner, and friend of modern art and artists.

For more on the history of Venice and on Europe throughout the centuries, consider Europe 101: History and Art for the Traveler, written by Rick Steves and Gene Openshaw (available at www.ricksteves.com).

PRACTICALITIES

Travel Tips

Money

BEFORE YOU GO

IN EUROPE

TIPPING

GETTING A VAT REFUND

CUSTOMS FOR AMERICAN SHOPPERS

Sightseeing

MAPS AND NAVIGATION TOOLS

PLAN AHEAD

RESERVATIONS, ADVANCE TICKETS, AND PASSES

AT SIGHTS

FIND RELIGION

Sleeping

RATES AND DEALS

TYPES OF ACCOMMODATIONS

Eating

RESTAURANT PRICING

BREAKFAST

ITALIAN RESTAURANTS

BUDGET EATING

ITALIAN CUISINE STAPLES

BEVERAGES

Staying Connected

USING YOUR PHONE IN EUROPE

WITHOUT A MOBILE PHONE

MAIL

Transportation

TRAINS

Map: Italy’s Public Transportation

BUSES

TAXIS AND RIDE-BOOKING SERVICES

FLIGHTS

Resources from Rick Steves

This chapter covers the practical skills of European travel: how to get tourist information, pay for things, sightsee efficiently, find good-value accommodations, eat affordably but well, use technology wisely, and get between destinations smoothly. For more information on these topics, see RickSteves.com/travel-tips.

Travel Tips

Travel Advisories: Before traveling, check updated health and safety conditions, including restrictions for your destination, on the travel pages of the US State Department (www.travel.state.gov) and Centers for Disease Control and Prevention (www.cdc.gov/travel). The US embassy website for Italy is another good source of information (see here).

Covid Vaccine/Test Requirements: It’s possible you’ll need to present proof of vaccination against the coronavirus and/or a negative Covid-19 test result to board a plane to Europe or back to the US. Carefully check requirements for each country you’ll visit well before you depart, and again a few days before your trip. See the websites listed above for current requirements.

ETIAS Registration: The European Union may soon require US and Canadian citizens to register online with the European Travel Information and Authorization System (ETIAS) before entering Italy and other Schengen Zone countries (quick and easy process). For the latest, check www.etiasvisa.com.

Tourist Information: Before your trip, scan the website of the Italian national tourist office (www.italia.it) for a wealth of travel information. If you have a specific question, try contacting one of their US offices (New York: +1 212 245 5618, newyork@enit.it; Los Angeles: +1 310 820 1898, losangeles@enit.it). In Venice, TIs are generally understaffed and not very helpful. For more on their services and locations, see here.

Emergency and Medical Help: For any emergency service—ambulance, police, or fire—call 112 from a mobile phone or landline (operators typically speak English). If you get sick, do as the locals do and go to a pharmacist for advice. Or ask at your hotel for help—they’ll know the nearest medical and emergency services. For the hospital and first-aid help, see here.

Theft or Loss: To replace a passport, you’ll need to go in person to an embassy (see next). If your credit and debit cards disappear, cancel and replace them (see “Damage Control for Lost Cards” on here). File a police report, either on the spot or within a day or two; you’ll need it to submit an insurance claim for lost or stolen items, and it can help with replacing your passport or credit and debit cards. For more information, see RickSteves.com/help.

US Embassies and Consulates: Embassy in Rome—+39 06 46741, passport and nonemergency consular services, by appointment only (Via Vittorio Veneto 121). Consulates in Milan—+39 02 290 351 (Via Principe Amedeo 2/10); Florence—+39 055 266 951 (Lungarno Vespucci 38); and Naples—+39 081 583 8111 (Piazza della Repubblica). For all, see http://it.usembassy.gov.

Canadian Embassies: Rome—+39 06 854 442 911 (Via Zara 30); Milan—+39 02 626 94238 (Piazza Cavour 3). For both, see www.italy.gc.ca. After-hours emergency in Ottawa +1 613 996 8885.

Time Zones: Italy, like most of continental Europe, is generally six/nine hours ahead of the East/West Coasts of the US. The exceptions are the beginning and end of Daylight Saving Time: Europe “springs forward” the last Sunday in March (two weeks after most of North America), and “falls back” the last Sunday in October (one week before North America). For a handy time converter, use the world clock app on your phone or download one (see www.timeanddate.com).

Business Hours: Traditionally, Italy used the siesta plan, with people generally working from about 9:00 to 13:00 and from 15:30-16:00 to 19:00-19:30, Monday through Saturday. Siesta hours are no longer required by law, so offices and many shops stay open through lunch or later into the evening, especially larger stores in tourist areas. In Venice, some stores and restaurants close on Sunday, or at least one other day per week.

Watt’s Up? Europe’s electrical system is 220 volts, instead of North America’s 110 volts. Most electronics (laptops, phones, cameras) and appliances (newer hair dryers, CPAP machines) convert automatically, so you won’t need a converter, but you will need an adapter plug with two round prongs, sold inexpensively at travel stores in the US.

Rip up this book! Turn chapters into mini guidebooks: Break the book’s spine and use a utility knife to slice apart chapters, keeping gummy edges intact. Reinforce the chapter spines with clear wide tape; use a heavy-duty stapler; or make or buy a cheap cover (see the Travel Store at RickSteves.com), swapping out chapters as you travel.

Discounts: Discounts for sights are generally not listed in this book. Italy’s national museums generally offer free admission to children under 18, but some discounts are available only for citizens of the European Union (EU). However, Venice’s city museums (run by the Fondazione Musei Civici Venezia, or MUVE) all offer youth and senior discounts to Americans and others who are not citizens of the EU—bring an ID. These museums include the Doge’s Palace, Correr Museum, Clock Tower on St. Mark’s Square, Ca’ Rezzonico, Ca’ Pesaro, Palazzo Mocenigo Costume Museum, Murano’s Glass Museum, and Burano’s Lace Museum.

Online Translation Tips: Google’s Chrome browser instantly translates websites; Translate.google.com and DeepL.com are also handy. The Google Translate app converts spoken or typed English into most European languages (and vice versa) and can also translate text it “reads” with your smartphone’s camera.

Going Green: There’s plenty you can do to reduce your environmental footprint when traveling. When practical, take a train instead of a flight within Europe, and use public transportation within cities. In hotels, use the “Do Not Disturb” sign to avoid daily linen and towel changes (or hang up your towels to signal you’ll reuse them). Bring a reusable shopping tote and refillable water bottle (Europe’s tap water is safe to drink). Skip printed brochures, maps, or other materials that you don’t plan to keep—get your info online instead. To find out how Rick Steves’ Europe is offsetting carbon emissions with a self-imposed carbon tax, see RickSteves.com/about-us/climate-smart.

Money

Here’s my basic strategy for using money wisely in Europe. I pack the following and keep it all safe in my money belt.

Credit Card: You’ll use your credit card for purchases both big (hotels, advance tickets) and small (little shops, food stands). Some European businesses have gone cashless, making a card your only payment option. A “tap-to-pay” or “contactless” card is widely accepted and simple to use.

Debit Card: Use this at ATMs to withdraw a small amount of local cash. Wait until you arrive to get euros (European airports have plenty of ATMs); if you buy euros before your trip, you’ll pay bad stateside exchange rates. While most transactions are by card these days, cash can help you out of a jam if your card randomly doesn’t work, and can be useful to pay for things like tips and local guides.

Backup Card: Some travelers carry a third card (debit or credit; ideally from a different bank) in case one gets lost or simply doesn’t work.

Stash of Cash: I carry $100-200 in US dollars as a cash backup, which comes in handy in an emergency (for example, if your debit card gets eaten by the machine).

BEFORE YOU GO

Know your cards. For credit cards, Visa and MasterCard are universal while American Express and Discover are less common. US debit cards with a Visa or MasterCard logo will work in any European ATM.

Go “contactless.” Get comfortable using contactless pay options. Check to see if you already have—or can get—a tap-to-pay version of your credit card (look on the card for the tap-to-pay symbol—four curvy lines), and consider setting up your smartphone for contactless payment (see next section for details). Both options are widely used in Europe and are more secure than a physical credit card: Instead of recording your credit card number, a one-time encrypted “token” enables the purchase and expires shortly afterward.

Know your PIN. Make sure you know the numeric, four-digit PIN for each of your cards, both debit and credit. Request it if you don’t have one, as it may be required for some purchases. Allow time to receive the information by mail—it’s not always possible to obtain your PIN online or by phone.

Report your travel dates. Let your bank know that you’ll be using your debit and credit cards in Europe, and when and where you’re headed.

Exchange Rate

1 euro (€) = about $1.10

To convert prices in euros to dollars, add about 10 percent: €20 = about $22, €50 = about $55. Like the dollar, one euro is broken into 100 cents. Coins range from €0.01 to €2, and bills from €5 to €200 (bills over €50 are rarely used).

Check www.oanda.com for the latest exchange rates.

Adjust your ATM withdrawal limit. Find out how much you can withdraw daily and ask for a higher daily limit if you want to get more cash at once. Note that European ATMs will withdraw funds only from checking accounts, not savings accounts.

Find out about fees. For any purchase or withdrawal made with a card, you may be charged a currency conversion fee (1-3 percent) and/or a Visa or MasterCard international transaction fee (less than 1 percent). If you’re getting a bad deal, consider getting a new card. Reputable no-fee cards include those from Capital One, as well as Charles Schwab debit cards. Most credit unions and some airline loyalty cards have low or no international transaction fees.

IN EUROPE

Using Credit Cards and Payment Apps

Tap-to-Pay or Contactless Cards: These cards have the usual chip and/or magnetic stripe, but with the addition of a contactless symbol. Simply tap your card against a contactless reader to complete a transaction—no PIN or signature is required. This is by far the easiest way to pay and has become the standard in much of Europe.

Payment Apps: Just like at home, you can pay with your smartphone or smartwatch by linking a credit card to an app such as Apple Pay or Google Pay. To pay, hold your phone near a contactless reader; you may need to verify the transaction with a face scan, fingerprint scan, or passcode. If you’ve arrived in Europe without a tap-to-pay card, you can easily set up your phone to work in this way.

Other Card Types: Chip-and-PIN cards have a visible chip embedded in them; rather than swiping, you insert the card into the payment machine, then enter your PIN on a keypad. In Europe, these cards have largely been supplanted by tap-to-pay cards, but you may be asked to use chip-and-pin for certain purchases. Swipe-and-sign credit cards—with a swipeable magnetic stripe, and a receipt you have to sign—are increasingly rare.

Will My US Card Work? Usually, yes. On rare occasions, at self-service payment machines (such as transit-ticket kiosks, tollbooths, or fuel pumps), some US cards may not work. Usually a tap-to-pay card does the trick in these situations. Just in case, carry cash as a backup and look for a cashier who can process your payment if your card is rejected. Drivers should be prepared to move on to the next gas station if necessary. (In some countries, gas stations sell prepaid gas cards, which you can purchase with any US card). When approaching a toll plaza or ferry ticket line, use the “cash” lane.

Using Cash

Cash Machines: European cash machines work just like they do at home—except they spit out local currency instead of dollars, calculated at the day’s standard bank-to-bank rate. In most places, ATMs are easy to locate—in Italy ask for a bancomat. When possible, withdraw cash from a bank-run ATM located just outside that bank.

If your debit card doesn’t work, try a lower amount—your request may have exceeded your withdrawal limit or the ATM’s limit. If you still have a problem, try a different ATM or come back later.

Avoid “independent” ATMs, such as Travelex, Euronet, Moneybox, Your Cash, Cardpoint, and Cashzone. These have high fees, can be less secure, and may try to trick users with “dynamic currency conversion” (see next).

Dynamic Currency Conversion: When withdrawing cash at an ATM or paying with a credit card, you’ll often be asked whether you want the transaction processed in dollars or in the local currency. Always refuse the conversion and choose the local currency. While DCC offers the illusion of convenience, it comes with a poor exchange rate, and you’ll wind up losing money.

Exchanging Cash: Minimize exchanging money in Europe; it’s expensive (you’ll generally lose 5 to 10 percent). In a pinch you can find exchange desks at major train stations or airports. Banks generally do not exchange money unless you have an account with them.

Security Tips

Pickpockets target tourists. Keep your cash, credit cards, and passport secure in your money belt, and carry only a day’s spending money in your front pocket or wallet.

Before inserting your card into an ATM, inspect the front. If anything looks crooked, loose, or damaged, it could be a sign of a card-skimming device. When entering your PIN, carefully block other people’s view of the keypad.

Avoid using a debit card for purchases. Because a debit card pulls funds directly from your bank account, potential charges incurred by a thief will stay on your account while your bank investigates.

To access your accounts online while traveling, be sure to use a secure connection (see the “Tips on Internet Security” sidebar, later).

Damage Control for Lost Cards

If you lose your credit or debit card, report the loss immediately to the respective global customer-assistance centers. With a mobile phone, call these 24-hour US numbers: Visa (+1 303 967 1096), MasterCard (+1 636 722 7111), and American Express (+1 336 393 1111). From a landline, you can call these US numbers collect by going through a local operator.

You’ll need to provide the primary cardholder’s identification-verification details (such as birth date, mother’s maiden name, or Social Security number). You can generally receive a temporary card within two or three business days in Europe (see RickSteves.com/help for more).

If you report your loss within two days, you typically won’t be responsible for unauthorized transactions on your account, although many banks charge a liability fee.

TIPPING

Tipping in Italy isn’t as automatic and generous as it is in the US. For special service, tips are appreciated, but not expected. As in the US, the proper amount depends on your resources, tipping philosophy, and the circumstances, but some general guidelines apply.

Restaurants: In Italy, a service charge (servizio) is usually built into your check (look at the bill carefully). If it is included, there’s no need to leave an extra tip. If it’s not included, it’s common to leave about €1 per person (a bit more at finer restaurants) or to round up the bill. If paying with a credit card, be prepared to tip separately with cash or coins; credit card receipts don’t often have a tip line. For more details on restaurant tipping, see here.

Taxis: For a typical ride, round up your fare a bit (for instance, if the fare is €4.50, pay €5). If the cabbie hauls your bags and zips you to the airport to help you catch your flight, you might want to toss in a little more.

Services: In general, if someone in the tourism or service industry does a super job for you, a small tip of a euro or two is appropriate...but not required. If you’re not sure whether (or how much) to tip, ask a local for advice.

GETTING A VAT REFUND

Wrapped into the purchase price of your Italian souvenirs is a Value-Added Tax (VAT) of about 22 percent. You’re entitled to get most of that tax back if you purchase more than €155 worth of goods at a store that participates in the VAT-refund scheme. Typically, you must ring up the minimum at a single retailer—you can’t add up your purchases from various shops to reach the required amount. (If the store ships the goods to your US home, VAT is not assessed on your purchase.)

Getting your refund is straightforward...and worthwhile if you spend a significant amount.

At the Merchant: Have the merchant completely fill out the refund document (they’ll ask for your passport; a photo of your passport usually works). Keep track of the paperwork and your original sales receipt. Note that you’re not supposed to use your purchased goods before you leave Europe.

At the Border or Airport: Process your VAT document at your last stop in the European Union (such as at the airport) with the customs agent who deals with VAT refunds (allow plenty of extra time to deal with this process). At some airports, you’ll have to go to a customs office to get your documents stamped and then to a separate VAT refund service (such as Global Blue or Planet) to process the refund. At other airports, a single VAT desk handles the whole thing. (Note that refund services typically extract a 4 percent fee, but you’re paying for the convenience of receiving your money in cash immediately or as a credit to your card.) Otherwise, you’ll need to mail the stamped refund documents to the address given by the merchant.

CUSTOMS FOR AMERICAN SHOPPERS

You can take home $800 worth of items per person duty-free, once every 31 days. Many processed and packaged foods are allowed, including cheeses, dried herbs, jams, baked goods, candy, chocolate, oil, vinegar, condiments, and honey. Fresh fruits and vegetables and most meats are not allowed, with exceptions for some canned items. As for alcohol, you can bring in one liter duty-free (it can be packed securely in your checked luggage, along with any other liquid-containing items).

To bring alcohol (or liquid-packed foods) in your carry-on bag on your flight home, buy it at a duty-free shop at the airport. You’ll increase your odds of getting it onto a connecting flight if it’s packaged in a “STEB”—a secure, tamper-evident bag. But stay away from liquids in opaque, ceramic, or metallic containers, which usually cannot be successfully screened (STEB or no STEB).

For details on allowable goods, customs rules, and duty rates, visit http://help.cbp.gov.

Sightseeing

Sightseeing can be hard work. Use these tips to make your visits to Venice’s finest sights meaningful, fun, efficient, and painless.

MAPS AND NAVIGATION TOOLS

A good map is essential for efficient navigation while sightseeing. The maps in this book are concise and simple, designed to help you locate recommended destinations, sights, hotels, and restaurants. In Europe, simple maps are generally free at TIs and hotels.

You can also use a mapping app on your mobile device, which provides turn-by-turn directions for walking, driving, and taking public transit. Google Maps, Apple Maps, and CityMaps2Go allow you to download maps for offline use; ideally, download the areas you’ll need before your trip. For certain features, you’ll need to be online—either using Wi-Fi or an international data plan.

PLAN AHEAD

Set up an itinerary that allows you to fit in all your must-see sights. For a one-stop look at opening hours, see “Venice at a Glance” on here (also see the “Daily Reminder” on here). Since the Covid-19 pandemic, hours for museums and sights have been unstable. Both before and during your trip, confirm the latest opening days and times with the TI or on a museum or sight’s official website (listed throughout this book).

Don’t put off visiting a must-see sight—you never know when a place will close unexpectedly for a holiday, strike, or restoration. Many museums are closed or have reduced hours at least a few days a year, especially on holidays such as Christmas, New Year’s (Capodanno), Italian Liberation Day (April 25), Labor Day (May 1), and Ferragosto (Feast of the Assumption, Aug 15). A list of holidays is in the appendix; check for possible closures during your trip. In summer, some sights may stay open late. Off-season hours may be shorter.

Going at the right time helps avoid crowds. This book offers tips on the best times to see specific sights. Try visiting popular sights very early or very late. Evening visits (when possible) are usually more peaceful, with fewer crowds. Late morning is usually the worst time to visit a popular sight.

If you plan to hire a local guide, reserve ahead by email. Popular guides can get booked up.

Study up. To get the most out of the self-guided tours and sight descriptions in this book, read them before you visit.

RESERVATIONS, ADVANCE TICKETS, AND PASSES

Many popular sights in Europe come with long lines—not to get in, but to buy a ticket. Visitors who buy tickets online in advance (or who have a museum pass covering these key sights) can skip the line and waltz right in. Advance tickets are generally timed-entry, meaning you’re guaranteed admission on a certain date and time.

For some sights, buying ahead is required (tickets aren’t sold at the sight and it’s the only way to get in). At other sights, buying ahead is recommended to skip the line and save time. And for many sights, advance tickets are available but unnecessary: At these uncrowded sights you can simply arrive, buy a ticket, and go in.

Don’t confuse the reservation options: available, recommended, and required. Use my advice in this book as a guide. Note any must-see sights that sell out long in advance and be prepared to buy tickets early. If you do your research, you’ll know the smart strategy.

Given how precious your vacation time is, I’d book in advance both where it’s required (as soon as your dates are firm) and where it will save time in a long line (in some cases, you can do this even on the day you plan to visit). Make reservations well in advance to visit these top sights in Venice (St. Mark’s Basilica, Doge’s Palace, Campanile bell tower) and Padua (Scrovegni Chapel).

You’ll generally be emailed an eticket with a QR or bar code that you’ll store on your phone to scan at the entrance (if you prefer, you can print it out). At the sight, look for the ticket-holders line rather than the ticket-buying line; you may still have to wait in a security line.

Some cities offer passes (e.g., Venice’s Museum Pass) that cover admission to several sights. At some popular places (such as Venice’s Doge’s Palace), you can get in more quickly by buying a ticket or pass at a less-crowded sight (the Correr Museum).

Booking a guided tour can help you avoid lines at many popular sights. So can knowing what days to avoid. State museums in Italy are free to enter (and more crowded) once or twice a month, usually on a Sunday. In peak season, check museum websites for specifics and avoid free entry days when possible.

AT SIGHTS

Here’s what you can typically expect:

Entering: You may not be allowed to enter if you arrive too close to closing time. And guards start ushering people out well before the actual closing time, so don’t save the best for last.

Many sights have a security check. Allow extra time for these lines. Some sights require you to check day packs and coats. (If you’d rather not check your day pack, try carrying it tucked under your arm like a purse as you enter.) Pocketknives may not be allowed.

Photography: If the museum’s photo policy isn’t clearly posted, ask a guard. Generally, taking photos without a flash or tripod is allowed. Some sights ban selfie sticks; others ban photos altogether.

Audioguides and Apps: For Venice, I’ve produced free, downloadable audio tours for the Grand Canal, St. Mark’s Square, St. Mark’s Basilica, and Frari Church; look for the in this book. For more on my audio tours, see here.

Some sights offer audioguides with excellent recorded descriptions in English. In some cases, you’ll rent a device to carry around (if you bring your own plug-in earbuds, you’ll enjoy better sound). Increasingly, museums and sights instead offer an app you can download with their audioguide (often free; check websites from home and considering downloading in advance as not all sights offer free Wi-Fi hotspots).

Temporary Exhibits: Museums may show special exhibits in addition to their permanent collection. Some exhibits are included in the entry price, while others come at an extra cost (which you may have to pay even if you don’t want to see the exhibit).

Expect Changes: Artwork can be on tour, on loan, out sick, or shifted at the whim of the curator. Pick up a floor plan as you enter, and ask the museum staff if you can’t find a particular item. Say the title or artist’s name, or point to the photograph in this book and ask, “Dov’è?” (doh-VEH, meaning “Where is?”).

Dates for Artwork: In Italian museums, art is dated with sec for secolo (century, often indicated with Roman numerals), AC (avanti Cristo, or BC), and DC (dopo Cristo, or AD). OK?

Services: Important sights usually have a reasonably priced on-site café or cafeteria (handy air-conditioned places to rejuvenate during a long visit). The WCs at sights are free and generally clean.

Before Leaving: At the gift shop, scan the postcard rack or thumb through a guidebook to be sure you haven’t overlooked something that you’d like to see. Every sight or museum offers more than what is covered in this book. Use the information I provide as an introduction—not the final word.

FIND RELIGION

Churches offer some amazing art (often free), a cool respite from heat, and a welcome seat.

A modest dress code—no bare shoulders or shorts for anyone, even kids—is enforced at larger churches—such as Venice’s St. Mark’s Basilica—but is often overlooked elsewhere. If you’re caught by surprise, you can sometimes improvise, using maps to cover your shoulders and a jacket for your knees. A few major churches let you borrow or buy disposable ponchos to cover up in a pinch. (I wear a super-lightweight pair of long pants rather than shorts for my hot and muggy Italian sightseeing.) If your heart’s set on seeing a certain church, err on the side of caution and dress appropriately.

Some churches have coin-operated boxes that trigger lights to illuminate works of art. I pop in a coin whenever I can, to improve my experience (and photos), as a small contribution to that church, and as a courtesy to other visitors enjoying this great art. Whenever possible, let there be light.

Sleeping

Extensive and opinionated listings of good-value rooms are a major feature of this book’s Sleeping sections. Rather than list accommodations scattered throughout a town, I choose hotels in my favorite neighborhoods that are convenient to your sightseeing.

My recommendations run the gamut, from dorm beds to luxurious rooms with all of the comforts. I like places that are clean, central, relatively quiet at night (except for the singing of gondoliers), reasonably priced, friendly, small enough to have a hands-on owner or manager, and run with a respect for Italian traditions. I’m more impressed by a handy location and a fun-loving philosophy than oversized TVs and a fancy gym. Most of my recommendations fall short of perfection. But if I can find a place with most of these features, it’s a keeper.

Book your accommodations as soon as your itinerary is set, especially if you want to stay at one of my top listings or if you’ll be traveling during busy times. See the appendix for a list of major holidays and festivals in Italy.

RATES AND DEALS

I’ve categorized my recommended accommodations based on price, indicated with a dollar-sign rating (see sidebar). Room prices can fluctuate significantly with demand and amenities (size, views, room class, and so on), but relative price categories remain constant.

The city of Venice levies a tax on hotel rooms to generate income for infrastructure and restoration projects. It varies from €1 to €5 per person, per night, depending on how many stars the hotel has and the time of year. This tax is generally not reflected in the price ratings in this book, and some hoteliers might ask you to pay it in cash at checkout.

Booking Direct: Once your dates are set, compare prices at several hotels. You can do this by checking hotel websites and booking sites such as Hotels.com or Booking.com. After you’ve zeroed in on your choice, book directly with the hotel itself. This increases the chances that the hotelier will be able to accommodate special needs or requests (such as shifting your reservation). And when you book on the hotel’s website, by email, or by phone, the owner avoids the commission paid to booking sites, giving them wiggle room to offer you a discount, a nicer room, or a free breakfast (if it’s not already included).

Sleep Code

Hotels in this book are categorized according to the average price of a standard double room with breakfast in high season.

$$$$

Splurge:  Most rooms over €170

$$$

Pricier:  €130-170

$$

Moderate:  €90-130

$

Budget:  €50-90

¢

Backpacker:  Under €50

RS%

Rick Steves discount

Unless otherwise noted, credit cards are accepted, hotel staff speak basic English, and free Wi-Fi is available. Comparison-shop by checking prices at several hotels (on each hotel’s own website, on a booking site, or by email). For the best deal, book directly with the hotel. Ask for a discount if paying in cash; if the listing includes RS%, request a Rick Steves discount.

Getting a Discount: Some hotels extend a discount to those who pay cash or stay longer than three nights. And some accommodations offer a special discount for Rick Steves readers, indicated in this guidebook by the abbreviation “RS%.” Discounts vary: Ask for details when you reserve. Generally, to qualify for this discount, you must book direct (not through a booking site), mention this book when you reserve, show this book upon arrival, and sometimes pay cash or stay a certain number of nights. In some cases, you may need to enter a discount code (which I’ve provided in the listing) in the booking form on the hotel’s website. Rick Steves discounts apply to readers with either print or digital books. Understandably, discounts do not apply to promotional rates.

TYPES OF ACCOMMODATIONS

Hotels

The double rooms in Venice listed in this book will range from about €90 (very simple, toilet and shower down the hall) to €400 (plush Grand Canal views and maximum plumbing), with most clustered around €140-180 (with private bathrooms).

Some hotels can add an extra bed (for a small charge) to turn a double into a triple; some offer larger rooms for four or more people (I call these “family rooms” in the listings). If there’s space for an extra cot, they’ll cram it in for you. In general, a triple room is cheaper than the cost of a double and a single. Three or four people can economize by requesting one big room.

Using Online Services to Your Advantage

From booking services to user reviews, online businesses play a greater role in travelers’ planning than ever before. Take advantage of their pluses—and be wise to their downsides.

Booking Sites

Booking websites such as Booking.com and Hotels.com offer one-stop shopping for hotels. While convenient for travelers, they’re both a blessing and a curse for small, independent, family-run hotels. Without a presence on these sites, small hotels become almost invisible. But to be listed, a hotel must pay a sizable commission…and promise that its own website won’t undercut the price on the booking-service site.

Here’s the work-around: Use the big sites to research what’s out there, then book directly with the hotel by email or phone, in which case hotel owners are free to give you whatever price they like. Ask for a room without the commission markup (or ask for a free breakfast if not included, or a free upgrade). If you do book online, be sure to use the hotel’s own website. The price will likely be the same as via a booking site, but your money goes to the hotel, not agency commissions.

As a savvy consumer, remember: When you book with an online service, you’re adding a middleman who takes a cut. To support small, family-run hotels whose world is more difficult than ever, book direct.

Short-Term Rental Sites

Rental juggernaut Airbnb (along with other short-term rental sites) allows travelers to rent rooms and apartments, often providing more value, space, and amenities than a cookie-cutter hotel. Airbnb fans appreciate feeling part of a real neighborhood and getting into a daily routine as “temporary Europeans.” Some places are run by thoughtful hosts, allowing you to get to know a local and keep the money in the community; but beware: others are impersonally managed by large, absentee agencies.

Critics of Airbnb see it as a threat to “traditional Europe.” Landlords can make more money renting to short-stay travelers, driving rents up—and local residents out. Traditional businesses are replaced by ones that cater to tourists. And the character and charm that made those neighborhoods desirable to the tourists in the first place goes too. Some cities have cracked down, requiring owners to obtain a license and to occupy rental properties part of the year (and staging disruptive “inspections” that inconvenience guests).

As a lover of Europe, I share the worry of those who see residents nudged aside by tourists. But as an advocate for travelers, I appreciate the value Airbnb can provide in offering the chance to stay in a local building or neighborhood with potentially fewer tourists.

User Reviews

User-generated review sites and apps such as Yelp and TripAdvisor can give you a consensus of opinions about everything from hotels and restaurants to sights and nightlife. If you scan reviews of a restaurant or hotel and see several complaints about noise or a rotten location, you’ve gained insight that can help in your decision-making.

As a guidebook writer, my sense is that there is a big difference between the uncurated information on a review site and the vetted listings in a guidebook. A user review is based on the limited experience of one person, who stayed at just one hotel in a given city and ate at a few restaurants there. A guidebook is the work of a trained researcher who forms a well-developed basis for comparison by visiting many restaurants and hotels year after year.

Both types of information have their place, and in many ways, they’re complementary. If something is well reviewed in a guidebook and it also gets good online reviews, it’s likely a winner.

Arrival and Check-In: Hotels and B&Bs are sometimes located on the higher floors of a multipurpose building with a secured door. In that case, look for your hotel’s name on the buttons by the main entrance. When you ring the bell, you’ll be buzzed in.

Hotel elevators are common, though small, and some older buildings still lack them. You may have to climb a flight of stairs to reach the elevator (if so, you can ask the front desk for help carrying your bags up).

Most European countries require hotels to collect your name, nationality, and passport number. At check-in, the receptionist might ask for your passport and may keep it for several hours. If you’re not comfortable leaving your passport at the desk, bring a copy to give them instead.

If you’re arriving in the morning, your room probably won’t be ready. Check your bag safely at the hotel and dive right into sightseeing.

In Your Room: Most hotel rooms have a TV and free Wi-Fi, which can vary in strength and quality. Simpler places rarely have a room phone. Pricier hotels usually come with a small fridge stocked with beverages, called a frigo bar (FREE-goh bar; pay for what you use).

Keep Cool

If you’re visiting Italy in the summer, you’ll want an air-conditioned room. Most hotel air-conditioners come with a remote control that generally has similar symbols and features: fan icon (click to toggle through wind power, from light to gale); temperature (20 degrees Celsius is comfortable); louver icon (choose steady airflow or waves); snowflake and sunshine icons (cold air or heat); and clock (“O” setting: run X hours before turning off; “I” setting: wait X hours to start). When you leave your room for the day, do as the environmentally conscious Europeans do, and turn off the air-conditioning.

Nearly all places offer private bathrooms, which have a tub or shower, a toilet, and a bidet (which Italians use for quick sponge baths). The cord over the tub or shower is not a clothesline. You pull it when you’ve fallen and can’t get up.

Double beds are called matrimoniale, even though hotels aren’t interested in your marital status. Twins are due letti singoli.

Breakfast and Meals: Italian hotels typically include breakfast in their room prices. If breakfast is optional, you may want to skip it. While convenient, it’s usually pricey for what you get: a simple continental buffet with (at its most generous) bread, croissants, ham, cheese, yogurt, and unlimited caffè latte. It’s cheaper—and much more Italian—to head to the corner café for a sweet roll and coffee and stand at the counter. If you need a bigger breakfast, have a little picnic in your room before heading out.

Checking Out: While it’s customary to pay for your room upon departure, it can be a good idea to settle your bill the day before, when you’re not in a hurry and while the manager’s in.

Hotelier Help: Hoteliers can be a good source of advice. Most know their city well and can assist you with everything from public transit and airport connections to finding a good restaurant, the nearest launderette, or a late-night pharmacy.

Hotel Hassles: Even at the best places, mechanical breakdowns occur: Sinks leak, hot water turns cold, toilets may gurgle or smell, the Wi-Fi goes out, or the air-conditioning dies when you need it most. Report your concerns clearly and calmly at the front desk.

If you suspect night noise will be a problem, ask for a quiet room in the back or on an upper floor. In Venice, a canalside room sounds romantic, but in reality you might be sleeping next to a busy, noisy, boat- and gondola-clogged “street.” The quietest Venetian rooms will probably face a courtyard. Once you see your room, consider the potential problem of night noise. Don’t hesitate to ask for a quieter room.

To guard against theft in your room, keep valuables out of sight. Some rooms come with a safe, and other hotels have safes at the front desk. I’ve never bothered using one and, in a lifetime of travel, I’ve never had anything stolen out of my room.

For more complicated problems, don’t expect instant results. Above all, keep a positive attitude. Remember, you’re on vacation. If your hotel is a disappointment, spend more time out enjoying the place you came to see.

Bed-and-Breakfasts

B&Bs can offer good-value accommodations in excellent locations. Usually converted family homes or apartments, they can range from humble rooms with communal kitchens to high-end boutique accommodations with extra amenities. Boutique B&Bs can be an especially good option, as they are typically less expensive than a big hotel, but often newer and nicer, with more personal service. Because the B&B scene is constantly changing, it’s smart to supplement this book’s recommendations with your own research.

Short-Term Rentals

A short-term rental—whether an apartment, a house, or a room in a private residence—is a popular alternative, especially if you plan to settle in one location for several nights. For stays longer than a few days, you can usually find a rental that’s comparable to—and even cheaper than—a hotel room with similar amenities. Plus, you’ll get a behind-the-scenes peek into how locals live.

Many places require a minimum-night stay and have strict cancellation policies. And you’re generally on your own: There’s no reception desk, breakfast, or daily cleaning service.

Finding Accommodations: Websites such as Airbnb, FlipKey, Booking.com, and VRBO let you browse a wide range of properties. Alternatively, rental agencies such as InterhomeUSA.com or RentaVilla.com can provide a more personalized service (their curated listings are also more expensive). Or try Cross-Pollinate, a booking service for private rooms and apartments in the old centers of Venice, Florence, and Rome; rates start at €35 per person (www.cross-pollinate.com).

Before you commit, be clear on the location. I like to virtually “explore” the neighborhood using Google Street View. Also consider the proximity to public transportation, and how well connected the property is with the rest of the city. Ask about amenities (elevator, air-conditioning, laundry, Wi-Fi, parking, etc.). Reviews from previous guests can help identify trouble spots.

Think about the kind of experience you want: Just a key and an affordable bed...or a chance to get to know a local? Some hosts offer self check-in and minimal contact; others enjoy interacting with you. Read the description and reviews to help shape your decision.

Making Hotel Reservations

Reserve your rooms as soon as you’ve pinned down your travel dates. For busy national holidays, it’s wise to reserve far in advance (see the appendix).

Requesting a Reservation: For family-run hotels, it’s generally best to book your room directly via email or phone. For business-class and chain hotels, or if you’d rather book online, reserve directly through the hotel’s official website (not a booking website). Almost all of my recommended hotels take reservations in English.

Here’s what the hotelier wants to know:

• Type(s) of room(s) you want and number of guests

• Number of nights you’ll stay

• Arrival and departure dates, written European-style as day/month/year (for example, 18/06/24 or 18 June 2024)

• Special requests (en suite bathroom, cheapest room, twin beds vs. double bed, quiet room)

• Applicable discounts (such as a Rick Steves discount, cash discount, or promotional rate)

Confirming a Reservation: Most places will request a credit-card number to hold your room. If the hotel’s website doesn’t have a secure form where you can enter the number directly, share this info via a phone call.

Canceling a Reservation: If you must cancel, it’s courteous—and smart—to do so with as much notice as possible, especially for smaller family-run places. Cancellation policies can be strict; read the fine print before you book. Many discount deals require prepayment and can be expensive to change or cancel.

From:

rick@ricksteves.com

Sent:

Today

To:

info@hotelcentral.com

Subject:

Reservation request for 19-22 July

Dear Hotel Central,

I would like to stay at your hotel. Please let me know if you have a room available and the price for:

• 2 people

• Double bed and en suite bathroom in a quiet room

• Arriving 19 July, departing 22 July (3 nights)

Thank you!

Rick Steves

Reconfirming a Reservation: Always call or email to reconfirm your room reservation a few days in advance. For B&Bs or very small hotels, I call again on my arrival day to tell my host what time to expect me (especially important if arriving late—after 17:00).

Phoning: For tips on calling hotels overseas, see here.

Confirming and Paying: Many places require payment in full before your trip, usually through the listing site. Be wary of owners who want to take your transaction offline; this gives you no recourse if things go awry. Never agree to wire money (a key indicator of a fraudulent transaction).

Apartments or Houses: If you’re staying in one place several nights, it’s worth considering an apartment or rental house. Apartment or house rentals can be especially cost-effective for groups and families. European apartments, like hotel rooms, tend to be small by US standards. But they often come with laundry facilities and small, equipped kitchens (cucinetta), making it easier and cheaper to dine in.

Rooms in Private Homes: Renting a room in someone’s home is a good option for those traveling alone, as you’re more likely to find true single rooms—with just one single bed, and a price to match. Beds range from air-mattress-in-living-room basic to plush-B&B-suite posh. While you can’t expect your host to also be your tour guide—or even to provide you with much info—some are interested in getting to know the travelers who pass through their home.

Other Options: Swapping homes with a local works for people with an appealing place to offer (don’t assume where you live is not interesting to Europeans). Good places to start are HomeExchange.com and LoveHomeSwap.com. To sleep for free, Couchsurfing.com is a vagabond’s alternative to Airbnb. It lists millions of outgoing members who host fellow “surfers” in their homes.

Hostels

A hostel provides cheap beds in dorms where you sleep alongside strangers for about €25-30 per night. Travelers of any age are welcome if they don’t mind dorm-style accommodations and meeting other travelers. Most hostels offer kitchen facilities, guest computers, Wi-Fi, and a self-service laundry. Hostels almost always provide bedding, but the towel’s up to you (though you can usually rent one). Family and private rooms are often available.

Independent hostels tend to be easygoing, colorful, and informal (no membership required; www.hostelworld.com). You may pay slightly less by booking directly with the hostel. Official hostels are part of Hostelling International (HI) and share a booking site (www.hihostels.com). HI hostels typically require that you be a member or else pay a bit more per night.

Eating

The Italians are masters of the art of fine living. That means eating long and well. Lengthy, multicourse meals and endless hours sitting in outdoor cafés are the norm. Americans eat on their way to an evening event and complain if the check is slow in coming. For Italians, the meal is an end in itself, and only rude servers rush you.

I’ve written an entire book (with co-author Fred Plotkin) on the subject: Rick Steves Italy for Food Lovers, a region-by-region handbook on how to appreciate Italian cuisine like an Italian. This section condenses that book’s most valuable tips and insights.

A highlight of your Italian adventure will be this country’s cafés, cuisine, and wines. Trust me: This is sightseeing for your palate. Even if you liked dorm food and are sleeping in cheap hotels, your taste buds will relish an occasional first-class splurge. You can eat well without going broke. But be careful: You’re just as likely to blow a small fortune on a disappointing meal as you are to dine wonderfully for €25. Rely on my recommendations in the various Eating sections throughout this book.

In general, Italians start their day with a light breakfast (prima colazione; coffee—usually cappuccino or espresso—and a pastry, often eaten while standing at a counter). Lunch (pranzo) was traditionally the largest meal of the day, eaten at home between 13:00 and 15:00 (earlier in northern Italy, later in the south). Dinner (cena) was a lighter affair, often just soup with cold cuts, eaten around 20:00 or 21:00 (maybe earlier in winter).

However, as times have changed, so have eating habits. So, while some Italian families still have a big lunch and a small dinner, others do the reverse. Many Italian urbanites grab a quick lunch in a tavola calda bar (cafeteria) or buy a panino or tramezzino (sandwich). To bridge the gap until dinner, people drop into a bar in the late afternoon for a cocktail (aperitivo), often served with snacks.

RESTAURANT PRICING

I’ve categorized my recommended eateries based on the average price of a typical main course, indicated with a dollar-sign rating (see sidebar). Obviously, expensive specialties, fine wine, appetizers, and dessert can significantly increase your final bill.

The categories also indicate the personality of a place: Budget eateries include street food, takeaway, order-at-the-counter shops, basic cafeterias, and bakeries selling sandwiches. Moderate eateries are nice (but not fancy) sit-down restaurants, ideal for a pleasant meal with good-quality food. Most of my listings fall in this category—great for a taste of the local cuisine at a reasonable price.

Restaurant Code

Eateries in this book are categorized according to the average cost of a higher-end pasta or typical main course. Drinks, desserts, and splurge items can raise the price considerably.

$$$$

Splurge:  Most main courses over €25

$$$

Pricier:  €20-25

$$

Moderate:  €15-20

$

Budget:  Under €15

Pizza by the slice and other takeaway food is $; a basic trattoria or sit-down pizzeria is $$; a casual but more upscale restaurant is $$$; and a swanky splurge is $$$$.

Pricier eateries are a notch up, with more attention paid to the setting, presentation, and (often inventive) cuisine. Splurge eateries are dress-up-for-a-special-occasion swanky—typically with an elegant setting, polished service, and pricey and refined cuisine.

BREAKFAST

Italian breakfasts, like Italian bath towels, can be small: The basic, traditional version is coffee and a roll with butter and marmalade. Many places have yogurt and juice (in season, look for spremuta d’arancia rossa—fresh-squeezed juice from Sicilian blood oranges), and possibly also cereal, cold cuts and sliced cheese, and eggs (typically hard-boiled; scrambled or fried eggs are less common). Small budget hotels may leave a basic breakfast in your room (stale croissant, roll, jam, yogurt, coffee).

If you want to skip your hotel breakfast, consider browsing for a morning picnic at a local open-air market. Or do as the Italians do: Step into a bar or café to drink a cappuccino and munch a cornetto (croissant) while standing at the counter. While the cornetto is the most common pastry, you’ll find a range of pasticcini (pastries, sometimes called dolci—sweets). Look for otto (an 8-shaped pastry, often filled with custard, jam, or chocolate), sfoglia (filo-dough crust that’s fruit-filled, like a turnover), or ciambella (doughnut filled with custard or chocolate)—or ask about local specialties.

ITALIAN RESTAURANTS

In Italy, ristorante typically means a high-end, sit-down restaurant. A trattoria is a notch below a ristorante in price, but the food is often just as good, if not better. An osteria, which originated as a place to drink wine accompanied by food, is similar. Trattorie and osterie are generally family-owned and serve home-cooked meals at moderate prices. A locanda is an inn, a cantina is a wine cellar, and a birreria is a brewpub. Pizzerie, rosticcerie (delis), tavola calda (“hot table”) bars, enoteche (wine bars), and other alternatives are explained later.

I look for restaurants that are convenient to your hotel and sightseeing. When restaurant-hunting, choose a spot filled with locals, not the place with the big neon signs boasting, “We speak English and accept credit cards.” Restaurants parked on famous squares and canals generally serve bad food at high prices to tourists. Venturing even a block or two off the main drag leads to higher-quality food for a better price. Locals eat better at lower-rent locales. Family-run places operate without hired help and can offer cheaper meals.

Most restaurant kitchens close between their lunch and dinner service. Good restaurants don’t reopen for dinner before 19:00. If you arrive at opening time, most restaurants will be empty and available—the main push of customers arrives later. Small restaurants with a full slate of reservations for 20:30 or 21:00 often will accommodate walk-in diners willing to eat a quick, early meal, but you aren’t expected to linger.

When you want the bill, mime-scribble on your raised palm or request it: “Il conto, per favore.” You may have to ask more than once. If you’re in a hurry, request the check when you receive the last item you order.

Cover and Tipping

Avoid surprises when eating out by familiarizing yourself with two common Italian restaurant charges: coperto and servizio. You won’t encounter them in all restaurants, but both charges, if assessed, by law must be listed on the menu.

The coperto (cover) is a minor fee (€1.50-3/person) covering the cost of the linens, cutlery, and typical basket of bread found on your table. (It’s sometimes called pane e coperto—”bread and cover.”) It’s not negotiable, even if you don’t eat the bread. And it’s not a tip. Think of it as a fee paid to the owner entitling you to use the table for as long as you like.

The servizio is a 10- to 15-percent “service” charge that goes to the server (similar to the mandatory gratuity that American restaurants often add for groups of six or more). These days, most Italian restaurants don’t charge this separately; rather, they include service in their prices—you’ll see servizio compreso or servizio incluso on the menu. (At places that do levy a separate servizio charge, you don’t need to leave an additional tip.)

Italian servers are well paid and are not as reliant on additional tips as servers are back home. Even so, if you’re pleased with the service, it’s polite to add a small tip (una mancia). This is much smaller than the standard 20 percent in the US. A common tip at a simple restaurant or pizzeria is €1 per person (or simply round up the bill); at a finer restaurant, leave a few euros per person. While you could leave coins on the table, it’s classier to simply round up the bill when paying. (For instance, if the bill is €46, hand the server €50 and tell them to keep the change.) If paying with a credit card, be prepared to tip separately with cash or coins; credit card receipts don’t have a tip line.

Italian Menu Courses

A full Italian meal consists of multiple courses.

Antipasto: An appetizer such as salumi (cured meats including salami and prosciutto), cheeses, bruschetta, grilled veggies, or deep-fried tasties. To get a sampler plate of salumi and cheeses in a restaurant, look for affettato misto (mixed salumi), antipasto misto (salumi, cheeses, and marinated vegetables), or tagliere (a sampler “board”). This could make a light meal in itself.

Primo piatto: A “first dish” generally consisting of pasta, soup, rice (usually risotto), or polenta. If you think of pasta when you think of Italian food, you can dine well here without ever going beyond the primo.

Secondo piatto: A “second dish” of meat or fish/seafood. Italians freely admit the secondo is the least interesting part of their cuisine.

Contorno: A vegetable side dish may come with the secondo but more often must be ordered separately. Typical contorni are insalata mista (mixed salad), spinach, roasted potatoes, or grilled veggies. This can be an interesting, if overlooked, part of the menu. Vegetarians can skip the secondo and order several contorni to make a meal.

Dolce: No meal is complete without a sweet. On most menus, you’ll find typical Italian desserts such as tiramisu and panna cotta, or other local favorites. Servers are accustomed to diners splitting a single dessert—just ask for extra forks. Fruit (frutta) is often eaten as a dessert, often in the form of macedonia (a mixed-fruit salad). A shot of espresso (un caffè) is typically served after dessert. (Or skip the restaurant dessert and wander around licking a cone of gelato.)

Ordering Tips

For most travelers, a complete, multicourse meal is simply too much food—and the euros can add up in a hurry. To avoid overeating (and to stretch your budget), share dishes. A good rule of thumb is for each person to order two courses. For example, a couple can order and share one antipasto, one primo, one secondo, and one dessert; or two antipasti and two primi; or whatever combination appeals. Small groups can mix antipasti and primi family-style (skipping secondi).

It can be worth paying a little more for an inventive fixed-price meal that shows off the chef’s creativity. A menù turistico is a made-for-tourists plate of Italian food clichés for one fixed price. But locals have their own, typically more interesting version, usually called a prezzo fisso or sometimes menù del giorno (menu of the day). For a smaller appetite, some restaurants serve a piatto unico, with smaller portions of each course on one plate (for instance, a meat, starch, and vegetable).

Seafood and steak may be sold by weight and priced by the etto (100 grams, 3.5 ounces) or the kilo (1,000 grams, 2.2 pounds). The abbreviation s.q. (secondo quantità) indicates an item is priced by weight (often used at antipasto buffets). Unless the menu indicates a fillet (filetto), fish is usually served whole with the head and tail. You can always ask your server to select a small fish and fillet it for you. Sometimes, especially for steak, restaurants require a minimum order of four or five etti (which diners can share). Make sure you’re clear on the price before ordering.

Some dishes come in larger quantities meant to be shared by two people. The shorthand way of showing this on a menu is “X2” (for two), but the price listed could indicate the cost per person.

If you order only a pasta and a salad, the server may bring them in that order, which is the opposite of what you might expect; astute severs ask if you want it insieme (een-see-EH-meh; together).

Because pasta and bread are both starches, Italians consider them redundant. If you order only a pasta dish, bread may not come with it; you can request it, but you may be charged extra. On the other hand, if you order a vegetable antipasto or a meat secondo, bread is often provided to balance the ingredients.

At places with counter service—such as at a bar or a freeway rest-stop diner—you’ll first order and pay at the cassa (cashier). Then take your receipt to the counter to claim your food.

When going to an especially good restaurant with an approachable staff, I like to find out what they’re eager to serve. Sometimes I’ll simply say “Make me happy”...and set a price limit.

BUDGET EATING

Italy offers many budget options for hungry travelers. Self-service cafeterias offer the basics without add-on charges. Travelers on a hard-core budget equip their room with a pantry stocked at the market (fruits and veggies are remarkably cheap), or pick up a sandwich or döner kebab, then dine in at picnic prices. Bars and cafés are also good places to grab a meal on the go.

Pizzerias

Italians head to a pizzeria at dinnertime to order a one-person pie. Some shops sell pizza rustica (also called pizza al taglio or pizza al trancio)—thick pizza baked in a large rectangular pan and sold by weight. This, rather than floppy New York-style slices, is the standard option for Italians on the go. If you simply ask for a piece, you may wind up with a gigantic slab and be charged top euro. Instead, clearly indicate how much you want: un etto—100 grams—is a hot and cheap snack; due etti—200 grams—makes a light meal. Or show the size with your hands: tanto così (TAHN-toh koh-ZEE; this much). They may ask if you want it riscaldata (ree-skahl-DAH-tah; heated up). The correct answer is si. For a rundown of common types of pizza, see that section, later.

Bars/Cafés

An Italian bar isn’t so much a tavern as an inexpensive café. These neighborhood hangouts serve coffee, light food, and drinks from the cooler. This is where locals go for a breakfast of cappuccino and cornetto (croissant). Throughout the day, bars are the place to drop in for a coffee or another drink. In Venice, cicchetti bars serve a fun assortment of appetizer-sized plates (see the Eating in Venice chapter for recommendations).

Many bars are small—if you can’t find a table, you’ll need to stand or find a ledge to sit on outside. Most charge extra for table service. To get food to go, say, “da portar via” (for the road) or “da portar canale” (for the canal). All bars have a WC (toilette, bagno) in the back, available to customers...and the discreet public.

Food: For quick meals, bars usually have trays of cheap, premade sandwiches (panini, on a baguette; piadine, on flatbread; tramezzini, on crustless white bread; or toasts, on, well, toast)—some are delightful grilled. (Others have too much mayo.) In bigger cities, they’ll have a variety of salads ready to serve up from under the glass counter. To save time for sightseeing and room for dinner, stop by a bar for a light lunch, such as a ham-and-cheese sandwich—ideally thrown on the grill to heat up.

Ordering: If the bar isn’t busy, you can probably just order and pay when you leave. Otherwise, there’s a particular procedure: First look around to decide what you want, then go to cashier (la cassa) to order and pay. Often, a list with two sets of prices is posted near the cashier: al banco (standing at the bar) or al tavolo (seated). Unless you really plan to settle in and watch the world go by, have your drink at the bar. If you’re not sure, you can ask, “Same price if I sit or stand?”: “Costa uguale al tavolo o al banco?” (KOH-stah oo-GWAH-lay ahl TAH-voh-loh oh ahl BAHN-koh).

Upon paying, you’re handed a receipt (scontrino). Take that to the bartender (whose clean fingers handle no dirty euros) and tell them what you want. It’s customary to set a small coin or two on the bar, as a tip, when you place your order. Throughout Italy, you can get cheap coffee at the bar of any establishment, no matter how fancy, and pay the same low, government-regulated price (generally about a euro if you stand).

Tavola Calda Bars and Rosticcerie

For a fast and cheap lunch, find an Italian variation on the corner deli: a rosticceria (“roasting place,” specializing in roasted meats and accompanying sides, such as roasted potatoes or sautéed greens) or a tavola calda bar (a “hot table” point-and-shoot cafeteria with a buffet spread of meat and vegetables; sometimes called tavola fredda, or “cold table,” in the north of Italy). For a healthy light meal, ask for a mixed plate of vegetables with a hunk of mozzarella (piatto misto di verdure con mozzarella; pee-AH-toh MEE-stoh dee vehr-DOO-ray). Don’t be limited by what’s displayed. If you’d like a salad with a slice of cantaloupe and some cheese, they’ll whip that up for you in a snap. Belly up to the bar; with a pointing finger, you can assemble a fine meal. If something’s a mystery, ask for un assaggio (oon ah-SAH-joh) to get a little taste. To have your choices warmed up, ask for them to be heated (riscaldata; ree-skahl-DAH-tah).

Wine Bars

Wine bars (enoteche; sometimes called bacari in Venice) are a popular, fast, and generally inexpensive option for lunch. Meaning “wine library,” an enoteca is usually a bar highlighting local wines, accompanied with well-paired light food (such as salumi and cheese, a salad, or simple seasonal dishes). A good enoteca aims to impress visitors with its wine—look for a blackboard listing today’s selection and price per glass. The food prices can add up—be careful with your ordering to keep this a budget choice). For more on Italian cocktails and wines, see here.

Aperitivo Snacks (“Apericena”)

The Italian term aperitivo means a predinner drink, but it’s also used to describe their version of what we might call happy hour: a light buffet of snacks that many bars serve to customers during the predinner hours (typically around 18:00 or 19:00 until 21:00). The drink itself may not be cheap (typically around €8-12), but some bars lay out an enticing array of salumi, cheeses, grilled vegetables, and other antipasti-type dishes. (Really good spreads earn the nickname “apericena”—a pun combining aperitivo and cena, dinner.) You’re welcome to nibble while you nurse your drink.

The apericena is intended as an appetizer course before heading out for dinner: You’re invited to have a couple of hearty snacks with each drink you pay for. For light eaters who’ve had a too-big lunch, this could wind up being enough to skip dinner. Drop by a few bars around this time to scope out their buffets before choosing. Or opt for a place with a big view and simpler snacks—either way, you’ll get your money’s worth.

Markets, Groceries, and Delis: Assembling a Picnic

Picnicking saves lots of euros and is a great way to sample regional specialties. A picnic can even be an adventure in high cuisine. Be daring. Try the fresh ricotta, presto pesto, shriveled olives, and any regional specialties the locals are excited about.

Markets: For the most colorful experience, gather your ingredients in the morning at a produce market. Towns big and small have markets selling everything imaginable for a fantastic picnic, including cheese, meat, bread, sweets, and prepared foods. You’ll often find street-food stalls tucked into the marketplace as well (note that many stalls close in the early afternoon).

Groceries and Delis: Another budget option is to visit a supermarket (look for the Conad, Carrefour, Esselunga, and Co-op chains), alimentari (neighborhood grocery), or salumeria (delicatessen) to pick up salumi, cheeses, and other picnic supplies. Some grocery stores, salumerie, and any paninoteca or focacceria (sandwich shop) can make a sandwich to order. Just point to what you want, and they’ll stuff it into a panino. Almost every grocery store has a deli case with prepared items like stuffed peppers, marinated olives, lasagna, and chicken, all usually sold by weight; if you want it reheated, remember the word riscaldata (ree-skahl-DAH-tah). And rosticcerie sell cheap food to go—you’ll find options such as lasagna, rotisserie chicken, and sides including roasted potatoes and spinach. For more on salumi and cheeses, see those sections, later.

Ordering: A typical picnic for two might be fresh rolls, un etto (3.5 ounces) of cheese, and un etto of meat (sometimes ordered by the slice—fetta—or piece—pezzo). For two people, I might get un etto of prosciutto and due pezzi of bread. Add two tomatoes, three carrots, two apples, yogurt, and a liter box of juice. Total: about €10.

If ordering antipasti (such as grilled or marinated veggies) at a deli counter, you can ask for una porzione in a takeaway container (contenitore). Use gestures to show exactly how much you want. To set a price limit of 5 or 10 euros on what you order, say “Da [cinque/dieci] euro, per favore.” The word basta (BAH-stah; enough) works as a question or as a statement.

Shopkeepers are happy to sell small quantities of produce, but it’s customary to let the merchant choose for you. Say “per oggi” (pehr OH-jee; for today) and he or she will grab you something ready to eat. To avoid being overcharged, know the cost per kilo, study the weighing procedure, and do the math. Remember that a kilo is 2.2 pounds.

ITALIAN CUISINE STAPLES

Much of your Italian eating experience will likely involve the big five: pizza, pasta, salumi, cheese, and gelato. For a look at cuisine you’ll likely find in Venice, see the sidebar on here. For more food help, try a menu translator, such as the Rick Steves Italian Phrase Book & Dictionary, which has a menu decoder and plenty of useful phrases for navigating the culinary scene.

Pizza

Here are some of the pizzas you might see at restaurants or at a pizzeria. Note that if you ask for pepperoni on your pizza, you’ll get peperoni (green or red peppers); instead, try requesting salsiccia piccante (spicy sausage) or salame piccante (spicy salami).

Bianca: White pizza with no tomatoes

Capricciosa: Prosciutto, mushrooms, olives, and artichokes—literally the chef’s “caprice”

Carciofi: Artichokes

Diavola: Spicy hot

Funghi: Mushrooms

Margherita: Tomato sauce, mozzarella, and basil—the red, white, and green of the Italian flag

Marinara: Tomato sauce, oregano, garlic, no cheese

Ortolana or vegetariana: “Greengrocer-style,” with vegetables

Quattro formaggi: Four different cheeses

Quattro stagioni: “Four seasons,” with tomato, mozzarella, and usually one-quarter each of ham, mushrooms, artichokes, and olives

Salsiccia: Sausage

Siciliana: Capers, olives, and often anchovies

Pasta

While we think of pasta as a main dish, in Italy it’s considered a primo piatto—first course. There are hundreds of varieties of Italian pasta, each one specifically used to highlight a certain sauce, meat, or regional ingredient. Pastasciutta is dry-stored pasta, which is boiled until al dente (chewy, “to the tooth”) and tossed with a sauce. Pasta fresca is fresh pasta cut into noodles and served with sauce, or cut into sheets (sfoglie), filled with different ingredients, folded, cooked, and then covered lightly with butter, cream, or broth.

Don’t mistakenly assume that dry pasta is inferior to fresh. If prepared well, it can be just as satisfying. There are two general types of dry pasta:

Pasta lunga, also called strand pasta, are noodles long enough to twist around a fork. Spaghetti is the most famous, but pasta lunga can be round, such as capellini (thin “little hairs”), vermicelli (“little worms”), and bucatini (long and hollow); or it can be flat, such as linguine (narrow “little tongues”), fettuccine (wider “small ribbons”), tagliatelle (even wider), and pappardelle (very wide, best with meat sauces).

Pasta corta (“short pasta”) are smaller, designed to be scooped or speared with a fork. They go well with creamy sauces and chunkier meat sauces. The most common are dried tubular pastas called maccheroni; these come in endless forms, such as penne (“quills”) and maccheroncini (tiny macaroni). Tubular pastas come either lisce (smooth) or rigate (grooved—so sauce clings better). Many short pastas are named for their shapes, such as conchiglie (shells), farfalle (butterflies), or cavatappi (corkscrews).

Here’s a list of common pasta toppings and sauces. On a menu, these terms are usually preceded by alla (in the style of) or in (in):

Aglio e olio: Garlic and olive oil

Eating with the Seasons Across Italy

Italian cooks love to serve fresh produce and seafood at its tastiest. Each region in Italy has its seasonal specialties, which you’ll see displayed in open-air markets. To get a plate of the freshest veggies at a fine restaurant, request “Un piatto di verdure della stagione, per favore.” (“A plate of seasonal vegetables, please.”) Italians take fresh, seasonal ingredients so seriously that a restaurant cooking with frozen ingredients (congelato) must note it on the menu. Here are a few examples of what’s fresh when:

April-May: Calamari (Venice), romanesco (similar to cauliflower), fava beans (Rome), green beans, artichokes

April-May and Sept-Oct: Black truffles

April-June: Asparagus, zucchini flowers, zucchini

May-June: Mussels, cantaloupe, loquats, strawberries

May-Aug: Eggplant, clams

July-Sept: Figs, cherries, peaches, apricots, plums

Oct-Nov: Mushrooms, white truffles, persimmons, chestnuts

Nov-Feb: Radicchio (Venice), cardoon (wild artichoke), puntarelle (chicory shoots; Rome)

Alfredo: Sweet butter and heaps of Parmigiano-Reggiano cheese

Amatriciana: Guanciale (pork cheek), tomatoes, pecorino romano cheese, and chili peppers

Arrabbiata: “Angry,” spicy tomato sauce with chili peppers

Bolognese: “Bologna-style” meat and tomato sauce

Boscaiola: “Woodsman-style,” with mushrooms and sausage or ham

Brodo: Broth (typical for filled pastas)

Burro e salvia: Butter and sage

Cacio e pepe: Pecorino romano cheese and fresh-ground pepper

Carbonara: Raw egg, guanciale (pork cheek), pecorino romano cheese, and fresh-ground pepper

Carrettiera: Spicy and garlicky, with olive oil and little tomatoes

Diavola: “Devil-style,” spicy hot

Frutti di mare: Seafood

Genovese: Basil ground with Parmigiano-Reggiano cheese, garlic, pine nuts, and olive oil; a.k.a. pesto

Gricia: Cured pork cheek and pecorino romano cheese

Marinara: Usually tomato, often with garlic and onions, but can also be a seafood sauce (“sailor’s style”)

Mollicata: Simple sauce of tomato, onion, red wine, breadcrumbs, and sometimes anchovy

Norma: Tomato, eggplant, basil, and ricotta salata (Sicily)

Pajata: Calf intestines (also called pagliata)

Pescatora: Seafood (“fisherman style”)

Pomodoro: Tomato only

Puttanesca: Tomato sauce with anchovies and/or tuna, olives, capers, and garlic

Ragù: Meaty tomato sauce (more meat in the north; more tomato in the south)

Scoglio: Mussels, clams, and tomatoes

Sorrentina: “Sorrento-style,” with tomatoes, basil, and mozzarella (usually over gnocchi)

Sugo di lepre: Rich sauce made of wild hare

Tartufi: Truffles (also called tartufate)

Vongole: Clams and spices

Salumi

Salumi (cured meats)—sometimes called affettati (sliced meats)—are an Italian staple. While most American cold cuts are cooked, in Italy they’re far more commonly cured by air-drying, salting, and smoking. (While called “raw”—crudo—these are perfectly safe to eat.)

The two most familiar types of salumi are salame and prosciutto. Salame is an air-dried, sometimes-spicy sausage that comes in many varieties. When Italians say “prosciutto,” they usually mean prosciutto crudo—the raw ham that air-cures on the hock and is then thinly sliced. Produced mainly in the north of Italy, prosciutto can be either dolce (sweet) or salato (salty). Purists say the best is prosciutto di Parma.

Other salumi may be less familiar, but no less worth trying:

Bresaola: Air-cured beef

Capocollo: Peppery pork shoulder (also called coppa)

Culatello: High-quality, slow-cured prosciutto

Finocchiona: Salame with fennel seeds

Guanciale: Tender pork cheek

Lardo: Pork lard made fragrant with herbs and spices; the best is lardo di Colonnata

Lonzino: Cured pork loin

Mortadella: A finely ground pork loaf, similar to our bologna

‘Nduja: Super-spicy, smoky, soft, spreadable pork sausage with a texture like bright-red pâté

Pancetta: Salt-cured, peppery pork-belly meat, similar to bacon

Salame di Sant’Olcese: What we’d call “Genoa salami”

Salame piccante: Spicy hot, similar to pepperoni

Soppressata: A simple dry salame that has some kick, common in the south

Speck: Smoked pork shoulder

Squeamish eaters should avoid testa in cassetta (headcheese—organs in aspic) and lampredotto (cow stomach).

Cheese

When it comes to cheese (formaggio or cacio), you’re probably already familiar with most of these Italian favorites:

Asiago: Hard cow cheese that comes either mezzano (young, firm, and creamy) or stravecchio (aged, pungent, and granular)

Burrata: Ball of mozzarella wrapped around a buttery, almost liquid center

Caciocavallo: This misnamed “horse cheese” is a cow’s-milk cheese that’s pear-shaped so it can be lashed at the top and hung to dry, like a saddlebag

Fontina and Montasio: Semihard, nutty, Gruyère-style mountain cheeses

Gorgonzola: Pungent, blue-veined cheese, either dolce (creamy) or piccante (aged and sharp)

Grana: Generic term for grating cheeses; most common is grana padano (“grana of the Po”)

Mascarpone: Sweet, buttery, spreadable dessert cheese

Mozzarella di bufala: Made from the milk of water buffaloes

Parmigiano-Reggiano: Hard, crumbly, sharp, aged cow cheese with more nuanced flavor than American parmesan

Pecorino: Sheep’s cheese, either fresco (fresh, soft, and mild) or stagionato (aged and sharp, sometimes called pecorino romano—a popular grating cheese)

Provolone: Rich, firm, aged cow cheese

Ricotta: Soft, airy cheese made by “recooking” leftover

Gelato

American and Italian ice cream are similar but decidedly not the same. Italy’s gelato is denser and creamier (even though it has less butterfat than ice cream) than American versions, and connoisseurs swear it’s more flavorful.

A key to gelato appreciation is sampling liberally and choosing flavors that go well together. At a gelateria, ask, as Italians do, for a taste: “Un assaggio, per favore?” (oon ah-SAH-joh pehr fah-VOH-ray). You can also ask what flavors go well together: “Quali gusti stanno bene insieme?” (KWAH-lee GOO-stee STAH-noh BEH-nay een-see-EH-may).

Most gelaterie clearly display prices and sizes. But in the textbook gelateria scam, the tourist orders two or three flavors—and the clerk selects a fancy, expensive chocolate-coated waffle cone, piles it high with huge scoops, and cheerfully charges the tourist €10. To avoid rip-offs, point to the price or say what you want—for instance, a €3 cup: “Una coppetta da tre euro” (OO-nah koh-PEH-tah dah tray eh-OO-roh).

The best gelaterie display signs reading artigianale, nostra produzione, or produzione propria, indicating that the gelato is made on the premises. Seasonal flavors are also a good sign, as are mellow hues (avoid colors that don’t appear in nature). Gelato stored in covered metal tins (rather than white plastic) is more likely to be homemade. The chain called Grom is the Starbucks of Italian gelato: It’s an acceptable choice, but try to find something more local.

Other Italian frozen treats include sorbetto (sorbet—made with fruit, but no milk or eggs); granita or grattachecca (a cup of slushy ice with flavored syrup); and cremolata (a gelato-granita float). Caffè affogato is a scoop of gelato “drowned” in a shot of hot espresso.

Classic gelato flavors include:

After Eight: Chocolate and mint

Bacio: Chocolate hazelnut, named for Italy’s popular “kiss” candies

Cassata: With dried fruits

Cioccolato: Chocolate

Crema: Plain (similar to vanilla)

Croccantino: “Crunchy,” with toasted peanut bits

Fior di latte: Sweet milk

Fragola: Strawberry

Frutti di bosco: Mixed berries

Gianduia (or gianduja): Chocolate-hazelnut

Lampone: Raspberry

Macedonia: Mixed fruits

Malaga: Similar to rum raisin

Nocciola: Hazelnut

Noce: Walnut

Riso: With actual bits of rice mixed in

Stracciatella: Vanilla with chocolate shreds

Tartufo: Super chocolate

Zabaione: Named for the egg yolk-and-Marsala wine dessert

Zuppa inglese: Sponge cake, custard, chocolate, and cream

BEVERAGES

Italian bars serve great drinks—hot, cold, sweet, caffeinated, or alcoholic.

Water, Juice, and Cold Drinks

Italians are notorious water snobs. At restaurants, your server just can’t understand why you wouldn’t want good water to go with your good food. It’s customary and never expensive to order a litro or mezzo litro (half-liter) of bottled water. Simply ask for con gas if you want fizzy water and senza gas if you prefer still water. You can ask for acqua del rubinetto (tap water) in restaurants, but your server may give you a funny look.

Chilled bottled water—still (naturale) or carbonated (frizzante)—is sold cheap in stores. Half-liter bottles of mineral water are available everywhere for about €1. (I refill my water bottle with tap water.)

Juice is succo, and spremuta means freshly squeezed. Order una spremuta (don’t confuse it with spumante, sparkling wine)—it’s usually orange juice (arancia), and from February through April it can be made from Sicilian blood oranges (arance rosse).

In grocery stores, you can get a liter of OJ for the price of a Coke or coffee. Look for 100% succo or senza zucchero (without sugar) on the label—or be surprised by something diluted and sugary sweet. Hang on to your water bottles. Buy juice in cheap liter boxes, then drink some and store the extra in your water bottle.

Tè freddo (iced tea) is usually from a can—sweetened and flavored with lemon or peach. Lemonade is limonata.

Coffee and Other Hot Drinks

The espresso-based style of coffee so popular in the US was born in Italy. If you ask for “un caffè,” you’ll get a shot of espresso in a little cup. Most Italian coffee drinks begin with espresso, to which they add varying amounts of hot water and/or steamed or foamed milk. The closest thing to American-style drip coffee is a caffè americano—a shot of espresso diluted with hot water. Milky drinks, like cappuccino or caffè latte, are served to locals before noon and to tourists any time of day. To an Italian, cappuccino is a morning drink; they believe having milk after a big meal impairs digestion. If they add any milk after lunch, it’s just a splash, in a caffè macchiato.

Italians like their coffee only warm—to get it very hot, request “Molto caldo, per favore” (MOHL-toh KAHL-doh pehr fah-VOH-ray). Any coffee drink is available decaffeinated—ask for it decaffeinato (deh-kah-feh-NAH-toh).

If you want a hot drink other than coffee, cioccolato is hot chocolate, and tè is hot tea.

Cappuccino: Espresso with foamed milk on top (cappuccino freddo is iced cappuccino)

Caffè latte: Espresso mixed with hot milk, no foam, in a tall glass (ordering just a “latte” gets you only milk)

Caffè macchiato: Espresso “stained” with a splash of milk, in a small cup

Latte macchiato: Layers of hot milk and foam, “stained” by an espresso shot, in a tall glass. Note that if you order simply a “macchiato,” you’ll probably get a caffè macchiato (see earlier).

Caffè corto/lungo: Concentrated espresso diluted with a tiny bit of hot water, in a small cup

Caffè americano: Espresso diluted with even more hot water, in a larger cup

Caffè corretto: Espresso “corrected” with a shot of liqueur (normally grappa, amaro, or sambuca)

Marocchino: “Moroccan” coffee with espresso, foamed milk, and cocoa powder; the similar mocaccino has chocolate instead of cocoa

Caffè freddo: Sweet and iced espresso

Caffè hag: Instant decaf

Alcoholic Beverages

Beer: While Italy is traditionally considered wine country, in recent years there’s been a huge and passionate growth in the production of craft beer (birra artigianale). Even in small towns, you’ll see microbreweries slinging their own brews. What’s on tap is often inspired by the same trends you’ll find stateside—IPAs, ambers, stouts, saisons, sours, seasonal beers, and so on. You’ll also find local brews (Peroni and Moretti), as well as imports such as Heineken. Italians drink mainly lager beers. Beer on tap is alla spina. Get it piccola (33 cl, 11 oz), media (50 cl, about a pint), or grande (a liter). A lattina (lah-TEE-nah) is a can and a bottiglia (boh-TEEL-yah) is a bottle.

Cocktails and Spirits: Italians appreciate both aperitivi (palate-stimulating cocktails) and digestivi (after-dinner drinks designed to aid digestion).

The classic aperitivo is the spritz: prosecco (or white wine) and soda livened up with either Campari (carmine-red bitters with a secret blend of herbs and orange peel) or Aperol (sweeter, softer, bright-orange bitters with herbal, citrusy undertones). Vermouths (both red and white) from Carpano, Cinzano, Martini, or Riccadonna can be served straight, on the rocks, with a splash of soda, or as part of drinks like Punt e Mes (sweet red vermouth and red wine). Other choices include Americano (vermouth with bitters, brandy, and lemon peel); Garibaldi (also known as Campari-Orange, a mixture of Campari and orange juice); and Cynar (bitters flavored with artichoke).

Digestivo choices fall into three categories. First is the bittersweet, syrupy herbal drink called amaro (many restaurants have their own brew; popular commercial brands are Fernet Branca and Montenegro). For something sweeter, try limoncello (lemon-flavored), amaretto (almond), Frangelico (hazelnut), sambuca (anise), or Marsala wine. And grappa is a brandy distilled from grape skins and stems; stravecchio is an aged, mellower variation. Acquavite (“water of life”) is similar to grappa, but distilled from fruit such as apples, berries, or plums.

Wine: The ancient Greeks who colonized Italy more than 2,000 years ago called it Oenotria—land of the grape. Centuries later, Galileo wrote, “Wine is light held together by water.” Wine (vino) is certainly a part of the Italian culinary trinity—grape, olive, and wheat. (I’d add gelato.) Ideal conditions for grapes (warm climate, well-draining soil, and an abundance of hillsides) make the Italian peninsula a paradise for grape growers, winemakers, and wine drinkers. For regional wines produced near Venice, see the sidebar on here.

In most years, Italian winemakers produce more wine than any other country—more than 4 million liters annually. Production is mainly red (rosso) and white (bianco) wines. Rosé (rosato) is less traditional—though as it’s become trendy stateside and elsewhere, more Italian vintners are experimenting with it. A sparkling wine is frizzante or spumante; prosecco is a bubbly white wine from northeastern Italy (though that word is sometimes, incorrectly, used to refer to any Italian sparkling white).

Even if you’re clueless about wine, the information on an Italian wine label can help you choose something decent. Terms you may see on the bottle include classico (from a defined, select area), annata (year of harvest), vendemmia (harvest), and imbottigliato dal produttore all’origine (bottled by producers).

In general, Italy designates its wines by one of four official categories:

Vino da Tavola (VDT) is table wine, the lowest grade, made from grapes grown anywhere in Italy. It’s often inexpensive, but Italy’s wines are so good that, for many people, a basic vino da tavola is just fine with a meal. And, because it’s grown in the same area as the other ingredients you’re enjoying, it pairs perfectly with the food. Many restaurants, even modest ones, take pride in their house wine (vino della casa), bottling their own or working with wineries.

Denominazione di Origine Controllata (DOC) meets national standards for high-quality wine, produced in a legally controlled geographical area. It’s usually good and still quite affordable.

Denominazione di Origine Controllata e Guarantita (DOCG), the highest grade, meets national standards for the highest-quality wine (made with grapes from a defined area whose quality is “guaranteed”). These wines can be identified by the pink or green label on the neck...and the high price. They’re a good bet if you want a quality wine. (Riserva indicates a DOC or DOCG wine that’s been aged for even longer than required.)

Ordering Wine

To order a glass of red or white wine, say, “Un bicchiere di vino rosso/bianco.” House wine comes in a carafe; choose from a quarter-liter pitcher (8.5 oz, un quarto), half-liter pitcher (17 oz, un mezzo), or one-liter pitcher (34 oz, un litro). When ordering, have some fun, gesture like a local, and you’ll have no problems speaking the language of the enoteca. Salute!

English

Italian

wine

vino  (VEE-noh)

house wine

vino della casa  (VEE-noh DEH-lah KAH-zah)

glass

bicchiere/calice  (bee-kee-EH-ray/KAH-lee-chay)

bottle

bottiglia  (boh-TEEL-yah)

carafe

caraffa  (kah-RAH-fah)

red

rosso  (ROH-soh)

white

bianco  (bee-AHN-koh)

rosé

rosato  (roh-ZAH-toh)

sparkling

spumante/frizzante  (spoo-MAHN-tay/freed-ZAHN-tay)

dry

secco  (SEH-koh)

fruity

fruttato  (froo-TAH-toh)

full-bodied

corposo/pieno  (kor-POH-zoh/pee-EH-noh)

sweet

dolce  (DOHL-chay)

Indicazione Geografica Tipica (IGT) is a broad group of wines that don’t meet the standard for DOC or DOCG status but have been designated as “typical” of a particular region.

If you’re on a tight budget, try looking for a more affordable alternative. For example, in Tuscany, the world-famous Brunello di Montalcino (a DOCG) can break the bank, but Rosso di Montalcino (a DOC)—made in the same zone with similar grapes, in a similar way, but aged for a shorter period of time—costs half as much.

Staying Connected

One of the most common questions I hear from travelers is, “How can I stay connected in Europe?” The short answer? More easily and affordably than you might think.

The simplest solution is to bring your own device—phone, tablet, or laptop—and use it much as you would at home, following the money-saving tips below, such as getting an international plan or connecting to free Wi-Fi whenever possible. Another option is to buy a European SIM card for your mobile phone. Or you can use European landlines and computers to connect. More details are at RickSteves.com/phoning.

Hurdling the Language Barrier

Many Italians—especially those in the tourist trade and in big cities—speak English. Still, you’ll get better treatment if you learn and use Italian pleasantries. In smaller, nontouristy towns, Italian is the norm. Italians have an endearing habit of talking to you even if they know you don’t speak their language—and yet, thanks to gestures and thoughtfully simplified words, it somehow works. Don’t stop them to tell them you don’t understand every word—just go along for the ride. For a list of survival phrases, see the appendix.

Note that Italian is pronounced much like English, with a few exceptions, such as: c followed by e or i is pronounced ch (to ask, “Per centro?” “To the center?” you say, pehr CHEHN-troh). In Italian, ch followed by e or i is pronounced like the hard c in Chianti (chiesa—church—is pronounced kee-AY-zah). Adding a vowel to the English word often gets you close to the Italian one. Give it your best shot. Italians appreciate your efforts.

For more tips on hurdling the language barrier, consider the Rick Steves Italian Phrase Book (available at RickSteves.com).

USING YOUR PHONE IN EUROPE

Here are some budget tips and options.

Sign up for an international plan. To stay connected at a lower cost, sign up for an international service plan through your carrier. Most providers offer a simple bundle that includes calling, messaging, and data. Your normal plan may already include international coverage (for example, T-Mobile’s covers data and text, but not voice calls).

Before your trip, research your provider’s international rates. Activate the plan a day or two before you leave, then remember to cancel it when your trip’s over.

Use free Wi-Fi whenever possible. Unless you have an unlimited-data plan, save most of your online tasks for Wi-Fi. Most accommodations in Europe offer free Wi-Fi. Many cafés offer hotspots for customers; ask for the password when you buy something. You may also find Wi-Fi at TIs, city squares, major museums, public-transit hubs, airports, and aboard trains and buses.

How to Dial

Here’s how to dial from anywhere in the US or Europe, using the phone number of one of my recommended Florence hotels as an example (055 213 154). If a non-Italian number starts with 0, drop it when dialing internationally.

From a US Mobile Phone

Phone numbers in this book are presented exactly as you would dial them from a US mobile phone. For international access, press and hold 0 (zero) to get a + sign, then dial the country code (39 for Italy) and phone number.

To call the Florence hotel from any location, dial +39 055 213 154.

From a US Landline

Replace + with 011 (US/Canada access code), then dial the country code (39 for Italy) and phone number.

To call the Florence hotel from your home landline, dial 011 39 055 213 154.

From a European Landline

Replace + with 00 (Europe access code), then dial the country code (39 for Italy, 1 for the US) and phone number.

To call the Florence hotel from a Spanish landline, dial 00 39 055 213 154.

To call my US office from an Italian landline, dial 00 1 425 771 8303.

From One Italian Phone to Another

To place a domestic call (from an Italian landline or mobile), drop +39 and dial the phone number.

To call the Florence hotel from Rome, dial 055 213 154.

More Dialing Tips

Local Numbers: European phone numbers and area codes can vary in length and spacing, even within the same country. Mobile phones use separate prefixes (for instance, in Italy, landlines begin with 0, and mobile numbers begin with 3).

Toll and Toll-Free Calls: It’s generally not possible to dial European toll or toll-free numbers from a US mobile or landline (although you can sometimes get through using Skype). Look for a direct-dial number instead.

Calling the US from a US Mobile Phone, While Abroad: Dial +1, area code, and number.

More Phoning Help: See HowToCallAbroad.com.

Minimize the use of your cellular network. The best way to make sure you’re not accidentally burning through data is to put your device in “airplane” mode (which also disables phone calls and texts), and connect to Wi-Fi as needed. When you need to get online but can’t find Wi-Fi, simply turn on your cellular network (or turn off airplane mode) just long enough for the task at hand.

Even with an international data plan, wait until you’re on Wi-Fi to Skype or FaceTime, download apps, stream videos, or do other megabyte-greedy tasks. Using a navigation app such as Google Maps over a cellular network can require lots of data, so download maps when you’re on Wi-Fi, then use the app offline.

Tips on Internet Security

Make sure that your device is running the latest versions of its operating system, security software, and apps. Next, ensure that your device and key programs (like email) are password protected. On the road, use only secure, password-protected Wi-Fi. Ask the hotel or café staff for the specific name of their network, and make sure you log on to that exact one.

If you must access your financial info online, use a banking app rather than accessing your account via a browser, and use a cellular connection, not Wi-Fi. Never log on to personal finance sites on a public computer. If you’re very concerned, consider subscribing to a VPN (virtual private network).

Limit automatic updates. By default, your device constantly checks for a data connection and updates app content. Check your device’s menu for ways to turn this off, and change your email settings from “auto-retrieve” to “manual” (or from “push” to “fetch”).

Use Wi-Fi calling and messaging apps. Skype, WhatsApp, FaceTime, and Google Meet are great for making free or low-cost calls or sending texts over Wi-Fi worldwide. Just log on to a Wi-Fi network, then connect with friends, family members, or local contacts who use the same service.

Buy a European SIM Card. If you anticipate making a lot of local calls or need a local phone number, or if your provider’s international data rates are expensive, consider buying a SIM card in Europe to replace the one in your (unlocked) US phone or tablet.

In Italy, buy SIM cards at mobile-phone shops. You’ll be required to register the SIM card with your passport as an antiterrorism measure (which may mean you can’t use the phone for the first hour or two).

There are generally no roaming charges when using a European SIM card in other EU countries, but confirm when you buy.

WITHOUT A MOBILE PHONE

It’s less convenient but possible to travel in Europe without a mobile device. You can make calls from your hotel and check email or get online using public computers.

Most hotels charge a fee for placing calls. You can use a prepaid international phone card (carta telefonica prepagata internazionale—usually available at newsstands, tobacco shops, and train stations) to call out from your hotel.

Some hotels have public computers in their lobbies for guests to use; otherwise you may find them at public libraries (ask your hotelier or the TI for the nearest location). On a European keyboard, use the “Alt Gr” key to the right of the space bar to insert the extra symbol that appears on some keys. If you can’t locate a special character (such as @), simply copy and paste it from a web page.

MAIL

You can mail one package per day to yourself worth up to $200 duty-free from Europe to the US (mark it “personal purchases”). If you’re sending a gift to someone, mark it “unsolicited gift.” For details, visit www.cbp.gov, select “Travel,” and search for “Know Before You Go.” The Italian postal service works fine, but for quick transatlantic delivery (in either direction), consider services such as DHL (DHL.com).

Transportation

If your trip will cover more of Italy than just Venice, you may need to take a long-distance train or bus, rent a car, or fly. Buses are an alternative to trains (and may be your only option for reaching some small Italian towns), but they are generally slower and less efficient. Renting a car is great for touring the countryside outside of Venice. I give some specifics on trains, buses, and flights here. For more detailed information on transportation throughout Europe, including trains, flying, buses, renting a car, and driving, see RickSteves.com/transportation.

TRAINS

To travel by train affordably within Italy, you can simply buy tickets as you go. For travelers ready to lock in dates and times weeks or months in advance, buying nonrefundable tickets online can cut costs in half. Note that the Italy rail pass is generally not a good value, but if your travel extends beyond Italy, there are multicountry rail passes that might be worth checking into. For advice on figuring out the smartest train-ticket or rail-pass options for your trip, visit the Trains & Rail Passes section of my website at RickSteves.com/rail.

Types of Trains

Most trains in Italy are operated by the state-run Trenitalia company (www.trenitalia.com, a.k.a. Ferrovie dello Stato Italiane, abbreviated FS). Ticket prices depend on the speed of the train, so it helps to know the different types of trains: pokey regionale (R or REG); medium-speed regionale veloce (RV); fast InterCity (IC) and EuroCity (EC); and super-fast Frecce trains.

All trains (except those with regionale in the name) require seat assignments, which are built into your ticket for a specific date and time. If you’re traveling with a rail pass, you’ll need to buy a separate seat reservation (see “Rail Passes,” later). Regional trains offer only open seating (no assigned seats for love nor money).

The private train company Italo (www.italotreno.it) runs fast trains on major routes serving large cities on the mainland but few small towns. Italo has fewer departures than Trenitalia but its service is comparable to Trenitalia’s Frecce service, with similar prices and advance purchase discounts. Be aware that in Naples, Milan, and Rome, a few departures use secondary stations. Italo does not accept rail passes but is a worthy alternative for point-to-point tickets.

Both train companies have call centers for answering general questions (Trenitalia: daily 7:00-24:00, +39 06 6847 5475; Italo: daily 6:00-23:00, +39 06 8937 1892).

Be aware that Trenitalia and Italo don’t cooperate. If you buy a ticket for one train line, it’s not valid on the other. Both companies tend to ignore the other’s schedules.

Schedules

Check schedules at Trenitalia.it and ItaloTreno.it (domestic journeys only) or use their apps; for international trips, use Bahn.com (Germany’s excellent all-Europe schedule website, which reflects national railways but not private companies like Italo). At the train station, the easiest way to check schedules is at a ticket machine. Enter the desired date, time, and destination to see all your options. Printed schedules are also posted at the station (yellow posters show departures—partenze; white posters show arrivals).

Schedules list the time of departure (ora), the type of train (treni), and service classes offered (classi servizi)—first- and second-class cars, dining car, cuccetta berths, and whether you need reservations (usually denoted by an R in a box). The train’s destination (principali fermate destinazioni) is shown, along with intermediate stops, and notes such as “also stops in...” (ferma anche a...), “doesn’t stop in...” (non ferma a...), “stops in every station” (ferma in tutte le stazioni), “delayed...” (ritardo...), and so on.

At the station, look at the electronic display to find your train’s track (binario) number. Remember that your destination may be listed as an intermediate (not final) stop. For example, if you’re going from Venice to Verona, scan the schedule and you’ll notice that many trains that terminate in Milan or Torino also stop in Verona en route. If you’re not sure, ask for help.

Point-to-Point Tickets

Train tickets are a good value in Italy. Typical full fares are shown on the map on here, though ticket prices can vary for the same journey, mainly depending on the time of day, the speed of the train, and advance discounts.

Classes of Service: Frecce and Italo trains each offer several classes of service (e.g., Standard, Premium, Business, Executive). Other trains offer standard first- and second-class seating (with first class costing up to 50 percent more than second). Buying up gives you a little more elbow room, a snack, or perhaps a better chance at seating a group together, if you’re buying on short notice.

Advance Discounts: Ticket price levels are Base (full fare, easily changeable or partly refundable before scheduled departure), Economy (one schedule change allowed before departure, for a fee), and Super Economy or Low Cost (sells out quickly, no refunds or exchanges).

For example, traveling Standard class from Venice to Florence on the fastest train costs €57 for a Base fare, €43 for an Economy fare, or €34 at the Super Economy rate. Discounted fares must be purchased at least two days in advance but typically sell out several weeks before departure. Fares labeled servizi abbonati are available only for locals with monthly passes—not tourists. Regional trains don’t offer advance discounts or seat assignments, so there’s little need to buy those tickets in advance.

Speed vs. Savings: For point-to-point tickets, you’ll pay more the faster you go. Spending a modest amount of extra time in transit can save money on shorter trips. For example, the regional train from Milano Centrale to Stresa takes just over an hour (67 minutes) and costs €9, while the EC train takes just under an hour (58 minutes)—but costs €19.

On longer mainline routes, fast trains save more time and provide most of the service. On routes like Verona-Padua-Venice, regionale and regionale veloce trains cost considerably less than IC and Frecce express trains, and are only a little slower.

Age-Based Discounts: Discounts for kids don’t usually beat the Super Economy rate described above. If the cheapest tickets are no longer available, look for deals like “Bimbi Gratis” and “Offerta Famiglia.” Other discounts for youths and seniors require purchase of a separate card (€40 Carta Verde for ages 12-26, €30 Carta Argento for ages 60 and over), but the discount is so minor (10-15 percent for domestic travel), it’s not worth it for most.

Buying Point-to-Point Tickets

You can buy tickets online, with an app, at train station ticket windows, from ticket machines, or at travel agencies. For long-haul runs or travel on a busy weekend or holiday, it can be cheaper to buy tickets in advance. But because most Italian trains run frequently and there’s no deadline to buy tickets, for the most part I prefer to keep my travel plans flexible by purchasing tickets as I go. (You can buy tickets at one station for several trips when you are ready to commit.)

It’s easy to buy tickets online at Trenitalia.com or ItaloTreno.it. On either website, choose English and be sure to read the pricing info, as many of the cheaper tickets are not refundable or changeable. You can keep the ticket on your mobile device (either as a PDF or with a QR code), or you can print it out. Or download the Trenitalia or Italo app to your phone—both have English versions that make ticket-buying a breeze.

If you instead go to the train station to buy tickets, you can avoid ticket-office lines by using the ticket machines in station halls. You’ll be able to easily purchase tickets for travel within Italy, make seat reservations, and even book a cuccetta (koo-CHEH-tah; overnight berth). If you do use the ticket windows (e.g., to buy international tickets), be sure you’re in the correct line. Key terms: biglietti (general tickets), prenotazioni (reservations), nazionali (domestic), and internazionali. Some big stations have counters (close to the tracks) marked “Last Minute,” which let you jump the line if your train is departing soon.

Trenitalia’s ticket machines are user-friendly and found in all but the tiniest stations in Italy. You can pay with cash (change given when indicated) or by debit or credit card (even for small amounts, but you may need to enter your PIN—even when using a “tap-to-pay” card). Select English, then your destination. If you don’t immediately see the city you’re traveling to, keep keying in the spelling until it’s listed. You can choose from first- and second-class seats, request tickets for more than one traveler, and pick seats, when applicable. Don’t select a discount rate without being sure that you meet the criteria (for example, Americans are not eligible for certain EU or resident discounts).

To buy tickets at the station for Italo trains, look for a dedicated service counter (in most major stations) or a red ticket machine labeled Italo.

Some international tickets can’t be bought online or from machines; for these tickets and anything else that requires a real person, you must go to a ticket window at the station. A good alternative, though, is to drop by a local travel agency. Agencies sell domestic and international tickets and make reservations. They charge a small fee, but the language barrier (and the lines) can be smaller than at the station’s ticket windows.

Rail Passes

The single-country Eurail Italy Pass may save you money if you take several long train rides or prefer first-class travel, but for most people it’s not a good value. Most train travelers in Italy take relatively short rides on the Milan-Venice-Florence-Rome circuit. For these trips, it can be cheaper to buy point-to-point tickets. Remember that rail passes are valid on Trenitalia trains but not on Italo trains.

Rail Pass or Point-to-Point Tickets?

Will you be better off buying a rail pass or point-to-point tickets? It pays to know your options and choose what’s best for your itinerary.

Rail Passes

A Eurail Italy Pass lets you travel by train in Italy for three to eight days (consecutively or not) within a one-month period. Italy is also covered (along with most of Europe) by the classic Eurail Global Pass.

Discounted rates are offered for seniors (age 60 and up) and youths (ages 12-27). Up to two kids (ages 4-11) can travel free with each adult-rate pass (but not with senior rates). All rail passes offer a choice of first or second class for all ages.

While most rail passes are delivered electronically, it’s smart to get your pass sorted before leaving home. For more on rail passes, including current prices and purchasing, visit RickSteves.com/rail.

Point-to-Point Tickets

Italian train tickets are relatively cheap, and most include seat reservations, making them the best deal for most travelers. Use this map to add up approximate pay-as-you-go fares for your itinerary, and compare that to the price of a rail pass plus reservations. Keep in mind that significant discounts on point-to-point tickets may be available with advance purchase.

Map shows approximate costs, in US dollars, for one-way, second-class tickets on faster trains.

Furthermore, a rail pass doesn’t offer much hop-on convenience in Italy, since even with a rail pass, seat reservations are required for InterCity, EuroCity, and Frecce trains (€5-10 each; make seat reservations at station ticket machines or windows). Most regional trains (such as Florence-Pisa-Cinque Terre service) don’t require (or offer) reservations. Reservations for berths on overnight trains cost extra and aren’t covered by rail passes.

If you’re also traveling by train in other countries, consider a Eurail Global Pass. Although it covers most of Europe, prices can work for trips as short as three travel days or as long as three months. For more info, see the sidebar.

Train Tips

Validating Tickets: If your ticket includes a seat reservation on a specific train (biglietto con prenotazione), you’re all set and can just get on board. The same is true for any ticket bought online or with the Trenitalia or Italo apps (whether open or reserved seating); these tickets are considered already validated.

An open ticket (generally for a regionale train) bought from a ticket desk or machine must be validated (date-stamped) before you board (the ticket may say da convalidare or convalida). To validate it, before getting on the train, stamp your ticket in the machine near the platform (usually marked convalida biglietti or vidimazione). Once you validate a ticket, you must complete your trip within the stamped timeframe (usually about four hours). If you forget to validate your ticket, go right away to the train conductor—before he comes to you—or you’ll pay a fine.

Getting a Seat: If you’re taking an unreserved regionale train that originates at your departure point (e.g., you’re catching the Venice-Verona train in Venice), arriving at least 15 minutes before the departure time will help you snare a seat.

Baggage Storage: Many Italian stations have deposito bagagli where you can safely leave your bag for a standardized but steep price (€6/5 hours, €12/12 hours, €17/24 hours, payable when you pick up the bag, double-check closing hours; they may ask to photocopy your passport). Due to security concerns, no Italian stations have lockers.

Theft: In big cities, exercise caution and prudence at train stations to avoid thieves and con artists. If someone helps you to find your train or carry your bags, be aware that they are not an official porter; they are simply hoping for some cash. And if someone other than a uniformed railway employee tries to help you use the ticket machines, politely refuse.

Italian trains are famous for their thieves. Never leave a bag unattended. Police do ride the trains, cutting down on theft. Still, for an overnight trip, I’d feel safe only in a cuccetta (a bunk in a special sleeping car with an attendant who keeps track of who comes and goes while you sleep—approximately €40 or more).

Strikes: Strikes, which are common, generally last a day (often a Friday). Train employees will simply explain, “Sciopero” (SHOH-peh-roh, strike). But in actuality, a minimum amount of “essential” or “guaranteed” (garantito) main-line service is maintained (by law) during strikes. When a strike is pending, travel agencies, savvy hoteliers, and remaining station personnel can check to see when the strike will go into effect and which trains will continue to run. Revised schedules may be posted online and in Italian at stations. See Trenitalia.com, choose English, then “Information and Contacts,” and then “In Case of Strike.”

If your train is cancelled, your reserved-seat ticket will likely be accepted on any similar train running that day (either earlier or later than the original departure time) but you won’t have a seat assignment. Tickets for cancelled trains should also be exchangeable without penalty ahead of the original departure time or can be refunded (have an agent mark it “unused,” and check refund deadlines). A rail pass works on any train still operating, but partially used rail passes can’t be refunded—so make full use of any pass you have to continue your trip.

BUSES

You can usually get anywhere you want in Italy by bus, as long as you’re not in a hurry and plan ahead using bus schedules (pick up at local TIs or bus stations). For reaching small towns, buses are sometimes the only option if you don’t have a car.

Long-distance buses are catching on in Italy as an alternative to the train. Buses are usually cheaper, more modern, and often have free Wi-Fi. They’re especially useful on routes poorly served by train, or to allow a direct connection instead of having to change trains (such as from Rome to Siena or Sorrento). Some of the operators you’ll see are Flixbus (http://global.flixbus.com) and Marozzi (www.marozzivt.it). In general, orange buses are local city buses, and blue buses are for long distances.

Larger towns have a (usually chaotic) long-distance bus station (stazione degli autobus or autostazione), with ticket windows and several stalls (usually labeled corsia, stallo, or binario)—but to save time, buy your ticket at a travel agent or online; many companies use etickets (they’ll scan your emailed QR code as you board). Smaller towns—where buses are more useful—often have a central bus stop (fermata), likely along the main road or on the main square, and maybe several more scattered around town. In small towns, buy bus tickets at newsstands or tobacco shops (with the big T signs). When buying your ticket, confirm the departure point (“Dov’è la fermata?”).

Before boarding, confirm the destination with the driver. You are expected to stow big bags underneath the bus (if the compartment is closed, ask the driver for help; which compartment you use may depend on your destination). If you’ll be continuing on later by bus, upon arrival, double-check that the posted schedule lists your next destination and departure time.

Traveling by bus on Sundays and holidays can be problematic; even from large cities, schedules are sparse, departing buses are jam-packed, and ticket offices are often closed. Plan ahead and buy your ticket in advance. Most travel agencies book bus (and train) tickets for a small fee.

TAXIS AND RIDE-BOOKING SERVICES

Most Italian taxis are reliable and cheap. In many cities, two people can travel short distances by cab for little more than the cost of bus or subway tickets. If you like ride-booking services such as Uber, their apps usually work in Europe just like they do in the US: Request a car on your mobile phone (connected to Wi-Fi or data), and the fare is automatically charged to your credit card. In Italy, however, Uber faces legal challenges, and may not be consistently available.

FLIGHTS

To compare flights, begin with an online travel search engine: Kayak is the top site for flights to and within Europe, easy-to-use Google Flights has price alerts, and Skyscanner includes many inexpensive flights within Europe. To avoid unpleasant surprises, before you book be sure to read the small print about refunds, changes, and the costs for “extras” such as reserving a seat, checking a bag, or printing a boarding pass.

Flights to Europe: Start looking for international flights about four to six months before your trip, especially for peak-season travel. Depending on your itinerary, it can be efficient and no more expensive to fly into one city and out of another. If your flight requires a connection in Europe, see my hints on navigating Europe’s top hub airports at RickSteves.com/hub-airports.

Flights Within Europe: Flying between European cities is surprisingly affordable. Before buying a long-distance train or bus ticket, check the cost of a flight on one of Europe’s airlines, whether a major carrier or a no-frills outfit like Easyjet or Ryanair. Be aware that flying with a discount airline can have drawbacks, such as minimal customer service, time-consuming treks to secondary airports, and a larger carbon footprint than a train or bus.

Flying to the US and Canada: Because security is extra tight for flights to the US, be sure to give yourself plenty of time at the airport (see www.tsa.gov for the latest rules).

Resources from Rick Steves

Begin Your Trip at RickSteves.com

My mobile-friendly website is the place to explore Europe in preparation for your trip. You’ll find thousands of fun articles, videos, and radio interviews; a wealth of money-saving tips for planning your dream trip; travel news dispatches; a video library of travel talks; my travel blog; our latest guidebook updates (RickSteves.com/update); and the free Rick Steves Audio Europe app. You can also follow me on Facebook, Instagram, and Twitter.

Our Travel Forum is a well-groomed collection of message boards where our travel-savvy community answers questions and shares their personal travel experiences—and our well-traveled staff chimes in when they can be helpful (RickSteves.com/forums).

Our online Travel Store offers bags and accessories that I’ve designed to help you travel smarter and lighter. These include my popular carry-on bags (which I live out of four months a year), money belts, totes, toiletries kits, adapters, guidebooks, and planning maps (RickSteves.com/shop).

Our website can also help you find the perfect rail pass for your itinerary and your budget, with easy, one-stop shopping for rail passes, seat reservations, and point-to-point tickets (RickSteves.com/rail).

Rick Steves’ Tours, Guidebooks, TV Shows, and More

Small Group Tours: Want to travel with greater efficiency and less stress? We offer more than 40 itineraries reaching the best destinations in this book...and beyond. Each year about 30,000 travelers join us on about 1,000 Rick Steves bus tours. You’ll enjoy great guides and a fun bunch of travel partners (with small groups of 24 to 28 travelers). You’ll find European adventures to fit every vacation length. For all the details, and to get our tour catalog, visit RickSteves.com/tours or call us at +1 425 608 4217.

Books: This book is just one of many books in my series on European travel, which includes country and city guidebooks, Snapshots (excerpted chapters from bigger guides), Pocket guides (full-color little books on big cities), “Best Of” guidebooks (condensed, full-color country guides), and my budget-travel skills handbook, Rick Steves Europe Through the Back Door. A complete list of my titles—including phrase books, cruising guides, and travelogues on European art, history, and culture—appears near the end of this book.

TV Shows and Travel Talks: My public television series, Rick Steves’ Europe, covers Europe from top to bottom with over 100 half-hour episodes—and we’re working on new shows every year (watch full episodes at my website for free). My free online video library, Rick Steves Classroom Europe, offers a searchable database of short video clips on European history, culture, and geography (Classroom.RickSteves.com). And to raise your travel IQ, check out the video versions of our popular classes (covering most European countries as well as travel skills, packing smart, cruising, tech for travelers, European art, and travel as a political act—RickSteves.com/travel-talks).

Audio Tours on My Free App: I’ve produced dozens of free, self-guided audio tours of the top sights in Europe. For those tours and other audio content, get my free Rick Steves Audio Europe app, an extensive online library organized by destination. For more on my app, see here.

Radio: My weekly public radio show, Travel with Rick Steves, features interviews with travel experts from around the world. It airs on 400 public radio stations across the US. An archive of programs is available at RickSteves.com/radio.

Podcasts: You can enjoy my travel content via several free podcasts. The podcast version of my radio show brings you a weekly, hour-long travel conversation. My other podcasts include a weekly selection of video clips from my public television show, my audio tours of Europe’s top sights, and live recordings of my travel classes (RickSteves.com/watch-read-listen/audio/podcasts).

APPENDIX

Holidays and Festivals

FESTIVALS IN VENICE

Books and Films

Conversions and Climate

Packing Checklist

Italian Survival Phrases

Holidays and Festivals

This list includes selected festivals in Venice, plus national holidays observed throughout Italy. Many sights and banks close on national holidays—keep this in mind when planning your itinerary. Before planning a trip around a festival, verify the dates with the festival website, the tourist office (www.veneziaunica.it), or my “Upcoming Holidays and Festivals in Italy” web page at RickSteves.com/europe/italy/festivals.

In Venice, hotels get booked up on Carnevale, Easter weekend, Liberation Day/St. Mark’s Day, Labor Day, Feast of the Ascension Day, the Feast and Regatta of the Redeemer, the Historical Regatta, All Saint’s Day, the Feast of our Lady of Good Health, Christmas, and New Year’s Eve, and on Fridays and Saturdays year-round. Some hotels require you to book the full three-day weekend around a holiday.

Jan 1

New Year’s Day

Jan 6

Epiphany

Feb/March

Carnevale: Feb 11-21, 2023; Feb 3-13, 2024

March/April

Easter weekend (Good Friday-Easter Monday): April 7-10, 2023; March 29-April 1, 2024

April 25

Italian Liberation Day, St. Mark’s Day (Venetian patron saint)

May 1

Labor Day

May

Feast of the Ascension Day: May 18, 2023; May 9, 2024

Late May-Early June

Vogalonga Regatta

May/June

Feast of Corpus Christi: June 8, 2023; May 30, 2024

June 2

Anniversary of the Republic

Early July

Murano Regatta

July (third weekend)

Feast and Regatta of the Redeemer (Festa del Redentore)

Aug 15

Feast of the Assumption (Ferragosto)

Sept (first weekend)

Historical Regatta

Mid-Sept

Burano Regatta

Nov 1

All Saints’ Day

Nov 21

Feast of Our Lady of Good Health (Santa Maria della Salute)

Dec 8

Feast of the Immaculate Conception

Dec 25

Christmas

Dec 26

St. Stephen’s Day

FESTIVALS IN VENICE

Venice’s most famous festival is Carnevale, the celebration Americans call Mardi Gras (Feb-March; www.carnevale.venezia.it). In Carnevale’s heyday—the 1600s and 1700s—you could do pretty much anything with anybody from any social class if you were wearing a mask. These days, tourists and Venetians—from kids to businessmen—gather for parades, parties, and masquerade balls. In drawing such big crowds, Carnevale has nearly been a victim of its own success, driving away many Venetians (who skip out on the craziness to go skiing in the Dolomites). Unless you’re interested in joining the fun, any other day this time of year will be much less chaotic, and less expensive. For more on Carnevale, see the sidebar on here.

Every year, the city hosts the Venice Biennale International Art Exhibition, a world-class contemporary fair, alternating between art one year (the main event) and architecture the next (much smaller). The exhibition spreads over the Arsenale and Giardini Pubblici park. When the Biennale focuses on visual art, representatives from 80-plus nations offer the latest in contemporary art forms: video, digital art, performance art, and photography, along with painting and sculpture (for details and an events calendar, see www.labiennale.org). The actual exhibition usually runs from April through November, but other events loosely connected with the Biennale—film, dance, theater—are held throughout the year (starting as early as February) in various venues on the island.

Other typically Venetian festival days filling the city’s hotels with visitors and its canals with decked-out boats are Feast of the Ascension Day, Feast and Regatta of the Redeemer (with spectacular fireworks show Sat night), and the Historical Regatta (old-time boats and pageantry). Vogalonga is a colorful regatta that attracts more than 1,500 human-powered watercraft; teams of often-costumed participants follow a 20-mile course through the canals and lagoon (www.vogalonga.it). Crowds soar and vaporetti run limited schedules during these events. Smaller regattas include the Murano Regatta and the Burano Regatta.

Venice’s patron saint, St. Mark, is commemorated every April 25. Venetian men celebrate the day by presenting roses to the women in their lives (mothers, wives, and lovers).

Every November 21 is the Feast of Our Lady of Good Health. On this local “Thanksgiving,” a bridge is built over the Grand Canal so that the city can pile into La Salute Church and remember how Venice survived the gruesome plague of 1630. On this day, Venetians eat smoked lamb from Dalmatia (which was the cargo of the first ship admitted when the plague lifted). Festivities around the church include stands selling candles, sweets, and novelties for kids.

Books and Films

To learn more about Italy past and present, and specifically Venice, check out a few of these books or films. For kids’ recommendations, see the Venice with Children chapter.

Nonfiction

The City of Falling Angels (John Berendt, 2005). A best-selling author slowly solves the real-life mystery of a 1996 fire that destroyed Venice’s La Fenice Opera House.

A History of Venice (John Julius Norwich, 1977). English Lord Norwich’s engaging account spans more than a century, from Venice’s fifth-century origins to the arrival of Napoleon.

Italian Journey (Johann Wolfgang von Goethe, 1786). In his 18th-century collection of writings, Goethe describes his travels to Rome, Venice, Sicily, and Naples.

A Literary Companion to Venice (Ian Littlewood, 1992). Seven detailed walking tours show Venice’s impact on writers such as Byron, Goethe, James, Proust, Lawrence, and Pound.

The Science of Saving Venice (Caroline Fletcher and Jane da Mosto, 2004). This readable introduction to the ecology of Venice’s lagoon asks if Venice can survive in the 21st century.

Venice: Lion City (Garry Wills, 2001). One of America’s greatest historians tackles the provocative history of Venice in the 15th and 16th centuries.

Venice Observed (Mary McCarthy, 1963). This snappy and engaging memoir details the Venetian ethos through the eyes of a sharply critical writer.

Venice: The Tourist Maze (Robert C. Davis and Garry R. Marvin, 2004). This history of tourism in Venice warns how the city is now being loved to death.

A Venetian Affair (Andrea di Robilant, 2003). Based on letters found in a palazzo, this is a true love story between an aristocrat and an illegitimate girl in 18th-century Venice.

The Venetian Empire: A Sea Voyage (Jan Morris, 1990). Morris brings a maritime empire to life in this book that illustrates the city’s place on a larger historical canvas.

Fiction

The Aspern Papers and Other Stories (Henry James, 1894). An American editor travels to Venice in search of letters written to his mistress. Other James works about Italy include Italian Hours and Daisy Miller.

Death at La Fenice (Donna Leon, 1992). This chilling Venetian mystery and the others in Leon’s Commissario Brunetti series reveal more about “real” Italy than many memoirs do.

Death in Venice and Other Tales (Thomas Mann, 1912). The centerpiece of this collection is an eloquent classic that explores obsession, beauty, and death in plague-ridden Venice (also a 1971 film).

The Glassblower of Murano (Marina Fiorato, 2009). A 17th-century glassblower reveals the secrets of his trade to the French, which has repercussions for his descendants in the 21st century.

Invisible Cities (Italo Calvino, 1972). Marco Polo tells of the fantastical cities he’s seen...or is he just describing the many facets of his beloved Venice?

The Merchant of Venice (William Shakespeare, 1598). In addition to Merchant, other Shakespearean plays set in Italy include Romeo and Juliet (Verona), Much Ado About Nothing (Sicily), The Two Gentlemen of Verona, and The Taming of the Shrew (Padua).

The Passion (Jeanette Winterson, 1987). Set in the Napoleonic era, this is both a complex love story and a work of magical realist fiction.

The Rossetti Letter (Christi Phillips, 2007). Shifting between past and present, this novel explores the legacy of a mysterious courtesan in 17th-century Venice.

Film and TV

Bread and Tulips (2000). A harassed Italian housewife left behind by her family at a roadside café discovers beauty, love, and her true self in Venice.

Casanova (2005). This comic romp, set in 18th-century Venice, stars the late Heath Ledger as the master of amore.

Dangerous Beauty (1998). A 16th-century prostitute accused of witchcraft confronts the impossible choices for women in Venetian society.

Don’t Look Now (1973). Venice is both threatening and beautiful when a couple (Donald Sutherland and Julie Christie)—grieving the death of their daughter—encounter what may be her ghost.

Letters to Juliet (2010). A would-be writer comes to Verona and discovers a 50-year-old letter left at a statue of Juliet—sparking several unexpected romances.

Summertime (1955). Director David Lean’s film follows a melancholy Ohio schoolteacher (Katharine Hepburn) who travels to Venice looking for romance and finds more than antiques in Rossano Brazzi’s shop.

The Wings of the Dove (1997). Based on the Henry James novel, this romantic drama is a tale of desire that takes full advantage of its Venetian locale.

Conversions and Climate

Numbers and Stumblers

• Europeans write a few of their numbers differently than we do. 1 = , 4 = , 7 = .

• In Europe, dates appear as day/month/year, so Christmas 2023 is 25/12/23.

• Commas are decimal points and decimals are commas. A dollar and a half is $1,50, one thousand is 1.000, and there are 5.280 feet in a mile.

• When counting with fingers, start with your thumb. If you hold up your first finger to request one item, you’ll probably get two.

• What Americans call the second floor of a building is the first floor in Europe.

• On escalators and moving sidewalks, Europeans keep the left “lane” open for passing. Keep to the right.

Metric Conversions

A kilogram equals 1,000 grams (about 2.2 pounds). One hundred grams (a common unit at markets) is about a quarter-pound. One liter is about a quart, or almost four to a gallon.

A kilometer is six-tenths of a mile. To convert kilometers to miles, cut the kilometers in half and add back 10 percent of the original (120 km: 60 + 12 = 72 miles). One meter is 39 inches—just over a yard.

1 foot = 0.3 meter

1 square yard = 0.8 square meter

1 yard = 0.9 meter

1 square mile = 2.6 square kilometers

1 mile = 1.6 kilometers

1 ounce = 28 grams

1 centimeter = 0.4 inch

1 quart = 0.95 liter

1 meter = 39.4 inches

1 kilogram = 2.2 pounds

1 kilometer = 0.62 mile

32°F = 0°C

Roman Numerals

In the US, you’ll see Roman numerals—which originated in ancient Rome—used for copyright dates, clocks, and the Super Bowl. In Italy, you’re likely to observe these numbers chiseled on statues and buildings. If you want to do some numeric detective work, here’s how: In Roman numerals, as in ours, the highest numbers (thousands, hundreds) come first, followed by smaller numbers. Many numbers are made by combining numerals into sets: V = 5, so VIII = 8 (5 plus 3). Roman numerals follow a subtraction principle for multiples of fours (4, 40, 400, etc.) and nines (9, 90, 900, etc.); the number four, for example, is written as IV (1 subtracted from 5), rather than IIII. The number nine is IX (1 subtracted from 10).

Big numbers such as dates can look daunting at first. The easiest way to handle them is to read the numbers in discrete chunks. For example, Michelangelo was born in MCDLXXV. Break it down: M (1,000) + CD (100 subtracted from 500, or 400) + LXX (50 + 10 + 10, or 70) + V (5) = 1475. It was a very good year.

M = 1000

XL = 40

CM = 900

X = 10

D = 500

IX = 9

CD = 400

V = 5

C = 100

IV = 4

XC = 90

I = duh

L = 50

Clothing Sizes

When shopping for clothing, use these US-to-European comparisons as general guidelines (but note that no conversion is perfect).

Women: For pants and dresses, add 36 in Italy (US 10 = Italian 46). For blouses and sweaters, add 8 for most of Europe (US 32 = European 40). For shoes, add 30-31 (US 7 = European 37/38).

Men: For shirts, multiply by 2 and add about 8 (US 15 = European 38). For jackets and suits, add 10. For shoes, add 32-34.

Children: Clothing is sized by height—in centimeters (2.5 cm = 1 inch), so a US size 8 roughly equates to 132-140. For shoes up to size 13, add 16-18, and for sizes 1 and up, add 30-32.

Venice’s Climate

First line, average daily high; second line, average daily low; third line, average days without rain. For more detailed weather statistics for destinations in this book (as well as the rest of the world), check Wunderground.com.

Europe takes its temperature using the Celsius scale, while we opt for Fahrenheit. For a rough conversion from Celsius to Fahrenheit, double the number and add 30. For weather, remember that 28°C is 82°F—perfect. For health, 37°C is just right. At a launderette, 30°C is cold, 40°C is warm (usually the default setting), 60°C is hot, and 95°C is boiling. Your air-conditioner should be set at about 20°C.

Packing Checklist

Whether you’re traveling for five days or five weeks, you won’t need more than this. Pack light to enjoy the sweet freedom of true mobility.

Clothing

5 shirts: long- & short-sleeve

2 pairs pants (or skirts/capris)

1 pair shorts

5 pairs underwear & socks

1 pair walking shoes

Sweater or warm layer

Rainproof jacket with hood

Tie, scarf, belt, and/or hat

Swimsuit

Sleepwear/loungewear

Money

Debit card(s)

Credit card(s)

Hard cash (US $100-200)

Money belt

Documents

Passport

Other required ID: Vaccine card/Covid test, entry visa, etc.

Driver’s license, student ID, hostel card, etc.

Tickets & confirmations: flights, hotels, trains, rail pass, car rental, sight entries

Photocopies of important documents

Insurance details

Guidebooks & maps

Electronics

Mobile phone

Camera & related gear

Tablet/ebook reader/laptop

Headphones/earbuds

Chargers & batteries

Phone car charger & mount (or GPS device)

Plug adapters

Toiletries

Basics: soap, shampoo, toothbrush, toothpaste, floss, deodorant, sunscreen, brush/comb, etc.

Medicines & vitamins

First-aid kit

Glasses/contacts/sunglasses

Face masks & hand sanitizer

Sewing kit

Packet of tissues (for WC)

Earplugs

Miscellaneous

Daypack

Sealable plastic baggies

Laundry supplies: soap, laundry bag, clothesline, spot remover

Small umbrella

Travel alarm/watch

Notepad & pen

Journal

Optional Extras

Second pair of shoes (flip-flops, sandals, tennis shoes, boots)

Travel hairdryer

Picnic supplies

Disinfecting wipes

Water bottle

Fold-up tote bag

Small flashlight

Mini binoculars

Small towel or washcloth

Inflatable pillow/neck rest

Tiny lock

Address list (to mail postcards)

Extra passport photos

Italian Survival Phrases

Hello. (informal)

Ciao.   chow

Good day.

Buongiorno.   bwohn-jor -noh

Do you speak English?

Parla inglese?   par-lah een-gleh -zay

Yes. / No.

Si. / No.   see / noh

I (don’t) understand.

(Non) capisco.   (nohn) kah-pees -koh

Please.

Per favore.   pehr fah-voh -ray

Thank you.

Grazie.   graht -see-ay

You’re welcome.

Prego.   preh -go

I’m sorry.

Mi dispiace.   mee dee-spee-ah -chay

Excuse me.

Mi scusi.   mee skoo -zee

No problem.

Non c’è problema.   nohn cheh proh-bleh -mah

Goodbye.

Arrivederci.   ah-ree-veh-dehr -chee

one / two / three

uno / due / tre   oo-noh / doo -ay / tray

four / five / six

quattro / cinque / sei   kwah-troh / cheeng-kway / seh -ee

seven / eight

sette / otto   seh-tay / oh -toh

nine / ten

nove / dieci   noh-vay / dee-ay -chee

How much is it?

Quanto costa?   kwahn-toh koh -stah

Write it?

Me lo scrive?   may loh skree -vay

Is it free?

È gratis?   eh grah -tees

Is it included?

È incluso?   eh een-kloo -zoh

Where can I buy / find...?

Dove posso comprare / trovare...?   doh-vay poh-soh kohm-prah-ray / troh-vah -ray

I’d like / We’d like...

Vorrei / Vorremmo…   voh-reh-ee / voh-reh -moh

...a room.

...una camera.   oo-nah kah -meh-rah

...a ticket to ___.

...un biglietto per ___.   oon beel-yeh -toh pehr ___

Is it possible?

È possibile?   eh poh-see -bee-lay

Where is...?

Dov’è...?   doh-veh

...the train station

...la stazione   lah staht-see-oh -nay

...tourist information

...informazioni turisti   een-for-maht-see-oh-nee too-ree -stee

...the bathroom

…il bagno   eel bahn -yoh

men / women

uomini, signori / donne, signore   woh-mee-nee, seen-yoh-ree / doh-nay, seen-yoh -ray

left / right / straight

sinistra / destra / sempre dritto   see-nee-strah / deh-strah / sehm-pray dree -toh

What time does this open / close?

A che ora apre / chiude?   ah kay oh-rah ah-pray / kee-oo -day

At what time?

A che ora?   ah kay oh -rah

Just a moment.

Un momento.   oon moh-mehn -toh

now / soon / later

adesso / presto / tardi   ah-deh-soh / preh-stoh / tar -dee

today / tomorrow

oggi / domani   oh-jee / doh-mah -nee

In an Italian Restaurant

I’d like / We’d like...

Vorrei / Vorremmo…   voh-reh-ee / voh-reh -moh

...to reserve a table for one / two.

...prenotare un tavolo per uno / due.   preh-noh-tah-ray oon tah-voh-loh pehr oo-noh / doo -ay

...the menu (in English).

…il menù (in inglese).   eel meh-noo (een een-gleh -zay)

Is this seat free?

È libero questo posto?   eh lee-beh-roh kweh-stoh poh -stoh

service (not) included

servizio (non) compreso   sehr-veet-see-oh (nohn) kohm-pray -zoh

cover charge

(pane e) coperto   (pah-nay ay) koh-pehr -toh

to go

da portar via   dah por-tar vee -ah

with / without

con / senza   kohn / sehnt -sah

and / or

e / o   ay / oh

breakfast / lunch / dinner

(prima) colazione / pranzo / cena   (pree-mah) koh-laht-zee-oh-nay / prahn-zoh / chay -nah

fixed-price meal (of the day)

menù (del giorno)   meh-noo (dehl jor -noh)

specialty of the house

specialità della casa   speh-chah-lee-tah deh-lah kah -zah

appetizer

antipasto   ahn-tee-pah -stoh

first course

primo (piatto)   pree-moh (pee-ah -toh)

main course

secondo (piatto)   seh-kohn-doh (pee-ah -toh)

side dishes

contorni   kohn-tor -nee

cold cuts / bread / cheese

salumi / pane / formaggio   sah-loo-mee / pah-nay / for-mah -joh

sandwich

panino   pah-nee -noh

soup / salad

zuppa / insalata   tsoo-pah / een-sah-lah -tah

meat / chicken

carne / pollo   kar-nay / poh -loh

fish / seafood

pesce / frutti di mare   peh-shay / froo-tee dee mah -ray

fruit / vegetables

frutta / verdure   froo-tah / vehr-doo -ray

dessert

dolce   dohl -chay

tap water

acqua del rubinetto   ah-kwah dehl roo-bee-neh -toh

mineral water

acqua minerale   ah-kwah mee-neh-rah -lay

still / sparkling

naturale / frizzante   nah-too-rah-lay / freet-zahn -tay

(orange) juice

succo (d’arancia)   soo-koh (dah-rahn -chah)

coffee / tea / milk

caffè / tè / latte   kah-feh / teh / lah -tay

wine / beer

vino / birra   vee-noh / bee -rah

red / white

rosso / bianco   roh-soh / bee-ahn -koh

glass / bottle

bicchiere / bottiglia   bee-kee-eh-ray / boh-teel -yah

Cheers!

Salute! / Cin cin!   sah-loo -tay / cheen cheen

The bill, please.

Il conto, per favore.   eel kohn-toh pehr fah-voh -ray

Do you accept credit cards?

Accettate carte di credito?   ah-cheh-tah-tay kar-tay dee kreh -dee-toh

Delicious!

Delizioso!   day-leet-see-oh -zoh

For more user-friendly Italian phrases, check out Rick Steves Italian Phrase Book or Rick Steves French, Italian, & German Phrase Book.

INDEX

A

B

C

D

E

F

G

H

I

J

K

L

M

N

O

P

R

S

T

U

V

W

Z

A

Abstract art: overview, 167. See also Peggy Guggenheim Collection

Accademia: 50–51, 76, 146–157; eating near, 146–147, 280–281; general information, 44, 50–51, 146–147; map, 148; tour, 147–157

Accademia Bridge: 29, 75–76; eating near, 280–281; map, 258–259; shopping near, 301; sleeping near, 255–257, 260

Accommodations: See Sleeping

Acqua alta: 43, 83, 144, 420–421

Acqua Alta (bookstore): 28

Addresses, locating: 31–32, 248

Adoration of the Magi (Brueghel): 134

Adoration of the Shepherds (Tintoretto): 206–207

Agriturismo, in Mirano-Venezia: 266

Ai Dogi (Murano): 217

Airbnb: 438–439, 441–443

Air-conditioning, in hotels: 14, 23, 440

Airports: Venice, 319–321; Verona, 365. See also specific airports

Air travel: 19, 21, 474–475

Alessandro’s Classic Venice Bars Backstreets Tours: 37

Alilaguna Airport Boats: 33, 216, 319–320, 323

Almanac, Venice: 413

Anatomy Theater (Padua): 338

Annunciation (Tintoretto): 201

Ante-Collegio Hall (Doge’s Palace): 118

Anthony of Padua, Saint: 347–353; biographical sketch, 348

Antipasti (appetizers): 282, 447, 452

Antonello da Messina: 134

Apartment rentals: 438–439

Aperitivo: 268, 276–277, 386, 451, 459

Apotheosis of Venice (Veronese): 122

Apps: 22, 463–464; children, 295; language translation, 24, 427; maps and navigation, 26, 433; messaging, 295, 464; payment, 429; sightseeing, 435; trains, 317, 468, 472; user reviews, 439

Archaeological museums: 132, 361

Archaeological sites: See Romans, ancient

Archiepiscopal Museum (Ravenna): 403–404

Arena, in Verona: 365, 370–371

Arian Baptistery (Ravenna): 392–394

Arian Heresy: 396

Armory Museum (Doge’s Palace): 120–122

Arsenale: 60–62, 131–132, 415

Art: La Biennale, 62, 143, 478–479. See also Art museums; Churches and cathedrals; and specific artists and atworks

Art galleries: 307

Art museums: passes, 26, 42–43, 294, 364, 434; with children, 294–295, 298; Archiepiscopal Museum (Ravenna), 403–404; Ca’ d’Oro, 59, 72; Ca’ Pesaro, 45, 54–56, 71–72; Castelvecchio Museum (Verona), 378–379; Musei Civici Agli Eremitani (Padua), 346; Palazzo Grassi, 49, 75; Palazzo Leoni Montanari Galleries (Vicenza), 361; Palazzo Zuckermann (Padua), 346; Punta della Dogana, 45, 52; St. Mark’s Treasury, 99, 102–103. See also Accademia; Ca’ Rezzonico; Correr Museum; Doge’s Palace; Peggy Guggenheim Collection

Assumption of the Virgin (Giordano): 175–176

Assumption of the Virgin (Titian): 192–193, 377

ATMs: 428–430

Audio Europe, Rick Steves: 22, 476

Avventure Bellissime Venice Tours: 36

B

Bacchus and Ariadne (Tintoretto): 118

Baggage storage: 472; Padua, 328; Ravenna, 390; Venice, 316, 322; Verona, 364

“Bancogiro Stretch”: eating, 274–275; nightlife, 314

Banks (banking): alerting to travel, 22, 428–429. See also Money

Baptistery (Padua): 339–340

Bar dei Osei (Padua): 334, 357

Bar Foscari: 146, 272, 280, 288

Bars and cafés: 268, 311, 314–315, 449–450; guided tours, 37; Padua, 334, 335, 336–337; St. Mark’s Square, 81, 86–87, 287, 311, 413; Verona, 385–386. See also Cicchetti

Basilica di San Francesco (Ravenna): 395

Basilica di San Marco: See St. Mark’s Basilica

Basilica di Santa Maria Gloriosa dei Frari: See Frari Church

Basilica di Sant’Apollinare Nuovo (Ravenna): 402–403

Basilica di San Vitale (Ravenna): 398–400

Basilica of San Zeno Maggiore (Verona): 380

Basilica of St. Anthony (Padua): 347–353; map, 349

Basilica Palladiana (Vicenza): 361

Bassano, Jacopo: 142

Battistero degli Ariani (Ravenna): 392–394

Battle of Lepanto: 123, 131, 417

Beach: See Lido

Bed-and-breakfasts (B&Bs): overview, 441

Beer: 459. See also Bars and cafés

Bellini (cocktail): 227, 277, 283

Bellini family: 135, 214–215, 244, 360, 417, 419; Accademia, 150–151, 152, 156; Frari Church, 195–196

Bell towers: See Campaniles

Beverages: 277, 283, 457–461. See also Bars and cafés; Wine

Bevilacqua: 305, 307

Biking, in Ravenna: 390, 391

Birth of John the Baptist (Tintoretto): 244

Birth of the Virgin (Giordano): 175

Boating (boat travel): 220, 296; to/from airports, 319–320; budgeting, 19; cruise ships, 323; Grand Canal cruise, 69–79; maps, 317, 466–467; Murano, 218; regattas, 478, 479; traghetto, 35–36, 72, 310. See also Gondolas; Vaporetto; Water taxis

Boccioni, Umberto: 171

Books, recommended: 479–481; for children, 297

Bookstores: Padua, 329; Venice, 28

Brancusi, Constantin: 163

Breakfast: overview, 445

Bridge of Sighs: 44, 49, 90; sleeping near, 250–251; views of, 90, 125, 242–243, 246–247

Bridges: See Accademia Bridge; Bridge of Sighs; Calatrava Bridge; Rialto Bridge

Brodsky, Joseph: 213

Bronze Horses of St. Mark’s: 46, 107–108

Browning, Robert: 184

Brueghel, Pieter: 134

Brustolon, Andrea: 184

Budgeting: 19–20. See also Discounts

Burano: 45, 63, 218–221; eating, 221, 289; guided tours, 216, 218; lace, 63, 218–220, 305; map, 219

Burano Regatta: 478, 479

Buses: 321–322, 473–474; to/from airports, 320–321; maps, 317, 466–467; Padua, 329, 358–359; Verona, 364–365

Business hours: 268, 426–427

Byron, George Gordon, Lord: 90, 231, 246

Byzantium (Byzantine Empire): maps, 101, 415; overview, 100–101, 413–415

C

Cabs: See Taxis

Ca’ d’Oro: 59, 72

Cafés: See Bars and cafés; and specific cafés

Caffè Aurora: 87

Caffè Florian: 86–87, 89, 311, 413

Caffè Pedrocchi (Padua): 336–337

Ca’ Foscari: 75

Calatrava Bridge: 58–59, 69–70

Calder, Alexander: 161, 169

Calle de le Rasse: eating, 112, 279

Calle del Forno: 230

Calle Larga XXII Marzo: 227

Calle Vallaresso: 227, 301

Campaniles (bell towers): Burano, 220–221; San Giorgio Maggiore, 142–145. See also San Marco Campanile

Campo de Gheto Novo: 56–57

Campo de la Becarie: 238

Campo Manin: 229

Campo San Barnaba: 178; eating, 272–273, 281, 284; shopping, 299, 301, 308

Campo San Bartolomeo: 231–232

Campo San Giacomo: 235–236

Campo San Lio: eating, 273

Campo San Polo: 238–239

Campo Santa Margarita: eating, 284–285, 289; nightlife, 315

Campo Santa Maria Formosa: eating near, 269, 272, 279–280, 289–290; gelato, 291; sleeping near, 251, 254

Campo Santi Apostoli: eating, 269, 273

Campo San Zaccaria: 243

Canaletto (Giovanni Antonio Canal): 180, 185–186, 422

Canals: 10; eating alongside, 274–275, 286–287, 288–289. See also Grand Canal

Cannaregio (district): 13, 56–59; eating, 284–285, 288; nightlife, 315; sight highlights, 56–59; sleeping, 261. See also Jewish Ghetto

Canova, Antonio: 128–129, 180, 346, 422; Monument, 197

Ca’ Pesaro International Gallery of Modern Art: 45, 54–56, 71–72

Cappella degli Scrovegni (Padua): See Scrovegni Chapel

Ca’ Rezzonico: 52–53, 75–76, 177–189; eating, 178; general information, 44, 52–53, 177–178; maps, 179, 186; tour, 178–189

Carnevale: 7, 178, 419–420, 478

Carnevale masks: 182–183, 301, 306; Tragicomica Mask Shop, 239–240, 306

Carpaccio, Vittorio: 59–60, 116, 136, 156–157, 419

Car rentals: 21

Carriera, Rosalba: 180–181, 187

Car travel (driving): 322–323; Padua, 329; Ravenna, 390; Verona, 365; Vicenza, 359. See also Parking

Casanova, Giacomo: 177, 180, 182, 187, 188, 246, 298, 422

Casinò: 71, 232

Cassa di Risparmio: 230

Castello (district): 13, 59–63; map, 61; sleeping, 251, 254

Castelvecchio Museum (Verona): 378–379

Catullo Airport: 365

Cell (mobile) phones: 295, 461–464. See also Apps

Ceramics, shopping for: 307–308

Chagall, Marc: 164

Chapel of the Reliquaries (Padua): 352

Chapter Room (Scuola San Rocco): 204–207

Cheese: 408, 410, 447, 456

Chiesa dei Frari: See Frari Church

Children: 292–299; books and movies, 297; eating tips, 293–294; general tips, 292–293; sightseeing tips, 294–295; top sights/activities, 296–299

Chocolate: 290–291, 410–411

Chorus Pass: 42, 294

Church Card (Verona): 364

Churches and cathedrals: architecture, 418; Chorus Pass, 42, 294; daily reminder, 26; English-language services, 28–29; sightseeing tips, 435–436; Basilica di San Francesco (Ravenna), 395; Basilica di Sant’Apollinare Nuovo (Ravenna), 402–403; Basilica di San Vitale (Ravenna), 398–400; Basilica of St. Anthony (Padua), 347–353; La Pietà, 246; Ravenna Duomo, 404–405; Saint John the Evangelist (Ravenna), 391; San Giorgio Maggiore, 137–145; San Marcuola, 70; San Martino Vescovo (Burano), 220–221; San Moisè, 227; San Pietro Martire (Murano), 214–215; San Polo, 239; San Simeon Piccolo, 70; San Stae, 71; Santa Corona (Vicenza), 360–361; Santa Maria Assunta (Torcello), 222–223; Santa Maria e San Donato (Murano), 217; Sant’Anastasia (Verona), 376; Sant’Apollinare in Classe, 406–407; San Zaccaria, 45, 243–245; San Zeno Maggiore (Verona), 380; Verona Duomo, 377–378. See also Frari Church; Santa Maria della Salute; St. Mark’s Basilica

Church of the Scalzi: 70

Cicchetti: 268, 276–277, 413, 449; Padua, 357–358; Venice, 238, 272–275, 280, 284–285, 286; guided tours, 37; what to eat, 277

Cimitero: See San Michele

Classical music: See Music

Classroom Europe, Rick Steves: 22, 476

Climate: 14, 484

Clock Tower, on St. Mark’s Square: 47–48, 78, 84, 232

Clothing sizes: 483

Coffee: 458–459. See also Bars and cafés

Collegio Hall (Doge’s Palace): 118–119

Concerts: 311–314

Consulates: 426

Correr Museum: 47, 126–136; general information, 39, 42, 47, 126–127; maps, 127, 134; tour, 128–136

Corso Porta Borsari (Verona): 371–372

Costs of trip: 19–20

Costume Museum, Palazzo Mocenigo: 56

Covid-19, entry requirements: 21, 425

Credit cards: 22, 428–431

Crucifixion, The (Tintoretto): 203–204

Cruise ships: 323

Cuisine: 282–283, 408, 452–457. See also Aperitivo; Cicchetti; Eating

Currency and exchange: 428–430

Customs House: 77

Customs regulations: 432

D

Daedalus and Icarus (Canova): 129

Dalí, Salvador: 167

Dandolo, Enrico: 416

Dandolo, Francisco: 194–195

Danieli Hotel: 246

Dante Alighieri: 375, 395, 397; Museum (Ravenna), 397, 405; tomb, in Ravenna, 395, 397

Da Ponte, Lorenzo: 228, 422

Day-tripper tax: 26–27

Day trips: 13, 325–411; map, 325. See also Padua; Ravenna; Verona; Vicenza

Dead Christ Supported by Two Angels (Bellini): 135

Debit cards: 22, 428–431

Delis: See Groceries and delis

Delvaux, Paul: 166

Department store: 307. See also Fondaco dei Tedeschi

Desserts (dolce): 283, 447. See also Gelato

Devotional Column (Verona): 371

Diaghilev, Sergei: 213

Dining: See Eating

Discounts: 427; with children, 294; Padua, 328; sightseeing passes, 26, 42–43, 294, 364, 434; train tickets, 469; vaporetto passes, 33–34; Verona, 364; Vicenza, 359

Districts: 10–13; maps, 9. See also specific districts

Doge’s Palace: 46–47, 87–88, 110–125; avoiding lines, 39, 47, 110–111; with children, 298; general information, 39, 42, 43, 44, 47, 51, 110–112; guided tours, 111–112; maps, 111, 117, 121, 123; Seventh Column, 88–90; tour, 112–125

Dolce (desserts): 283, 447. See also Gelato

Domus dei Tappeti di Pietra (Ravenna): 405–406

Donatello: 194, 348, 349, 353

Döner kebabs: 289–290, 386–387, 449

Dormitory accommodations: 264

Dorsoduro (district): 10, 50–53; eating, 280–281, 284–285; shopping, 301; sight highlights, 50–53; sleeping, 255–257, 260

Dress code: 27, 92, 191, 347, 435–436

Drinking water: 29, 457–458

Drinks: 277, 283, 457–461. See also Bars and cafés; Wine bars

Driving: See Car travel; Parking

Duchamp, Marcel: 162–163, 166

Dynamic currency conversion: 430

E

Eating: 267–291, 444–457; budgeting, 20; Burano, 221; Cannaregio, 284–285; with children, 293–294; Dorsoduro, 280–281, 284–285; general tips, 268; hours, 268; Italian menu courses, 447; Italian restaurant phrases, 488; money-saving tips, 268, 449–452; ordering tips, 448–449; Padua, 356–358; Ravenna, 408–411; restaurant pricing, 445; near Rialto Bridge, 269–278; Rialto Market, 273–276; with the seasons, 454; near St. Mark’s Square, 278; tipping, 431; Verona, 383–387. See also Bars and cafés; Cicchetti; Gelato; Markets; Piadina; Pizzerias; Salumi; Wine bars

Eden Bar: 87

Electricity: 427

Embassies: 426

Emergencies: 27, 426

Empire of Light (Magritte): 161

Enoteca Oreste (Verona): 372

Enoteche: See Wine bars

Entertainment: 311–314; budgeting, 20; current schedule, 311. See also Music

Enthroned Madonna with Child (Bellini): 150–151

Environmental footprint (going green): 427–428

Eremitani (Padua): 346

Ernst, Max: 167–168

Euro currency: 428–430

European Travel Information and Authorization System (ETIAS): 426

Exchange rate: 429

Excursions: See Day trips

F

Fallopius, Gabriel: 353

Feast and Regatta of the Redeemer: 478, 479

Feast in the House of Levi (Veronese): 153–154

Feast of Our Lady of Good Health: 478, 479

Feast of the Ascension Day: 478, 479

Feltrinelli (Padua): 329

Ferrovia: 69–70. See also Santa Lucia Train Station

Festivals: 477–479

Fish markets: Padua, 331, 334; Venice, 72, 237–238, 287–288, 296

Florence, train travel: 318, 358, 387

Fondaco dei Tedeschi: 29, 45, 53, 73, 307

Fondaco dei Turchi: See Turkish Exchange

Fondamenta Daniele Manin: 217

Fondamenta dei Vetrai (Murano): 214

Fondamente Nove: 210–211; eating, 286–287, 289

Food: picnics, 27–28, 287–290; produce stands, 288–289; seasonal produce, 454. See also Eating; Markets

Foscari, Francesco: 193–194, 416–417

Foucault pendulum (Padua): 336

Frari Church: 54, 190–198; eating near, 276–278; general information, 44, 54, 191; map, 192; tour, 191–198

Frutti di mare: 282–283, 454

G

Galla Placidia Mausoleum (Ravenna): 400–402

Galleria dell’Accademia: See Accademia

Gallerie di Palazzo Leoni Montanari (Vicenza): 361

Garibaldi, Giuseppe: 397

Gelato: 456–457; Padua, 358; Ravenna, 410; Venice, 290–291; Verona, 387

German Exchange: See Fondaco dei Tedeschi

Giardinetti Papadopoli: 298–299

Giardinetti Reali: 27–28, 89, 225, 287

Giardini Pubblici: 299

Giardino Giusti (Verona): 381

Giardino Rasponi (Ravenna): 405

Giordano, Luca: 175–176

Giorgione: 152–153, 419

Giotto di Bondone: 346; biographical sketch, 341; Scrovegni Chapel (Padua), 342–346

Giudecca Canal: 313; eating, 287, 288

Giudecca Island: sleeping, 264

Giusti Garden (Verona): 381

Glass: 216–217, 304; museum, on Murano, 63, 216–217; shopping for, 214, 216–217, 304

Glass Museum (Murano): 63, 216–217

Golden Altarpiece (St. Mark’s): 104–106

Golden Staircase (Doge’s Palace): 115

Goldoni, Carlo: 180, 230, 231–232, 422

Gondolas: 36, 74, 309–310, 312–313

Gran Caffè Chioggia: 87, 311

Gran Caffè Lavena: 87, 290

Gran Caffè Quadri: 87, 287

Grand Canal: 65–79; background, 68–69; best views, 29; cruise, 69–79; eating overlooking, 274–275, 286–287, 288–289; map, 66–67; traghetto, 35–36, 72, 310; vaporetto, 32–33

Grand Canal from Palazzo Balbi (Canaletto): 185–186

Gran Teatro alla Fenice: 48–49, 228; performances, 48, 314

Groceries and delis: 290, 451–452; Ravenna, 410; Verona, 376, 387

Grom (gelateria): 457

Guardi, Francesco: 180, 188–189, 422

Guggenheim Collection: See Peggy Guggenheim Collection

Guidebooks, Rick Steves: 475–476; updates, 23, 475

H

Hall of the Council of Ten (Doge’s Palace): 120

Hall of the Grand Council (Doge’s Palace): 122–124; map, 124

Harry’s American Bar: 225, 227, 311

Hemingway, Ernest: 76, 213, 225, 311

History: 412–424

Holidays: 477–479

Hospitals: 27, 426

Hostels: 264, 443–444

Hotels: air-conditioning, 14, 23, 440; online services, 438–439; overview, 437–441; rates and deals, 264, 436–437; reservations, 442–443. See also Sleeping

House of Juliet (Verona): 373–374

House of Stone Carpets (Ravenna): 405–406

Housewares: 308

I

Ice cream: See Gelato

Il Merletto: 63, 89, 305

Information: See Tourist information

Internet security: 464

Interpreti Veneziani: 313

Islands: See Burano; Murano; San Giorgio Maggiore; Torcello

Italian restaurant phrases: 488

Italian survival phrases: 487

Itineraries: Padua, 327–328; Ravenna, 389; Venice, 15–18

J

Jacobello del Fiore: 150

Jacopo Robusti: See Tintoretto

Jazz music: 315

Jewelry, shopping for: 304–305, 308

Jewish Ghetto: 56–58, 70; eating near, 272, 284–285, 288; map, 57; sleeping, 261

Jewish Museum: 57–58

Jewish Quarter (Padua): 334

Jews in Venice: 58

John the Baptist (Donatello): 194

Juliet, in Verona: 363, 373–374

K

Kandinsky, Vassily: 163–164

Kids: See Children

Klimt, Gustav: 54, 55

L

La Biennale: 62, 143, 478–479

Lace: 218–220, 305; Il Merletto, 63, 89, 305; museum, on Burano, 219–220, 305; shopping for, 89, 218–219, 305, 309

Lace Museum (Burano): 63, 219–220, 305

La Fenice Opera House: 48–49, 228; performances, 48, 314

Lagoon: See Venice’s lagoon

Language: 24; Italian restaurant phrases, 488; Italian survival phrases, 487; online translation tip, 427; wine terms, 461

Language barrier: 462

La Pietà Church: 246

La Quadriga: See Bronze Horses of St. Mark’s

La Salute church: See Santa Maria della Salute

Last Supper, The (Tintoretto): 140–141, 207

Laundry: Padua, 329; Ravenna, 391; Venice, 28, 249–250, 260; Verona, 368

Lazzarini, Gregorio: 184

Legend of Saint Ursula, The (Carpaccio): 156–157

Libreria Marco Polo: 28

Lido: 64, 79, 299

Live music: See Music; Opera

Locanda Cipriani Hotel (Torcello): 222

Lodging: See Sleeping

Longhena, Baldassare: 173–174, 422

Longhi, Pietro: 186

Luggage storage: See Baggage storage

M

Madonna and Child between St. Catherine and Mary Magdalene (Bellini): 152

Madonna and Child with Doge Francesco Dandolo (Veneziano): 194–195

Madonna and Child with Saints (Bellini): 244

Madonna and Child with Saints and Angels (Bellini): 195–196

Madonna and Child with Two Donors (Veneziano): 149–150

Madonna of Ca’ Pesaro (Titian): 196–197

Magritte, René: 161, 298

Mail: 465

Manin, Daniele: 229, 241, 423–424

Mann, Thomas: 222, 480

Manna from Heaven (Tintoretto): 141

Mantegna, Andrea: 151, 379, 380

Maps: apps, 26, 433; to buy, 26. See also Map Index

Marciana National Library (Correr Museum): 132–133

Marco Polo: 115, 297, 416, 480

Marco Polo Airport: 319–321, 358–359

Marghera: sleeping, 265–266

Marini, Marino: 165

Mark, Saint: 93–95, 105. See also St. Mark’s Basilica

Markets: 451; Padua, 331, 334, 354; Ravenna, 397; seasonal produce, 454; Verona, 372–373. See also Rialto Market

Marriage at Cana (Tintoretto): 175

Martini, Egidio: 189

Masks: See Carnevale masks

Mausoleum of Galla Placidia (Ravenna): 400–402

Medical help: 27, 426

Mercato Rialto: See Rialto Market

Mercerie: 232, 300–301

Merletti d’Arte dalla Lidia (Burano): 219, 305

Mestre: parking, 323; sleeping, 264–266

Metric system: 482–483

Miracle of the Bronze Serpent, The (Tintoretto): 205–206

Mirano-Venezia, agriturismo: 266

Mirrors, shopping for: 308

Modern art: See Peggy Guggenheim Collection

Mondrian, Piet: 164–165

Money: 428–432; average daily expenses, 20; budgeting, 19–20; with children, 295

Money belts: 23, 295, 428, 430

Money-saving tips: 427; with children, 294–295; eating, 268, 449–452; Padua, 328; Ravenna, 390–391; sightseeing passes, 26, 42–43, 294, 364, 434; sleeping, 264, 436–437; vaporetto passes, 33–34; Verona, 364; Vicenza, 359

Monteverdi, Claudio: 422

Mosaici Donà Murano: 217

Mosaics: about, 98

Moses Strikes Water from the Rocks (Tintoretto): 205

Mouth of Truth (Doge’s Palace): 114–115

Movies, recommended: 481; for children, 297

Murano: 45, 63, 213–218; glass shops, 214, 216–217, 304; guided tours, 216; map, 215

Murano Regatta: 478, 479

Musei Civici Agli Eremitani (Padua): 346

Museo Correr: See Correr Museum

Museo Dantesco (Ravenna): 405

Museo del Merletto di Burano: 63, 219–220, 305

Museo di Castelvecchio (Verona): 378–379

Museo di Palazzo Mocenigo: 56

Museo di San Marco: 106–109

Museo Ebraico: 57–58

Museo Naturalistico Archeologico (Vicenza): 361

Museo Storico Navale: 60–62

Museo TAMO (Ravenna): 406

Museum of the Risorgimento (Padua): 337

Museum of 18th-Century Venice: See Ca’ Rezzonico

Museum Pass: 42, 294, 434

Museums: with children, 294–295, 298; free days, 42; passes, 26, 42–43, 294, 364, 434. See also Archaeological museums; Art museums; and specific museums

Music: 311–314; Santa Maria della Salute, 172; St. Mark’s Square, 311. See also Concerts; Opera

Musica a Palazzo: 314

Music Museum: 313–314

N

Naval History Museum: 60–62

Neighborhoods: See Districts; and specific neighborhoods

Neonian Baptistery (Ravenna): 404

Nicopeia: 99

Nightlife: 309–315; budgeting, 20. See also Bars and cafés; Gondolas; Music; Opera; Theater

O

Off-season travel tips: 43

Olympic Theater (Vicenza): 360

On the Beach (Picasso): 161

Open-air markets: See Markets

Opera: in Verona, 365. See also La Fenice Opera House

Oratory of St. George (Padua): 353

Orpheus and Eurydice (Canova): 128–129

Orto Botanico (Padua): 354–355

P

Packing tips and checklist: 22, 485

Padua: 13, 325, 327–359; eating, 356–358; helpful hints, 329; itineraries, 327–328; maps, 330, 332–333; orientation, 328; sights, 331–355; sleeping, 355–356; tourist information, 328; transportation, 328–329, 331, 358–359

Padua Baptistery: 339–340

Padua Botanic Garden: 354–355

Padua City Hall: 338

Padua Civic Museum: 346

Padua Pinacoteca: 346

Padua University: 337–339

Pala d’Oro (St. Mark’s): See Golden Altarpiece

Palazzo Balbi: 75

Palazzo Bò (Padua): 337

Palazzo Dandolo: 246

Palazzo della Ragione (Padua): 334–336

Palazzo della Ragione (Verona): 375

Palazzo Ducale: See Doge’s Palace

Palazzo Grassi: 49, 75

Palazzo Grimani: 74

Palazzo Leoni Montanari Galleries (Vicenza): 361

Palazzo Mocenigo Costume Museum: 56

Palazzo Papadopoli: 74

Palazzo Venier dei Leoni: See Peggy Guggenheim Collection

Palazzo Zuckermann (Padua): 346

Palladio, Andrea: 50, 88, 117, 419; San Giorgio Maggiore, 138–145; Vicenza, 359–362

Paradise (Tintoretto): 122

Parco Delle Rimembranze: 299

Paris (Canova): 129

Parking: Padua, 329; Ravenna, 390; Venice, 323; Verona, 365

Passports: 21

Pasta: overview, 453–455

Pavimento alla Veneziana (speckled floors): 249

Peggy Guggenheim Collection: 51, 76, 158–171; with children, 298; general information, 44, 51, 158–159; map, 160; tour, 159–171

Pentecost (Titian): 176

Pentecost Mosaic: 97

Performing arts: See Music; Opera; Theater

Phones: See Telephones

Photo policy: 435

Piadina: 408, 410

Piazza Brà (Verona): 368, 370, 378; eating, 386; sleeping, 382

Piazza dei Signori (Padua): 335, 336; eating, 357

Piazza dei Signori (Verona): 374–375

Piazza dei Signori (Vicenza): 361

Piazza della Frutta (Padua): 331, 334; eating, 357

Piazza delle Erbe (Padua): 331, 334, 335; eating, 358

Piazza del Popolo (Ravenna): 394–395, 397; sleeping, 407–408

Piazza Erbe (Verona): 372–373, 378; eating, 386; sleeping, 381–382

Piazza Galuppi (Burano): 218

Piazza Garibaldi (Ravenna): 397

Piazzale Roma: 321–322; parking, 323

Piazzale Roma Bus Station: 321–322

Piazza Prato della Valle (Padua): 354

Piazza San Marco: See St. Mark’s Square

Piazzetta dei Leoni: 86–88, 241–242

Picasso, Pablo: 161, 162

Pickpockets: 23, 27, 426, 430–431

Picnicking (picnics): 27–28, 287–290. See also Markets

Pier Luigi Penzo stadium: 299

Pietà (Messina): 134

Pietà (Titian): 155–156

Pigeons of St. Mark’s Square: 29, 82, 296

Pinacoteca (Padua): 346

Pizzerias (pizza): 449, 452–453; Padua, 357; Venice, 272, 277–278, 279, 284, 286; Verona, 386

Playgrounds: 298–299

Poet, The (Picasso): 162

Police: 27, 426

Pollock, Jackson: 169–170

Ponte de Guglie: 56

Ponte dei Greci: 289

Ponte de la Verona: 228–229

Ponte della Costituzione: 58–59, 69–70

Ponte Pietra (Verona): 376–377

Ponte Scaligero (Verona): 379–380

Population: 55, 413

Porchetta: 357

Porta Borsari (Verona): 371–372

Post offices: 53, 465

Pound, Ezra: 213

Prato della Valle (Padua): 354

Presentation of the Virgin (Titian): 147, 149

Presentation of the Virgin in the Temple (Giordano): 176

Procession in St. Mark’s Square (Bellini): 156

Pubs: See Bars and cafés

Punta della Dogana: 45, 52

R

Rail passes: 470–472, 475

Rail travel: See Train travel

Rape of Europa (Veronese): 118

Rasponi Crypt (Ravenna): 406

Ravenna: 13, 325, 388–411; eating, 408–411; helpful hints, 390–391; itineraries, 389; map, 392–393; orientation, 389–390; sights, 391–407; sleeping, 407–408; tourist information, 390; transportation, 390, 411; walking tour, 391–402

Ravenna Botanic Garden: 405

Ravenna City Hall: 394–395

Ravenna Duomo: 404–405; Archiepiscopal Museum, 403–404

Regattas: 478, 479

Removal of St. Mark’s Body, The (Tintoretto): 154–155

Rental properties: 438–439, 441–443

Restaurants: See Eating

Restrooms: 28

Rialto (district): 73–74; bars, 314–315; eating, 269–278; maps, 234–235, 270–271; shopping, 301; walking tour, 233–240

Rialto Bridge: 29, 44, 53, 73, 230–231, 234; with children, 296; eating near, 269–278, 287–288; map, 270–271; shopping, 301; sleeping near, 254–255; views of, 29, 237

Rialto Market (Mercato): 53, 72, 73, 237–238, 287–288; bars, 314; with children, 296; eating, 273–276; shopping, 301

Rick Steves resources: 475–476

Riva: 78–79, 245–246

Riva de Biasio: 70

Robusti, Jacopo: See Tintoretto

Rolling Venice pass: 34, 42, 294

Roman Arena (Verona): 365, 370–371

Roman numerals: 482–483

Romans, ancient (Roman sites): 98, 100, 370–371, 412; Padua, 346; Ravenna, 388, 396, 398, 400–402; Verona, 370–371, 376, 380

Roman Theater (Verona): 380

Rome, train travel: 318, 387

Romeo and Juliet, in Verona: 363, 373–374, 481

Room and board: See Eating; Sleeping

Rosticcerie: 269, 272, 450

Royal Gardens: See Giardinetti Reali

Ruga dei Spezieri: 238

Ruga Vechia San Giovanni: 238

S

Saint Francis Basilica (Ravenna): 395

St. George’s Anglican Church: 28–29

Saint John the Evangelist Church (Ravenna): 391

Saint Mark’s Basilica: See St. Mark’s Basilica

Saint Mark’s Square: St. Mark’s Square

St. Roch in Glory (Tintoretto): 202–203

Sala dei Banchetti (San Marco Museum): 106–107

Salumi: 408, 410, 455–456

Salute church: See Santa Maria della Salute

Salviati Building: 76

“Sandwich Row” (Calle de le Rasse): 112, 279

San Francesco Basilica (Ravenna): 395

San Giacomo Church: 236

San Giobbe Altarpiece (Bellini): 150–151

San Giorgio Maggiore (island): 50, 137–145; with children, 298; eating, 138; map, 143

San Giorgio Maggiore Church: 50, 137–145; bell tower views, 142–145; map, 139; tour, 138–145

San Giovanni Evangelista (Ravenna): 391

San Marco (district): 10, 43 46–50, 77–79; bars, 314–315; eating, 278–280; maps, 226, 242, 252–253; shopping, 300–301; sight highlights, 43 46–50; sleeping, 249–254, 264; walking tours, 80–136, 224–232, 241–247

San Marco, Piazza: St. Mark’s Square

San Marco Basilica: See St. Mark’s Basilica

San Marco Campanile: 48, 85–86; with children, 296; general information, 39, 43, 44, 48, 51

San Marco Clock Tower: 47–48, 78, 84, 232

San Marco Museum: 46, 106–109

San Marcuola: 70–71

San Martino Vescovo Church (Burano): 220–221

San Maurizio Church: 313–314

San Michele: 63, 212–213

San Moisè Church: 227

San Pietro Martire Church (Murano): 214–215

San Polo (district): 10, 53–54

San Polo Church: 239

San Rocco School: See Scuola San Rocco

San Silvestro: 74

San Simeon Piccolo Church: 70

Sansovino, Jacopo: 88, 350, 417, 419

San Stae Church: 71

Santa Corona Church (Vicenza): 360–361

Santa Croce (district): 13, 54–56

Santa Lucia Train Station: 69, 316–318; eating near, 286; maps, 262–263, 317; shopping near, 301; sleeping near, 260–261

Santa Maria Assunta Church (Torcello): 222–223

Santa Maria del Giglio: 76–77

Santa Maria della Salute: 52, 77, 89, 172–176; general information, 45, 51, 52, 172–173; map, 174; tour, 173–176; views of, 76, 173–174

Santa Maria e San Donato Church (Murano): 217

Santa Maria Gloriosa dei Frari: See Frari Church

Sant’Anastasia Church (Verona): 376

Sant’Angelo: 74–75

Sant’Apollinare in Classe Church: 406–407

Sant’Apollinare Nuovo Basilica (Ravenna): 402–403

Sant’Elena: 62; park, 299; soccer, 299

San Tomà: 75

San Vitale Basilica (Ravenna): 398–400

San Zaccaria (district): 79, 243–246; map, 242

San Zaccaria Church: 45, 50, 243–245

San Zeno Maggiore (Verona): 380

San Zeno Triptych (Mantegna): 380

Scala Contarini del Bovolo: 229–230

Scala dei Giganti: 113–114

Scala d’Oro (Doge’s Palace): 115

Scaligeri family: 363, 370, 375, 379; tombs (Verona), 375–376

Scalzi Bridge: 70

Schulhof Collection (Peggy Guggenheim Collection): 170–171

Scrovegni Chapel (Padua): 340–346; map, 343; reservations, 21, 340–341

Scuola Dalmata di San Giorgio: 45, 51

Scuola Dalmata di SS Giorgio e Trifone: 59–60

Scuola del Santo (Padua): 353

Scuola San Rocco: 54, 199–207; with children, 298; general information, 44, 51, 54, 199; map, 200; tour, 201–207

Seafood (frutti di mare): 282–283, 454

Seasonal produce: 454

Seasons: 14; off-season travel, 43

Self-guided tours: See Walking tours

Senate Hall (Doge’s Palace): 119–120

Seventh Column (Doge’s Palace): 88–90

Ships Pavilion: 60–62

Shoes, handmade, shopping for: 307

Shopping: 300–308; best buys, 301, 304–307; budgeting, 20; clothing sizes, 483; hours, 426–427; map, 302–303; neighborhoods, 300–301; VAT refunds, 432. See also Glass; Lace; Markets

Sightseeing (sights): 39–247, 433–436; at a glance, 44–45; avoiding lines and crowds, 39, 42; best views, 29; budgeting, 19–20; with children, 294–299; daily reminder, 26; early and late, 51; general tips, 39, 42, 434–435; itineraries, 15–18; Padua, 331–355; passes, 19–20, 26, 42–43, 294, 364, 434; planning tips, 433; Ravenna, 391–407; reservations, 21, 434; Verona, 368–381; Vicenza, 359–362. See also specific sights

Signor Blum: 299, 308

SIM cards: 464

Sleep code: 437

Sleeping: 248–266, 436–444; near Accademia Bridge, 255–257, 260; budgeting, 20; with children, 292–293; Mestre, 264–266; online services, 438–439; Padua, 355–356; rates and deals, 264, 436–437; Ravenna, 407–408; reservations, 21, 442–443; near Rialto Bridge, 254–255; near Santa Lucia Train Station, 260–261; near St. Mark’s Square, 249–254, 264; types of accommodations, 437–444; Verona, 381–382

Smartphones: 22, 295, 461–464. See also Apps

Soccer: 299

Souvenirs: See Carnevale masks; Glass; Lace

Special events: 477–479

Speckled floors (pavimento alla Veneziana): 249

Spritz: 335, 357

St. Anthony Basilica (Padua): 347–353; map, 349

St. George (Mantegna): 151

St. Mark’s Basilica: 83–84, 91–109; general information, 44, 91–92; interior, 95–99; map, 93; mosaics, 92–98; museums, 99–108; walking tour, 92–109

St. Mark’s bell tower: See San Marco Campanile

St. Mark’s Square: 43, 46, 77–78, 80–90, 311; bars near, 314–315; best views, 29; cafés, 81, 86–87, 287, 311, 413; with children, 296; eating, 278, 287; gelato, 290; general information, 44, 80–81; guided tours, 36–37; maps, 81, 226, 252–253; music, 311; nightlife, 311; off-season, 43; pigeons, 29, 82, 296; quiet areas, 89; shopping, 300–301; sleeping near, 249–254, 264; supermarket, 290; toilets, 27; tourist information, 25–26; vaporetto, 32–33; view of, 109; walking tour, 82–90, 224–225, 227

Stationery, shopping for: 307

Stravinsky, Igor: 213

Strikes: 473

Synagogues: 58

T

TAMO Museo del Mosaico (Ravenna): 406

Tanguy, Yves: 166–167

Tapas: See Cicchetti

Tavola calda: 450

Taxes: day-tripper, 26–27; VAT refunds, 432

Taxis: 474; to/from airports, 321; Padua, 329; tipping, 431; Verona, 365; Vicenza, 359. See also Water taxis

Teatro Fondamenta Nuove: 314

Teatro Goldoni: 230, 314

Teatro Olimpico (Vicenza): 360

Teatro Romano (Verona): 380

Telephones: 461–465; with children, 295; how to dial, 463

Temperatures, average monthly: 484

Tempest, The (Giorgione): 152–153

Tetrarchs: 88–90

Textiles: shopping for, 305, 307. See also Lace

Theater: Venice, 230, 314; Verona, 380

Theft alerts: 23, 27, 295, 426, 430–431, 472–473

Tiepolo, Cecilia Guardi: 181

Tiepolo, Giovanni Battista (G.B.): 117–118, 179–180, 183–184, 186–187, 220, 239, 379, 422

Tiepolo, Giovanni Domenico (G.D.): 180, 183, 187–188, 422

Time zones: 426

Tintoretto, Jacopo: 50, 175, 346, 379, 419; Accademia, 154–155; biographical sketch, 202; Correr Museum, 130; Doge’s Palace, 114, 116, 118, 119, 122; San Giorgio Maggiore, 140–141; San Zaccaria Church, 244; Scuola San Rocco, 199–207

Tipping: 431

Titian: 176, 346, 353, 377, 379, 419; Accademia, 147, 149, 155–156; Doge’s Palace, 114, 117; Frari Church, 192–193, 196–197, 198; tomb, 198

Toilets: 28

Torcello: 45, 64, 221–223; guided tours, 216

Torre dei Lamberti (Verona): 375

Torre dell’Orologio: 47–48, 78, 84, 232

Tour guides: 37–38; Padua, 329; Ravenna, 391; Verona, 368

Tourist information: 25–26, 426; Padua, 328; Ravenna, 390; Verona, 364; Vicenza, 359

Tours: 36–38; Burano, 216; Murano, 216; Rick Steves, 475; Torcello, 216; Verona, 368. See also Walking tours

Toy store: 299, 308

Traghetto: 35–36, 72, 310

Tragicomica Mask Shop: 239–240, 306

Train travel: 316–318, 326, 465, 468–473; general tips, 472–473; maps, 317, 466–467; Padua, 328–329, 358; Ravenna, 390, 411; schedules, 468; tickets, 469–470; types of trains, 465, 468; Verona, 364–365, 387; Vicenza, 359, 362. See also Santa Lucia Train Station

Trams, in Padua: 328–329, 329, 331

Transportation: 29–36, 316–323, 465–475; to/from airports, 319–321; budgeting, 19; maps, 317, 466–467; Padua, 328–329, 331, 358–359; passes, 33–34; pre-booking, 21; Ravenna, 390, 411; Verona, 364–365, 387; Vicenza, 359, 362. See also Boating; Buses; Taxis; Train travel

Travel advisories: 425

Travel insurance: 21–22

Travel smarts: 23–24

Travel tips: 425–428

Treasury (St. Mark’s): 99, 102–103

Treviso Airport: 321

Trip costs: 19–20

Triumph of Venice (Tintoretto): 119

Tronchetto: parking, 323

Turkish Exchange: 70–71

TV shows, recommended: 481

Two Venetian Gentlewomen (Carpaccio): 136

U

Uber: 474

University of Padua: 337–339

Urbs Picta Card (Padua): 328, 329

V

Vaporetto: 32–35, 296, 317–318; boarding and riding, 35; crowd-beating tips, 35; handy routes, 32–33; important lines, 34–35; off-season, 43; tickets and passes, 33–34; Venice’s lagoon, 208–209

VAT refunds: 432

Venetian cuisine: 282–283, 408, 452–457. See also Aperitivo; Cicchetti; Eating

Venetian glass: See Glass

Venetian lace: See Lace

Venetian masks: See Carnevale masks

Venetia Studium: 305

Venezia FC: 299

Veneziano, Paolo: 107, 133–134, 149–150, 194–195, 245, 416

Venice Biennale: 62, 143, 478–479

Venice City Hall: 74, 230

Venice Jazz Club: 315

Venicescapes: 37

Venice’s lagoon: 13, 63–64, 208–223; maps, 209–210; sight highlights, 50, 63–64; transportation, 208–209

Venini (Murano): 214

Verona: 13, 325, 363–387; eating, 383–387; helpful hints, 365, 368; maps, 366–367, 369; orientation, 363–364; sights, 368–381; sleeping, 381–382; tourist information, 364; transportation, 364–365, 387; walking tour, 368–378

Verona Card: 364

Verona City Hall: 370

Verona Duomo: 377–378

Verona Roman Arena: 365, 370–371

Verona Roman Theater: 380

Verona-Villafranca Airport: 365

Veronese, Paolo: 346, 360, 419; Accademia, 153–154; Doge’s Palace, 114, 118, 119, 120, 122

Via Argentario (Ravenna): 398

Via Cavour (Ravenna): 397–398

Via Diaz (Ravenna): 392

Via Garibaldi: 45, 62; eating, 62

Viale Farini (Ravenna): 391–392

Vicenza: 13, 325, 359–362; map, 360

Vicenza Archaeological and Natural History Museum: 361

Victor Emmanuel II: 245–246, 370

Villa la Rotonda (Vicenza): 361

Villa Valmarana ai Nani (Vicenza): 361–362

Visitor information: See Tourist information

Vivaldi, Antonio: 246, 311–314, 422

Vogalonga Regatta: 478, 479

W

Walking: 29–32

Walking tours: guided, 36–37; Ravenna, 391–402; Rialto to Frari Church, 233–240; St. Mark’s Basilica, 91–109; St. Mark’s Square, 80–90; St. Mark’s to Rialto, 224–232; St. Mark’s to San Zaccaria, 241–247; Verona, 368–378; guided, 364

Water, drinking: 29, 457–458

Water taxis: 36, 318, 320

Weather: 14, 23, 484

Wi-Fi: 22, 295, 461–464

Wine: 277, 283, 460–461; glossary of terms, 461; Verona, 384. See also Bars and cafés

Wine bars (enoteche): 450–451; Padua, 357–358; Ravenna, 408–409; Venice, 276–277, 280, 284, 286, 413; Verona, 372, 383

Z

Zattere: 290; eating, 281; nightlife, 315; sleeping, 255–257

Zechariah, Saint: 50, 243–244

Zeno, Saint: 373, 380

MAP INDEX

Color Maps: Front of Book

Venice by Neighborhood: 9

Color Maps: Back of Book

Venice Overview

Venice

St. Mark’s Area

Rialto Area

Accademia Area

Italy

Orientation

Venice Overview: 30–31

Handy Vaporetti: 33

Sights in Venice

Venice: 40–41

Jewish Ghetto: 57

Castello Neighborhood: 61

Grand Canal Cruise

Grand Canal: 66–67

St. Mark’s Square Tour

St. Mark’s Square: 81

St. Mark’s Basilica Tour

St. Mark’s Basilica: 93

Byzantine Empire: 101

Doge’s Palace Tour

Doge’s Palace: 111

Executive & Legislative Rooms: 117

Judicial Rooms: 121

Hall of the Grand Council: 123

Correr Museum Tour

Correr Museum—First Floor: 127

Correr Museum—Second Floor: 134

San Giorgio Maggiore Tour

San Giorgio Maggiore: 139

View from San Giorgio Maggiore: 143

Accademia Tour

Accademia: 148

Peggy Guggenheim Collection Tour

Peggy Guggenheim Collection: 160

La Salute Church Tour

La Salute Church: 174

Ca’ Rezzonico Tour

Ca’ Rezzonico—First Floor: 179

Ca’ Rezzonico—Second Floor: 186

Frari Church Tour

Frari Church: 192

Scuola San Rocco Tour

Scuola San Rocco: 200

Venice’s Lagoon Tour

Venice’s Lagoon: 209

Lagoon Tour: 210–211

Murano: 215

Burano: 219

St. Mark’s to Rialto Loop Walk

St. Mark’s to Rialto Loop Walk: 226

Rialto to Frari Church Walk

Rialto to Frari Church Walk: 234–235

St. Mark’s to San Zaccaria Walk

St. Mark’s to San Zaccaria Walk: 242

Sleeping in Venice

Hotels & Restaurants near St. Mark’s Square: 252–253

Hotels & Restaurants near Accademia Bridge: 258–259

Hotels & Restaurants near the Train Station: 262–263

Eating in Venice

Hotels & Restaurants near the Rialto Bridge: 270–271

Shopping in Venice

Shopping in Venice: 302–303

Venice Connections

Arrival in Venice: 317

Near Venice

Day Trips from Venice: 325

Padua

Padua: 330

Padua Center: 332–333

Scrovegni Chapel: 343

Basilica of St. Anthony: 349

Vicenza: 360

Verona

Verona: 366–367

Verona Walk: 369

Ravenna

Ravenna: 392–393

Venetian History

Venice’s Empire: 415

Practicalities

Italy’s Public Transportation: 466–467

Credits

RESEARCHER

For help with this edition, Rick and Gene relied on...

Suzanne Kotz

Suzanne, an editor with Rick Steves’ Europe, began her travel career riding in a station wagon with her six siblings from Michigan to Florida for spring break. Since then, she’s broadened her destinations to include much of Europe and parts of Asia. A librarian by training and a longtime editor of art publications, she’s happiest in her Seattle garden or when planning a meal for family and friends.

ACKNOWLEDGMENTS

Thank you to Risa Laib for her 25-plus years of dedication to the Rick Steves guidebook series.

PHOTO CREDITS

Front Cover: St. Mark’s Square, Doge’s Palace © Stefano Springhetti, Sime, eStock Photo

Back Cover (Dreamstime, left to right): Canal with gondola in Venice © Ekaterinabelova; Venetian cicchetti © Maurizio Polese; master glassmaker working Murano glass © Iveklitch

Title Page: Riva degli Schiavoni, waterfront promenade, Venice © Sandra Hundacker

Dreamstime: here (bottom), here, here (top), here, here (bottom), here (top), here (top) © Photogolfer; here (top) © Vividaphoto; here (top) © Andersastphoto; here (left) © Cineberg Ug, here © Cascoly; here Ralukatudor; here (top) Goga18128; here Zatletic; here Meinzahn, here Radiouran; here Areg43

Additional Credits: here Framed Art, Alamy; here, here © 2019 Estate of Pablo Picasso/Artists Rights Society (ARS), New York; here, here, here, here, here (bottom), here (bottom) Public Domain via Wikimedia Commons

Additional Photography: Elena Bauer, Dominic Arizona Bonuccelli, Ben Cameron, Orin Dubrow, Simon Griffith, Cameron Hewitt, Sandra Hundacker, Suzanne Kotz, Gene Openshaw, Rick Steves, Laura Van Deventer, Ian Watson. Photos are used by permission and are the property of the original copyright owners.

Avalon Travel

Hachette Book Group

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Text © 2022 by Rick Steves’ Europe, Inc. All rights reserved.

Maps © 2022 by Rick Steves’ Europe, Inc. All rights reserved.

17th edition. First printing January 2023.

ISBN: 978-1-64171-432-7

eISBN: 978-1-64171-433-4

For the latest on Rick’s talks, guidebooks, tours, public television series, and public radio show, contact Rick Steves’ Europe, 130 Fourth Avenue, Edmonds, WA 98020, +1 425 771 8303, RickSteves.com, rick@ricksteves.com.

Hachette Book Group supports the right to free expression and the value of copyright. The purpose of copyright is to encourage writers and artists to produce the creative works that enrich our culture. The scanning, uploading, and distribution of this book without permission is a theft of the author’s intellectual property. If you would like permission to use material from the book (other than for review purposes), please contact permissions@hbgusa.com. Thank you for your support of the author’s rights. The publisher is not responsible for websites (or their content) that are not owned by the publisher.

Rick Steves’ Europe

Managing Editor: Jennifer Madison Davis

Assistant Managing Editor: Cathy Lu

Editors: Glenn Eriksen, Suzanne Kotz, Rosie Leutzinger, Teresa Nemeth, Jessica Shaw, Carrie Shepherd

Editorial & Production Assistant: Megan Simms

Researcher: Suzanne Kotz

Graphic Content Director: Sandra Hundacker

Maps & Graphics: Orin Dubrow, David C. Hoerlein, Lauren Mills, Mary Rostad, Laura Terrenzio

Avalon Travel

Senior Editor and Series Manager: Madhu Prasher

Associate Managing Editor: Jamie Andrade

Editor: Rachael Sablik

Proofreader: Maggie Ryan

Indexer: Stephen Callahan

Production & Typesetting: Lisi Baldwin, Rue Flaherty

Cover Design: Kimberly Glyder Design

Maps & Graphics: Kat Bennett

Although every effort was made to ensure that the information was correct at the time of going to press, the author and publisher do not assume and hereby disclaim any liability to any party for any loss or damage caused by errors, omissions, drowning, or any potential travel disruption due to labor or financial difficulty, whether such errors or omissions result from negligence, accident, or any other cause.

COLOR MAPS

Venice • St. Mark’s Square Area • Rialto Area • Accademia Area • Italy

Table of Contents

Cover Page

Title Page

Contents

Venice

Orientation to Venice

Sights in Venice

Self-Guided Tours

Grand Canal Cruise

St. Mark’s Square Tour

St. Mark’s Basilica Tour

Doge’s Palace Tour

Correr Museum Tour

San Giorgio Maggiore Tour

Accademia Tour

Peggy Guggenheim Collection Tour

La Salute Church Tour

Ca’ Rezzonico Tour

Frari Church Tour

Scuola San Rocco Tour

Venice’s Lagoon Tour

Self-Guided Walks

St. Mark’s to Rialto Loop Walk

Rialto to Frari Church Walk

St. Mark’s to San Zaccaria Walk

Sleeping in Venice

Eating in Venice

Venice with Children

Shopping in Venice

Nightlife in Venice

Venice Connections

Near Venice

Padua

Vicenza

Verona

Ravenna

Venetian History

Practicalities

Appendix

Index

Map Index

Credits

Copyright