DK Travel : Venice : Places of interest

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Campo San Stefano

This spacious, elegant square is edged by cafés with smart, white-jacketed waiters and colourful awnings. Its most regular inhabitants seem to be unhurried pigeons, pecking around the ornate lampposts, and local children at play watched over by nannies and doting grandparents. Pride of place in the centre goes to a statue of Niccolò Tommaseo, patriot and author of the Risorgimento . At Carnival time a lively outdoor craft market is held here, although it is not quite up to the level of merrymaking seen here in olden times when there were magnificent balls and bull-fights. The latter events ended in 1802 when a stand collapsed on spectators.
Campo San Zan Degolà

People usually hurry through this square en route to the bus terminal, oblivious to its quiet charm. Interest starts with the curious loggia on the western canal edge, then there’s the attractive plain church named for San Giovanni Decollato or St John the Beheaded, depicted with flowing curly locks in a stone bas-relief on the southern wall. Inside the simple Veneto-Byzantine building are lovely 13th-century frescoes, an unusual survivor for damp old Venice.
Campo Santa Maria Formosa

A lovely rounded church on this sun-blessed square appears to spread in all directions, the result of a 7th-century bishop’s vision of the “shapely” (formosa ) Virgin Mary’s request it be built where “a white cloud came to rest”. Artworks are by Vivarini and Palma il Vecchio. The square is a good place for a picnic or a game of football, in lieu of the bullfights and re-enactments of Venice’s conquests held here in olden days.
Campo Santi Giovanni e Paolo

Dominated by the brick façade of the Gothic church SS Giovanni e Paolo, this breezy square welcomes visitors with a flotilla of outdoor cafés. Worthy of contemplation is one of the world’s most magnificent equestrian statues, a stylized 15th-century portrait of the great condottiere Bartolomeo Colleoni. He left a legacy to the city on the condition that his statue be erected in front of San Marco, craftily “interpreted” by the governors as the Scuola Grande di San Marco close at hand. Gracefully decorated with arches and trompe l’oeil panels by the Lombard masters, the former confraternity serves as the public hospital.
Cappella degli Scrovegni

The sky-blue vault studded with gold stars in this glorious Paduan chapel seems to hover over Giotto’s vibrant frescoes narrating the lives of Mary and Jesus. The Florentine artist (1266–1337) was summoned by Enrico Scrovegni to work on the chapel in 1305–06, to atone for the sins of his late father, a moneylender. Especially noteworthy of the 38 distinct scenes is the Last Judgment on the entrance wall, with ranks of helmeted, haloed and shield-bearing angels. Book well in advance and be prepared to wait in the “decontamination” chamber before the 15-minute visit.
Casa di Giulietta

Tourists flock to “Juliet’s House”, the 13th-century presumed abode of the Shakespearean heroine. Complete with a pretty balcony (added in 1928...) the romantically inclined can imagine her uttering that immortal cry: “Romeo, Romeo, wherefore art thou Romeo?” The courtyard walls are plastered with multilingual graffiti left by lovers from all over the world.
Ca’ d’Oro

Behind the palace’s beautiful Gothic tracery is a memorable column-filled courtyard paved with myriad coloured tesserae. Inside is the Galleria Franchetti, an enticing collection of paintings, sculptures, coins and ceramics donated to the State by Baron Giorgio Franchetti in 1916, together with the building. One highlight is Andrea Mantegna’s agonizing St Sebastian (1560) pierced by arrows “like a hedgehog”, in the portico leading through to a stunning loggia overlooking the Grand Canal. An ornate 15th-century staircase climbs to the second floor where there are huge 16th-century Flemish tapestries (see Ca’ Dario).
Ca’ Pesaro Museo di Arte Orientale

This impressive Oriental Art Collection is an eclectic mix of 19th-century curiosities from all over the Far East. Exhibits include armour, porcelain and costumes, dainty lacquerwork boxes and musical instruments. The neigh-bouring modern art gallery in monumental Ca’ Pesaro (see Fondaco dei Turchi and Ca’ Pesaro Galleria d’Arte Moderna) has also recently reopened after restructuring.
Certosa

Inhabited by religious communities for more than 600 years, the “charterhouse” island went the way of many of its neighbours under occupation by French, Austrian and Italian forces, though currently as the property of the City Council, is slowly being cleaned up as a public park. Though there is no public boat service, it can be seen from vaporetto lines as they circle eastern Castello. Also clearly visible from the LidoPunta Sabbioni ferry are the impressive fortified ramparts of Sanmicheli’s 16th-century Forte di Sant’Andrea, which faced any hostile vessels that dared to enter the lagoon unbidden.
Chiesa dei Gesuati

Set right on the Zattere waterfront close to the main ferry moorings, the Gesuati (also known as Santa Maria del Rosario) is often confused with the Gesuiti (Jesuit) establishment in Cannaregio. Taking over from a minor religious order, the Domenican friars had this church constructed in Classical style in 1726 by Giorgio Massari. Inside the ceiling consists of three uplifting frescoes (1737–9) by Tiepolo (see Giorgione), which are considered among his best work, portraying St Dominic amid glorious angels in flight.