weimere@aol.com – Page 4 – Snapping The Globe

Beginning in Bogota

Mardi Gras is a huge celebration, especially in Louisiana, but amidst the beads and floats, some people forget that Mardi Gras is the precursor to the Lenten season for the Catholic religion. Partying and feasting are the norm during the Mardi Gras season, but all that comes to an end on Ash Wednesday, the day after Fat Tuesday, when Catholics begin their abstinence for six weeks.

Having attended Catholic school, I remember being off of school for the Mardi Gras holiday, but the thing I remembered most was attending mass on Ash Wednesday with my school so that we could receive ashes on our foreheads. For the Lenten season, it was as important to us as Good Friday and Easter Sunday.

Recently, I found myself in Bogota. Since I had not been to Colombia in many years, I was excited to revisit some of the places that I had in the past and some new ones. At least one of those places was a church and since it happened to be Ash Wednesday, I was excited to see if any of the traditions in Bogota Catholicism were different than I expected.

Early in the morning, two of my friends and I decided to take an Uber to one of Bogota’s most famous natural landmarks, Monserrate. Rising more than 10,000 feet above the city center, the mountain boasts a 17th century church and shrine devoted to El Señor Caído (“The Fallen Lord”).

I recalled visiting many years ago, but I didn’t remember much except for the photo of a beautiful flower that I took there (that now hangs on my living room wall) and that we had taken a teleférico (cable car) to the top of the mountain.

Arriving at the teleférico station, we discovered that the teleférico was not in operation, only the funicular. So be it! It was either that or a long hike (almost two miles) with a steep grade! Purchasing our tickets, we took our place in line and awaiting our turn to board the railway car to the mountaintop. As we were packed like sardines, it made it easy to make friends and I practiced my Spanish while we enjoyed the scenery during the climb.

At the end of the line, we exited the funicular and made our way along the pathway admiring the beautiful statues of the Stations of the Cross as well as the stunning views of the city below, in between the low clouds and light rain showers. On the adjacent mountain, we spied the 45-foot tall statue of the Virgin of Guadalupe and its adjacent sanctuary, which appeared to be miniscule from our vantage point. Finally, we were face to face with the Basilica Sanctuary of Monserrate which houses the statue of the fallen Lord of Monserrate, representing Jesus falling for the third time on his way to Calvary.

Pausing for a moment to take a photo with the Bogota sign in front of the basilica, we then entered, realizing that Ash Wednesday mass was taking place. Walking quietly through the church, I made my way through its interior, investigating the chapels and its decorative features. At the rear of the building, in an enclosed room behind the altar, I discovered the Lord of Monserrate. It is said that this miraculous effigy of Christ has hair that grows and that when they try to lower it to the city, its weight increases, becoming an impossible task to achieve. It was difficult to get a good look as the viewing windows were small and many people were lined up, hoping to get a glimpse of the famous icon, but I did notice that hair on the statue appeared to be realistic.

Dating back almost 500 years, the basilica is built on the mountain that was once named Cerro de Las Nieves for its frequent cloudiness. A monastery dedicated to the Virgen of Montserrat was founded in this location and a path was created for pilgrims to climb the hill. The basilica houses a chapel dedicated to this Black Madonna and while I studied it, I thought it to look familiar. After some contemplation, I realized that it was because the origins of the Virgen Morena de Monserrate are of Catalonia, Spain and I had visited the monastery of Montserrat outside of Barcelona many years ago. In fact, it was so familiar to me because I had purchased a tiny replica of this Virgin which sits on my desk in my home office!

After my investigation of the basilica was complete, I wandered around to the rear of the church to where a large craft market is located. Small stalls offered up all sorts of handmade objects, clothing items and religious souvenirs. Hoping to add to my nativity collection, I figured that this would be the best place to find a unique piece. Surprisingly, however, it took quite a bit of asking around to finally find one…and then a lot more searching to find one that met my requirements. Happy at last and package in hand, we decided to catch the funicular so that we could head back down the mountain and catch a ride to the downtown area.

The ride to Plaza de Bolivar was only about ten minutes and we were dropped off right in front of the Catedral Primada de Colombia, better known as the Metropolitan Cathedral Basilica of Bogota and Primate of Colombia. A lively square, standing before the basilica, it is filled with both locals and tourists, but its main occupants are pigeons! Lots and lots of pigeons!

The square is also surrounded by many historical buildings, including the Palacio de Justicia (Palace of Justice), Palacio Lievano (Palace Lievano), Museo Santa Clara (Santa Clara Museum), Museo Colonial (Colonial Museum) and the National Capitol among others. While we wished that we had had the time to visit everything in this area, it was the cathedral that we were most interested in, however.

Towering over Bolivar Square, the cathedral is the largest church in all of South America. The neoclassical structure has a striking façade, however, its interior, we soon found, was rather lackluster as are many of Columbia’s sanctuaries. We did take the time, however, to inspect the many paintings, sculpture and statues from the 17th and 18th century as well as the side chapels and other architectural features of the church.

*Metropolitan Cathedral Basilica of Bogota and Primate of Colombia*

*Metropolitan Cathedral Basilica of Bogota and Primate of Colombia entrance*

Noting that mass was not being conducted, we saw a line spanning the length of the cathedral down the central aisle. The three of us, all practicing Catholics, realized that the cathedral’s parishioners were receiving ashes, so we took our places and slowly made our way to the front of the line. What a special opportunity to receive ashes in the Bogota Cathedral on this day!

Lunchtime had already passed, so deciding to seek out a local restaurant, we headed down the pedestrian friendly Carrera 7. Vendors were plenty and it was fun to check out the some of the unique merchandise and watch the street performers, while seeking out Colombian cuisine. Since it was Ash Wednesday, we had to be mindful of our meat intake, but empanadas were plentiful and it was easy to order those filled with queso and dulce de leche churros for dessert!

Our meal complete, we realized that the afternoon was almost halfway finished. We still had a bit of a drive back to our hotel and there was that pesky thing called work that we had to do, but there was one more church at the end of Carrera 7, that I wanted to visit…the Church of San Francisco.

Dating back to the 16th century, this ornate church is the oldest preserved church in Bogota. Built between 1586 and 1611, it originally was part of a complex combined with a monastery that covered two city blocks and had three two-story cloisters. Its exterior once covered in white, was stripped in recent years leaving only the white bell tower to exhibit its original appearance. Today, the only parts of the original temple that survive are the church façade, the tower and the chancel.

Somewhat intimidating when we approached, with its unassuming façade, graffiti spray painting on the front wall and trash littering the walkway and within the entryway, my colleagues looked to me as though I was a bit mad to bring them here in a city where crime is rampant. Stepping gingerly into the darkened interior, we allowed our eyes to adjust as we gained our bearings. Met with a beautiful red screen separating the inside from the gritty periphery, we peered around up the central aisle toward the high altar. A beautiful wooden roof soared above our heads and a simplistic, double nave design spread around us. The confessionals were designed in an ornate gold and red composition as were many other features, however, the chapels were decorated chiefly in gold and the Stations of the Cross were of a wooden design.

The overall presentation was extremely dark, both in brightness and composition, and I am sad to say, maybe because of its location in the downtown area, it gave me a very eerie feeling. We did not notice many other visitors and no services for Ash Wednesday were being held. I think when I suggested to bid our adieu, my companions were quite relieved to move along.

Our day was coming to a close and other considerations were coming into play, including traffic and getting some rest before flying through the night. Scratching my forehead while on the ride home, I realized that my ashes were still prominently displayed. Removing my compact from my handbag and taking a glance, I noted the dark mark semi-hidden under my bangs.

It was the beginning of Lent. Beginning in Bogota.

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Monserrate

https://monserrate.co/
Address: Carrera 2 Este No. 21-48 Paseo Bolívar, Bogota, Colombia
Admissions and Hours: Accessing Monserrate: By foot, trail open every day, except Tuesdays, 0500-1300 to go up and from 0500-1600 to go down. Free of charge. By funicular, Monday to Friday, 0630-1145 and Saturdays, 0630-1630. 23,500 COP (about $5.40 USD) round trip. On Sundays and holidays, 0530-1800. 14,000 COP (about $3.20 USD) round trip. Discounts for Senior citizens (over 62 years). By teleférico, Monday to Saturday, 1200-2200, 23,500 COP (about $5.40 USD) roundtrip. On Sundays, 0530-1800. 14,000 COP (about $3.20 USD) roundtrip. Pets allowed for an additional fee. Basilica Admission: free

Catedral Primada de Colombia

Address: Carrera 7 10 80, Bogotá, CO 111711
Hours: 0900-1700, daily (unverified)
Admission: free

Iglesia de San Francisco (Church of San Francisco)

Avenida Jimenez de Quesada #7-10, Bogota, Colombia
Hours: 0900-1700 (unverified)
Admission: free

Strike Out

Italian train strikes…I hate them.

It always seems that they happen when I have plans to visit other towns in Italy. While they usually give plenty of notice, for some reason, I usually miss that information until I arrive at the train station and realize that something is amiss.

Last October, exactly that happened. Skipping my nap, I readied myself for my day trip to Vigevano, the city known for its shoemaking history. With my list of places I wanted to visit in hand, I arrived at Porta Genova train station, purchased my ticket and walked out to the platform to await my ride. My train was supposed to leave at 12:40, but the time had come and gone. As I began to study the departure board, a man began speaking to me in Italian. My confused look must have clued him in that I did not speak his language, so instead, he said, “Signora, no trains, no trains!”

WHAT? NO TRAINS?

Refusing to believe his revelation, I continued to wait, eventually realizing that not one train had traveled through the station. Trying to look up any bit of information on the internet, I had no success, even with attempting to find an alternate route, other than driving or walking.

Defeated, I realized that I needed to find an alternate plan for the day. “Okay, think…”, I said to myself. Realizing that I was near the Navigli Canal area, I decided to head that way.

It was a beautiful, fall afternoon, perfect for strolling along the waterway, so I attempted to enjoy my plan modifications…with a scoop of gelato to cheer me up! Having been in this area before, I decided to seek out more about what makes it special.

Until the nineteenth century, the Navigli canals were the port area of Milan allowing the reach of Lake Maggiore, Lake Como and Ticino. Consisting of two major canals, Naviglio Grande and Naviglio Pavese, these canals were used to import the marble needed to construct the Duomo church.

Today, there are alternate methods of reaching other Italian cities and for receiving goods and merchandise, but the Navigli canals still play an important part in the Milanese daily life. An exciting place where locals and tourists alike meet to enjoy the lovely evenings while the evening light reflects on the waterways, many restaurants and bars are available to choose from. The last Sunday of the month also draws crowds for the Vintage Market, which hosts exhibitors from all over Lombardy selling an odd assortment of goods.

It wasn’t Sunday and it wasn’t quite happy hour yet, so I opted to analyze every shop, alleyway and piece of architecture along the way. Not long after I began my explorations, I stumbled upon something interesting. What appeared to be an awning covering a small stream, I learned was the Vicolo Lavandai, the former laundromat, dating back to the last century. One would expect that it was the meeting place of women, however, it is interesting to note that in fact, it was the men who did the washing here. The small stream was fed by the Naviglio Grande and on wooden boards, also known as brellins, they scrubbed their clothing items. These men created their own trade association in 1700, the Confraternita dei Lavandai which had St. Anthony of Padua as its patron saint and it was to him that they dedicated the church of Santa Maria delle Grazie al Naviglio.

This church was where I headed next, a short distance down the canal.

Santa Maria delle Grazie al Naviglio, had its humble beginnings on the left bank of the Naviglio Grande in the sixteenth century with a chapel built to house an image of the Madonna. The chapel was eventually demolished and a larger Baroque church was built in its place, being devastated by fire in 1719 and then restored. At the end of the 19th century, the church, deemed to small for the growing parish, was demolished and replaced with a larger one in 1909…the current church.

The exterior was a bit confusing for me as it did not look like many of the Italian churches I had visited. In fact, it did not really appear to be a church at all remaining largely unfinished. I entered the portal set in its rough brick façade and took a look around, still not convinced that it was a church that I was setting foot in.

Glancing around, I noticed that the church’s neo-Romanesque interior contained three naves covered by a barrel vault. As I made my way down the main aisle, I admired the afternoon light filtering in through the stained glass windows established throughout the church. Two bronze pulpits and two additional altars flanked the main altar. These altars were crowned by stained glass windows depicting the Cross and the Madonna. The altar on the left was formerly the main altar and contained a statue of the Pietà which was originally housed in the previous church. The right altar is dedicated to Saint Anthony of Padua, the protector of the nearby laundrymen. The highlight, however, was the neo-Gothic high altar which showcased a beautiful temple containing a bas-relief of God the Father Blessing.

*Altars dedicated to Saint Anthony of Padua and the Pieta*

Making my way through the church’s interior, I was continually drawn to the rich stained glass windows and the church’s clean lines. Stopping in the baptistery, I admired the stunning fresco of Jesus’ baptism by John the Baptist.

The cafes were starting to attract a few patrons interested in cappuccinos and stronger concoctions. As tempting as a nice, chilled Nastro Azzurro sounded at that moment, I decided to make my way to one other place.

Passing the Church of San Gottardo al Corso and Porta Ticinese, the former city gate of Milan, I snapped a few photographs of each, but with neither being my intended destination, I continued on.

Finally, I made it to the place that had been on my list of things to see in Milan for some time…Basilica di Sant’ Eustorgio or more specifically, the Museum of Sant’Eustorgio and the Portineri Chapel.

Walking through the cloister, I made my way to the entrance to the museum. Here, I paid my entrance and began my self-guided tour through the museum. After St. Ambrogio, the 4th century Saint Eustorgio is one of the most noteworthy medieval structures in the city and stands on the ruins of an Early Christian Necropolis. It houses the famous Portinari chapel as well as numerous artworks of different nature.

*Remains of Early Christian Neocropolis*

Moving from the southern portico of the first cloister to the remains of the early Christian necropolis, I admired the frescoes that decorated the walls of this area. Heading then to the former chapter house of the primitive Dominican monastery and then the monumental sacristy, I inspected the large collection of relics, liturgical objects, vessels and reliquaries that were exhibited in the walnut cabinets. While the collection is vast, many which were referred to in the archives, have been lost over the years.

Continuing on to the sunlit Solarian Chapel with its black and white floors, I stopped for a moment to appreciate its simplistic style. Turning and navigating the hall on the left, I then found myself in the famous Portinari Chapel.

Commenced in 1460 and completed in 1468, this jewel of the church, created in the Renaissance style, is absolutely breathtaking. With walls decorated with frescos by Vincenzo Foppa and a multi-hued dome, it contains the relic head of St. Peter of Verona, to whom the chapel is consecrated. Originally slated to function as both a family chapel and mortuary, the marble sepulchre of Peter of Verona was moved from the basilica into the chapel in 1736. A marble altar was erected in front of it, on which was place a silver shrine containing the saint’s head. In the 1880’s the sepulchre was placed off center in the chapel to be better illuminated and the shrine containing the head was moved to a small adjacent chapel. The chapel also includes a number of paintings by undisclosed Lombard artists including frescoes such as the Miracolo della nuvola e Miracolo della falsa Madonna, and a depiction of the martyrdom of St. Peter Martyr.

Finally, I made my way to the dimly lit basilica which was once an important stop for pilgrims on their journey to the Holy Land because it was said to contain the tomb of the Three Magi.

Founded around the 4th century, it was named after Eustorgius I, the Bishop of Milan. In the 12th century the revered relics of the Magi were taken to Cologne, Germany and it wasn’t until the beginning of the 20th century that fragments of the bones and garments were returned to Sant’Eustorgio. Today, they are in the Three Kings altar.

On the right side of the church there are chapels commissioned from the 14th century onwards by Milan’s prestigious families each contain important frescoes and tombs. The high altar offers an imposing marble polytypch from the 15th century and other important works by Ambrogio Figinia can be found in the church.

As I exited the church, I took a few moments to analyze its more modern exterior, dating back to the 19th century. What is interesting to note is that the belltower is topped with a star instead of a traditional cross, giving homage to the Three Magi.

As my day was coming to a close, I took a seat at the restaurant I chose along the Navigli Grande. Reflecting on the turn of events due to the train strike, I was sad that I wasn’t able to stay with my plan of visiting Vigevano. Yes, I struck out!

But…that didn’t mean that I lost the game. With some quick thinking, I was able to salvage the day and see some amazing sights within the city. And Milan is full of them!

For more pictures, check out Facebook, Snapping the Globe and Instagram, @snappingtheglobe.

Vicolo Lavandai

Address: Alzaia Naviglio Grande, 14, 20144 Milano MI, Italy
Hours: 24 hours, daily
Admission: free

Church of Santa Maria delle Grazie al Naviglio

Address: Alzaia Naviglio Grande, 34, 20144 Milano MI, Italy
Hours: unknown
Admission: free

Church of Saint Gotthard al Corso

Address: Corso S. Gottardo, 6, 20136, Milano MI, Italy
Hours: unknown
Admission: free

Porta Ticinese

Address: Piazza Ventiquattro Maggio, 20123 Milano MI, Italy
Hours: 24 hours, daily
Admission: free

Basilica di Sant’ Eustorgio

http://www.santeustorgio.it/ http://www.museosanteustorgio.it/en/home-eng/
Address: Piazza Sant’Eustorgio, 1, 20122 Milano, MI, Italy
Hours: Church, daily, 0745-1200 and 1530-1830. Museum of Sant’ Eustorgio, Monday, closed. Tuesday to Sunday, 1000-1800.
Admission: Adults, €6,00, Children (ages 6-18), €4,00, Children (under 6), free.
Getting There: From Piazza Duomo (MM1 and MM3) with Tram 3. Trams 9 and 10 (Piazza XXIV Maggio stop) and from Piazza Sant’Ambrogio (MM2) with bus 94 (DeAmicis-C.so Porta Ticinese stop).

The Musical Wall

Murals, graffiti, sculptures…

Having studied art and architecture, they always draw my interest. There are days, during my layovers, that I just wander around taking pictures of public art…and it is never in short supply in any city throughout the world.

One fall afternoon in Milan, I was walking the streets in the Navigli Canal area. Trying to locate another particular point of interest, I spotted something else marked on Google maps.

The Macan Music Wall.

Not quite sure what this would reveal, I headed in that direction.

Each year, in addition to Milan’s famous Fashion Week, the city also hosts Music Week, a pace of concerts, showcases, meetings, workshops, webinars, exhibitions and presentations. During Milan’s 2018 Music Week, the event was kicked of with the inauguration of the Macan Music Wall, a public artwork dedicated to music, unveiled, commissioned and gifted by Porsche Italia to the city.

This imposing mural covers the façade of a building in via Conchetta (corner of via Troilo) and was created by the collective of urban artists Orticanoodles and the Leagas Delaney agency. Entitled “Music Is A Never Ending Journey”, the work depicts a gigantic beating heart placed at the center of a musical cosmos. Around the heart, planets and constellations inspired by different genres and musical instruments rotate, as in a star map. Painted with special fluorescent paints, it is even visible during the nighttime hours.

To make your visit even more special, pop your Airpods in and tune to Porsche Italia’s Spotify channel, entitled “Music Is a Never Ending Journey” for the full experience!

While this is not a major attraction, it was interesting to discover while in the area and I think that it would be quite the spectacle to behold at night!

Many more art installations, sculpture and graffiti can be found the in Navigli Canal area, including the Wall of Dolls ( https://snappingtheglobe.com/?p=6924). Put on your walking shoes and start searching!

*Navigli Canal area art installations, murals and grafitti*

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Macan Music Wall

Address: Via Conchetta, 8, 20136 Milano, MI, Italy
Hours: 24 hours, daily
Admission: free
Getting There: Tram 3, L.go Mahler stop. P.TA Genova FS metro stop, walk 16 minutes.

The Glass

You know the saying…”the glass is half full”?

My husband is that kind of guy…always sees the bright spot!

While my husband could have been upset that I only allotted a condensed visit to Murano during our day, he was elated that he would have any time there at all. My birthday, my decision…he had agreed to this plan! So…glass half full!

Revisiting Murano was not high on my list. Twice before, I had called upon the island, most recently, the week before. Both times, I had been part of a tour and was taken immediately to one of the glass blowing demonstrations in one of the workshops on the Grand Canal of Murano. With limited time, because of the presentation, my impression of Murano was not optimum. Not having time to do much exploration, the only thing I could associate with it was a dark, cramped (and hot) workspace, filled with other tourists, holding up their iPhone (me included), trying to document a master glassblower manipulate molten glass into a small pony. Then, being ushered into the crowded giftshop so that I could buy a replica of that breakable steed.

Arriving from Burano, we disembarked onto the Murano Faro dock and had a wonderful view of the tall, elegant lighthouse that was built in 1934. Walking down Calle Bressagio, we passed the Oratorio Ex ospizio Briati, a chapel which was the former Carmelite convent and followed the street until we reached the canal along Fondamenta Manin, where we browsed the many souvenir shops that line the waterway.

A building across the canal caught my eye and I quickly ushered my husband across the bridge….the Church of Saint Peter Martyr. This ancient church was originally built in 1348 with a Dominican convent and was dedicated to Saint John the Baptist. After a fire in 1474, it was rebuilt to its current state and was one of the two main parish churches on the island of Murano that I planned to visit.

Church of Saint Peter Martyr

The church contains some important works by Tintoretto (Baptism of Christ), Giovanni Bellini (Assumption with Saints and Barbarigo Altarpiece), Giovane (San Nicolo, Santa Lucia, San Carlo Borromeo), Paolo Veronese (Saint Jerome in the Desert), Giovanni Agostino da Lodi (Barcaioli Altarpiece) and Guisseppe Porta (Deposition from the Cross). In the right wing is the Ballarin Chapel, built in 1506 and named after the famous glassmaker from Murano. It is a humble church, but warm and welcoming.

Continuing our explorations, strangely enough, we found ourselves at the Guarnieri Glass Factory. It wasn’t one of the factories that I had visited previously, but it also wasn’t something that I had really desired to experience again. As we approached the arched entrance, decorated with beautiful glass roses, a gentleman greeted us warmly. The factory was about to close, but he agreed to ask the master craftsman if he would do one more demonstration for us. Although this man seemed reluctant, no doubt ready to retreat to his air conditioned home for a nice dinner, he agreed after another couple approached.

Sweating profusely in the intense heat, he shaped a beautiful stallion, much more elegant that the ones I had witnessed being sculpted at the other demonstrations. For his final act, a glass bubble was blown and popped, signaling his departure!

I must admit, while it was not something I had wished to do again, it was quite nice to be one of only two couples in attendance and I later learned that this is one of the best places to seek out this experience. The outstanding thing about it, however, was that before leaving, I ended up with a beautiful necklace from the gift shop! A splendid birthday gift!

Murano boasted an impressive landscape along its hidden streets and central canals…stunning Italian architecture, cobblestone streets and occasional handblown glass exhibits randomly placed in courtyards throughout. While we never did make it to the other church that I so desired to see, Duomo Basilica dei Santi Maria e Donato, we enjoyed the impressive scenery that we encountered.

It was getting late in the afternoon at this point and the sun’s slanted rays led to an ambiance that I had never experienced in Murano having visited earlier in the day. Entranced with the deepening of the colors along the canals, I actually hated to leave. Indubitably a much different Murano, one I would choose to return to again.

As we boarded the water taxi for our return to Venice, we found the ride to be much more enjoyable with the heat of the day diminishing. In fact, a cool breeze made our ride quite refreshing especially since we were able to snag a spot on the outside deck. Cruising between the islands, the sunlight glittered on the waters as we passed Cimitero di San Michele, the 10th century cemetery christened after the resident Church of Saint Michael. Entering the canals of Venice, we passed elegant bridges spanning its width, and spied architecture, palpable in late afternoon sunshine, while tourists strolled the banks searching for their dinner destination.

These tourists would be us later, celebrating my birthday and the glass would definitely be full…of my favorite Italian beer!

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Church of Saint Peter Martyr

Address: Fondamenta dei Vetrai, 30141 Venezia VE, Italy
Hours: Unknown
Admission: free

Guarnieri Vetreria Artistica

Address: Fondamenta Serenella, 11, 30141 Venezia VE, Italy
Hours: Monday to Friday, 0900-1800, Saturday, 0900-1645, Sunday, Closed
Admission: free

An Island of Color

Crowded vaporettos and August heat…it’s a wonder why anyone makes the trip to the Venetian islands during the summer months!

But with risk comes reward…

Having done the quickie tour of the Venetian islands the week before with some members of my crew, I had observed the uniqueness of Burano, Murano and Torcello and desired to share their beauty with my husband. On that particular trip, we had stopped for a short time on each island, but this time, I wanted to concentrate on only one. Burano, the island of color! With only having had such a short time in Burano, I was looking forward to seeking out every nook and cranny of the vibrant place with no eye on the clock.

Sweating profusely while in almost a full run to make the 9:40a.m. ferry at the Fondamente Nove vaporetto stop, I fully expected a particular question from my husband. It didn’t take long after we arrived…”So why aren’t we going to Murano? I have always wanted to go there.” Since I had visited Murano twice before, I really didn’t want to waste time being escorted into one of the glass blowing demonstrations that I had experienced on my past trips and besides, it was my birthday! I thought that I was going to get to do what I wanted to do!

Putting myself in his shoes, I realized that he doesn’t get to travel like I do and it might be a long time before he gets to come back. I decided to change the plan and told him that we would make the stop in Murano on the way back to the Venice later in the day, even if it was just for a short while.

Soon, we were on our way, squeezed into a row of seats, but thankfully near a window so that we could at least get some air while beads of sweat formed on our foreheads and rivers poured down our backs. The forty minute ride couldn’t have ended quickly enough and breathing a sigh of relief, we set foot on the dock and followed the crowds into the middle of the small village.

The brightly painted houses and shops were awaiting our arrival and we posed on every little bridge for a photo and walked down every small alleyway and canal. My husband was impressed with the intensity of the hues of all of the buildings, but mostly, he was checking out the boats parked in the canals!

After the obligatory photo of my husband pretending to hold up the leaning Il Campanile Storto, we headed in search of Bepi’s House. Not sure what we would find, we knew we had stumbled upon it when we spotted some Instagrammers trying to get the perfect shot.

While multiple hues abound in Burano, the house of Bepi Suà is the most colorful building on the island, decorated with geometric patterns such as circles, squares, and triangles in hues of yellow, orange, red, blue and green. Bepi, born Giuseppe Toselli, was a lover of painting and movies. After his position at the Cinema Favin was eliminated, he began to sell sweets in Galuppi Square and became known as Bepi of Candies. He soon began hosting an outdoor cinema at his house with a white sheet hung on the outside wall for the neighborhood children. Those same children remember him as a the strange man who was always painting new, colorful geometric shapes on those same walls each afternoon. The exterior was everchanging until his death in 2001.

We continued our explorations (with a quick stop for lunch and gelato, of course!) and ended up back at the Il Campanile Storto and its accompanying Church of Saint Martin Vescovo. Entering the church through its Renaissance styled doorway, it was quite interesting to note that the church really had no façade…only a doorway. Established in 1000, it was finally consecrated in 1645 by the Bishop of Torcello. Restored several times over the years, the main aisle and the pipe organ were destroyed by a fire in 1913, a tremendous loss as it was created by Callidio in 1767 and was considered to be one of the greatest masterpieces of the church. Other artistic pieces to seek out today, however, are the statue of Madonna in the atrium and statues of Sant’ Albano and San Martino, on the sides of the tabernacle, by Girolamo Bonazzo and a bronze statue of the “Risen Christ” over the tabernacle. Today, the church is a modest one mostly known for its 18th century leaning bell tower.

The Chapel of Santa Barbara was a short distance away…like next door. While quite small, it serves its purpose as a place of prayer and has its own small bell tower.

Feeling as though we had finally seen the entirety of Burano, we headed to the dock and took our place in the long line while waiting for the vaporetto.

While relief from the hot sun would have been wonderful, it was now time to crowd onto the vaporetto to fulfill my husband’s Murano dream…the least I could do!

Thank goodness it was a short ride!

For more pictures, check out Facebook, Snapping the Globe and Instagram, @snappingtheglobe.

Il Campanile Storto

Piazza Baldassarre Galuppi, 20, 30142 Venezia, VE, Italy
Hours: 24 hours, daily
Admission: free

Bepi’s House

Address: Corte del Pistor, 275, 30142 Venezia, VE, Italy
Hours: 24 hours, daily
Admission: free

Church of Saint Martin Vescovo

Address: Piazza Baldassarre Galuppi, 20, Venice, VE Italy, 30142
Hours: 0800-1200 and 1500-1900, daily
Admission: free

Chapel of Santa Barbara

Address: Piazza Baldassarre Galuppi, 22, Venice, VE Italy, 30142
Hours: 0800-1200 and 1500-1900, daily
Admission: free

The Island Church

On an island, just across the Grand Canal, stands a bright white Palladian church, Chiesa di San Giorgio Maggiore.

Many times after visiting St. Mark’s square, I have stood on the banks of the waterway and stared at the church…it seemed untouchable.

Really not understanding the water taxi system, which seemed to be the way to reach this island, I was never comfortable trying to figure out how to get there, possibly making a mistake and ending up somewhere I didn’t plan. I always thought…next time. And next time never came…until I was visiting Venice with my husband one weekend.

Since two brains are better than one, together we deciphered the water taxi schedule and jumped on the one which we thought would get us there. It was a spontaneous decision and yes, it worked out…we made it across to the island!

As we pulled up to the dock, it suddenly dawned on me that we didn’t even know if the church was open to visitors…but at least we had made it there and figured that we could at least walk to the end of the island to see the lighthouse if it wasn’t.

First, we stood in the large plaza before the church and took in the basilica’s beautiful marble façade and the views of the city across the Venetian waters. Standing on the island, which was once called Insula Memmia (after the Memmo family who owned it) the church that once occupied the island, was consecrated to St. George. The San Giorgio Monastery was established in 982, when the entire island was donated for the monastery and it was built next to the church. In 1576, construction of the current church was begun.

Luckily, we found the church open for tourists and we began our explorations of the 16th century basilica.

Constructed by architect Andrea Palladio, the church’s spacious interior contains the usual things you might find in a basilica…chapels, tombs, altar, dome…but it is the artwork that takes center stage…both old and new.

Within the church’s three floors, paintings by Tintoretto were displayed including The Last Supper, The Entombment of Christ and The Fall of Manna as well as a significant masterpiece by Sebastiano Ricci, Madonna Enthroned With Saints. There were some modern pieces by Swiss artist Not Vital, Tintoretto (2020-2 silver boxes) found on the Main Altar, Pope Francesco (2020-2 silver boxes) found in the Main Chorus and the most impressive piece, House to Watch the Sunset (2021), found in the Transept, which is a large pyramid of stairs. This piece was created for the occasion of the 17th International Architecture Biennale.

*House to Watch the Sunset by Not Vital*

*Pope Francesco Silver Boxes by Not Vital in Main Chorus (far bottom right)*

Following the signs to the campanile, we paid our entrance fee and made our way to the top of the tower via the rapid ascent elevator. One of the finest examples of Venetian Gothic architecture, the bell tower was built in the 14th century by Pietro Lombardo and completed by Pietro Bellotto. From this vantage point, we had some of the most breathtaking views of the Venetian lagoon, the city and some of the nearby islands. We were also able to look down upon the cloisters of the monastery as well as gaze upward at the tower’s carillons. While the campanile of San Giorgio Maggiore is a little shorter than the Campanile di San Marco, one reason to make the trip to the island and make your way to the top, is that you don’t have to navigate its height via stairs, as you would at San Marco. I also think that the views from this perspective are more beautiful!

Exiting the church, we walked toward the harbor for an up close and personal look at the Lighthouse of San Giorgio Maggiore. While it is not one of the largest lighthouses I have ever seen, it is quite impressive with its clean masonry.

Finally, we headed back to the vaporetto dock and waited for the next boat. As it was the middle of August, it was extremely hot. The small enclosure, which offers protection from the cold and the rain, is not the best place to wait while the hot summer sun is bearing down. Dashing out back to the plaza in front of the church, we took more pictures and enjoyed the cool breeze coming off of the water until Vaporetto 2 was in sight.

Back to San Marco plaza, we headed, now feeling secure about our boat ride and how to navigate the Vaporetto system. This bit of confidence would serve us well for the rest of our trip as we navigated the city.
Another check on the Venetian bucket list…I no longer have to only wistfully stare at the beautiful church across the canal…I visited it!

There are many churches in the Venetian Islands, but this one is worth the trip!

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Chiesa di San Giorgio Maggio

http://www.abbaziasangiorgio.it/
Address: Isola di S. Giorgio Maggiore, 30133, Venezia VE, Italy
Hours: April to October, 0900-1800, daily. November to March, 0830 to 1800.
Admission: Church entrance, free. €6 for tower access
Getting There: Vaporetto (water taxi) 2 or N. You will need two one-way tickets or a 24 hour pass to visit the island. If your visit is about an hour, your 75 minute ticket may still be valid for the return.

The Long Awaited Ride

My first trip to Venice was over twenty years ago. After making a list of all the things I wanted to do and see during my visit, I remember what topped the list…a gondola ride.

When I arrived, I was mesmerized by the canals, the architecture, the shops, the museums, the squares, the food…basically everything around me! There was a picture on every corner and I desperately wanted to share the experience with my family, but not just through pictures.

That gondola ride?

It dawned on me how special it could be and it was something that I wanted to also share with my family…one day. So, I waited.

And waited.

And waited some more.

More than twenty years passed and the only gondola ride I ever took was on a traghetto, one of large gondolas that are used by locals and tourists to cross the Grand Canal, especially where there are none of the four bridges to cross its width. While it satisfied my desire to mark that item off of my bucket list, it didn’t cost much (about fifty cents at that time) and it was fun, I still desired that opportunity to have someone significant to share a real gondola ride with.

My husband’s and my anniversary and my birthday (which are a day apart) was coming up and we decided to take a weekend trip to Venice. After some exploration of the city, we found ourselves near the location of the Traghetto San Toma. We needed to cross the Grand Canal, so we dug out the 2 euros and waited to take our place on board. It was a quick crossing, but it gave my husband a taste of what was to come.

The day wore on as we traversed the city and I kept an eye out for the perfect place and time to hire a gondola…not just a traghetto. Having just returned on the water taxi from Isola di San Giorgio Maggiore, we were trying to decide what our next move was. Crossing a small bridge, I noticed a sign advertising the price of the gondola ride at this location.

It was time!

After making an arrangement with the gondolier, we stepped gingerly into the beautifully carved black vessel, took our seats and were off, the gondolier poling us expertly away from the dock.

Gliding through the still waters of the small canal, we admired the passing architecture and listened as our gondolier, Giovanni, regaled us with the story of how the profession had been handed down to him from his father…he was the fourth generation of gondolieri!

It was interesting to learn how under a Venetian law, one must have been born in Venice to become a gondolier. Gondoliers go through rigorous training and must pass rowing and swimming tests as well as spend 12-18 months at an “arte del gondiliere” school where they take courses in a foreign language, Venetian history and culture, geography and rowing. Prospective gondolieri complete 400 hours of training before taking their exams and then they are able to register as a substitute gondolier, work the traghetti and join the exclusive 1000 year old Gondoliers Guild. Only 425 gondolier licenses are awarded by the city and each license is linked to a particular gondola station, so the gondoliers work in the same location.

With such a personable and informative gondolier, we were lucky that we had found that particular station!

The gondola that was our transportation for a half an hour was much like the rest that cruised the Venetian canals… wooden and ebony colored as it has been the since a law was passed in the 17th century. Before this time, the hand-made, flat-bottomed boats were painted in bright, bold colors until a Venetian doge ordered them all to be painted black. Each is 35-feet long and weighs more than 1100 pounds, but the most interesting thing I learned was that the port side of the gondola is nine inches wider than the starboard side so that the gondolier can stand there for balance.

As other gondolas passed in close proximity, I noticed that some wore red striped shirts and some wore blue, a uniform completed with dark blue or black trousers and black shoes. Giovanni explained that the Guild regulates the uniform of the gondolieri and that the emblem of the Gondoliers is embroidered on the shirts and jackets. While he didn’t wear a straw hat with a ribbon, I noticed others that did, discovering that they were optional.

While all of this was fascinating, it was just nice to relax and enjoy the moment, one that had been years in the making. The best part was that not only was I getting the ride that I had waited so long for with my husband, it was on our twenty-ninth wedding anniversary!

Now that was worth waiting for!

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Gondola Rides in Venice

https://www.introducingvenice.com/gondola-rides
Address: Locations throughout the city
€80 (about US$ 81.30). The price goes up to €100 (about US$ 101.60) from 7 pm onwards. If you want the gondolier to sing or to play an instrument during the ride, you will have to pay extra.

The Frari

If you ever wonder how many churches are in Venice and the islands, I have the answer for you.

About 137.

Sometimes, I go out in search of churches while visiting European cities, sometimes I just stumble upon them, as was the case while my husband and I were spending the weekend in Venice. With that many churches in such a relatively small expanse, its not hard to find one!

We had just arrived and were having lunch in the Campo dei Frari when I noticed the cross on the adjacent building. After a few pictures on the bridge, I edged toward the building and discovered the door open. Okay, my poor husband probably wanted to see the Bridge of Sighs and the Grand Canal, but surely we had a couple of minutes to see what was inside this church.

After paying our admittance, we quickly skimmed over the brochure and map handed to us and made our way throughout the interior.

What we learned was that this was no ordinary neighborhood church. The Gothic styled Basilica di Santa Maria Gloriosa dei Frari (or The Frari) is the largest church in the city and dedicated to the Assumption of Mary. This church’s beginnings go back to 1231 when land was donated with the intent of establishing a Franciscan monastery, however, grander ambitions prevailed. A three nave church was begun in 1250, however, it took eighty-eight years for its completion. Almost immediately, another church was begun…the current church, which still stands today. Taking over a century to build, the architectural footprint was reversed and a campanile was added; the second tallest in the city. The chapel of San Pietro was built from 1432-1434, the façade completed in 1440 and the main altar consecrated in 1469. Finally, the church was consecrated on May 27, 1492 with the name of Santa Maria Gloriosa.

While we found the exterior to be rather plain, the interior was filled with many grand wall monuments dedicated to distinguished Venetians buried in the church, including a number of Doges and the painter, Titian. The three naves were separated by twelve massive columns and spanned with wooden beams. It was slow work trying to take it all in and making our way throughout the church to see all that it had to offer.

After inspecting each of the monuments, which were placed where side chapels would ordinarily be located, we examined each of the important works of art that the church is known for; the masterpiece, Assumption of the Virgin on the high altar and altarpieces by Titian, the Madonna and Child with Saints (also known as the Frari Triptych) by Giovanni Bellini in its original frame and the altarpiece Madonna di Ca’ Pesaro, by Tiziano, Madonna with the Franciscan Saints by Bernardino Licinio, Donatello Sculpture in the Chapel of St. John the Baptist, Madonna with Franciscan Saints by Bernardina Licinio, Madonna and Child with Saints and Doge, by Paolo Venezia, Madonna Con Bambino E Santi by Jacopo from Faenza and the 13th century Crucifix on the left of the high altar. My favorite, however, was the Choir of the Monks (Coro dei Frati) in its original condition with 124 wooden stalls inlaid with views of Venice, created by Marco Cozzi, which sports the only rood screen (which separates the nave from the choir) still in place in Venice.

*Assumption of the Virgin on the High Altar*

*Madonna and Child with Saints (also known as the Frari Triptych)*

*Madonna with Franciscan Saints by Bernardino Licinio*

*Donatello Sculpture* in the Chapel of St. John the Baptist

*St. Mark and Saints in the Corners Chapel*

*Altar of Saint Peter (top left)*, *Monument Dedicated to the Doge Giovanni Pesaro (middle bottom)*

We also made our way outside on the right of the church and discovered the cloister. As much as I love spending time in ancient cloisters, I was disappointed as this one seemed to be quite neglected. While there were a few elaborately carved marble statues in the courtyard and on the balconies surrounding it, the beauty of these was overshadowed by the large amount of weeds growing through cracks in the flagstone.

While the monument to Antonio Canova (1827) would be something to take in, at this point in time, it was walled off for renovations. The pyramidal structure is dedicated to the neo-classical sculptor, built by his students and intended to house the heart of the sculptor Tiziano. The heart, however, was never interred here, brought to Passagno, his birth place. As most people are confused with the shape of the monument, it is clear if those understand that Canova was a Freemason and that the pyramid is the symbol of the Great Architect of the Universe.

Finally, we headed toward the exit. In most churches, one would expect to see a pipe organ in the loft above, however, the loft was absent and a beautiful sculptural work decorated the wall around the main doorway. Definitely a way to continue to engage visitors upon their exit!

Stepping out into the sunshine, it was clear we were in Venice with a canal and bridge spread out before us. While it was time to head to some of the city’s more famous sights, I was glad that we had made the time to visit this ancient church!

For more pictures, check out Facebook, Snapping the Globe and Instagram, @snappingtheglobe.

Santa Maria Gloriosa dei Frari

https://www.basilicadeifrari.it/
Address: Campo dei Frari, San Polo 3072, 30125 Venezia, Italia
Hours: June 1-September 30, Monday-Thursday, 0900-1930. Friday, 0900-2300. Saturday 900-1800. Sunday, 1300-1800.
Admission: Adults, €5,00. Student (under 30 with ID card). €2,00, Senior (over 65 years), €3,00. Children (ages 0-11 years), residents of Venice, disabled travelers and assistants, authorized tour guides and leaders, free.
Getting There: From the train station and from Piazzale Roma (bus terminal) On foot: about 15 minutes, follow signs towards Frari-Rialto. By vaporetto: take Linea 1 or Linea 2, San Marco bound, get off at San Tomà stop. From Saint Mark’s square On foot: about 25 minutes, follow signs towards Ferrovia-Piazzale Roma. By vaporetto: Linea 1 or Linea 2, Ferrovia bound – get off at San Tomà stop.

No…The Other One

One of the most famous churches can be found in Barcelona.

The Sagrada Familia.

So when I was asked what I was going to do on my layover in Barcelona and I said, “Go to the cathedral,” everyone naturally assumed I was headed to the monumental landmark.

“Oh, the Sagrada Familia,” they said.

“No, the cathedral,” I replied watching the perplexed look cross their faces.

“Yes, the Sagrada Familia, the famous church,” they countered.

“No, the other one. The cathedral.” (And actually, the Sagrada Familia is a basilica and the Barcelona Cathedral, is well…a cathedral, but I can’t fault everyone for not knowing the difference).

Having always been fascinated by the architecture in the Gothic Quarter, it was a wonder that I had never visited the cathedral, one of the most visible and outstanding examples of the architectural style. Visiting Barcelona a short time after Covid protocols were put in place, I had learned that reservations were required for entry and of course, I didn’t have one on that trip. This time, I was prepared. I had purchased my timed entry before leaving New York, allowing for a short nap before heading to the Gothic Quarter.

The Barcelona Cathedral was constructed from the thirteenth to fifteen centuries (with the bulk of the work done within the fourteenth) on the foundations of a primitive basilica that was later named a cathedral. Because of the span of time taken for the completion, the distinct periods are characterized throughout its layout. The façade, which you see today, was initiated with the church’s construction, however, was not built until 1897 until 1890 and was completed in 1913.

Also known as The Cathedral of the Holy Cross and Saint Eulalia, it was named for the patron saint of Barcelona, whose remains are entombed in the cathedral’s crypt, however, this is not the only thing to see in the spectacular place of worship.

Making my entrance, I had planned a visit of approximately one and a half hours plus some additional time for the Diocesan Museum. What I did not realize was how poorly I had planned. Moving throughout the cathedral, passing my eyes over its vast interior, it dawned on me that it would take me twice that time…maybe more.

First moving through the cathedral floor, I was entranced by the ornate side chapels and the vaulted ceiling, but I quickly reached the elevators leading to the roof within the Chapel of the Innocent Saints. Spotting a short line, I decided to take advantage of the limited wait and head to the cathedral’s highest point. After a short ride, I exited the elevator and made my way up stairways and across catwalks, spying the intricacies of the cathedral’s roof, bell towers, lateral pinnacles, the cimborio crowned by the Holy Cross as well as phenomenal views of the city. Under the azure sky of the winter afternoon, I couldn’t imagine a better place to be to take in the day!

Heading down back into the cathedral, I continued my explorations, finding myself passing through the external doors of the Pieta and of Saint Eulalia, I discovered the cloister…a place of pure peace, similar, in some ways, to other cloisters I have visited…yet it offered up a surprise. The rectangular space was made up of four galleries, separated by sculpted pillars, showing scenes from the Old Testament and from a legend about the Holy Cross. Other scenes from the New Testament were spotted on the keystones. There were distinct chapels in each gallery, but it was the center of the cloister that commanded my attention. Filled with a garden of palm trees, magnolias and orange trees, there was a vast pond centered with a fountain, dating back to the mid-15th century. Still, while the pond and the beautiful greenery took my breath away, it was the residents of this cloister that made me laugh with delight. No, not nuns…geese! The large pond is the home for thirteen white geese, who despite their natural inclination to honk (and holler), stay fairly silent, almost as if they have taken a vow of silence!

Making my way back into the main part of the church, I continued my explorations of the side chapels, finally discovering one that the cathedral is well known for, The Chapel of the Holy Sacrament and of the Holy Christ of Lepanto. Constructed in 1407, it was the Chapterhouse of the Cathedral until 1676, when Saint Olegarius was canonized and the room became his mausoleum. The former Chapter Hall is not a large one and dimly lit, but highlighted on the main altar, is the burial chamber of Saint Olegarius, the bishop of Barcelona and above that, the 16th century Holy Christ of Lepanto. Quite beautiful!

*Chapel of the Holy Sacrament and of the Holy Christ of Lepanto*

The current Chapter Hall, located near the Cloister and now a museum space, displays 15th century paintings, an 11th century baptism font and the 14th century monstrance (the receptacle in which the host is held and displayed), made up from the campaign throne of King Martin the Humane. Definitely worth a look!

Eventually, I made my way back to the cathedral’s main floor and the high altar. The high altar, the main focus in the church, almost seems lost in the vastness of the space. With its towering vaulted ceilings, and the fact that it sits above the Chapel of Saint Eulalia with the staircase leading to it in front of the altar, makes me wonder if those attending mass can even see the priest performing his ritualistic duties. Nonetheless, I think it would be an amazing experience to attend mass here.

Making my way down the stairs to the Chapel of Saint Eulalia, I peered through the wrought iron gate at the burial chamber of the saint. Designed by masters from Pisa and Siena between 1327 and 1339, the reliefs narrate the story of the saint and the sepulcher is crowned by five images, four angels with candlesticks and the image of the Virgin. Beyond the Gothic chamber is the original sepulcher of Saint Eulalia, found by the bishop of Frodoino in 878 in the cemetery of Santa Maria del Mar, and a piece of broken marble with the original inscription commemorating her. Though the crypt is not consistently illuminated, there is a coin slot that accepts payment (.50€) and will highlight the space for a few moments.

Finally, I turned toward the rear of the cathedral. In the center of the cathedral floor, between the high altar and the entrance was the Choir With the Golden Fleece Choir Stalls. Construction on this most significant work in the cathedral was begun in 1390 and designed in the Catalan Gothic Style with the canopies and pinnacles being added at the end of the 15th century. What I loved the most, however, was the colorful commemorative shields painted by Juan de Borgoña that relate to the order of the Golden Fleece who were summoned to meet in Barcelona in 1519 by their master, Emperor Charles V…thus their name. Another remarkable aspect of this space is the wooden pulpit carved by sculptor Pedro Çanglada in 1403.

Taking one last look around and at also at my watch, I realized that if I was going to visit the adjacent Diocesan museum, I had better make hast. Exiting the cathedral, I stood on the front steps and gazed up at the exterior. It really is a phenomenal piece of Gothic architecture!

It was an extremely short walk to the museum building next door, however, I had one more exterior feature that I wanted to see…the Door of Saint Ivo. Located under the bell towers, this portal was the main entrance for over five hundred years and is named for Saint Ivo, the patron saint of lawyers.

Finally, making my entrance into the museum, I began my explorations of of the artistic works that have been donated to the church. Housed in the building known as the Casa de la Pia Almoina (House of the Blessed Charity) or La Canonja (the Canonry) as it once housed the canons of St. Augustin, this structure is a part of a group of medieval buildings that are integrated into the city’s 4th century (A.D.) Roman wall.

*Exterior of the Diocesan Museum and adjacent sculpture*

The collection spans three floors and contains about 3,000 items including paintings, sculptures, ceramics and religious clothing which date from the late Roman era to the twentieth century.

After working my way through each of the floors of the museum, I noticed some of the workers tidying up and realized that it was the end of the day…time for me to go.

So, the next day, another co-worker whom I hadn’t really spoken to much on the way to Barcelona asked me how I spent my layover.

“I went to the Barcelona Cathedral. It was amazing!”

“Oh, you’re a fan of Gaudi! Did you love the Sagrada Familia?”

Sigh…

For more pictures, check out Facebook, Snapping the Globe and Instagram, @snappingtheglobe.

The Barcelona Cathedral

https://catedralbcn.org/en/
Address:Pla de la Seu, s/n, 08002 Barcelona, Spain
Hours: Monday to Friday, 0930-1830, Saturday, 0930-1730, Sunday, 1400-1700
Mass schedule: Weekdays (in the Chapel of the Holy Sacrament), 0900 (Catalan), 1100 (Catalan), 1200 (Spanish), 1915 (Catalan). Sundays and Holidays (on the High Altar), 0900 (Catalan), 1000 (Catalan), 1200 (Spanish), 1300 (Catalan), 1800 (Spanish), 1915 (Catalan). Saturdays and Holiday Eves (in the Chapel of the Holy Sacrament), 0900 (Catalan), 1100 (Catalan), 1200 (Spanish), (High Altar), 1800 (Spanish), 1915 (Catalan).
Admission: Cathedral, 9€ per person Cathedral and Diocesan Museum, 15€ per person
Getting There: Metro, Jaume I station or Urquinaona station

The Almudena Cathedral

While there are many churches in Madrid, one that is relatively new is the one that takes center stage…for many reasons.

The Almudena Cathedral.

I’ve walked by this stunning piece of architecture countless times on my visits to Madrid. Why I never stepped inside, I am not sure. Perhaps it wasn’t during opening hours, or I simply had other more pressing matters to attend. On this particular day, however, it was open and I had nothing on the agenda.

But it was not the cathedral that I happened upon first. It was the crypt.

Noticing the open doors, located in front of the Arab Wall, I wandered in.

The first thing I noticed were the columns. 400 of them!

Four hundred columns fill the space, each crowned with biblical figures, nature scenes and the symbol of Madrid, the bear and the strawberry tree (which I had also spotted earlier near my hotel).

Mirroring the same architectural footprint as the cathedral above, it is the largest crypt in Spain and the resting place of some of the country’s most notable families and to King Alfonso XII’s first wife Maria de las Mercedes de Orleans. As I wandered through the space, admiring each of the incredibly bedecked side chapels with their Byzantine mosaics and Gothic stained-glass windows. Many of the tombs were extremely elaborate, demonstrating the power and wealth of the families of those interred. The most fascinating facet, however, was the Chapel dedicated to Nuestra Senora de la Flor de Lis (Our Lady of the Lily), possibly the oldest image of the Virgin in the city.

*Nuestra Senora de la Flor de Lis (Our Lady of the Lily)*

*Capilla de los Exemos Srs Marqueses de Urquijo*

*Capilla Virgen de Rosario and Capilla de la Exema Srs Marquesa de San Juan*

Overall, it had the grand feeling of a cathedral yet more peaceful as would be expected.

Now I was ready for the cathedral itself.

Making my way out of the crypt, I walked around the corner praying that I would find the cathedral open.

The sun was getting lower in the afternoon sky as I glanced up at the cathedral’s façade. Making my way up the stairs, it was hopeful to see other people exiting the entrance.

The church, which was completed and consecrated by in 1993 by Pope John Paul II, is the first cathedral to be consecrated outside of Rome, but plans for the church date back to 1879 when Francisco de Cubas wanted to create a pantheon for the late Queen Maria de la Mercedes. Construction was started four years later, but those plans were changed as the idea for a cathedral was conceived.

Inspired by French cathedral architecture, it was the first to include a crypt and it was to be a cathedral built by the people. When donations came up short, this and other construction problems delayed the project further. The crypt was opened in 1911 but further construction was delayed with the outbreak of the Civil War. As Gothic style went out of vogue, new architectural solutions were sought out. Work was restarted in 1950 with the cloister being completed in 1955 and the main façade in 1960. With many years of construction to follow, the cathedral was finally considered finished in 1993.

As I entered and made my way around the cathedral, what struck me most was not the beautiful stained glass windows (which were amazing), not the numerous columns that filled the space (like in the crypt), not the massive organ in the choir loft, but the colorful ceiling above. It was something like I’ve never seen and very much unexpected as it not matched the classical style!

After my departure, I learned that the cathedral houses a museum which contains effigies of the city’s patron saints, the Virgin Mary of la Almudena and San Isidro of Labrador and an exhibition of the life of the Church through the seven sacraments. The museum contains twelve halls which contain mosaics, Episcopal symbols and vestments. I also learned that I had missed access to the cathedral’s dome. My understanding of this area of the cathedral is that it is not particularly noteworthy however, I am not one to pass up an opportunity! After further research, I discovered I was visiting on a Saturday afternoon when closing time for these two features was well before my arrival. So my advice to those seeking to visit both the crypt and the cathedral and the entirety of it interior…get there early!

Guess I will have to go back!

And be early!!!

For more pictures, check out Facebook, Snapping the Globe and Instagram, @snappingtheglobe.

Almudena Cathedral

http://www.catedraldelaalmudena.es
Address: Calle de Bailén, 10 28013, Madrid, Spain
Hours: Monday to Sunday, 0900-2030. Museum and crypt, Monday to Saturday, 1000-1430.
Admission: Cathedral, free. Museum and crypt, Adults, €6 (US$ 6.30), Students, groups, and seniors, €4 (US$ 4.20).
Getting There: Metro, Opera, lines 2 and 5. Bus numbers 3, 25, 39, 148.