The Scaliger family (also known as Della Scala or Saligieri) of Verona was an influential one from the 13th to 14th century, ruling during this time period.
The family rose to prominence during the 11th century with their founder, Masstino I della Scala becoming the chief magistrate after the defeat and death of Ezzelino da Romano, a tyrant of Verona, in 1277. Succeeded by his brother Alberto and subsequently by Alberto’s son, Bartolomeo, it was during the latter’s reign that, according to tradition, Romeo and Juliet fell in love and died.
With such prestige in life, it is expected that in death, the members of this family would also be celebrated and entombed extravagantly so that others could pay homage for many centuries.
In many cultures, cemeteries exist so that the living can pay their respects to the dead. The Italian one is no exception, however, while some gravesites that Americans are familiar with are simple headstones, prominent families in Italy are entombed in elaborate mausoleums. These mausoleums of the Scaligeri are fine examples of the artistic talents put to use to show the wealth and power that the family held.
In Verona, the Scaliger tombs stand in the courtyard of the Church of Santa Maria Antica, which dates to 1185. While I was not sure what I was enroute to see, after spotting it on Google Maps a few blocks from Juliet’s House, it was certainly a landmark that I was glad that I had sought out. To say that the Scaliger tombs are elaborate would be an understatement!
Enclosed by an iron fence, it is easy for passersby to examine the tombs from afar. I assure you, however, it is worth the minimal entrance fee to enter the premises and see these monumental burial chambers up close and personal.
Entrance to the Scaligeri Tombs (doorway, left) and Santa Maria Antica (doorway, right)
Adjacent to the Piazza dei Signori, the historic central square of Verona’s Città Antica and other major attractions, the memorials invite visitors to understand the idea of the wealth and power of the Lords of Verona. While the funerary monuments are not plentiful, they are indeed breathtaking examples of Gothic art.
A handout, given to me by caretakers who also accepted my entrance fee, directed me around the small courtyard and I inspected each of the tombs which are located on the ground or on raised floors.
The tomb of Cangrande I Della Scala is placed above the portal of the church and is the first of the tombs that was built in the 14th century by his own will. The tomb is comprised of a tabernacle supported by embellished dogs and on the lid is the reclining statue of the deceased. The sides are decorated and on the top of the canopy, there is a copy of the equestrian statue of Cangrande I (the original is kept in the Castelvecchio Museum along with the funerary equipment).
Tomb of Cangrande I Della Scala
The ark of Mastino II, which was begun in 1345, had many design changes over the years. Originally painted and gilded, it is surrounded by a gate at the corners of which there are four statues of the Virtues. On the lid, there is a statue of Mastino II lying down and being watched over by two angels. There is an equestrian statue of Mastino II, a copy, of which the original being located in the Castelvecchio clock tower.
Theark of Mastino II
The ark of Cansignorio, which dates back to 1375, is the most elaborately decorated. Designed by Bonino da Campione, it depicts sculptures of warrior saints, characters from the Gospels, Virtues and Apostles and a large equestrian statue of Cansignorio.
The ark of Cansignorio
The sarcophagus of Albert I is a richly carved monument, constructed in 1301.
The sarcophagus of Albert ITomb of Bartolomeo ITomb of Alboino
The tomb of Mastino I is the oldest.
Tomb of Mastino I
The hanging ark by Giovanni della Scala is a work by Andriolo de Santi. It was finished in 1359 at the church of S. Fermo Maggiore, where it remained until 1400.
The hanging ark by Giovanni della Scala
This sarcophogi is the most ornamented in the lot. It was possibly commissioned by Alberto I in 1300 and might have been the first burial site for Cangrande.
Possibly the first burial site of Cangrande
After my inspection of the tombs was complete, I found the Church of Santa Maria Antica to be open on this day. This small church was originally linked with a convent founded in 744-745. In the 1200s, it became the private chapel of the Scaligeri family who then erected their famous sepulchre alongside the structure.
The Church ofSanta Maria Antica
Wandering in, I donned a shoulder covering given to me by one of the volunteers. The modest sanctuary was dimly lit and quiet and it didn’t appear that photographs were appreciated by the woman keeping a sharp eye on the visitors. While I was able to capture a couple undetected, as I was inspecting the 14th century frescoes in the central nave, I took a moment to nod my head in prayer before departing.
Santa Maria AnticaSanta Maria Antica
There were many places that I visited on my brief trip to Verona. It was interesting to realize, in retrospect, that so many of the places I had visited, had connections to the others. The Castelvecchio Museum contained some of original pieces of the Scaligeri tombs, which I had unknowingly inspected on my visit there earlier in the day, and later on, I had visited San Fermo Maggiore church which had held the hanging ark by Giovanni della Scala for many years. I had not known all of this prior to my visit, but only later, when doing some research.
While not a lengthy visit, take a few minutes to visit the Scaligeri tombs to comprehend the beauty and history of these funerary monuments and seek out their significance in the other landmarks of Verona.
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A visit to Verona is not complete until you visit the place immortalized in William Shakespeare’s tragic romance, Romeo and Juliet.
Well…
While tourists flock to the place labeled, “Juliet’s House”, pose with Juliet’s statue and stand on the balcony that they envision her to have used while declaring her love for Romeo, many forget that Romeo and Juliet only ever existed on the pages of some very well known literature.
Shakespeare’s fateful love story, first published in 1597, was preceded by Arthur Brooke’s poem, The Tragicall Historye of Romeus and Juliet, (1562), which in turn was inspired by older Italian writers, including Luigi de Porto and Matteo Bandello, who told the story of Romeo and Giuletta and the feud between their families. But, so enthralled by the literary tales, centuries of readers took to heart the story, some forgetting that it wasn’t actually based on real characters.
Seventy years ago, Antonio Avena, the director of the city’s museums, wanted to capitalize on that misunderstanding. He transformed the 13th century property of the Dal Cappello family into the home of the imaginary Juliet, after the house was purchased by the City of Verona. The idea was to give a physical location to the fictional story and a boost to Verona’s tourist industry. Extensive restoration of the home was eventually completed with a balcony, similar to that described in Shakespeare’s tale, added in the 20th century.
When tourists learned of this location and subsequently, the name of the original owners, the Cappellos, more commonly known as the Cappellettis, the natural progression was to associate that name with the last name of their heroine, Capuleti, leading them to believe that this really had been Juliet’s house. Flocking to the house in droves, they hoped to feel the emotions of Juliet and see the place that she called home.
As a visitor to Verona, while there was so much to see and do, I did make it a point to visit Juliet’s House since it is such a popular attraction. Approaching the courtyard through the entranceway, I was greeted by a large crowd gathered under the balcony and surrounding a statue of Juliet, by sculptor Nereo Costantini. Many people were awaiting their turn to pose with and rub their hand over the statue’s right breast…a gesture which is supposed to bring love and fertility. It is not known why this custom started, but in order to preserve the original, the courtyard statue was moved into the museum for safekeeping and replaced with a copy.
Entrance and courtyard
Courtyard statue of Juliet
Paying my entrance fee, I made my way through the museum space, both upstairs and down. Of course I took my turn on the balcony, posing for a photograph and spotted the original statue of Juliet, protected and well away from prying hands.
Original Statue of Juliet
The house has been restored and appointed much as it would have appeared during the time period in which the Dal Cappellos resided there, though there is no evidence of anything in the house that belonged to the family. There are, however, many references to the Romeo and Juliet story…a bust of William Shakespeare, copies of the story, Renaissance-era costumes and the actual bed used in Franco Zeffirelli’s 1968 film adaptation of the story. The rest of the furnishings and furniture are all genuine antiques from the 16th and 17th century.
Actual bed used in Franco Zeffirelli’s 1968 film adaptation of the story.Overhead view of courtyard
After my tour of the house was complete, I stepped back into the courtyard and noticed the red post box. Tourists used to leave letters tucked into the wall or stuck onto the bricks with chewing gum below the balcony, however, this practice was discouraged and the use of the box promoted. A movie I once viewed, Letters to Juliet, detailed an American tourist who finds an unanswered love letter shoved among the bricks. The story details the search for the intended recipient and the love story that results from it! These letters and those received from the mail do not go unanswered, however. Much like in the movie, a group of volunteers known as Club di Giulietta (the Juliet Club), replies to the more than 10,000 letters received annually, signing the responses, Juliet’s Secretary. Noticing through the small clear window on the front of the box, many letters that had already accumulated, I was glad to see that the tradition still continues.
With a quick glance around the museum’s gift shop, I found myself at the end of my tour. Stepping out of the gift shop with the intent to continue my day in Verona, I stopped and quickly stepped back inside. After a bit of searching, I purchased a pen and some paper, deciding that one day, I will use it to write a love letter to my own “Romeo”.
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While visiting Venice is an amazing experience, after having been there many times, one gets the itch to see other cities in the region. Having already taken the train to Padua a few years prior, I was planning on seeing some other nearby cities. On this particular day, however, realizing that we had arrived a little earlier than normal, I decided to venture out a little further…to Verona.
Verona is one of the main tourist destinations in northern Italy, situated on the Adige River and known as the setting for two of William Shakespeare’s plays, Romeo and Juliet and The Two Gentlemen of Verona. Because of its artistic heritage and opera season staged in its Roman amphitheater, it attracts millions of visitors each year.
Ruled by the della Scala family during the 13th and 14th century, the city was extremely prosperous during their reign and this wealth can be spied throughout its boundaries today; in its monuments, walls and architecture and more. While I was aware that many tourists head straight to Juliet’s House and Museum, one of the most famous places in the city, I decided to do this as well, but also to see the other aspects that make this UNESCO World Heritage Site so special.
After the hour and ten minute train ride, I quickly ducked into a station shop to purchase a face mask for the return trip or for any other attraction which might require it. During my train ride, I had realized that KN95 face masks were still required on public transportation when conductors removed five British travelers at the stop prior to Verona’s Porta Nuova station. While I had a regular surgical mask, I realized that it was not enough and was thankful that I went unnoticed.
Verona Train Station
Thankful that crisis had been averted, I set out to walk to the city center, first stopping at the Porta Nuova (https://snappingtheglobe.com/?p=30718), the city’s old gate. Stopping for a few photos, I then continued on Corso Porta Nuova past Giardini Pradaval and its sculptures and statues, the Lapidary Museum Maffeiano and I Portoni della Bra the historic gate that once divided the city from the countryside and connects the Porta Nuova railway station to Piazza Bra. While I felt welcomed by the city gate Porta Nuova, it was when I walked through the arches of I Portoni della Bra that I felt as though I was truly entering the city and readied myself for the city’s beauty.
Porta Nuova GateGiardini PradavalLapidary Museum Maffeiano
I Portoni della Bra
I Portoni della Bra
Having planned to see the amphitheater, I decided to take a detour and walk toward the river and the Castelvecchio Museum, since its opening hours were fewer. Making my way across its intimidating drawbridge into the courtyard, I then headed inside to make my way through its major Italian art collections distributed over twenty-nine rooms. Sculpture, paintings, ancient weapons, ceramics, goldsmiths, miniatures and ancient city bells were artfully displayed throughout the castle which dates back to the mid 1300s. While it was built as a residence for the della Scala family, it was mainly used for the military defense of the city and that is evident by its towering walls and battlements.
Castelvecchio Exterior
Castelvecchio Entrance
While I enjoyed my walk through the castle’s interior, what I really wanted to do was investigate the courtyards, the battlements and the clock tower. Climbing up the stairway, I made my way first to the rear of the castle and was rewarded with stunning views of the river and the Scaligero Bridge. It was a beautiful day and being out on the walls was the perfect place to be! Some of the passageways were a bit narrow but easy to navigate and to reach the seven towers. From the front of the castle, the views of the city, the large courtyard, the clock tower and the small courtyard beneath the tower were so stunning that I could have stayed up there all day. Finally, I passed through the adjacent walkway to the bridge and took a quick stroll across so that I could say “I did”.
Scaligero Bridge
If I was going to see everything, however, it was time to move on and I decided to continue my path along the Corso Cavour, which follows the river. A short stroll later, I passed the Arco dei Gavi, a massive, ancient white-marble arch which was was used as a gate in the walls during the Middle Ages. During the Napoleonic rule, French engineers demolished it and its ruins were moved to a square and then to the arena. In 1932, the arch was reconstructed, under Mussolini’s rule, in its current spot next to the Castelvecchio, very near its original location.
Arco dei Gavi
A little further down the road, I happened upon the Basilica di San Lorenzo. As I always make time for a church, I spent a few moments walking through this 12th structure. Built in the Romanesque style on the remains of a 5th or 6th century paleo-Christian building, using some of the original materials, it was interesting to see the two different types of building materials stemming from the different phases of construction…alternating brick and stone which gives the interior a striking pattern of strips in the columns and the walls and apse. Listening in to a tour guide’s spiel, I also learned that a unique feature is the presence of the women’s galleries, still intact and open onto three sides. Though my stop was a quick one, I was glad to see this beautiful church.
Chiesa di San LorenzoChiesa di San LorenzoChiesa di San LorenzoExteriorChiesa di San LorenzoChiesa di San LorenzoChiesa di San Lorenzo
Near the Ponte della Vittoria, I decided to move into the city center as there was more to see in that domain. A few minutes later, I passed under the impressive Porta Borsari, the arched limestone gate, which dates back to the 1st century and served as the main entrance to the city.
Porta Borsari
There were many more churches, including the Church of St. Eufemia; some open, some closed for the afternoon, and as I spied many balconies, I thought of Juliet’s House, which I had planned to visit…whenever I got there! But of course, there was so much to see along the way!
Other churches in Verona
Glancing at my watch, I decided to snatch a few moments at the Church of San Giovanni in Foro. A minor church, it was built on what was the main Roman road. Badly damaged by fire in 1172, while much of Verona was destroyed, its restoration in the early 1900s led to the discovery that Roman walls had been incorporated into the external walls of the church. It was small and dimly lit, but its beautiful mosaics, stone walls and ancient paintings made me glad that I had stumbled upon this gem.
Church of San Giovanni in Foro
Church of San Giovanni in Foro
Continuing on, I finally made my way to the beautiful Piazza delle Erbe, which was once the center of the city’s political and economic life. There were many market stalls hawking souvenirs and food, but there were lots of statues, fountains and other landmarks to see. More importantly, the square is surrounded by many buildings and monuments that have marked the history of Verona…City Hall, Lamberti Tower, the Houses of Mazzanti, Maffei Palace, the Gardello Tower and the Casa dei Mercanti (Merchant’s House). What I loved most, however, was the ancient fountain (circa 1368) with its roman statue, Madonna Verona, built by Bonino da Campione, which stands proudly in the center of the square and welcomes visitors to investigate its history.
Piazza delle ErbePiazza delle ErbePiazza delle ErbeMadonna VeronaPiazza delle Erbe
My goodness…what wasn’t there to see? I love everything about Rome and its “in your face architecture”, but the simplicity of Verona with the minor details that begged you to slow down and savor it was unlike anything I had ever experienced in Italy. Everywhere I laid my eyes, there was stunning construction, architectural details on every building, including balconies upon which other Italian ladies, like the fictional Juliet, may have stood, conversing down to their young paramours.
Finding my way to the Scaliger Tombs, I decided that I needed to enter the premises so that I could see these stunning tombs at close range. After paying my entrance fee, I was given a handout to guide me through the small courtyard. Each of the elaborate tombs were unique and some just outright ostentatious. While passerby could get a glimpse through the iron bars of all of the tombs, I thought it much better to see their beauty unobstructed.
Scaliger Tombs
These five funerary monuments celebrate the Scaliger family who ruled in Verona from the 13th to the late 14th century. Located in a wrought-iron fenced enclosure of the church of Santa Maria Antica, these Gothic tombs were constructed for the wealthy members of the noble Scaliger dynasty who ruled as the Lords of Verona; Cangrande I, Mastino II, Cansignorio, Alberto II and Giovanni.
Scaliger Tombs Scaliger Tombs Scaliger Tombs
The church was open and I was given a covering for my shoulders as I entered. The modest sanctuary was dimly lit and quiet and it didn’t appear that photographs were appreciated by the woman keeping a sharp eye on the visitors. While I was able to capture a couple undetected, as I was inspecting the 14th century frescoes in the central nave, I took a moment to nod my head in prayer before leaving.
Santa Maria Antica
Finally, next on the list was the famed Juliet’s House, a short walk away. As expected, after walking through the short corridor to the courtyard, I found it extremely crowded with other visitors. Everyone was jockeying for position and waiting for their chance to pose with the bronze statue of Juliet. Noting the balcony above, and those also posing there for photographs, I figured out which door to enter to pay my admission.
Juliet’s House
Juliet’s House
Inside, there were statues paying homage to Shakespeare, another bronze statue of Juliet, period furniture and the bed and Renaissance costumes from Franco Zeffirelli’s 1968 film version of Romeo and Juliet. The wooden floors and artfully decorated ceilings were extremely cozy, although very roomy, depicting the wealth of the Capello family (from which the name Capulet was derived). Eventually, I was able to step out onto the balcony and also pose for a photo, but I was interested to find that even though the house dates back to 13th century, the balcony was only added during the 20th century.
Juliet’s HouseJuliet’s HouseJuliet’s House
On my way out, I noticed the red mailbox, which collects the letters “to Juliet” from visitors. Remembering the 2010 movie Letters to Juliet, I smiled at the messages visible in the small window in the center, glancing around, wondering where the women who volunteer to answer them were.
Just up the road, I happened upon Porta Leoni, the ancient gate that was built during the Roman Republic and features a double façade and two towers. Adjacent, below the street level are amazing Roman excavations.
Porta Leoni
The afternoon was dwindling away and although I had seen so much during my afternoon visit to Verona, I still wanted to see the amphitheater. Deciding to walk along the river in order to make navigation back to Corso Porta Nuova a little easier, I was stopped in my tracks by an imposing church on the corner.
Chiesa di San Fermo Maggiore.
Chiesa di San Fermo Maggiore
Chiesa di San Fermo Maggiore
Oh, I was here and I couldn’t resist, so I went in, hoping I had enough time for everything else on my list…namely the amphitheater. The church was still open and I paid my admission, following the handout offered to me, which guided me to both the Upper and Lower churches.
Chiesa di San Fermo Maggiore
Chiesa di San Fermo Maggiore
Starting with the Lower church, I traversed the ancient staircase to reach the first and oldest cloister of the complex. Here, I marveled at the decorated ribbed vaults and frescoed columns which divided the space. Of particular note was the early 14th century fresco depicting the Virgin seated on a throne with baby Jesus and a 12th century fresco of the Baptism of Jesus. There is a tombstone of jurist Antonio Pelacani, who died in 1327, showing him teaching his students and another of scholar Master Omobono, built in 1330. In the presbytery, there is a wooden crucifix from the 14th century and in the right transept, the stone upon which saints Fermo and Rustico were beheaded.
Lower ChurchLower ChurchLower ChurchLower ChurchLower Church
Back upstairs in the Upper church, I found it to be a massive and towering space. Again, crumbling frescoes decorated the walls and a large wooden door was topped with a fresco of the Crucifixion of Christ. The single nave church contained five apses and of particular interest was the Della Torre altar, from the 18th century, Our Lady’s Chapel (1613), which contains a some significant paintings and the presbytery with its marble altar, created by Schiavi, on which the relics of Saints Fermo and Rustico are kept.
Upper ChurchUpper ChurchUpper ChurchUpper ChurchUpper ChurchUpper ChurchUpper Church
There were many tourists here and there was so much to see in the Upper Church that I spent much more time here than I had anticipated. As I finally exited San Fermo, I regained my routing along the river to head back toward the center of the city where the amphitheater was located. Taking much longer than I had anticipated, along with the heat of the afternoon slowing me down, I realized that I had maybe need to check the train schedule. I was still a ways from the train station and just over an hour away from Venice. As I realized that if I didn’t make the next train, I would be arriving into the Mestre station pretty late and I still needed to keep in mind dinner and the 20 minute walk back to my hotel. Upper ChurchThere were many tourists here and there was so much to see in the Upper Church that I spent much more time here than I had anticipated. As I finally exited San Fermo, I regained my routing along the river to head back toward the center of the city where the amphitheater was located. Taking much longer than I had anticipated, along with the heat of the afternoon slowing me down, I realized that I had maybe need to check the train schedule. I was still a ways from the train station and just over an hour away from Venice. As I realized that if I didn’t make the next train, I would be arriving into the Mestre station pretty late and I still needed to keep in mind dinner and the 20 minute walk back to my hotel.
Sadly, I had saved the amphitheater for last and it was not meant to be.
This time…
With so much to see in Verona, I was impressed with what I had undertaken and experience in a single afternoon. As there is much more enjoy in Verona, I realized that I would definitely return in the near future.
Pulling my KN95 mask from my bag…it was time to make that train.
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Hours: Tuesday to Sunday, 1000 to1800. Last entrance at 1715. Closed Mondays, December 24, January 1.
Admission: Adults, €6.00 (+ €.60 online presale), Children (ages 8-14 years), €1.00 (+€.10 online presale). Free admission for residents of 65 years in the Municipality of Verona, persons with disabilities and their companion, children up to 7 years, holders of the VeronaCard.
Hours: Monday to Friday, 1100-1800, Saturday, 0930-1800, Sunday, 1300-1800
Admission: Single entry €4. Entry to four churches, San Fermo, San Zeno, Cathedral Complex and Santa Anastasia, Basilica of San Zeno, the Cathedral Complex, the Basilica of Santa Anastasia, €8
No matter where you go in Italy, you will find celebrated cities filled with stunning architecture, monumental landmarks and bustling piazzas. Some cities are mere blips on the map and others more well known.
Having stayed in Venice so often and walked its alleys, crossed its bridges and traversed its canals, I felt as though it was time to venture out further and see those nearby cities, a brief train ride away.
On a recent trip, we had arrived in Venice much earlier than usual. Deciding to take advantage of this early morning accession, I checked the train schedules and decided to make the hour long journey to Verona.
Having studied the city’s map, I learned that there was so much to this city than its ties to Shakespeare’s Romeo and Juliet and I decided that I was going to navigate its streets and landmarks on foot, so that I could take in every detail.
Arriving at the city’s main train station, Porta Nuova, I set out to make my way to Verona’s historical center. Following my GPS’s directions, the first thing I encountered was Porta Nuova… Yes, I had just departed the train station, Porta Nuova, but there was another.
Built between 1532 and 1540, the city gate of Porta Nuova was built under the direction of architect Michele Sanmicheli, replacing the ancient Porta di Santa Croce, with the sideways of the gate being added by the Austrians in 1854.
The gate was constructed to encourage access to the city and I thought it befitting that it was the first thing I encountered when seeking out the historical section of Verona. Only one of two remaining gates in the city, it offered entrance from the south and was an important element of the city’s fortifications.
While, the gates’ arched doorways were barred off, I was able to look inside, through the openings and inspect the surrounding premises. The facade’s details have been restored and the structure is topped with the Italian flags.
The stop at Porta Nuova was not one I had planned, but rather merely encountered on my route to other attractions in the city center. However, it was a beautifully restored and maintained architectural piece of Verona’s past and I was glad that it was there to welcome me as it had done to countless others over the centuries.
If there was more like this to come…I couldn’t wait to see what else was in store!
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Porta Nuova
Address: Corso Porta Nuova, 1, 37122 Verona VR, Italy
It is well documented that most Roman emperors enjoyed flaunting their wealth, however, there was one that took his lavish lifestyle in the Eternal City to another realm.
Nero.
Deciding that he would build a palace to outdo all palaces, the Domus Aurea, he set forth with these plans in 64AD, after a major fire had swept through the city, destroying much of the area of the Oppian Hill. With this part of the city leveled, making room for his palatial plans, this led to speculation that Nero himself had started the fire.
Not to be deterred by rumors, he set forth with the construction of a complex, located near the Forum. The massive compound sat on 80 hectares, contained 150 rooms, gardens, a lake, fields, vineyards, pasture and forests with domesticated and wild animals. The rooms were lavishly decorated with gold, gems, precious marble and mother of Pearl, unlike any other built during the era. Records indicate that the house shone like gold with the light reflecting on these lavish decorations…hence the nickname, Golden House. And in the case that anyone’s memory lapsed and forgot who they were visiting, a 35-meter-high statue of Nero was situated at the entrance!
Some time ago, I had read about the Domus Aurea. Not open to the public during this timeframe, I had marked it as a point of interest on my Google map and filed it away hopefully for a future visit. Last spring, while perusing the internet, I came across an article advertising tours of the Domus Aurea. Tickets were limited and groups were small, so I excitedly booked a time slot in the afternoon.
Upon my arrival, what I first notice was that I was entering the gates of not only the Domus Aurea, but a park. A park filled with people sitting on benches, children skateboarding on the paved walkways and lovers relaxing on the grass in the shade of the massive trees. Deciding that it would be nice to walk through after my tour was complete, I continued to follow my directions, soon discovering a gate marked Domus Aurea, only to discover that it was not my intended destination.
Parco del Colle Oppio and entrance to Domus Aurea grounds
Virtual reality tours, which show the true nature of how Nero lived, are conducted on the weekends, when restoration work is not being conducted and embark from this location, however, being a weekday, I was directed to another building a little further.
Gate for weekend tours
After checking in, more people arrived and we were ushered into the building’s atrium with suggestions that we don outerwear for the cooler temperatures inside.
Main entrance and walkway to Domus Aurea underground
Not sure what exactly I was there to experience on my tour, I followed the guide down a long walkway, descending perhaps fifty feet or more to where the remains of Nero’s complex now lies, having been plundered, buried, and built upon by his successors.
Arriving in an impressively excavated, dimly lit, octagonal room, I marveled at the spotlighted statue occupying the center of the room and the astrological symbols being projected onto the vaulted ceiling. Indeed, it was much cooler, and I zipped up my jacket as I made my way around the rotunda, examining the adjacent rooms.
Our guide explained that this was the first time that these rooms have been made available as part of a temporary exhibition. This exhibition conjures up the Domus Aurea’s rediscovery by torchlight, in the 15th century, by those, including the painter Raphael, inspiring his future works.
I admired the best-preserved frescoes of the Domus Aurea in the Room of Achilles on Skyros which portrays a scene inspired by the story of Troy. Other rooms contained projections of the grotesques (a style of decorative painting or sculpture consisting of the interweaving of human and animal forms with flowers and foliage), architectural depictions of the palace designs and statues, including a reproduction of the Laocoon.
Left photo, reproduction of the Laocoon
We were also allowed into the dilapidated (due to weather and dampness) Room of Hector and Andromache, the first room to be discovered in the complex. The room was long and extremely tall; however, some remnants of its original artistry can still be detected.
Top right, Room of Achilles
Having examined all aspects of this beautifully restored piece of the palace, I made my way back up the inclined walkway and out into the warm, late afternoon sunshine.
Winding around the back of the building I had just exited, I followed the pathways, through the Parco del Colle Oppio, searching for the Baths of Trajan, which had been built on top of Nero’s palace, about 40 to 50 years later.
Parco del Colle Oppio
After Nero’s suicide in 68 A.D., his successors, Ortho and possibly Titus, added to the completion of the Domus Aurea, but later successors sought to erase Nero’s memory. Parts of the palace and grounds were filled with earth and built over, the Baths of Titus, the Flavian Amphitheater, the Temple of Venus and Roma and the Baths of Trajan were all built on the site.
The Baths of Trajan, built by architect, Apollo of Damascus, were created for the emperor Trajan and as a recreational and social center for both male and female Roman citizens in the early 5th century. There were the first “great baths” in Rome and at the time, the largest existing thermal building in the world. Not in use for very long, it was deserted and left for ruin.
Baths of Trajan
The remains of these ruins are scattered through the northwest side of the Parco del Colle Oppio…amidst area’s playgrounds. Children were running throughout the area with parents watching, exercising or visiting with others. It was interesting to see these citizens using these hallowed grounds as a recreational site, which it once was in a different capacity, all the while knowing what lies beneath them and around them…the Domus Aurea.
Baths of Trajan and middle right, Cisterna delle Sette Sale (across from rear entrance)Baths of Trajan
Rear entrance along Via delle Terme di Traiano
Front entrance, right across from Colosseum
What an interesting way to grow up among some of Rome’s most historical sites!
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Some of Rome’s major most beloved sights are what visitors aspire to lay their eyes on while visiting the Holy City…the Colosseum, St. Peter’s Basilica, the Vatican and the Trevi Fountain, just to name a few.
Bursting with history, the city offers many museums, churches and ancient archeological sites which detail the city’s bygone times. Amongst these stand-out attractions, however, there are many hidden gems. While visitors certainly have their pick of other attractions on the way to each of these places, it may be hard to discern which are worthy of a peek inside and I make it my mission to find these hidden gems…many of them, churches.
Last spring, while plotting my route to the Domus Aureus, I spotted a church a few blocks from the Coliseum. I had planned to leave with plenty of time to grab a bite to eat and take some photos of the Coliseum, so I decided to add this detour and mark off another church from my list (yes, I am obsessed with seeing all churches in Rome!).
As I exited the Cavour metro station and marched up Oppian Hill, I became a bit confused. Although I was operating on little sleep, I could not figure out if this was my intended destination. The façade of the the supposed church was extremely plain and situated next to a university building. In fact, spotting students chatting and reading on the adjoined steps, I thought it to be an extension of the university edifice.
San Pietro in Vincoli façade
Fully expecting to interrupt a classroom full of scholars, engaged in a discussion on world politics, I marched up to the conventional brown door, set inside a narrow portico, and pushed it open.
Entrance doors
No stern professor glared back at me for the abrupt interruption…
This was San Pietro in Vincoli, or St. Peter in Chains, the church that houses the restraints that bound St. Peter when he was imprisoned in Jerusalem.
Formerly known as Basilica Eudoxiana, it was built on older foundations during a span of eight years, starting in 432. Consecrated in 439, it was to become the place that would house the shackles that kept St. Peter imprisoned.
The chains from Saint Peter’s Jerusalem confinement were passed from Iuvenalis, Bishop of Jerusalem, to Aelia Eudocia (consort of Valentinian II) and then given to her daughter, Empress Eudoxia (wife of Emperor Valentinian III). They were then gifted, by the Empress, to Pope Leo I. Legend states that on August 1, when Pope Leo I compared them to the chains of St. Peter’s final imprisonment in the Rome’s Mamertime Prison, the two chains fused together prompting the pope to initiate the construction of a place where this miracle could be viewed by the faithful.
The church contains a main nave and two aisles and normally, I would first work my way through each aisle to see the side chapels. This time, I headed straight for the main altar. There was something special here that I needed to see.
Main altar
Underneath the main altar, accessed by an open stairway, I found these important relics, housed in a reliquary in a lighted case and flanked by statues. Judging by todays standards and chains that I have seen used in various applications, these appear to be thin and quite flimsy. That being said, even with these restraining me, I probably could have not escaped imprisonment and I was moved knowing that these iron manacles once touched the flesh of Saint Peter.
The chains of Saint Peter
The chains of Saint Peter
My inquisitiveness satisfied, I moved on, focusing my attention on the other important aspect of San Pietro in Vincoli. While the basilica is more commonly known for the chains of Saint Peter, it is also very well known for being the home of Michelangelo’s statue of Moses which guards the tomb of Pope Julius II. Located on the right side of the church, the imposing funeral monument was originally intended to be part of a massive forty-seven foot statue. Instead, it became the centerpiece of the Pope’s tomb. There is much to analyze in the massive sculptural piece, however, take a hard look at Moses…he is depicted with horns, connoting “the radiance of the Lord”, a symbol that was common in early sacred art and easier to sculpt than rays of light.
Michelangelo’s statue of Moses and the tomb of Pope Julius II
Moses reproductions for closer inspection
Naturally, I proceeded to move through the two side aisles and the two side altars, inspecting the chapels and beautiful works displayed in each as well as glancing above at the 18th century coffered ceiling. This great work of art displays the Miracle of the Chains, by Giovanni Battista Parodi, depicting the healing of Saint Balbina by Pope Alexander as he touches the neck goiter with the chains that once bound Saint Peter.
San Pietro in Vincoli side chapels
San Pietro in Vincoli side chapel
San Pietro in Vincoli coffered ceilingSan Pietro in Vincoli coffered ceiling
Artistry decorating the basilica include a painting depicting the Liberation of St. Peter (Domenichino,1604), Deposition (Cristoforo Roncalli) on the altarpiece on the first chapel on the left, the tomb of Cardinal Nicholas of Kues and its relief, Cardinal Nicholas before St. Peter. Other notable tombs include the one of Florentine sculptor, Antonio del Pollaiuolo (left side of entrance) who added the figures of Romulus and Remus to the sculpture of the Capitoline Wolf, the tomb of Cardinal Cinzio Aldobrandini and tombs once believe to be the seven Maccabean martyrs depicted in 2 Maccabees 7-14.
The third altar in the left aisle holds a beautiful mosaic of Saint Sebastian from the seventh century which depicts Saint Sebastian’s posthumous role in ceasing the plague in northern Italy in 680. Pay close attention to the frescoes as they illustrate skeletons and other images not often shown in Catholic churches.
As I exited the facility and walked around the peripheral, I was once again struck at its simplistic nature. Disguised by the activities of La Sapienza University next door, housed in the former associated convent, one might never know that they are walking past one of the most illustrious churches in the city.
San Pietro in Vincoli exterior
Yes, on this day, I found one of the city’s hidden gems.
Coffee shops in Italy are plentiful and it has to be pretty hard to compete.
So how does Starbucks open up a location in Milan and attract people who are willing to wait in line to enter and drink their special blends when there are so many authentic coffee shops throughout the city?
I have never been a coffee drinker…give me a Diet Pepsi in the morning and I am all good! But when I had the opportunity to stop by the Starbucks Reserve Roastery while on one of my layovers, I said yes, as I was dying to see why people stand in line to enter the beautiful…and historic…Poste building in Piazza Cordusio.
The Starbucks Reserve Roastery opened on September 6, 2018 and was created to pay homage to the Italian espresso culture that inspired Howard Schultz to create the Starbucks Experience, 35 years ago. Not just your ordinary coffee shop, the Reserve Roastery is a total experience which captivates your imagination and attention!
The first thing I noticed was the size. All 25,00 square feet of it!
But it wasn’t just big…it was beautiful…and colorful…and elegant…and fascinating…
Taking our place in line at the main bar, we perused the menu and made our order decisions. Serving everything from espresso, to nitro draft to cold brew to tea to hot chocolate…all is made to order and so worth the wait. Having ordered a chilly cookies and cream Frappuccino concoction, I sat at the bar with my friends, near the Scolari coffee roaster, the heart of the roastery, and savored my drink.
Cool music was playing giving it more of a club feel, but every now and then, a clattering noise from above caught our attention. Copper tubing, snaking its way across the ceiling, transported coffee beans to their holding cannisters at the main bar. How cool it that? A coffee bean highway!
And that’s not all. Nooks and crannies were filled with sculpture and murals lined the stairway leading down to the beautifully equipped bathroom, constructed of locally sourced marble and up, to the ArriviamoTM Bar where the vibe is definitely more about drinking, however, not coffee. If specialty cocktails are your thing, this is the place to be…the 30 foot long marble bar is the working space where mixologists create their passions.
The Princi Bakery occupies the left side of the space and houses a wood-fired oven, the tool for making proper bread and the nearby gift shop offers Starbucks merchandise as well as rare and exotic high-quality Arabica coffees sourced from around the world that you can take home and make for yourself.
.Many people choose to sit in the outdoor space, perfect for people watching, but I think staying indoors gives more insight into the art and science of coffee making in Italy!
I am still not a coffee drinker, but I would definitely visit Milan’s Starbucks Reserve Roastery again!
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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.
Navigli Grande
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.
Vicolo Lavandai
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.
Santa Maria delle Grazie al Naviglio
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.
Bronze pulpits
Altars dedicated to Saint Anthony of Padua and the Pieta
Santa Maria delle Grazie al NaviglioSanta Maria delle Grazie al NaviglioSanta Maria delle Grazie al Naviglio
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.
Baptistery
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.
Church of San Gottardo al Corso
Porta Ticinese
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.
Basilica di Sant’ EustorgioBasilica di Sant’ Eustorgio
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.
Monumental SacristyMonumental Sacristy
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.
Solarian Chapel
Portinari Chapel
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.
Portinari Chapel
Portinari Chapel
Portinari Chapel
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.
Basilica di Sant’Eustorgio
Basilica di Sant’EustorgioBasilica di Sant’EustorgioBasilica di Sant’EustorgioBasilica di Sant’Eustorgio
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.
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.
Basilica di Sant’ Eustorgio
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!
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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: 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).
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!
Wall of Dolls
Navigli Canal area art installations, murals and grafitti
For more pictures, check out Facebook, Snapping the Globe and Instagram, @snappingtheglobe.
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.
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.
Murano Faro
Oratorio Ex ospizio Briati
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
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.
Ballarin Chapel
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.
Guarnieri Glass Factory
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
