architecture photography – Snapping The Globe

Friends in Foreign Places

Portugal is one of those places that you just can’t get enough of. Of course, that being said, your legs and feet might tire quickly of the multitude of stairs and elevations that comes with climbing throughout hilly cities like Lisbon and Sintra!

One day, I decided that I needed some sea-level sight-seeing. A friend was in the nearby coastal community of Cascais perfecting his Portuguese in one of the local schools and I made a plan to take the train for a quick visit.

After working all night, a nap was desperately needed, so I texted him that I would take the three o’clock train. Of course, my Uber ride to the station was delayed by traffic so my departure was about twenty minutes later, but still, daylight hours are plentiful in late May and we would have time to do a quick tour of the town.

Forty minutes later, after some beautiful coastal scenery, I was waving to Dave as I exited the train. There were some items of particular interest that I wanted to explore on my own and had planned to meet Dave a little later (so as not to bore him), but he insisted that he would be my tour guide so that I would not miss anything!

Setting off from the station, Dave and I began our trek on the cobbled streets of Cascais, passing colorful buildings, patterned walkways and stunning architecture underneath a dazzling blue sky. Boats bobbed on the water, sunbathers lounged lazily on the Praia da Rebeira and residents and visitors were out in full force exercising and enjoying the beauty and warmth of the afternoon.

*The sights and architecture of Cascais*

First, we encountered 5th of October Square, the heart of Cascais, of which the name comes from the revolution in 1910, when the monarchy was abolished in Portugal. This square boasts the traditional black and white calçada, wave-patterned pavement, which can be seen throughout the city, as well as the Old Town Hall and the statue of Dom Pedro I, King of 14th century Portugal.

Moving on, we found Nossa Senhora Da Assunção (Our Lady of the Assumption Cathedral). Dave was not sure of its opening hours, however, we were lucky enough to find the doors open. This church was originally built in the 1500s on the site of a Visigothic necropolis. Damaged by the 1755 earthquake, it was restored and remains the main church of Cascais.

Inside the single-nave church, we were greeted by a barrel-vaulted ceiling centered with a image created by José Malhoa of Our Lady of the Assumption and original blue tile panels that were added from 1720 to 1748, depicting scenes of the life of the Virgin, which thankfully, survived the earthquake’s fury.

The gilded-wooden main altar at the far end was remarkably detailed as well as the side chapels designed in the same style. On the upper walls, there were a number of 17th century paintings, some by Josefa d’Obidos, one of Portugal’s most prolific painters and one of the few female artists in the world at the time. The baptistry also contained some traditional tilework in the Portuguese style.

While the cathedral wasn’t a large one, it’s impressive interior was worth visiting and we were glad that we had encountered it unlocked, as we learned later that it usually only opens for services.

As we circled the building, we found a statue of Pope John Paul II, which was unveiled in 2010 as a tribute to the much loved Pope by the city. The life-sized statue depicts the Pope bestowing a blessing and holding a staff and was designed by artist Alves André.

A short walk from the cathedral, we found the entrance to the Citadel of Cascais which was built between the 15th and 17th centuries to defend the coastline and to protect attacks on the capital city, Lisbon, by the English. By the 19th century, however, King Luis I of Portugal ordered it to become a place of rest and retreat for the royal family. As the royal family spent the months of September and October in the city, it grew and attracted other affluent people who also desired to spend their summers there. Electricity was installed in the late 1800s and in 1977, the complex was restored and classified as a Property of Public Interest.

While I expected the traditional architecture of a fortification, I wasn’t quite expecting what lay inside. Normally, I would think to find cannons and war memorabilia, however, the Citadel now boasts an Arts Center and a hotel built into one of its buildings. There were some interesting pieces of modern art scattered throughout the premises as well as the traditional patterned pavement, blending old with the new.

A little further down Avenida R. Humberto II de Italia, we discovered the 17th century Chapel São Sabastião on the grounds of the Museu Condes de Castro Guimarães and Marechal Carmona Park. The chapel is closed to the public, but we learned that its interior’s walls are lined with traditional painted tile images of Saint Sebastian’s life and his deeds as a saint. The chapel is maintained by the Dominican fathers, who hold religious services in English every Sunday, and it is a popular location for weddings and baptisms.

Walking a short distance, we checked out the grounds of the museum, posing alongside the painted tile fountain and checked out its cloister. Its décor was extremely detailed, yet eclectic, and while we were curious about its interior and history, we did not have time to include it in our visit. What we did learn, however, was that it was originally known as the Torre de São Sebastião (St. Sebastian’s Tower) and was built in 1900 as an aristocrat’s summer residence. It became a museum in 1931 and includes significant national and international paintings, furniture, porcelain, jewelry and a neo-Gothic organ.

While what we had seen so far of the building’s exterior was stunning, it wasn’t until we continued on Avenida Rei Humberto II de Italia that we realized its most striking feature…the tower, with its base jutting out into a small cove. There are several gargoyles, protruding eaves and porches and it sits alongside a small beach and the waterway that passes underneath the road. And to the tower’s yin, there was its yang sitting across the road on the coast…the lofty Santa Maria Lighthouse, adjacent to Casa Santa Maria, a perfect example of a Portuguese house.

As if this scenery wasn’t spectacular enough, a little further up the road, we encountered a pathway leading to the natural bridge, Boca do Inferno, formed by the erosion of rock from the pounding of the waves beneath. There were a few restaurants here, some street performers and a building with a few vendors. It was a nice place to regroup for our walk back to town.

Dave and I were walking along, back to town, conversing about work. Since our job is so unique, sometimes people can discern what we do just from the terms we use. All of a sudden, a couple sidled up along side of us and asked us if we were flight attendants. After a short conversation, amazingly enough, they knew someone who had worked for our company and had retired in Cascais! They tried calling her to meet us, unsuccessfully, however, but they continued to walk with us back toward town.

Next thing you know, we were accepting an invitation to have drinks at their charming apartment in the center of town! Since Dave is planning to possibly retire there one day, it was a convenient meeting and the makings of a new friendship!

Unfortunately for me, despite the wonderful company, I had to bid my adieu to my old friend Dave and our new friends to make my train back to Lisbon. Missing out on dinner with this amazing group was unfortunate, but dinner plans with some of my crewmembers was approaching.

Now that I know how beautiful Cascais is, however, I will most definitely be making my way there again in the future…especially when Dave will be there! It pays to have friends in foreign places!

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

5th of October Square

https://lisbonportugal.ca/coast/cascais-town-hall.html
Address: Praca 5 de Outubro, 2750-642, Cascais
Hours: 24 hours, daily
Admission: free

Church of Nossa Senhora da Assunção

https://paroquiaassuncao.org.br/
Address: Tv. Navegantes 16, 2750-444, Cascais, Portugal
Hours: unverified
Admission: free

Citadel of Cascais

Address: Avenida D. Carlos I, Cascais, 2750-642
Hours: Tuesday-Sunday, 1000-1300 and 1400-1800. Guided tours from Wednesdays to Sundays at 1200.
Admission: €4.00

Chapel São Sabastião

Address 2750-642, Cascais, Portugal
Hours: not open to the public except for religious services on Sundays
Admission: free

Museu Condes de Castro Guimarães

https://bairrodosmuseus.cascais.pt/list/museu/museu-condes-de-castro-guimaraes/
Address: Avª. Rei Humberto II de Itália, 2750-319 Cascais
Hours: Closed Monday. Tuesday-Friday, 1000-1700, Saturday and Sunday, 1000-1300 and 1400-1700.
Admission: €5.00, Cascais Cultural Center/House of Stories Paula Rego/Santa Maria House/Lighthouse Santa Marta Museum. €4.00, Condes Castro Guimarães Museum.€3.00, King D. Carlos Sea Museum/Museum of Portuguese Music/Fort of S. Jorge de Oitavos. €1.00, Casa Duarte Pinto Coelho. Daily ticket to visit all facilities valid for 1 day, €13.00. Senior tickets, students and Cascais residents, 50% discount on the entrance ticket. Free first Sunday of each month.

Santa Maria Lighthouse Museum

https://www.visitlisboa.com/en/places/santa-marta-lighthouse-museum
Address: Rua do Farol de Santa Marta, 2750-341Cascais
Hours: Closed Monday. Tuesday-Sunday, 1000-1300 and 1400-1700.
Admission: €5.00 and includes admission to Casa Santa Mara

Boca do Inferno

Address: Avenida Redi Humberto II de Italia 642, 2750-642 Cascais, Portugal
Hours: 24 hours, daily
Admission: free

The Noble Tombs of Verona

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).

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.

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 sarcophagus of Albert I is a richly carved monument, constructed in 1301.

The tomb of Mastino I is the oldest.

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.

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.

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.

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.

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

Scaliger Tombs

Address: Via San M. Antica 1, Verona VR, Italy
Hours: unknown
Admission: €3 (unverified)

Vibrant Verona

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.

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.

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.

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”.

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.

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.

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.

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!

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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

Castelvecchio Museum

https://museodicastelvecchio.comune.verona.it/nqcontent.cfm?a_id=42545
Address: Corso Castelvecchio, 2, Verona, Italy
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.

Arco dei Gavi

https://www.verona.in/verona/what-to-see/details/arco-dei-gavi
Address: Corso Cavour, 2, 37121 Verona VR, Italy
Hours: 24 hours, daily
Admission: free

Basilica di San Lorenzo

https://verona.com/it/verona/chiesa-di-san-lorenzo/
- Address: Corso Cavour, 28, 37121 Verona VR, Italy
- Hours: 0900-1200 and 1500-1700
  - Admission: free

Porta Borsari

Address: Corso Porta Borsari, 57A, 37121 Verona VR, Italy
Hours: 24 hours, daily
Admission: free

Chiesa di San Giovanni in Foro

Address: Corso Porta Borsari, 20, 37121 Verona VR, Italy
Hours: hours unknown
Admission: free

Piazza delle Erbe

https://verona.com/en/verona/piazza-delle-erbe/
Address: Piazza delle Erbe, 37121, Verona VR, Italy
Hours: 0730-2030, daily
Admission: free

Scaliger Tombs

Address: Via San M. Antica 1, Verona VR, Italy
Hours: unknown
Admission: €3 (unverified)

Juliet’s House

https://verona.com/en/verona/casa-di-giulietta/
Address: Via Cappello, 23, 37121, Verona VR, Italy
Hours: 0900-1900, daily
Admission: Adults, €6

Porta Leoni

Address: Via Leoni, 37100 Verona VR, Italy
Hours: 24 hours daily
Admission: free

Chiesa di San Fermo Maggiore

https://www.chieseverona.it/it/le-chiese/la-chiesa-di-san-fermo
Address: Corte S. Elena, Piazza Duomo 35, 37121, Verona VR, Italy
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

Welcome to Verona

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
Hours: 24 hours, daily
Admission: free

Adventures in New Mexico Part 2-Chaco Canyon

Chaco Culture National Historic Site bears a unique title, one of the 20 least visited national parks in the US!

So why were we up early, making a three hour drive through unmaintained roads to hike through its boundaries?

For one, Bandolier National Park was closed due to the wildfires raging in the northern part of the state and Taos Pueblo had still not reopened since Covid restrictions were lifted. After spying pictures of this park and noticing its remoteness, I decided that it would be a perfect photo opportunity, make for an interesting blog post and a way to learn about the ancient Chacoan culture in this UNESCO World Heritage Site.

This national park gives insight to the engineering abilities of the ancestral Pueblo people of the southwest. The structures located in the park were built between 850 and 1250 in a remote canyon cut by the Chaco Wash. The structures were constructed of quarried sandstone bricks and timber hauled from great distances and during this time frame, the area was a major center of culture for the Puebloans. Fifteen major complexes make up the area and what remain are the largest building ever built in North America until the 19th century.

Our original plans had us spending this day in the Albuquerque area and driving to Chaco Canyon the next day, to hike and sight see before continuing on to Santa Fe. As I awakened early, however, I burrowed under my hotel sheets and pondered this agenda. We wanted to make it to Santa Fe in time to visit the new attraction Meow Wolf. There is nothing I hate more than not having enough time at an attraction and having to leave before I’m ready in order to meet a timeline and I was afraid that I wasn’t allowing enough time in Chaco Canyon. And…if we were not to make it to Meow Wolf, we would miss our opportunity since it was closed on the next day. After doing a bit of reading, I realized that there was much to see and do in Chaco Canyon that a couple of hours was not adequate.

A change of plans was in order.

This journey was beckoning our adventurous sides. It did not matter how long or hard! If the Chacoans could do it without modern conveniences, we could too.

Jumping into the shower, I informed my son of our new plan. Thankfully, he’s a flexible travel companion, quick to get ready, and we were soon on the Interstate 25 heading north.

The further we traveled, through desert and mountainous regions, cell service became more spotty and obsolete at times. Before all was lost, we made a call to the National Park for some specific directions, since we were a little unsure of the roads in this area. This proved to be a smart move! The ranger gave us detailed directions and even the good advice to fill up our car and purchase snacks at the nearby gas station before leaving the paved roads.

While I had anticipated rough roads, I wasn’t quite prepared for what we encountered. Twenty-one miles on a paved highway would take approximately 15-20 minutes, however, dirt, loose gravel, potholes and uneven surfaces kept us at about 20 miles per hour…you can do the math!

Finally, after the grueling, steering-wheel-clutching, teeth-gritting-when-we-hit-the-potholes drive, we spied the National Park entrance sign ahead and a paved road leading into the park. Success!

*Entering the park, views of Fajada Butte*

First stopping into the Visitor’s Center, we purchased a America the Beautiful Annual Parks Pass. As we would be visiting other parks within the state, it would definitely pay for itself. Quizzing the ranger for helpful advice, we then headed out to the parking lot to fill our water bottles at the cisterns and began our explorations along the Una Vida trail leading from the lot.

Una Vida, only a mile long, gave us our first look at the type of structures and petroglyphs that we would be encountering throughout the park.

Refilling our water again, we headed out on the nine-mile loop road to the next stop, the Hungo Pavi trail. More structures dotted the landscape, but it was on the trail that we would find the Chacoan Great House (occupation AD 1000-1250s). Paved and dirt pathways ran throughout the site and we were able to examine these dwellings from extremely close proximity. This monumental public building is a good example of what Chacoan sites look like without excavations, covered in windblown sand and native vegetation, and consists of over 150 rooms, a great kiva (space used by Puebloans for rites and political meetings) and an enclosed plaza.

Our next stop was the Chetro Ketl trail, home to the second largest Chacoan great house, covering more than three acres and containing a great kiva and elevated kivas. The structures consists of two and three stories and an elevated plaza that stands twelve feet above the canyon floor. Along the way we also followed the Petroglyph trail which spanned the bottom of the cliff face between Chetro Ketl and Pueblo Bonito. Here, we spotted many petroglyphs etched onto the walls, some low and some so high it made you wonder how they reached these soaring elevations.

The Pueblo Bonito trail is named after the beautiful structure located within its confines. This large complex, where we headed next, was unearthed between 1920 and 1927 by seven expeditions of the National Geographic Society and the Smithsonian Institution. According to the sign on site, over one hundred thousand tons of rubble and wind blown sand were removed to accurately reconstruct parts of the destroyed walls and match the ancient masonry. Located approximately 4.5 miles from the Visitor Center, it is the most important site in the canyon and worth the 0.6 mile roundtrip hike. Constructed from AD 850 to AD 1150 it was the center of all of the Chacoan universe.

A much larger compound than we had encountered thus far, we walked around its perimeter, comparing its size to the massive boulders that had fallen from the mesa beyond. Climbing these boulders, we had a bird’s eye view of the interior of Pueblo Bonito.

*View of Pueblo Bonito Ruins from top of boulders*

Along this trail, we encountered a sign directing us to the Wetherill Cemetery. While from this point, it was only a quarter mile hike, we learned later, that there was a parking area up the road which would have provided a much shorter walk. Only one grave was located here, that of Richard Wetherill, an amateur archaeologist who discovered, researched and excavated sites associated with the ancient Pueblo people. Fascinated by the ruins and artifacts of the Southwestern United States, Wetherill was credited with the excavation of Pueblo Bonito. He was murdered during a mysterious circumstances by a Navajo in Chaco Canyon in 1910.

Returning to Pueblo Bonito, the trail brought us around to the front of the complex and through parts of its interior. Judging by the small doorways, these ancient people must have been of a smaller stature and we were mesmerized for the still intact wood beams still in place. The most interesting part of the entire complex was an interior room with its wooden walls and ceiling still unscathed.

*Pueblo Bonito Ruins* *with original wood walls*

Skipping Casa Rinconada, we next headed to Pueblo del Arroyo, about a mile up the road. The 1/4 mile roundtrip trail brought us to another Chacoan Great House (occupation 1075-1250s). Planned and constructed in two stages, the architecture found here lacks a great kiva and earthen mounds, however, typifies the pueblo architecture found throughout the area.

It was now getting to be late afternoon and there was still so much more to see. Realizing that we had made the correct decision to devote this entire day to Chaco Canyon, I quickly calculated that although making it a long day, we could conceivably depart from the park between 6:00 and 6:30pm, have dinner along the way and still make back to our hotel at a semi-decent hour.

There was still a trail that we wanted to follow, but we were concerned about making it back in time to follow our new itinerary. This trail passed near Kin Kletso, another great Chacoan House (occupied from AD 1100 to 1150s). There were some interesting petroglyphs here, but we hesitated for a moment because to take this trail up to the top of the mesa, we needed to register. After talking with another couple of hikers, who assured us that we had enough time and that we could register at the top of the trailhead, by filling out a form, leaving half in the box and half on the dashboard of our car, we set off.

Heading on the Pueblo Alto trail, we hoped to reach the Pueblo Bonito Overlook. The trail, a total of 2.6 miles, reaches the overlook at .75 mile. If we could reach the overlook, we would then recalculate our time. But first, the beginning of the trail had me rethinking if I was capable of making it to our destination. The trail wound up the side of the cliff, giving us great views of Kin Kletso, but I was a little hesitant of looking anywhere but in front of me. Next, we discovered that we had to make our way through a narrow path, between the cliff walls, straight up. Not wanting to let my son down, I persevered and even enjoyed myself, discovering the beautiful flowers, fossils embedded in the stone, shrimp burrows and other landmarks along the way. From the top of this mesa, the view of the canyon was stunning.

*Pueblo Alto Trail, overlook to Kin Kletso (middle left and bottom right), trail through slot canyon (top right)*

*To the end of the Pueblo Alto trail and views of Pueblo Bonito*

*View of Pueblo Bonito from Pueblo Alto trail*

When we reached the Pueblo Bonito overlook, I had to admit that it was worth the intimidating climb! With Pueblo Bonito spread out below us, it was much easier to see from above what we could not fathom while walking through the complex!

Checking our watches, we discovered that we had actually made pretty good time, so we decided to follow the Chacoan Road for a little ways. There were two additional structures that we were able to spot from afar, but sadly, if we were going to make our departure window, we had to turn back. Along the cliff’s edge we retreated, back through the narrow canyon, gingerly stepping from one rocky stair to another, past Kin Kletso and back to the cool confines of our car.

*Back thru the slot canyon and to the main road*

Another quick trip to the Visitor’s Center to grab more water and we were on our way back to Albuquerque. While the trip on the unpaved roads seemed shorter as we were now familiar with its length, it was still harrowing, praying we didn’t pop a tire or break an axle. As we approached paved roads and civilization, the late summer sun was illuminating the nearby mountains, giving us quite the show of fiery reds and oranges!

As we arrived back to Albuquerque close to 9:00 p.m., during the midst of a lunar eclipse, I realized that while we were extremely tired from the six hours we had spent in the car, the sun and all of the hiking in the park, we had made the right decision.

Chaco Culture National Historic Site absolutely warrants enough time to see everything that if offers. Maybe it is one of the least visited, but we can say we did!

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Chaco Culture National Historic Park

https://www.nps.gov/chcu/index.htm
Address: Mailing address, PO Box 220, Nageezi , NM 87037
Hours: 0700-sunset, daily
Admission: Vehicle entrance fee, $25.00 USD for 7 days (includes all persons traveling in one private, non-commercial vehicle (car/truck/van). Motorcycle entrance fee, $20.00 USD for 7 days. Individual entrance fee, $15.00 for 7 days.
- Getting There: https://www.nps.gov/chcu/planyourvisit/trafficandtraveltips.htm Calling ahead for travel conditions is advisable.

America the Beautiful Park Pass

https://usparkpass.com/?msclkid=93b48013494c171633b4e37a00f1093a

Metro de Chateau

At one end of the Paris metro yellow line is La Defense, the other, Chateau de Vincennes.

The location of my work hotel is somewhere in between and I’ve visited La Defense’s Christmas market a few years ago, but never gave much thought to the other end of the line. La Defense is a business district, I just naturally assumed Chateau de Vincennes metro stop was named after the area, not an actual Château. In actuality, I was partly correct.

The area of Vincennes was formed in the late 18th century, when two village communities located north of the chateau joined together…the hamlet of La Pissotte, which was built towards the end of the 13th century and Basse-Coura subdivision created under Charles V originally used to house royal servants. In 1829, the territory was enlarged at the expense of Fontenay-sous-Bois and Montreuil. Vincennes now covers an area of some 192 hectares and has almost 50,000 inhabitants. It is one of the most densely populated towns in France.

But, there really is a chateau in Vincennes!

Setting out shortly after my arrival into Paris, I was excited at the prospect of seeing this chateau in Vincennes that this metro stop was named for.

Exiting the metro, I discovered massive walls and an imposing gate a short distance away on the Avenue de Paris. Complete with a draw bridge spanning a moat surrounding the premises, I was reminded of its long history and its need for defense during tumultuous times.

Chateau de Vincennes entrance

Built between 1361 and 1369, this preferred residence of the French Kings was known for its keep and for its beautiful chapel, Sainte-Chapelle de Vincennes, although prior monarchs used the area during the century before construction commenced.

Passing through the gates, I glanced up at the bell tower and clock, the very first public clock in France (although now a reproduction with its original kept in Saint Chappelle). A little further, I walked into a large compound with buildings lining the walkway to both my left and right, and here, I discovered the ticket office. Although I had purchased my ticket prior to my arrival, I stopped inside to ensure that everything was in order and to confirm what my entry fee covered. Handed a map, I was pleasantly surprised that I was able to visit not only the Keep and the Chapel, but also the Queen’s Pavilion.

*Chateau de Vincennes inner courtyards and buildings*

The Keep, or “donjon” seemed to be the perfect place to start my explorations. This fortified central tower, the tallest in Europe at the time, was built during the 14th century. Initiated by King Philippe VI in 1340, later his son Jean II of France and subsequently, his son, the future Charles V, the fortress with high walls, towers and a keep were completed by 1370. Charles V moved into the Keep with some construction still underway. As I moved through the massive structure with its 52 meter tower in the center, I read through the signage describing each of the areas’ usage.

The ground floor of the Keep has wells and the remains of a large fireplace, probably originally used by royal servants. It was largely rebuilt when the building was used as a prison.

*View of Sainte-Chapelle de Vincennes and King and Queen Pavilions from the Keep*

The first floor contained the meeting hall of the Council of the King, and was also used when needed for bedchambers of the Queen and others close to the King. The walls were originally covered with oak panels, some of which are still in place.

The second floor was occupied by the bedchamber of the King, and has decorations added by Charles V of France when he rebuilt it from 1367–38. The walls were originally covered with oak panels, and the vaulted ceiling was decorated with sculpted keystones and consoles and painted flour-de-Lys and the coat-of-arms of the King, against a blue background, still visible. A small oratory is set into the north wall, though its wood paneling has disappeared.

The third floor has the same plan as the second, but lacks the ornate decoration of the royal floor. It was probably used by important guests of the King.

The fourth, fifth and sixth floors, which lack ornament, were probably used by domestic servants or soldiers. They were also used to store munitions for the weapons placed at the windows of the fourth floor and on the terraces of tower of latrines and the main body of the keep. The sixth floor has no windows and a ceiling only two meters high, and a single entrance. Beginning in 1752, the upper floors were used primarily as prison cells. The bars in the windows and doors date from that period. The extensive and elaborate graffiti still found on the walls on the upper floors also dates from the 17th and 18th century.

After Charles death, it remained a place of refuge for future kings, eventually converting to a prison and finally, a military installment. In fact, the most interesting portions of the keep were one of the areas used for the restraint of prisoners. In this area, I spotted many signatures etched onto the walls and the remains of murals painted on the walls by these prisoners, the most beautiful being those completed by Monseigneur Boulogne, confessor of Napoleon I, imprisoned on his orders. This room was also used to later keep the Comte de Mirabeau, who spent three years imprisoned at Vincennes where he wrote about the abuses of the royal warrant. Other famous prisoners included Denis Diderot (1713-1784), François-Vincent Raspail (1794-1878), the Marquis de Sade (1777-1784).

My tour of the Keep complete, I headed across to Sainte-Chapelle de Vincennes. Having been to the beautiful chapel of Sainte Chapelle in Paris’ Ile de Cite, I was curious to see how they would compare.

Conceived by Charles V as his dream to add an exceptional religious monument to the fortress and a place to house the relics of the Passion of Christ, he did not live to see its culmination. With construction beginning in 1379, it still remained unfinished in the 16th century. King Francois I, a frequent resident, resolved to bring it to its completion in 1520, to celebrate the birth of his son and heir. Upon his death, Henry II of France resumed construction, completing the vaults and overseeing the addition of woodwork and stained glass with its completion in 1552.

While both are built in the Gothic style and organized in the same manner, this one seemed much more narrow and more brightly lit. Devoid of seating or ornamentation aside from the windows and the altar, it was a clear view of the sole internal space, especially from the rear choir loft, in contrast to Sainte Chapelle on the Ile de la Cite having two levels, upper for the King and his family and the lower for ordinary members of the court.

The sacristy, a separate two story structure, is attached to the chapel at the oratory of the King on the north side of the chapel and a stunning funerary monument of the Duke of Enghien can be found inside as well.

*Funerary monument of the Duke of Enghien*

Exiting the Chapel I headed through the arches into the courtyard of the Pavilions of the King and Queen. A beautiful, open and grassy space each building, the King’s Pavilion on the southwest corner and the Queen’s opposite.

*View of the King and Queen Pavilion Courtyard*

The King’s Pavilion was constructed between 1610 and 1617 by Louis XVIII and modified over the years to enlarge the structure. Consisting of three stories with five rooms for the King, his apartment looked our west over the gardens. Today, parts of the King’s Pavilion ceiling can be found in the Egyptian collection of the Louvre Museum.

The Queen’s Pavilion was construction many years later, from 1658 to 1660 and followed the same basic design as the King’s structure, however, instead of a garden view, it overlooked the courtyard. As the Germans stored explosives in the two pavilions and these caught fire after an explosion, the building fell in to disrepair.

*King’s Pavilion, upper middle. Queen’s Pavilion, middle*

On this visit, I was able to visit the King’s Pavilion, which houses an exhibition of the Fortresses of the Emperor depicting Napoleon and his military engineers. Personal possessions, artillery, portraits, models and other objects were found on the second floor and although the signage was in French, it was nice to see part of the interior of the building.

As the day was winding to a close and the temperature started to drop, I decided that my exploration of Chateau de Vincennes was at its end. Making my way back to the entrance gate, I headed back to the metro with the same name…

Chateau de Vincennes.

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Chateau de Vincennes

https://www.chateau-de-vincennes.fr/
Address: Avenue de Paris, Vincennes, FR 94300
Hours: 1000-1700, daily
Admission: 9,5€

The Golden House

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.

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.

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.

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.

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)*

*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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Domus Aurea

https://www.coopculture.it/en/poi/domus-aurea/
Address: Via della Domus Aurea, 00184 Roma RM, Italy
Hours: Thursday, 1600-1900, Friday, Saturday and Sunday, 0900-1700, Monday, Tuesday, Wednesday, closed.
Admission: 23 euro

Baths of Trajan

Address: Parco del Colle Oppio, Via della Domus Aurea, 1 00184 Roma RM, Italy
Hours: Dawn to dusk, 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 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…

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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