The city of Venice is made up of 118 islands, 400 bridges and 150 canals. But you might be surprised to learn it’s a pretty walkable city. The entire island can be explored in one, albeit long, day. No one neighbourhood is ever too far away from another. As such, there is a real connection between all the different parts of the island. Venice had only so much land to grow on before spilling into the ocean. Every brick, every stone and every bridge needed to be made with thoughtful consideration. The city’s architecture needed to be a cohesive part of this great puzzle. And walking around, it feels like entering a living art and history museum.
You could take dozens of walking tours around Venice, specializing in different themes or neighbourhoods. But this walking tour is perfect if you have limited time to see the city. Or you just want a good introductory tour to take you around the iconic places which helped form the history and culture of this city.
This walking tour takes you around some of the most important landmarks around the island. I recommend leaving a whole day for it since it spans almost the entire city. Or you could break the tour into sections to spread over a few days. This tour serves as a great introduction to the various districts. Giving you a glimpse of where you might like to come back and explore more later.
Monday is a great day to do this tour. Most museums are closed on Mondays, yet the churches we will visit will remain open. Mondays are also when people have gone back to work, so you’ll get a better idea of what the neighbourhood looks like when all the shops are open. Businesses are bustling, and the cafes serve their daily customers. You can, of course, for this tour any day of the week, but I always recommend Mondays due to the museum’s closures.
Start the tour early in the morning. The earlier, the better. I usually wake up before dawn and go to St. Mark’s Square. As the sun rises above the city, the square is almost empty, except for the pigeons. There’s nothing like it. Well worth the sacrifice of a little bit of sleep.
The best time to visit Venice is during the shoulder seasons of spring and fall, from April to June and September to November, respectively. During these months, the weather is pleasant, and the crowds are fewer, allowing you to explore the city without the hustle and bustle of peak tourist season. However, keep in mind that Venice experiences high tides, known as acqua alta, from November to March, which can make certain parts of the city inaccessible.
Starting January 1st, 2023, Venice will implement a Tourist Tax for anyone staying in the city overnight. This tassa di soggiorno or tourist tax will be included in your hotel, B&B and alternative accommodation fee.
But soon, the city will be implementing a day-visit ticket. This is set to cost anywhere from €3 to €10. Visitors from cruise ships or the mainland must book their tickets to visit Venice in advance. This system has not yet been activated, but once online, day visitors will need to pre-register and select the day on which they plan to visit the city.
This new system is being implemented to help visitors contribute to the protection and safeguarding of Venice. All the money from these taxes goes directly toward improving the quality of public services and museums. As well as maintenance to prevent this historic city from sinking into the ground forever.
The best place to start your tour is standing in the centre of the Piazza San Marco or St. Mark’s Square. Arrive here as early as you can. There is something truly magical about being here as the sun rises on the square. You’ll see the beautiful rose-gold sunlight begin to kiss the cobblestone and bricks around you. The sun seems to bring the square to life as cafe owners take out their colourful chairs and pigeons flock around gawking tourists (but please don’t feed them!)
Standing in the centre of the square, in front of the Basilica, you can turn around 360 degrees and see one spectacular sight on top of another. In this small area, you’ll find the St Mark’s Basilica, the great Campanile (Belltower), the Procuratie, the Piazzetta, Doge’s Palace, Bridge of Sighs and Torre dell’ Orologio. There is rarely a time when you’ll visit the square when they aren’t some form of construction or renovation going on. With all these historical sights in one place, something is bound to be falling apart and in need of repair. Try to look past that and don’t let it ruin your experience.
The square is named after the patron saint of Venice, Saint Mark. In 828, a relic of St. Mark was stolen from Alexandria and brought back to Venice by La Serenissima’s great naval fleet. The Venetian Doge, awed by the acquisition of this precious relic, adopted Saint Mark as the new patron Saint of Venice (whose honour had previously been given to Saint Theodore).
A city with a saintly relic immediately rose in power and prestige. Relics were the first tourist attraction of the medieval world. Pilgrims would come from all over the world to pray at the churches that preserved these relics. Pilgrims, much like tourists today, needed food and shelter. And therefore, they brought lots of money into the city.
A grand church to house the precious artifact began to be built in 836. Even back then, the church and the nearby Doge’s palace were highlights of the medieval city of Venice. A great square was needed to further showcase the opulence the Doge wanted to project. In 1172, orchards were demolished surrounding this area, and the Piazza San Marco was built. It’s been rumoured that upon visiting St. Mark’s square for the first time, Napoleon himself degreed that it was “the drawing room of Europe.”
The simplistic yet elegant buildings along the north and south sides of the square are called the Procuratie. The Procuratie is most identifiable by the stunning arcade that wraps around this side of the square. The arcade features distinct Byzantine arches that shield visitors from the elements.
The Procuratie once served as the offices of the Venetian Republic, also called La Serenissima. Today they house the Correr Museum, the Museum of the Risorgimento, and the Archeological Museum. Each one of these is an incredible place to visit. But the Correr Museum is my favourite with its collection of art detailing the history of the city of Venice.
Throughout St. Mark’s square, you’ll see various lion sculptures adorning doorways, columns and facades. The official ‘Lion of Venice’ is usually seen with his paw resting upon a bible. And he is not just any lion, but St. Mark’s Lion. St. Mark was often referred to as a lion, as he preached the word of the lord so powerfully it almost seemed like a roar. Legend says that when St. Mark was travelling through Europe and arrived in Venice, he was visited by an angel. The angel told him Venice would be where his body would rest for eternity. His remains were originally interred in Alexandra but moved to Venice, where the basilica was built to honour them as the angel had foreseen.
Now housed inside one of the old Procuratie is perhaps the most sumptuous cafe in Venice or perhaps Europe itself. Although this cafe is by no means cheap, it’s a splurge that I think is worth it to experience the incredible interiors and history to be found within. The Caffe Florian was founded in 1720 and has served patrons like Charles Dickens and Lord Byron. There is a €6 cover charge to even enter the cafe. But along with enjoying the lavish interiors, you’ll also be treated to live music throughout the cafe. Palacial red velvet couches and chairs are spread across the huge cafe, a maze of cozy antechambers. Each room is covered in ornate paintings, large Murano glass mirrors, gold foiled frames and intricate frescos plastered on the ceiling.
To save money, go to the bar and order your food or drinks there. Although you won’t get a seat, the bar menu is vastly cheaper than table service. An espresso at the bar will still run you €5, but again, you’re here for the atmosphere. If you’d rather save your money, you can opt to give this a miss. Instead, grab a coffee on your way toward St. Mark’s square from any local cafe to enjoy while you peruse the sights around you.
Standing guard in the centre of the square is the 323ft tall Campanile or Belltower. The low-level buildings throughout Venice are in stark contrast to the towering red brick Campanile. Its little pointed tower pokes out atop the skyline no matter where you end up in Venice. While the original tower was built in 1514, the current one is a reconstruction from 1912 after its collapse in 1902. It’s incredible to imagine that such a tall structure could survive for so long-standing atop the shifting waters below. But it wasn’t actually the water which proved to be the biggest enemy of the tower; it was lightning. Lightning struck the tower multiple times over the years, causing several fires and severe internal damage to the structure.
The tall base of the tower is designed with a fluted shaft that reaches up towards the belfry. On each side of the belfry are a series of arched windows looking out over the square. Inside the belfry are five huge bells. Each one was used to call the people of Venice to attention. The bells have their own distinctive name and special significance. The Renghiera bell announced executions. The Mezza Terza would declare that a session of the Senate was taking place. The Nona sounded the midday hour. The Trottiera was used to assemble the Maggiore Consiglio and the Marangoni, the largest of the bells, rang to mark the beginning and end of the working day. Before anyone even had watches to tell time or Twitter to announce the day’s news, these bells were all the public had to get collective, daily information.
Above the arches of the belfry is another level of brickwork decorated with various sculptures on either side. On one farside, you’ll see the Lion of St. Mark and on the other, the female representation of Venice, in the shape of the Lady Justice. The golden weathervane which crowns the tower is sculptured into the angel Gabriel. He stands tall, reaching out toward the citizens below.
Turn to the square’s northeast corner, and look up at the bright blue and gold details decorating the fantastical Torre Dell’Orologio. In the morning light, the sun glints off the golden dials. The clock was built in the 15th century when the possession of a mechanical clock symbolized the wealth and power of a city. The clock was positioned facing out towards the water so that any foreign ships could see the time from the canals as they passed through. With a spyglass, of course, their eyesight wasn’t that good.
Atop the tower containing the clock, you can see two small bronze figures who carry large hammers in their hand. These figures move upon the hour to strike the bell, causing the bells to ring. One of the figures is a young man, and the other is an old man, symbolizing the passage of time. Once more, we see the image of the Lion of Venice above the clock, set against a blue sky of golden stars. Below the lion is the figure of the Virgin Mary with the baby Jesus wrapped in her arms. On either side of her are two blue panels with the time represented in roman numerals on the left. And on the right in Arabic numerals, as was the tradition during the Byzantine era.
The most impressive feature of the clock are the blue and gold sculptural engravings set within the numerals. Each one was fantastically carved to represent the signs of the zodiac. The central dial, emblazed with the sun’s image, revolves around the zodiac signs. But rather than showing the time, the sundial marks the date. The smallest dial, closest to the central, holds a tiny orb representing the phase of the moon that changes throughout the year.
St. Mark’s Basilica is one of the most precious treasures from the Byzantine period. Preserved in amber, there are so many aspects of history, art, culture and faith from that era. The most significant elements of the church’s design are the mighty, tiled onion domes that glitter against the sea-blue sky. The bulb-shaped domes with their golden finials lanterns give the church that middle eastern appearance that defined Byzantine art and architecture.
The exterior of St. Mark’s Basilica can be studied by looking at its three distinctive areas; the lower level, upper level, and domes. The lower-level mosaics portray scenes from the life of Saint Mark, for whom the church derives its name. In the central arch where the enormous doorway is located, there is the largest mosaic, which depicts the Last Judgment. The original mosaic would have been made in the 13th century, but this current incarnation is from the 19th century after much-needed restorations. The portals that lead into the church are held up by marble columns in a plethora of colours and patterns. Each one is set inwards, towards the doorway, creating a foreshortening perspective. Giving the viewer the effect of being pulled into the church.
On either side of the central portal, the mosaics depict the life of St. Mark. The mosaic on the left is the only surviving piece from the 13th century. Above these central portals, we can study the arched lunettes. These mosaics depict the life of Christ.
The upper-level balcony is home to four important bronze horses. These are the Horses of Saint Mark-Lysippos. Originally stolen from Constantinople in 1252. The ones outside the church today are replicas of the original sculptures, as these suffered terribly from the elements. They were brought inside the church museum to ensure they could be preserved for years. The bronze horses date all the way back to classical antiquity. It is rumoured that perhaps they were once a part of the Arch of Trajan in Rome. Positioned pulling an emperor’s chariot. But these horses were one of the many trophies collected during the Crusades, which is how they journeyed to Venice.
Arching behind the golden horses and above the second-floor lunettes are a series of ogee arches. Ogee arches are a type of arch with an S-shaped curve consisting of two arcs that meet at a point. Not only do these designs add an aesthetically pleasing element to the building, but they also serve a functional purpose by providing additional support for the structure. Ogee arches have a rich history in architecture and can be traced back to various ancient civilizations, including the Romans and the Greeks. However, the use of ogee arches in Islamic architecture during the 12th and 13th centuries is where they gained prominence and influenced such structures as the basilica we see today.
Set within the central arch is the gilded and winged lion of Venice. Standing brightly against the blue-tiled sky and golden stars. Saint Mark and his choir of six angels decorated the top of the facade, looking down on the throngs of visitors below.
If you want to go inside the Basilica, be warned that the queue can get very long. And you need to book your tickets in advance and select the exact arrival time. But even with these timed tickets, you will still need to wait in line. Reserved timed tickets to cost €20.50 and include an audio guide. There is also an option to purchase a skip-the-line ticket, but this will cost €39. Free cancellation is included in your ticket, which must be done 24 hours in advance for a full refund. I would choose the earliest reservation time to ensure you are the first in the door, leaving the rest of your day open.
No large bags or backpacks are allowed inside the basilica. If you have one, leave it at the Ateneo San Basso in the Piazzetta dei Leoncini (at the north facade to the left of the main entrance.) Be sure to do this before you get in line as you don’t want to be turned away and have to line up again. Remember that the basilica requires guests to adhere to their dress code. No bare shoulders or shorts, and men should wear shirts.
Upon entering the church, you’ll first notice the overwhelming amount of golden mosaics covering everything from the floors to the ceiling of the building. There are over 85,000 square feet of mosaics in St. Mark’s Basilica. The light reflects off the surface of the glass, and depending on the time of the day, the light can change the effect and the appearance of the interior. There was such a large amount of gold used in the church’s construction that the residents of Venice began to call it the Chizea d’Oro or the Gold Church.
Because the Basilica was built during the Byzantine age, architectural methods weren’t as advanced as they are now. You’ll notice thick walls, hundreds of columns and the heavy use of marble, which were used as rudimentary supports. They needed to use the strongest of materials to help keep the multi-domed ceiling from caving in.
Inside the church are the treasures of the fourth crusade on the holy land. During the 4th century, Venice deemed itself the holiest place on earth. And therefore, all the treasures crusading armies found were brought to Venice. One such treasure was the Pala d’Oro. The Pala d’Oro is the frame enclosing the high altar inside the church. It is decorated with panels featuring 1,300 pearls, 300 emeralds, 300 sapphires, 400 garnets, 100 amethysts, rubies, and topazes. A glittering masterpiece.
When you exit the church, be sure to take a moment to study the Porta della Carta on the south side of the church. In 1442, the ceremonial entrance was built to connect the basilica to the Doge’s Palace. The doorway is dripping in gothic ornamentation, with two tall, thin pinnacles flanking either side of the statue of the Doge Francesco Foscari. The statue of the Doge is seen kneeling before the Lion of Saint Mark. Below each pinnacle, we can also spot various statues representing the cardinal virtues.
A Venetian Doge is something that many of you may not have heard of before. A Doge is pretty much like an English Duke; who served as the leader of the Republic of Venice from 726 to 1797. The Doge would rule over Venice from his seat of power inside the incredible Doge’s Palace. Today the building serves as a public museum.
The building itself is a wonder to behold. Despite the enormity of the upper structure, it looks almost weightless as it is supported by these delicate pink Verona marble columns. The columns are decorated with a lacy pattern, making them look even more fragile. The top of the building is adorned with spiked merlons that look like meringue frosting atop this architectural cake.
Walk through the arcade under the Doge’s Palace and study the individual capitals atop the exterior columns. Each one features a different set of sculptures with various animals, vegetal designs and more!
Past the Basilica, walk south towards the water, where you can find the Piazzetta. The Piazzetta is the smaller square to the south of the main square. In the middle of the square are two large two columns made of red marble. These two columns were where death sentences were announced during the medieval ages.
At the top of the columns are two statues. Each depicts one of the patron saints of Venice, St. Mark and St. Theodore, on the left and right, respectively, if you’re facing the water. St. Mark is depicted as the winged lion of Venice, and St. Theodore can be seen standing atop, of all things, a crocodile. In his hand, he holds a spear which we can assume he used to slay the giant crocodile. Saint Theodore is commonly known for slaying a dragon, not a crocodile. But perhaps the Venetian artists of the time had little knowledge of what a real dragon looked like, so instead, they carved the next best thing, which I guess was a crocodile. Makes sense when you think about it!
Walk around the Doge’s Palace until you turn to face the Bridge of Sighs. The bridge of sighs was created to join the interrogation rooms of the Doge’s Palace to the prison across the canal. If you were found guilty by the Serenissima, you were sent to prison, but upon crossing the bridge, you were allowed to look out at Venice one last time. Two small, square windows on the bridge allowed prisoners this one moment of reflection before facing their possible lifetime of imprisonment. The windows on the bridge are covered in tightly knit wrought iron bars, so no one could make an escape.
Head back to the area in front of the Basilica, and walk north along the Calle de Fabbri, crossing over the Ponte dei Dai. Calle is the Italian word for a narrow street. Like many streets in Venice, this one is named after the occupation of the people who worked in this area. Fabbri means locksmith, and it was along his street where you’d once have found the city’s locksmiths at work. Head northwest on Calle dei Fabbri and turn left onto Calle S. Gallo until you reach the Ponte Tron.
Due to the proximity to St. Mark’s square, this bridge is often pretty crowded. But its old stone design and views out to the gondola-covered canals aren’t anything to whizz past. If you’re lucky enough to be here when it’s quiet, this is one of the more romantic spots in the city. Even on busy days, I love just standing here just watching the gondola traffic. Sometimes dozens of gondolas get stuck in this narrow canal. See, even Venice has traffic jams!
Continue southwest on Calle Tron, turning right onto Calle Frezzaria as it curves and becomes Calle Barcaroli. Make a right north onto Ramo dei Fuseri to the bridge Ponte Dei Fuseri. There are 400 bridges in Venice which cross 150 canals! Before Venice’s bridges were built, these little islands all acted as their own private communities. These communities needed to be self-serving with their own churches, markets, shops, and micro-culture. Even today, you can still make out the borders of these various micro-neighbourhoods as you cross from one bridge to another. As you reach the Pont dei Fusari, you are finally starting to get away from the tourist crowds, and the real Venice starts to open up for you.
Continue along Calle dei Fuseri and turn left onto Calle de la Vida o de le Locande. Then, turn left onto Scala Contarini del Bovolo, where you’ll find the towering Palazzo Contarini del Bovolo.
This brick Palazzo Contarini del Bovolo has become an iconic viewpoint in Venice. The Palazzo’s incredible, honeycomb-like spiral staircase, with a fantastic balcony at the top, provides one of the most amazing views across the city and over St. Mark’s square. The staircase is called the “Scala Contarini del Bovolo” or “the snail.”
Built in the 15th century for the wealthy Contarini family, the house became notable for its unique outer staircase. In 1952 Orson Welles also fell in love with the house. He even featured it in his film adaptation of Shakespeare’s Othello. The Palazzo was closed for many years, but in 2016 it opened its doors to the public. You can climb the stairs to the top for three euros and get a snap of the skyline.
Head back to the Calle de la Vida o de le Locande and walk west towards the Calle de la Vida o de le Locande/Campo Manin. Turn right onto Rio Terrà S. Paternian, then make another left onto Calle Minelli. Walk along Minelli until you reach the Corte Teatro. Walking along the Corte Teatro until you come to the square at the end of the street.
This dreamy square, with a lovely nearby cafe, is surrounded by red and yellow-painted buildings. But dominating the square is also a HUGE boring grey wall. Why are we looking at a large grey wall, you ask? Well, this is the back entrance to the Teatro Goldoni. But Why are we looking at the back, not the front? Well, the front is even less interesting if you can believe it. But the history of this building is such an important part of Venice’s past that it’s worth stopping here for the story!
During the 17th century, trade had begun to twindle in Venice, with other European ports being able to accept larger ships than Venice. Rich families who had made their money in trade needed to suddenly find other means of earning funds. In the 17th century, Opera was quickly becoming the most popular activity for the aristocrats to indulge in. But at the time, it was only performed in private courts. Seeing an opportunity here, rich Venetian families began to invest in building theatres that could bring Opera and music to the public.
Suddenly, theatres began to pop up all over Venice, each vying for the most popular singers to draw in the biggest audience. The Teatro Vendramin was the original name of the first theatre, which stood here in 1622. It was built by the illustrious Vendramin family. The theatre was renovated in 1720 and named after the infamous Venetian actor Carlo Goldoni.
But the renovation of 1720 destroyed all of the original, elaborate Renaissance architecture, and we were left with the boring interior and exterior design you can see today. Luckily, some intelligent historians preserved the archives before the renovation. This included a copy of every play, the list of previous actors and, most importantly, the original architectural drawings was saved as well.
The theatre was kept in the same family for years. And when it came time to restore it in the 19th century, architects could discover precisely what the original theatre looked like inside and restore its interior to its former beauty. Sadly, we are still waiting for the exterior to get the same treatment. Today, the theatre is used by the Teatro Stabile del Veneto to put on modern productions and musical performances.
Continue walking north along the Corte Theatro, through an almost impossibly narrow alley, until you emerge out into the bright light of the Grand Canal along the Riva del Carbon. As this is the first time we are really faced with the view of the Grand Canal, we should talk a little bit about this ever-so-important waterway. The Venetian Grand Canal splits the city of Venice in two.
The original waterway was much narrower and was a branch of the river Brenta. Ancient Venetian fishermen were once the only ones who lived along its shores in simple stilt houses. Stilt houses ensured the rising tides didn’t wash their houses away.
It wasn’t until the 9th century, when the Doge moved his palace into the more protected area of what would become St Mark’s square, that the canal was widened. A broader canal was needed to make room for the enormous ships which were brought in and used to bring building materials for the grand palace. The canal soon became less of a fishing spot and more like a luxurious main street, but one made of water. Wealthy families began buying cheap property and building huge manors along the now Grand Canal.
The grand canal was now the main entryway into the city, and the Venetian Republic wanted every building lining it to demonstrate the city’s power, wealth and artistic sensibilities. Like a parade of the best architecture Europe had to offer. This huge canal is now flanked by 170 illustrious buildings. Some dating back to as early as the 13th century.
Turn right and walk along with the Riva del Carbon until you reach a stone bridge. Stop just before the bridge to admire the red building to your right. This is the Palazzo Bembo. This unbelievable building was owned by the Bembo family and was built in the 15th century! Obviously, there has been many renovations and restorations over time, but the original structure shockingly remains much unchanged.
The design of the building encompasses much of what traditional Venetian architecture looked like in the 15th century. The Byzantine influence was still going strong! And you can spot various of their traditional elements fused together here in the polyforms which cover the facade. A polyform is a multi-light window used on the upper floors to bring light into the structure by using wider openings.
Pietro Bembo was born in Venice in 1470 and built the Palazzo Bembo as his lavish residence. Pietro Bembo was one of the most influential Venetian scholars and writers who helped develop the Tuscan language. He also spent much of his life creating and promoting a madrigal, a secular form of music developed during the Renaissance. He believed that music should be for more than just religious devotion. That music could be used to express everyday human emotion. That seems obvious to us now, but at the time, music was mainly composed for the church. And the subject matter was exclusively religious. We have Pietro Bembo to thank, in a small part, for why we have pop and rock music today!
Continue along with the Riva del Carbon as it turns into the Riva del Ferro, walking along the edge of the Grand Canal. Emerging from the last arcade, you’ll be greeted almost immediately by the sight of the bright white stones of the Rialto bridge. The Rialto Bridge is the most famous of Venice’s canal bridges. It is also the oldest of the four major bridges connecting the various districts and neighbourhoods. The original bridge built here in 1173 was first made of wood. It went by the name Ponte Della Moneta, which means “money bridge.” The name reflected the industry of the area. This was where the largest mint in Venice once stood. People would flood into their area and cross the bridge at all hours of the day to deposit and take out their cash!
The old wooden bridge was split down the center and could be raised on either side to allow tall ships to enter these narrow canals. This was of the utmost importance, especially when the Rialto Market opened, as boats would come in mass to deliver fresh fruits, vegetables and fish to the centre of Venice. But as time passed, the old wooden bridge wasn’t up to snuff. After years and years of wear, riots, fires and crowds, eventually, it collapsed.
The new Rialto bridge design was completed in 1551. The architect who designed it did away with the raised wooden design and favoured stone as it was more durable and could last the test of time. Since the stone bridge couldn’t be raised, he needed to ensure that it was tall enough at its peak to accommodate the galley ships that needed to pass through. The result was this grand arched design that has such a theatrical quality to it.
Atop the stone bridge are a series of covered porticos which contain shops on either side. The addition of shops allowed the bridge to earn rent on the space. The money from this goes towards the maintenance of the bridge. A large arch, like the crown, is set in the center of the porticos atop this stunning structure.
Unfortunately, the shops along the bridge are somewhat of a tourist trap, selling tacky souvenirs along the entire walkway. But, if you look at it from afar, you can ignore the tourist tat and focus only on the gorgeous silhouette it forms about the teal waters of the canal.
If you’re looking for a spot to sit to enjoy the view, there are these two little nooks on the bottom of the bridge where you can sit beside the water. This is one of the most amazing places to watch boats and gondolas float by, with stacks of fruits and vegetables coming into the market as the midday sun casts its bright rays down on the city. Once you’ve taken in all, there is to see below, walk up the bridge and make sure to stop in the centre to get that iconic view across Venice and the Grand Canal.
Crossing the bridge and heading to the island on the other side, you’ll walk through the Campo de San Giacomo di Rialto. This unassuming square is dominated by a rather small, strange-looking church. This is the Chiesa di San Giacomo di Rialto, supposedly the oldest church in Venice, consecrated in 421! The most unique aspect of this church is the huge clock set into its 15th-century facade.
This area of Venice, known as San Silvestro, was where all the wealthy bankers of the city lived. The bankers who lived here funded the church’s renovation, and while construction went on, they added a large clock and bell tower to its design. Being able to tell the time was of the utmost importance for traders and bankers. While clockfaces aren’t that uncommon on buildings around Venice, this one is absurdly large. Those bankers really wanted the most bang for their buck! It’s also interesting to note that the hours aren’t positioned as they are on modern-day clocks. Whereas most clocks now only have 12 number positions, this one displays all 24. Ironically enough, this clock is a notoriously bad timekeeper. So don’t be fooled if you think you’ve lost an hour of your life somewhere in the streets of Venice.
As we make our way toward the Mercado di Rialto, we walk along the Ruga Degli Oresi. Like many streets in Venice, the Ruga Degli Oresi gets its name from the professions or trades which once were active in the area. Orsi means goldsmith, as there was once a large faction of gold and jewellery traders working here. Many other notable streets in Venice have the same kind of naming convention. There is the Calle de la Malvasia, where you’d find the winemakers.
The Campiello del Remer for the rowboats, the Calle de Forni, which was where you’d find the bakers, the Botteri for the coppers, Calle de Magazine for the grocery shops and even the Calle de Fiubera for the buckle makers! This would have made finding what you were looking to buy so simple! No need for yellow pages or even google! Find the street with the corresponding name, and you’re in the right spot.
Now that you’ve been introduced to the city’s history, it’s time to meet the people of Venice. And there is no better place to get a peek into the real lives of its residents than to head to the Rialto Market! The Rialto Market is one of the last remaining fresh food markets in the city and, as such, is a bustling place for locals to come and buy their food. Unlike in North America, where we shop for a week’s worth of food at a large chain grocery store, Italians buy only what they need for that day. And repeat the process every day of the week. While this might sound exhausting, it means fresh food every day and the chance to make lasting relationships with the vendors you buy your food from. Something I dearly long for and admire greatly when visiting cities like Venice.
But the Rialto Market is much more than just a place to get some of the best food in the city! It is also a place of great historical value. Of all the rich bankers and traders who lived in the region, the most famous were the Rivoalto family. The Rivoalto traders were one of the first families to come into the lagoon to set up a trading post. They picked this location because it was well situated along the bend of the canal. This meant it was located on higher ground and therefore was spared from some floodings that other parts of the island suffered through.
The first known market opened here in 1097. Because the family didn’t have to constantly rebuild their homes, they were in a much better financial position than many other families in the area. There wasn’t home insurance to help you back then. The Rivoaltos grew in prominence and wealth and soon controlled so much of the neighbourhood that the area was named after them.
The outdoor portion of the market is where you’ll find seasonal fruits and vegetables under brightly coloured awnings. If you’re looking for a snack, there is nothing more refreshing than a basket of fresh fruit!
Opposite the green awning of the outdoor market is the neo-gothic fish hall, or Pescheria, built in the early 1900s. Outside the red brick building, there is still a marble plaque which you should study before heading inside. This plaque denotes the different types of fish allowed to be legally sold here when the marketplace was first built. Certain varieties of fish were being overcaught, and laws were set in place to ensure there was a limit on how many a household could buy to prevent their depopulation.
The fish hall is a rustic building with dramatic arches surrounding the exterior. Towering columns continue throughout the interior, making a simple stone building feel rich and illustrious. Fresh fish has long been one of the most important resources in Venice. All they have to do is throw out their rod, and the freshest fish comes jumping out of the sea and pouring into the market. It can’t get much more local than that!
The marketplace was facing the chance of being shut down a few years ago due to a possible canal expansion for cruise ships. Thankfully, the citizens convinced the city to put a stop to this, and the market was saved. But as more and more people shop at larger grocery stores on the island, markets like this always face the chance of being closed. So if you visit, buy at least a little something to show your support. We bought some fresh raspberries and cherries, and they were absolutely delicious. The perfect on-the-go treat!
Before heading to our next stop, walk to the corner of the Fondamenta de le Prigioni, across from the Campo de la Pescaria. From here, you have a perfect view across the Canal towards the Ca’ d’Oro. The Ca’ d’Oro of Palazzo Santa Sofia was an illustrious palace built along the Grand Canal for the Contarini family in 1428. The Contarini family was responsible for rearing eight different Doges and was one of the wealthiest families in Venice.
To show off their wealth and power, they wanted to create a palace that mirrored the greatness of the Doge’s Palace in St. Mark’s square. Ca’ d’Oro means the golden house. When the building was first constructed, the entire facade was covered in gilt polychrome, giving the effect of being made entirely of gold!
The palace’s architecture is one of the best-surviving examples of Venetian Gothic architecture. The iconic elements characteristic of this style are gallery windows with heavy tracery details featuring quatrefoil designs and byzantine-inspired decorations. Ogee arches span the balcony’s facade, each capped with a wonderfully carved relief ornament.
Inside, the lavish details continue. Even the flooring was made into a work of art. Different coloured stones were used to create fanciful patterns. Since 1927, the building has served as the Galleria Giorgio Franchetti, which features a wonderful collection of 15th-century art.
Instead of backtracking over the Rialto bridge to get to Cannaregio island (our next stop), we’re going to opt for a very Venetian method of crossing the canal, a Traghetto! You can find the Traghetto ferry dock along the Fondamenta de le Prigioni, across from the Campo de la Pescaria. Walk over to the water’s edge, where you’ll see a small dock and what appears to be a series of black gondolas. “But gondolas are so expensive!” you say. And rightly so, they are. But these are not gondolas; they are traghetti. A traghetto (or traghetti if you’re referring to them as plural) means ferry in Italian. These little ferry boats take passengers across the Grand Canal when there are no nearby bridges.
This is essentially how many Venetians would have made these crossings long ago. A trip on a traghetto costs €2, which might seem a bit pricey for a quick journey, but they save you a ton of time. Plus, it gives you a short but sweet experience on a gondola-type boat. Sure, you might have to share it with a group but it’s the same design, just less romantic. The trip across the water provides a beautiful view of the Ca’ d’Oro from afar, so you can better study all of it in all its glory before getting up close and personal. The Traghetto will let you off at the Santa Sofia in the neighbourhood of Cannaregio.
This area of the island is called Cannaregio. Cannaregio is home to the old Jewish Quarter and is where most of Venice’s permanent residents live. This means that you’ll see things more than just tourist attractions. Places like schools, corner stores, and traditional Venetian houses aren’t sprawling palazzos. If you’re looking for somewhere to stay in Venice, Cannaregio is my favourite spot, as it feels like the community’s beating heart.
We are going to set off into Cannaregio via the Strada Nova. The Strada Nova a wide pedestrian street lined with shops and cafes. Turn right from the Strada Nova onto Fondamenta S. Felice. This is such a picturesque street and peaceful canal. As you look down along the canal, you can see four different bridges all along one short stretch of water. The most interesting of these bridges is towards the end of the street, called the Ponte Chiodo. The Ponte Chiodo dates back to the fifteenth century and is one of the last two bridges that doesn’t have any balustrades to prevent people from falling right into the canal! The city built another bridge just next to it with proper railings but kept the old one as a memory of the past.
We continue west into Cannaregio across the Ponte della Misericordia to the first of two old schools we will look at. The Scuola Grande della Misericordia dominates the northern side of the sestiere Cannaregio. The Scuola Grande della Misericordia (New School of Mercy) was one of seven Scuole Grandi in Venice. These “Scuole Grandi” or “Great Schools” were religious and charitable organizations. Developed in the 13th century, they were the most important social institutions in the Serenissima Republic of Venice. The secular institutions played a crucial role in the fabric of political and religious life. The Old School of Mercy was built in 1308 in the typical gothic style (we will see this building at the next stop.)
But as the organization grew in size, a new building was commissioned to house the growing organization. Jacopo Sansovino was brought on to build the “Scuola Nuova,” or New School. Built in 1532, the imposing quadrangular structure was strongly influenced by Roman classicism. Building work continued over the next fifty years; unfortunately, Sansovino died before the building was completed. Today the building is used as a gallery and events space, but the exterior architecture has been preserved for us to admire.
Head northeast on Sestiere Cannaregio toward Campo de l’Abazia. In this small square, you can see the old Chiesa dell’Abbazia della Misericordia in one corner and the original Scuola Vecchia della Misericordia in the other. The Scuola Vecchia della Misericordia (“Old School of Mercy”) was the first seat of the organization. When they built the new school, this building was sold off to the guild of the silk weavers in 1634.
Continue west along Fondamenta de l’Abazia, across the wooden Ponte dei Muti, then along Corte dei Muti and turn left toward Fondamenta dei Mori. Along this canal-side street is the old Casa del Tintoretto. This crumbling old house bears a small plaque with the bust of a man on the top. This is the Casa del Tintoretto, where the artist Tintoretto lived from 1574 to 1594. Tintoretto is one of the few artists who lived and worked in Venice but who was also born here. Many artists flocked to Venice during the Renaissance as the art scene exploded, but Tintoretto was the original trendsetter. His great work helped form the Venetian school of art and even perhaps the artist style which defined the Renaissance itself.
Continuing west, you are greeted by the small, peaceful square Campo dei Mori. As you turn into the square, take note of the strange statue on the corner of the Osteria l’Orto dei Mori. This statue looks almost as if it has a beak. Three carvings were made in the 13th century, one in each corner. They represent the three merchant brothers who famously opposed the Republic of Venice. Back then, it was treason to speak up against your government. In reaction to their controversial attitude, these unflattering carvings were made to mark their treason in stone forever. Years later, their bravery in speaking out against injustice is honoured, and the statues are revered. Venetians today are known to hang satirical comments on these statues. Addressing and airing their problems with local politicians.
Continue north, along the Campo Dei Mori, and head across the bridge. Here you’ll come face to face with the grand Church of Madonna dell Orto. Considering this church’s history and beauty, you’d think it would be overrun with tourists. But, since it’s located so far away from the city centre, often you’ll find this square empty and all to yourself!
The church was first constructed in the mid-14th century for the Humailiati order. Never heard of them? Not surprising since they were ousted from Italy in 1462. Despite their name Humiliati, meaning “humble,” the pope famously referred to them as humiliating. He believed them to take part in sacrilegious behaviours, which included gluttony and lust. One of their members even tried to assassinate archbishop Carlo Borromeo, whose task was to reform their order. While the order was definitely not the most pious, they were certainly great art lovers, which can be seen in the design and decoration of this great church.
This church’s facade is one of my favourite pieces of architecture. There are so many tiny details packed into this small space. The current facade dates back to 1460. The sloped sides of the church are lined with a series of twelve niches, where dozens of statues are placed depicting the twelve Apostles. The niches are each framed in bright white columns creating this very visually powerful ribbon effect along the roofline. On either side of the entrance door are two huge quadruple-mullioned windows that allow light to flow into the church’s interior.
Atop the ornate ogee archway leading into the church is the statue of St. Christopher, the patron saint of travellers. This was the saint the church was initially dedicated to. However, it changed consecration to the Holy Virgin later in the century. On either side of St. Christoper are statues of the Madonna and the Archangel Gabriel. Above St. Christoper, the pointed roof is decorated in small arches and bas-reliefs with geometrical motifs. The large Eastern-style onion-domed bell tower is surrounded by four statues of the Evangelists. And at the very top is a statue of the Redeemer made in white marble.
Enter the church if it’s open, as this church contains some fantastic works of art. As this is the district where Tintoretto lived, this church contains three different pieces from the great artist. Works by Tintoretto in the church include a Presentation in the Temple (South aisle, close to the East end), Adoration of the Golden Calf, Last Judgement (both in the apse, either side of the main altar) and the Four Cardinal Virtues (in the upper storey of the apse, behind the altar), all from 1562 to 1564. Walk into the apse and find your way to the right Chapel. On the floor is a simple engraved tomb where master Tintoretto is now laid to rest. Happily surrounded by his amazing works of art.
From the Campo della Madonna dell’Orto head southwest along the Fondamenta Madona de l’Orto. Turn left onto Calle Loredan, where you’ll pass over a few little wooden bridges. When you arrive at Ponte del Forno, cross over onto the Calle del Forno. Turn right onto Fondamenta dei Ormesini and walk for a few minutes admiring the many different cafes and restaurants along this street beside the canal. When you spot the gorgeous iron bridge covered in swirling filagree, turn left onto Cl. Ghetto Vecchio into the heart of the Jewish Quarter. Hearing the words Jewish Ghetto, you might think we are entering an area built during WWII, but this ghetto had nothing to do with the Nazis. This neighbourhood actually area predates WWII by more than 400 years!
In 1509, a large portion of the Jewish community from Germany fled the mainland and moved to Venice. Venice had agreed to allow these Jewish refugees to live inside a small neighbourhood on the island of Cannaregio. But in that area alone. The area they were segregated inside was no bigger than an acre and contained hundreds of Jewish refugees. The old district had once been the location of the old copper foundries. The word ghetto was actually coined in Venice. In Italian, the word ghetto or ‘get’ translates to ‘foundry’ or ‘foundries.’ But over time, the word became synonymous with an area where members of a minority group live, as was in the case of the original Jewish ghetto in Venice.
Although Venice had given them a place to live, that didn’t mean their life was free and easy. Jewish Venetians were forced to make their living only by selling rags and running pawnshops. This was the only type of employment they were allowed to have at the time. The only exception was Jewish doctors and those with skills in the printing press industries. They worked on printing Hebrew texts and keeping their religion and culture alive in the Ghetto Ebraico or Jewish Ghetto.
In the 16th century, Jewish citizens from Spain fleeing the Spanish inquisition also arrived in the ghetto. These Jewish Spaniards developed the narrative of the “merchants of Venice.” They were skilled and sought-after traders and merchants. Soon, the Jewish quarter was the centre of foreign trade in Venice. This new industry brought in a substantial amount of money to the Serenissima, allowing them to stay in business despite previous restrictions on this kind of work in the quarter.
Although Venice allowed Jewish people to live and worship in this area, their lives were highly regulated and segregated. As early as the 16th century, Jewish citizens had to wear either yellow hats or yellow badges to distinguish them from Venetian Christians. The ghetto also had a strict curfew which the residents had to follow. Boats filled with members of the Serenissima would circle the canals at night to ensure no one broke curfew. The punishment for doing so was severe. To many residents, this area must have felt more like a prison than an escape from the persecution they had been trying to flee.
Despite these restrictions, the Jewish quarter’s population grew and flourished. More synagogues began to be constructed. But residential development was difficult. Since they were limited to this small island, their only chance for expansion was to go up vertically. The Jewish quarter in Venice was known to be the first real “vertical city.” Even today, walking around this part of Cannaerigio, you’ll see how much taller these buildings are compared to the rest of the city.
In 1797, Napoleon’s entry into Venice freed the Jewish people from their ghetto. Napoleon abolished these divisions. Jewish Venetians were finally free to buy property throughout the rest of the city. Since they were now some of the wealthiest citizens, they were able to buy up some of the most beautiful palazzos on the Grand Canal. Over the years, these Jewish citizens became as much a part of Venice as any other native Italian. Perhaps because they were such an important part of the fabric of Venetian society, their betrayal at the hands of Italian fascists later in WWII was so devastating. And almost led to their extinction.
Jewish people throughout Europe were rounded up and sent to concentration camps during WWII. But, thanks to the sacrifice of Giuseppe Jona, head of the Jewish Community in Venice, a large portion of Jewish Venetians managed to escape. When the Nazis demanded Jona make a list of Jewish people living in Venice, he agreed but used the time to warn his community. On the day he was told to deliver the list, he burnt the papers and took his own life, fearing he would be murdered for his actions. The Nazis were only able to find 243 Jewish Venetians who were deported. Only eight of them returned home.
Before WWII, Venice had a Jewish population of around 150,000. After the war, little more than 1,200 people returned to their homes. On one side of the Ghetto Nuovo square is a large bronze monument in honour of the victims of the Nazis. It was created in 1980 by artist Arbit Blata. The seven bronze panels depict several horrific tragedies Jewish people suffered during WWII. Today there are merely 450 Jewish Venetians left in Cannaregio. But they work hard to preserve and share their history with locals and visitors alike.
The Scuola Spagnola, or Great Spanish Synagogue, is one of the last remaining synagogues in modern Venice. The synagogue was built in 1555, founded by Jewish Venetians who had been expelled from the Iberian peninsula. The great synagogue was built by one of Venice’s most famous architects, Baldassare Longhena. He is also notable for designing other iconic Venetian buildings, such as; the church of the Madonna Della Salute, Ca’ Pesaro and Ca’ Rezzonico.
But the exterior of the synagogue isn’t anything like these other buildings. The facade is rather austere, with a plain, four-story cream-coloured finish. But it wasn’t for lack of inspiration, funding or skill that the exterior was so lacklustre. It was a condition of the Venetian state government in the 16th century. Although Jewish citizens were allowed to build their own places of worship, they needed to be concealed within a building that gave no appearance of being a house of worship. Essentially hiding their religion from the eyes of Christian Venetians.
Inscribed upon the arch on the entrance of the building is a piece of script that reads, “Blessed are they that dwell in Thy House and continue to praise Thee.” On the side of the building, there is also a stone plaque with the names of all the deported Jewish Venetian families who suffered death at the hands of the Nazis. Take a moment to pay respect as you pass by.
Although tourists can’t enter the synagogue on their own (unless attending a service), I recommend booking a guided tour through the Jewish Museum of Venice if you are interested. They have a great connection with the local community, and you know this way you are supporting the preservation of their history through your contributions.
If you were to peek inside, you would be amazed at what you’d find. Stepping inside is like walking into a fantastical jewel box. Ornate carved wooden balustrade frames the ceiling in a variety of geometric shapes. Lavish red velvet curtains with golden tassels hand in front of the windows. Giant brass chandeliers drip from the ceiling and illuminate the rest of the room with warm candlelight. The highlight of the interior is the magestic sanctuary lamp known by its Hebrew name, Ner Tamid. The light inside this holy lamp symbolizes God’s eternal presence, which will never be extinguished.
Just down the street from the old Spanish Synagogue is Panificio Giovanni Volpe, one of Venice’s last remaining kosher bakeries. While visiting the Jewish quarter, it’s a good tourist practice to patronize their businesses. This is such an easy way to ensure their community continues to flourish. In this bakery, they still make many traditional Venetian desserts and also some unique Jewish recipes. Don’t be shy to ask what they recommend! Everything is delicious though.
To cross onto the next island of Santa Croce, we need to pass over the great Guglie Bridge. This crossing was established in 1285 with an early wooden bridge, but the current stone incarnation was built in 1580. The large balustrades which run over either side of the bridge are inlaid with gargoyles that watch over the canal. It is therefore dubbed the “bridge of spies.”
Standing in the centre of the Campo San Geremia is the church of the same name. The Church of San Geremia has stood here since the 13th century, and the old brickwork on the bell tower is some of the only remaining pieces of the original church. The rest of the edifice dates back to 1753.
While the interior lacks any flashy ornamentation, this church is often seen as a pilgrimage sight because it carries the relics of Saint Lucy inside. Saint Lucy is the patron saint of eye illnesses. The story goes that she had devoted her virginity to God and would not marry. To make herself less desirable, she tore out her own eyes. When she was buried in the family mausoleum, they discovered her eyes had been miraculously restored, a sign of her martydom. She is seen frequently in paintings holding a golden plate with a pair of eyes laid upon it. Many people make a pilgrimage to this sight to pray for their own eye related illnesses.
You’ll find my favourite bakery on the charming Rio Terà Lista di Spagna street. The Pasticceria Dal Mas has some of the best cream-filled pastries in town! Their bright green pistachio cannolis are a dream. There are a few seats inside where you can sit and order an espresso or even an Aperol spritz to enjoy with your food. If you’d rather just stand at the counter and chat, you can also do that; how very Italian of you.
You’ll come upon the Scalzi Bridge at the end of this street before reaching the train station. The Scalzi Bridge means “bridge of the barefoot monks” in Italian. The first bridge to be built here was right beside the old Carmelite order, also known as the “order of the barefoot monks.” But this current incarnation of the bridge is one of the city’s newest, completed in 1934. While the bridge isn’t as remarkable as some others, its modernity allows it to feel light and airy, almost defying the laws of gravity.
Walking over the bridge, we are moving into the Santa Croce district. Santa Croce is where you’ll find the large train station, which brings people in and out of Venice every day. Leading to this neighbourhood being referred to as the city’s “transport hub.” Being located away from the top attractions, you’ll also find that Santa Croce has the least amount of tourists. This may be one of the reasons I find it the most pleasant to walk around. The people you’ll find on the street are locals, and there is an honest air about this neighbourhood.
Crossing over the bridge, walk southwest on the Fondamenta del Monastero to tread along water’s edge. This area of the Grand Canal is bustling with action. You’ll find more than just gondolas and vaporettos here. Motorboats carrying fruits and vegetables chug up and down the water, and boats piled with wooden beams and other construction equipment jet over to their various destinations.
Turn left down Fondamenta Papadopoli where you’ll quickly see the bright green trees sticking their heads above a brick wall. This is the Giardino Papadopoli, a beautifully manicured garden where locals Venetians come to get some shade and enjoy a bit of green space. The park spans more than 8,800 square meters and was built in 1834. While Venice has ample squares and waterways, there is surprisingly little greenery and lush parkland. The Giardino Papadopoli is Venice’s version of Central Park.
Among the gravel and stone paths are a variety of different trees like cypress, cedar, different fruits, elm, oleander, mulberries, and laurel. If you are even looking for someplace to come to escape the crowds and the noise, this is the oasis you’ve been looking for!
Walking through the park, exit at the south end, and cross the bridge over to the Calle dei Amai. Walking along the Calle dei Amai (which turns into the Calle de le Sechere) and turn right onto Ramo Cimesin. Ramo Cimesin veers slightly right and becomes Calle Tintoretto, and passes through Campo San Rocco.
Campo San Rocco is a charming square whose centrepiece is the church of San Rocco, an impressive Renaissance structure adorned with intricate marble carvings and frescoes. The surrounding buildings feature colourful facades and elegant balconies, creating a picturesque backdrop for a leisurely stroll or a cup of coffee at one of the outdoor cafes.
From the Campo San Rocco, walk toward Calle Fianco de la Scuola and continue onto Salizada S. Rocco. Turn left onto Campo dei Frari, where you are immediately struck by the towering Basilica dei Frari or Santa Maria Gloriosa dei Frari. But most people just call it the “Frari” for short. The church is the beating heart of this neighbourhood. In 1231 the Doge Jacopo Tiepolo donated this land to the Franciscans. The original church he had built was very small. As the Franciscans rose to power, they demolished it in exchange for a larger, more impressive design that better reflected their status in the city. The current version we see today was built in the 14th century in a high Venetian Gothic style.
Looming over church is the great campanile, the second tallest tower in the city. The bell tower was built in 1396 and somehow still stands today! The unassuming facade might fool you into thinking at first blush this church isn’t very important. But in actuality, it is perhaps one of the most significant churches in the entire city.
There is a small fee to enter the church (€ 3,00), but it is more than worth it to gaze upon the interior of this church and the famous works of art found inside.
Many Doges were buried here under the watchful eye of masterful works of art by the painter Titian. Titian, a Venetian himself, painted the great altarpiece inside the church. The Assumption of the Virgin by Titian is one of the first things your eye is drawn toward as you enter the church. It sits behind the high altar, lit by the glow of the stained glass windows behind it. This piece is perhaps the best example of Titan’s masterful work. Setting the standard for Venetian art during the Renaissance.
Titian died of the plague at 94 years old, and a memorial to his life and death stands inside the great Basilica. The monument is gigantic! Looking like a small structure rather than a statue. A version of his famous painting is carved in relief into the stone. The image of the great master himself sitting in front. On either side of the artist are two figures representing universal nature and the genius of knowledge. The other four figures set in between the large columns represent Painting, Sculpture, Graphic Art and Architecture, each one being a critical force possessed by Titian’s art.
From the church, head south through the Campo dei Frari. Turn right along Salizada San Rocco and left onto Calle S. Rocco. Cross over the Sestiere Dorsoduro and continue south down Calle S. Pantalon as it passes over the bridge, and the street turns into the Sestiere Dorsoduro. Leading you right in the Campo Santa Margherita.
The Campo Santa Margherita is a huge square in Dorsoduro District. Surrounding this square are houses that date back to the 14th and 15th centuries. Cafes have a tremendous amount of outdoor space in this large square, so you’ll hear the murmur of people laughing and the clinking of wine glasses at all hours of the day. Lovers lounge on the bright red benches, kissing under the sunlight. If you’re tired, this is a great place to end the tour early if you don’t want to explore the rest of the Dorsoduro District.
The Dorsoduro district is located on the bottom of the Venetian islands. This area borders the Grand Canal and the Venetian Lagoon, making it a prime spot for traders to live. While it’s not as flashy as the other districts, think of this as a blue-collar neighbourhood. I still find it to be one of the most charming areas in Venice. Dorsoduro lacks the pretensions of the other spots. Since it’s home to Venice’s Ca’ Foscari University, you’ll also find the new blood of Venetian society, its students, who liven up the streets with modern music, food and entertainment.
Head to the southern end of the Campo Santa Margherita and make a sharp left onto the Rio Terà Canal. Turn right to stay on Rio Terà Canal until you reach the Ponte dei Pugni. I love the view from this bridge. If you look towards the west, you can see the brick bell tower from the church of Santa Maria del Carmelo sticking its head up above the other buildings.
On either side of the bridge are a pair of footsteps marked onto the stones. This marking reveals a strange practice from the 18th century. Whenever two rival families were feuding, they would come here to battle it out with their fists. Unlike gun duals in the United States which were common to settle violent disputes, Venetians would fight each other with their fists. The first one to fall into the canal off this bridge was deemed the loser.
We are approaching the evening by this time, but it’s not time for just yet dinner. Oh no, first we must have an aperitif! And one of the best places to get it in Dorsoduro is Cantine del Vino già Schiavi. This bar sells Cicchetti (small snacks), which include Venetian classics like crostini topped with salt cod and wild garlic, pistachio cream or aioli with flower petals. Grab an Aperol spritz to drink while standing at the bar to feel very much like a local.
Head northeast until you reach the Calle Nuova Sant’Agnese. This narrow street is filled with a variety of different shops. Being so far away from the touristy areas, these stores are known to sell authentic Venetian goods but at reasonable prices. In addition to the tourist shops, you’ll also find unique boutiques, which are a great way to support local businesses.
If you’re still feeling up for it, continue walking through Dorsoduro, eastwards, along the Calle Nuova Sant’Agnese (which turns into Piscina Forner.) Continue onto Calle de la Chiesa and make a slight left onto Fondamenta Venier dai Leon walking along as it becomes Fondamenta Venier dai Leon. Turns left along Dorsoduro Street and follow the street into the Campiello Barbaro. Walk east along the Calle Barbaro as it becomes Calle San Gregorio and veer onto Calle de l’Abazia.
Stepping onto the stone of the Fondamenta Salute, you find yourself standing in front of the stunning white marble church of Basilica di Santa Maria Della Salute. Take a moment to both soak in the view of the church but also turn around to look at the great view of Saint Mark’s square across the river. This is where we first started the tour, and it’s amazing to see this spot from another perspective.
In 1630 Venice was being ravaged by the plague. At the time, one of the ways people thought you could stop the plague was by making an offering to God and praying he would send deliverance to the city. So, the Republic of Venice built the church of Our Lady of Health as a last resort. Eventually, the plague period passed, and the city was able to start rebuilding itself. Nearly a third of the population of Venice died during the plague. Those that survived would remember that harrowing experience forever. Since the church was made in honour of stopping the plague, most of the art and symbolism you’ll find throughout the church in some way refers to death or the plague. Making it a very uniquely themed church.
The church is most notable for its humongous white dome, which dominates the sky. The dome, which almost seems to defy gravity, became a symbol of inspiration for artists in the city. To support the huge dome and weighty marble church, 1 million wooden piles were used to hold up the floating building.
To finish the evening, walk down south towards the island’s far edge. The stone promenade which flanks the large waterway is called the Zattere. Zattere in Italian means rafts. In the 16th century, timber would arrive in the city on large rafts. Timber was not only used to construct the walls of grand palazzos and houses in Venice; it was literally the ground on which the houses were built. Timber was one of the most important imports in the city. It was also used to make gondolas up until the 18th century. Suffice it to say, the city was built around the timber industry, so its importance is not to be ignored. The earliest parts of the Zattere date as far back as 1520. Today the wide promenade is a great place to watch the sunset, reflection down against the mirror like waters of the canals.
If you’re feeling like you would like to dine somewhere close to your accommodation, there are Vaporetto stops all along the Fondamenta Zattere. But if you’re looking for something special along the water’s edge but away from the touristy hub, you should check out Trattoria San Basilio.
This down-to-earth restaurant is located inside the corner of one of the older buildings in the Zattere. It barely looks like a restaurant except for the awning and a few tables and chairs out front. But don’t let its modesty fool you; here, you’ll find a relaxing atmosphere, friendly staff, and traditional Venetian cuisine. Their seafood spaghetti with mussels, clams and squid tastes so fresh you’d swear the food jumped right onto your plate straight from the water. Try to get a spot outside to enjoy the sunset or watch as gondolas paddle past into the moonlight.
Phew, well, that brings us to the end of this tour. Hopefully, if you packed this all into one day, you found things along the way to return to see tomorrow! Let me know which neighbourhood was your favourite or what you’re most looking forward to visiting!
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My wife and I took this walking tour just last week - June 2022. It was fantastic! We spread it out over two days as we stopped at lots of places to shop, east, and in 2022 there are lots of free art exhibits. Add a night tour of the Palace and the basilica and you will have a great trip!
Thanks for the comment Phil, I'm so happy you and your wife enjoyed yourself on the walking tour. Two days is the perfect leisurely way to spread it out and make your own stops along the way. I've never known they had a night tour of the palace and Basilica but I looked it up and it looks incredible! What a special way to spend an evening in Venice!
Hello Laura, thanks so much for putting together these amazing walking tours! I'm heading to Italy next week and would love to do your Venice tour. However, wondering if it is possible to download it into my phone to follow it while I'm in Venice. Do you know if that is possible?
Thanks in advance,
Juliana
Hi Juliana, I'm still working on the downloadable version of this walking tour! But you can always copy and paste the text to you notes app in your phone and download the google map I provided. Google has an offline map option you can download before you leave if you won't have roaming while you're in Italy. Hope this helps :)
Hi Laura
Thank you so much for sharing this wonderful walking tour of Venice. My husband and I are going in April and as the previous commentator wondered if you had managed to complete a downloadable version yet? I am not very techy so not sure I could manage to copy and paste! My thanks in anticipation , Judi
Hi Judy! We finally have the downloadable version of the walking tour available in our store! You can purchase the PDF here to get all the information in this post and more available on your phone, iPad or desktop even when offline!
https://thecreativeadventurer.com/product/self-guided-walking-tour-of-venice-downloadable-pdf/
I hope you have a fantastic time on your vacation to Venice.
All the best,
Laura (the Creative Adventurer)
Hi Juliana,
I am going to Venice next year and am so excited to do this walk. The effort and detail you put into this is incredible. What a wonderful person you are to share this. So appreciate. Can’t wait to discover this walk.
Thanks so much Nicole! I hope you have a fantastic time, Venice is spectacular and a true dream of a location.
Amazing, very well done! Anyone that wants to get of feel of venice should read and walk this. You should really make a documentary.....getting to know venice.
thank you
Wow! Thanks for the amazing comment Jim!
Hello,
I purchased the PDF on my computer but trying to figure out how to now open/save it on my phone. There wasn’t a follow up sent to my email with a link or anything. Please let me know how to obtain it, thanks!
Hi Tommy, I just sent you an email but you should receive an email shortly after payment with the link to the download. If you don't get one shortly just reply to the email I sent and I will email it to you directly.