Being the only other true canal in the city, the Cannaregio Canal is somewhat broader than most and so presented a greater challenge for the bridge builders. Consequently the three arched bridge has become a local landmark giving its name to the nearby vaporetto stop and the hotel that overlooks the canal. A shame therefore that when the tide is high, there is insufficient space for the vaporetti to pass beneath it!
The bridge has been the subject of many images during its lifetime, but I don’t get it personally. I walked by without the temptation to lift my lens.
Instead I carry on to the San Giobbe campus of the University home of the Economics faculty; quite a contrast with the Ca’ Foscari that gives the University its name, nevertheless the repeating pattern of its buildings gives a shot with plenty of perspective.
In complete contrast to the extravagance of San Moise is Santa Maria dei Redentore (St Mary of the Redeemer) though it was built just a few years beforehand. I might have walked past this building in Cannaregio without realising it was a church had it not been for the large wooden cross displayed outside. (Unusual for a Catholic cross to have no crucified Christ on it).
This was the church of a large Capuchin convent that stretched from this canalside spot to the lagoon in the north for two hundred years, yet it is such a modest structure, especially when compared to San Moise. The former convent buildings were demolished early in the twentieth century to make room for a school development.
Unconsciously following the route that Aurelio Zen takes when returning to his native city, I encountered not the “wedge-shaped campo”, but an altogether differently shaped opening, with an altogether different piece of Venetian building at the other side. What purpose the stilts that supported the upper floor? Even Acqua Alta does not justify such a precaution.
Michael Dibdin describes the area thus:
…midway between the station and the slaughterhouse, and most local men worked for one or the other.
I can’t imagine the appeal of this building to either profession.
I know, I know. I’ve used spot colour, a technique that I usually despise but first let me explain myself.
This is Giudecca, a long strip of land separated from the other central Venetian islands by the Giudecca Canal, but unlike Lido, close enough to form part of one of the six distinct districts (sestiere) of the city; in this case the Dorsoduro district. Its name is thought to be a corruption of Judaic, and indeed in southern Italy a number of towns have Jewish enclaves that bear this name, so you might expect a historic reason behind the adoption of the word, especially as the island was originally called Spinalunga. The trouble is that there is no record of a Jewish connection, and indeed the Jewish area of Venice is well-known to have been in Cannaregio, for the small island where the Jews were segregated for centuries is where the word Ghetto originates.
But back to Giudecca. The coloured elements are a temporary artwork entitled The Sky Over Nine Columns which appropriately in this city is covered in gold mosaic, and the official site explaining the background features a spot coloured image of them, so I felt it Ok to follow suit.