We are joining a tour group in the Veneto on an itinerary to visit the villas of Andrea Palladio. But before we join the tour, we meet friends in the village of Scorzè (pop 18,843 in 2018), just outside of Venezia-Mestre urban zone.
After our two o'clock departure from Lisboa, the good folks at the Antico Mulino send a driver for us, and we arrive in plenty of time for dinner. Ah, traveling in Europe is so quick and comfortable.
The next day, we meet our friends and plan a day trip to Chioggia (pop 49,744 in 2015), the southern-most island in the Laguna di Venezia, and famous for the Sottomarina (southern beach). It's known as "Little Venice", which may seem a little obvious, given its proximity to "Big Venice".
We drive around the island town, looking for parking, but must park in the Sottomarina. Then, we walk north over the bridge on the Viale della Stazione (passing the small train station) and through the Porta Santa Maria.
The chunky brick church is the Cattedrale Santa Maria Assunta (17th century), but it is shut for lunch. There is, at least, a lovely line of saints along the water's edge, the Balaustra del Sagraeto, with Santa Madonna con Bambino (early 18th century) draped in flowers and facing the transept. So, we walk past the facade of the Cattedrale and find the beautiful Tempietto di San Martino Vescovo (14th century), with its lovely octagonal tower; the tall campanile (14th century) seems to serve the Cattedrale though it is contemporary with the Tempietto.
The Corse del Popolo is also on the other side of the Cattedrale. It's a wide street lined with parked cars and bike lanes – very un-Venice-like. But the streetscape and the building stock are very Venice-like, as we recall from the 'local' neighborhoods like Giudecca, and include several chapels and churches.
The Corso widens further in front of the Basilica Minore di San Giacomo Apostolo (18th century), where there is a dramatic monument to the fallen from World War I. The facade seems unfinished and the signage outside describes the miraculous icon of Madonna della Navicella ("Our Lady of the Spaceship" –?), but the door is open, and we decide to go in.
The interior is wide and undivided, in Neoclassical Corinthian, with a cream-colored giant order set on a plinth. The space is dominated by the ceiling fresco, Martirio e Gloria di San Giacomo (Alessandro & Romualdo Mauri, and by Antonio Marinetti, 1787-90); the image rises from the corner vaults with a convincing trompe-l'œil. In the lunette above the altar is an image of God with arrows and an army of angels, apparently stopped from delivering His wrath on Chioggia by the Madonna, with no alien involvement.
Off in search of a lunch spot, we find the Chiesa di Sant'Andrea Apostolo (18th century), a much more 'complete' and 'standard' church, with stone facade, chapel aisles, and domed crossing. Unfortunately, the orologio della torre (10th century) is under renovation and covered with screens – evidently, the oldest working clock tower in the world.
The familiar thermae window and pedimented portal underscore at the grandeur that was absent at San Giacomo – though perhaps unnecessary in a town like Chioggia. The interior has a similar feel but elevated with veined marble columns and the decorated octagonal dome, featuring L'Occhio della Provvidenza.
San Giacomo's consolation may be that the frescos by hometown boy Marinetti, also known as il Chiozzotro, are far more compelling.
We take lunch at a shady trattoria near the Ponte Caneva, which provides a glorious view of the Ponte di Vigo (17th century), the last bridge before the Laguna Veneta. Here, Chioggia's "Little Venice" characterization is clear, but more like Murano than San Marco: reflective, still canals and low, painted workers' housing blocks.
The Corso ends at the Piazetta di Vigo, surrounded by hotels and restaurants. The Ponte turns to face the Chiesa Sconsacrata di Santa Croce (14th-19th centuries), a compact and tidy, temple-front. We cross and walk south along the romantic and colorful Canale Vena.
We make a quick stop inside the Chiesa dei Patrocinio della Beata Vergine Maria ("dei Filippini", 18th century), if only to get out of the steady sun. The ceiling panel shows La Vergine Venerata da San Filippo Neri mentre i Padri Modonese e Gastaldelli Presentano al Conte Manin il Disegno della Chiesa (Giacomo Casa, 1865)
From the stoop and nearby Ponte Filippini there are excellent views up to the angel atop the orologio della torre.
As we continue along the Canal, it seems that as the blocks get smaller and simpler, they get more colorful. We cut through the block to the Canale San Domenico, where the large fishing boats lie moored, and turn north again.
At the end of the Canale, we cross the Ponte San Domenico to the Chiesa di San Domenico (18th-19th centuries), an enormous brick building standing on its own isola. This contains a very large, bright, and open worship space with barrel-vaulted side chapels and tall clerestory windows. The altarpiece holds a remarkable, archaic Crocifisso. under the text from Psalm 77:19:
In mari via tua, et semitæ tuæ in aquis multis;et vestigia tua non cognoscuntur.[Thy way is in the sea, and thy path in the great waters,
and thy footsteps are not known.]
Returning and finding the door open, we finish the day in the Cattedrale. Against expectation, the Cattedrale faces east, and the interior is tall, crisp, and white. The chancel is under a cross vault, and the altar sits below an unadorned half dome.
From each transept there are two lateral chapels: the Cappella dal Santissimo Sacramento (north)
and the Cappella di San Felice e Fortunato (south). The church's decorative energy seems to be concentrated in these two chapels as well as the Pulpito Monumentale and the Battistero.
Other side chapels, like the Cappella di Santa Maria Assunta, are set back in the aisles. All of this allows the interior architecture to truly take centerstage.
Tomorrow, we head to Vicenza to join our Palladio tour; Chioggia is the perfect appetizer.
