Torcello: the Santa Maria Assunta and the Santa Fosca
|Venice big size Dam built in the 19th century|
Photo dam built in the 19th century: Dmitri Opekine
|Jewish Ghetto Restaurant Rio della Misericordia Large size|
|Campo Ghetto Nuovo Campo Ghetto cast iron bridge
The word ghetto is named after the cast iron (ghetto=cast iron) bridge
|Campo ghetto Nuovo cast iron bridge large size|
photo: François de Nodrest / Pantchoa
From the hotel, we walk to the Fondamente Nuove via the Jewish ghetto, where we will have breakfast and dinner. Here we take the boat that passes Isola di S. Michele, Murano and Burano to finally arrive at the island of Torcello. You have probably heard quite a bit about this unique island in class. It had much greater importance in the 11th century and was home to more people than Venice. After disembarking, we will walk along the canal to the church.
|Vittore Carpaccio ‘Hunting on the lagoon’ detail large|
|Vittore Carpaccio ‘Hunting on the lagoon’ large Detail|
Vittore Carpaccio ‘Hunting in the Lagoon’ oil on panel, 75.6 x 63.8 cm. c. 1495, J. Paul Getty museum
The original panel was sawn in half.
‘Two Venetian Ladies’ oil on panel, 94 x 63 cm. c. 1495, Correr museum Venice
|The lagoon of Venice large size The lagoon and the sea|
|Lagoon large size Aerial picture of the lagoon View on Santa Maria Assunta Lagoon en youtube drone (1.55 minutes)|
|Torcello boat stop and the canal to Santa Maria Assunta
|The path from the boat stop to Santa Maria Assunta Path large|
picture: Mike Guo
|Torcello with view on the Santa Maria Assunta Torcello Campanile
|Torcello with view on the Santa Maria Assunta large size Apse and side large size|
|Santa Maria Assunta and the Santa Fosca
|Joseph Karl Stieler ca. 1810|
The cathedral Santa Maria Assunta (Assumption of the Virgin Mary) dates from the 7th century but was rebuilt in the 9th and 11th century. The original church had only three naves and just one round apse (two more were added later). In other words, a typical early Christian Roman basilica that can also be found in Grado and Ravenna. Not much remains of the 7th century baptistery, just the circumference of the wall and a few bases of columns. The original baptistery (eight columns and a dome) was located at the front of the cathedral (click here for the floor plans of Santa Maria Assunta and Santa Fosca).
|Santa Maria Assunta Ruins of the original baptistery Reconstruction Baptistery apse Map with explanation Crypt
Video Torcello and te Santa Maria Assunta (6.55 minutes)
The baptistery was for the most part based on the Lateran baptistery in Rome. An inscription was discovered during the 1895 restoration of Santa Maria Assunta. It showed that the church was dedicated to Mary and founded during the reign of emperor Heraclius. Isac, the patriarch of Ravenna, had commissioned its construction in 639. The floorplan has for the most part been preserved, and yet there is little visual evidence of the original materials. The wall of the central apse and the lower part of the entrance wall date from the 7th century.
The original floor lies beneath the present one. In 1929, the original altar was discovered during excavations and restored to its original location. The church was renovated in 864 under Bishop Adeodato, as stated in the chronicles of John the Deacon. The two side apses and the crypt were built after 864 and the outer wall probably also dates from this period. Santa Maria Assunta acquired its current exterior in 1008 under bishop Orso Orseolo, who later became doge. The floor was raised during this period. Windows were added to the upper part of the south wall, adding one clerestory to the nave. These upper windows in the south wall still have the original stone hinges that the wooden shutters are attached to. The arches of the colonnade are the stone arches from the 11th century. Two capitals on the right hand side of the nave were reused.
|Santa Maria Assunta large size Nave large size Floor and apse|
The interior is quite austere, in marked contrast with the San Marco. The concha of the apse features a mosaic of the Virgin Mary with Child.
|Mary with child and apostles conga large size|
|Mary view of the apse and choir screen
|Left aisle and the Cosmati pavement Pavement detail|
|Right aisle apse large size|
|Right aisle apse large size|
|Torcello Santa Maria Assunta mosaic Christ and right apse 9th century|
Christ among the archangels Michael Gabriel Nicolas, Ambrose, Augustin, Martin
When we’re in Santa Maria Assunta, we will focus on the unique mosaics on the Apocalypse.
|Last Judgement details entire west wall large size
|Crucifixion large size|
|The empty throne large size|
|Christ saves souls from the limbo of hel large size|
|Last Judgement large size Detail: Christ|
photo: Cameraphoto Arte, Venice/Art Resource, NY
|Last Judgement large size|
photo: Julia Kostecka
Unfortunately, entire sections of the mosaics were removed in the 19th century and replaced with copies. When leaving the church, the visitor was subtly reminded to remember the Day of Judgement. Very few could read, but the images, arranged like a comic strip, were all too well understood.
The resurrection of the dead, the angel weighing the souls, but mostly the horrible events in hell must have made lasting impressions on the churchgoers. All the more so as images were relatively rare during the Middle Ages.
The Santa Fosca
Adjacent to the cathedral Santa Maria Assunta is a small church called Santa Fosca (floor plan, vertical elevation and cross section). This little church is a mausoleum specifically built for Saint Fosca.
|Saint Santa Fosca large size
|Santa Fosca large size Rear of the Santa Fosca Apse|
A martyr who was brought to the island in 1011, or at least his bones were. The church is not just a martyrium, but was also used for certain ceremonies and of course to worship the relics.
|Santa Fosca large size Cross section|
|The wooden dome of the Santa Fosca Large size Dome outside|
Only limited numbers of believers ever met in Santa Fosca, so a small central-plan church was the most suitable construction type. The Roman model was probably copied from Santa Stefano. And yet, Santa Fosca shows Byzantine influences just like Galla Placida in Ravenna, which, just like this church, has a Greek Cross as its floor plan. The church is crowned by a round dome. A Greek cross with a dome is one of the most important characteristics of Byzantine architecture. The most famous example of which is the Hagia Sophia, built in the early 6th century. The domed Greek cross also became a dominant theme of Venetian architecture. The builders of Santa Fosca obviously also wanted a dome, but the construction was not all that strong, which is why they built a wooden dome that was raised on the outside: a safe and cheap solution.
The portico around Santa Fosca dates from the 12th century. In the portico, the Greek cross changes into an octagonal with five bays on each side and three on the diagonal sides. The portico’s alternation of round and polygonal columns is a nice variation. And the arches have been substantially lengthened compared to the interior of Santa Fosca. The portico has a clear vertical accent which directs the eye to the construction elements above. The whole appears to be a complicated mass of various construction elements with a climactic centre that nevertheless is in perfect harmony. This is a characteristic of 6th century Byzantine architecture that can also be found in Ravenna, for example in San Vitale.
|Portico Santa Fosca
We will take a walk around this little church. The exterior at the rear, the east side, near the apse consists of simple bricks, albeit richly decorated. The dogtooth pattern is often used in early Christian Veneto-Byzantine churches, although rarely on the outside as is the case with Santa Fosca. The combination of red brick and white marble was quite common and often used in Venetian architecture. San Marco looked like that in 11th century, prior to the large-scale decoration programme that lasted several centuries. Santa Fosca is an early and important example of Byzantine architecture in the lagoon.
|Apse sides and dogtooth pattern
picture (mouseover): Gio Vencato
Before we leave the island, we will climb to the top of the campanile from where you can enjoy a beautiful view.
|The campanile and the view
pictures: Lispanico – Federico Gherlenda
We will pass Burano when we take the boat back to Venice.
|View of Torcello on Burano View of Burano on Torcello zoom in Burano large size
The trip back from Torcello via the Canal Grande. The Canal Grande originally was a meandering river carving out a path in the marshy lagoon. It always was the most important connection and still is extremely busy today.
|Venice aerial big size Video Venetië by Drone (4.04 minutes)
Ignazio Danti Map of Venice fresco 1580 – 1583 Galleria delle Carta Geografiche Vatican
|Michele Marieschi ‘Rialto bridge from the south’ large size Details: Bridge Gondola Left bank Right bank
Israël Silvestre ‘Rialto bridge and the Canal Grande in Venice’ 1631 – 1691 Rijksmuseum Amsterdam
Michele Marieschi ‘Rialto bridge from the south’ 18th century oil on canvas , 56 x 84,7 cm, private collection
|Canaletto ‘The entrance to the Canal Grande’ 49.6 x 73.6 cm, oil on canvas ca.1730 Museum of Fine Arts, Houston large size
Edward Pritchett ‘The Church of the Salute’ Sotheby’s, New York, oil on canvas, 92 x 143 cm 19th century
The canal is four kilometres long, between 30 and 70 meters wide and five metres deep. Three bridges cross the Canal Grande, the most famous of which is the Rialto bridge with its shops. Most of the palaces facing the Canal Grande are 500 years old. It was a very popular and very expensive place to build, which is why most of the houses facing are rightfully called palazzi.
|Rialto bridge in the present day and Canaletto’s vision and a video reconstruction (1.55 minutes) Livecam
|Friedrich Nerly ‘View of the Grand Canal Looking Towards the Rialto Bridge’ 19th century oil on canvas, 75.2 x 109.2 cm large size|
Standing in the boat, you can perfectly read the architectural history from the facades along the Canal Grande. We will take a closer look at several of the palazzi facing the Canal Grande in the architecture programme, albeit from jetties and narrow dead-end alleyways.
Palazzi along the Grand Canal Venice
The chronological order below is unfortunately not the route that we are taking. For the itinerary please read the bold numbers in brackets. We first pass number 1, etc. The typical 13th century Veneto-Byzantine style can for instance be seen in the Ca da Mosto (more specifically the ground floor; photo: dvdbramhall) one of the oldest palazzi on the canal. The same applies to the 13th century Fondaco dei Turchi which will soon appear on our starboard side.
|Ca’ da Mosto facade Facade on the landward side Ground floor First floor reliefs|
picture: Javier Pereda
|Fondaco dei Turchi large size|
One of the most impressive houses was named for the gold that used to cover it. This house from 1420 is a good example of Gothic architecture in Venice.
|Ca’d’Oro large size|