Campo San Polo is the second largest public space in Venice after Piazza San Marco.  It is oblong-shaped, 100 metres long and 60 metres wide.  This walk is 730 metres long and should take around 40 minutes depending on whether you decide to visit the inside of the church of San Polo.  This walk would also be perfect for an evening ‘passeggiata’ (stroll).

In the gothic maze that is the city of Venice, Campo San Polo is a welcome, wide-open civic space.  It is ideally placed to visit the various other parts of San Polo.  It is adjacent to Dorsoduro and Santa Croce, and just a Traghetto ride away from San Marco.  It also lacks the mass visitors and the pigeons of its larger sibling, Piazza San Marco.  The campo was used in early times as grazing land, for drying woollen cloths and other fabrics, and as a venue for markets and festivities.  It hosts several significant palazzos, the largest vera da pozzo (well head) in Venice (3.2 metres in diameter and dated 1838), and the church of San Polo.  It has interesting examples of architectural styles from various eras.

Start the walk on the Ponte San Polo and look to the left where you will see the handsome Palazzo Moro-Lin (point of interest (POI) #1) which was constructed at the beginning of the 17^th century.  It was built for the Venetian painter Pietro Liberi (whose works are found around the city) and said to have been decorated with frescoes and paintings by Gregorio Lazzarini, another prominent artist who worked in the city.  Further off to the right on the canal, take note of the rather tall Palazzo Corner-Mocenigo with three water entrances.  The land entrance to this palazzo is situated on Campo San Polo and you will view this on the final leg of this walk.  You will enter the south-western side of Campo as you proceed from the bridge.

This corner of Campo San Polo has two dramatic points of interest, both violent in nature.  The first episode (POI #2) concerns the two statues of the lions at the base of the bell tower.  One is wrestling a serpent, the other has a human head between its paws.  This head is said to have been a representation of the mercenary Francesco Bussone, Count of Carmagnola who fell foul of the city’s rulers and was considered a traitor for not pursuing their enemies (the Milanese) with sufficient vigour in battle near Cremona.  He was executed in 1432.  The second (POI #3) involves an assassination in the area between the southern wall of the church and the residences across from it that form Salizzada San Polo.  Lorenzino de Medici and his friend Alessandro Soderini were assassinated here in 1548.  The assassin, a mercenary named Bibbioni, had been hired by Lorenzino’s cousin, Cosimo de Medici, Duke of Florence.  At No. 2021 (POI #4) note the statue of a bishop in a niche on the wall.  This was also the home of prominent Venetian sculptor Alessandro Vittoria.  We will continue on past the main part of the Campo as there is time to explore this on our return and finish.

You could choose either now or later in the walk to investigate the church of San Polo (POI #5).  The Church of San Polo is one of the oldest in Venice and was founded during the reign of Doge Pietro Tradonico (836-864).  The church was rebuilt twice, resulting in the present structure which was completed in the 15^th century.  In 1804 a further renovation took place under architect David Rossi.  The impressive gothic arch over the doorway on the southern entrance to the church was retained and is the work of Bartolomeo Bon’s workshop (you would have noticed this after coming from Casa Goldoni on the early leg of the journey).  The eastern side of the building is the outside of the apse of the church.  It has a number of impressive reliefs from various eras, including a 16th century relief of the Madonna enthroned with St Peter and St Paul on the left.  Beneath the relief, there is a plaque indicating: ‘All games whatsoever are prohibited: as also the sale of goods, or the erection of shops, around this church … with the penalty of prison, the galleys, exile and also 300 lire de’ picoli, to be divided between the accuser and captors’.

Next, there is a sculpture of St Paul in a classical-styled niche (restored in 1988 by ‘Save Venice’).  It was placed there during the 1804 renovation – having been originally over the southern entrance door.  The torso is thought to be an ancient Greek sculpture that dates to the fourth century BC.  An unidentified Italian sculptor added a head and feet to the fragment in the middle of the 15^th century, creating what we see today for the church of San Polo.  The sculpture’s damaged right hand once held a sword, the instrument of Saint Paul’s martyrdom.  The pattern on the base of the plinth seems to be a nod to the Greek origins.  Note also on the peak of the roof of the building a 13^th century angel holding an incense burner (thurible).  Further around to the right, there are two interesting and somewhat ancient reliefs depicting scenes from the life of Christ.

The paintings inside the church include works by Tintoretto, Palma il Giovane, Veronese, and Tiepolo (both father and son).  There is a map of the church at the Chorus Venezia site.

From the church you will take a diversion out and back to Palazzo Albrizzi (POI #11) via Campiello dei Meloni (POI #8).  Exit the campo in the south-east corner and head over Ponte de la Madoneta.  On the way through you will find POI #6 which is a collection of decorative patera and reliefs attached to the remains of an ancient structure.  Nearby is Pasticerria Rizzardini (POI #7) and the Campiello which has a number of shops and restaurants.  La Rivetta has canal-side seating (POI #9).

In a few twists and turns, you will arrive in Campiello Albrizzi and the palazzo of the same name. 

The Albrizzi family arrived in Venice from Bergamo during the 16th century. Their fortune was built on  cloth and oil commerce.  They also provided merchant ships in support of the republic during the war against the Turks.  Their patriotism, sweetened with a payment of 100,000 ducats to the Treasury ensured the admission of Antonio Albrizzi’s sons to the Higher Council in 1667.  The palazzo has a facade overlooking the canal behind the Campiello centred on a three mullioned central arched window.  The somewhat conservative exterior belies the richness of the interior which reflects the patronage of the family (Andrea Fasolo, 2003).

Between 1690 and 1710 the interior space was renovated with high relief stucco work in large areas.  For example, the ballroom ceiling carries a flamboyant display of stucco drapery supported by 28 putti in flight nestled amongst curtains.  They are flanked on the walls by paintings of the Albrizzi family.  The work was carried out under the direction of artists such as Antonio Gaspari, Abbondio Stazio and Carpoforo Mazzetti (aka Tencalla).

Isabella Teotochi, wife of Giuseppe Albrizzi, established a literary drawing-room visited by figures such as Ippolito Piedemonte, Vincenzo Monti, Lord Byron, Vittorio Alfieri and Ugo Foscolo.  Antonio Canova also participated in the society life of the palazzo and he gave a Head of Helen to the lady of the house (Andrea Fasolo, 2003).

Nuovo Teatro di San Cassian, which was one of the first public theatres for comedies in Venice and in the whole of Europe, was situated near the palazzo.  It was demolished in 1812, creating more space for the gardens of the palazzo, which is still inhabited by the descendants of the old owners.

There is a plaque embedded in the façade on the left of the palazzo with an inscription written by Gabriel D’Annunzio denouncing the military actions by the Austrians during WW1.  It is topped with the ogive of a bomb that was dropped on the city.

As you head back out of Campo Albrizzi check out the relief of a winged lion over the doorway at No. 1943 (POI #10).  (POI #12 is the nearby restaurant Le Antiche Carampane).  On the return journey to the campo, you will pass over Ponte Cavalli, entering the campo between Palazzo Maffetti and Palazzo Soranzo.  From Ponte Cavalli, take note of the secondary façade of Palazzo Maffetti, which you will find around the corner at No. 1957.  Domenico Rossi, an apprentice to Longhena is attributed with the design of Palazzo Maffetti (c.1690-1699, POI #13).  Of note is the keystone of the main entry with the head of Hercules covered with a lion’s pelt.  The decoration is thought to be a reference to the power of the Maffetti family who were admitted to the patrician class in 1654 (Antonio Manno et al., 2004).

At 2169-71 is Palazzo Soranzo, an example of a double palazzo (POI #14).  The palazzo on the left is the older of the two, built in the mid-14^th century, the lintels of its twin entrances are carved with designs in the Byzantine-style, as are the paterae on the floor above.  The right-hand palazzo dates from the mid-15^th century, its design an imitation of the earlier building, with the Gothic string course extending along the-full length of both facades.  Both palazzi were acquired in the mid-15^th century by the Soranzo, probably soon after the second palazzo was completed (John Freely, 2004).

The palazzi originally bordered the Sant’Antonio canal (filled in 1761) and were connected to the campo via private bridges.  These can be seen clearly in Jacopo de’ Barbari’s wood cut ‘aerial view’ of the campo (created in 1497-1500).  Note the stone flagging on the surface of the campo which follows the curved boundary of the original canal.  As you continue along past Palazzo Dona for Ca’Bernardo, you will see what remains of the canal and the short street named ‘Rio Tera S. Antonio’ which is the prefix of the name of a street formed by a filled in canal.

Look for cornices clad in Greek marble and decorated with polychrome marble medallions and by patera decorated with animal motifs, eagles, and lions.  Within the cornice of the four-lancet window on the second floor (left-side palazzo) there is a medallion depicting the struggle between Hercules and a lion.  These panels were thought to have been carved around the middle of the 14th century for the decoration of the original palazzo.

The bas reliefs over the left two of the three main doors also date to the 14^th century and feature a central angel and two facing lions. The facade of the second building (right side as you face the buildings) has an eight-lancet window on the first floor. It was richly decorated with frescoes by Giorgione which have long since disappeared (Andrea Foscolo, 2003).

The Soranzos were quite the distinguished family with sixteen of their number ascending to the role of Magistrates of San Marco.  Doge Giovanni Soranzov (from 1312-1328), was a sea captain who distinguished himself by leading a victory over the Genoese at Caffa (on the Crimean peninsula).  He hosted Dante Alighieri on his visit to Venice around 1320.

Farther along, the Palazzo Dona at No. 2177 (POI #15) is a Renaissance-era building built on the site of a 14^th century gothic palazzo – the pointed and decorated arch doorway of the original palazzo still stands.

There is another short and worthwhile diversion beyond Palazzo Dona.  Leaving the campo, take a right and then a left turn, heading down Calle ca’ Bernardo.  Once you are on the Ponte Bernardo (POI #16), look down and to the left, and on the other side and you will see a quaint dining balcony which is part of the renowned Ristorante da Fiore (POI #17).  Turning around and heading back towards Campo San Polo, you will see on the right a lovely palazzo – Ca’Bernardo (POI #18).  It is worth pausing to have a look at this building, dating from the 15^th century.  Now make your way back to Campo San Polo.

As you enter the campo, turn right and head towards Palazzo Corner Mocenigo (it’s in the north-west corner).  On the area overlooking the canal of San Polo (that you noted at the start of this walk), where the Palazzo Corner-Mocenigo stands, there was once a fourteenth century building, called the “Palace of the Cagnon”, given as a present by the Republic to Francesco Sforza.  The fourteenth century palazzo was completely destroyed by a fire in 1535, and Giovanni Corner, nephew of the King of Cyprus, ordered its reconstruction.  Four years after his death, the building was finished.

Palazzo Corner-Mocenigo was likely admired for having six floors, which is unusual in Venetian architecture.  It was described by Vasari as ‘magnificent and majestic rich’ and by Sansovino as ‘with a wealth of rich decorations’.  The upper floors of the facade have two large central three-lancet windows with ‘Juliet’ balconies.  On the canal the three separate portals provided access for three different families.  In 1799 the last descendant of this branch of the Corner family, Giovanni, donated the palazzo to his daughter as a dowry on her marriage to Alvise Mocenigo, who thus became the owner.  The building currently houses the headquarters of Customs Offices (Andrea Fasolo, 2003).

You are now not far from the well head in the centre of the campo.  This ends the walk, leaving you with plenty of options in this central and pretty part of the city.

Sources

Churches of Venice, (2021). http://churchesofvenice.com/index.htm

Douglas, H. (1907). Venice on Foot: With the Itinerary of the Grand Canal and Several Direct Routes to Useful Places, C. Scribner’s Sons

Fasolo, A. (2003).  Palaces of Venice, Arsenale Editrice, Verona

Freely, J. (1994).  Strolling through Venice, Penguin Books, London

Lorenzetti, G. (1975). Venice and its Lagoon: Historical Artistic Guide, Edizioni Lint Trieste, Trieste

Manno, A. Venchierutti, M. & Codato, P. (2004). The Treasures of Venice, Rizzoli, New York

Images San Polo Walk

#1 Palazzo Moro-Lin Wikimedia user Abxbay

#4 Alesseandro Vittoria painting (c.1580) by Veronese The Metropolitan Museum of Art on Wikimedia Commons

#11 Palazzo Albrizzi Wikimedia user Abxbay

#11 (interior) Palazzo Albrizzi Ballroom: Ghostly Writer Blog

#10 Church of San Polo: Wikimedia user Alma Pater

#13 Campo San Polo: Wikimedia user Didier Descouens

#17 Ristorante da Fiore: https://www.agrodolce.it/locale/osteria-da-fiore-venezia/

#18 Ca’Bernardo Wikimedia user Didier Descouens

#19 Palazzo Dona Wikimedia user Abxbay