The Floating City, The City Of Canals or Maybe The City of Bridges!

Dawn over Grand Canal, Venice from the Accademia Bridge (~0600)

Venice is a city that was built on a wing and a prayer, yet has survived for over 1500 years.  The floating city consists of over 100 small islands connected by canals and bridges; whose buildings were built upon wooden platforms supported by wooden stakes driven into the ground. The secret to the longevity of Venice’s wooden foundation is the fact that they are submerged underwater and through a process known as mineralization has become hard as rock. Therefore the Venetians were able to build solid structures on them and is the reason Venice still stands today.  

Venice it's undoubtedly a city like no other with most of its buildings dating to the 13th and 18th centuries. Everything looks so picturesque, the old buildings with the red tile roofs, the turquoise water, the gondolas and the beautiful shops. It is a photographer’s dream, hence is why we chose a photographer to be our tour guide. Photo walks are perfect if you want to discover hidden and non-touristy parts of a place.  Venice was perfect for a photo walk as it’s full of unique facades, hidden alleys, a surprise round every corner and of course, the famous Venice canals. 

Grand Canal

The Grand Canal is the Venice's main artery, a 3 km, s-shaped curve of water jam packed with private boats, vaporetto and barges. Actually the Grand Canal is believed to be a branch of the ancient Brenta River that opens into the lagoon. The canals coupled with its  400+ bridges are the blood line of Venice and everyone needs to travel on them. They are the transit system of Venice used by water buses, taxis, police, postal service and delivery companies, to name a few.   

Venice is beautiful but it can be crowded with a lot of tourists especially when the cruise ship excursions are underway.  Also, it can be confusing with its narrow streets and alleys so map apps quite often help get you lost. Getting lost in Venice is probably the best thing one can do and it’s a city that is best explored at a leisurely pace, along with a good pair of walking shoes.  Having read that Venice smells I had prepared myself for just that occurrence. I can happily state that for my visit in August, there was little to no odoriferous smells at all.  

Now to be honest Venice wasn't top on my list of places to visit but when planning our 25th anniversary celebration,Venice sorta fell into the start and end of 2 fantastic weeks.  Our Venetian escape started with a water taxi ride to our hotel that is housed in a restored flour mill on the Island of Giudecca (the Hilton Molino Stucky). I think I emulated a bobble head on the ride over trying to catch glimpses of everything we passed on the taxi route. 

Ultimately the floating city, city of canals, city of bridges or whatever you chose to call it, did not disappoint to impress.  This quote describes Venice to a "t": ‘Venice is a city that has the sea for its floors, the sky for its roof and the flow of water for its walls.’ – Unknown.

Piazza San Marco

Piazza San Marco, the fabled centre of Venice and during certain times of the year and certain hours of the day; the world's epicentre of tourist madness.  My advise is to visit the piazza whenever nobody else would;  off-season and/or very early in the morning.  We visited it early in the morning on our photo walk tour (~0630) and later in the morning (~0930ish) before the really large crowds arrived. Amazing what a difference several hours can make. 

Piazza San Marco at dawn (~0630).  
Peaceful and quiet.

Piazza San Marco around 0900.  The madness begins.

Running along the north side of the Piazza San Macro is a long arcade of buildings built in the early 16th century (1514-1538) called the Procuratie Vecchie.  These were the homes and offices of high state officials during the Republic of Venice. Today, the first floor arcades house shops, cafes, restaurants and modern stores including the famous Caffè Quadri. Upper floors house offices.

Corridor of Procuratie Vecchie in Piazza San Marco
before shops open and the crowds arrive.

Personally I believe the best views of Piazza San Marco are from San Giorgio Maggiore Island and the Campanile di San Giorgio. Actually it's one of the better views you'll get of Venice and for 6 euro per person you can take a lift up to the top of the tower with no lines and few visitors. 

View of St. Mark's Campanile and Doges Palace (Venetian Gothic style 1340 with modifications and restorations over the centuries.  
Photo taken from San Giorgio Maggiore Island

Mosaics on the western façade of St. Mark's Basilica (c. 1660)
The arrival of the body of Saint Mark in Venice

The Horses of St. Marks have been around for centuries, although their origins are much debated. The four horses were sent to Venice from Constantinople; following the sacking of Constantinople during the Fourth Crusade in 1204 by Doge Enrico Dandolo, leader of the Venetian Crusaders.  They were again looted by Napoleon when in 1797. The horses, with a chariot formed a victory quadriga, that was placed on top of the Arc de Triomphe du Carrousel.  Their stay in Paris was short-lived as they were returned to the Austrian Empire after Napoleon’s defeat at Waterloo. The Austrians who had annexed Venice in turn returned the horses to Venice in 1815. They were temporarily removed for safe keeping during world war I and II to Palazzo Venezia, Rome and Praglia Abbey, a Benedictine monastery in Teolo; respectively.  

Replicas of two of the four Horses of Saint Mark-Lysippos
Originals are housed in St Mark's Museum inside the basilica 

Torre dell’Orologio in Piazzo San Macro

Bell atop Torre dell’Orologio (1497)

Torre dell’Orologio, also known as St. Mark’s Clock Tower or the Moor’s Clocktower, faces into Piazza San Marco was commissioned by doge Agostino Barbargio in 1493 and completed in 1499. The clock tower is topped by two bronze figures that have developed a dark patina over time and strike the bell hourly. The bell is original and is signed by Simeone Campanato, who cast it at the Arsenal in 1497. 

Venice as justice relief on Loggetta del Sansovino (1538-46; rebuilt 1902-12)

The Loggetta, designed by Jacopo Sansovino, is located at the base of the campanile in  Piazza San Marco.  In 1902 the Loggetta was destroyed by the collapse of the campanile and where possible the original materials were utilized in the reconstruction. Though badly damaged, the reliefs in the attic are original. The central relief depicts Venice as Justice with the sword and scales. She sits upon a throne supported by lions and is flanked by river gods with water flowing from urns. 

Bridge of Sighs

La Ponte dei Sospiri as it is called in Italian was crafted in 1600 by Antonio Contin. The structure is an enclosed limestone bridge in the baroque style and remains the only covered bridge in Venice. Located next to the Doge’s Palace, it spans the Rio Di Palazzo (Palace River). Its original purpose was to connect the Old Prison and the Doge Palace interrogation rooms, with the New Prison directly across the river. Legend has it that the bridge was given its name because it offered condemned prisoners their last view of beautiful Venice before being executed.  Reality it was coined from the poetic musings of Lord Byron in the 19th century. 

One of the most commonly seen views of the Bridge of Sighs
from The Ponte della Paglia.

My favourite view of the Bridge of Sighs from the The Ponte della Paglia.

Bridge of Sighs from the quiet side or the Ponte della Canonica.
(In reality we probably got lost going somewhere)

Trying to cover Venice in one blog post is impossible and not practical. So besides a quick introduction this post focused on Piazza San Macro and the nearby Bridge of Sighs, essentially the heart of Venice.

Other Blogs in the Venice Series.  

https://sandrawhiteway.blogspot.com/2022/04/the-lions-of-venice.html

https://sandrawhiteway.blogspot.com/2022/05/boats-of-venice.html

https://sandrawhiteway.blogspot.com/2022/05/venices-reference-points-churches-and.html

More Information about Venice.

https://www.glassofvenice.com/blog/category/venice/

A Slice of Siracusa with a Side of Noto

If a 2,700 year-old city that is the birthplace of the mathematician and engineer Archimedes strikes your fancy, then Siracusa (Syracuse), Sicily is a place worthy of a visit. It is a UNESCO World Heritage Site that was founded by Greeks around 734 BC, has a rich Greek and Roman history and an amazing Greek Amphitheatre. The main attractions of Siracusa tend to be concentrated around two areas: Neapolis (Greek for New City) Archaeological Park and the Island of Ortigia. Both areas are easily explored on foot and worth a visit. Now honestly you cannot see and experience all that Siracusa offers in a day. We tried, failed, and added a quick stop in Noto just for the hell of it.

Greek Amphitheatre

The Neapolis Archaeological Park, situated in the northwest of Siracusa is home to several well-preserved Greek and Roman ruins, the jewel of which is the ancient Greek Theatre. The Neapolis is considered one of the most important archaeological and historical sites in the Mediterranean and includes the Greek Amphitheatre, the Sanctuary of Apollo Temenite, the Altar of Hieron II, the Roman amphitheatre, and the Latomie. 

The Greek Amphitheatre is situated on the southern slopes of Temenite Hill, originally built in the 5th century BC. It was rebuilt in the 3rd century BC and renovated during the roman period becoming one of the largest theatres of the Greek world with seating for 15,000 spectators. It ultimately fell into decline during the Middle Ages until it was rediscovered by modern archaeologists. Today, much of the originally semi-circular seating survives in fantastic condition, although it is often covered with wood to preserve its condition.  The INDA Foundation holds performances of Greek classics in an annual festival held there from May to June.

Latomie del Paradiso

Near the Greek Amphitheatre is the Latomie del Paradiso, an ancient quarry from the 6th century B.C featuring numerous caverns, fissures & cliffs. While today the Latomie (Ancient Greek for a quarry used as a prison) is a beautiful place, it was the original "hell on earth" for many as it was a place of detention and forced labour for prisoners of war and political prisoners. The 7000 survivors of the war between Syracuse and Athens in 413 BC were imprisoned here. It was out of this deep limestone quarry that stone for the ancient city was extracted, often by its prisoners.

Orecchio di Dionisio (Ear of Dionysius) is the ear-shaped artificial grotto dug out as a rock quarry and possibly later used as a sounding board for theatrical performances. The name of the cave was coined in 1608 by the painter Michelangelo da Caravaggio. Due to the particular shape of this grotto, legend has it that the town’s wicked and paranoid tyrant Dionysius used it to overhear his prisoners’ conversations from the top of the mine and then punish those who plotted against him.  

Exterior and Interior View of the Ear of Dionysius Grotto. 

The Paolo Orsi Regional Archaeological Museum of Syracuse was built in the park of Villa Landolina and opened in 1988. The museum is located approximately 300 metres from the Neapolis Archaeological Park. This uncrowded wonder displays 18,000 archaeological finds from the city of Syracuse and the eastern regions of the island. Our group of three had this wonderful small museum essentially to ourselves. it is worth a visit and can be seen in its entirety in several hours.  A separate blog will focus on this gem of a museum.  

“Paolo Orsi” Regional Archaeological Museum of Syracuse (photo credit Zde) 

The Fountain of Diana in Piazza di Archimede  

Throughout its history, Siracusa and the adjacent Island of Ortigia (which is the historical centre of Siracusa) has been part of several cultures; Arabs, Roman, Normans, Byzantines, Spaniards, and others. Ortigia was the site of an ancient Greek settlement founded by the Corinthians in 734 B.C. This over 2,700 year old city still bears witness to the art and culture that have flourished in it throughout the centuries. Ortigia derives its name from the ancient Greek ortyx meaning Quail. The island is fairly small (about 1km long and 600 meters wide) so the best way to see Ortigia is just to wander around. The main attractions in Ortigia are Ortygia market, Piazza Duomo, Maniace Castle and Eurialo Castle, Temple of Apollo, Fonte Aretusa, Piazza Archimede, and the Cathedral of Santa Maria delle Colonne.  

Piazza di Archimede was built in 1878 to honour the famous mathematician Archimedes, who was killed by the Romans in 212 B.C.. At the centre of the Piazza is the beautiful Fountain of Diana, the Roman goddess built in 1907 by the sculptor Giulio Moschetti.  The nymph Arethusa is depicted in the act of escaping from Alpheus who, with outstretched arms, tries to grab her. Diana, at the centre of the group, protects the young girl.

Noto is a city 32 kilometres (20 mi) southwest of the city of Siracusa at the foot of the Iblean Mountains. The medieval town of Noto was razed by an earthquake in 1693.  Noto was rebuilt at its present site and as a result has a unique architectural homogeneity, built over the next decades in a typical and highly preserved example of Sicilian baroque. Most of Noto’s notable buildings were constructed in the 18th century. The facade of some buildings in Noto was built with a tufa stone (a variety of limestone) of sandy colour which acquires a golden tone at times.

Noto Cathedral (1776)

Palazzio Ducezio (Noto's Town Hall)
Designed in 1746, completed in 1830 and second floor added in the 1950s. 

More Photos from Siracusa and Noto. 

The Altar of Hiero II

Monumental grand altar in the ancient quarter of Neapolis built by Hiero II for public sacrifices. It was built in the Hellenistic period between 241 and 215 BCE and is believed to have been dedicated to Zeus Eleutherios. 

The Roman Amphitheatre from the early Imperial period (3rd century BC), that was used for gladiator fights.

The Grotta del Ninfeo

An cave carved into the rock of Temenite hill, at Neapolis Archaeological Park. At the entrance they were statues dedicated to Muses. The fountain is inspired by Greek cult of the nymphs from which the cave derived its name.

Terrace of Temenite Hill and entrance to Sepulchral Street, with rock tombs, niches and epitaphs on each side.

The Cathedral of the Nativity of the Blessed Virgin Mary (Cathedral of Siracusa)

The cathedral in Siracusa was built in the 6th century by the Byzantines who converted the remains of the Temple of Athena (480 BC) into a church. The Temple had been a Doric temple whose columns and other remains were incorporated into the current church (see photo below). The facade of the Cathedral is a Sicilian-Baroque composition erected in 1728-54 after an earthquake in 1693 destroyed the Norman facade and bell tower (circa 12th century).  The exterior statues were sculptured by Ignazio Marabitti (1757).

 

Exterior wall of the Cathedral of Siracusa with columns from the Temple of Athena

Saint Peter at Siracusa Cathedral (1757 Ignazio Marabotti)

Santa Lucia alla Badia Church  (1696-1703)
Houses The Burial of Saint Lucia painted in 1608 by Caravaggio

Look Up, Way Up.
The Sicilian Spiderman by Domenico Pellegrino as part of MOA Exhibition

Church of Saint Francis Immaculate in Noto (1704-1775)

Via Camillo Benso Conte di Cavour in Noto

Sicilian Busker in Noto

The following websites and links in the blog provide additional information:

https://www.secretsiracusa.it/en/where-to-go/

https://www.visitsicily.info/en/10cosea/siracusa/

https://www.selectsicilyvillas.com/places-in-sicily/syracuse/

http://www.bestofsicily.com/siracusa.htm

http://www.bestofsicily.com/noto.htm

https://www.visitsicily.info/en/noto-the-sicilian-baroque/

Loppem Castle: A Flemish Neo-Gothic Masterpiece with a Hint of Political Intrigue

Kasteel van Loopem

Loppem Castle (Kasteel van Loppem) located just east of the town of Loppem, was built between 1858 and 1862 by Baron Charles van Caloen replacing an earlier 18th-century mansion. Architects Edward Welby Pugin and Jean-Baptiste de Béthune designed it with the latter giving it, its Flemish Gothic Revival appearance. The castle’s architecture, interior decoration, and furnishings were designed in the Flemish Neo-Gothic style and have been maintained in this style. This is unique as many Belgian castles (and honestly many castles worldwide) are often a mix of styles having been renovated by various architects and designers over the centuries. 

The next couple of paragraphs are my Coles Notes version of Castle Loppem's place in Belgium history. I would hazard a guess that no castle is a stranger to political intrigue including Loppem Castle. In 1830, as a result of the Belgian Revolution, the area known as the United Kingdom of Netherlands was split up into three countries: The Netherlands, Belgium, and Luxembourg.  A minor prince from the German House of Saxe-Coburg (boy did those Saxe-Coburg lads get around) was made King of Belgium in what was theoretically a constitutional monarchy. In reality, it was the king and a few oligarchs making all the rules. 

Welcome to Castle Loppem!

Fast forward to 1918, Loppem Castle had become the temporary home of King Albert I (October 24 - November 21).  The king would have been considered by most standards a liberal. That coupled with the political climate of the day suggesting change was essential to maintain the peace and unity of the country; King Albert met with a group of socialist and liberal politicians at Castle Loppem.  The result was the formation of a new government, numerous social reforms including trade union rights, and universal suffrage granted to men thereby breaking the hold of the oligarchy. This marked the beginning of modern Belgium. Of course, the oligarchs were a bit miffed. They noted that the procedures of the constitution had not been followed voicing complaints about what would become known as the “Loppem Coup”.  

The interiors and furnishings were designed to complement and enhance the castle's architecture. The furnishings were designed by Pugin with the stained glass, chandeliers, staircases and fireplaces designed by Bethune. All were executed with amazing skill by local craftsmen.  The interior touches contribute to the castle's authenticity and originality that reflects its design heritage while offering a glimpse into its past. 

I would like to thank the staff of Loppem Castle and the Jean van Caloen foundation for gracefully answering all my questions. The quick and detailed responses were very much appreciated  (http://www.kasteelvanloppem.be/en).

Stained Glass Windows 

Stain glass designed by Jean-Baptiste de Béthune and executed by locale artisans 1858-1862. 

Small Family Chapel Stain Glass

Staircases

The banister in the hall of the castle has 100 panels and each panel has a different design. The staircase was designed by Jean-Baptiste de Béthune and executed by locale artisans 1858-1862. 

Bannister Panels with Hunting Theme

Bannister Panel

Lion Newel Post Cap
(Lions are part of the van Caloen Coat of Arms)

Castle Interiors

Furniture by Pugin. Windows, chandeliers and fireplace by Bethune. Ca. 1860. 

Mural painting by Augustin Martin (1870)
Captions by the Flemish poet Guido Gezelle

Mural painting by Augustin Martin (1870)
Captions by the Flemish poet Guido Gezelle

Hooghuys and Sons Organ in Blue Room

Ceilings

Fireplace Mantle 

Works of Art

Pieta 1460
after Vrancke van der Stockt

Madonna and Child
Holland 15th-century

Mary
France or Maasland Netherlands 14th-century.

Portuguese Ivory
17th-Century

Male Saint 
France 13th-century

Saint Sebastian
Jan Borman Ca. 1520

Saint Margaret, crushing a devil or dragon under her feet
France (14th century)
 sculpted in natural stone, polychromed

The above figurine is based on a hagiography in the Legenda Aurea (compiled around the years 1259–1266) by Jacobus a Voragine; detailing the legend of Saint Margaret of Antioch (3rd century).  She was a Christian martyr who resisted a devil and pressed him to the ground with her right foot.

Virgin Mary with a book, a devil under her feet,
France (early 14th century)
 sculpted in natural stone, polychromed

Devi (goddess represents the universal Mother and the feminine element) 
sandstone from Chandella period 10th-11th century
 Madhya Pradesh, India,

Swooning of Mary
Antwerp Early 16th-century

The Bruges Burg Square
Anonymous, 17th century, oil on canvas

Saint Jerome in the desert, After P.P. Rubens
probably 17th century, oil on canvas

The above painting is an old copy (smaller format) of the Saint Jerome of Peter Paul Rubens (ca. 1612-’15), kept in the Dresden Gemäldegalerie. Rubens portrayed the episode of Saint Jerome’s life as told in the epistle of Saint Eusebius and as popularised by the 13th century, Legenda Aurea. St. Jerome spent several years meditating in the Syrian desert. The traditional attributes of Jerome are portrayed; the skull symbolizing mortification, his books, and the lion whom he befriended by pulling a thorn from its paw. 

The pose of the semi-naked, muscular male figure was inspired by a representation of St. Jerome by Titian, which Rubens had seen in Venice, and also by a statue known as the Dying Seneca (2nd century) in the Louvre, Paris. 

Jean van Caloen, a grandson of Charles van Caloen, bought this well-crafted copy in 1913 from a Bruges antique dealer. Before that, the painting was in the possession of the family Depuydt in Poperinge.

Time for a Nap, 17th century, oil on canvas
Gillis van Tilborgh (1625-1678), 

Gillis van Tilborgh (1625-1678), specialized in group portraits, paintings on the life of the lower class and elegant genre paintings. This painting has the monogram 'TB f(ecit)' which is how van Tilborgh signed his paintings. This painting is part of the van Ockerhout family legacy and was acquired as a result of the marriage of Albert van Caloen to Marie van Ockerhout. 

Saint Jerome (ca 1550)
copy of a painting by Joos van Cleve (ca 1485-1540) oil on canvas

Catharina Peussin
(Wife of Pieter Cassetta, alderman of the western district of the Franc of Bruges)
 2nd quarter of the 17th century, oil on canvas

Portrait of Charles van Caloen
 by Jean-Baptiste Anthony, autumn 1880, oil on panel

This portrait is of 65-year-old Baron Charles van Caloen (1815-1896) in his senatorial costume. Charles van Caloen was a senator for the catholic party from 1867 until 1878. He commissioned the construction of the Loppem Castle, which is shown in the background. Anthony also painted a similar portrait of Charles's wife Savina de Gourcy Serainchamps. 

Portrait of Joseph van Caloen
by Flori Van Acker, 1922, oil on canvas

Joseph van Caloen (1853-1932) was the oldest son of Charles van Caloen and Savina de Gourcy. In 1872 he entered the order of the Benedictines as 'dom Gérard'. He dedicated his life to missionary work. In 1893, the Pope charged him with the task of restoring the Benedictine order in Brazil. In 1906, he was appointed bishop in the mission area of the Rio Branco. In 1908 he became arch abbot of the Brazilian congregation. This portrait was painted by the well-known Bruges painter Florimond Van Acker (1858-1940), director of the Bruges art academy, a gifted painter of cityscapes, landscapes, genre scenes and portraits of notables and also an original designer of posters.

The Lamentation of Christ
Antwerp Mannerism early 16th- century

Antwerp Mannerism refers to an unidentified group of painters working primarily in Antwerp (but also in other Flemish cities) circa 1520 whose works bear certain characteristic features. Although attempts have been made to identify the individuals responsible for the several stylistic groups, most of the paintings remain attributed to anonymous masters. Characteristic of Antwerp Mannerism are works attributed to Jan de Beer, Jan van Dornicke, certain early paintings of Jan Gossart (1532) and Adriaen Ysenbrandt (1551).  https://www.britannica.com/topic/Antwerp-Mannerists

A view of the castle grounds.
For my fisher friends.