Dorsoduro is a district of Venice. It is one of the first Venetian areas to have hosted permanent settlements.
The Dorsoduro district develops between the Grand Canal and the
Giudecca Canal. It is roughly divided into two areas, the division of
which corresponds to the Gallerie dell'Accademia and the bridge of the
same name. The western area develops around Campo Santa Margherita, a
popular meeting point for Venetians and university students. It is the
main university district of the city. The area between Campo Santa
Margherita and the Grand Canal is crossed by numerous shady calli. The
southern area is more open. The eastern area is less frequented: it is
characterized by the presence of numerous parallel canals. This area is
crossed by two different routes, one parallel to the Grand Canal and the
other to that of the Giudecca. These routes converge at the Punta della
Dogana.
Giudecca itself is part of the Dorsoduro district.
1 Fondamenta delle Zattere — It is a long and sunny walk along the
Giudecca canal, protected during the winter from the cold north winds by
being exposed to the south and sheltered by the buildings. You may find
it interesting to see what a gondola is made of, stopping at the Squero
(in Venetian for a small shipyard) across the canal near the church of
San Trovaso. It is one of the few still operating in the city. With any
luck, you'll see some gondolas going through various production steps
(note that the gondolas aren't straight to counterbalance the
gondolier's push). They can be found at the Gesuati, at the Spirito
Santo and at the Saloni.
2 Campo Santa Margherita — The large square
is a favorite resting place for citizens and guests of Venice. Here you
can have a coffee, eat a pizza or an ice cream, or just sit in the
square. See the Moorish arches of house n° 2931 or the relief of the
Virgin Mary on the wall of the Scuola dei Varoteri (School of Tanners)
in the center of the square. And around the corner in Piazza Dei Carmini
in a building opposite the Scuola in the Vini Sfusi shop (Calle della
Chiesa, Dorsoduro 2897), good draft wine is poured at just 2 euros a
litre. Don't forget to bring the container with you!
Neighborhoods
3 Giudecca — The island is much less visited by tourists than the
mainland group. However, in the promenade there are many nice bars and
restaurants with terraces right on the water and a beautiful view of the
other Dorsoduro group of islets and other parts of Venice. There are
also numerous houses of "regular" Venetians, especially on the island of
Sacca Fisola.
On boat
From Venice Dorsoduro airport can be reached with the Blue
Line from Alilaguna
Santa Martha. 4.1 4.2 5.1 5.2 6
Saint
Basil. 2 6 8 No.
Rafts. 2 5.1 5.2 6 N Orange Blue.
Zattere
Gesuati. 16
Holy Spirit. 6
Health. 1
Academy. 1 No
Ca'
Rezzonico. 1 Orange.
spinsters. 2 4.1 4.2 No
Redeemer. 2 4.1 4.2
No.
Giudecca Palanca. 2 4.1 4.2 No
Fisola bag. 2 4.1 4.2 No
From the Santa Croce, San Polo and San Marco districts there are
bridge connections to Dorsoduro. Coming from the station, the most used
route is via sestiere San Polo and beyond the Santa Margherita bridge
you arrive at Campo Santa Margherita. From the southeast corner of
Piazzale Roma, you will find the Ponte dei Tre Ponti, formerly in
Dorsoduro, on the Fondamenta del Magazen on the islet of Malcanton.
Dorsoduro can be reached from the San Marco district via the Accademia
bridge.
Getting around
The Dorsoduro district is best explored
on foot, all the main attractions are quite close, if you want to go
further you can use the vaporetto or gondola ferry or even a water taxi.
Most of the attractions can be visited on foot, with the exception
of the Giudecca attractions, which can only be reached by boat.
1 Church of Santa Maria della Salute, Campo della Salute
(at the southern end of the Grand Canal. Take the ferry to reach Riva
degli Schiavoni), ☏ +39 041 5225558. 08:30-12:00, 15:00-17: 30. On
October 22, 1630, during the plague epidemic that struck Venice, Doge
Nicolò Contarini publicly declared that a church would be built in the
name of Health as an oath to put an end to the calamity. A year later,
in 1631, the plague epidemic ended and in 1687 the Basilica was
completed. For the construction of the church, 11 projects were
proposed, of which Baldassarre Longhena was chosen. The project included
a huge facade reminiscent of palladium, with a beautiful door in the
center. The facade was raised with a series of stairs to give the church
even greater grandeur. The interior has a central area on an octagonal
floor. On the sides are an equal number of arches divided by columns.
There are numerous works of art: Pentecost, San Rocco and San
Sebastiano, David and Goliath, Cain and Abel by Titian; The Wedding at
Cana in Galilee by Tintoretto and Iona and Samson by Palma il Giovane.
In Venetian Baroque style.
2 I gesuati (Santa Maria del Rosario),
Fondamenta Zattere delle Gesuati (Zattere Station), ☎ +39 041 5230625. €
3, with Chorus Pass - free. 08:00-12:00, 17:00-19:00. The largest
18th-century cathedral complex in Venice, built between 1726 and 1735
for the Dominicans to replace the church, which had become too small for
the faithful. Giorgio Massari was the architect who designed the
Venetian rococo style church and the interior decoration in
collaboration with two great artists of the time: Giambattista Tiepolo
and Gian Maria Morlaiter. These three have become famous, over time, for
the wonderful work done here. The church is dedicated to the Madonna del
Rosario, represented in the ceiling fresco by Tiepolo.
3
Church of
San Raffaele Arcangelo (Chiesa dell'Angelo Raffaele, in Venetian of
Anzolo Rafael), Campo dell'Angelo Raffaele. According to a popular
tradition it would have been raised for the first time in 416, and
during the following centuries it was destroyed and rebuilt several
times, until the last consecration which dates back to 1740.
4
Church
of San Sebastiano, Campo San Sebastiano (San Basilio Station), ☎ +39 041
5282487. € 3 / with free Chorus Pass. Mon-Sat 10:30 - 16:30. The rather
severe facade of 1508-48 by Antonio Scarpignano creates a feeling of
deceptive modesty in this church. The interior is decorated, from floor
to ceiling, with masterpieces by Paolo Veronese, created over three
decades. According to a local folk legend, Veronese found refuge in San
Sebastiano in 1555 after fleeing a murder charge in Verona, and his work
in this church is an acknowledgment to the parish. Veronese has decided
to be buried here, under his masterpieces: his commemorative bust is to
the right of his body.
5 Church of San Trovaso (Venetian contraction
to indicate the saints Gervasio and Protasio). The church was built in
the 11th century and rebuilt in 1584. It has two identical facades that
overlook Campo San Trovaso and the Rio di San Trovaso canal. According
to legend, the church was located on the border between the Castellani
and Nicolotti clans and was therefore the only place where young people
from different classes could get married. At the same time, guests from
each clan entered and left the church through their doors. The church
has a beautiful altar, which contains two canvases, "Adoration of the
Magi" and "Expulsion from the Temple" by Domenico Tintoretto, brought
here from the church of Santa Maria Maggiore. In the left chapel "The
Temptation of St. Anthony" by Jacopo Tintoretto. The painting in the
chapel on the right "San Crisogono on horseback" (about 1444) is the
work of Michele Giambono. In the left transept is the Last Supper by
Tintoretto and the Washing of the Feet.
6
Church of Santa Maria dei
Carmini (Santa Maria del Carmelo or "the Carmini"). The church was built
in the 14th century, in 1507-1514 the altar and the side chapels inside
the church were rebuilt by the Lugano native Sebastiano Mariani. The
bell tower, decorated by Giuseppe Sardi, is surmounted by the statue of
the Madonna del Carmine, restored in 1982 by Romano Vio. The previous
original statue was destroyed by lightning. The facade of the church is
made of red brick and the cornices on it are made of marble. They
contain sculpted lunettes by Giovanni Buor. Although the facade is built
in the Renaissance style, the ends of the building and the side portal
are in the Gothic style and also contain elements of Byzantine
architecture. The entrance to the church is decorated with a statue of
the Madonna and Child. Above in the wall is a hexagonal window and at
the top between the three figures in a circle is a 16-pointed star. At
the height of the roof are sculptures of Elisha and Elijah, who are
considered the founders of the Carmelite Order. On the back wall of the
church is a large statue of Jacopo Foscarini (naval admiral), whose
family palace faces the canal. On the walls of the second altar there is
a fresco entitled Adoration of the Shepherds (1509-1511) by Cima da
Conegliano. The third altar on the right contains the fresco Madonna del
Carmelo with Saints (1595) by Pase Pace and Giovanni Fontana. The
statues "Virginity" on the left and "Humility" (1722-1723) on the right
were executed respectively by Antonio Corradini and Giuseppe Torretto.
The bronze angels of the balustrade are the work of Girolamo Campagna.
The facade, carved in wood by Francesco Bernadoni, depicts the miracles
of the Virgin (1724). The Tabernacle was written by Giovanni Antonio
Scalfarotto. Episodes from the history of the Carmelite Order are
captured in the paintings in the central nave. The ceiling is decorated
with a 1709 fresco by Sebastiano Ricci "The Glorification of the
Scapular". Entering the sacristy, you can see the altar of the
Compravendi Pesce guild (1548), decorated with the altarpiece "Jesus
among the masters in the Temple of Jerusalem" (1541-1542) by Jacopo
Tintoretto. The third chapel on the left is interesting for the "Descent
from the Cross" (about 1476) by the sculptor Francesco di Giorgio. The
second altar contains two statues of Elisha and Elia by Tommaso Ruer.
Elijah has a flaming sword in his hands. The first altar is notable for
the large fresco "St. Nicholas in Glory" by Lorenzo Lotto. The wooden
choir stalls on either side of the presbytery are decorated with three
paintings by Andrea Meldoll (about 1545) and sculptures of saints. The
spaces between the arches are lined with gilded wood.
7
Church of
Santa Maria della Carità. From the 12th century, next to the Gallerie
dell'Accademia.
8 Church of San Nicolò dei Mendicoli (or of the
Mendicants), Campo, Calle S. Nicolò, 1907 (San Basilio station). Mon-Sat
10:00-12:00 and 15:00-17:30, Sun 9:00-12:00. Other churches may be
grander, but none are more Venetian than this 12th-century church with a
history of serving the poor. It once served as a shelter for women, and
its porch protected the Mendicoli (beggars) to whom it owes its name.
The tiny and picturesque campo (square) outside is a miniature Venice,
surrounded on three sides by canals and featuring a column with the lion
of San Marco. The dark interior is brightened by an 18th-century gilded
portico and many bright paintings, including Giovanni Palma's
masterpiece "Resurrection" (1610) behind, to the left of the organ. The
front right chapel is a typical Venetian response to Rome's insistent
orders to limit music in Venetian churches: Madonna in Gloria, fully
enjoying the concert of angels on flutes, lutes and violins. Movie buffs
may recognize the church's era interior from Nicholas Rogue's 1973
thriller "Don't Look Now," which Donald Sutherland was commissioned to
restore. Even though the film showed Venice in a terrible world, the
publicity apparently helped San Nicolò: the British Foundation "Venice
in Danger" contributed to the renovations completed in 1977.
9
Church
of the Holy Spirit. From the early sixteenth century.
10
Church of
San Gregorio. The former abbey was built in the 15th century by the
architect Antonio Cremonese in the Gothic style. The decoration of the
facade and walls is very simple: almost everywhere only brick was used.
After the closure of the abbey by Napoleon in 1808, the buildings of the
monastery were used as houses and the mint's shop functioned in the
church.
11 Church of San Pantalon. In its current form, the building
was built in 1668-1686 to a design by Francesco Comino. The artistic
dominant of the church is the trompe l'oeil ceiling painting by Giovanni
Antonio Fumiani "The Martyrdom and Ascension of St. Panteleimon"
(1680-1704), containing 40 scenes from the life of the saint. Fumiani is
believed to have died when he fell out of the woods while working on the
painting. The painting has no traditional frame, which creates the
illusion of a transition from the ceiling to the walls. It is considered
the largest art canvas in the world, covering over 700m². In the chapel
of San Pantalon, the altarpiece by Paolo Veronese "The Miracle of San
Pantalon" (1587). The Chapel of the Holy Nail contains one of the nails
of the True Cross and two paintings: The Coronation of the Virgin Mary
by Antonio Vivarini and Giovanni d'Alemagne (1444) and The Annunciation
(1350).
12 Church of Sant'Agnese.
13
Church of the Catechumens
(Church of San Giovanni Battista ai Catecumeni).
14
Church of Santa
Margherita.
15 Church of Santa Marta.
16
Church of the Hermits.
17 Church of Saint George.
18
Church of Santa Maria della Visitazione
(also known as degli Artigianelli or San Gerolamo dei Gesuati).
19
Church of Ognissanti, Campo di Ognissanti. Built
in the neoclassical style between 1505 and 1586.
20 Church of the
Terese (Church of Santa Teresa).
21 Peggy Guggenheim Collection, Palazzo Venier dei Leoni (located
east of the Accademia bridge, on the southern side of the Grand Canal),
☎ +39 041 2405411, fax: +39 041 5206885, info@guggenheim-venice.it.
Adults €15, seniors (over 65) €13, students (18 and under or valid
student ID holders) €9. Wed-Mon 10am-6pm. After the loss of her father
on the Titanic, Peggy Guggenheim's heiress has become one of the great
collectors of the 20th century. Her luxurious beach house, Palazzo
Venier dei Leoni, showcases her arsenal of surreal, futuristic and
abstract expressionist art with works by up to 200 artists, including
her ex-husband Max Ernst, Jackson Pollock (among her numerous lovers,
Pablo Soras and others). Peggy chose the artworks based on her beliefs,
not prestige or style, so her collection includes inspired folk art and
lesser known artists, along with Kandinsky, Man-Ray, Rothko, Mondrian,
Miro and Chagall. Modernists also made individual interior decorations,
including a silver Alexander Calder bed hanging in the former bedroom.
In some rooms you will find photos of the rooms, as they were when Peggy
lived here, in an incredibly quirky style. The American Jewish collector
left Paris two days before the Nazis entered the city and arrived in
Venice in 1948 to find the city devastated by war. Peggy became a
staunch supporter of contemporary Italian art, which largely went
bankrupt after World War II. You revived the reputation of Italy's
leading futurists, whose dynamic style was chosen to make fascism more
visual. Her support led to a reevaluation of Umberto Boccioni, Giacomo
Balla and Giorgio de Chirico, as well as the help of Emilio Vedova and
Giuseppe Santomaso. The sculpture garden - Peggy's final resting place -
includes works by great masters such as Henry Moore, Alberto Giacometti
and Anish Kapoor. The museum has also purchased buildings behind the
garden, which houses a sunny café, bookshop, toilets and temporary
exhibition space. Around the corner from the museum, the Fondazione
Venier dei Leoni has the largest museum shop, selling art books in
several languages and gifts inspired by various works of art. Advance
reservations are required for tours of the Peggy Guggenheim Collection
and the Hennelor B. and Rudolf B. Schulhof Collection in English,
Italian and other languages, subject to the availability of museum
guides. At 12.00 and 16.00 there are 10-minute presentations on the life
of Peggy Guggenheim, while at 11.00 and 17.00 10-minute presentations on
the works of art on display.
22 Gallerie Accademia, Campo della
Carità (vaporetto 1 or 2 for Accademia), ga-ave@beniculturali.it. Adults
€16, concessions €7.50, advance booking fee €1.50. Mon 08:15-14:00,
Tue-Sun 08:15-19:15 (the ticket office closes 1 hour before). The most
significant art museum in Venice, which is also one of the best in
Italy, collection of Venetian painting from the 14th to the 18th
century. Among the most important paintings of the Academy are: Gentile
Bellini: Procession in Piazza San Marco (1496) and Miracle of the Cross
at the Bridge of S. Lorenzo (1500), Giovanni Bellini: Pietà (1500),
Jacopo Bellini: Madonna with Child and Cherubini (c. 1450), Paris
Bordenone: A fisherman presents the doge with the ring of San Marco (c.
1535), Vittore Carpaccio: Legend of Saint Ursula (1490-1498), Cima da
Conegliano: The Holy Virgin below l'Arancio (c. 1496), Giorgione
(1477-1510): The Tempesta and La Vecchia ("The old woman"), Andrea
Mantegna (1431-1506): San Giorgio, Veronese Paolo (1528-1588): The feast
in House of Levi (1573), Tintoretto: The Miracles of San Marco (1548)
and Titian: Pietà (ca. 1576).
23 Scuola Grande dei Carmini, Calle
della Scuola, Campo Santa Margherita (vaporetto line 1 for Ca'
Rezzonico), ☎ +39 041 5289420, info@scuolagrandecarmini.it. €5, reduced
€4. Concerts from €30. Mon-Sun 11am-4pm, closed 25 December and 1
January. Tourists of the 17th century probably thought they had gone to
heaven in this marvelous place of confraternity, dedicated to the
Madonna del Carmelo, with its luxurious interiors by Giambattista
Tiepolo and Baldassare Longen. This school (religious fraternity) was
the only one of the six large schools that recognized women and founded
the site in the 13th century. Carmini continued to welcome disinherited
and prodigal travelers until the occupation of Venice by Napoleon.
Musica in Maschera concerts are currently taking place here, and Carmini
members continue to organize charities to this day.
24 Leonardo's
Machines in Venice (Church of San Barnaba), Campo San Barnaba, ☎ +39 339
7985464, paolotarchia@tiscali.it. Adults €8, over 65, children and
students €5. Mon-Sun 09:30-19:30. An exhibition in the Church of San
Barnaba showing about forty models of machines reproduced from
Leonardo's codes. Some of the exhibits are interactive and copies of the
codes are available for further reading. It was supposed to finish in
2012, but it doesn't seem to be in a hurry to leave - and a good thing
too, since the church, an attraction in itself (it's the one under which
Indiana Jones finds the catacombs in The Last Crusade), was rarely
accessible to visitors first.
The church was built in 809 by the
Adorni/Adami family, was destroyed by fire in 1105, but thanks to
donations from the faithful it was rebuilt in 1350. In 1776 it underwent
a complete reconstruction according to the project by Lorenzo Boschetti.
The bell tower of the fourteenth-century church is interesting.
25 Vedova Foundation (Zattere Station). €8 (August 2019). Wed-Sun 10:30
- 18:00. Created by the artist himself and his wife, mainly engaged in
the promotion of Emilio Vedova's art and creativity and in the study of
his role in contemporary art of the 20th century.
26
Museo del
Settecento Veneziano (Ca' Rezzonico palace), Dorsoduro 3136 (vaporetto
line 1 for Ca' Rezzonico), ☏ +39 041 2410100, info@fmcvenezia.it. Adults
€8, concessions €5.50. November-March: 10am-5pm, April-October:
10am-6pm; closed on December 25th, January 1st and May 1st. The palace
was built in 1649, built by B. Longhen and G. Massari. Contains the
municipal collections relating to the eighteenth century attempts to
revive the domestic atmosphere of the Venetian nobility. In addition to
precious furniture and jewels, it also contains the most important
paintings by 18th-century Venetian artists, such as Giandomenico and
Giambattista Tiepolo, Rosalba Carriera, Canaletto and the Longi and
Guardi families. Thanks to donations, the museum's collection has
recently been replenished with another 300 works by artists such as Cima
da Conegliano, Alvise Vivarini, Bonifacio de Pitati, Tintoretto,
Sebastiano and Marco Ricci, as well as many other works of art. The
museum is spread over four floors and visitors can also relax or have a
snack in the large reception area, café or in the lovely garden.
27 Salt Warehouses. From the beginning of the fifteenth century. In
the past they were used by the Republic of Venice.
28
Ca' Foscari
(Foscari Palace). The building is the historic seat of the Ca' Foscari
University of Venice. Built in 1452 by order of Doge Francesco Foscari,
it is an extraordinary example of Venetian Gothic as well as the
residence of the Venetian nobility and merchants. From the building you
can enjoy a unique panorama that ranges from the Rialto bridge to the
Academy of Fine Arts complex. The ground floor was used as a warehouse,
the first and second floors were used as homes. The central portico on
the second floor is modeled on the facade of the loggia of Palazzo
Ducale. A large central arched window illuminates the Great Hall, with
smaller windows either side. It is one of the most impressive buildings
with the largest private courtyard that can be seen in Venice. The main
entrance to the palace was from the canal side, as the main activity was
trade. That is why the facade of the house, which overlooks the Grand
Canal, is much more beautiful than the courtyard facade. The external
facade consists of a rhythmic sequence of arches, columns and windows,
these alternations belong to the Gothic style. Each column is decorated
with a four-leaf clover and a lion. Above the mullioned window is a
frieze - a decorative composition in the form of a horizontal strip.
This decorative composition is composed of a helmet, a lion and some
angels - the helmet recalls the reign of Doge Francesco Foscari; the
lion is the symbol of Venice; and the angels with the shield represent
the coat of arms of the Foscari family. In 1936 Carlo Scarpa restored
various parts of the building, including the large hall. In 1956 Scarpa
returned to Ca' Foscari to transform the auditorium into an auditorium
and this time he created a boiserie. Inside there are also two frescoes:
Venice, Italy and Exploration by Mario Sironi and School by Mario
DeLuigi. created in the 30s. The building is located on a wide bend in
the Grand Canal, where, during the historic Regata Storica (Venice), a
floating wooden structure called "Machina" is placed (the Venetian
authorities sit on this structure to watch the races), this it is also
where prizes are awarded after the race. From the building you can enjoy
a unique view from the Rialto Bridge to the Academy of Fine Arts
complex. The building currently houses the Ca'Foscari University.
It
is possible to visit the palace with the Ca' Foscari Tour guided tours
service, by reservation.
29 Ca' Dario, Sestiere Dorsoduro 352
(greeting station). One of the most beautiful buildings in Venice. It is
located on the Grand Canal, and all who pass along the "main street" of
Venice pay attention to this gently sloping house. One of the most
horrific urban legends is connected with this beautiful building: all
the owners of this house are either dead or bankrupt. Unlike other
similar legends, the myth of the "curse of Ca 'Dario" is supported by a
rather long list of owners and inhabitants of the palace, whose fate is
truly unhappy. The first "victim" was the daughter of the aristocrat
Giovanni Dario, for whom the house was built - she committed suicide due
to the bankruptcy of her husband, who soon died. Their son also died.
Then until the 19th century everything was relatively calm, but after
the heirs of the Dario family sold the palazzo, a series of misfortunes
began: four owners went bankrupt, two of them committed suicide, others
died or lost loved ones, or - at best of cases - suffered injuries and
illnesses. It is claimed that this actually discouraged Woody Allen from
buying it in the late 1990s. The Who's former manager Keith Lambert left
complaining of being haunted by ghosts from the mansion and was found
dead shortly afterwards in 1981. A week later, after renting the holiday
venue in 2002, The Who's bassist John Entvhistle died of a heart attack.
The palazzo is not open to the public, but can easily be seen from the
Grand Canal, just past the first small canal to the left of Peggy
Guggenheim.
30 Punta della Dogana (Punta della Salute or Punta da
Màr) (on the tip between the Grand Canal and the Giudecca Canal,
vaporetto line 1 to Salute), ☎ +39 041 2001057. €15, reduced €10.
Wed-Mon 10am-7pm. During the fifteenth century, the development of
commercial activity in Venice led to the transfer to the western tip of
Dorsoduro of the Dogana Marittima, formerly located near the Arsenale.
The building was completed in 1682, five years before the nearby
cathedral. The work of the architect Giuseppe Benoni is characterized by
a tower, surmounted by a sculptural group, depicting two atlases, which
raises a gilded bronze sphere, surmounted by Fortuna, which, turning,
indicates the direction of the wind. The building continued to be a
customs house and therefore has a significant connection to the history
of the city up until the 1980s. After twenty years of oblivion, the
Municipality of Venice has launched a tender to transform it into a
modern art space. Francois Pino won the tender in 2007 and commissioned
Japanese architect Tadao Ando to restore the impressive complex.
From
here you can enjoy a beautiful view of the San Marco basin.
31
Palazzo Loredan Cini, San Vio, 864 (vaporetto lines 1 and 2 for
Accademia), ☎ +39 0415210755. €10. Wed-Mon 11am - 7pm. This elegant
16th-century Gothic palazzo was the former home of industrialist and
philanthropist Vittorio Cini, who filled it with first-class paintings,
interior items, ceramics, and Murano glass. Wonderful paintings by
little-known Renaissance artists such as Filippo Lippi, Piero Cosimo and
Dosso Dossi are presented here.
32 Palazzo Balbi. The palace was
built by the architect A. Vittorio in the years 1582-1590 in the
Renaissance style with Baroque elements. The three-order building is
crowned by two obelisks, the palace is symmetrical, even the coats of
arms of the Balbi family are located symmetrically on the right and left
sides of the facade. Today the building houses the headquarters of the
administration of the Veneto region.
33 Palazzo Barbarigo. The
original building was built in the 16th century. The palace was built at
the height of the Renaissance. The project included three floors: the
canal was accessed from the lower open loggia, the two upper floors were
also open loggias, decorated with columns. In 1886, by the owners of the
building, owners of the glass production, the facade of the building was
decorated with Murano glass mosaics. When the mosaics were completed,
the then new owners were denounced by their aristocratic neighbors as
nouveau riche, of sharp taste and made the decoration contrary to the
noble facades of the neighboring buildings. Despite this, the current
appearance of the building is one of the most memorable and evocative of
the entire Grand Canal. Today a part of the building is used as a
showroom and shop selling Murano glass.
34 Palazzo Contarini Dal
Zaffo. The Lombard-style building was built by Mauro Coducci at the end
of the 15th century.
35 Palazzo Moro in San Barnaba (Palazzo Guoro or
Barbini-Moro). The building, erected on an earlier Gothic structure,
dates back to the early 16th century but was heavily remodeled during
the 19th century. Tradition has identified the building as the home of
Othello, a character in William Shakespeare's tragedy of the same name:
it is assumed that this character was actually based on Cristoforo Moro,
the future doge with an unfortunate family life.
36
Palazzo Ariani
(Palazzo Ariani Minotto Cicogna).
37 Palazzo Balbi Valier (Palazzo
Molin Balbi Valier della Trezza and Palazzo Balbi-Valier Sammartini).
38 Palazzo Barbarigo Nani Mocenigo.
39
Palazzo Barbaro Wolkoff.
40
Palazzo Basadonna Giustinian Recanati.
41
Ca'Bembo.
42
Palazzo
Contarini degli Scrigni and Corfu. Two buildings built by the architect
V. Scamozzi in 1609 are known with this name.
43
Ca' Bernardo.
44
Bernardo Nani Lucheschi Palace.
45
Justinian Palace. Built in the
15th century in Venetian Gothic style, it consists of two buildings
connected to each other, adjacent to the Ca' Foscari palace. It was here
in 1858-1859 that Wagner created the opera Tristan und Isolt.
46
Ca'Biondetti.
47
Palazzo Brandolin Rota.
48
Caotorta Angaran
Palace.
49 Clary Palace (Clary-Ficquelmont Palace).
50
Palazzo
Loredan of the Ambassador. The late Gothic building of the 15th century,
with a minimum of decorative elements, looks very impressive. The palace
is decorated with white marble in the corners and Lombard-style statues
are installed in the niches. In the 18th century, the embassy of the
Austrian Empire was located here.
51 Palazzetto Stern. Built in the
early 20th century in the style of Palazzo Loredan.
52
Palazzo
Contarini Michiel.
53 Palazzetto Costantini
54
Palaces Da Mula
Morosini and Centani Morosini.
55 Ca' Dolfin (Palazzo Secco Dolfin or
Palazzo Dolfin).
56 Palazzo Foscarini (Palazzo Foscarini ai Carmini).
57 Genoese Palace.
58
Giustinian Recanati Palace.
59
Hospital of
the Incurables.
60 Mainella House (Palazzina Marioni).
61
Maravegia Palace.
62
Ca'Masieri.
63
Palazzo Mocenigo Gambara.
64 Palazzo Molin in San Basegio.
65
Palazzetto Nani Mocenigo.
66
Palazzo Orio Semitecolo Benzon.
67
Scrovegni Hospice.
68
Palazzo
Querini alla Carità.
69 Palazzo Salviati
70 Casa Santomaso
71
Luganegeri school
72
Varoteri school
73
Ca' Zenobio degli Armeni
74 Squero or Shipyard di San Trovaso, Campo San Trovaso 1097 (Zattere station).
This log cabin on the Rio di San Trovaso looks like a ski chalet, but
it's one of the few Venetian squeri where refurbished gondolas are
drying in the courtyard. It's best to look across the canal, but if the
door is open, you can look inside. There are free half-hour excursions,
but the group must be at least 25 people.
75
Academy Bridge. It takes
its name from the Accademia Gallery art museum, which is located in the
former convent and building of the Scuola Grande di Santa Maria della
Carità. The bridge connects the Accademia Gallery and the San Marco
district. In 1934 the architect Miozzi built this temporary structure to
replace the metal bridge of 1854, strongly criticized for its
construction and for the materials used to make it "too modern", as well
as the Ponte degli Scalzi. A project was developed for a stone bridge,
similar in style to the surrounding buildings, but the Accademia Bridge
has retained its wooden structure to this day. Due to wear and tear in
1985, the bridge was demolished and replaced with a new one, while
retaining the structure and appearance of its predecessor.
76
Bridge
of Fists. The name derives from the ancient Venetian tradition of fist
fights. The fighting on the bridge began with the warring clans of the
Castellani and Nicolotti. The former were sailors and shipbuilders from
the Venetian Arsenal, who lived in the eastern part of the city
(Castello, San Marco and Dorsoduro). Others are fishermen and residents
of the western part, located around the temple of S. Niccolò dei
Mendicoli, of the areas of San Polo, Cannaregio and Santa Croce. The
Castellanis wore identifying red hats and scarves, while the Nicolottis
wore black ones. The constant rivalry between them has led to a
competition with an iron fist and a fight. These races could take place
from September to Christmas. The goal of the "game" is to throw the
enemy off the bridge into the canal. You can still see a couple of
footprints marked on the deck where the two fighters stood at the start
of the competition. In 1705, collisions were strictly prohibited. On
September 30 of that year, the bridge was the scene of a bloody massacre
that began with a fist fight and ended with a fight with stones and
knives. Subsequently the authorities allowed Castellani and Nicolotti to
limit themselves to horse racing and to carry out less violent
competitions, such as regattas. In the years following the bridge, boats
began to dock to sell fresh fruit and vegetables.
Strolling along the Giudecca Canal
The Giudecca Canal is one of
Venice’s most scenic and relatively peaceful waterways, offering a
refreshing contrast to the busier canals of the historic center. A walk
along its banks rewards visitors with long stretches of open views,
shifting light on the water, and a more local, less crowded atmosphere.
The experience can easily fill a pleasant hour or more, especially in
the late afternoon or at sunset when the facades across the canal glow
and the lagoon opens toward San Giorgio Maggiore and the distant
Campanile of San Marco.
Particularly rewarding are the stretches of
Lungomare della Giudecca. Follow Fondamenta delle Zitelle, Fondamenta
della Croce, and Fondamenta di San Giacomo. From these quays you look
directly across the canal toward the southern edge of Dorsoduro, with
the long line of the Zattere, the churches of the Gesuati and Santa
Maria della Salute, and the white bulk of Punta della Dogana. On the
Giudecca side itself you pass Palladio’s elegant churches of the
Redentore and the Zitelle, former industrial buildings now converted
into hotels or cultural spaces, and quieter residential stretches that
still feel residential rather than purely touristic.
On the opposite
bank, the Lungomare di Dorsoduro (Fondamenta Zattere) is equally
attractive. This broad, sunlit promenade runs for nearly two kilometers
from San Basilio to Punta della Dogana. Its name recalls the timber
rafts (zattere) that once floated down the rivers to Venice; today it is
one of the city’s favorite places for an unhurried stroll, gelato in
hand, or a drink at a waterside café while watching vaporetti, private
boats, and the occasional large ship pass by. The views across to
Giudecca are especially fine, with the Redentore church dominating the
skyline and the long, low profile of the island stretching east and
west.
Together these two waterfronts form a classic Venetian circuit
that can be enjoyed entirely on foot (crossing by vaporetto) or simply
savored from one side at a time.
Shopping
Toletta Glass Venice
Dorsoduro 1183/A
Tel. +39 339 846 5813
Open daily 10:30–19:00
A
small, well-stocked souvenir and gift shop specializing in Murano glass.
Expect classic Venetian glassware, jewelry, decorative objects, and
other carefully chosen items that make good mementos without the
overwhelming tourist-shop atmosphere of the main squares.
CONAD CITY
Sestiere Dorsoduro 3017
Tel. +39 041 528 9494
A practical
neighborhood supermarket useful for everyday supplies, drinks, snacks,
or a simple picnic to take to the Zattere. Opening hours are typically
07:30–20:30 Monday–Saturday and 09:00–19:00 on Sundays (confirm on the
day if needed).
Entertainment and Shows
Teatro a l’Avogaria
Corte Zappa, Dorsoduro 1617
Tel. +39 041 099 1967This intimate
100-seat theater occupies a former workshop in a quiet corner of
Dorsoduro and has been a vital part of Venetian theatrical life since
1969, when it was founded by the director and teacher Giovanni Poli. It
maintains an active production schedule of classic and contemporary
works, often with a research-oriented or experimental edge, and also
runs an actor-training school (Seminario per la preparazione
dell’attore). The small scale and engaged atmosphere make it a rewarding
alternative to larger Venetian stages. Check current listings for
performances, as the program changes frequently.
Modest prices
1 Pizza Al Volo, Campo Santa Margherita 2944/a
(Dorsoduro), ☎ +39 041 5225430. Classic pizza and by the slice.
2 Cip
Ciap Pizza, Calle del Mondo Novo 5799/A (near Campo Santa Maria
Formosa), ☎ +39 041 5236621. Pizza by the slice and takeaway.
3
Osteria Al Squero, Dorsoduro, 943/944 (In front of the squero di San
Trovaso, south-west of the Gallerie dell'Accademia.). peak times and
days there is an apparently long queue to wait for but you are served
quickly. A "cicheteria" overlooking an ancient squero (boat construction
site), in this small place it is possible to enjoy aperitifs accompanied
by a large selection of typical Venetian "cicheti". There are some
places to sit but mostly you sit on the opposite wall, which overlooks
the canal. It's fine for an aperitif or a fairly cheap quick meal.
4
To the Cugnai since 1911, Calle Nuova Sant'Agnese, 857.
5 Al Canton,
Dorsoduro 2247, ☎ +39 041 2689500. Bar.
6 La Cambusa, Dorsoduro 2334
(near the university), ☎ +39 0415228817. Restaurant.
7 Caffè Rosso,
Campo Santa Margherita 2963. Historic place frequented by Venetians and
students.
8 Café Noir, Dorsoduro 3805, ☎ +39 041 2007893. Crowded
during peak hours. Local frequented by Venetians and students.
Average prices
9 La Bitta, Dorsoduro 2753A, ☎ +39 041 5230531.
10
Osteria Ai Do Farai, Dorsoduro 3278, ☎ +39 041 2770369.
11 Osteria
Enoteca Ai Artisti, Dorsoduro 1169A, ☎ +39 041 5238944.
12 Gianni,
Zattere 918, ☎ +39 041 5237210.
13 Pane Vino e San Daniele, Campo
dell'Angelo Raffaele, Dorsoduro 1722, ☏ +39 041 523 7456.
Modest prices
Hotel Galleria, Dorsoduro 878, ☎ +39 041 5232489,
fax: +39 041 5204172.
Hotel Alla Salute da Cici, Salute 222,
Fondamenta Ca' Balà, ☎ +39 041 5235404, fax: +39 041 5222271.
Antica
Locanda Montin, Dorsoduro 1147, ☎ +39 041 5227151, fax: +39 041 5200255.
Hotel Messner, Dorsoduro 216/237.
Hotel Tivoli, Dorsoduro 3838, ☎ +39
041 5242460, fax: +39 041 5222656.
Average prices
NH Venezia
Rio Novo, Calle Larga Ragusei Dorsoduro, 3489/E-C, 30123, Venice, ☎ +39
02 87 36 77 17, nhrionovo@nh-hotels.com. Check-in: 3.00pm, check-out:
12.00pm.
American Hotel, San Vio, 628 Accademia, ☎ +39 041 5204733,
fax: +39 041 5204048.
Hotel Belle Arti, Dorsoduro 912, ☎ +39 041
5226230, fax: +39 041 5280043.
Hotel La Calcina, Dorsoduro 780, ☎ +39
041 5206466, fax: +39 041 5227045.
Hotel Pantalon, Crosera San
Pantalon, 3941, ☎ +39 041 710896, fax: +39 041 718683.
Hotel
Pausania, Dorsoduro 2824, ☎ +39 041 5222083, fax: +39 041 5222989.
Hotel Tiziano, Dorsoduro 1873, ☎ +39 041 2750071, fax: +39 041 2756312.
High prices
Hotel Ca' Pisani, Dorsoduro 979, ☎ +39 041 2401411,
fax: +39 041 2771061.
Position within Venice
Dorsoduro sits along the southern bank of
the Grand Canal, stretching from near the Accademia Bridge area toward
the open lagoon. It forms a long, irregular peninsula-like shape
bordered by major water bodies:
North boundary: Grand Canal
(separating it from San Marco and San Polo)
South boundary: Giudecca
Canal (a wide industrial and maritime waterway separating it from
Giudecca Island)
West boundary: Lagoon-facing edges near Santa Marta
and Zattere’s continuation
East connection: Bridges toward San Marco
via Accademia and smaller crossings toward San Polo
This
positioning gives Dorsoduro one of the most varied hydrological
environments in Venice—ranging from narrow inner canals to wide,
ship-navigable channels.
Internal geography and structure
Dorsoduro is not a uniform landmass but a mosaic of islands, peninsulas,
and reclaimed areas joined by bridges and fondamenta (waterfront
walkways). Key sub-areas include:
1. Zattere waterfront
Running along the Giudecca Canal, the Zattere is one of Venice’s longest
and sunniest promenades. Geographically, it is a linear southern edge
that faces open water rather than narrow canals, giving it a more
exposed maritime climate with stronger winds and wider views.
2.
Central ridge: Accademia–Campo Santa Margherita axis
The central
spine of Dorsoduro is slightly higher and more stable historically,
which is why it became a dense residential and institutional zone. This
includes:
Campo Santa Margherita (large open campo, unusual for
Venice)
The area around the Accademia Bridge (one of the few major
crossings over the Grand Canal)
This zone reflects slightly
elevated terrain compared to lower, flood-prone margins closer to the
lagoon.
3. Punta della Dogana tip
At the eastern extremity of
Dorsoduro, the land narrows into a triangular “point” where:
Grand
Canal meets the Giudecca Canal
Strong tidal currents converge
This is one of the most hydrodynamically active zones in Venice due to
water exchange between inner canals and the lagoon.
4. Western
extension and industrial edge
Toward Santa Marta and San Basilio,
Dorsoduro becomes more functional and less touristic, with:
Port-related infrastructure
University and maritime facilities
Broader open quays and logistics-oriented canals
Islands
connected to Dorsoduro
Administratively, Dorsoduro also includes
islands separated by canals:
Giudecca Island (southern arc across the
canal): Although often treated as separate in perception, parts are
historically associated with Dorsoduro’s sestieri network.
Sacca
Fisola: A more modern reclaimed island with residential blocks and
regular urban planning.
Smaller islets and reclaimed land near the
port zone.
Canal network and water geography
Dorsoduro is
defined by a hierarchy of waterways:
Primary channels: Grand Canal,
Giudecca Canal
Secondary canals: Rio di San Trovaso, Rio Novo, Rio
della Fornace, etc.
Tertiary canals: Narrow residential rii forming a
dense internal mesh
Unlike the more labyrinthine San Polo or
Cannaregio, Dorsoduro’s canals often align in slightly more open
patterns, especially near the southern waterfront.
Elevation and
flood behavior
Like all Venice, Dorsoduro is flat and low-lying, but
it shows subtle variation:
Higher stability zones near historic cores
(Accademia, Santa Margherita)
Lower, flood-prone margins along
Zattere and industrial west
High exposure to acqua alta in
open-facing southern areas due to wind-driven water surges from the
lagoon
Overall geographic character
Dorsoduro’s geography is
best understood as a transition zone:
Between dense historic Venice
and open lagoon space
Between residential Venice and
maritime-industrial edges
Between enclosed canal systems and wide
tidal waterways
Early origins and medieval development (9th–13th centuries)
The
earliest settlements in Dorsoduro date back to the early formation of
Venice itself, around the 9th–10th centuries, when populations began
shifting from mainland refuges into lagoon islands for safety from
invasions.
Unlike lower-lying areas that were frequently flooded,
Dorsoduro’s firmer ground allowed for:
more stable wooden and later
stone buildings
early churches and monastic foundations
small
maritime and fishing communities
By the 11th–13th centuries, the
district was already integrated into Venice’s expanding commercial
network. Canals such as the future Grand Canal boundary and smaller
waterways became vital transport routes, while waterfront edges like the
Zattere began forming as working quays.
Renaissance expansion and
religious importance (14th–16th centuries)
During the late medieval
and Renaissance periods, Dorsoduro became increasingly wealthy and
architecturally significant. Noble families built palaces along the
canals, especially facing the Grand Canal and Giudecca Canal.
Key
developments included:
Growth of religious institutions
Monasteries and churches expanded across the district
The area gained
spiritual importance due to its relative calm compared to the political
center around San Marco
Artistic and intellectual emergence
By
the 15th–16th centuries, Dorsoduro began attracting artists, craftsmen,
and scholars. This laid the groundwork for its later identity as
Venice’s “artistic district.”
The plague and the creation of
Santa Maria della Salute (17th century)
One of the most defining
moments in Dorsoduro’s history was the devastating plague of 1630–1631,
which killed a large portion of Venice’s population.
In response,
the Venetian Republic vowed to build a monumental church in gratitude
for the end of the epidemic. This led to the construction of:
Basilica di Santa Maria della Salute
Built at the entrance of the
Grand Canal, it became:
a symbol of salvation and resilience
a
major architectural masterpiece of Baroque Venice
a visual anchor
shaping the entire skyline of Dorsoduro
The district’s identity
became strongly tied to this religious and civic memory.
18th–19th centuries: decline and transformation
As Venice’s maritime
power declined in the 18th century, Dorsoduro shifted from a commercial
hub to a quieter residential and institutional area.
During this
period:
many aristocratic palaces lost economic power
convents and
religious institutions were suppressed under Napoleonic rule
some
buildings were repurposed for state or military use
However, the
district remained structurally intact due to its stable foundations and
relatively elevated terrain.
Modern era: art, education, and
cultural revival (19th–21st centuries)
From the 19th century onward,
Dorsoduro transformed into Venice’s intellectual and artistic center.
Major institutions established:
Gallerie dell’Accademia — housing
Venice’s most important collection of pre-19th-century Venetian painting
Accademia di Belle Arti — a key art academy shaping generations of
artists
Punta della Dogana (modern era museum space) — contemporary
art exhibitions in a former customs house
Peggy Guggenheim Collection
— one of Europe’s most important modern art museums
This shift
cemented Dorsoduro’s identity as:
the cultural heart of modern Venice
a district of museums, studios, and universities
a center for
students and international researchers