The opening of Venice’s historic Caffè Florian

Meeting place on St Mark’s Square became an institution

The Caffè Florian took its name from its
original owner, Floriano Francesconi

Venice’s famous Caffè Florian opened its doors for the first time on this day in 1720.

Florian’s nowadays occupies a long stretch of the arcades on the southern side of Piazza San Marco, its seats stretching out across the square with a permanent orchestra in residence to entertain clients. Yet the original consisted of just two rooms. 

It was officially given the grand title of Alla Venezia Trionfante (“To Triumphant Venice”), but soon became known as Florian’s after the owner, Floriano Francesconi.

The cafè’s 301-year history makes it the oldest still-active coffee house in Italy and the second oldest in Europe behind the Café Procope in Paris, which was founded in 1686. 

Florian’s soon became a fashionable meeting place for Venetian society, especially its writers. Among its 18th century clientele were the Venetian playwright and librettist Carlo Goldoni and the German poet Johann Wolfgang von Goethe, while the writer and adventurer Giacomo Casanova is said to have been regularly seen there, possibly drawn by the cafè’s then-unusual policy of opening its doors to women.

Florian's sits under the arcade on
the southern side of the piazza

When the critic and dramatist Gasparo Gozzi launched his literary magazine Gazzetta Veneta in 1760, Florian’s agreed to help him publicise his venture and sell copies.

Its popularity with writers continued in the 19th century, when the growing number of tourists visiting Venice might have found themselves sitting at the next table to English poet Lord Byron, the French novelist Marcel Proust or the increasingly popular English novelist Charles Dickens. 

Florian’s would remain in family ownership for more than a century. After the death of Floriano, his grandson, Valentino Francesconi, took over the running of the establishment in 1773 - by then expanded to four rooms - and he in turn handed it on to his son, Antonio, in 1810.

In the late 18th century, in the last days of the Republic of Venice, Florian’s was closed on order of the authorities, who were worried that its rooms were being used by would-be revolutionaries encouraged by the uprising in France that had toppled the French court of Louis XVI.  In the event, it was only a matter of months before the army of Napoleon Bonaparte began to support the Venice revolutionaries and the cafè was allowed to re-open.  

Today, Florian’s is known for its sumptuous elegance and for its art, a tradition that stems from its change of hands in 1858, which marked an era of new ownership outside the Francesconi family.  The new proprietors commissioned the architect and designer Lodovico Cadorin to undertake a substantial renovation project.

Cadorin transformed its four rooms, which emerged on the completion of his work as the Sala del Senato (Senate Room), the Sala Greca (Greek Room), the Sala Cinese (Chinese Room) and the Sala Orientale (Oriental Room).

Inside the sumptuously decorated Sala del Senato,
one of Florian's several elegant rooms

The Senate Room was notable for its paintings by Giacomo Casa, mainly themed around the progress of civilisation and science, while both the Chinese and Oriental Rooms were decorated by Antonio Pascuti, whose paintings had an exotic nature inspired by the art of the Far East.

The Sala degli Uomini Illustri (Hall of the Illustrious Men) was decorated by Giulio Carlini with paintings of notable Venetians; Vincenzo Rota’s decorations in the Sala degli Specchi (Hall of Mirrors) represented the four seasons.

Having been suspected of being a centre of revolutionary plotting in the 18th century, Florian’s openly played a part in the upheavals of the 19th century. The Senate Room became a meeting point for Venetian patriots eager to promote the cause of the Risorgimento and was used as a temporary hospital as Venetians fought to expel the occupying forces of Austria from the city in 1866.

More peaceful times followed, and early in the 20th century, Florian’s followed the fashion in central Europe for providing entertainment for its clients with daily concerts, a practice that soon led to the appointment of a resident orchestra. At around the same time, a seventh room was added, given the name of Sala Liberty, decorated in an art nouveau style.

The cafè’s position in the Venetian art world had taken on a new dimension in 1893 when it became home to the Esposizione Internazionale d'Arte Contemporanea (International Exhibition of Contemporary Art), known today as the Venice Biennale.  Since 1988, Florian’s has hosted a contemporary art exhibition that takes place every two years in conjunction with the modern Biennale.

Piazza San Marco is often
thronged with visitors

Travel tip:

Piazza San Marco, often known by its English name, St Mark's Square, is Venice’s main public space. It has the distinction of being one of only two squares in Venice to be known as piazza (Piazzale Roma is the other one). All the other open spaces in the city are called campi, campo being the Italian word for field. Along with the Piazzetta, which connects the main Piazza to the waterfront, San Marco has become the religious, political and social centre of the city. It flanks the Basilica di San Marco, the city’s cathedral church, and the Doge’s Palace, which was the traditional seat of government when Venice was an independent state, while also playing host on opposite sides to two of the city’s most famous cafes, Florian and Quadri.  Napoleon Bonaparte is said to have dubbed the square as ‘the drawing room of Europe’.

The gold mosaics that adorn the facade of Basilica
San Marco led it to be nicknamed Chiesa d'Oro

Travel tip:

The Basilica di San Marco is one of the best examples of Italo-Byzantine architecture in existence. Because of its opulent design and gold ground mosaics it became a symbol of Venetian wealth and power and has been nicknamed Chiesa d’Oro (Church of Gold). The spacious interior with its multiple choir lofts inspired the development of the Venetian polychoral style used by the Gabrielis, uncle and nephew, and Claudio Monteverdi. The original church on the site of the basilica may have been built in the ninth century, although the earliest recorded mention was dated 1084. It has been rebuilt several times, the present neoclassical church dating from a rebuilding of 1795-1806, for patrician Pietro Zaguri, by Giannantonio Selva.

Also on this day:

1847: The birth of the sculptor Gaetano Russo

1891: The birth of WW1 flying ace Luigi Olivari

1941: The death of mathematician Tullio Levi-Civita

1966: The birth of footballer Stefano Eranio

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Francesco Bussone da Carmagnola – Condottiero

Adventurous soldier lived on in literature

Bussone was beheaded for alleged treason aginst
the Republic of Venice

The soldier of fortune, Francesco Bussone da Carmagnola, who has been featured in poetry, books and an opera, was executed on this day in 1432 in Venice.

The military leader had been seized, imprisoned and brought to trial for treason against La Serenissima, the Most Serene Republic of Venice, and was beheaded between the columns of San Marco and San Todaro at the entrance to the Piazzetta.

Francesco Bussone had been born at Carmagnola near Turin into a peasant family. He began his military career at the age of 12, serving under the condottiero, Facino Cane, who was in the service of the Marquess of Monferrat at the time, but later fought for Gian Galeazzo Visconti, Duke of Milan.

After the death of Gian Galeazzo, the duchy was divided up, but his son Filippo Maria was determined to reconquer it by force. He gave command of the army to Bussone da Carmagnola, who had taken over Cane’s role after his death.

Carmagnola subdued Bergamo, Brescia, Parma, Genoa and many smaller towns until the whole duchy was under Filippo Maria’s control.

The landmark columns of San Marco and San Todaro at the
entrance to the Piazzetta, just off St Mark's Square in Venice

Filippo Maria rewarded Carmagnola financially, but fearing he might become a danger, did not give him further military commands. He made him governor of Genoa instead, but an aggrieved Carmagnola offered his services to the Venetians in 1425.

The Doge of Venice, Francesco Foscari, was anxious to go to war with Milan and accepted Carmagnola’s word that it was an opportune moment.

Venice wanted a quick and decisive operation but, as a soldier of fortune, it was in Carmagnola’s interest to make the operation last as long as possible, so some battles were won and others lost, with no definite result achieved.

His most decisive victory was the Battle of Maclodio in 1427 when his Venetian forces triumphed over the Milanese near Brescia. Carmagnola was given a palace at San Stae, property in Brescia and a letter of appreciation from the Doge.

But he decided not to advance on Cremona, to release all his prisoners and to retire his army for the winter. The Venetians lost patience with him and the Council of Ten decided to bring him to justice.

The cover of an early edition
of Manzoni's drama

When summoned to Venice to discuss future operations, he arrived in 1432 without any suspicion of what lay ahead of him. He found it was too late in the day to meet the Doge, but as he turned to get back into his gondola, one of the men sent to meet him directed him to the Pozzi prison instead. He was sentenced to death after a trial and beheaded as a traitor.

Alessandro Manzoni made Francesco Bussone the subject of a poetical drama, Il Conte di Carmagnola, in 1820.

More recently, a drama-documentary about Bussone's life was released on a DVD, directed by Claudio Uberti and starring Omar Pedrini.

The opera, Le Comte de Carmagnola, with music by Ambroise Thomas, was produced at the Paris Opera in 1841. The French soprano, Elizabeth Vidal, has recorded one of the main arias from the opera.

Carmagnola was also one of the characters portrayed in Rafael Sabatini’s historical novel, Bellarion, published in English in 1926.

In Milan, there is a plaque on a wall in Via Rovello, not far from the Sforza Castle, marking the house in which Bussone lived when he was in the service of Gian Galeazzo Visconti.

Piazza Sant'Agostino in Carmagnola. The town's war
memorial is in the foreground

Travel tip:

Carmagnola, where Francesco Bussone was born, is a town 29km (18 miles) south of Turin. In the oldest part of town, the Church of Sant’Agostino, in Piazza Sant’Agostino, dates back to 1406. A gastronomic fair, la Sagra del Peperone, is held between the last week of August and the first week of September. During the Sagra of 2010, Carmagnola was entered into the Guinness Book of Records for producing the biggest ever peperonata, a sauce made with peppers, weighing in at 1,190 kg.

The remains of the Trezzo Bridge, which provided access to
the Visconti castle, on the left, across the Adda

Travel tip:

During a siege in 1416, Bussone da Carmagnola ordered the destruction of the Trezzo Bridge, the largest existing medieval single arch bridge, for military reasons. The bridge, at Trezzo sull’Adda in Lombardy was completed in 1377 and held the record for the largest span for hundreds of years. It was not until early in the 20th century that masonry bridges with larger openings were constructed. The Trezzo bridge provided access to a Visconti castle high above the Adda, but Carmagnola deliberately caused it to collapse by weakening one of its supports, robbing the world of an architectural marvel.

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Daniele Manin - Venetian leader

Lawyer who led fight to drive out Austrians

Daniele Manin, whose legal knowledge helped
him draw up a constitution for Venice

The Venetian patriot Daniele Manin, a revolutionary who fought to free Venice from Austrian rule and thereby made a significant contribution to the unification of Italy, was born on this day in 1804 in the San Polo sestiere.

Manin had Jewish roots. His grandfather, Samuele Medina,  from Verona, had converted to Christianity in 1759 and took the name Manin because Lodovico Manin, the last Doge of Venice, had sponsored his conversion.

He studied law at the University of Padua and then took up practice in Venice. As his practice developed, he gained a reputation as a brilliant and profound jurist.

He harboured a deep hatred and resentment towards the Austrians, to whom control of the city passed after the defeat of Napoleon in 1814. The city became part of the Austrian-held Kingdom of Lombardy-Venetia.

Manin's first physical act to advance cause of liberation was the presentation of a petition in 1847 to a body called the Venetian Congregation, an advisory assembly that had no actual powers. The petition listed the grievances of the Venetian people but Manin’s frankness was not to the liking of the Austrians, who arrested him in January 1848 on charges of treason.

The house opposite Campo Manin in Venice's
San Marco sestiere, where Manin lived

With his arrest, however, his popularity only increased. The revolution sweeping Europe reached Venice and riots broke out. The Austrians released Manin on March 17 in the hope of quelling the unrest but the uprising continued and nine days later they were driven out of the city. Manin drew on his legal knowledge to create a structure for a government and became president of the new Venetian Republic.

A supporter of the concept of a united Italy, Manin nonetheless did not favour joining forces with Piedmont and it was only under pressure from his compatriots that he signed over his powers to Piedmontese government – and with justification, too, it turned out.

When the armies of Sardinia-Piedmont suffered defeat to the Austrians at Custoza in July 1848, King Charles Albert signed an armistice in which he abandoned Venice to their former hated rulers, along with Lombardy. This prompted another uprising in Venice in which the Piedmontese representatives in the city came close to being lynched. It was only when Manin intervened that their lives were saved.

Venice remained an independent republic for almost another year but gradually the Austrians regained control of the surrounding mainland, with a clear intention of re-occupying the city. The Venetians were in no mood to capitulate meekly, however, and early in 1849 the Venetian Assembly reaffirmed Manin as president, with a mandate to resist until the end.

Manin is carried on the shoulders of joyful Venetians after
the Austrians left the city. Painting by Naploeone Nani

The Austrian forces by now were strong enough to maintain an attack on the city for as long as it took to achieve their goal. Manin proved a good defensive tactician and with the help of Sardinian navy vessels and a Neapolitan army led by general Guglielmo Pepe he was able at least to delay the inevitable.

However, in May the Venetians had to abandon Fort Marghera, halfway between the city and the mainland and as food supplies dwindled cholera broke out. When the Sardinian fleet withdrew the Austrians had free rein to attack from the sea and in August 1849, when all provisions and ammunition were exhausted, Venice capitulated. Manin achieved an honourable surrender, obtaining an amnesty for all his supporters on condition that he, Pepe and other leaders agreed to go into exile.

Manin spent the rest of his life in France, giving his support eventually to the idea of a united Venice under a monarchy rather than a republic and working to promote the idea. He died in Paris in September 1857.

Luigi Borro's bronze statue of Manin and
the winged lion is in Campo Manin

In 1868, two years after the Austrians finally left Venice, his remains were returned home and he was granted a public funeral which saw his coffin carried in a gondola decorated with a golden lion of Saint Mark and two statues waving the national colours of Italy to represented the unification of Italy and Venice. His remains are interred in a sarcophagus, which is located in the Piazzetta dei Leoncini, on the north side of the Basilica San Marco.

Travel tip:

One of the main pedestrian routes in San Marco, roughly linking Teatro la Fenice with Teatro Goldoni in the direction of the Rialto Bridge leads through Campo Manin, the centrepiece of which is a bronze statue of Daniele Manin, sculpted by Luigi Borro and erected in 1875.  A bronze winged lion of Venice rests at the foot of the plinth.  Campo Manin, the former Campo San Pernian, abuts the Rio de l’Barcaroli  canal at one end, with Manin’s residence facing the square, looking towards the incongruously modern Palazzo Nervi-Scattolin, headquarters of the Venice Savings Bank.

The birthplace of Daniele Manin in Venice is marked
with a plaque and portrait in relief

Travel tip:

Daniele Manin was born in the house of his parents in Rio Astori, an alley off Rio Terra Secondo in the San Polo sestiere, a short distance away from the broad Campo San Polo, just off Campo Sant’Agostin in a quiet, unpretentious area of the city well away from the crowds that throng the Rialto and Piazza San Marco.  The house is at the end of the alley with a stone plaque over the door bearing Manin's name and date of birth and a small portrait in relief.

More reading:

How the capture of Rome in 1870 completed Italian unification

Garibaldi and the Expedition of the Thousand

When the Austrians were driven out of Milan

Also on this day:

1909: The first Giro d'Italia

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Domenico Dragonetti - musician

Venetian was best double bass player in Europe

Domenico Dragonetti: a lithograph from the
New York City Public Library collection

The composer and musician Domenico Dragonetti  - Europe's finest double bass virtuoso - was born on this day in 1763 in Venice.

Apart from the fame his talent brought him, Dragonetti is remembered as the musician who opened the eyes of Ludwig van Beethoven and other composers to the potential of the double bass.

They met in Vienna in 1799 and experts believe it was Dragonetti’s influence that led Beethoven to include passages for double bass in his Fifth Symphony.

From 1794 onwards until his death in 1846 at the age of 83, Dragonetti lived in London but it was in Venice that he established his reputation.

The son of a barber who was also a musician, Domenico Carlo Maria Dragonetti taught himself to play the guitar and the double bass as a child using his father’s instruments.  It was not long before word of his precocious ability spread and he was sent to the Ducal Palace of San Marco for tuition from Michele Berini, who was widely respected as the best double bass player in Venice.

Berini declared after only 11 lessons that there was nothing more he could teach the young Dragonetti, who at the age of just 13 was appointed principal player in opera buffa, the comic opera genre that was becoming popular in Venice, possibly at Teatro San Moisé, Teatro San Cassiano or Teatro San Samuele.  A year later, he was made principal double bass player in the mainstream, serious opera at Teatro San Benedetto.

Dragonetti with his three-
stringed da Salò double bass

In 1787 he was accepted for the orchestra at the Chapel of San Marco, who valued him so highly they twice increased his annual salary to stop him going to Russia, where the Tsar was keen to recruit him.  Such was his dexterity with the instrument he was given solo pieces to perform, which was highly unusual.

An example of Dragonett's ability to exploit the potential of the instrument came when he was staying at the Monastery of St Giustina in Padua, where he produced a sound that woke the monks in the middle of the night, thinking it was thunder.

In 1794, the Chapel of San Marco agreed that he could accept an invitation to play at the King’s Theatre in London and gave him paid leave for a year.  In the event, he settled in England and never returned for more than brief visits.

He made his debut at the King’s Theatre in December 1794 and within only a few months had become famous. He was able to provide for his extended family in Venice with his earnings, but also invested in art and purchased musical instruments previously owned by Stradivari, Maggini, and Montagnana, which he would later bequeath to members of the orchestra.

He became a prominent figure in the musical events of the English capital, performing at the concerts of the Philharmonic Society of London.  Prominent figures in London society, such as the Prince Consort and the Duke of Leinster, would invite him to play in private concerts. He and his close friend, the cellist Robert Lindley, found themselves in demand across Europe and embarked on many tours.

A bust of Gasparo da Salò, in Salò on the
shores of Lake Garda

In 1795, on a visit to London, the Austrian composer Joseph Haydn met Dragonetti and they became friends. In turn, Haydn invited Dragonetti to Vienna, where he was introduced to Beethoven. He also became acquainted with Paganini, Spohr, Hummel, Liszt and Rossini. He collaborated with many composers but also wrote several pieces for double bass in his own right.

Dragonetti was unusually tall for an Italian of his era and blessed with formidable strength and stamina, which was one factor that helped him get so much out of the instrument, playing parts that many double bass players would have thought impossible.

His favoured instrument was a massive, three-stringed bass made by the renowned luthier Gasparo da Salò, which he kept all of his life, turning down a number of offers, including one of 20,000 lire.  There are different stories as to how he acquired the instrument. One says he was given it by the Benedictine nuns of St Peter's monastery in Vicenza, where Dragonetti lived while he was paying in the Grand Opera. Another says it was bought from the monks of St Peter's by the Chapel of San Marco and given to Dragonetti as an enticement to stay.

The bow with which he played, which evolved during his career to suit his physical size and style of playing, became known as the Dragonetti bow.

He died at his lodgings in Leicester Square in central London in April 1846. He was buried initially in the vaults of the Roman Catholic Chapel of St Mary, Moorfields. In 1889 his remains were moved to the Roman Catholic cemetery at Wembley.

The Teatro San Benedetto in its heydey

Travel tip:

None of the Venice theatres – the San Moisé,  the San Cassiano or the San Samuele – in which Dragonetti might have played in opera buffa exists today. The San Benedetto closed in the early 20th century and was remodelled as a cinema.  Renamed Teatro Rossini in 1868 in honour of the composer Gioachino Rossini, it reopened as the Cinema Rossini in 1937. Nowadays, the building, in Salizzada de la Chiesa o del Teatro, which is between Teatro la Fenice and the Grand Canal in the San Marco district, holds a multi-screen cinema.


Travel tip:

Dragonetti’s prized da Salò double bass is said to have been stored in a room in Venice for 150 years after his death, where it inevitably fell into disrepair. However, the Venice authorities had the good sense to hire the modern-day luthier Sergio Scaramelli to restore the 400-year-old instrument in 2007 and it is now on display in the museum inside the Basilica di San Marco.

Let TripAdvisor advise on Venice hotels

More reading:

Giovanni Battista Pergoloesi - genius of opera buffa

The beautiful music of Antonio Vivaldi

La Fenice opera house destroyed by fire

Also on this day:

1794: The birth of opera singer Gianni Battista Rubini

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Jacopo Sansovino – architect

Death of the designer praised by Palladio

A portrait of Sansovino by Tintoretto, currently
 housed in the Uffizi Gallery in Florence

Jacopo d’Antonio Sansovino, the sculptor and architect renowned for his works around Piazza San Marco, died on this day in 1570 in Venice.

He designed the Libreria Sansoviniana in the Piazzetta, which was later praised by the architect Andrea Palladio as ‘the finest building erected since antiquity’.

Sansovino had been born Jacopo Tatti in 1486 in Florence and was apprenticed to the sculptor Andrea Sansovino, whose surname he subsequently adopted.

He was commissioned to make a marble sculpture of St James for the Duomo and a Bacchus, which is now in the Bargello in Florence.

However, his designs for sculptures to adorn the façade of the Church of San Lorenzo were rejected by Michelangelo, who was in charge of the scheme.

In 1529 Sansovino became chief architect to the Procurators of San Marco, making him one of the most influential artists in Venice.

The Palazzo Corner della Ca'Grande was the first
building in Venice designed by Sansovino

His first Venetian building was the Palazzo Corner della Ca’ Grande, a huge classical palace for one of the richest families in Venice.

Sansovino designed the Loggetta and its sculptures adjoining the Campanile and statues for the Basilica of San Marco. He also helped rebuild many of the churches and palaces in Venice.

His masterpiece is considered to be the library building in the Piazzetta, which houses the national library of San Marco, the Biblioteca Marciana.

Construction began in 1537 opposite the Doge’s palace and it became one of the most richly decorated Renaissance structures in Venice, surmounted by statues of mythological gods.

During the construction, the roof vaulting collapsed and at the time Sansovino was blamed and imprisoned. He was freed only after appeals from eminent people in Venice, including the artist Titian.

After Sansovino’s death in Venice in 1570 he was buried in St Mark’s Basilica.

The Libreria Sansoviniana, which houses the Biblioteca
Nazionale Marciana, is considered Sansovino's masterpiece

Travel tip:

The National Library of St Mark’s, the Biblioteca Nazionale Marciana, is housed in the Renaissance building designed by Sansovino opposite the Doge’s Palace in the Piazzetta. It is one of the earliest surviving public manuscript depositories in the country holding one of the greatest collections of classical texts in the world. The library is named after Saint Mark, the patron saint of Venice. One of the first librarians was poet and scholar Pietro Bembo, who had earlier written beautiful love letters to Lucrezia Borgia while they were having an affair.

Travel tip:

Sansovino was buried in the beautifully decorated Baptistery of Saint Mark’s near the altar. The Baptistery was built on to the southern end of the church in the first half of the 14th century. In the centre of the room stands a baptismal font in marble and bronze, which was designed by Sansovino.

More reading:

The worldwide influence of the Renaissance giant Titian

Andrea Palladio - the world's favourite architect

The day the Campanile of St Mark's collapsed

Also on this day:

1964: The birth of footballer and manager Roberto Mancini

(Picture credits: Palazzo Corner della Ca'Grande and Libreria Sansoviniana both by Wolfgang Moroder via Wikimedia Commons)


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Collapse of St Mark’s Campanile

Dramatic fall of instantly recognisable symbol of Venice

An enormous pile of rubble was left after the collapse
of the Campanile in July 1902

The bell tower (Campanile) in St Mark’s Square in Venice collapsed on this day in 1902.

No one was killed but the Biblioteca Marciana nearby was partially damaged by its fall.

A crack had appeared in one of the walls of the bell tower a few days before and at approximately 9.45 am on Monday, 14 July, the entire structure collapsed into a heap of rubble.

Venetians regarded the event as a tragedy. The bell tower, just short of 100 metres tall, had stood for around 1,000 years and was seen as symbolic of the city.  Built on foundations of wood and mud, however, there was always the danger it would become unstable over time.

On the evening of the day of the collapse, the Venice authorities approved funding for the reconstruction of the Campanile in exactly the same place in the piazza, to be built to resemble how it looked after 16th century improvements to the original ninth century design.

The rubble was painstakingly removed from the square, loaded on to barges and dumped in the sea about five miles offshore from Venice Lido.

The new tower was designed with internal reinforcement to prevent a future collapse, and a lift.

The rebuilding of the Campanile took nearly ten years and the new bell tower was finally inaugurated on 25 April, 1912 on St Mark’s feast day.

The Campanile today

Travel tip:

Magnificent panoramic views across Venice and the lagoon can be enjoyed from the top of the Campanile, which is open to the public every day from 09.30 to 19.00. Galileo would have seen these views when he demonstrated his telescope to the Doge of Venice from the top of the previous bell tower in 1609.

Travel tip:

St Mark’s Square (Piazza San Marco) has been the scene of countless pageants, processions, political activities and Carnival festivities during its long history. Thousands of tourists flock to it every day to visit the Basilica and the Doge’s Palace, or to listen to the musicians playing outside the elegant cafes on each side.

Situated close to the lagoon, the Piazza is usually one of the first points in the city to suffer from flooding when there is a high tide (aqua alta).

More about Venice:

The composer Albinoni

The painter Tintoretto

The adventurer Casinova




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San Pietro Orseolo – Doge of Venice and monk

Rich powerful Doge made a life-changing decision

Pietro Orseolo, a former Venetian Doge who joined the Benedictine order, died on this day in 987.

Piazza della Libertà in Udine, birthplace of  Pietro Orseolo.  

He was canonised by Pope Clement XII in 1731 and his feast day is celebrated on the anniversary of his death on 10 January each year.

Pietro Orseolo became Doge of Venice in 976 but after just two years in office he left his palace in the middle of the night to go to France to become a monk.

Orseolo was originally from a powerful family in Udine and at the age of 20 became commander of the Venetian fleet waging successful campaigns against pirate ships.

He was elected Doge after the previous ruler of Venice had been killed in a revolt. Orseolo restored order to the city, built much needed hospitals and cared for widows and orphans.

He started to rebuild the Doge’s palace and St Mark’s Basilica using his own money. But he suddenly left Venice to travel to southern France with three other Venetians to join a Benedictine abbey. It is believed he told no one about his decision in advance, not even his wife and family.

After some years living as a monk performing menial tasks at the abbey, Orseolo went to live in the surrounding forest as a hermit. He continued to live like this for seven years until he died in 987.

Orseolo funded a rebuilding project on St Mark's Basilica
in Venice before leaving for France.

Forty years after his death he was beatified and 700 years later he was made a saint.

Travel tip:

Udine, the birthplace of San Pietro Orseolo, is a city in the region of Friuli Venezia-Giulia not far from Italy’s border with Slovenia. In the principal square, Piazza della Libertà, there are beautiful 15th century Venetian-style buildings, such as the town hall, Loggia del Lionello, and clock tower, Torre dell’Orologio, which resembles the one in Piazza San Marco in Venice. 

Travel tip:

Bacino Orseolo in Venice, a wide stretch of water where gondolas are moored near Piazza San Marco, is named after Doge Pietro I Orseolo, who established a hospice for pilgrims there in 977, one of the good works he accomplished before he left Venice to become a monk.

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