Campo Santa Margherita

Campo Santa Margherita is located in Dorsoduro, a few minutes walk from the Accademic di Bella Arti. It is in the heart of Venice's university district, a large and lively public space. The size of the square was increased in the 1800's as part of the canal system was filled in to create more space. In contrast to places such as Piazza San Marco, which is a pricey place to see and be seen, the Campo Santa Margherita is a local living space, filled with inexpensive cafes, as well as fish and vegetable markets. It is place where ordinary folk shop and dine on a daily basis, and the square rings with the sounds of children and impromptu soccer games. On a sunny afternoon, it is a delightful place to sip a drink and enjoy a salad caprese!

Some of the Highlights of Campo Santa Margherita:

Our tour of the Campo Santa Margherita begins at the southeast corner, on the Rio Terre, the portion of the square that was formed by filling in the canal. Rio refers to canal, while terre of course refers to the earth. This section is home to shops and grocery stores, and gradually widens into the square proper. The Rio Terra is shown in the photo to the left. Up the street on a corner is the Palazzo Foscolo, (right) a beautiful palace virtually unchanged since the 1300's. It is instantly distinguishable by its deep overhanging eves. The fish vendor outside the  Palazzo serves a reminder that Campo Santa Margherita is a working square. An interesting architectural feature that is found on the Palazzo Foscolo and shared with most of the larger buildings in the Campo Santa Margherita are the Altana Terraces, shown in the photo at the bottom right. These timber roof platforms were common in Venetian palaces, used by the ladies of the house for bleaching their hair, which they exposed through a crownless wide-brimmed hat. They are now used from washing and drying clothes, and partying on balmy summer evenings. While the Italian women may no longer use the terraces for the same purposes, their love of hair color certainly remains undimmed!

To the north of the square lies the Casa Varoteri, the former guild house of the tanners. The house itself dates from 1725, and is somewhat set off from the rest of the square. It was widely believed that this was the house of the city executioner because of its separation from the other living quarters, but it may well have been because of the odor associated with tanning that accounts for its relative isolation from the surrounding buildings. The photo to the left shows the guild house, while the photo to the right is a close-up of the bas-relief of the guild house, with the Virgin sheltering the tradesman. This is not the only religious motif of Campo Santa Margherita, as the plaza takes its name from the Christian martyr St. Margaret of Antioch, a possibly fictitious figure who is also the patron saint of motherhood.

The former church of St. Margaret is next to the guild hall, and now serves as an auditorium for the nearby university. While this is listed as something to be sure to see when visiting the square, I am not certain why, as it appears to be a rather unimposing brick tower, decorated only with a series of dragons, symbolizing the martyrdom of Margaret. One assumes its importance derives not from its architectural style, but rather from its historical significance as the church of the saint after whom the area is named. The photo to the left shows the bell tower of the Chiesa di Santa Margherita, while one of the dragon figures that adorn the bell tower is shown in the photo to the right.

Far more impressive is the Chiesa di Santa Maria dei Carmini, a richly adorned Carmelite church that survived the order's suppression by Napoleon. The church, whose facade is shown in the photo to the left, is adjoined by a monastery. The interior, shown in the photo to the right, is nothing short of spectacular. The floors are pink and white marble, and the arches of the nave are pink columns supporting a series of engraved arches that lead to a second level. The entire interior is lit by a seemingly innumerable assortment of tall candle holders. The front of the church is crowned by a large apse, featuring an ornate altarpiece. The church is decorated with works by Lotto, Tintoretto, Veronese, and others. Although not as grand as the nearby Santa Maria Gloriosa dei Frari, it is certainly every bit as beautiful. It is also very much a working church, with a constant influx of parishioners during the day. It is a quiet place to retreat from the crowds and immerse yourself in the beauty of Venice.

Equally beautiful is the nearby Scuola Grande dei Carmini. This school dates back to 1597 when the leadership of Venice, the Council of Ten, first recognized the school. It was promoted to Grande status is 1767, The term 'school' refers not to artwork, but to the fact that this was a place of learning for the Carmelite order. The mission of the school was to provide the brotherhood religious support, dispense alms to the sick and poor, and to furnish eligible young women with dowries for marriage or entering the convent. Its members were laymen and townspeople. It was furnished with art befitting its lofty goals; well-known artists decorated the Scuola Grande Carmini with creations emphasizing the Carmelite theological values. The entrance of the Scuola Grande dei Carmini is on a side street linking Campo Santa Margherita to  the Chiesa di Santa Maria dei Carmini (photo upper left). It is interesting that the entire tour of the school is a transition from grays to color; after passing through the columns of Longhena's main entrance, visitors enter the lower lever chapel, a small room with a series of monochromatic stucco paintings lining the wall and ceilings. The upstairs bursts into color; the chapter house, where the brotherhood met to discuss plans, is beautifully decorated with nine canvases painted by Tiepolobetween 1739 and 1749. The grandest room is the Sala Capitolare (shown in the postcard scan, above right), which features marble floors, wooden paneling, and marble archways. The crowning glory of the room is Tiepolo's Apparition of the Madonna of Carmel to the Beatified Simon Stock, which occupies the center of the Sala Capitolare's ceiling. It is surrounded by the four Virtues, angels, and cherubs. The photo at lower left provides a better view of the painting. Also worth seeing is the Sala dell'Archivo, which features more elaborate wood carvings and a tessellated marble floor, along with the wall murals and ceiling canvasses. The photo at the lower right is a postcard scan of the Salla dell'Archivo.