#Museum of 18th Century Venice

[emaadsidiki]

Ca' Foscari – The University of Venice

Ca' Rezzonico – Museum of 18th Century Venice

[lionofchaeronea]

Piazza San Marco Looking South and West, Canaletto, 1763

[lost-wits]

San Teodoro by Francesco Bognolo (x)

[thepastisalreadywritten]

Sunglasses made of Murano glass, 18th-century AD, Venice, Italy.

Goldoni-type sunglasses with Mocenigo Coat of Arms.

Vascellari Collection (Italy) on display at The Murano Glass Museum.

—

Long before the rest of the world would discover the danger of ultra-violet rays in 1870, Venetian opticians were 120 years ahead of the curve.

The green colour of the lenses, conjured by the island's glassmakers in the bright hues of grass green, sea green and emerald green, wasn't simply a fashion statement but had a key functional role.

It has been later discovered that this colour serves as a powerful filter for UV rays, which are damaging to eye and skin health.

Thanks to Murano Glass, it became a true innovative jewel.

These emerald-colored sunglasses protected the eyes of the nobility and Commanders da Mar (of the sea) from the harmful glare of reflected light as they navigated the waters that surrounded them.

These sunglasses soon became widespread among Venetian high society.

One was almost certainly owned and used by Doge Alvise IV Giovanni Mocenigo (19 May 1701 - 31 December 1778), who was the leader of Venice from 1763 AD until his death on New Year's Eve, 31 December 1778 AD.

No one knows for sure why they were called "Goldoni" glasses, but it is assumed this was due to Carlo Goldoni (25 February 1707 – 6 February 1793), the famous Venetian playwright and librettist from the Republic of Venice.

[froggyfriendsworld]

Venice: Piazza San Marco, Looking Southeast and Venice: Piazza San Marco, Looking East by Johan Richter

[breelandwalker]

JSTOR Articles on the History of Witchcraft, Witch Trials, and Folk Magic Beliefs

This is a partial of of articles on these subjects that can be found in the JSTOR archives. This is not exhaustive - this is just the portion I've saved for my own studies (I've read and referenced about a third of them so far) and I encourage readers and researchers to do their own digging. I recommend the articles by Ronald Hutton, Owen Davies, Mary Beth Norton, Malcolm Gaskill, Michael D. Bailey, and Willem de Blecourt as a place to start.

If you don't have personal access to JSTOR, you may be able to access the archive through your local library, university, museum, or historical society.

Full text list of titles below the cut:

'Hatcht up in Villanie and Witchcraft': Historical, Fiction, and Fantastical Recuperations of the Witch Child, by Chloe Buckley

'I Would Have Eaten You Too': Werewolf Legends in the Flemish, Dutch and German Area, by Willem de Blecourt

'The Divels Special Instruments': Women and Witchcraft before the Great Witch-hunt, by Karen Jones and Michael Zell

'The Root is Hidden and the Material Uncertain': The Challenges of Prosecuting Witchcraft in Early Modern Venice, by Jonathan Seitz

'Your Wife Will Be Your Biggest Accuser': Reinforcing Codes of Manhood at New England Witch Trials, by Richard Godbeer

A Family Matter: The CAse of a Witch Family in an 18th-Century Volhynian Town, by Kateryna Dysa

A Note on the Survival of Popular Christian Magic, by Peter Rushton

A Note on the Witch-Familiar in Seventeenth Century England, by F.H. Amphlett Micklewright

African Ideas of Witchcraft, by E.G. Parrinder

Aprodisiacs, Charms, and Philtres, by Eleanor Long

Charmers and Charming in England and Wales from the Eighteenth to the Twentieth Century, by Owen Davies

Charming Witches: The 'Old Religion' and the Pendle Trial, by Diane Purkiss

Demonology and Medicine in the Sixteenth and Seventeenth Centuries, by Sona Rosa Burstein

Denver Tries A Witch, by Margaret M. Oyler

Devil's Stones and Midnight Rites: Megaliths, Folklore, and Contemporary Pagan Witchcraft, by Ethan Doyle White

Edmund Jones and the Pwcca'r Trwyn, by Adam N. Coward

Essex County Witchcraft, by Mary Beth Norton

From Sorcery to Witchcraft: Clerical Conceptions of Magic in the Later Middle Ages, by Michael D. Bailey

German Witchcraft, by C. Grant Loomis

Getting of Elves: Healing, Witchcraft and Fairies in the Scottish Witchcraft Trials, by Alaric Hall

Ghost and Witch in the Sixteenth and Seventeenth Centuries, by Gillian Bennett

Ghosts in Mirrors: Reflections of the Self, by Elizabeth Tucker

Healing Charms in Use in England and Wales 1700-1950, by Owen Davies

How Pagan Were Medieval English Peasants?, by Ronald Hutton

Invisible Men: The Historian and the Male Witch, by Lara Apps and Andrew Gow

Johannes Junius: Bamberg's Famous Male Witch, by Lara Apps and Andrew Gow

Knots and Knot Lore, by Cyrus L. Day

Learned Credulity in Gianfrancesco Pico's Strix, by Walter Stephens

Literally Unthinkable: Demonological Descriptions of Male Witches, by Lara Apps and Andrew Gow

Magical Beliefs and Practices in Old Bulgaria, by Louis Petroff

Maleficent Witchcraft in Britian since 1900, by Thomas Waters

Masculinity and Male Witches in Old and New England, 1593-1680, by E.J. Kent

Methodism, the Clergy, and the Popular Belief in Witchcraft and Magic, by Owen Davies

Modern Pagan Festivals: A Study in the Nature of Tradition, by Ronald Hutton

Monstrous Theories: Werewolves and the Abuse of History, by Willem de Blecourt

Neapolitan Witchcraft, by J.B. Andrews and James G. Frazer

New England's Other Witch-Hunt: The Hartford Witch-Hunt of the 1660s and Changing Patterns in Witchcraft Prosecution, by Walter Woodward

Newspapers and the Popular Belief in Witchcraft and Magic in the Modern Period, by Owen Davies

Occult Influence, Free Will, and Medical Authority in the Old Bailey, circa 1860-1910, by Karl Bell

Paganism and Polemic: The Debate over the Origins of Modern Pagan Witchcraft, by Ronald Hutton

Plants, Livestock Losses and Witchcraft Accusations in Tudor and Stuart England, by Sally Hickey

Polychronican: Witchcraft History and Children, interpreting England's Biggest Witch Trial, 1612, by Robert Poole

Publishing for the Masses: Early Modern English Witchcraft Pamphlets, by Carla Suhr

Rethinking with Demons: The Campaign against Superstition in Late Medieval and Early Modern Europe from a Cognitive Perspective, by Andrew Keitt

Seasonal Festivity in Late Medieval England, Some Further Reflections, by Ronald Hutton

Secondary Targets: Male Witches on Trial, by Lara Apps and Andrew Gow

Some Notes on Modern Somerset Witch-Lore, by R.L. Tongue

Some Notes on the History and Practice of Witchcraft in the Eastern Counties, by L.F. Newman

Some Seventeenth-Century Books of Magic, by K.M. Briggs

Stones and Spirits, by Jane P. Davidson and Christopher John Duffin

Superstitions, Magic, and Witchcraft, by Jeffrey R. Watt

The 1850s Prosecution of Gerasim Fedotov for Witchcraft, by Christine D. Worobec

The Catholic Salem: How the Devil Destroyed a Saint's Parish (Mattaincourt, 1627-31), by William Monter

The Celtic Tarot and the Secret Tradition: A Study in Modern Legend Making, by Juliette Wood

The Cult of Seely Wights in Scotland, by Julian Goodare

The Decline of Magic: Challenge and Response in Early Enlightenment England, by Michael Hunter

The Devil-Worshippers at the Prom: Rumor-Panic as Therapeutic Magic, by Bill Ellis

The Devil's Pact: Diabolic Writing and Oral Tradition, by Kimberly Ball

The Discovery of Witches: Matthew Hopkins' Defense of his Witch-hunting Methods, by Sheilagh Ilona O'Brien

The Disenchantment of Magic: Spells, Charms, and Superstition in Early European Witchcraft Literature, by Michael D. Bailey

The Epistemology of Sexual Trauma in Witches' Sabbaths, Satanic Ritual Abuse, and Alien Abduction Narratives, by Joseph Laycock

The European Witchcraft Debate and the Dutch Variant, by Marijke Gijswijt-Hofstra

The Flying Phallus and the Laughing Inquisitor: Penis Theft in the Malleus Maleficarum, by Moira Smith

The Framework for Scottish Witch-Hunting for the 1590s, by Julian Goodare

The Imposture of Witchcraft, by Rossell Hope Robbins

The Last Witch of England, by J.B. Kingsbury

The Late Lancashire Witches: The Girls Next Door, by Meg Pearson

The Malefic Unconscious: Gender, Genre, and History in Early Antebellum Witchcraft Narratives, by Lisa M. Vetere

The Mingling of Fairy and Witch Beliefs in Sixteenth and Seventeenth Century Scotland, by J.A. MacCulloch

The Nightmare Experience, Sleep Paralysis, and Witchcraft Accusations, by Owen Davies

The Pursuit of Reality: Recent Research into the History of Witchcraft, by Malcolm Gaskill

The Reception of Reginald Scot's Discovery of Witchcraft: Witchcraft, Magic, and Radical Religions, by S.F. Davies

The Role of Gender in Accusations of Witchcraft: The Case of Eastern Slovenia, by Mirjam Mencej

The Scottish Witchcraft Act, by Julian Goodare

The Werewolves of Livonia: Lycanthropy and Shape-Changing in Scholarly Texts, 1550-1720, by Stefan Donecker

The Wild Hunter and the Witches' Sabbath, by Ronald Hutton

The Winter Goddess: Percht, Holda, and Related Figures, by Lotta Motz

The Witch's Familiar and the Fairy in Early Modern England and Scotland, by Emma Wilby

The Witches of Canewdon, by Eric Maple

The Witches of Dengie, by Eric Maple

The Witches' Flying and the Spanish Inquisitors, or How to Explain Away the Impossible, by Gustav Henningsen

To Accommodate the Earthly Kingdom to Divine Will: Official and Nonconformist Definitions of Witchcraft in England, by Agustin Mendez

Unwitching: The Social and Magical Practice in Traditional European Communities, by Mirjam Mencej

Urbanization and the Decline of Witchcraft: An Examination of London, by Owen Davies

Weather, Prayer, and Magical Jugs, by Ralph Merrifield

Witchcraft and Evidence in Early Modern England, by Malcolm Gaskill

Witchcraft and Magic in the Elizabethan Drama by H.W. Herrington

Witchcraft and Magic in the Rochford Hundred, by Eric Maple

Witchcraft and Old Women in Early Modern Germany, by Alison Rowlands

Witchcraft and Sexual Knowledge in Early Modern England, by Julia M. Garrett

Witchcraft and Silence in Guillaume Cazaux's 'The Mass of Saint Secaire', by William G. Pooley

Witchcraft and the Early Modern Imagination, by Robin Briggs

Witchcraft and the Western Imagination by Lyndal Roper

Witchcraft Belief and Trals in Early Modern Ireland, by Andrew Sneddon

Witchcraft Deaths, by Mimi Clar

Witchcraft Fears and Psychosocial Factors in Disease, by Edward Bever

Witchcraft for Sale, by T.M. Pearce

Witchcraft in Denmark, by Gustav Henningsen

Witchcraft in Germany, by Taras Lukach

Witchcraft in Kilkenny, by T. Crofton Croker

Witchcraft in Anglo-American Colonies, by Mary Beth Norton

Witchcraft in the Central Balkans I: Characteristics of Witches, by T.P. Vukanovic

Witchcraft in the Central Balkans II: Protection Against Witches, by T.P. Vukanovic

Witchcraft Justice and Human Rights in Africa, Cases from Malawi, by Adam Ashforth

Witchcraft Magic and Spirits on the Border of Pennsylvania and West Virginia, by S.P. Bayard

Witchcraft Persecutions in the Post-Craze Era: The Case of Ann Izzard of Great Paxton, 1808, by Stephen A. Mitchell

Witchcraft Prosecutions and the Decline of Magic, by Edward Bever

Witchcraft, by Ray B. Browne

Witchcraft, Poison, Law, and Atlantic Slavery, by Diana Paton

Witchcraft, Politics, and Memory in Seventeeth-Century England, by Malcolm Gaskill

Witchcraft, Spirit Possession and Heresy, by Lucy Mair

Witchcraft, Women's Honour and Customary Law in Early Modern Wales, by Sally Parkin

Witches and Witchbusters, by Jacqueline Simpson

Witches, Cunning Folk, and Competition in Denmark, by Timothy R. Tangherlini

Witches' Herbs on Trial, by Michael Ostling

[desimonewayland]

Giandomenico Tiepolo

Punchinella's Departure, 1797

Ca' Rezzonico - Museum of the 18th century Venice

[oncanvas]

Venice: The Dogana and Santa Maria della Salute, workshop of Francesco Guardi, 18th century

Oil on wood 7 ⅛ x 12 ⅝ in. (18.1 x 32.1 cm) The Metropolitan Museum of Art, New York City, NY, USA

[xtruss]

Why The Italian City of Lecce Is Nicknamed 'The Florence of The South'

Rich in honey-hued basilica's and elaborately decorated baroque cathedrals, the Southern Italian city of Lecce is often regarded as the 'Florence of the South'.

— By Angela Locatelli | October 5, 2024

The construction of Basilica di Santa Croce took over 140 years to complete, boasting a grand facade. Photograph By Francesco Lastrucci

It’s not easy to carry a basilica on your shoulders, but, despite the summer heat, these men aren’t breaking a sweat. Carved into the honey-hued exterior of the Basilica di Santa Croce, the stone figures kneel in a line from one side of the wall to the other, seemingly supporting the upper facade with their bare hands. Above them, the building is so richly decorated as to seem in motion: cherubs swirl in a spiral and garlands of pomegranate and acanthus leaves rise, reaching fever pitch where they all circle the central rose window. “Construction began in 1549,” says local guide Anita Maggiulli. “But it took over 140 years to complete.”

It seems to have been worth it, as the church has become the symbol of the city. I’m on a half-day tour of Lecce, the biggest urban centre of Salento, the tip of the heel to the Italian peninsula’s boot. It’s an area that distils what the wider region of Puglia is known for: white-washed hamlets, long stretches of sandy beach and the crystal-clear waters of the Ionian and Adriatic Seas. But this city in the hinterland has a different claim to fame — its grand, expertly carved architecture, which has earned it the moniker ‘Florence of the South’.

Baroque paintings frame the interior of Lecce Cathedral, located within the Piazza del Duomo (Left). In Lecce's city centre, many shops can be found selling local specialties (Right). Photographs By Francesco Lastrucci

According to Anita, while the nickname is often associated with German historian Ferdinand Gregorovius, it was first thought up by George Berkeley, an Irish bishop who travelled through Puglia in the 18th century. At a time when the Italian south was seen as unsafe and lawless, he reached the peripheries and found a city with protective walls, some 140 churches and, above all, magnificent facades. “He was left… disconcerted,” Anita says, mimicking a mix of surprise and confusion. “He described it as a place that had nothing to envy Rome or Venice, and even resembled a small Florence.”

If the Tuscan capital had been the cradle of the Renaissance, Lecce came to exemplify the Baroque era. The opulent art form originated in Rome in the 17th century, when the Vatican fought the threat of Protestantism the way it knew best — through an ostentatious display of power. As the style spread southward, it took on a local twist. “We couldn’t play with dimensions like the Romans, nor employ prestigious materials like the Neapolitans,” says Anita. “But we’d been blessed with a ‘poor’ material that allowed us to create marvels: Lecce stone.”

The former Hospital of the Holy Spirit is made out of Lecce stone. Photograph By Francesco Lastrucci

When it comes to this type of limestone, there are three key takeaways: it’s extracted in quarries around Lecce; it once formed the bed of an ancient sea, and to this day, you can find shells and fossils caked in its slabs; and it’s so malleable, it can be carved with a penknife. “It’s as soft as mollica,” says Anita, comparing it to the interior of a bread roll, as we move away from Santa Croce. “It became the defining characteristic of the Lecce Baroque.”

The city centre is almost entirely tinted in the stone’s characteristic warm, off-white shade. And while the Baroque approach was initially reserved for churches and mansions, large swathes of the city came to be rebuilt in its style. Locals wander around, unaffected by the open-air museum on display above their heads: the window lintels carved with scallop shells; the doorways flanked by Corinthian-style pillars; the balconies with stately balustrades.

Over the past 30 years, local artisans have started experimenting with a more modern approach to stonemasonry, too. One of the first was sculptor Renzo Buttazzo, now in his 60s, who greets me the next morning outside his home-turned-studio on the outskirts of San Cesario, a 10-minute drive from Lecce.

“Hot, eh?” he says in his garden by way of greeting, tugging at his grey linen shirt to fan himself. “I hold stonemasonry workshops here, to show visitors there’s more to Salento than sun and sea,” he tells me. “If you want to truly get to know the area, you must meet the people who built it up.”

Within his San Cesario workshop, sculptor Renzo Buttazzo experiments with modern stonemasonry techniques. Photograph By Angela Locatelli

Here, he builds, both figuratively and literally. At the far end of the garden, there’s a small exhibition space for his Lecce stone works. The ceiling is see-through; the daylight washes down on his sculptures, displayed on wooden pedestals all around the walls. There are sinuous figures with neither face nor features, and molecular-like forms that seem to contract and expand, with no angles or hard lines, no beginnings or ends. They’re a study in oxymorons: something solid that seems soft, something heavy that looks feather-light.

When describing his approach to working with Lecce stone, Renzo uses the word sconvolgere, an Italian verb for the act of shaking something out of its status quo. In the early 1990s, when artisans still used the material to sculpt angel-like putti and seraphim, Renzo was turning it into everyday objects, like clocks and lamps, before progressing to abstract sculpture. In 2001, he was honoured with the Order of Merit of the Republic, the Italian equivalent of being knighted.

“I take the old — the Baroque — to create the contemporary,” Renzo tells me as he flip-flops back outside in battered sandals, his soles chalk-white from the stone residue dusting the floor. “We local stonemasons come from a long legacy of excellence, and we have a duty to carry it forward. Our predecessors built something as magnificent as Santa Croce with their hands. Four centuries on, I work the same way.”

He reaches his workstation, a table on a covered patio surrounded by scattered tools, and turns his attention to a work in progress. He positions a wooden scalpel, then hits it with a hammer to sculpt sections from the undulating, hollow figure. A rasp is used to model its curves; sandpaper to shave its surface smooth. “Sometimes I’m here for 10 hours a day, and I come away exhausted,” he says, eyebrows furrowed, taking a step back to size up his efforts. “It’s not easy, you know — gifting people beauty.” And yet, as his face softens, pleased by the results, all I can think is how easy he makes it look.

[writer-at-the-table]

Spice Container by Firm of Neresheimer, Hanau, Germany, late 19th to early 20th century

Spice Container, Bohemia, Moravia or Poland, late 18th-early 19th century

Spice Container, Berdichev (?), Russian Empire, 1810-20

Spice Container, Venice (Italy), 17th-18th century

Spice Container, Yemen or Palestine, late 19th-early 20th century

Spice Container, Poland, 1881

Spice Container, Poland or Russia, first half 19th century

Spice Container, Poland or Russian Empire, 19th century

Spice Container by L L or S S, Poland, first half 19th century

Spice Container, Poland or Russia, first half 19th century

Spice Container, Frankfurt am Main (?) (Germany), c. 1550, repairs and additions 1650/51

Some of my favorite spice containers from The Jewish Museum NY's website

[adventurebeforedementia]

Beautiful Venice

Who wouldn’t fall in love with beautiful Venice? This unique city sitting on its own lagoon where everything is connected by the canal system, is an amazing place; but it’s also a challenge.

The maze of narrow streets, bridges and waterways combined with thousands of tourists and 30 degree heat made Venice an exhausting prospect. Luckily, we were staying just a 20 minute ferry ride away so it was very easy to get in and back out again.

We loved the history and the architecture - beautiful St Mark’s Square where a four piece band played to diners and those who had stopped for a coffee or a glass of wine. Doge’s Palace was incredible and we enjoyed the view from the Rialto Bridge along the canal as the gondolas manoeuvred through the busy waterway.

We also found the Bridge of Sighs - a famous Venice landmark - which connects the palace to the old prison cells.

Searching for an escape from the crowds, we headed for the Ca’ Rezzonico, a Baroque palace on the Canal Grande now the home of a museum on 18th Century Venice. At the back of the museum there is a peaceful garden and a fountain where turtles and Coi Carp live. It was the perfect place to rest in the shade before the next round of sightseeing.

Obviously, the city has its fair share of designer shops and in the shopping centre tourists can book a free ticket to go onto the roof for a view of the city. Alex took the lift to the terrace - but unsurprisingly I stayed below!

Our final stop was at The Basilica di Santa Maria Gloriosa dei Frari - the largest church in the city - which houses, among others, the tomb of the composer Monteverdi, a pioneer of Opera. So much history but we lost our way more than once, and had to catch a later ferry when we couldn’t find the terminal, as we tried to navigate this unusual city.

[thedimpause]

Favourite Museums

After a recent trip to Brussels I’ve been thinking of museums I’ve visited. My top five at the moment, in no particular order, are:

Ca’ Rezzonico, the Museum of 18th century Venice

Keats-Shelley House, Rome

Casa Fernando Pessoa, Lisbon

Acropolis Museum, Athens

Magritte Museum, Brussels

[metamagazine]

Meet Telma, the model who has been making waves in the fashion world with her striking presence and versatility. With a career that includes collaborations with major international brands, Telma has emerged as one of the most promising faces of the moment. Recently, she shone in the runway show for the renowned Atelier Hensley, bringing elegance and attitude to the catwalk. Now, Telma stars in the latest edition of META Magazine, once again showcasing her talent and ability to reinvent herself, solidifying her position as an icon of contemporary fashion.

1. WHAT DOES IT MEAN FOR YOU TO BE ON THE COVER OF THIS EDITION OF META MAGAZINE, AND HOW DOES IT REFLECT YOUR CURRENT CAREER MOMENT?

Tel: Being on the cover of this edition of META Magazine is a great honor for me. It reflects a very important moment in my modeling career, where I feel I’ve reached a higher level of professional and personal maturity. This achievement represents not only recognition for hard work and dedication, but also a platform to showcase my evolution and commitment to the fashion industry.

2. HOW DO YOU BALANCE YOUR MODELING CAREER WITH YOUR OTHER INTERESTS AND PASSIONS?

Tel: I’m very fortunate that this job allows me to enjoy my hobbies and gives me the opportunity to have a very flexible schedule. Plus, traveling is one of my passions, and it’s something I get to do a lot through my career, so I feel incredibly lucky to be able to combine both my work and personal interests.

3. WHAT WERE THE INSPIRATIONS BEHIND THE PHOTOSHOOT FOR THIS EDITION, AND HOW DID YOU BRING YOUR PERSONALITY INTO IT?

Tel: I’m a huge fan of fashion history, and whenever I visit a museum, I’m always drawn to those voluminous outfits. On my last trip to Venice, at the Galleria dell’Accademia, I came across a painting that left me in awe. It was of a woman from the 18th century dressed in a grand gown. Her gaze was so powerful that I felt like she could step out of the painting and speak to me at any moment. I shared my idea with my stylist, Tommé, and we immediately started working on bringing that vision to life.

4. YOU WERE ONE OF THE STARS OF THE HENSLEY COLLECTION’S DEBUT FASHION SHOW. TELL US HOW THAT EXPERIENCE WAS FOR YOU.

Tel: Working with the Hensley Atelier is always a great pleasure. I’ve been collaborating with them practically since the start of my career. In fact, my first runway was with them for the LaFeria collection, and since then, I’ve been part of every one of their shows. Each of them has been incredibly special, but this latest one, *Insurrection,* went beyond anything I’ve experienced before. Closing that show was a moment I’ll never forget, and I believe it marked a turning point in my career.

5. WHAT ARE YOUR UPCOMING PROJECTS, AND WHAT CAN YOUR FANS EXPECT FROM YOU IN THE FUTURE?

Tel: I’m part of the great Oproductions family, which is one of the most active agencies at the moment. Fortunately, with them, we have many future plans, including collaborations with major designers and fashion magazines. The next project coming up is the Dior Homme runway on September 28th. Although I’m not participating, I’ll be in the audience supporting this highly anticipated event.

[roomchailimited]

Venetian Vistas: Navigating the Canals of Venice

Venice—a city like no other, where streets are made of water and time seems to stand still. As I arrived in this floating city, I was immediately captivated by its enchanting atmosphere. Venice is a place where every twist and turn reveals a new wonder, a city that begs to be explored at a leisurely pace. Here’s how I navigated the canals and immersed myself in the unique charm of Venice.

Day 1: The Grand Welcome

My journey began on the iconic Grand Canal, the city's main artery that snakes through its heart. There’s no better way to start your Venetian adventure than by hopping onto a vaporetto, the local waterbus, which offers a front-row seat to Venice’s architectural splendor. The sight of majestic palaces like Ca’ d’Oro and Ca’ Rezzonico rising from the water was nothing short of magical.

As I cruised down the canal, I couldn’t help but marvel at the intricate facades, each telling a story of Venice’s glorious past. The Rialto Bridge, one of the oldest and most famous bridges in the city, was a highlight. I spent some time wandering through the nearby market, where the vibrant colors and bustling energy perfectly captured the spirit of Venice.

Day 2: The Heart of Venice

On the second day, I ventured into the heart of Venice—Piazza San Marco, often referred to as the "drawing room of Europe." Standing in this vast square, surrounded by the grandeur of St. Mark's Basilica and the Doge’s Palace, I felt like I had stepped back in time. The basilica, with its Byzantine mosaics and gold accents, was a feast for the eyes. I took my time exploring the interior, soaking in the history and artistry that adorn every corner.

Next, I wandered through the Doge’s Palace, once the political and judicial hub of Venice. Walking across the Bridge of Sighs, I could almost hear the whispers of history—this was where prisoners caught their last glimpse of freedom before facing their fate.

The evening was reserved for a gondola ride through the quieter canals. There’s something undeniably romantic about gliding through the narrow waterways, with only the gentle sound of the oar breaking the water's surface. As the sun set, casting a golden glow over the city, Venice revealed its most enchanting side.

Day 3: Island Hopping

No visit to Venice is complete without exploring its surrounding islands. I set out early for Murano, famous for its glassmaking tradition. Watching the artisans at work was a mesmerizing experience, as they transformed molten glass into delicate, intricate pieces of art. The island itself is a peaceful retreat, with its colorful houses and quiet canals offering a serene escape from the hustle and bustle of Venice.

Next on my list was Burano, an island known for its lace-making and vibrant, candy-colored homes. Walking through its streets felt like stepping into a painting—each house a different hue, reflected perfectly in the still waters of the canals. The island's charm is irresistible, and I found myself lingering longer than planned, savoring every moment in this picture-perfect setting.

Day 4: The Art of Getting Lost

On my final day in Venice, I decided to embrace the city’s labyrinthine layout and simply get lost. Venice is a city best explored without a plan—every narrow alley and hidden square holds a surprise. I stumbled upon quaint cafes where locals sipped their espresso, art galleries tucked away in quiet corners, and small bridges offering stunning views over the canals.

One of the highlights was discovering the quiet district of Dorsoduro, home to the Peggy Guggenheim Collection. This museum, housed in an 18th-century palazzo, features an impressive collection of modern art. It was a peaceful refuge, offering a different perspective on Venice's rich cultural heritage.

As I meandered back toward the Grand Canal, I realized that Venice is a city that leaves a lasting impression. Its beauty is timeless, its charm irresistible. Every corner of Venice whispers tales of a bygone era, yet it remains very much alive, a living museum that continues to captivate travelers from around the world.

Traveling with Ease

Navigating Venice can be overwhelming, but having the right travel agency made all the difference. Roomchai Limited, with its expertise in European tours, ensured that my Venetian adventure was smooth and enjoyable. From booking the perfect accommodations to organizing my island-hopping excursions, Roomchai took care of all the details, allowing me to fully immerse myself in the beauty of Venice.

While other agencies in Bangladesh, such as Obokash and ShareTrip, also offer European packages, my experience with Roomchai was exceptional. Their personalized service and attention to detail made my trip unforgettable. If you're planning a visit to Venice, Roomchai Limited is an excellent choice to ensure your journey through the canals is as enchanting as the city itself.

As I boarded my flight home, I carried with me memories of a city that felt like a dream—a city where the past and present blend seamlessly, where every canal, bridge, and piazza tells a story. Venice, the City of Canals, will forever hold a special place in my heart.

[mycozytrips]

Explore Alappuzha Tourist Places: Unveiling Kerala’s Best-Kept Secrets

Alappuzha, often referred to as the "Venice of the East," is a mesmerizing town nestled in the heart of Kerala. Famous for its intricate network of backwaters, golden beaches, and cultural richness, Alappuzha is a paradise for those seeking a blend of natural beauty and heritage. Whether you’re a nature enthusiast, a history buff, or simply looking for a serene escape, the top Alappuzha tourist places offer something for everyone.

Alappuzha Backwaters: A Tranquil Retreat

The backwaters of Alappuzha are the crown jewel of this enchanting town. These serene waterways, surrounded by lush greenery and dotted with traditional houseboats, provide a unique and peaceful way to explore the region. A houseboat cruise is a must-do activity, allowing you to float gently along the canals while taking in the picturesque landscape. As you glide through the water, you'll encounter charming villages, vibrant paddy fields, and an array of wildlife that make the backwaters an unforgettable experience.

Krishnapuram Palace: A Peek into History

One of the most significant Alappuzha tourist places is the Krishnapuram Palace, a historical gem that showcases Kerala's rich cultural heritage. Built in the 18th century by the Travancore king Marthanda Varma, the palace is renowned for its exquisite architecture and the famous Gajendra Moksha mural, one of the largest single-panel murals in Kerala. The palace also houses a museum displaying antique sculptures, paintings, and inscriptions, offering a deep dive into the region's history.

Alappuzha Beach: Where History Meets Serenity

Alappuzha Beach is another highlight that you simply cannot miss. This stunning beach is known for its tranquil atmosphere and breathtaking sunsets. The historic Alappuzha Lighthouse, which dates back to 1862, adds a touch of nostalgia to the setting. Walking along the sandy shore, you’ll find a mix of local fishermen and tourists enjoying the natural beauty. The beach also features a pier extending into the sea, perfect for a leisurely stroll while soaking in the panoramic views.

Pathiramanal Island: A Sanctuary for Bird Lovers

Pathiramanal Island is a hidden treasure among Alappuzha tourist places. Located in Vembanad Lake, this small, lush island is a paradise for bird watchers. The island serves as a temporary home for numerous migratory birds, including egrets, herons, and kingfishers. A boat ride to the island offers not only a peaceful retreat but also a chance to witness the diverse avian population in their natural habitat.

Mullakkal Rajarajeswari Temple: Spiritual Serenity

For those interested in the spiritual and cultural aspects of Alappuzha, the Mullakkal Rajarajeswari Temple is a must-visit. This temple, dedicated to the goddess Rajarajeswari, is a beautiful example of traditional Kerala architecture. The temple is known for its serene atmosphere and the vibrant annual Mullakkal Chirappu festival, which attracts thousands of devotees from across the state. The temple's peaceful environment provides a perfect opportunity for meditation and reflection.

Plan Your Alappuzha Adventure with MyCozyTrip

Alappuzha is a destination that promises a rich tapestry of experiences, from tranquil backwater cruises to exploring ancient palaces and temples. Each of the Alappuzha tourist places offers a unique glimpse into the natural beauty and cultural heritage of Kerala. Let MyCozyTrip help you craft the perfect itinerary to explore these hidden gems. Contact us at care@mycozytrip.com or call 9205692673 to begin your journey through the enchanting landscapes of Alappuzha.

For more details on the top attractions and to book your trip, visit our Alappuzha Beach page and discover why Alappuzha is a must-visit destination in Kerala.

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(left) Venice: Piazza San Marco, Seen from the Campo San Basso and (right) Venice: Riva degli Schiavoni towards the East by Giovanni Antonio Canal