Saturday, 30 October 2010:  Venice


Arrival in Venice

Both Henry James and Thomas Mann told their readers that the finest way to see Venice—for them the only way—is to approach by sea. And although a vaporetto ride from the Lido to San Marco will serve in a pinch, there is nothing quite like the first glimpse of domes and campaniles rising in the mist as the Queen Victoria approaches the entrance to the Venetian Lagoon.

The ship nears Venice about 11 am and almost all passengers gather on the upper decks to watch as we sail past the outlying islands and the almost-completed system of flood-gates that will remain under water and out of sight until, when needed, they are pumped full of air and rise to the surface to keep the sea from its usual flooding of the city. Water traffic increases as we sail closer to the Lido and the small islands that dot the lagoon. A flotilla of small craft accompanies the Queen Victoria as she passes into the convergence of the Grande and Guidecca Canals.

 









Although the main marine terminal is on the other side of Venice close to the train station and the Piazzale Roma (where all cars are parked), our ship docks quietly alongside Riva dei Sette Martiri, just a short walk along the waterfront to Piazza San Marco. The juxtaposition of the behemoth ship and the two- and three-story buildings that line the Riva is remarkable—and causes quite a few stares from the local populace and tourists. We will remain docked here until 9 pm tonight, when the ship will sail up the Guidecca Canal to the Stazione Marittima for tomorrow’s debarkation (and provide a series of glorious nighttime views from the balcony of our stateroom).

Afternoon:  Venice by Water

The agenda for the afternoon is a boat ride that first takes us to the small island of San Giorgio Maggiore, that sits in the water across from the welcoming dome of Santa Maria della Salute and the façade of the Palace of the Doges. The highlight of the island is the Basilica San Giorgio Maggiore, designed by Palladio, that contains a series of paintings by Tintoretto, including “Collecting the Manna” and “The Last Supper” above the high altar.

Our second visit is to the island of Murano, famous for its glass-blowing workshops, where artisans still craft all the works by hand. The museum and showroom we visit contain room after room of the most fantastical and imaginative glassworks—from practical lamps and chandeliers to fanciful sculpture and decorative pieces. There are immense chandeliers hanging everywhere, in colors from monochromatic black and white to exploding arrays of multi-color combinations. But I am most impressed by some of the more contemporary pieces. Unfortunately, no picture-taking is allowed. It’s a good thing these pieces are all too fragile and expensive to transport!

The motorboat takes us back to San Marco where we embark on a—yes, it’s the cliché of tourist travel; expensive, but worth every penny—gondola ride through a series of small canals. We have time to wander about Piazza San Marco and some of the surrounding streets before returning to our ship, exhausted and exhilarated. Sadly, the romantic mood doesn’t last for long because we have to pack and put our bags outside the stateroom door before 11 pm tonight.

Luckily for us, tonight is the end of Daylight Savings Time across Europe and we will get an extra hour of sleep before we have to leave the ship in the morning.