Carpaccio and a Greek Orthodox church, Venice 2025

Bill and I discovered the Castello neighbourhood of Venice on this trip. It is the large area north of the busy St Marks Square. It is quiet and full of wonders.

One morning when we crossed the Ponte de la Comenda

we had no idea we were about to find the Scuola Dalmata with it's treasure trove of Carpaccio masterpieces.

The lower space is small and low ceilinged with an arched door leading to a second floor.

We were astounded to see Carpaccio's Saint George and the Dragon (1516) which we had only ever seen in art books

We were delighted by Saint Jerome presenting his lion to the terrified monks. Jerome is the one who took a thorn from a lion's foot and got a lifelong friend.

Carpaccio's Vision of Saint Augustine with its loyal little dog was another one we knew only from books.

I led the way to the upper floor

where we found a lush room

with a gilded wooden altarpiece: St George again,

and this beautiful metal plaque with light gently raking across the surface.

 We admired the view of the canal. We had seen a bell tower earlier so we knew there would be a church.

We found the bell tower beside the Church of San Gregorio dei Greci (St George the Greek).

We walked around the church before going in.

The interior is stunning with tightly placed Greek icons and ample light through large windows.

The churches interior is small but rich in colour.

We looked for a long time. We had the church to ourselves, ten minutes from the tumult of St Mark's Square.

Don't miss the amazing Museum of Icons next door. They have Greek Orthodox icons from the 14th to 17th centuries. No photos, but we bought dozens of postcards.

Church of San Zaccaria, Venice, 2025

Bill and I stepped out of the quirky Correr Museum and gazed down the piazza toward the magnificent Basilica of San Marco. But that was not our goal today.

A ten minute walk from the chaos of St Mark's Square is a quiet piazza in front of the Church of San Zaccaria.

Let's go have a look at the treasures inside.

On the left wall of the nave is Giovanni Bellini's Virgin and Child with Four Saints, 1505, one of his finest paintings. 

It is possible to have it all to yourself.

On the opposite wall an overwhelming collage of 17th and 18th century paintings.

Try to make time to visit the chapels and the crypt.

You will see how the Golden Chapel got its name. We found this gorgeous altarpiece in restoration.

These Gothic altarpieces

reward close attention.

Be sure to look down at the 12th century mosaic floors.

Here's a closer look.

We walked back through St Mark's Square and past the boutiques beyond. I had been thinking about a Venetian makeover and was thrilled to find my new signature outfit.

Santa Maria Gloriosa dei Frari, 2025

The Basilica of Santa Maria Gloriosa dei Frari is one of Venice's most beautiful churches. 

We call it the Frari. This front entrance is no longer used.

We now enter through this side entrance.

Down near the original entrance Bill lit a candle for a recently departed friend.

Our candle, among others, in front of the Altar of St Anthony of Padua (Giacomo Di Caterino, 1450).

A view down the nave of the church.

Walking toward the altar we pass through the Wooden Choir, built by Marco and Francesco Cozzi in 1468.

Titian's Assumption, 1518, is one of his masterpieces and one of the most famous paintings in Venice.

It really is stupendous. We took a seat in the pews and looked at it in wonder for a long time.

Taking a break from the Titian I liked this group of folding chairs grouped out of the way under an unlabelled painting.

Crucifixion painted in the 13th century.

To the left of the Assumption we found this beautiful triptych of St. Mark enthroned with Saints by Vivarini, an artist we didn't know, 1474.

Donatello sculpted this St John the Baptist in 1438.

A small, but compelling, decoration near the main altar.

This Giovanni Bellini Madonna with Child and Saints from 1488 is one of the Frari's other masterpieces.

We're back in the front of the church to have a better look at the other major Titian in the church. It is at the bottom right in this photo.

It is called the Madonna di Ca'Pesaro, 1526.

Church of Madonna dell'Orto, 2025

In the north of Cannaregio is the church which for decades Tintoretto attended with his family.

The church of Santa Maria dell'Orto is in the campo and on the rio of the same name.

It has one of the most beautiful facades in Venice -- like a gingerbread cookie with piped icing.

This is the view down the nave from the entrance.

On either side of the altar are two of the enormous, multi-figure, paintings for which Tintorettto is famous. On our right we find The Last Judgement of 1563.

On the opposite side is his Worship of the Golden Calf, 1560. Tintoretto put these here even though from where we are able to stand it is almost impossible to see them.

The Chapel of San Mauro contains a wonderful picture gallery of Venetian Saints and Blesseds.

Tintoretto painted in the church for decades. It is a treasury of his works. In the centre a Nativity from 1630.

Bill and I were most interested in Tintoretto's Presentation of the Virgin, 1553. It is hanging from the ceiling in front of the Mauro Chapel so it is easy to see.

A little girl at the bottom of the stairs has her attention drawn to the Virgin at the top.

Venice is full of stairs. Tintoretto had lots of examples to paint. Have pity on these tourists in front of the train station climbing the Scalzi Bridge.

The dell'Orto also has works by other painters. Crucifixion by Palma il Giovane, 1680.

We'll end our tour with Titian's Tobias and the Angel, 1545.

When you exit the church and look across the rio the ordinary beauty of Venice is there to delight the eye.

This is the canal to the right of the building.

A bas relief on the west side of the Campo dell'Orto.

And a close-up. Venice is full of quiet excellence.