Navigating lesser known parts of the city, visitors stumble across shadowy junctions, dead ends, and hidden turnings. The vast labyrinth of narrow alleyways and blank courtyards create a sense of mystery and intrigue. Numerous covered passageways link calli and enclosed spaces, they are a unique feature of Venetian architecture which the locals call sotoporteghi.
Getting lost in Venice is so easy because there can be multiple names for the same place, like Sotoportego del Tamossi, in San Polo. It is named after the Tamossi family, now extinct. The arcade is also known as Sotoportego de la Furatola referring to a type very small shop selling fried fish and offal.
Historically, Venice was known as a place of menace and danger; the sense of apprehension and foreboding most keenly felt in the older, more extensive sotoporteghi. A shrine embedded in the wall of a dark passageway, containing a candle or lamp, bestowed light in addition to providing an opportunity to stop for moment of contemplation and prayer. The altar shown in my photograph is now protected by iron bars, and illuminated with an electric bulb.
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| Sotoportego de la Pasina |
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| Codega |
Until the introduction of proper street lighting in the 18th century, those who could afford it hired a professional guide with a lamp, known as a codega.
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| Street shrine di Corte Nova |
Street Shrine against the Plague.
Niches, reliefs and statues dedicated to the Madonna decorate the streets and passageways of Venice.
The 17th century Sotoportego di Corte Nova is unusual in that it served as a chapel for prayers of salvation from the plague of 1630.
Niches, reliefs and statues dedicated to the Madonna decorate the streets and passageways of Venice.
The 17th century Sotoportego di Corte Nova is unusual in that it served as a chapel for prayers of salvation from the plague of 1630.
A plaque above one of the entrances recounts the story of a local woman who told her neighbours that their faith in the Madonna would protect them from the pestilence. She painted an image of the Madonna with Saints and put it in this sotoportego. The residents of this part of Castello remained healthy and they believed the miraculous power of the Madonna kept the plague from passing through the shrine into their neighbourhood.
Once housed in the Sotoportego di Corte Nova, four 17th century votive paintings, illustrating Venice struggling to overcome the plague through divine intervention and medical assistance, were removed due to their precarious condition. Recently restored, they are now permanently housed nearby in the church of San Francesca della Vigna.
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