Glassmaking in Murano comes from a common thread in Venetian history - the status of the settlement as a bridge between west and east. Glassmaking was an art that had reached a height in the countries of the Middle East - particularly in Syria, Egypt and Palestine - and Venice, looking outwards to the sea as always, was fertile soil for the specialised skills of the trade.

As Venice’s trade grew with the Orient, typified by the journeys of Marco Polo and his uncles, so the skills from that area began to flow - along with the trade goods - along the return route.
This is not to say, however, that glass was an unknown quantity in Italy before this time. The Romans had used glass - cut from a moulded piece rather than blown - for illumination in bathhouses. And what was probably one of the first glass furnaces on a Venetian island - dating from the 8th century, so archaelogists think - was discovered in the 1960s. Not on Murano, however, but on its more important neighbour in those days, the island of Torcello.

The fact that glass-blowing was more an Eastern skill than a European one played in Venice’s favour as it, along with its bitter rival, Genoa, had the best connections to that area.
The Development of Murano

Many sources suggest that glassmaking was concentrated on the island of Murano because of the risk of fire from the furnaces on the more heavily populated areas of Rivo Alto and Dorsoduro. However, it is also highly likely that the industry was easier to control and influence when it was in one particular place.

As with the Arsenale, the Venetian authorities aimed to reward and guard a vital industry by keeping it comfortable within a “gilded cage”. Incentives and conditions for workers and employers were strictly regulated by the administrators of the government body controlling the glassmaking industry.
And for a long time workers who left the island were forbidden from ever working again within the industry on Murano - a measure taken to stop the outflow of secrets and skills from the island.
Whatever the reasons for the concentration of glassmakers within such a small area, the effect was a tremendous cross-fertilisation of ideas which led to the leading role of Venetian glass within Europe.
Ruling the Continent

The popularity of Venetian glass in the 15th and 16th centuries was fuelled by its expertise in producing clear glass - cristallo - or the white glass mimicking porcelain - lattimo. The practice of enamelling glass, which had originally spread from the Middle East, was also highly popular at the time. Venetain mirrors, too, were in great demand.

The evident prosperity of the glassmakers’ guild on Murano of course attracted attempts at competition elsewhere in Europe and Italy and Venice was forced to intensify its carrot and stick approach to the industry.

The ranks of master and assistant glassblower were opened up to allow non-residents an honorary citizenship of Murano - subject to the same rights and restrictions, of course - and, at the same time, steps were taken to close glass furnaces operating in other parts of the territory controlled by the Venetian Republic by force.

In the time of its greatest popularity, Murano was visited by crowned heads, popes and the leading businessmen of its time - all attracted by glass “à la façon de Venise”.
Seeds of Decline

As with the Republic itself, the seeds of an eventual decline were hidden within the apparent success. Knowledge attempts to be free and, despite best efforts of the guilds, the government and the feared secret services, enough seeped away from the island to allow rival enterprises to start.

Merchants who had experience of commerce with Murano set up their own factories in France, Belgium and Austria. The repeated bouts of plague necessitated frequent relaxations of the strict employment laws to attract a sufficient number of workers. And, eventually, a new technique arose to challenge the pre-eminence of Murano glass - leaded glass - which developed bases in the UK and Bohemia.
Times of Hardship

The 18th century saw the seeds of decay start to flourish, and the furnaces of Murano were hit with worker discontent as one after another was forced to close and unemployment grew.
The relative decline in the importance of Venice as a power on the political stage also meant that it was less effective in policing its extensive and restrictive rules.

Even an unexpected niche boom - led by a manufacturer of glass chandeliers - exemplified the decline. After centuries of seclusion the manufacturer was allowed to set up shop in Venice itself to keep his furnace and workers away from his jealous colleagues.

Occupation first by French and then Austrian troops put the finishing touches to the Serenissima - the Venetian Republic - and very nearly put paid to the glassmaking industry.
Modern Times

Glassmaking in Venice suffered under foreign rule and it was not until Venice was made part of Italy that the fortunes started to rise again. The Venice Biennale at the end of the 19th century showed that the spark of glass art was not dead and the early 20th century saw interest grow in using traditional techniques as part of a new movement.

The post World War II increase in visitors and interest in Venetian history has brought criticism that much of the “tourist glass” produced is a) not even made in Murano and b) unworthy of its pedigree. But, on the other hand, the current interest has also enabled the development of specialist lighting and jewellery producers - as well as the high end glass sculptors and artists.

The Venice Naval History Museum is located in the Campo San Biagio in the eastern Castello district, a short walk from the Arsenale vaporetto stop.

The main entrance to the museum is flanked by two enormous anchors seized from Austrian battleships during the First World War.

The first floor contains a collection of Second World War artillery pieces and torpedoes. It also houses an exhibition dedicated to the memory of the 18th century admiral, Angelo Erno, who won some minor naval engagements against Algiers and the Bey of Tunis, and who reorganised the Arsenale in a vain attempt to maintain Venetian naval power.

Admiral Erno, arguably Venice’s last military hero, died just five years before the city’s conquest by Napoleon in 1797.

The first floor of the museum also houses  a 16th century frieze by Fernando Bertelli which depicts Venice’s famous victory against the Ottoman Empire at the battle of Lepanto in 1572.
A large section of the second floor is dedicated  to another naval hero, Admiral Morosini, who drove the Turks out of the Pelopponese in the late 17th century. Despite his military achievements, Admiral Morosini is probably best known for his scandalous bombardment of the Parthenon during the siege of Athens in 1687.

The Morosini exhibition includes the admiral’s triangular silk banner and several sculptures and engravings which formerly adorned his flagship.

Admiral Morosini became Doge of Venice in 1688, but was unable to continue his invasion of Greece after a plague epidemic depleted his navy. Instead he sacked several Dalmatian coastal towns whose inhabitants had refused to pay Venetian taxes.

In addition to the Morosini exhibition, the second floor contains an exquisite collection of model ships which are correct in virtually every detail.

The collection includes military and merchant ships but the most impressive item is undoubtedly the model of the Bucintoro, the Doge’s ceremonial barge.

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Venice is a must! Any vacation in Venice is bound to seem too short, there is so much to see and do here. Visit the Doge’s Palace to see masterpieces by Titian, Veronese and Tintoretto, or enjoy local delicacies over a coffee in Saint Mark’s Square before touring St. Mark’s Basilica nearby. Wander Venice’s narrow streets and canals and you’ll find many wonders, like the ghetto, the oldest Jewish ghetto in Europe, or the S. Maria Gloriosa dei Frari, where you can find originals by Titian and Bellini. Enjoy shopping in the Mercerie, or take a trip down the canals and pass under the Bridge of Sighs and the Rialto Bridge. Venice’s famous grand canal is widely considered to be the most beautiful street in the world, see for yourself if you agree. Venice contains an endless variety of bars, restaurants, museums, churches and shopping areas, all easily accessed from your rental apartment in the city’s famous and historic centre. Venice is one Europe’s most exciting cities; diverse, multicultural and friendly. Whatever your taste or experience - like the carnival, the historical regatta or the reedemer’s ceremony - this charming and unique city is certain to win a place in your heart.

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   The Site -Napoleonic Wing
The design and initial building work on the Napoleonic Wing dates from the years when Venice was part of that Kingdom of Italy (1806-1814) of which Napoleon was sovereign and his stepson, Eugene de Beauharnais, was Viceroy.
The site had previously been occupied by the Church of San Geminiano - an ancient foundation that had been rebuilt in the mid sixteenth century by Jacopo Sansovino - and ran between the Procuratie Vecchie and Nuove, the two long arcades of buildings which extend the length of St. Mark’s Square and had housed the offices and residences of some of the most important political authorities of the Venetian Republic.
Originally designed as a residence for the new sovereign, the Napoleonic Wing would only be finished in the middle of the nineteenth century, when Venice was under the rule of Austria; hence, it served as the official residence of the Hapsburg Court during its frequent visits to the city, and after would become the Venetian residence of the king of Italy.
Complete with monumental double facade, atmospheric portico, ample staircase, and opulent Ballroom, the Napoleonic Wing was designed by the architects Giovanni Antonio Antolini, Giuseppe Soli and Lorenzo Santi. In the 1820s the latter would be responsible for the layout of the entire Royal Palace complex, which now occupied the Procuratie Nuove as far as the Biblioteca Marciana, part of the building that had once housed the Venetian Mint, and the grounds of what became known as the Giardinetto Reale.
The Venetian painter Giuseppe Borsato worked on the decoration of the interiors, producing a personal and very careful interpretation of the Empire style, clearly influenced by the French architects and interior decorators Percier and Fontaine and the Biedermeier style that then prevailed in most of the major royal courts of Europe.
The frescoed ceiling of the Main Staircase - showing The Glory of Neptune - was painted by Sebastiano Santi in 1837-38.
The building has maintained many of the distinctive features of the Napoleonic and Hapsburg periods; neo-classical influence in architecture, decor, frescoes and furnishings make it an important record of the culture and style of a period. Here the refinements of French taste go together with an interest in the traditions of Italian art - an interest that had been reawakened by the archaeological discoveries made in the second half of the eighteenth century (above all, at Pompeii). The result is an ideal context for the display of this collection of works by Canova.
However, the most important aspect of the Napoleonic Wing, which seems to set itself in deliberate contraposition to the old Doge’s Palace, is that this residence of kings and emperors was the expression of a desire to open up a new chapter in the history of Venice.

From the Correr Collection to the Venice Museum Authority
The Correr Museum takes its name from Teodoro Correr (1750-1830), a passionate art collector who was a member of an old family of the Venetian aristocracy. When he died in 1830, he left the city not only his works of art but also the palazzo at San Zan Degolà in which they were housed, plus funds to maintain and further extend a collection which was to bear his name and ultimately became the core around which the Venice Museum Authority developed.
Correr’s will was quite explicit about when and under what conditions his house was to be open to the public and to scholars, how many people were to work in maintaining the collection and even what funds were to be used for this purpose. These precise instructions indicate that what he had in mind was not only a place of scholarly research but also a veritable museum, a place in which to collect, conserve and exhibit works of various kinds.
However, initially the collection was not on display to the public as an organic whole; and though it was opened as early as 1836, it was only with its third Curator – Vincenzo Lazari – that one can say it became a museum proper. The objects within the collection were subdivided according to kind and carefully catalogued; and at the same time Lazari included new donations, purchased works with the museum’s funds and promoted restoration projects. As a result the museum was laid out as both a place of study for scholars and as an exhibition gallery containing noteworthy works and artefacts (in Lazzari’s own words “the best of what there is in each individual collection”). And although the curator was responsible for destroying objects and documents which he felt were not in keeping with the good name of the museum’s founder, it was due to his work that by the second half of the nineteenth century, the Correr had become a necessary stopping-off point for any scholars or visitors coming to Venice.
Thereafter the collection continued to grow through donations, bequests and acquisitions. From this core collection, the modern-day Venice Museum Authority would gradually emerge; and a series of different collections covering specific areas of the arts would eventually become a vast network of museums spread throughout the city.
The main stages in this growth and development are outlined below. Extended as a result of various donations – including the Molin, Cicogna, Sagredo, Zoppetti and Tironi collections (the latter two respectively comprising works by Canova and a range of paintings, bronzes and glass- and ceramica-ware) - the museum was first moved in 1887 from the Palazzo Correr at San Zan Degolà to the nearby Fondaco dei Turchi, with the entire layout of the exhibits being redesigned. Further additions around this time included the 1895 acquistion of the substantial archive and collection relating to Francesco Morosini.
In the meantime, on the occasion of the second Venice Biennale, the Venice City Council had begun the Muncipal Collection of Modern Art; and then in 1902 the designated home for that collection became Ca’ Pesaro, a prestigious baroque palazzo donated to the city by Duchessa Felicità Bevilacqua La Masa. This would also house the collection of paintings dating from the second half of the nineteenth century which Pompeo Molmenti left to the city in 1927.
In 1922, the Correr Museum was moved once again, to its present-day home in St. Mark’s Square, occupying the Napoleonic Wing and part of the Procuratie Nuove. It was, in fact, Molmenti – then Under-Secretary at the Ministry of Arts – who fought hard to make this location available.
At the same time, the Fondaco dei Turchi became the Natural History Museum, whilst in 1923 Palazzo Giustiniani on Murano was acquired to become a Museum of Glass. The various different glass collections would be relocated there in 1932.
In the meantime (1923) the State had conceded the management of the Doge’s Palace to the Venice City Council.
In 1931 would come the donation to the city of Ca’ Centanni, the house in which Carlo Goldoni had been born, and the city then one year later acquired Ca’ Rezzonico. Destined to house a museum of eighteenth-century Venice, this museum space was designed by Giulio Lorenzetti and Nino Barbantini, and in 1936 the various eighteenth-century works from the Correr collection were transferred here, along with other more recently acquired material.
In 1945 Alvise Nicolò Mocenigo donated his ancestral home at Sant Stae to the city.
With its collection of materials comprising the Centre for Theatre Studies, the Casa di Carlo Goldoni was opened to the public in 1952; and then, in 1956, Henriette Fortuny left the collections and home/studio of Mariano Fortuny to the City Council. The Fortuny Museum would open there in 1975, and six years later the Lace Museum would open in the old Scuola di Andriana Marcello on Burano.
The museum of Palazzo Mocenigo would open to the public in 1985, and its associated centre for the Study of Fabric and Costume contains –amongst other things – the fabric collections from the Correr.
In the 1990s this entire system of the city’s museums was renewed, with all the individual collections coming under a unified organisational structure.

The Lion of St. Mark is Venice’s mascot, at least among sculptors and decorators. In real life, the closest lion is probably at the Parco Natura Viva just outside Verona, 74 miles (118 km) away.With no living lions to reign over Venice, the local feline population has taken on a surrogate leonine role. Cats are seen everywhere in the city: sunning themselves on park benches, perched on bridges, wandering the streets, and dining on leftovers at the Rialto fish market.The beautiful city of Venice has a unique army of guardian cats -despite the animal’s reputation for not liking the water. Take them away and the city of the Doges would face a new danger: that of being gnawed away by rats as well as crumbling into the sea.

Just, the smell of cats is enough to frighten off the menace whose very name evokes hideous medieval images of the plague. If the cats were to disappear the rats would take over. Of course, some people do not like the smell of cat in the ruelles between the houses either -these are the same people who, when the good weather comes, complain of the noise the tomcats make.

But it is a price that has to be paid. Everyone recognises that in the fight against rodents the cat is our greatest ally. Cats have had the best of times and the worst of times in the city of Venice. During the Inquisition, in Venice as elsewhere in Europe, the cat was not spared. The Inquisitors, who saw witchcraft everywhere, accused the mysterious creature of being in league with the Devil.

Unjustly exterminated, by the time the crusaders had brought the Black Death back from the east, the cat was practically wiped out. In the people’s distress, as rats spread disease, the cats usefulness was proved. The citizens could see how essential they were to a city like Venice, where the little channels between walls and houses harboured rats and allowed them to multiply.

After this a typically Venetian breed of cat developed the result of crosses between the imported eastern cats and those native cats that still survived. Impressive, with its eyes the green of the lagoon, irresistibly reminding one of the wild cat, the Soriano -so called after the Syrian cat -has been the pride of the Venetians ever since, and they owe it an everlasting debt of gratitude.

For many people today the city and its cats are synonymous. Venice has its famous cats and its unknown cats, past and present. There are street cats and palace cats, and tourists come to see them as they come to see the gondolas, canals and glassworks. Today, 12,000 cats still look after the city of the Doges, which only has 80,000 inhabitants.

Clugia Minor, now Sottomarina, was razed to the ground by the Genoese troops in 1379, and the rebuilding started only four centuries later. Around the middle of the 18th century, the Venetian Republic planned the construction of a massive wall - then called ‘Murazzo’ - to protect the site from the frequent floods. The wall extends for about 1,2 Km in Sottomarina and for other 4 Km beyond the port of S. Felice, reaching Cà Roman and Pellestrina islands

Five dams of poles and the new S. Felice breakwater caused the formation of a huge beach, which extends for 6 Km reaching the mouth of the river Brenta, reaching at certain points, a maximum width of one Km. To the south, between the rivers Brenta and Adige, there’s a second wide beach, 3 Km long, the old ‘Bacucco’, now named Isolaverde.
ourist activities have grown in the area after World War Two. Sottomarina and Isolaverde now offer to the tourists several equipped areas for seaside activities.
The air is particularly rich in iodine; a light sea breeze constantly blows; the exceptional properties of the very fine sand enriched with lithological and micaceous elements (rock and silicate minerals) accent the action of the solar radiation, and, lastly, the high salt concentration levels of the water make Sottomarina and Isolaverde the right localities for anyone looking for an ideal beach - a beach that, without ‘pressing’ its guests, offers them everything: the best bathing facilities, safety and medical services for beachgoers and bathers, areas reserved for sports, meeting places for the young, and children’s parks.
Clugia Minor, now Sottomarina, was razed to the ground by the Genoese troops in 1379, and the rebuilding started only four centuries later. Around the middle of the 18th century, the Venetian Republic planned the construction of a massive wall - then called ‘Murazzo’ - to protect the site from the frequent floods. The wall extends for about 1,2 Km in Sottomarina and for other 4 Km beyond the port of S. Felice, reaching Cà Roman and Pellestrina islands.
Faithful to a long and recognised tradition of hospitality towards visitors, Sottomarina offers apartments for long or short periods as well as a wide choice of accomodation categories. There are exclusive hotels for those seeking every comfort at reasonable tariffs, or small guesthouses for anyone looking for a family atmosphere, or luxury residences or just simple bed & breakfast establishments. For those fond of the open air, the shores of Sottomarina are the right place. There are some fifteen camp-sites with their own private beaches, swimming pools, game parks and boat marinas and they can meet every visitors’ expectation: from well-equipped caravan or tent pitches to bungalows, from rustic arrangements to deluxe facilities.

For the month of August we can offer you apartments located in the centre of Venice at the special price:

1 week / 4 people

- Angelo blue  apart. (San Marco  area)
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Angelo red   apart.(san Marco area)
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Angelo yellow apart. (San Marco area)
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  - Cà Del Campiello ( Castello area )
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- Casanova 1 apart (Castello area) just 10 minutes walking distance to S.Marco
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The price is : 1150  eurosCasa Sant’Agostin ( San Polo area)
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 Ca D’Oro Holidays apart.( Cannaregio area)
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- Fenice apart. (San Marco area)
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 Frari apart. (Santa Croce area)
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The price is :  1000      euros-  Guglie apart. (Cannaregio area) with Canal view
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 San Marco apart. ( San Marco area)
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  San Rocco apart (San Polo area)
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The price is :  900       euros  - Stucky apart (Giudecca area) just 10 minutes by water boat to S.Marco
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             Island of Le Vignole

Le Vignole - Isola delle Vignole - is a rural island close to Venice, but not much visited by non-Venetians. It’s on a public ferry route, though, so it’s easy to make a short trip to the island, perhaps en route to the larger neighbouring island of Sant’Erasmo.

Travel

The number 13 ferry from Venice (Fondamente Nove) to Sant’Erasmo stops at Le Vignole. It runs approximately every hour, although occasional services may stop at Vignole by request only (information is displayed on current timetables).

About the island

Le Vignole is not an easy island to explore. The residents live in isolated farmstead-type buildings and are not keen on outsiders wandering through their land: fences, gates, barking dogs and ‘private property’ signs deter visitors from wandering the paths which locals obviously use as thoroughfares. From the ferry stop you can only walk a matter of yards on open ‘public’ path. This route leads away from the stop along a wide canal which divides the island, arriving at the island’s church: a little white chapel - kept closed. This is all that remains of a seventh-century church dedicated to St. Erosia.

The island is picturesque - a smaller and more unkempt version of Sant’Erasmo, and wildly different to its other neighbour, Venice. Some of the land is carefully farmed; in other parts canals wind through marshy undergrowth. In the distance, on the lagoon shore, are what appear to be ramshackle industrial buildings; there are also old fortifications which once guarded the sea entrance to the Venetian lagoon. The island is verdant and lively with nature; small birds hop around in green hedges, butterflies flutter and visiting wading birds probe the marshy waters for food.

I’m not sure how much I should advise exploring, given the abundance of ‘private’ signs. But if you do wander, you may come across moorings reserved for hired houseboats, smallholdings with goats and chickens, rows of vines and some picturesque views. Colourfully, though rather bizarrely, peacocks wander the island - I was once intrigued to see a picnicking family catch the ferry here clutching peacock feathers; my thoughts leapt to all those peacock carvings on Venice’s walls. When I see those stone bas-reliefs now, I can smile at the thought of the nearby island where real peacocks roam.

History of the island

It was the vineyards which gave the island its name; it also used to be called Isola delle sette vigne, Island of the seven vineyards. This was once a holiday spot for inhabitants of the mainland and of Venice. Later it acquired a more military function; the islands in this part of the lagoon had considerable strategic importance, as they face Venice’s principal entrance from the Adriatic sea (before the extension of the northern Lido di Cavallino, the sea came right up to their shores). One of Venice’s two main defensive fortresses, the Forte di Sant’Andrea, is on an island connected to Le Vignole. It’s still a military zone and can’t be visited, although you can admire the massive historic fortifications from ferries passing on the seaward side (try the LN Venice - Lido - Punta Sabbioni ferry from Riva degli Schiavoni, or the seasonal 18 from the Lido). Nowadays, like some of the other northern lagoon islands, Le Vignole seems forgotten and sleepy, although it is farmed and lived-in, rather than abandoned.

Refreshments

You’ll see elderly local ladies alighting from the ferry with their shopping trolleys; there’s next to nothing in the way of services on Le Vignole, although the residents grow plenty of fruit and vegetables. There’s a drinking water tap by the chapel and usefully for visitors, there are two places where you can eat and drink. Over the bridge from the chapel, a signposted gateway leads to the Trattoria alle Vignole, a simple restaurant with outdoors space on the shore of the lagoon, facing Venice. This trattoria is closed on Mondays and in winter (open from mid-April); its 200m-long approach path provides a welcome opportunity to see more of Le Vignole’s landscape. I spotted another peacock and a rather surprising clapped-out car parked in a field (there are no roads). There is also an agriturismo (farm holiday base), the Agriturismo da Zangrando, which serves meals five days a week in summer and less often in winter: it’s best to call ahead on 041 5284020.

A longer island trip

Since it’s on the route to Sant’Erasmo, you can combine Le Vignole well with the larger island. Since the ferries only run once an hour you’ll need to study the timetable at the ferry stop (or get one in advance from an ACTV ticket kiosk in Venice) in order to make the most of your day

Despite the fact that the city centre of Venice may seem one of the least accessible places in the world due to its particular morphology and the presence of more than 400 bridges linking some hundred or so islands, we are convinced that there are numerous opportunities for people with physical or sensory disabilities to enjoy this marvellous city and its unquestionable magic.

So here are some suggestions for visiting the city. These itineraries do not presume to cover all the possible routes or to completely satisfy the cultural interests of all visitors, but we aim to add to them and keep them as up-to-date as possible, partly on the basis of feedback from each one of you.

A number of these itineraries have been indicated by disabled people living in the city or their families, who were enthusiastic at this possibility of making their everyday experiences available to everyone.

Itineraries for wheelchair-bound visitors:

- Marciana area 
- Rialto area
- S. Margherita