The Bridge of Sighs (Italian: Ponte dei Sospiri) is one of many bridges in Venice. The enclosed bridge is
made of white limestone and has windows with stone bars. It passes over the Rio di Palazzo and connects the old prisons to the interrogation
rooms in the Doge's Palace. It was designed by Antoni Contino (whose uncle Antonio da Ponte had designed the Rialto Bridge), and built
between 1600 and 1603.
The view from the Bridge of Sighs was the last view of Venice that convicts saw before their
imprisonment. The bridge name, given by Lord Byron in the 19th century, comes from the suggestion that prisoners would sigh at their final
view of beautiful Venice out the window before being taken down to their cells. In
reality, the days of inquisitions and summary executions were over by the time the bridge was built, and the cells under
the palace roof were occupied mostly by small-time criminals.
A local legend says that lovers will be assured eternal love if they kiss on a gondola at sunset under the
bridge. This legend played a key part in the 1979 film A Little Romance.
The name "Bridge of Sighs" has since been applied by association to other similar covered bridges around the world, including:
Saint Mark's Square is the English known name for Piazza San Marco. It is the principal square of Venice,
Italy
.
A remark often attributed to Napoleon (but perhaps more correctly to Alfred de Musset) calls the Piazza San Marco "The drawing room of Europe".
It is one of the few great urban spaces in a Europe where human voices prevail over the sounds of motorized traffic, which is confined to
Venice's waterways. It is the only urban space called a piazza in Venice; the others, regardless of size, are called campi.
As the central landmark and gathering place for Venice, Piazza San Marco is extremely popular with
tourists, photographers, and Venetian pigeons.
The Piazza originated in the 9th century as a small area in front of the original St Mark's Basilica. It was enlarged to its
present size and shape in 1177, when the Rio Batario, which had bounded it to the west, and a dock, which had isolated the
Doge's Palace from the square, were filled in. The rearrangement was for the meeting of Pope Alexander III and the Emperor Frederick Barbarossa.
The Piazza has always been seen as the centre of Venice. It was the location of all the important
offices of the Venetian state, and has been the seat of the archbishopric since the 19th century. It was also the focus for many of
Venice's festivals. It is a greatly popular place in Italy even today.
The Piazza is dominated by the Basilica, the Doge's Palace and the Basilica's campanile, which stands apart from it.
The buildings around the Piazza are, counter-clockwise from the Grand Canal, the Doge's Palace, St Mark's Basilica, St Mark's Clocktower,
the Procuratie Vecchie, the Napoleonic Wing of the Procuraties, the Procuratie Nuove, St Mark's Campanile and Loggetta and the
Biblioteca Marciana. Most of the ground floor of the Procuraties is occupied by cafés, including the Caffè Florian and Gran Caffè Quadri.
The Correr Museum and the Museum of Archaeology are located in some of the buildings of the Piazza. The Venetian Mint lies beyond the
Biblioteca Marciana on the riva or bank of the Grand Canal.
During the French occupation from 1797, Napoleon converted the Procuratie Nuove into his royal palace. He constructed a new wing
to house his ballroom, and this caused the destruction of the Church of San Geminiano, built by Jacopo Sansovino. The Ala
Napoleonica (Napoleonic Wing) was designed by Giuseppe Soli in 1810. The Napoleonic Wing was the last of the Piazza's
buildings to be completed, excepting the campanile which has since been rebuilt, but to its original design.
The Piazza has also served as inspiration for other public areas. Minoru Yamasaki used the site as a basis for the
5-acre (20,000 m²) Austin J. Tobin Plaza that was located at the World Trade Center in New York City until September 11th 2001.
The Piazza was paved in the late 13th century with bricks laid in a herringbone pattern. Bands of light-colored stone ran parallel to the long axis of the main piazza. These lines were probably used in setting up market stalls and in organizing frequent ceremonial processions. This original pavement design can be seen in paintings of the late Middle Ages and through the Renaissance, such as Gentile Bellini's Procession in Piazza San Marco of 1496.
In 1723 the bricks were replaced with a more complex geometrical pavement design composed of a field of dark-colored igneous trachyte with geometrical designs executed in white Istrian stone, similar to travertine. Squares of diagonally-laid blocks alternated with rectangular and oval designs along broad parallel bands. The squares were pitched to the center, like a bowl, where a drain conducted surface water into a below-grade drainage system. The pattern connected the central portal of the Basilica with the center of the western opening into the piazza. This line more closely parallels the façade of the Procuratie Vecchie, leaving a nearly triangular space adjacent to the Procuratie Nuove with its wider end closed off by the Campanile. The pattern continued past the campanile, stopping at a line connecting the three large flagpoles and leaving the space immediately in front of the Basilica undecorated. A smaller version of the same pattern in the Piazzetta paralleled Sansovino's Library, leaving a narrow trapezoid adjacent to the Doge's palace with the wide end closed off by the southwest corner of the Basilica. This smaller pattern had the internal squares inclined to form non-orthogonal quadrilaterals.
St Mark's Basilica.The design was laid out by Venetian architect Andrea Tirali. Little is known about Tirali's reasoning for the particulars of the design. Some have speculated that the pattern was still used to regulate market stalls, or at least to recall their former presence in the square. Others believe the pattern may have been drawn from oriental rugs, which were a popular luxury item in this trading center. The overall alignment of the pavement pattern serves to visually lengthen the long axis and reinforce the position of the Basilica at its head. This arrangement mirrors the interior relationship of nave to altar within the cathedral.
As part of the design, the level of the piazza was raised by approximately one meter to mitigate flooding and allow more room for the internal drains to carry water to the Grand Canal.
In 1890, the pavement was renewed "due to wear and tear". The new work closely follows Tirali's design, but eliminated the oval shapes and cut off the west edge of the pattern to accommodate the Napoleonic wing at that end of the Piazza.
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