
Legends and Crimes of Cannaregio
At the Maddalena you meet Anna Erizzo, the heroine of Negroponte, whom a writer gave a cradle here and whose father, a bachelor according to the documents, most likely never had her.
What did painters and writers do in Venice, and what did Venice do with them?
3 walks with different starting points and stories. Compare their maps, stops and duration, then choose where to begin.
Explore these walks
Painters and writers found in Venice a place to work, a city to describe and a memory that still names them. This theme connects those three things through its walks. It approaches works and lives through particular addresses, paying attention to what their protagonists did here and to how the city remembers them.
In “From the Frari to San Barnaba”: At the Frari, a Florentine lily on the façade and a sculptor's heart; at San Rocco, how Tintoretto won a commission without handing in a drawing.
In “Legends and Crimes of Cannaregio”: At the Maddalena you meet Anna Erizzo, the heroine of Negroponte, whom a writer gave a cradle here and whose father, a bachelor according to the documents, most likely never had her.
In “From the Accademia to the Salute”: You start by the Accademia Bridge, which the city council laughed at in 1488, which was built as a "temporary" bridge in 1933 and, rebuilt in the same shape, is still there; and in front of the galleries where the painting hangs that got Veronese questioned by the Inquisition.
Choose from 3 independent walks in Venice. Open the one that interests you to see its map, stops and approximate duration before deciding. You don't need to do them all or follow this selection's order; each walk has its own starting and finishing points.
Open a marker to see its page. Use two fingers to move the map on mobile.

At the Maddalena you meet Anna Erizzo, the heroine of Negroponte, whom a writer gave a cradle here and whose father, a bachelor according to the documents, most likely never had her.

At the Frari, a Florentine lily on the façade and a sculptor's heart; at San Rocco, how Tintoretto won a commission without handing in a drawing.

You start by the Accademia Bridge, which the city council laughed at in 1488, which was built as a "temporary" bridge in 1933 and, rebuilt in the same shape, is still there; and in front of the galleries where the painting hangs that got Veronese questioned by the Inquisition.
In Venice, the shortest way depends on finding a bridge. Set off lightly loaded, in good shoes, with patience for the detours the water imposes.
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