Venice Realized: Campo dei Miracoli

While wandering through the meandering streets of Venice in search of a campo to use for my first assignment, I considered the characteristics that I wanted in my campo. I was extremely interested in finding a campo that included a church, being that I always find churches and their architectural features fascinating. I also wanted a unique campo that was not like the large bustling campos that I had already seen scattered throughout the city. I was looking for something quiet, serene, and most of all, different. With the wind taking my hand, I let myself drift in search of my ideal campo. I began on the east side of the city and ended up near the Campo Santa Maria Formosa, a campo which I was already quite familiar with after visiting the Felluga-Allen residence earlier in the week. A few calles over, I found a small campo dominated by a beautiful and towering church.

The campo, called Campo dei Miracoli, twists and turns around the church, allowing one to see more than just a single view of the magnificent building. The church takes up most of the campo while the rest of the buildings, which are mostly residential, seem dwarfed in the magnificence of the Renaissance cathedral. The campo itself is unique- spotted with the simplicity of modest Venetian residences juxtaposing the complexity of the elaborate church. After doing some research on the church, I learned that it is called the Santa Maria dei Miracoli and it houses an icon of the Virgin Mary called I Miracoli, or “The Miraculous.” Gazing up at the church, one of the first things I notice is that it is covered with marble, giving the church a shimmering and mesmerizing glow. The church speaks of the Renaissance period, geometrical and orderly, adorned with semicircular arches and pediments, structured pilasters and arcaded windows, and a hemispherical dome. The church as a whole speaks volumes of the Renaissance period and is undeniably beautiful; however looking more closely at the tiny details that all together combine to create this spectacular architectural achievement, I am reminded of how it is truly in the details that the beauty of a piece lies.








Oculus on Santa Maria dei Miracoli












Ionic pilaster complete with volutes on Santa Maria dei Miracoli







Lunette on church with tondo









Ogee arched window (Gothic architectural element) on Venetian residence








Oculus and string course on facade of Santa Maria dei Miracoli facing the main sqaure








Bay and ornamented spandrels between arches on upper storey of church








Blind arcade and arcade windows on upper storey of church on facade facing canal











Aedicule and lintel on Venetian residence doorway







Balustrade on balcony of residence overlooking campo and canal














Composite pilasters on facade of church









Dome and oculus on the Renaissance masterpiece, the Santa Maria dei Miracoli













Corinthian pilaster on church facade opposite of canal












Aedicule with segmental pediment and entablature (frieze, cornice and architrave)










Stringcourses on facade of church









Stilted arched window on residence opposite canal













Rio, or Venetian canal, aside the Campo dei Miracoli





In a city such as Venice, where one’s senses are easily over-indulged by the beautiful melting of city and water, pastel colors glinting off of Venetian residences, and lofty masterpieces such as the Basilica di San Marco, it is easy to soak in the excess without spending time worrying about the minute details that compose the beauty around you. However, experiencing the city in details allows one to deeper appreciate and further understand the history and language of the city. For example, the language of the Santa Maria dei Miracoli speaks to the religiosity of the Italian people, and the faith and beliefs of Catholicism as a whole. Through my study of the architectural features of the church, I now better understand the characteristics of Venetian Renaissance architecture and the religious beliefs of the Catholic faith through the symbolic architectural elements that decorate the church. As a reference, it is simple to see the tondi decorating the pediments of the church; however one must look more carefully to appreciate the beauty carved into the stringcourses on the façade. The Venetian residences that complete this campo are typically Venetian at first glance- with their flowerboxes decorating their quaint balconies and colorful pastel shades; however after further inspection, I discovered the Gothic ogee arched windows hidden between the predominately geometric rectangular and squared ones.

After completing this assignment, I long to experience all of Venice in this detailed-centered way, and I am excited for the opportunity to indulge this luxury throughout the upcoming months.