As we walk from bridge to bridge I'm getting more and more fascinated by the variety of designs found in the iron rails of the bridges. There's so much variation and styles in them. So I just had to take a minute to look carefully at the arty bits of the next bridge, the Ponte del Cristo.
There are two flower motifs in the wrought iron work, one a pointed three-leaf bloom and another in the shape of a tulip. The railings also have cast iron, sculpted knobs on top that add nicely to the finishing.
Therein lies the luring appeal of Venice for its millions of visitors - architecture and structures in the city are never merely functional; they're miniature works of art that permeate every corner of the island. Walking around Venice is like wandering through a very large and extended open air history of art installation, small wonders abound around every corner.
The church's neat marble facade speaks clearly of the result of ten years of restoration done by the restoration organisation Save Venice, which has funded literally hundreds of similar projects during its existence. Those ubiquitous construction cranes on the Venice horizon and scaffolding spoiling tourists' photos of the city's well-known attractions may not be aesthetically pleasing, but they're necessary and do a good job of keeping Venice's precious heritage in shape, as the Miracoli clearly shows.
One side of the bridge is adorned with three coats of arms, commonly seen on bridges and in all probability belonging to aristocratic families who lived in the area. A similar plaque on the opposite bridge wall, seen in the bridge photo above is blank. Were similar coats of arms chiselled off by someone who carried a grudge?
Across the canal there's once again that inviting sight welcoming all travelers just finishing off an extended church visit: An open-air cafe, waiting for footsore visitors to sit down for coffee and perhaps something sweet and tasty. But we resist the temptation: There are still more than eighty bridges to cross!