The Strada Nova in Venice.
The Strada Nova in Venice. This busy thoroughfare in southern Cannaregio, links the Santa Lucia Railway Station to the Rialto Bridge.
Formed by unifying older narrow alleys under a modern name, it didn’t exist in Venice’s Serenissima era. Created in the 19th century by the Austrians, it reflects their effort to introduce wide boulevards. Canals were filled and buildings demolished to create the wide thoroughfare; which is now lined with historic landmarks, shops, cafés, restaurants and markets stalls; often crowded with tourists.
The Strada Nova exemplifies how Venice has been reshaped by external influences, blending history with modernity; authenticity with adaptation, and movement over social interaction. It introduced a new pattern for urban living, shaped by commerce, tourism, and external influences.
Whether you’re looking for cultural immersion or a convenient path through the city, the Strada Nova offers a unique perspective on Venice’s evolution.
This comprehensive post gives you everything you need to know, with short descriptions of the main highlights on the route, suggestions for interesting detours; together with links to all our comprehensive posts relating to the walk.
Getting to and around Venice.
History and development of the Strada Nova in Venice.
What other major developments occurred in Venice during this time?
Walking the Route – The Main Points of Interest.
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This post is a joint collaboration with our new guest contributor, Charlotte Seal.
Getting to and around Venice
There are many ways for visitors and commutors, to get to Venice’s historic city centre and their final destination.
Many people arrive in Venice from the mainland at the Piazzale Roma Bus Station (car, taxi, coach or tram link from Mestre); or to the Santa Lucia Railway Station. Both are linked by the “Ponte della Constituzione” (also known as the “Calatrava Bridge”), a contemporary footbridge installed in 2008, crossing the Grand Canal. They then have a choice of reaching their intended destination, by the Vaporetto system (ACTV), private water-taxi or on foot.
The Piazzale Roma, also houses the “Venice People Mover,” an elevated public transit system in operation since 2010, which links with the Marittima cruise terminal and Tronchetto island. The latter offers more expansive car parking options compared to Piazzale Roma, which often becomes congested during peak season.
Travellers arriving at the main Marco Polo airport, can arrive closer to their destination, using the Alilaguna public vaporetto system (with main drop-off points), or by private motor launch (exclusive use or shared with others). You can also take a bus or taxi to the Piazzalle Roma. People, then have a choice of reaching their intended destination, by the Vaporetto system (ACTV), private water-taxi or by foot.
From the main transport hubs, many visitors and commutors, choose to walk down a series of roads towards the Rialto Bridge, collectively called in Italian the “Strada Nova” (new road or street); even though on maps, only a part of it formally has that name. For visitors, it usually depends on how much baggage they can cope with and the number of bridges to cross!
The entire route is approximately 1.8km, and takes around 25-30 minute, depending on the degree of congestion. Its unusually generous dimensions in width of up to 10 metres; stand in stark contrast to the typical narrow, meandering calli of Venice.
Map above. People arriving in Venice by road to the Piazzale Roma, by boat to the Marittima ferry and cruise terminal, or car parking on Tronchetto island; can easily get across the Grand Canal, by way of the modern Constitution (or Calatrava) Bridge. From the Santa Lucia Railwat Station (black dot), you can get to the Rialto area within 25-30 minutes, by way of the Strada Nova. Courtesy of Google Maps.
Photo below. The route starts at the Santa Lucia Train Station to the left, situated on a wide concourse, with the late baroque “Chiesa degli Scalzi” (centre) and bridge over the Grand Canal to the Santa Croce district. The “Ponte della Costituzione” (aka Calatrava bridge), linking the Piazzale Roma bus terminus to the Railway Station; is just out of the picture to the bottom left. There are three Ferrovia vaporetto stations.
The following comprehensive and illustrated posts will give you all the information you need, for visitors getting to and around the historic centre:
Getting Around – Basic Terminology
History and development of the Strada Nova in Venice.
The Strada Nova is one of Venice’s most significant urban transformations, a pedestrian thoroughfare that reshaped the city’s traditional layout. Unlike the winding, narrow calli that define Venice, this broad street was created in the 19th century under Austrian rule, reflecting their vision of a more walkable, structured city. However, some changes have been made later with the formation of the Italian state.
Before its construction, there was no direct pedestrian route from Santa Lucia to Rialto; Venetians primarily travelled by boat. However, the Austrians, accustomed to cities like Vienna, sought to integrate Venice into the broader Kingdom of Lombardia-Venetia. This led to the filling in of canals and demolition of buildings, creating a continuous path from the train station to the Rialto and the commercial heart of the city.
Later, in 1871, the street was officially dedicated to King Vittorio Emanuele II, but Venetians soon renamed it Strada Nuova (“New Street”). Its up to 10-metre width, made it an anomaly in Venice’s urban fabric, resembling a boulevard rather than a traditional Venetian passageway. Today, it is lined with shops, restaurants, and cafés, bustling with both locals and tourists.
This transformation reflects Venice’s ongoing tension between preservation and modernisation – a theme that resonates deeply with exploration of the city’s cultural reinvention. The Strada Nova stands as a testament to how external influences have shaped Venice’s urban landscape, much like the Rio Terà tombati (canals filled in) and Rio Terà con volti (canals covered over, but still flowing underneath).
What other major developments occurred in Venice during this time?
During the 19th century, Venice underwent several significant transformations, reflecting broader shifts in governance, infrastructure, and cultural identity. Here are some key developments:
- Austrian Rule & Urban Changes (1814–1866). After the fall of Napoleon, Venice came under Austrian control, leading to modernization efforts such as the Strada Nova and the filling in of canals to create pedestrian routes. Venice essentially moved from a boating, towards a walking community.
- Railway Connection (1842). The Milan to Venice railway began operating, linking Venice to the mainland more efficiently and marking a shift toward industrialization.
- Republic of San Marco (1848). A brief revolutionary movement saw Venice declare independence from Austria, but it was ultimately suppressed.
- Italian Unification (1866). Venice was annexed into the Kingdom of Italy, shifting its role from an Austrian outpost to an Italian cultural and economic centre.
- Port Expansion & Industrialization (Late 19th Century). The Maritime Station on the Giudecca Canal was developed to integrate shipping and rail transport, laying the groundwork for later industrial expansion at Porto Marghera.
- Rise of Tourism & Cultural Institutions. The Biennale di Venezia was established in 1895, reinforcing Venice’s status as a global artistic hub.
These changes reflect Venice’s ongoing negotiation between preservation and modernisation, a theme that resonates with the city’s cultural reinvention.
The Strada Nova in Venice – The Walking Route
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The route from the Santa Lucia Railway Terminal to the Rialto Bridge, features a short description of each of the main points of interest, links to relevant posts and occasional tips for an interesting detour. The following post will also provide useful information and any detours you might want to make: Cannaregio – District and Attractions
Starting the walk on the promenade in front of the Santa Lucia Railway Terminal, the area, has undergone significant transformation. Indeed, to someone from the early 1800s, almost nothing would be recognizable west of the “Scalzi” church (today, adjacent to the bridge across ther Grand Canal). The only sign that the church of Santa Lucia ever existed is the name of the station, and a stone with an image of the church on the pavement, where the church one stood. Outside the station, you will find a series of Vaporetto stations. It’s rather confusing for visitors, as to which one serves your destination; so just ask at one of the ticket offices.
The Grand Canal with Santa Lucia and Santa Maria di Nazareth ca. 1780 Francesco Guardi
The painting above depicts the Fondamenta di Santa Lucia as it once was, featuring several religious establishments.
- the church and monastery of Corpus Domini;
- the church of Santa Lucia;
- the church of the Scalzi;
The first church you see today is Santa Maria dei Scalzi (the Scalzi). Commonly known as Chiesa degli Scalzi, it was built in a striking Baroque style between 1656 and 1680, for the Discalced Carmelites (hence “Scalzi,” meaning “barefoot”). Designed by Baldassarre Longhena, it was completed with a richly sculpted facade by Giuseppe Sardi. Inside, the church dazzles with polychrome marble, dramatic altars, and remnants of Giambattista Tiepolo’s once-magnificent ceiling fresco, destroyed during World War I. The high altar, designed by Giuseppe Pozzo, features twisted columns and a theatrical canopy, echoing Bernini’s influence. It’s a vivid embodiment of Venetian Baroque splendour and spiritual grandeur.
The Ponte degli Scalzi (translated as “Bridge of the Barefoot Monks”,) next to the Chiesa degli Scalzi; is one of only four bridges that cross Venice’s Grand Canal. Designed by Eugenio Miozzi and completed in 1934, it replaced an earlier Austrian iron bridge. This stone arch bridge connects the districts of Cannaregio and Santa Croce. (photo left – Station forecourt to left, Scalzi church and bridge).
The Church of San Geremia, (photo left) combines elements of history, religion, and architectural change. Originally established in the 11th century, it has undergone several reconstructions, with its current Baroque form dating to the mid-18th century. Its facade faces the Grand Canal, while inside the church contains significant artworks and the relics of Saint Lucy of Syracuse, making it an important site for pilgrims. The Romanesque bell tower, one of the oldest in Venice, remains as a reminder of its medieval origins.
The Ponte delle Guglie, or “Bridge of Spires”, is a striking stone arch bridge, spanning the Cannaregio Canal. Originally built in 1580 and later adorned with decorative spires in 1823, it’s the only bridge in Venice with such features. Gargoyles, carved balustrades, and elegant stonework add to its character, making it both a functional crossing and a sculptural landmark.
TIP. At this point, why not take a worthwhile detour to the fascinating site of the old and new Jewish Ghettos. Just to the north of the confluence of the Cannaregio and Grand canals are the Ghetto Nuovo and Ghetto Vecchio; an area of great historical and cultural significance to the Venetian Jews with its own unique atmosphere. Beginning in 1516, Jews were restricted to living in the Venetian Ghetto. It was enclosed by guarded gates and no one was allowed to leave from sunset to dawn. However, Jews held successful positions in the city such as merchants, physicians, money lenders, and other trades. Restrictions on daily Jewish life continued for more than 270 years until Napoleon Bonaparte conquered the Venetian Republic in 1797. He removed the gates and gave all residents the freedom to live where they chose. Please see our comprehensive post to learn about the history and culture: 22 – Museo Ebraico di Venezia
Campiello dell Aconetta. This small square, (above) which now appears to be part the wider part of the Strada Nova, was once the site of a well known landmark of the, “Due Ponti” (Two Bridges), and the “Oratorio de l’Anconeta” (the Oratory of the Little Icon). Like so many other religious institutions, the Oratorio de l’Anconeta was suppressed in 1806, and many of the artworks sold off. The building stood half empty and abandoned until 1855, when the Strada Nova project arrived to the area. Just a minute’s walk to the south is the Church of San Marcuola and the vaporetto stop of the same name.
La Maddalena. A small church in Venice’s Cannaregio district (below), it was originally built in 1222 by the Balbo family and rebuilt in 1780 by Tommaso Temanza, inspired by Rome’s Pantheon. The church’s unique circular form and masonic symbols above the portal, add to its intrigue. With a hexagonal interior, four side chapels, and a presbytery; it is rarely open but sometimes hosts exhibitions like during the Venice Biennale.
Please see our comprehensive post: La Maddalena and Masonic Symbolism. Discover the origins and rise of Freemasonry in Venice, its symbolism, key figures and influence on the city’s architecture seen today. Venice and Freemasonry
Santa Fosca. This Baroque-style Roman Catholic church, located on the Campo di Santa Fosca near Strada Nova, is dedicated to Saint Fusca of Ravenna. Originally built in the 10th century, it was largely rebuilt in the 18th century with a façade designed by Domenico Rossi and funded by the Donà family. Inside, notable artworks include a Trinity and the Virgin by Filippo Bianchi and altarpieces by Francesco Migliori. The campo also features a bronze statue of Venetian scholar Paolo Sarpi, adding historical significance to the site. (photos below)
San Felice. Founded in the 10th century and first documented in 1117, this church was reconsecrated in 1267 and largely rebuilt in the 16th century in Venetian Renaissance style by Mauro Codussi. Located on Campo San Felice, it features a Greek cross plan with a central dome and Corinthian pilasters. Despite 19th-century removals, notable artworks remain inside, including Tintoretto’s St. Demetrius and a crucifix by Andrea Brustolon. Notably, Carlo Rezzonico, who became Pope Clement XIII, was baptized here in 1693.
Tip. A few metres after the San Felice church, on the right, you will see a small calle leading to the Ca d’Oro palazzo and vaporetto stop. This marvellous Gothic palace, houses the Galleria Franchetti and is the subject of one of our posts: The Ca d’Oro.
Santa Sofia. This Catholic church initially established around 1020 by the patrician Gussoni family, has experienced several reconstructions, particularly in the 16th and late 17th centuries. Although it survived the great fire of 1105, the church was later suppressed under Napoleonic rule and converted into a warehouse. It was re-consecrated for worship in 1836. Architecturally, the church has undergone modifications over time; its length was reduced during the construction of the Strada Nova in the 1800s. Presently, its façade and bell tower are partially obscured by surrounding structures. While its interior is now more austere, Santa Sofia once featured masterpieces by renowned artists such as Titian, Veronese, Tintoretto, and Palma the Elder. Many of these works have since been relocated to museums, including the Gallerie dell’Accademia. Its small campo, overlooks the Grand Canal, with views of the Fish Market.
SS Apostoli. The Church of Santi Apostoli, is one of Venice’s oldest churches, dating back to the 7th century. Legend states it was founded by St. Magnus, inspired by a vision of the Twelve Apostles. Rebuilt in 1575 by Alessandro Vittoria, the church features a single nave with altars. The Cornaro Chapel, added in the 1490s by Mauro Codussi, served as the burial site for the Cornaro family, including Queen Caterina Cornaro of Cyprus. Artworks by Giambattista Tiepolo and Paolo Veronese decorate its interior. The bell tower, completed in the early 18th century by Andrea Tirali, adds to its charm. This historic church remains a hidden gem within Venice.
Old print – “San. Giovanni Grisostomo” – Chiesa, Venezia.
Joseph Kier, und nach Marco Moro (1817-1885).
A small Renaissance gem of a church, often overlooked by tourists, it was founded in 1080 and rebuilt after a 1475 fire by Mauro Codussi, completing in 1525. It features a Greek cross layout and notable artworks such as: A Giovanni Bellini painting of Saints Christopher, Jerome, and Louis of Toulouse (1513), in the first chapel on the right. An altarpiece by Sebastiano del Piombo depicting Saint John Chrysostom with other saints. A marble Coronation of the Virgin by Tullio Lombardo (1500–1502). Frescoes and canvases illustrating the life of Saint John Chrysostom.
Tip. A short distance further on is the Fondaco dei Tedeshi, (photo below) originally the lodging house of Germanic workers, but now one of Venice’s most luxurious department stores. It also has a great rooftop viewing area, directly overlooking the Rialto Bridge (must book). Our Rooftop Terrace | T Fondaco Dei Tedeschi by DFS You can read all about it in our post: Best High Views in Venice.
Campo San Bartolomeo. A lively square in Venice’s San Marco district, it is just a few steps from the Rialto Bridge. It’s a socio-commercial hub with historical significance, shaped by 19th-century significant changes. A bronze statue of playwright Carlo Goldoni stands at its centre. The square is surrounded by important buildings like banks and the Church of San Bartolomeo from the 12th century. Despite its size, it has a vibrant energy for people-watching and generally soaking up the Venetian atmosphere.
In the 17th and 18th centuries, Venice played a pivotal role in the development of opera, transitioning from its early roots in church and chamber forms to the vibrant and influential art form of the “Commedia dell’arte” tradition; that wove together theatrical elements, music, and improvisation. Its development intertwined art, commerce, and cultural shifts.
Please see our comprehensive posts, associated with this great playwright: Carlo Goldoni Teatro Carlo Goldoni History and Development of Venetian Opera Commedia dell’arte
The Rialto Bridge. The end of a long walk! One of Venice’s most iconic landmarks, it is the oldest of the four bridges spanning the Grand Canal. Originally built as a pontoon bridge in 1173, it was later reconstructed in wood and finally rebuilt in stone between 1588 and 1591, by architect Antonio da Ponte. This elegant stone arch bridge connected the districts of San Marco (religious and administrative) and San Polo (commercial) centres, and features a central portico flanked by rows of shops along its covered ramps.
(Photo above). You can see the wider Strada Nova coming down (top right), to pass the large rectangular Fondaco dei Tedeshi, into the Campo San Bartolomeo. From there, you can look up the southern approach to the Rialto Bridge.
Of bold design, it has stood the test of time and become a symbol of Venetian engineering and Renaissance architecture. It’s a place for wondering just how people in gondolas survive the bustling water traffic, and for watching selfie-stick mania, For photography, its especially magical at sunrise or sunset. for photography.
From the Rialto bridge you can wander up the “Mercerie” a system of parallel narrow lanes that links what was the old commercial and banking centre with the administrative and religious centre of St Mark’s Square. Everything you need to know about this famous “Piazza”, including several great walks starting there, is in our comprehensive post: St Mark’s Square Guide
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Enjoy more of our comprehensive posts, to learn all about the Grand Canal, its four bridges, and how to identify the different architectural styles of the palaces.
- The Grand Canal of Venice
- Bridges of the Grand Canal
- Venetian Palace Architectural Styles: Byzantine – Venetian Gothic – Renaissance – Baroque – Neoclassical.
Video: Strada Nuova Stroll: Discovering Venice’s Vibrant Artery (Turn On Subtitle)
Strada Nova – from the Station to Rialto – History Walks in Venice
The Strada Nova in Venice The Strada Nova in Venice The Strada Nova in Venice The Strada Nova in Venice