Continued from yesterday.
On the pleasant train ride from Florence to Venice, my wife Laurie and I began to piece together a relaxed itinerary for our final days in Italy: the Jewish Ghetto—definitely; the Peggy Guggenheim Collection—pretty sure; the Doge’s Palace—we should (but haven’t we had enough history?); the Basilica di San Marco, the Santa Maria Gloriosa dei Frari—haven’t we seen enough churches?
As it turns out, we did make it into a church (more than one) in Venice, but it was only at Santa Maria della Salute—a church on which we stumbled while rushing to the Peggy Guggenheim Collection so we could see it and have plenty of time for the famous Jewish Ghetto in Venice—where I felt the tenacious need to maintain my separate, external, egotistic will relax.
There was a prayer to be said and I said it in this church built to honor the Virgin Mary for saving Venice from a plague that in 1629 to 1630 killed 47,000 residents; a third of Venice’s population.
In the presence of the Madonna of Healing, my eyes fixed on the sculptures above the main altar, fixed on one sculpted figure in particular: a woman below and to the right of the Madonna, her body turned away from the Madonna, her arms outstretched beyond the “frame” of the sculpture, into the void, in anguish, afflicted, her neck twisted so she could look back and up at the towering Virgin holding an infant in one arm.