The detailed itinerary provides an outline of the proposed daily program. Participants should note that the daily activities described in this itinerary may be rotated and/or modified in order to accommodate changes in museum opening hours, flight schedules etc. Meals are included in the tour price and are indicated in the itinerary where: B=breakfast and D=evening meal.
Rome - 6 nights
Day 1: Sunday 28 December 2014, Arrive Rome
- Orientation Walk
- Trevi Fountain
- Spanish Steps
Participants taking the ASA ‘designated’ flight are scheduled to arrive in Rome in the early afternoon. After clearing customs we will transfer by private coach to our hotel in Rome’s city centre. After check-in we commence our program with an orientation walk, starting with one of Rome’s most significant monuments, the Pantheon. Roman monumental architecture is characterised by the modelling of vast areas of space, and exemplified by the cavernous interior of the Pantheon, which is unified by the enormous dome that springs from its circular walls. We shall then proceed to the Baroque Trevi Fountain and the Spanish Steps, with their lively atmosphere and stunning views down into the winding alleys of the heart of the historic centre. (Overnight Rome)
Day 2: Monday 29 December, Rome
- Vatican Museums
- St Peter’s Basilica
- Group Evening Welcome Meal
Today we visit the great Basilica of St Peter’s, the Vatican Museums, the Sistine Chapel, and Raphael’s Vatican stanze. We commence with a visit to Michelangelo’s great St Peter’s, to which Carlo Maderno (1556–1629) added the nave and façade, and Bernini his marvellous piazza. We shall also see Michelangelo’s early Rome Pietà and Bernini’s Baldacchino and Cattedra Petri.
The purpose of our visit to the Vatican Museums is to explore further the emergence of the High Renaissance and the Baroque styles, and we begin in the sections of the great museums devoted to antiquity where you will see the Hellenistic sculptures that inspired Michelangelo (1475–1564) and Raphael (1483–1520), such as the Laocoon and the Apollo Belvedere. The grand proportions, energetic poses and heavy musculature of these sculptures contributed to the balance of power, dynamism and unity that characterises High Renaissance figure style and composition.
Later, we shall explore the emergence of the High Renaissance in two masterpieces, Raphael’s Vatican stanze (including The School of Athens) and Michelangelo’s Sistine Chapel ceiling and Last Judgement. Raphael’s works are a matchless balance of architecture and grand figure groupings. Whilst working on the Sistine ceiling, Michelangelo evolved a revolutionary new mode for decorating vast vaults. This came gradually. When he was able to examine his early essays (i.e. The Flood) from floor level when the first scaffolding was dismantled, he found his figures to be too small and the compositions too intricate and therefore his later works, such as the Creation of Adam are simpler, grander, and far more powerful. In the Sistine Last Judgement, Michelangelo moved beyond the calm balance of the High Renaissance to develop a style that presaged Mannerism and the Baroque. This evening we dine together at a local restaurant. (Overnight Rome) BD
Day 3: Tuesday 30 December, Rome – Pompeii – Rome
Today we shall drive south to the Bay of Naples to visit the Roman port and resort town, Pompeii. This city, preserved by ash from erupting Vesuvius, gives an excellent opportunity to explore the workings of a Roman town. You will visit the forum, theatre and odeon, amphitheatre and gymnasium, and study a number of houses which have well-preserved wall paintings. (Overnight Rome) B
Day 4: Wednesday 31 December, Rome
- Villa Borghese
- San Clemente
- Afternoon at leisure
- New Year’s Eve Group Evening Meal
This morning we visit the Villa Borghese, with its great collection of Caravaggio and Bernini. Here we shall trace the evolution of Bernini’s fascinating sculptural illusionism in his early monumental sculptures such as the Pluto and Proserpine (Hades and Persephone) and his extraordinary Apollo and Daphne.
Next we shall explore the development of Early Christian and medieval architecture and mosaic in one of the city’s most beautiful basilicas. San Clemente, is particularly fascinating, because below the later medieval church two earlier levels have been found, one occupied by an earlier church and one with an even earlier church next to a temple dedicated to the oriental god, Mithras, and also an ancient warehouse. At this level, which survives from antiquity, there is also a narrow street and a conduit for water that can be heard bubbling in the background.
We shall begin in the upper, medieval church where we shall view its exquisite apse mosaics. The mosaic occupying the apsidal dome represents Christ on the Cross, surrounded by a great Vine of Life, all hanging in a scintillating gold background. The upper church also has the remains of its ambo, the traditional chancel furniture of a medieval basilica, and paintings by Masaccio’s associate, Masolino (1383-1447). We shall then descend to the Early Christian church of the 4th-century. This church was constructed when Christianity became dominant in the city. It has two very early wall paintings, one of which depicts a miracle that occurred in the shrine of Saint Clement in the Sea of Azov (Black Sea). Saint Clement had been martyred by being thrown into this sea. Once a year, a particularly low tide revealed his small chapel. One year a small boy was left behind. Everyone thought him drowned until, the next year, he was found alive when the low tide again revealed St Clement’s underwater chapel. The image depicts the finding of the boy, whose name was Clement, witnessed by his family.
At San Clemente’s lowest level, the Temple of Mithras was the centre of a mystery cult that rivalled Christianity before the Emperor Theodosius declared all pagan cults illegal; Mithraism, which had developed out of Persian Zoroastrianism, was particularly prevalent in the Roman army, which they had brought back from military campaigns in East.
In the evening we will celebrate the New Year with a group dinner. After the meal, if you are feeling in the mood to celebrate, Rome is the place to be. The city’s traditional New Year’s Eve celebrations centre on Piazza del Popolo but also take place elsewhere. Huge crowds listen to rock and classical music and watch dancing and, of course, fireworks and, as you can imagine, the celebrations last well into the night. In Piazza del Popolo, next to the Church of Santa Maria del Popolo, you will be able to see an exhibit of traditional nativity scenes from many regions of Italy and other countries of the world. Rome also puts on a classical music concert outdoors on the square in front of the Quirinale, off Via Nazionale, around 11:00pm, followed by fireworks at midnight. There is also the traditional Capodanno (New Year) concert in the Imperial Forum. Sponsored by the city, this free concert usually features a big Italian name leading the show. (Overnight Rome) BD
Day 5: Thursday 1 January 2015, Rome
- Morning at leisure (New Year’s Day Parade or Mass at Santa Maria Maggiore)
- San Luigi dei Francesi
- Piazza Navona
- Sant’Ivo della Sapienza (façade)
If you wake up with enough energy on January 1, you should consider attending the city of Rome’s fantastic New Year’s Day parade. The event begins at 10 a.m. at St Peter’s Square, with the Pope’s New Year’s Day blessing. It then heads down Via della Concilliazione toward the Tiber before ending near Castel Sant’Angelo. Tens of thousands of people congregate to watch the parade, with its military, civil and school bands and pageantry. Alternatively, you may wish to attend the Mass at the suggestive Santa Maria Maggiore, which was the first great early basilica to be built inside the walls of the ancient city.
This afternoon is devoted to the development of Baroque architecture, painting and sculpture. We will examine how the Counter-Reformation conveyed religious dogma in form and space, and explore ways in which Borromini and Bernini accommodated their 17th century religious architecture to the urban spaces evolved in the 16th century by designing dramatic facades.
We begin with a visit to the French Church San Luigi dei Francesi. Here, in Caravaggio’s revolutionary St Matthew cycle, we shall explore this master’s revolutionary use of light to convey the mystical transformation of the human soul.
In Piazza Navona we view Bernini’s Four Rivers Fountain and Borromini’s dramatic façade for Sant’Agnese in Agone. We shall also see how the highly original architect, Francesco Borromini (1599–1667) dynamically manipulated classical form and proportion in his stunningly theatrical curved façade of Sant’Ivo della Sapienza (1640–1650).
Finally we shall explore how the Roman tradition of monumental architecture was revived in Renaissance and Baroque Rome. To do so, we shall compare the greatest extant monument of Rome, the Pantheon (visited on Day 1), with the architecture of Sant’ Ignazio where the same sense of huge unified space characterises the interior of this great Jesuit church. (Overnight Rome) B
Day 6: Friday 2 January, Rome
- Piazza del Campidoglio
- Palatine Hill
- Roman Forum
We begin today’s visits on the Campidoglio. This was the citadel and the religious centre of ancient Rome, with a temple dedicated to Jupiter, Juno and Minerva. The Tablinarium (Rome’s ancient record office) was also here, and part of it still exists under the later Senate. Michelangelo designed the present magnificent ensemble of buildings for Pope Paul III, who wanted a symbol of restored papal Rome to impress the visiting Habsburg Emperor Charles V. This is one of the first piazzas ever designed according to the rules of perspective and was of enormous influence through the world.
We next descend to the heart of the ancient world, the Forum Romanum. The Forum was the religious and financial centre of the Imperial city, where the Vestal Virgins watched over the sacred flame, the Senate met and the Roman world was ruled. From the Forum we walk up to the massive imperial palace complex on the Palatine Hill.
To end our day we visit the Colosseum, built by Vespasian (r.69-79) on what was formerly the artificial lake of the Golden House of Nero. This is the largest amphitheatre ever built by the Romans and is a superb testament to the design, engineering and construction techniques of the 1st century AD. Beside the amphitheatre is the Arch of Constantine, a relic from the later years of the Roman Empire, constructed at a time of great political and religious upheaval. While this triumphal arch shows a continuity of the tradition whereby victorious Emperors were honoured with an elaborate celebratory arch, the Arch of Constantine is a conglomeration of relief sculpture taken from other monuments in the city and reused here. (Overnight Rome) B
Prato - 6 nights
Day 7: Saturday 3 January, Rome – Assisi – Prato
- San Francesco (Upper & Lower Church), Assisi
Today we shall drive from Rome to Prato via Assisi. We shall spend the late morning and lunchtime in Assisi visiting the Church of San Francesco to study the important fresco cycles of Giotto’s followers, of the Sienese Lorenzetti brothers (Ambrogio and Pietro) and of Simone Martini (1284–1344).
This centre of the Franciscan Order was the seedbed of the early Renaissance narrative fresco cycle. We shall explore how Giotto (1266/7–1337) and his contemporaries used gesture in space to tell the stories of Christ and the saints and inculcate faith. By comparing the works of Cimabue (1240–1302), Giotto, the Lorenzetti and Simone Martini, you will also be able to gauge the similarities and differences between the Byzantine, Florentine and graceful Sienese idioms around 1300 AD.
After spending much of the day in Assisi, we continue on to Prato, home to Monash University’s study centre in Italy. (Overnight Prato) B
Day 8: Sunday 4 January, Prato – Siena – Prato
- Palazzo Pubblico
- Cathedral Museum
- Medieval Quarters
- Group Evening Meal at Lo Scoglio Prato
Siena is the quintessential medieval city. No other place in Italy gives such a wonderful picture of what a comune was like in the later Middle Ages. Bernard will spend the morning creating a ‘mental map’ of the city, visiting Ambrogio Lorenzetti’s (1290-1348) great paintings of Good and Bad Government in the Palazzo Pubblico and Duccio’s masterpiece, the Maestà in the Cathedral Museum. We shall explore the mastery with which Duccio (c.1260–c.1319) built upon the tradition of Byzantine colour and form to present narrative in a very different way to Giotto.
In Siena’s Cathedral we shall examine the great pulpit of Nicola Pisano (1220/5– c.1284) and his son Giovanni Pisano (1250–1315). It is in their pulpits that the Pisani transmitted the monumental tradition of antique sculpture that had developed earlier in Southern Italy to the Renaissance; Giovanni also melded this tradition with the grace of French Gothic.
Before returning to Prato we also visit Siena’s medieval quarters (contrade), in which many palaces are still owned and often occupied by the families who built them. It is the contrade that, twice a year, run the famous Palio horse race. Siena is a city of symbols. It is built on three ridges, a symbol of the Trinity, has three major sectors (terzi) which each elected three members to the city council, the Council of Nine. Protected by the Virgin Mary, the city interpreted its life and its very architectural fabric in terms of religious symbols that also dominated ideas about government. Much of the philosophy that informed the city’s image was based upon the thought of St Thomas Aquinas, which also formed the basis of Lorenzetti’s Good and Bad Government. We return to Prato by coach, and in the evening we shall dine together at a local restaurant. (Overnight Prato) BD
Day 9: Monday 5 January, Prato – Florence – Prato
- Santa Maria Novella
- Duomo Santa Maria del Fiore
- Baptistery of San Giovanni
- Afternoon at leisure
Today we trace the development of civic and religious art and architecture in the centre of Florence, visiting Santa Maria Novella, Florence’s Duomo and the Baptistery. On arrival, we shall walk to Santa Maria Novella, with its striking façade by Leon Battista Alberti (1404–1472) and its important frescoes, sculptures and altarpieces. Of particular importance is the Trinitá of Masaccio (1401– 1428).
We shall also explore Brunelleschi’s masterful dome that dominates the cathedral (Santa Maria del Fiore) as well as tombs painted on its walls like the Sir John Hawkwood by Paolo Uccello (1397–1475). At the Baptistery of San Giovanni we see the lovely bronze doors by Lorenzo Ghiberti in the Florentine classical style of the early 15th-century. The remainder of the afternoon is at leisure for you to explore more of Florence. (Overnight Prato) B
Day 10: Tuesday 6 January, Prato – Florence – Prato
- Piazza della Signoria
- Bargello Museum
We return to Florence and begin in the Piazza della Signoria, the secular centre of the city, with its great civic palace, the Palazzo Vecchio, the beautiful Loggia dei Lanzi, Michelangelo’s David and Donatello’s Judith and Holofernes (both copies).
We next visit Florence’s sculpture museum, the Bargello, which was formerly the old government palace of Florence. It contains such masterpieces as Donatello’s David, the competition reliefs for the Baptistery doors by Ghiberti (1378–1455) and Brunelleschi (1377–1446), and Michelangelo’s Brutus.
We return to the Piazza della Signoria and walk down Via dei Calzaiuoli, passing Orsanmichele, Florence’s former granary, for the façade of which the major guilds commissioned monumental figures from Ghiberti, Donatello and Nanni di Banco (1384–1431).
In the afternoon we visit the Uffizi to study the development of Florentine painting, with special emphasis on Piero della Francesca, Uccello, Fra Filippo Lippi, Sandro Botticelli (1445-1510), Domenico Ghirlandaio (1449-1494), Michelangelo, Raphael, and the Mannerists Parmigianino (1503-1540), Angelo Bronzino (1503-1572) and Rosso Fiorentino (1494-1540). (Overnight Prato) B
Day 11: Wednesday 7 January, Prato – Arezzo – Sansepolcro – Prato
- San Francesco, Arezzo
- Museo Civico, Sansepolcro
Today we travel by private coach through the landscapes that inspired Piero della Francesca (1415–1492) who reconciled stylistic elements of the Florentine and Northern Renaissance in his work.
In Arezzo we shall explore the magnificent Story of the True Cross in San Francesco. In this cycle Piero told the story of the Cross of Christ, which originated from a nut placed under the tongue of the dead Adam, grew to a tree used as a bridge by Christ’s ancestor, King Solomon, and then for the Cross, and was found by Constantine’s mother, Saint Helena, on her pilgrimage to the Holy Land. The narrative sequence of the cycle is not linear, the position of each scene being dictated by typological correspondences and the Byzantine ideal that scenes should descend from celestial scenes in the upper reaches of a wall to the terrestrial on its lower parts. The story of the cross and its discovery by St Helena and later its recovery by Emperor Heraclius from the Persian Chosroes, and the presence of battle scenes in these lower registers, alerts us to the fact that the Franciscans commissioned the cycle as propaganda to promote a Crusade to free Jerusalem from the Muslims.
In the afternoon we visit Sansepolcro’s small communal museum to see Piero’s Resurrection and his Madonna della Misericordia. Sansepolcro had a special meaning for Piero because, as its name suggests, it was a symbolic copy of the Holy Sepulchre at Jerusalem. In all Piero’s works we shall witness a mastery of perspective and light, the former derived from Florentine innovations and the latter from Northern painting, of artists like Jan van Eyck (1395-1441) that were immensely popular in Florence in the 15th century. (Overnight Prato) B
Day 12: Thursday 8 January, Prato
- Santa Maria delle Carceri
- Prato Cathedral Museum
- Prato Cathedral
- Monash Centre
We begin the day with a visit to the basilica Church of Santa Maria delle Carceri. It is considered one of the earliest, most notable examples of use of Greek cross plan in Renaissance architecture; an ideal Renaissance church was centrally planned, unlike an orientated medieval basilica. According to tradition, on July 6, 1484 a child saw an image of Madonna and Child, painted on a wall of the public jail (carceri) of Prato, come to life. In response to this miracle the comune of Prato decided to build a basilica on that site to celebrate the event. Lorenzo de Medici (1449–1492) pressed for a design by his favourite architect, Giuliano da Sangallo (c. 1443–1516). The latter’s proposal included a Greek cross plan inspired to Filippo Brunelleschi’s Pazzi Chapel and by Leon Battista Alberti’s theory of architecture; Sangallo used the same idea for his first project of St Peter’s in Rome (later superseded by that of Michelangelo). The same model inspired his brother Antonio da Sangallo the Elder for the Church of S. Biagio at Montepulciano.
Prato Cathedral, dedicated to St Stephen, was originally known as the Church of Santo Stefano di Borgo al Cornio (the name borne by Prato when it was a small country township). It was built by Guido da Como (1211-) on the site of an earlier parish church and was subsequently enlarged, receiving a transept with 5 chapels between 1317 and 1368.
First we shall visit the Museum of the Cathedral that contains a magnificent pulpit by Donatello and Michelozzo (1396–1472), which was originally on the façade of the Cathedral (today replaced by a replica). The opportunity to observe the original work up close allows us to appreciate Donatello’s carving technique and his ability to manipulate the perspective, expression and volume of figures to create a particularly engaging effect for the viewer.
Within the cathedral we will visit the Chapel of Our Lady of the Assumption, decorated by Paolo Uccello (c.1435) with stories from the life of the Virgin and St Stephen. We will also visit the newly restored High Altar Chapel which contains a fresco program depicting the lives of St John the Baptist and St Stephen, completed by Fra Filippo Lippi (1406–1469) between 1452 and 1464. These images, especially the Feast of Herod: Salome’s Dance, and the Death of St Stephen, are remarkable for their visual drama; they were created via the use of one point perspective combined with graceful figuration and innovative composition.
In the afternoon we view the Monash Centre in Prato, housed in the 18th century Palazzo Vaj. Here we will have the opportunity to discuss the work we have seen so far. (Overnight Prato) B
Venice - 3 nights
Day 13: Friday 9 January, Prato – Ravenna – Pomposa – Venice
- San Vitale
- Mausoleum of Galla Placidia
- Sant’Apollinare Nuovo
- Sant’Apollinare in Classe
- Pomposa Abbey
This morning we drive west across the Apennines to the coastal plain around Ravenna. Here we shall first visit the Church of San Vitale and the Mausoleum of Galla Placidia.
Ravenna plays a vital role in the history and art history of the transition from a pagan to a Christian Empire. When, in the 4th century Rome became difficult to defend, the Imperial court moved first to Milan and then to the Adriatic city of Ravenna. Ravenna then became the capital of the barbarian King of Italy, Theodoric the Ostrogoth (454-526) and later, after the Emperor Justinian’s 6th-century reassertion of (Eastern) Imperial control over Italy, the capital of the Byzantine Exarchate (religio-military colony) in Italy. It remained in Byzantine control until 750.
San Vitale is adorned with the greatest of all cycles of early Byzantine mosaics from the period of Emperor Justinian (483-565), its vivid green colouring contrasting to the strong blues of the late antique mausoleum of Galla Placidia nearby. This mausoleum pre-dates the Byzantine invasion, and its mosaics, like those of Santa Maria Maggiore in Rome, give a marvellous intimation of the transition from antique to early medieval modes of representation. Among the masterpieces in San Vitale, on the other hand, are the scintillating hieratic courtly images of Justinian and his wife Theodora on the apse walls.
We shall also visit the Byzantine churches of Sant’Apollinare Nuovo and Sant’ Apollinare in Classe. The former has mosaics crafted during the reign of Theodoric the Ostrogoth, an Arian, which were changed by the Orthodox Byzantines. You will explore the theological differences between the Arians and orthodox Christians that led to the Council of Nicea (325) and its greatest product, the Nicene Creed. Sant’Apollinare in Classe lies outside the city, located at what was once the coast; it was the port of Ravenna. Its light, airy basilica has a magnificent apse mosaic depicting the Transfiguration and a fine image of Saint Apollinaris, to whom the church is dedicated.
Driving north through the delta country of the Po and Adige rivers to Venice we shall make a stop at the Abbey of Pomposa, home to some remarkable fresco cycles of the 14th century. This fine early medieval abbey has a particularly tall tower, constructed of brick in the fashion of the Lombards, who ruled Italy after the Byzantines. Lombardic brick architecture played a vital role in the emergence of Italian medieval construction methods. (Overnight Venice) B
Day 14: Saturday 10 January, Venice
- Piazza San Marco
- Basilica of San Marco
- Torre dell’Orologio (exterior)
- Procuratie (exterior)
- Campanile (exterior)
- Loggetta (exterior)
- Sansovino’s Library (exterior)
- Mint (exterior)
- Doges’ Palace (exterior)
For the next two days we study the evolution of Venice and its art and architecture from the 9th century when it was an economic colony of the Byzantine Empire to the 13th, 14th, 15th and 16th centuries when it became the wealthiest and most powerful trading city in the Mediterranean. We shall also look at the cultural consequences of its slow economic and political decline when it attracted a myriad travellers as one of the most significant custodians of beauty and humanity in the world.
Our program in Venice begins this morning with a visit to Piazza San Marco to study the square and its remarkable buildings: San Marco, the Doges’ Palace, the Torre dell’ Orologio, the Procuratie, the Campanile and Loggetta, Sansovino’s Library and the Mint. Our focus will be the development of the political core of the republic, its institutions and aspirations, and their reflection in mosaic, painting and architecture, from the Byzantine style of San Marco to the Gothic of the Doge’s Palace, the early Renaissance style of the Procuratie and the Torre dell’Orologio and Renaissance classicism in the vision of Jacopo Sansovino (1486–1570) in his contributions to this most beautiful of all city squares.
Today we also visit the Accademia, which holds the most extensive collection of Venetian paintings. In this gallery we can chart the continuity and change that Venetian art underwent from medieval to Rococo periods, through major works by artists such as Paolo Veneziano (c.1333–c.1358), Giovanni Bellini (1430-1516), Giorgione (1477/8–1510), Titian (c. 1488/1490–1576), Paolo Veronese (1528–1588), Tintoretto (1518-1594), Giambattista Tiepolo (1696–1770), and others. The collection includes Giorgione’s The Tempest, Titian’s Presentation of the Virgin in the Temple, Tintoretto’s Miracles of St Mark, and Veronese’s Feast in the House of Levi. We shall explore how the Venetians reinterpreted the new geometric spatial construction – perspective – and classical proportion systems developed by the Florentines. We shall see how they used the medium of oils to introduce sumptuous colour and to bathe their scenes in a golden light, derived partly from the Byzantine mosaic tradition and partly from the exquisite light of their lagoon city. (Overnight Venice) B
Day 15: Sunday 11 January, Venice
- Peggy Guggenheim Collection
- Santa Maria Gloriosa dei Frari
- Scuola di San Rocco
- Leisure time
- Farewell Evening Meal
The formal part of the program commences with a visit to the Palazzo Venier dei Leoni which holds the Peggy Guggenheim Collection. Peggy Guggenheim (1898-1979), niece of Solomon R. Guggenheim, accumulated this remarkable collection of 20th-century art. The Venice Guggenheim is one of the most significant modern art galleries in Italy. Its holdings embrace Cubism, Surrealism and Abstract Expressionism. It includes notable works by Picasso, Braque, Duchamp, Léger, Dalí, Magritte, Picabia, Severini, de Chirico, Brâncusi, Mondrian, Kandinsky, Miró, Giacometti, Klee, Arshile Gorky, Alexander Calder and Max Ernst.
This afternoon we visit the great Franciscan Church of Santa Maria Gloriosa dei Frari which houses some of the most significant works of the Venetian masters from the 14th to the 17th century, including Titian’s Assumption, and his Pesaro Altarpiece. Painting styles range from a decorative Byzantine influence to Renaissance classicism.
Nearby, we visit the Scuola Grande di San Rocco where we shall view Tintoretto’s most complete painting cycle. This vast corpus of huge oil canvases, set in the walls of a charitable institution that aided plague victims, rivals Michelangelo’s and Raphael’s Vatican frescoes in its size, breadth and power.
The remainder of the afternoon will be at leisure so that you can explore the city for yourself. You may wish to take a vaporetto along the Grand Canal, or visit the beautiful islands of Murano and Torcello, to see glass blowing and visit their fine medieval churches. In the evening we shall have a farewell dinner at a local restaurant. (Overnight Venice) BD
Day 16: Monday 12 January, Depart Venice
- Airport transfer for participants departing on the ASA ‘designated’ flight
Our tour finishes in Venice. Participants wishing to return to Australia and who are travelling on the ASA ‘designated’ flight, will be transferred to the airport by private water taxi. Alternatively you may wish to continue with your own travels in Europe. B