Constructed by the Jews who came from the Eastern Mediterranean between 1538 and 1561, it is probably the only one that has kept nearly all its original features and has the only note¬worthy exterior, with its two simple and severe facades interrupted by three orders of windows and the polygonal niche (a typical feature of Venetian architecture), it is called « diagò » or « liagò » and can also be seen in the other Scole.
In the entrance hall of the Scola, enriched by a beautiful ceiling, one reads on two ancient tablets: «If you understand, oh, man, what your end in the world will be, and if you show charity discreetly, then when you depart this life your place will be assured: then your chalice will be full of goodness and on your head will be placed a crown» on the first, and, on the second, above the alms-box: «Donated by the Compagnia di Pietà e Misericordia». Another tablet was added in 1884 commemorating Sir Moses Montefiore’s visit to Venice on July 1, 1875.
On the right is the Yeshivà Luzzatto; a small, very fine study and Prayer Hall transferred here from its original seat and kept intact to this day.
Started in the second half of the 16th century, this Scola was restored at the end of the next century by the school of Andrea Brustolon (1662-1732), from Belluno, the most famous wood sculptor working in Venice in that period. A particularly beautiful and impressive pulpit stands on a high base, finely worked in flower motifs. Other motifs twist round the two columns, recalling those of Salomon’s Temple. The columns support a severe architrave, while two flights of stairs lead up in a smooth curve to the level of the pulpit.
High up, along the entrance hall, runs the women’s gallery, once closed by lattices. On the ceiling too, which is of striking merit, are repeated the same wood carvings and gildings. The Dutch chandeliers, brass candlesticks and beautiful silver lamps hanging round the Ark help to harmonize the various elements of which this Synagogue is composed, and accentuate its particular charm and singular feeling of composition.
