Travel Guide of Venice Historic tourism, Italy

Venice used to be the capital of the maritime republic of the same name, the historic center of Venice has been enriched over the centuries by grandiose artistic monuments, a manifestation of the opulence that, thanks to maritime trade, had reached the city. The incomparable location in the center of a lagoon and the beauty of its buildings make it a unique city in the world.

Venice is virtually the same as it was hunreds years ago, which adds to the fascinating character. Venice has decayed since its heyday and suffers from overtourism, but the romantic charm remains. It is also known as the birthplace of composers Tomaso Albinoni and Antonio Vivaldi. Venice and its lagoon are a UNESCO World Heritage site.

Venice is a sanctuary on a lagoon , the first historical settlement dates back to 25 March 421, the date of the consecration of the church of San Giacometo, when the populations of the mainland, fleeing the barbarian invasions, sought refuge in the lagoon. It was another invasion, the descent of Pipino (Carlomanno) in 821, to decree the prevalence of the safest area, the high bank (Rialto), among all the surrounding centers and to give it the title of capital of the Duchy of Venice .

The history of the Republic of Venice traditionally begins with the foundation of the city at Noon on Friday, 25 March, AD 421, by authorities from Padua, to establish a trading-post in that region of northern Italy. The founding of the Venetian republic is also said to have been marked at that same event with the founding of the church of St. James. According to tradition, the original population of the region consisted of refugees from nearby Roman cities, who were fleeing successive waves of Hun and Germanic invasions from the mid-second to mid-fifth centuries.

In ancient times, Venice gradually withdrew from the disputes between mainland lords and turned to pay more attention to maritime trade. The prosperous maritime economy and the growth of towns and arms, and after successfully resisting the invaders, they gradually became the new Venetian Republic.

The Republic of Venice dates back to 827, when a Byzantine Duke moved its seat to what is now known as the Rialto, and for the following 970 years, it prospered on trade (especially from the Silk Road) and under the rule of a Roman-style Senate headed by the Doge. Eventually, the Republic of Venice grew into a powerful city-state, and the cradle of Italian renaissance. In the late 15th century, the Ottoman Empire’s expansion around the Mediterranean, new routes on the high seas shifted commerce to the Atlantic, demoting Venice’s political status.

The favorable geographical position within the Mediterranean favored its rise and the flourishing of trade with Europe and Constantinople sanctioned its definitive consecration to marine power and the Maritime Republic alongside Genoa , Pisa and Amalfi . However, compared to other Italian maritime cities, Venice managed to achieve an unparalleled wealth and power that placed it not only at the top of Italy but also at the top of Europe. It also stood out for its extraordinarily efficient and “democratic” institutions for the time.

The Crusades
Venice was over the centuries one of the departure ports of the Crusaders. Venice also participated in the third and fourth crusades at the invitation of the Pope. Although the war was in vain, the crusades gave the opportunity to consolidate its position in the East by being able to conquer key points for trade. Venice was a de facto monopolist in the traffic of goods that flowed from Western Europe and northern Italy.

High Middle Ages
In the 12th century, the republic built a large national shipyard that is now known as the Venetian Arsenal. Building new and powerful fleets, the republic took control over the eastern Mediterranean. The first exchange business in the world was started in Venezia, to support merchants from all over Europe. The Venetians also gained extensive trading privileges in the Byzantine Empire, and their ships often provided the Empire with a navy.

In the 14th century, Venice faced difficulties to the east, especially during the reign of Louis I of Hungary. Along the Dalmatian coast, his army had attacked the Dalmatian cities of Zara, Traù, Spalato and Ragusa.

War with Genoa
The historical rivalry with Genoa originated from the competition between the Maritime Republics for the control of trade routes with the East and in the Mediterranean. In the 13th century , hostilities were limited to running warfare. Around 1218 the Republics of Venice and Genoa agreed to put an end to the harmful corsairing with the guarantee of mutually protecting each other, while the Genoese were guaranteed freedom of traffic in the lands of the Eastern Empire. The two Republics clashed violently in the second half of the 14th century for possession of the monastery of San Saba in the Syrian city of Acre .

In reality, Genoa, which had not succeeded in ousting its rival from trade with the East, was heading towards a period of internal struggles, which compromised its independence. Venice, on the contrary, managed to maintain a cohesive state. Within a few years, however, the fall of Byzantium in 1453 , revealed what the dominant naval power in the eastern Mediterranean really was and forced the two Italian maritime republics to seek a new destiny. Genoa found it in nascent international finance , Venice in land expansion.

High Renaissance
Venice became rich on trade, the guilds in Venice also produced superior silks, brocades, goldsmith jewelry and articles, armour and glass in the form of beads and eyeglasses.

In the early 15th century, the Venetians also expanded their possessions in North Italy, and assumed the definitive control of the Dalmatian coast, which was acquired from Ladislaus of Naples. Venice installed its own noblemen to govern the area. Venice managed to conquer the Italian hinterland, thus moving its center of gravity further west. Following the conquests, for a more widespread control over the territory and thanks to state donations, many members of the nobility came into personal possession of territories.

Many other families of the aristocracy, at the end of the fifteenth century and throughout the sixteenth century, settled with agricultural activities in the new territories as true colonists. Thus was born the Venetian villa , consisting of a central body (or dominicale ), generally high, but of domestic proportions, suitable for welcoming the owner and his family, when he went to personally check the fund. The manor house was flanked by comfortable dependencies for the peasants, by deposits for the harvest and by sheds for tools ( barchesse ), as part of the Renaissance ideal of good governance of public and private affairs.

During the sixteenth century with the Palladian villas , that is those built by the architect Andrea Palladio especially in the province of Vicenza , the Venetian villa rises to the dignity of art and at the same time knows a rigorous, almost scientific organization of the functional relationships between its different spaces. Around Venice along the communication routes leading to Padua and Treviso , over time country villas have been built side by side for their richness and beauty.

One of the significant events in the history of Venice was the opening of the first public opera house in 1637, which allowed members of the general public (those who could afford to pay for the tickets) to enjoy what was once court entertainment reserved for the aristocracy, thus allowing the genre of opera to flourish. Venice was an important destination of the Grand Tour from the 17th century.

War of the League of Cambrai
During the same period, the Republic of Venice was embroiled in a melee between the Papal State and European powers in northern Italy. Although no large-scale battle was fought in the territory, facing a powerful opponent, the Republic of Venice had to adopt a defensive strategy and lost the opportunity to open up new territories. After the war, the territory of the Republic of Venice was recognized, but it also faced the situation of being trapped in siege by European powers.

Ottoman-Venetian Wars
After Constantinople fell to the Ottomans, war was unavoidable. The Ottomans conquered the Peloponnesus and launched an offensive in the Venetian mainland, closing in on the important centre of Udine. In 1571 , after the long siege of Famagusta , Cyprus was lost . In that same year, in Lepanto , a Christian fleet, commanded by Don Giovanni of Austria and made up of Venetian, Spanish, Genoese, Savoy, Church and Knights of Malta ships defeated the Turkish fleet. The contribution of Venice was decisive in the battle,.

In 1669 , after the bloody war of Candia, which lasted twenty years, which left Venice exhausted, the Turks took the city of Candia , thus gaining complete control of Crete .

The crisis and fall of the Republic
In this period the Mediterranean routes lost their importance in favor of the new Atlantic trade routes opened by the Spanish and Portuguese who, since the discovery of Americaand from the opening of the way to the Indies passing through the Cape of Good Hope , the exploration journeys and the colonization of the extra-European continents had begun. This situation marked the beginning of the commercial marginalization of Venice, aggravated also by the continuous advance of the Turks. It was the shift of the European commercial center of gravity towards the Americas and the grueling and uneven struggle against the Ottoman Empire that decreed the beginning of the end for the maritime republic of the Adriatic.

In the 18th century Venice was one of the most refined cities in Europe , with a strong influence on the art , architecture and literature of the time. Its territory included Veneto , Friuli , Istria , Dalmatia , Cattaro , part of Lombardy and the Ionian islands .

Nevertheless, Venice remained independent for more than 1000 years until the arrival of Napoleon, still constituting a center of interest and reference for the arts, architecture and literature in Europe.

In 1797, the city was conquered by Napoleon, a blow from which it never recovered. The city was soon absorbed into Austria-Hungary, then ping-ponged back and forth between Austria and a nascent Italy, but Venice is still a monument to the glory days of the Renaissance, and historical culture still throbs powerfully in the old Italians’ veins.

Kingdom of Italy
With the Peace of Presburgo on December 26, 1805 , the Austrian Empire renounced the Venetian Province, which was ceded to the Napoleonic Kingdom of Italy . Following the restoration after the Napoleonic period , on 9 June 1815 , with the Congress of Vienna , Venice passed to the Lombard-Veneto Kingdom , of which it became one of the two capitals, and the capital of the province of the same name .

In 1846 the railway bridge connecting Venice and the mainland was inaugurated, today called Ponte della Libertà .

The city participated in the struggles of the Risorgimento . After the Third War of Independence , the plebiscite of 21 and 22 October 1866 will sanction the annexation to the Kingdom of Italy .

The postwar period saw the great building expansion of the Venetian mainland, which attracted immigrants from all over the Veneto hinterland and from the historic center itself. In parallel to this expansion, the majority of its population exodus from the historic center, to the point that today the Venetian mainland has double the inhabitants of the island Venice.

Historic Tour
The most famous place in the city is Piazza San Marco , the only one in the historic center to be characterized by the toponym “piazza”: the other squares are in fact called “campi” or “campielli”. The Basilica of San Marco is located in the center of the square, colored gold and covered with mosaics that tell the story of Venice, together with the bas-reliefs that depict the months of the year. The Doge’s Palace stands next to the Basilica: to unite them, the Porta della Carta , the work of Bartolomeo Bono, which is the exit of the Palazzo Ducale museum. To see the Sala del Maggior Consiglio, which for centuries was the largest seat of government in the world, the Bridge of Sighs, the prisons and the Leads. In front of the Doge’s Palace stands theSan Marco bell tower : built in 1173 as a lighthouse for sailors.

There are countless noteworthy churches that can be found in the lagoon city, both for their architectural merits and for the artistic treasures contained therein. Among the most important are the octagonal Basilica of Santa Maria della Salute , the Basilica of Santa Maria Gloriosa dei Frari , the church of Santa Maria dei Miracoli , the church of San Francesco della Vigna , the church of San Zaccaria , the basilica of Santi Giovanni e Paolo , the church of the Redeemer , the latter built on the Giudecca island on a project by Andrea Palladio, and the basilica of San Pietro di Castellowhich includes two chapels by Veronese. Other important Venetian monuments are the Arsenale , the synagogues of the Ghetto.

Venice is full of noble palaces, overlooking fields, streets, canals and canals, ancient residences of the richest Venetian families of the golden age of the city. Among the most famous Palazzo Fortuny , in gothic style donated to the city of Venice by the widow of the Spanish artist Mariano Fortuny, Palazzo Grassi , the work of Giorgio Massari, Palazzo Mocenigo with a Renaissance-style facade, Palazzo Grimani , owned by the state and seat of the Court appeal and Gothic-style Palazzo Loredan . Two or more families are often mentioned in the name, such as Palazzo Cavalli-Franchetti , or Palazzo Gritti-Badoer, or the branch of the family is specified (eg Palazzo Morosini del Pestrin).

Many private residences instead keep the traditional denomination Ca ‘, which indicated the name of the family and the building: for example Ca’ Foscari , seat of the homonymous city university, Ca ‘Corner , designed in the 16th century by Jacopo Sansovino, Ca’ Rezzonico , in the Dorsoduro district and the work of Longhena, Palazzo Balbi , seat of the President and of the Regional Council of the Veneto Region, Ca ‘Pesaro , Ca’ Tron , Ca ‘Vendramin Calergi and Ca’ Dario ,

In Venice, given its ancient commercial vocation, there are also fondachi, ancient buildings of medieval origin used as a warehouse and shelter for foreign merchants. Along the Grand Canal you can see the fondaco dei Tedeschi , the fondaco dei Turchi and the fondaco del Megio .

Due to its conformation, Venice has 435 public and private bridges that connect the 118 islets on which it is built, crossing 176 canals. Most of them are built of stone, other common materials are wood and iron. The longest is the Ponte della Libertà which crosses the Venetian lagoon, connecting the city with the mainland and thus allowing vehicular traffic.

The main canal that cuts through the city, the Grand Canal, is crossed by four bridges: the Rialto bridge is the oldest (built around the sixteenth century); the Accademia bridge ; the Scalzi bridge , the latter built under the Habsburg domination and rebuilt in the twentieth century, and finally thebridge of the Constitution , built in 2008 on a project by architect Santiago Calatrava. Another symbol of the city is the Rialto bridge : the work of Antonio Da Ponte, it was built in 1591. One of the most famous bridges in Venice is, moreover, the Bridge of Sighs . Made of Istrian stone in the seventeenth century on a project by the architect Antonio Contin, it connects the Palazzo Ducale with the New Prisons.

Venice is also home to the sought after Peggy Guggenheim museum , where there are great works by artists including Ernst, Modigliani, Picasso, Mirò, Pollock and Kandinsky.

Historical heritage

St Mark’s Campanile
The bell tower of San Marco is one of the most important symbols of the city of Venice, it is one of the tallest bell towers in Italy, standing isolated in a corner of Piazza San Marco in front of the basilica. The bell tower of San Marco was built in the 9th century. It was originally used as an observation tower and a lighthouse. It was rebuilt in 1100 and then completed in the 16th under the guidance of the architect Bon. It was rebuilt in the Renaissance style, while maintaining the original structure. The bell tower has played an essential role in the political and social life of the city for centuries. The bells were rung to inform the inhabitants of the city of all the main events organized in Venice. At the foot of the bell tower were famous wine sellers who moved to sit in the shadow of the bell tower, depending on the time of day. From this ancient custom derives the term used by the Venetians for a glass of wine: Ombra. The top of the tower offers a splendid view of Venice and the lagoon.

Simple in shape, it consists of a fluted, square-shaped brick barrel with a side of 12 meters and about 50 meters high, above which there is the belfry, with arches. The belfry is in turn surmounted by a die, on whose faces two going lions and the female figures of Venice (Justice) are alternately depicted. The whole is completed by the pyramid- shaped cusp, on the top of which, mounted on a rotating platform to function as a weather vane, is the golden statue of the archangel Gabriel. The base of the building is embellished, on the side facing the basilica, by the loggia of Sansovino. At the base of the Campanile is the Loggetta, a colonnaded portico designed by Sansovino. Constructed of red Verona marble and embellished with white marble of Carrara, verde antique (a mottled green marble), and white Istrian limestone, the Loggetta was intended to serve as a suitable backdrop for Venetian noblemen to gather before processing in state to the Doges’ Palace.

Marciana National Library
The Marciana National Library is one of the largest Italian libraries and the most important in Venice. It contains one of the finest collections of Greek, Latin and Oriental manuscripts in the world. Palladio defines the library as “the richest and most ornate building that has ever been built by the ancients up to here”. The project is remarkable, the structure important. The decoration is at the base of the library, built on two floors. The architectural order, which significantly defines the decoration of the artefact is superimposed. On the ground floor a rich three-dimensional Tuscanic which is leaning on the pillars (Roman style) with evident triglyphs and metopes and on the upper floor the Ionic. An example of great innovation are the very compacted Serliane that characterize the building on the first floor. The decorative enrichment of the library is embellished with sculptural works. Fruit festoons, a large cornice with important statues corresponding to the columns characterize the evident Renaissance crowning.

The arches of the ground floor are of the Tuscan order. On them rests a Doric entablature which alternates triglyphs and metopes; on the second level there is an Ionic loggia, surmounted in turn by a rich frieze in which cherubs and festoons of flowers and fruit follow one another. In the arches, a rich sculptural decoration. On the crowning, a balustrade surmounted by statues of classical divinities, works by Alessandro Vittoria, Tommaso Minio, Tommaso and Girolamo Lombardo, Danese Cattaneo and Bartolomeo Ammannati. In the façade, light and chiaroscuro, the voids prevail over the full ones. It is a polyvalent organism, whose prospect on the square is resolved with a double order of Roman-style arches, inspired by the Theater of Marcellus and the Sangalleschi projects for the courtyard of Palazzo Farnese. The first order, porticoed, takes up the double Roman system of the columns supporting the architrave and the pillars that support the arches, and the second which presents discontinuous balustrades, columns supporting a very rich frieze and serlianas so contracted by cancel their trifore value.

Clock Tower
The Clock Tower is a Renaissance building located in Piazza San Marco. In Renaissance style, it overlooks Piazza San Marco. The building consists of a central tower, built between 1496 and 1499 by the architect Mauro Codussi, and two side wings, added later. The arch below connects the square with the Mercerie. The clock face, 4.5 m in diameter, is in gold and blue enamel; marks the time, day, moon phase and zodiac. The Clock is also equipped with a mechanism traditionally activated only in the days of Epiphany and Ascension: at each stroke of the hours, the side panel of the hours opens to let a carousel of wooden statues pass Nativity and the three Magi. The statues, dragged by a rail mechanism along the semicircular platform above the dial, then re-enter the tower through the side panel of the minutes located on the opposite side of the statue of the Virgin and Child, placed in the center. Starting with the sunset of the sun, which occurs at different times depending on the season, the day was divided into 24 hours of variable length.

The tower is characterized by the two Moors on the top and by a gold-blue clock that activates its carillon on the occasion of the Epiphany, making the Three Kings and the characters of the Nativity come out at every stroke of the hour. Famous are the so-called Moors of Venice, so nicknamed for their brown color by the Venetians. Located at the top of the Tower on a terrace, there are two bronze statues depicting two shepherds who beat the hours with a mace on a large bell. A very specific detail contributes to this attribution of roles. The Moors mark the hours by striking the bell with their hammers (as many tolls as there are hours), but with a precise modality. The Moro Vecchio strikes the hour two minutes before the exact time, to represent the time that has passed, while the Moro Giovane strikes the hour two minutes later to represent the time to come. The tower houses a bell of note E flat 3, cast in 1497 by Simone Campanato. The bell is beaten by the Moors and, at noon and midnight, also by two hammers, the hammers of the sundial, not visible from the square.

Doge’s Palace
The Doge’s Palace, one of the symbols of the city of Venice and a masterpiece of Venetian Gothic. Ancient seat of the doge and the Venetian magistrates, founded after 812. Today it houses the Civic Museum of Palazzo Ducale, part of the Fondazione Musei Civici di Venezia (MUVE). A true homage to Venetian Gothic. Distinguished by a style that, drawing inspiration from Byzantine and Eastern architecture, well exemplifies the intensity of the commercial and cultural relations between the Serenissima and other European states, its beauty is based on a shrewd aesthetic and physical paradox, the heavy bulk of the main body is supported by apparently slender inlaid colonnades. The Doge’s Palace is spread over three wings around the sides of a large central arcaded courtyard, two colonnaded levels surmounted by a mighty inlaid marble body in which large ogival windows open, with a monumental central balcony, its vault is richly decorated, and a crowning of small cusps and corner aedicules, replacing the traditional cornice.

The Doge’s Palace in Venice preserves in its rooms and along its facades an impressive number of works of art, dating back to various historical periods, commissioned by individual doges to pass on their memory or in the context of general restructuring of the complex. The decorative apparatus had mainly celebratory functions towards the history of the Serenissima Republic of Venice, there are numerous allegories, paintings depicting battles and historical events, tables depicting devotional gestures towards saints and the Virgin. The interiors, now partly deprived of the works that once decorated them, still retain a large picture gallery, which includes works by the most famous Venetian masters, including Jacopo and Domenico Tintoretto, Tiziano Vecellio, Francesco Bassano, Paolo Veronese,Giambattista Zelotti, Jacopo Palma the Younger, Andrea Vicentino and Antonio Vassilacchi. Discover the part of the building where the city administration operated, the Casanova prison and the wonderful five-hundred-year-old roof structure. By visiting the palace it is also possible to access the Bridge of Sighs.


St. Mark’s Basilica
The Patriarchal Cathedral Basilica of San Marco, more famously called the Basilica of San Marco is the cathedral church and seat of the patriarchate of Venice. Together with the bell tower and the square of San Marco, it forms the main architectural site of Venice, and, together with them, it constitutes the best known symbol of the city and of the Veneto in the world. It is also one of the symbols of Venetian art and Christianity. The basilica was built in 829 to contain the remains of San Marco, patron saint of the city and was consecrated in 1024. The main facade is unique. It has five arched doors, a terrace on which I am at home, four bronze horses from the prey of the 4th crusade of the unbelievers. In the period of the Republic of Venice, it was the personal chapel of the Doge and was built with various artifacts mostly from Asia Minor and donated by Venetian merchants.. Inside it is embellished with splendid golden mosaics and various works of art. By virtue of the treasure of San Marco, the ornate mosaics and the majestic design elements, which made the sacred building the visible symbol of the power and wealth.

It has been renovated and decorated several times over the centuries and the Basilica is certainly the most spectacular church in the city. The famous main façade has an ornamented roofline that is mostly Gothic. The gold ground mosaics that now cover almost all the upper areas of the interior took centuries to complete. In the 13th century the external height of the domes was greatly increased by hollow drums raised on a wooden framework and covered with metal; the original ones are shallower, as can be seen on the inside. This change makes the domes visible from the piazza. Many of its rich artifacts and relics were plundered from Constantinople in the Fourth Crusade, including many artifacts from the Hagia Sophia. For its opulent design, gold ground mosaics, and its status as a symbol of Venetian wealth and power, from the 11th century on the building has been known by the nickname Church of gold. It achieves an Oriental feeling of exoticism, has all the elements of the Venetian style of the Renaissance Art, remains unique, and essentially a product of Italian workers of all sorts.

Church of San Zulian
The church of San Zulian is a religious building in the city of Venice. The church is dedicated to the martyr St. Julian. Founded in 829, the church took its appearance during the rebuilding of Sansovino, which was funded by Dr. Tomaso Rangone, the doctor is immortalized in bronze above the portal holding the sarsaparilla – his “miracle cure”. Inside, under the painted ceiling, are the works of Palma the Younger and “Dead Christ and Saints” by Veronese. In the lunette of the pediment the Rangone stands on a funeral urn, dressed in the doctoral toga while delivering to posterity the synthesis of his knowledge wrapped in a complex symbolism.

The interior of the building has a single nave, almost square, with the rectangular presbytery covered by a cross vault, flanked by two small chapels. Christological cycle that surrounds the hall in its upper register. Eight allegorical figures around the ceiling mark the reflection on the Passion of Christ and surround the triumph of St. Julian, placed in the center of the ceiling at the end of the cycle of St. Julian, to these two cycles must be added the testimonies of the community, of the various Arts, of the Confraternities and Schools of devotion that were expressed in the side altars. There are seven altars in all: noteworthy is the altarpiece of the monumental high altar (by Giuseppe Sardi), with a Coronation of the Virgin and saints signed by Gerolamo Santacroce.

Church of Santo Stefano
The church of Santo Stefano is a place of worship catholic city of Venice. The church was built between the end of the 13th century and the beginning of the 14th century by the eremitani friars of Sant’Agostino. It was rebuilt in the fourteenth century and underwent substantial enlargements during the fifteenth century. The Gothic-style portal of the church is the work of Bartolomeo Bon, while the characteristic ceiling has a ship’s keel structure. To support it, engraved beams and columns in Verona marble. The apse of the church is also a bridge under which a navigable stream flows, while the particularly high Romanesque bell tower of the church with a three-arched cell and surmounted by an octagonal drum, is characterized by a accentuated slope.

The church of Santo Stefano overlooks Campo Santo Stefano with the right side. In it there are various ogival single- lancet windows and, in the central span of the three visible from the outside, also a side portal with a carved marble cornice. The facade appears much more impressive than it is as it faces a very narrow street. In the upper band there is a rose window in the center and two Gothic mullioned windows on the sides. In the lower one, aligned with the central window, there is the imposing portal characterized by a flowery Gothic style lunette, whose perimeter is inflected on the outside and decorated with large phytomorphic flames, acute on the inside and decorated with trilobate hanging arches. On both sides of the lunette, empty in the center, there are two slender onesoctagonal spiers, while at the top of the arch, above the high relief of an angel carrying a cartouche, there is a small marble statue depicting a Christ Pantocrator.

San Salvador Church
The of the Holy Savior Church is a place of worship catholic of Venice. It was founded in the 7th century and then rebuilt in the 12th century by the Canons of Sant’Agostino. The current building was started by Tullio Lombardo, only to be later completed by Jacopo Sansovino. The façade from 1663 is the work of the well-known Ticino architect Giuseppe Sardi. In Renaissance style where it is possible to admire the Annunciation by Titian. Caterina Cornaro, Queen of Cyprus, is buried in the church inside the funeral monument dedicated to her. The church was hit in the siege of 1849, on the left side of the facade, at the base of the first column, a cannon ball can be seen embedded in the wall.

Church of San Bartolomeo
The church of San Bartolomeo is a sacred building in Venice. Founded in 840, the church dedicated to St. Demetrius of Thessalonica. A church with a nave, with a dome at the intersection of this with the transept. There are also two sculptures by Enrico Merengo inside the church. Inside are the paintings by Sante Peranda (Fall of the manna) Palma il Giovane (Punishment of the serpents) and the eighteenth-century high altar by Bernardino Maccaruzzi. In the presbytery and in the chapel on the right there are frescoes by Michelangelo Morlaiter. The organ doors are an early masterpiece by Sebastiano del Piombo.

Church of San Moisè
The church of San Moise is a religious building in the city of Venice. Erected in the late 8th century and was initially dedicated to San Vittore. A beautiful baroque style church inside houses works of the seventeenth and eighteenth centuries among which the washing of the feet by Tintoretto stands out. The façade was built in 1668 thanks to the financing of the brothers Vincenzo and Girolamo Fini, who were depicted on two busts placed above the side entrances. The project is by the Paduan Alessandro Tremignon, brother of the then parish priest Andrea. The whole is in some way harmonized thanks to the use of two orders, which have dampened its development towards the other, and the use of less prominent backgrounds.

The altar of the Nativity of Mary and the high altar are also due to Tremignon. The latter is decorated with sculptures by Enrico Merengo. Among the other paintings it is possible to admire the Washing of the feet by Tintoretto, a Last Supper attributed to Palma the Younger, and two important works by Girolamo Brusaferro: the Submersion of the Pharaoh (1706) and the Elevation of the Cross (1727). The central nave houses the plaque of the Scottish financier John Law, who founded the Western Company aimed at developing the Mississippi Valley and who retired to live in Venice in the last years of his life, after suffering a series of financial setbacks. Also in the sacristy there are works by Michelangelo Morlaiter: San Matteo, San Vincenzo Ferrari, San Carlo Borromeo.

Church of San Vidal
The church of San Vidal is a religious building in the city of Venice. Built by Doge Vitale Falier in the 11th century. It is now a concert hall, which hosts classical music concerts. The main façade overlooks the Campo of the same name. It presents itself with classical forms according to a Palladian scheme and houses on two side sculpted portraits of Doge Carlo Contarini and his wife Paolina Loredan, in memory of the legacy with which the construction was financed. Tradition says that the burial of the famous Venetian musician Baldassare Galuppi was placed in the church of San Vidal, but there is no commemorative plaque to testify this.

The interior, with a vaulted ceiling, has a single nave structure, with three secondary altars on each side. Flanked by two eighteenth-century sculptures, the patriarch Simeone and San Giuseppe, attributable to Antonio Tarsia, while the upper lunette is decorated with the Ascension by Antonio Vassilacchi. The third altar on the left houses a painting from the school of Giovanni Battista Piazzetta, San Sebastiano and San Rocco, by Angelo Trevisan. The high altar is located in an isolated position in the center of the presbytery and is flanked by two statues by Antonio Gai depicting La Fortezza and La Fede. On the right side, there was three altar houses works by Giovanni Antonio Pellegrini, Antonio Tarsia and Giovanni Battista Piazzetta. Other works can be found in the sacristy: The death of Sant’Ursicino by Gregorio Lazzarini and The martyrdom of San Vitale, an eighteenth-century painting from the Venetian school.

Church of Santa Maria del Giglio
The church of Santa Maria del Giglio is a place of worship catholic located in the center of the city of Venice. Founded in the 9th century, but almost completely rebuilt in the late 17th century. The marble façade of the church is a masterpiece of the Baroque. It consists of a series of niches with statues and bas-reliefs interspersed with Ionic (lower band) and Corinthian (upper band) columns. The statue in the central niche of the second order, depicting Antonio Barbaro on the sarcophagus. this church features a series of six relief maps on the facade depicting Rome and five then Venetian cities: Padua, the Croatian cities of Zadar and Split, and also the Greek cities of Heraklion and Corfu.

The interior of the church has a single nave with three short side chapels on each side. The main chapel in the apse is also quadrangular in plan and is covered by a lunette vault. On the main altar, on the sides of the tabernacle, there are two sculptures depicting the Annunciation, the work of Enrico Merengo. Inside there are several masterpieces. Two canvases by Tintoretto, each depicting two of the four evangelists. They are located on the sides of the body. There is a small treasure in the Molina Chapel, although the real pearl of the church is a painting by Peter Paul Rubens depicting the “Madonna with Child and St. John”. Admiral Antonio Barbaro ordered Giuseppe Sardi to rebuild the church to the glory of the Virgin, in Venice.

Basilica of Saints John and Paul
The Basilica of Saints John and Paul is one of the most impressive medieval religious buildings in Venice. It was built together with the adjacent church and was already finished in 1293. It was rebuilt by Baldassare Longhena between 1660 and 1675. The façade is unfinished but next to it is the beautiful façade of the former Scuola Grande di San Marco. It is considered the pantheon of Venice thanks to the large number of Venetian doges and other important figures who have been buried there since the thirteenth century.

Today it houses the Civil Hospital of Venice. It is articulated around two cloisters and a courtyard. To the east is the dormitory of the friars, crossed by a very long corridor on which the cells open. The interior is austere and airy. The Longhena staircase is characterized by magnificent marble inlays; the library still retains the beautiful wooden ceiling by Giacomo Piazzetta (1682), with paintings by Federico Cervelli. In the campo, in front of the church, there is the monument to Bartolomeo Colleoni, the work of Verrocchio and one of the greatest monuments of Renaissance statuary.

Church of San Zaccaria
The church of San Zaccaria is a place of worship catholic city of Venice. The church of San Zaccaria is located in the center of Venice, near Piazza San Marco and the Doge’s Palace. Very ancient church dating back to the 9th century, at the origin of the city, it was a place closely linked to the archaic history of Venice. The current building was built between 1444 and 1515, in a style that mixes Gothic and Renaissance. The church with three naves, with cross vaults, has a tripartite facade with coupled columns and open by numerous windows, in decreasing number from bottom to top, dominated by the large arched tympanum surmounted by the statue of San Zaccaria.

Inside the tombs of many doges and works of considerable value including the polyptychs carved by Ludovico da Forlì and an altarpiece from 1505 by Bellini, Madonna enthroned with Child and saints and paintings depicting the Adoration of the Magi and the Adoration of the Shepherds. On the internal wall of the façade there are four works by Antonio Vassilacchi. In the lunettes on the walls, consisting of 8 works by Andrea Celesti,Giovanni Antonio Fumiani, Daniel Heintz, Antonio Zanchi, and Antonio Zonca, illustrates, a practically unique case, the historical and mythical events of the monastery and the church of San Zaccaria. At the left entrance of the ambulatory is the tomb of Alessandro Vittoria. The Chapel of St. Athanasius constituted the choir of the nuns. The Chapel of San Tarasio constituted the apse of the primitive church. The crypt accessed through the Chapel of San Tarasio. It was built between the 10th and 11th centuries and is divided into three naves by columns supporting cross vaults.

Church of S. Francesco della Vigna
The church of San Francesco della Vigna is a religious building in the city of Venice. In 1534 the church was built on the site of the monastery. It was designed by Sansovino. The façade was built at 1568-1577. Projected on a single floor the main nave, covered by a large tympanum, and the two lateral ones covered by two semitimpani, the compositional problem was constituted by the organic connection of the two systems and by the relationshipmodular of the two orders, the major called to hold the main tympanum and the minor the two semitimpani. Two bronze statues by Tiziano Aspetti are in the niches, in the facade: on the left there is a statue of Moses and on the right there is a statue of St. Paul.

The interior of San Francesco della Vigna is a Latin cross with a central nave, side chapels, an altar and a deeper choir. The space of the aisles, initially marked only by isolated pillars with the function of supporting the arches. On the counter-façade there is a Madonna with Child on the right, a polychrome Byzantine relief from the 12th century, while on the left the Saints Jerome, Bernardino of Siena and Ludovico di Tolosa, a triptych by Antonio Vivarini, restored in 1982. The church in the background ends with a deep presbytery with a perfectly rectangular plan divided into two parts by an altar behind which there was the choir of the friars. The side chapels, which house illustrious burials, were decorated at the expense of the Venetian nobility.

Pietà Church
The Church of Mercy or St. Mary of the Visitation is a place of worship catholic city of Venice. The current church was built between 1745 and 1760, The facade, however, remained unfinished until the early twentieth century. The building is one of the most elegant and evocative of the 17th century, in the 18th century it housed an orphanage and a hospital. On the ceiling of the main entrance there is a wonderful fresco by Tiepolo: Fortitude Peace is one of his greatest masterpieces. Also noteworthy are the frescoes that adorn the vault of the choir, which make up the Triumph of Faith. Here Tiepolo excelled himself, painting the Glory of Heaven. The church is also known among classical music fans as the church where the Catholic priest and composer Antonio Vivaldi worked for most of his life.

The interior has an ovoid plan, characterized by two choirs with wrought iron grates, which develop along the side walls. The ceiling of the main entrance houses a fresco by Giambattista Tiepolo, The Fortress and Peace. On boths side there was two altars. The altar of the main chapel, in marble, is from the eighteenth century and is characterized by a rich Baroque tabernacle, surrounded by gilded bronze figures, made by Giovanni Maria Morlaiter (The Archangels Gabriel and Michael), Antonio Gai (San Marco) and Giovanni Marchiori (San Pietro). On the ceiling there is another fresco by Giambattista Tiepolo, The Theological Virtues, made between 1754 and 1755. Above the entrance door of the choir there is a painting by Moretto, Supper in the house of Simon the Pharisee, from 1544, which was originally located in the convent of San Fermo and Rustico di Monselice. The ceiling of the choir is decorated with another fresco by Tiepolo, the Triumph of Faith.

Church of San Giovanni in Bragora
The church of San Giovanni in Bragora is a place of worship catholic city of Venice. Its foundation dates back to 829. It was rebuilt in the 10th century, and again in 1178. In 1464 the church was restructured according to a late Gothic model, in the form we know today. The restructured while maintaining the basilica structure, creates a brick facade with the usual local late Gothic shapes, with the tripartition corresponding to the aisles; the wooden trussed ceiling is interesting.

Inside the chapel dedicated to San Giovanni l’Elemosiniere was erected, which houses the precious relics of the saint. The whole, in gilded and polychrome wood, presented a rather rich and complex structure. The carving work had been entrusted to two distinct masters: Alessandro da Caravaggio was responsible for the structure of the monument with the altar and the urn, Leonardo Tedesco the relief with the figure of the Saint, gilded and painted by Leonardo Boldrini. There was some works of Jacopo Palma the Younger. The high altar houses two large statues of San Giovanni l’Elemosiniere and San Giovanni Battista. To the right of the presbytery there is a small chapel. Next to this, the sacristy, which houses works by Alvise Vivarini, Risen Christ, and by Giambattista Cima da Conegliano, Sant’Elena and Costantino on either side of the cross. Other important works by Bartolomeo Vivarini, the triptych Sant’Andrea between the Saints Martino and Girolamo.

Church of San Giorgio dei Greci
The church of San Giorgio dei Greci is a religious building in the city of Venice. The building was born as a Greek-Catholic church. TThe construction of the building, in late Renaissance style, began in 1536. The exterior of the building was finally completed in 1571 with the construction of the dome. In the building adjacent to the church there is a small Museum of Greek-Byzantine icons and Orthodox sacred vestments. According to the chronicles, already under construction and before the belfry was completed. The interior is truly magnificent: the hemispherical dome is worth noting, with the center covered with frescoes by G. di Cipro.

The interior has a single nave structure and is covered with frescoes, the work of Giovanni di Cipro, with a two-tiered wooden choir along the side walls and a works by Giovanni Grapiglia. The iconostasis is characterized by marble decorations and paintings by Michele Damasceno depicting various saints and, on the architrave, the Twelve Feasts. Also in the hieron there is a fresco by Michele Damasceno (Apostles and Greek Saints), on the small apse above the main altar, while the apse and the triumphal arch are covered with mosaics from the early seventeenth century. There are also numerous other pictorial works: Ascension by Giovanni Ciprioto, the Last Supper panel by the Cretan Benedetto Emporios and Deposition by Michele Damasceno. On the walls of the chapel that houses the altar of the Preparation there is an icon of the Virgin with a silver shirt. The furnishings of the church are completed by a lectern from 1663 in tortoiseshell and mother of pearl and four bronze candelabra from the early seventeenth century.

Basilica of San Pietro di Castello
The basilica of San Pietro di Castello is an important place of worship in Venice, until 1807 the cathedral of the patriarchate of Venice. Built starting from 822 – 823 and completed around 831 – 832, it has been restored and rebuilt several times between the 16th and 17th centuries. The monumental facade is from 1594-1596 and the insulated bell tower, designed by Mauro Codussi (1482-1490). The façade of the project is attributed to Palladio, his first work in Venice. The structure had three naves, a tripartite facade and circular apses. The fundamental theme foresees a major order corresponding to the central nave, and a minor one in relation to the lateral ones. The whole is decorated with a nineteenth – century bas-relief depicting La Carità, by the sculptor Marsili. The style can be definedclassic. The building has a Latin cross scheme with three naves divided by three arches each, with an altar inside; at the intersection with the transept is the dome. The deep presbytery, which follows the large central nave of the church, is flanked by two side chapels.

The Chair of St. Peter, which according to tradition belonged to the Apostle himself when he was bishop of Antioch. In the right aisle San Pietro in Cattedra and four Saints by Marco Basaiti. Between the two chapels, the work by Veronese from around 1585, the Saints John the Evangelist, Peter and Paul, the Immaculate Conception by Giovanni Maria Morlaiter, 18th century, and The Martyrdom of St. John the Evangelist, by Padovanino. The Supper at Emmaus by Pietro Malombra and Antonio Vassilacchi, on the left wall of the portal. In the left aisle the Vendramin chapel and Lando chapel, with a mosaic altarpiece by Arminio Zuccato, on a cartoon perhaps by Jacopo Tintoretto, 1570. While on the right, by Jacopo Beltrame, 16th century, Supper in the House of Simone, two statues by Orazio Marinali, Faith and Meditation surrounding the Crucifix by Jacopo Strada. St. George and the Princess and the Dragon, work by Marco Basaiti; since 1985 it is on deposit at the Accademia Galleries.

Church of San Lorenzo
The church of San Lorenzo is a religious building in the city of Venice. The church dates to the 9th century, and became attached to the neighboring Benedictine monastery. It was rebuilt in 1580-1616 to designs by Simone Sorela. The high altar was partly sculpted by Giovanni Maria da Cannaregio using designs by Girolamo Campagna. The latter sculptor completed the statues of Saints Lawrence and Sebastian. Marco Polo was buried there, per his request on his deathbed.

The interior is particularly original, with its large area divided almost in the center by three large arches to separate the enclosure space from the public one. The base of the side arches is closed by a low wall with doors and windows, used as a parlor, and above an elaborate railing (once gilded) the separation ends, but still allows for a perception of airiness. Inside the highest central arch stands the great high altar. The sections of the ceiling corresponding to the two partitions of the plan are divided on the sides into barrel vaults, oriented orthogonally to the building, connected by ribs to the cross vaults of the median band, aligned between the large thermal windows and the central arch; each segment with the only simple ornamentation of a discreet central rose window. The main altar is the only altar surviving one among those of the church.

Church of Santa Maria Formosa
The Church of the Purification of Mary known as Santa Maria. The Church is one of the eight churches built in the 7th century by San Magno, Bishop of Oderzo. Legend has it that the Virgin Mary appeared to him in the form of a well-proportioned matron. The church was built several times over the centuries. Mauro Codussi built on the original Greek cross, the Latin plan with three naves, with the presbytery flanked by two minor chapels on each side, and large chapels on the sides of the minor aisles made more airy by the large lateral mullioned windows with which they communicate with each other and with the transept. Inside, the Brunelleschi theme of the gray stone architectural elements that stand out on the white plasters was taken up.

The facade with a classical appearance, it is divided into three parts by bundles of mirrored Corinthian half-pillars placed in pairs on high bases and closed, above the high entablature, a large tympanum crowned by vase-shaped acroterae. The north facing facade divided on two levels, the first is five-part by a minor order of Ionic pilasters that enclose blind arches on the sides. The second level is connected to the first by the two Corinthian and mirrored pillars of the major order on which the tympanum is set. The baroque bell tower was built in 1668 on a project by Francesco Zucconi. It has a central nave and aisles, a choir, transepts with cross vaults and a hemispherical dome. The church also houses some wonderful paintings by Bartolomeo Vivarini, Palma the Younger and Palma the Elder.

Church of Sant’Alvise
The church of Sant’Alvise is a religious building in the city of Venice, the church dedicated to San Ludovico da Tolosa. It underwent a major renovation in the 17th century, which largely changed its interior. Built in simple Gothic modules, with a basilica plan. The façade is very simple, there are six slightly protruding pilasters, connected by ogival arches that follow the entire crowning. The Istrian stone portal is enriched by a statue of the saint in Greek marble, attributed to Bartolomeo Bon. The bell tower has kept its original 14th century Gothic appearance. It has terracotta with a cusp in pine cone and with spiers at the corners. The convent of the nuns on the right side was originally formed by two cloisters, of which now only one remains intact, and by a portico with Gothic style columns and round arches. In modern times the convent has been occupied by the Daughters of Charity.

Statues, altars and seventeenth-century marbles decorate the walls. Noteworthy is the large flat ceiling fresco made by Piero Antonio Torri and Pietro Ricchi in the years following 1674. To make this church even more beautiful the presence of the barco, the typical hanging choir, supported by two filiform columns and Gothic barbican. Another very beautiful aspect are the wrought iron grates behind which the nuns were hidden. Below, to the left of the boat, there are eight tablets depicting biblical episodes, attributed to Lazzaro Bastiani. The most prestigious works of the church are three paintings by Giambattista Tiepolo executed between 1737 and 1740: Crowning with thorns and Flagellation on the right aisle and Ascent on Mount Calvary on a wall of the presbytery. The painting by Angelo Trevisani Oration of Christ placed in front of this last painting. On the eighteenth-century altar in polychrome marble on the left wall there are three statues attributed to Giovanni Maria Morlaiter.

Church of the Madonna dell’Orto
The church of the Madonna dell’Orto is a religious building in Venice, one of the emblematic places of Venetian Gothic architecture. The complex is defined on the sides by two columns leaning against the wall with Corinthian capitals. The capitals and shelves corresponding to the herringbone motif support a molded frame / architrave with plant motifs. The courses of niches with the statues of the apostles framing the wings. The large rose window was designed by Bartolomeo Bon as well as the portal. The portal, developed around a squared opening, presents a crescendo of refined moldings: the internal edge is edged with a twisted motif while at the edge of the jamb there is a herringbone motif enriched by repeated symbols of St. Christopher; the whole is enclosed in a first mixtilinear white and pink frame with a serrated border. The decoration is completed by the three top statues. The symbols of St. Christopher mentioned,, they were integrated with the eighteenth-century statues representing Prudence, Charity, Faith, Hope, and Temperance, taken from the demolished church of Santo Stefano in Murano.

The interior has a basilica plan, with three naves, with pointed double-frame arches. What makes this church famous all over the world are the ten canvases by Jacopo Tintoretto. On the left side, the only surviving element of the convent, four funeral chapels of some important families have been opened. Starting from the entrance, one encounters the Valier chapel, of refined Renaissance architecture. Followed by the Vendramin chapel and the Morosini chapel, in Gothic style by the architects Giovanni and Bartolomeo Bon. The sequence ends with the elegant Contarini chapel. On the right side of the church are the side altars and an important funerary monument. The ceiling is wooden coffered, the work of the restoration in 1931, but inspired by that of the nearby cloister in the typical style of the Gothic construction of the time.

Scalzi Church
The church of Santa Maria di Nazareth, or church of the Scalzi, is a religious building in the city of Venice from the early 18th century. It was built by Baldassarre Longhena in a single nave, with two side chapels, each in turn flanked by two smaller chapels. After the triumphal arch, the hall enters the presbytery, raised and equipped with a dome. In the apse, you can see the choir of the friars. A major restoration between 1853 and 1862 by the Austrian government. Today it is a national monument. Inside, colored and opulent Corinthian marbles give a feeling of opulence and wonder to the visitor.

The facade with the style of late Venetian Baroque, divided into two orders and punctuated by coupled columns. The four statues of the first order, the Madonna and Child placed on the pediment, and Santa Caterina da Siena in the niche to the left of the Madonna are by Bernardo Falconi. The niche on the right was occupied by a statue of St. Thomas Aquinas by Falconi himself. The work Transport of the Loreto house, a fresco by Giambattista Tiepolo from 1743, was destroyed during an Austrian bombing on 24 October 1915. It was in an attempt to repair this damage that, in the period 1929-1933, Ettore Tito painted two works for the church: a canvas of 100 square meters, and a fresco of 400 square meters. The remains of the Transport of the Loreto house and other surviving fragments of the ceiling are now preserved in the Accademia Galleries, where one of the two sketches (oil on canvas) painted by Tiepolo as preparatory models for the great lost fresco is also kept. There is also a photograph of the ceiling by James Anderson and a copy by Mariano Fortuny at the Correr museum.

Church of Miracles
The church of Santa Maria dei Miracoli is a church site in Venice, it is one of the very first Renaissance- style buildings built in Venice. During the sixteenth century, interventions were carried out on the interiors. In 1997 it underwent a careful restoration, which allowed Venetians and tourists to fully enjoy its artistic beauties. The Church of Santa Maria dei Miracoli is almost hidden between two ancient buildings. The facade of the church is completely covered with marble, which, according to tradition, comes from the remains of the works of the Basilica of San Marco. The interior of the church is decorated in shades of pale pink, silver, gray and white and there is still the original bas relief working with mermaids, god Triton, animals, flowers and other images. The “Virgin lives for the saints” is above the church altar. The church has a rectangular structure. The facade overlooks the Campo dei Miracoli.

The lower space still dominated by the “barco”, the singular decoration of the nearby square column that supports the boat, carved by a hand apparently unrelated to the workshop of Pietro Lombardo. The ceiling inserted between the beams dates back to the end of the sixteenth century; Vincenzo Dai Destri from Treviso participated in these works. The canvases in the compartments are paintings from a later period. The interior has a single nave with a barrel vault decorated with gilded coffers, inside the fifty panels there are small panel paintings depicting prophets and patriarchs. The presbytery begins with a steep staircase leading to the mezzanine floor, elegantly decorated with four statues. The large cross of porphyry discs on the back wall draws the gaze upwards, where the stained glass window in the tambour meet. In the stained glass window there is an image of Pietatis, the Christ in the sepulcher.

Church of the Santi Apostoli
The Church of the Holy Apostles of Christ is a religious building in the city of Venice, was built by San Magno, bishop of Oderzo. Jesuit church whose facade is a perfect example of the early 18th century Baroque style. The current building is the result of lots for renovations carried out during the 18th century. Legend has it that the Church was one of the first places in Venice where refugees from the mainland came to live.

The interior consists of a double-tiered nave of pillars, there is a Latin cross shape and the internal columns are surmounted by statues. Immediately on the right the altar with the altarpiece Christ among the Apostles by Sebastiano Santi, circa 1828, follows the fifteenth-century Corner chapel, with very precious marbles and decorations. The altar with the Communion of Saint Lucia by Giambattista Tiepolo, circa 1748, is beautiful. The second altar on the right side houses the altarpiece The Birth of the Virgin, from 1599, by Giovanni Contarini. The main altar with the tabernacle in the shape of a circular temple was designed by Francesco Lazzari. In the two side chapels, the fourteenth-century frescoes have been saved. On the left side altarpieces by Gaspare Diziani and Domenico Maggiotto. The bell tower dates back to 1672 but was finished by Andrea Tirali in the 18th century.

Church of San Marcuola
The church of San Marcuola or church Ermagora saints and Fortunato is a religious building in Venice, it was built for the first time on the island called Lemeneo even between the ninth century and the tenth century, and that it was then destroyed by a fire following an earthquake. It was then in the twelfth century that the current church was re-built, Giorgio Massari managed to finish the internal part as early as 1736, but not the facade of the church, which still remains unfinished.

The first structure was part of the canons of the Romanesque style and had three naves with roof to roof trusses discoveries. The bell tower was built next to the apse. The church now has a single square nave covered by a barrel vault. An octagonal spire was also added during the renovation of the church. The presbytery was obtained from a semicircular apse, which is the conclusion of the beautiful rectangular main chapel, surmounted by an oval dome, supported by four columns. The church offers a large collection of statues by the sculptor Gaetano Susali.

Church of San Giobbe
The church of San Giobbe is a Catholic place of worship in Venice. The church is what remains of the Franciscan convent of San Giobbe and San Bernardino da Siena. A large part of the convent was demolished in 1812. In 1815 the garden was entrusted to the Bavarian gardener Giuseppe Ruchinger. Throughout the twentieth century the complex remained, with modifications and adaptations, operational with production activities (a thermoelectric plant) and distribution of electricity (from the Malnisio Montereale Valcellina power plant) and from the specialized technical units of the Sade group (as the written in marble above the entrance obtained from the walls present in the small square facing the church) and by Enel with its Measurement and Testing Service. The bell tower was finished in 1464 with an open belfry with elegant Gothic mullioned windows in Istrian stone.

The great sculptor Pietro Lombardo was called to embellish the interior. Inside a single nave there is an asymmetry: the left wall is full of chapels while the right part is linear with four altars. This is because on the right side the church rested on the pre-existing convent. The presbytery is preceded by a triumphal arch, surrounded by the statues of the Archangel Gabriel and the Virgin of the Annunciation. It is perfectly square in shape and on the sides there are four columns. The whole is dominated by a semi-dome with the statues of the four evangelists, attributed to Pietro Lombardo. In the sacristy there is the oil on panel painting by Andrea Previtali Madonna and Child with Saints John the Baptist and Catherine of Alexandria executed in 1504.

Church of the Maddalena
The church of Santa Maria Maddalena is a religious building in the city of Venice, one of the best known examples of neoclassical architecture Venetian. Originated from a religious building erected in 1222, starting from 1763 the church was completely rebuilt, with a circular plan, based on a design by Tommaso Temanza, who shifted its orientation towards the campo. The church has a rather unusual circular plan for Venice (the only other example is that of San Simeon Piccolo), with a hemispherical domed roof, clearly inspired by the architecture of ancient Rome and in particular the Pantheon, of which it recalls the steps outside. The reference also goes to Venetian buildings such as the Salute and San Simeon Piccolo, the latter work of Giovanni Scalfarotto, teacher and uncle of Tommaso Temanza.

There was a great portal architectural value, preceded by a short staircase and formed by a high gable triangular supported by two pairs of columns with capitals and entablature ionic. Above the entrance door there is a lunette with an all-seeing eye within a triangle intertwined with a circle in bas-relief. Inside, the circular plan is transformed into hexagonal with the insertion of four side chapels (the other two sides are formed by the main chapel and the main entrance), framed by round arches. Last Supper by Giandomenico Tiepolo and the Apparition of the Virgin to San Simone Stock by Giuseppe Angeli as well as other 18th century paintings, by the school of Giovanni Battista Piazzetta.

Jesuit Church
The church of Santa Maria Assunt is a religious building in Venic. The façade designed by Rossi is a free interpretation of the Venetian Baroque culture of the early eighteenth century. It is divided into two orders. The movement of the façade is multiplied by the beams of semi-pillars, slightly hollowed, which welcome each column and by the breaking of the high architrave. The upper order, of four simple pillars without capital, is narrowed to the width of the nave by large scrolls and opened in the center by a large window. Crowning is the tympanum slightly out of phase on two vertical planes and surmounted by the dynamic marble group of the Assumption of Mary and angels by Giuseppe Torretto to which adoring angels and cherubs make a spectacular wing. The cornice of the first order supports eight statues on mirrored pedestals corresponding to the columns, which together with the four in the underlying niches, represent the Twelve Apostles. The door, one of the very few surviving originals, a refined structure in embossed and chiseled bronze sheet.

The floor plan is typical of Jesuit churches, with a Latin cross, with three chapels on each side in the longer arm. The flat-bottomed transept and presbytery are flanked by two other chapels. The six chapels on the sides of the nave are separated from each other in small rooms, once dedicated to confessions. The ceilings are decorated with frescoes by Ludovico Dorigny, Musician Angels in Glory. The presbytery is surrounded by statues of cherubs, little angels, angels and archangels ofGiuseppe Torretti. By Jacopo Antonio Pozzo, also known as Giuseppe Pozzo, is the altar, which consists of ten columns surmounted by a white and green dome.

Church of San Giovanni Grisostomo
St. John Chrysostom is a church in Venice, this small church was built in the 11th century in an area of Venice that was already very rich then, as it is now. The facade looks towards the main street while the two walls overlook as many squares. Its plan is a Greek cross, regular, with two naves that intersect perfectly and with the classic four pillars that support the arches on which the hemispherical dome rests. On the flat ceiling there are nine compartments of various sizes in which there is the Holy Father between putti and Cherubini by Giuseppe Diamantini.

The most important work is undoubtedly the altarpiece of the ‘ altar of Giovanni Bellini, the 1513, with Saints Christopher, Jerome and Louis of Toulouse, commissioned by George Beloved July 13 the 1494 in his testament. Also important is a canvas by Sebastiano del Piombo, commissioned, as a testament, by Caterina Contarini and Nicolò Morosini, and shows a very humble and human San Giovanni Crisostomo. On the walls you can admire the translation of of San Giovanni Grisostomo by Zaccaria Facchinetti, 1610. Finally, the marble altarpiece by Tullio Lombardo Coronation of the Virgin among the Apostles, commissioned by the Bernabò de Catenariis family from Montepulciano.

Sanctuary of Lucia
The sanctuary of Lucia is an important building of worship, which houses numerous works of art. The church was built in the 11th century, only to be rebuilt several times. The current building was designed by Carlo Corbellini in 1753. The first mass in the rebuilt church was celebrated on April 27, 1760. The facades on the campo and on the Cannaregio Canal, on the other hand, are from 1861, the year in which the works were finished. In 2018 the church was elevated to a sanctuary. In the church of San Geremia are preserved the mortal remains of one of the best known and venerated saints of Christianity, Saint Lucia, a Syracusan virgin and martyr.

Inside the church, very beautiful and precious is the altar, with its presbytery, in which you can admire the statues of St. Peter the apostle and St. Jeremiah the prophet, dated 1798, by Giovanni Ferrari. In the background the monochrome fresco work by Agostino Mengozzi Colonna Two Angels in Act of Supporting the Globe. The valuable work that appears on the fourth altar, The virgin attends the coronation of Venice by the bishop S. Magno of Palma il Giovane. Notable sculptural works are the Madonna del Rosario by Giovanni Maria Morlaiter and The Immaculate Conception by Giovanni Marchiori. In the church there is a miraculous acheropite sculpture of Christ dating back to the early seventeenth century.

Church of Santa Maria Gloriosa dei Frari
The basilica of Santa Maria Gloriosa dei Frari, the largest church in Venice, a fine example of Venetian Gothic architecture. The plan is a Latin cross, and the style is Venetian Gothic in terracotta and Istrian stone. It has three naves with pointed arches resting on six columns on each side. It measures 102 meters in length, 48 meters in the transept and is 28 meters high; it has 17 monumental altars and inside there are many works of art, including two paintings by Titian. It also houses tombs and funeral monuments of numerous personalities linked to Venice, including Claudio Monteverdi, Titian himself, Antonio Canova, as well as numerous doges.

It was built by the minority monks of the Franciscan order, called the Friars, helped by a donation from the Doge Jacopo Tiepolo. The first version of the church was completed in 1338 and was much smaller than the current one. Other donations from important Venetian families helped the expansion and decoration of the church. However, this church was demolished in the early 15th century to build a new church. The imposing façade is in late Gothic style and is divided into three parts by pillars surmounted in the Venetian-Byzantine style. The interior is equally magnificent, and you can admire the grandiose altarpiece of the Assumption and the Madonna di Ca ‘Pesaro painted by Titian, as well as a triptych by Giovanni Bellini.

San Giacomo di Rialto
The church of San Giacomo di Rialto is a religious building in the city of Venice. This church is perhaps the oldest church in Venice built around 421. It was built thanks to the faith and talent of a Cretan carpenter, around the 5th century, even when the first people settled on this group of islands. It is best known for its 15th-century clock above the church entrance. It is also recognized for the red pillars and gorgeous gold accents around the church itself. The church is very small, but very beautiful. The exterior with the bell gable, the large clock (useful for the market, which took place opposite) and the Gothic portico, one of the last examples of its kind left in the city. The interior follows the traditional cross pattern with a central dome, later imitated in the Renaissance.

Church of San Rocco
The San Rocco church is a religious building, built by Bartolomeo Bon between 1489 and 1508 to house the remains of its titular saint, the beautiful Church of San Rocco received a Baroque reconstruction between 1765 and 1771, which included a large portal surrounded by the statues of Giovanni Marchiori. Bon’s pink window has been moved to the side of the church, near the architect’s original side door. On the sides of the main altar there are four enormous paintings by Tintoretto depicting the life of San Rocco.

The four niches of the façade house as many statues of Venetian saints and blessed: in the lower register Gerardo Sagredo and Pietro Orseolo by Giovanni Marchiori, in the upper register Lorenzo Giustiniani and Gregorio Barbarigo by Giovanni Maria Morlaiter. Between the two statues of the upper register is the imposing relief with San Rocco heals the plague victims always by Morlaiter. Crowning the attic is the statue of San Rocco flanked by other statues of Venetian saints, Pietro Acotanto and Jacopo Salomonio. On the bezel of the doorSan Rocco carried up to heaven by angels, a modern bronze copy of the original by Marchiori walled up in the right apsidal chapel.

Church of San Polo
The church of San Paolo apostolo vulgo San Polo is a religious building in the city of Venice. According to ancient chronicles, the church was probably built in 837, at the behest of Doge Pietro Tradonico and his son Giovanni co-regent. Starting from 1804 until the rededication of 1839, the church underwent the heavy interventions designed by David Rossi: on that occasion the columns of the central nave were replaced, some openings closed to open others and to give them a neoclassical layout. The restorations of the recent 1930 have partly restored the fifteenth-century elements, in particular the ship hull ceiling. Incorporated by other modest buildings, part of the apse facing the homonymous field and the sides remain visible.

Along the right side there is the large late Gothic portal by the workshop of Bartolomeo Bon adorned with two angels holding cartouche on the entablature and culminating in the floron holding a half figure of St. Paul beyond the eaves line. Later in the narrowest part of salizada the classical facade of the Oratory of the Cross, refined structure marked by Corinthian columns with openings type serliana. The original rose window on the ancient facade is barely visible from the adjacent Corte del Cafetier. Over time some marble works were walled up here and there on the outside: the most recent is the neoclassical aedicule with the statue of St. Paul in the center of the main apse; on the left, on the minor apsidal chapel, the fifteenth-century aedicule of the Scuola del Santissimo Sacramento is surmounted by a baroque drapery; on the walls of the old rectory that incorporate the other apse chapel are two primitive bas-reliefs, the upper one with the Baptism of Christ, the lower one with the Madonna and Child enthroned with Saints Demetrius and Peter.

Church of Sant’Aponal
The church of Sant’Aponal is a deconsecrated Roman Catholic church in the sestiere of San Polo in Venice, Italy. The church was founded in the 11th century, by refugees from Ravenna and dedicated to St Apollinare. Restored over the centuries, it underwent major reconstruction in the 15th century. The facade retains the original Gothic features, such as the bell tower. The interior is the result of an eighteenth-century renovation. A small side entrance made it accessible from the Rialto ruga. The parish functions were interrupted in the mid-twentieth century. The façade was adorned with a marble decoration in high relief returned to its original seat in the church of Sant’Elena after its reactivation. It was re-closed in 1984, and is now mainly an archive. The facade retains bits of gothic architecture decoration.

Church of San Giacomo dall’Orio
The church of Saint James of Orio is a religious building in the city of Venice, located in the district of Santa Croce. Probably founded in the 9-10 century, one among the oldest churches in Venice. The charm of this church consists of a gloomy and archaic exterior and interior, dominated by the warm presence of wood. The interior is characterized by the superimposition of various architectural styles, linked to the interventions that followed one another over time: the bell tower and the basilica plan with three naves remain of the thirteenth-century building, while the ” ship hull ” roof is Gothic and the decorations of the main altar and the central nave are Lombard. In particular, the ceiling uses the shipbuilding techniques typical of the Venice Arsenal.There are also a number of paintings such as Lorenzo Lotto’s high altar “The Virgin Mary and Child with the Apostles and Saints” (1546), which is one of the few works by the artist that can still be found in Venice.

Other important works are preserved in the sacristies, in particular in the New Sacristy at the side of the presbytery there are works by Paolo Veronese; Allegory of Faith, in the center of the ceiling, the Four Doctors of the Church on the sides and the altarpiece San Lorenzo, San Giuliano and San Prospero, dated 1573 and originally used as an altarpiece for the chapel of San Lorenzo. The painting San Sebastiano between San Rocco and San Lorenzo by Giovanni Buonconsiglio dominates the door of the sacristy, a work carried out between 1498 and 1500 which previously adorned the altar of the church of San Sebastiano.Also in the Old Sacristy there are several canvases by Jacopo Palma the Younger, dating back to 1575: The Virgin and the Saints, The Punishment of the Snake, The Gathering of Manna, Elijah and an Angel, Jewish Easter Sacrifice, The passage of the Red Sea and the ceiling The Blessed Sacrament adored by the four Evangelists.

Church of San Simeone Piccolo
The church was allegedly founded in the 9th century by the Adoldiand Briosi families. It is one of the best-known churches in the city, as it clearly stands out from the other buildings. The building is often referred to as a Venetian re-edition of the Pantheon in Rome, that’s why it has a large dome with a statue of San Salvatore on top. One of the churches where they celebrate the Tridentine Mass on Sundays. It is also recognized for its dome because it is used to make the church appear taller than it is and the dome itself is entirely covered in lead plates. The building has long been used as an auditorium for concerts.

The building looks like a cylindrical and narrow body with a dome covered in copper and a Corinthian pronaos with triangular tympanum where there is a marble bas-relief The martyrdom of the titular saints by Francesco Cabianca of the XVIII century. The dome has an oval shape in height which gives the complex a slight vertical thrust accentuated by the lantern in the shape of a small temple. The interior does not host great masterpieces. Under the church there is an interesting basement frescoed with scenes from the Via Crucis and the Old Testament, in which two long corridors intersect in an octagonal room, which has an altar in the middle. It includes twenty-one chapels, eight of which are walled up and unexplored.

San Stae Church
Built in the eighth century, the church of San Stae is a place of worship catholic of Venice.The church is part of the Chorus Venezia association. At the end of the seventeenth century the church, although repeatedly restored, was dilapidated. The church was re-built at the request of Doge Alvise Mocenigo around 1709 to serve as a family crypt and was decorated in late Baroque style and is dedicated to San Eustachio. The biggest decision was to change the orientation of the church: no longer the traditional one towards the east but with a more modern spirit scenographically facing the Grand Cana.

The facade is rich in marble decorations and inside there are numerous paintings. The sculptors who made these decorations were Tarsia, Torretto, Baratta and Groppelli. The architect and builder of the interior of the church was Giovanni Grassi. The church has a central sector, a vaulted ceiling and three chapels on each side. The ceiling above the choir area is one of the most beautiful features of the church, with a beautiful painting that adds color and brightness to the building.

Church of San Nicola da Tolentino
The church of San Nicola da Tolentino called I Tolentini is a 16th-17th century Catholic place of worship in the city of Venice. The church was designed and built by Vincenzo Scamozzi between 1591 and 1602. Later Andrea Tirali added to the unfinished facade, a pronaos with a tympanum and six Corinthian columns (1706-1714). The church houses the organ built by Pietro Nachini in 1754 almost completely intact, located in a wooden choir loft in the apse decorated with two winged cherubs in gilded wood on the sides. The instrument case has chiseled wood decorations depicting two sheets descending from the center of the tympanum that overlooks the case ending in the lateral wings of the instrument; to this finely painted gold-colored decoration hang wooden sculptures of wind instruments and original ancient stringed instruments of fine craftsmanship, also painted in gold.

The interior of the church is decorated with 17th century paintings. There are preserved works by Jacopo Palma il Giovane and Padovanino. The doges Giovanni I Corner, Francesco Corner, Giovanni II Corner and Paolo Renier are buried here. The funeral monument of the patriarch Gianfrancesco Morosini was made by the Genoese sculptor Filippo Parodi. The Roman-style altar in polychrome marble commissaries, with the large tabernacle in the shape of a small temple as an allegory of the Holy Sepulcher, was designed by Baldassarre Longhena. The two adoring angels and six caryatid angels are by Giusto Le Court.

Church of San Rocco
The San Rocco church is a religious building located in Campo San Rocco, in the district of San Polo in Venice. When in 1489 it decided to move permanently near the Frari, the Scuola Grande di San Rocco decided to erect a church to be dedicated to their titular saint. Between 1726 and 1732 the church was radically restructured on a project by Giovanni Scalfarotto who replaced the flat ceiling with a vault interrupted by large thermal windows, only the old apses and the dome were preserved.

The beginning of the works on the facade dates back to 1756. The four niches of the façade house as many statues of Venetian saints and blessed: in the lower register Gerardo Sagredo and Pietro Orseolo by Giovanni Marchiori, in the upper register Lorenzo Giustiniani and Gregorio Barbarigo by Giovanni Maria Morlaiter. Between the two statues of the upper register is the imposing relief with San Rocco heals the plague victims always by Morlaiter. Crowning the attic is the statue of San Rocco flanked by other statues of Venetian saints, Pietro Acotanto and Jacopo Salomonio. On the bezel of the doorSan Rocco carried up to heaven by angels, a modern bronze copy of the original by Marchiori walled up in the right apsidal chapel.

Church of Santa Maria della Salute
On 22 October 1630, during the plague epidemic that hit Venice, Doge Nicolò Contarini publicly declared that a church would be built in the name of the Salute as an oath to put an end to the calamity. A year later, in 1631, the plague epidemic ended and in 1687 the Basilica was completed. For the construction of the church 11 projects were proposed, of which Baldassarre Longhena was chosen.

The project included an enormous facade reminiscent of palladium, with a beautiful door in the center. The façade was raised with a series of stairs to give the church an even greater grandeur. The interior has a central area on an octagonal plane. On the sides there is an equal number of arches divided by columns. There are numerous works of art: Pentecoste, San Rocco and San Sebastiano, Davide and Golia, Cain and Abel by Titian; The marriage of Tintoretto and Iona at Cana of Galilee and Samson of Palma the Younger. In Venetian Baroque style.

The Jesuits (Santa Maria del Rosario)
The largest 18th century cathedral complex in Venice, built between 1726 and 1735 for the Dominicans to replace the church, which has become too small for the faithful. Giorgio Massari was the architect who designed the church in Venetian Rococo style and the interior decoration in collaboration with two great artists of the time: Giambattista Tiepolo and Gian Maria Morlaiter. These three have become famous over time for the wonderful work they have done here. The church is dedicated to the Madonna del Rosario, represented in the ceiling fresco by Tiepolo.

Church of San Barnaba
Erected in 809 by the Adorni / Adami family, it was destroyed by the fire of 1105, but thanks to the offerings of the faithful it was rededicated in 1350.

Church of San Raffaele Arcangelo
According to a popular tradition, it was raised for the first time in 416, and during the following centuries it was destroyed and rebuilt several times, up to the last consecration which dates back to 1740.

Church of San Sebastiano
Antonio Scarpignano’s rather rigorous 1508-48 facade creates a feeling of deceptively modesty in this church. The interior is decorated, from floor to ceiling, by Paolo Veronese’s masterpieces, created over three decades. According to a local popular legend, Veronese found refuge in San Sebastiano in 1555 after fleeing the murder charge in Verona, and his work in this church is a thank you to the parish. Veronese has decided to be buried here, under his masterpieces: his commemorative bust is to the right of the body.

Church of San Trovaso
The church of San Trovaso (Venetian contraction indicating the saints Gervasio and Protasio ) is a religious building in the city of Venice located in the district of Dorsoduro, in the field of the same name. The church was built in the early days after the foundation of Venice, and immediately became a parish church. It was rebuilt in 1028 by the Barbarigo and Caravella families.

A singular feature of the building is the double façade, one facing the Campo San Trovaso and the other facing the homonymous stream. According to tradition, the double entrance was used to keep the rival factions of Castellani and Nicolotti separate, when both went to church on the occasion of the feast of the saints, in order to avoid the outbreak of fights.

Church of Santa Maria dei Carmini
The church of Santa Maria dei Carmini, also called Santa Maria del Carmelo or commonly “i Carmini” is a church in Venice, located in the Dorsoduro district and overlooking Campo dei Carmini. The style is that of a typically Gothic building which, due to numerous subsequent interventions, has undergone changes. The plant has an elongated basilica shape, with three naves with a transept and a deep presbytery, on the sides of which chapels have been placed.

The façade is in Renaissance style with three curvilinear pediments, attributed to Sebastiano da Lugano (1507-1514). On the crown you can admire the statues of the Redeemer, the Archangel Gabriel, the Virgin and Saints Elia and Eliseo, attributed to Giovanni Buora. The ancient bell tower, located next to the church, was rebuilt in 1676 by Giuseppe Sardi. The square belfry is surmounted by an octagonal temple, on top of which is placed the statue of the Madonna del Carmelo, a copy of the original destroyed by lightning in 1979.

Church of San Nicolò dei Mendicoli
The church of San Nicolo dei Mendicoli or the Beggar is a religious building in the city of Venice, located in the district of Dorsoduro. The church of San Nicolò dei Mendicoli is one of the oldest in Venice: it is assumed that a first building already existed in the seventh century. The building from the 7th century was replaced by the current church from the 13th century, with a Romanesque basilica plan with three naves. This second building was also extensively remodeled over time, both on the outside, with the addition in the 15th century of a small portico on the northern side, and on the inside, very rich, where in the 16th century the central nave was decorated with gilded wood statues.

Other churches may be more majestic, but none are more Venetian than this 12th-century church with a history of service to the poor. It once served as a shelter for women, and its portico protected the Mendicoli (beggars) to whom it owes its name. The tiny and picturesque campo (piazza) outside is a miniature Venice, surrounded on three sides by canals and depicting a column with the lion of San Marco. The dark interior is illuminated by an 18th century gilded portico and many bright paintings, including Giovanni Palma’s masterpiece “Resurrection” (1610) behind, to the left of the organ. The right front chapel is a typical Venetian response to Rome’s insistent orders to limit music in Venetian churches: Madonna in Gloria, fully enjoying the concert of angels on flutes, lutes and violins.

Basilica of the Redeemer
The Basilica del Redentore, also known as the votive church of the Santissimo Redentore or more simply as the Redentore, is an important religious building in Venice. It is traditionally the fulcrum of the great feast of the Redeemer, celebrated on the third Sunday of July in memory of the narrow escape from the plague that struck the city in 1575. The church of Saints Peter and Paul in Villafranca di Verona is an almost identical copy of the church of the Redentore. The church is part of the Chorus Venezia association.

It was built between 1577 and 1592 on a project by Andrea Palladio. This religious monument was a sign of thanks for the end of the terrible plague that in 1576 caused the death of a third of the city population, including Doge Sebastiano Venier himself. The Feast of the Redeemer is celebrated annually there. The interior is valuable and full of paintings by the greatest Venetian painters. In the sacristy there are paintings by Paolo Veronese. The best overall view can be had from the Fondamenta delle Zattere, the long quay south of the Dorsoduro district.

Church of the Zitelle
The church of Santa Maria della Presentation, commonly known as the Zitelle, is a religious building in the city of Venice located at the eastern end of the Giudecca island. Palladian church which, in addition to normal religious functions, also houses a modern congress center.

The church is consecrated to the presentation of the Blessed Virgin Mary and is part of a complex including a former hospice for young girls without a dowry. The building adjacent to the church was once used as a convent for poor girls who could learn traditional women’s work here, such as the art of the famous Venetian lace.

Church of Sant’Eufemia.
The church of Sant’Eufemia, is a religious building in the city of Venice on the Giudecca island. The church of Sant’Eufemia was built in the 9th century in the Venetian-Byzantine style. It underwent numerous restorations, the most recent an eighteenth-century intervention that significantly modified the facade and the interior where stuccos were applied both in the central nave and in the vaults of the ceiling.

The church is one of the oldest in Venice, and despite the simplicity of the exterior, it contains works of art of great importance. In the chapel of Sant’Anna the body of the blessed Giuliana di Collalto is venerated, who in the thirteenth century was abbess of the nearby monastery of Santi Biagio and Cataldo.

Church of Saints Biagio and Cataldo
The church of Santi Biagio e Cataldo was a religious building in the city of Venice, located in the westernmost part of the Giudecca island. The church underwent two renovations. The first intervention took place at the end of the 16th century by Michele Sanmicheli; during these works the church was radically restructured, the hanging choir was demolished and its columns were relocated in the portico of the nearby church of Sant’Eufemia. The second important intervention was carried out at the beginning of the 18th century by the architects Domenico Rossi and Giorgio Massari and the works mainly concerned the interiors, altars and paintings.

The church with the adjoining monastery remained active until 1810, when they were definitively suppressed following the Napoleonic decrees. Purchased by private individuals, the church and convent were first used as a hospital complex, then demolished in the second half of the nineteenth century and the Molino Stucky industrial complex was built on the area.

Palaces and civil buildings

Contarini del Bovolo Palace
Palazzo Contarini del Bovolo is a building late Gothic of Venice. A cylindrical tower with a series of spiral arches, one of the most characteristic examples of Venetian architecture in the transition period from the Gothic to the Renaissance style. From the top there are beautiful panoramic views over the city. The palace was built between three and fifteenth century as the residence of the Contarini “of San Paternian “, which from the late fifteenth century, due to the addition of the spiral staircase, were nicknamed “the Bovolo”. In 1859, then lithographer Wilhelm Tempel conducted his first astronomical observations from the tower lookout with a telescope of his own. Here he discovered, on April 2, 1859, the comet C / 1859 G1, and on October 19, 1859, the Merope Nebula in the open cluster of the Pleiades. The building still belongs to the Institutions of hospitalization and education of Venice.

Facade on the Rio di San Luca has a simple, linear and elegant appearance. It is spread over four levels: the ground floor, the two noble floors and the top floor. The ground floor is enriched by two pointed water portals, flanked by smaller single lancet windows but also with pointed arches, arranged on the sides on two levels and in the center on only one. The three upper floors have a central mullioned window, each of which is flanked by six single-light windows, three on each side. The rear facade has a completely different look. Characterized by a sequence of rectangular single-lancet windows and round arches, it finds its most expressive part in the famous round scalar tower with a spiral staircase. The tower gives access to adjoining loggias, developed on five levels, and continues the aerial style in the five orders of flying buttresses on columns. The tower ends in a lookout in the dome with a wide view over the city. Inside the building there are paintings dating back to the 17th and 18th centuries, also owned by the IRE.

Fontego dei Tedeschi
The Fontego dei Tedeschi is a palace in Venice. From the 13th century, it is an old warehouse for goods from Germany. From 1870 to 2011 the main post office in Venice. It underwent a new static and functional restoration project, under the artistic direction of the Dutch architect Rem Koolhaas, for its conversion into a also of a cultural center, which was opened to the public in 2016.

A large complex overlooking the Rialto Bridge, the Fontego is a square-plan building arranged on three levels around an internal courtyard, covered by a glass and steel structure, where the ancient well is preserved. On the ground floor five large round arches close a portico in dialogue with the Grand Canal, where goods were unloaded. The second level is crossed by a long row of double lancet and lancet windows which correspond symmetrically minor quadrangular windows of the two floors above. Around 1508 the façade overlooking the Grand Canal was frescoed by Giorgione and Tiziano Vecellio, but today only a few fragments of their work remain in the Ca ‘d’Oro. The interiors also kept works of inestimable value, by the painters Paolo Veronese, Tiziano Vecellio and Jacopo Tintoretto, of which almost every trace has been lost today.

Cavalli-Franchetti Palace
Palazzo Cavalli-Franchetti is a building of Venice located in the district of San Marco. This imposing neo-Gothic building is located at the foot of the Accademia Bridge, which stretches towards Campo Santo Stefano. The Palace was built in 1565, and in the mid-19th century it was divided as the residence of various famous Venetian families: Marcello, Hussonita Cavalli. In the 1840s, Archduke Frederick of Austria reunited the property and started a large modernization project aimed at giving the building a modernity that distinguishes it. Palazzo Franketti is currently used by the Veneto Institute of Sciences and has been used for cultural events. Since 1999 it has belonged to the Venetian Institute of Sciences, Letters and Arts, which hosts frequent cultural events and exhibitions.

It is a remarkable example of Gothic architecture, the five-light windows of the two noble floors style this typicality, characterized by characteristic openwork similar to those of Palazzo Pisani Moretta. The floor is characterized by intertwined arches, decorated with raised quadrilobes. This composition is flanked by numerous other holes, similar to the five-light windows by design; the exceptions are the single lancet windows on the second floor, which are ogive, and the water portal. The side façade, which insists on a large garden, instead offers a more solid design, characterized by seven single-light windows per floor. With the help of the ornatist Matscheg and the engineer Manetti, who created a profoundly changed architecture thanks to ornate paintings, carved marble, cast and wrought iron, worked stones, lamps and furnishings with an eclectic taste.

Corner Spinelli Palace
Palazzo Corner Spinelli is a palace in Venice. One of the best Renaissance palaces in Venice. It was built between 1480 and 1500 by the architect Mauro Coducci. The architectural feature of the building are the double round windows and the rusty brickwork on the first floor. The palace became a prototype for many city buildings. It is often referred to as the emblem of the transition from Gothic to Renaissance architecture in Venetian art.

Palazzo Corner Spinelli is an example of the transition from the Gothic forms, predominant in Venice up to the 15th century, to the new Renaissance lines, which, specifically, recall those of the contemporary Ca ‘Vendramin Calergi. The façade on the canal is symmetrical, open to the noble floors by four mullioned windows on each floor and cut by string courses, which highlight the three levels of which the building is composed. Peculiar elements of the architecture of this building are the pear-shaped windows, which divide the two holes of the mullioned windows and the trilobate balconies in a Gothic style. On the ground floor the external surface is embellished with ashlar, with a round portal in the center. Internally the building retains a sixteenth-century fireplace.

Palazzo Malipiero-Trevisan
Palazzo Malipiero-Trevisan is a Renaissance palace in Venice.The palace was the residence of the Malipiero family until the end of the 15th century when it passed, by marriage, to the Trevisan family. The setting of the symmetrical façade, which still preserves the original Istrian stone roof, is typically of the Venetian Renaissance architectural style. The building consists of three floors: a ground floor and two noble floors. The ground floor has two round-arched portals on the river; two noble floors of the same layout are decorated with quadriforas at the center. The quadriforas are decorated with sculpted parapets and flanked by pairs of single-light windows. To embellish and regulate the parts of the façade, there are niches and marble discs—the latter recalling the Gothic-Byzantine style typical for the nearby Palazzo Vitturi. Inside, on the second floor, there are frescoes painted in the 18th century, still in good condition.

Palazzo Vitturi
Palazzo Vitturi is a palace in Venice. Palazzo Vitturi is an ancient building, it was built in the second half of the 13th century, and over the centuries it has undergone several renovations that have not compromised its original structure. Today, in a good state of conservation, the building hosts a hotel. The facade of Palazzo Vitturi is of a Venetian-Byzantine style the 14th century and is decorated with Gothic and Moorish motifs. Of special interest are the openings and decorations of the second noble floor: a central quadrifora, flanked by two pairs of monoforas, over which original tiles and paterae are seen. The balustrades were added in 16-17th centuries. There are frescoes inside the main floor. The mezzanine has a small trifora in the center. The top floor, with its rectangular openings, dates back to the rest of the complex.

Great School of San Marco
The Scuola Grande di San Marco is a Renaissance building, located in the Castello district, founded by the school of the same name. The school was the seat of a brotherhood and was established in 1260, it had its first seat at the demolished church of Santa Croce. In the 16th century the façade towards the Rio dei Mendicanti was buil. Later it was transformed into a civil hospital, substantially altering the interior. The façade, a delicate composition of aedicules, Corinthian pilasters and statues in white and polychrome marble, is a Renaissance jewel. It is divided into two parts, corresponding to the lounge on the left and the hotel on the right. The marble decoration and the high reliefs in the lower part (two Marcian lions and stories of San Marco) are attributed to the Lombardo workshop. The main portal has a porch with columns resting on finely carved plinths. The archivolt has a high relief in the lunette generally attributed to Bartolomeo Bon, as well as the statue of Charity above. Codussi then built the façade of the hotel and the upper crowning with lunettes with statues.

Upstairs are the lounge and the hotel room, with splendid coffered ceilings with gilded finishes. They had a very rich pictorial decoration which, unlike what happened for the Scuola Grande di San Rocco, was lost after the suppression of the brotherhood. Some canvases with stories of San Marco by Jacopo Palma the Elder, Jacopo Palma the Younger, Domenico Tintoretto, Nicolas Régnier, Vittore Belliniano and del Padovanino have been brought back to their original location. Other paintings with a similar subject by Jacopo Tintoretto (including the Miracle of San Marco), Paris Bordone, Gentile and Giovanni Bellini, Giovanni Mansueti, are exhibited in the Gallerie dell’Accademia or the Pinacoteca di Brera.

School of San Giorgio degli Schiavoni
The Dàlmata School of Saints Giorgio and Trifone, also known as the School of San Giorgio degli Schiavoni, is a building in Venice located in the Castello district. Its interior is adorned with a series of important works of art, including a famous pictorial cycle by Vittore Carpaccio. At the beginning of the 16th century, the community erected the present site at its own expense, making use of the project by Giovanni De Zan for the Sansovinian- style facade. Outside, on the facade above the entrance, there is the relief of St. George killing the Dragon (1552) by Pietro da Salò and, above this, another relief of the Virgin enthroned between Saints John the Baptist and Catherine d ‘ Alexandria (mid-14th century) by a Venetian sculptor.

In addition to the famous Carpaccio pictorial cycle, over the centuries the rooms were enriched with various other paintings, decorations and ornaments. The ground room, with a rectangular plan and not large in size, was renovated in the mid- sixteenth century, when the canvases by Vittore Carpaccio, previously present on the upper floor, were placed. The room shows a particular ceiling with decorated beams and features, along the four walls of the room, some notable paintings from the cycle of Carpaccio paintings. In these works Carpaccio matured his language with greater certainty, which led him to paint freer and more varied compositions, with a use of dense and calculatedly harmonious color. Above the altar there is the altarpiece with the Madonna enthroned with the Child and angels, a work by some historians attributed to Benedetto Carpaccio, while by others to his father Vittore.

Hospital of Saints Peter and Paul
The hospital of Saints Peter and Paul was an institution based in Venice. Founded in the 11th century, it represented the oldest of the hospices opened in the city for pilgrims on their way to the Holy Land. It was later used as a hospital for the care of the sick. In 1350 the complex was enlarged by incorporating some houses left by Francesco Avanzo. Other important transformations took place between the seventeenth and eighteenth centuries, with the restructuring of the church in 1736, and of the entire hospital. After the restoration in the years 1996 – 1999, the complex, passed to the Municipality of Venice, is used as a cultural center and student residence.

In the original building, only a valuable Gothic portal is preserved overlooking the foundations of San Gioachino: dating back to the fifteenth century, there is a sculpted Madonna with Child between Saints Peter and Paul.The church had three altars, of which the largest carried an altarpiece by Giuseppe Angeli (the Virgin and two apostles). By the same author were Christ in the garden and Christ carrying the cross, also in the oratory, and Crucifix, San Gerolamo Miani and two pilgrims, in the infirmary. All the works went missing.

Bonfadini Vivante Palace
Palazzo Bonfadini Vivante is a palace in Venice. The palace was built in the 16th century, the façade still visible today was completed in the mid- 17th century. In the first half of the twentieth century, the building underwent a long decay, from which it was redeemed with an important restoration work, carried out by the new owners in the nineties.

The façade of the palazzo is rather simple, of three levels and an attic on top. The structure has two rectangular portals on the ground floor flanked by square windows. The second noble floor is decorated with the most important element, a serliana with a metal parapet. The first noble floor below has a similar layout with smaller quadrangular openings, also with parapet. Finally, the façade terminates with a thin dentilled cornice and stringcourse. The interiors have greater artistic value, in which grandiose paintings are hidden, created between the 18th and 19th centuries: a series of stuccos by Giuseppe Castelli accompanies a cycle of neoclassical frescoes, among whose authors are mentioned Giuseppe Borsato and Giambattista Canal.

Correr Contarini Zorzi Palace
Palazzo Correr Contarini Zorzi is a Renaissance palace in Venice, Italy. Built in 1678 on the place where there was an ancient Gothic palace, of which only the corner columns survive, the building was recently renovated. The palace offers an impressive 17th-century façade with two imposing monumental water portals, decorated by bow-shaped heads. The portals have main openings surrounded by quadrangular windows; their position symmetrical to that of the windows of the upper floors. There are two noble floors of equal importance and of the same design. The floors are decorated with triforas with small balconies shifted to the left and flanked by pairs of single-light windows on the left and (double) on the right. The horizontal bands of Istrian stone underline the symmetry and harmony of all the elements. The facade terminates with a white balustrade, which delimits an extensive roof terrace and is supported by a dentiled cornice. There are neoclassical frescoes inside the palazzo.

Giustinian Pesaro Palace
Palazzo Giustinian Pesaro is a Gothic palace located in Venice.The palace dates back to the late 14th century; it was renovated later during the 18th and 19th centuries. The small palace has an atypical L-shaped plan and a garden towards the Grand Canal. The perfectly restored Gothic façade presents the results of numerous modifications that have affected it over the past centuries. The palazzo has two noble floors decorated by quadriforas shifted the right, so the façade looks asymmetrical. Each quadrifora is supported by a pair of single-light windows from the left side. All the ogival openings are surrounded by serrated frames and decorated by the typical flower on top. The facade overlooking the large garden was rearranged during the eighteenth century, while the entire complex was raised in the nineteenth century. The building was converted from a residence to a hotel business in 2006.

Falier Palace
Palazzo Falier is a civil building located in Venice. The palazzo is particularly known for having been the home of Marin Falier, Doge of the Republic of Venice. The palace is one of the oldest existing buildings in Venice. Erected in a primitive form during the 11th century, the palace was destroyed by fire and rebuilt in 1105. Later, the structure was a subject of numerous alterations, which partially changed its structure. Currently, the first floor is home to a hotel business.

It stands on a characteristic portico with six arches, parallel to Rio dei Santi Apostoli, and overlooks the adjacent Campo with extraordinary monumentality. The façade, exemplification of the Byzantine influence in Venice, has very ancient elements, among which the two multi – lancet windows with a raised pedestrian stand, stacked imprecisely. Also noteworthy are the decorations dating back to the thirteenth and fifteenth centuries: two panels, two paterae and two Gothic shields. The monochrome of the facade is broken up by single-light windows, positioned in pairs next to the multi-light windows.

Labia Palace
Palazzo Labia is a baroque palace in Venice, Italy. Built in the 17th–18th century, it is one of the last great palazzi of Venice. The palazzo was designed by the architect Andrea Cominelli (by Alessandro Tremignon according to others), the principal facade is on the Cannaregio Canal; a lesser three bayed facade faces the Grand Canal. A later facade probably designed by Giorgio Massari is approached from the Campo San Geremia. It is most notable for the remarkable frescoed ballroom painted 1746–47 by Giovanni Battista Tiepolo, with decorative works in trompe-l’œil by Gerolamo Mengozzi-Colonna.

In the hall Giambattista Tiepolo painted the magnificent cycle of frescoes dedicated to the Stories of Antonio and Cleopatra, in the walls between allegorical and mythological figures there are the two main scenes the Encounter between Anthony and Cleopatra and Banquet of Antonio and Cleopatra; in the Hall of Mirrors on the ceiling he creates the Triumph of Zephyr and Flora. Many other rooms of the palace are decorated with interesting paintings: there are works by Giandomenico Tiepolo, Palma il Giovane, Giambattista Canal, Placido Costanzi, Agostino Masucci, Pompeo Batoni, Gregorio Lazzarini, Gaspare Diziani, Antonio Visentini. Also noteworthy is a cycle of Flemish tapestries with Stories of Scipio. This artistic wealth had one of the main inspirations in Maria Labia; it is said to have been portrayed in Cleopatra in Tiepolo ‘s Encounter.

Mastelli del Cammello Palace
Palazzo Mastelli del Cammello is a Gothic palace in Venice. The building formerly belonged to three silk and spices merchant brothers, the initial construction of the palace dates back to the 12th century. The palazzo facade has three levels and is covered with gray stucco. The gound floor has a water portal flanked by lancet and arched windows. At the bottom right, there is a small fountain made in Arabian style, that, until a few years ago, was used to drink water while staying on the boat or gondola. The first noble floor has a trifora flanked by pairs of side windows. On its right side, the level is decorated with a bas-relef representing a turbaned man pulling a laden camel. It is this sculpture that gives its name del cammello to the palace.

The level also has two paterae, one of them depicting a peacock. The left side window has a bit of Roman altar serving as a thick corner column. The second noble floor has a Gothic hexafora supported by a balcony on corbels and flanked by single-light side openings, also with balconies. The left balcony goes around the corner of the building. Quatrefoils, two of them irregular, decorate the top part of the hexafora. The cornice is supported by small dentils decorated with animal heads. In the middle part of the roof there is a large dormer window. The windows, door frames, balconies, corbels, balusters, cornice, quatrefoils, and the relief of the camel are made of Istrian stone.

Memmo Martinengo Mandelli Palace
Palazzo Memmo Martinengo Mandelli is a palace in Venice. The structure was built during the 18th century and substantially renovated during the 19th century. The palazzo has housed several public offices. The asymmetrical neoclassical façade appears to split into levels thanks to the use of frames and bands of Istrian stone that connect windowsills, windows, and lintels. Wider windows are set in the left side of the facade. The ground floor is covered with ashlar. The palace extends in depth and has both a central courtyard and a garden. After several structures neighboring the palace on the right had been demolished, the right wing was rebuilt to add a garden.

Barbarigo Palace of the Terrace
Palazzo Barbarigo the Terrace is a palace in Venice, was built around the years 1568 – 1569. The building has an unprecedented “L” -shaped map, due to the presence on the first floor of a large terrace overlooking the Grand Canal and the Rio di San Polo: this element is the peculiarity that distinguishes the building. A façade not very developed in width overlooks the Grand Canal, where it borders Palazzo Pisani Moretta: it, unadorned, has two single – lancet windows with balustrades for each of the two noble floors. The main façade, which overlooks the river, is symmetrical and Renaissance-like, with two orders of four-light windows with balconies on the main floors and, on the ground floor, a large round portal with a mask in key, the same as the one overlooking the canal, below. The terrace. On the sides of the terrace there are two other smaller portals. On the left there is a lower body, of only two floors, dominated by the terrace which is bordered by a white balustrade.

Over the years, the palace became the seat of an important private art gallery. In 1845 it consisted of 102 canvases made by artists such as Giorgione, Giovanni Bellini, Palma il Vecchio, Rubens, Guido Reni and Tiziano, but was sold in 1850 by Nicolò Giustinian.Despite the nineteenth-century dissipation of the Barbarigo art gallery, which led to the dispersion of a large part of the artistic heritage, stuccos and decorations from different eras are preserved inside the palace, including works by Vincenzo Guarana, son of the more famous Jacopo. The most valuable paintings are The coronation of Doge Marco Barbarigo and Doge Agostino Barbarigo receives the crown of Cyprus from Caterina CornaroIn particular, the first floor preserves original decorations and a collection of paintings with portraits of doges enclosed with wooden frames.

Carlo Goldoni’s House
The house of Carlo Goldoni, the birthplace of the famous playwright Carlo Goldoni. From 1953 it housed the “Casa Goldoni” Institute of Theater Studies, which has been refurbished and restored as museum in recent years. Various educational events take place here and a puppet theater of Ca ‘Grimani ai Servi, which was previously part of the Ca’ Rezzonico collection. Important the archive and library (over 30,000 works), including theatrical texts, researches and original manuscripts.

The palace is organized on a courtyard with a well decorated with lion heads and a covered staircase from the 15th century. The museum itself is located on the first floor, spread over three rooms. The life and work of Carlo Goldoni, and the context of the 18th century Venetian theater and society, are represented through relics, furnishings, paintings, illustrations of Goldonian comedies and explanatory panels. A hall dedicated to puppets stands out in the setting, in which the theater of Palazzo Grimani ai Servi is reconstructed, including about thirty original 18th century puppets.

Ca ‘Corner della Regina
Ca ‘Corner della Regina is a Venetian palace. It has been the Venetian headquarters of the Prada Foundation since 2011. The palace was built in place of pre-existing buildings by the will of the Corner family, in the 18th century, by the hand of the architect Domenico Rossi. When the noble Venetian family became extinct, Ca ‘Corner della Regina was converted into a Monte di Pietà in the nineteenth century, while from 1975 to 2010 it housed the ASAC, Historical Archive of Contemporary Arts of the Venice Biennale. Since May 2011 it has hosted the contemporary art exhibitions and cultural activities of the Prada Foundation.

Ca ‘Corner della Regina is a modulated building on three levels, but particularly slender also due to the presence of two mezzanines, in the attic and between the ground and first floors. The main portal, in a central position, is rounded and developed in height, on a rusticated background that characterizes the first level and the mezzanine, inspired by the Renaissance facades. The first of the two noble floors is crossed by a balustrade, above which there are seven single – arched lancet windows with a mask in key, between which there are Ionic semi- columns. A large string course divides this level from the second noble floor, which presents the seven windows regularly arranged, here however rectangular in shape and each surmounted by a tympanum; between them are symmetrically interposed large Corinthian semi- columns, which also affect the mezzanine, at the level of which they rest on sections of architrave, in turn resting on the thin cornice of the roof. The latter, in a central position, has two dormers.

Adoldo Palace
Palazzo Adoldo is a palace in Venice, it has ancient origins and was the home of the Adoldo or Adoaldo, a family of Greek origins ascribed to the Venetian aristocracy and extinct in 1432. An exponent of the family, Lucia Adoldo, donated the building to the parish of San Simeon Piccolo, as evidenced by an inscription on the facade. The same plaque recalls that in 1520 the building, which was in danger, was rebuilt in larger forms by Vittore Spiera.

On the ground floor, remodeled, there are simple rectangular openings on white stone. The two noble floors are instead characterized by a pair of single -light windows on each side (between those on the first floor there are two bas-reliefs), inserted in stone frames, and by a central mullioned window, supported by Ionic columns and closed by a parapet, in stone on the first floor, wrought iron on the second. The attic is characterized by a peculiar rise in which a lunette above three paired square windows is inscribed. On its top a statuette representing an eagle.

Salt Warehouses
The Magazzini del Sale is a building in Venice, located in the Dorsoduro district. This large complex was built at the beginning of the fifteenth century in a strategic point of the city: along these foundations there was one of the main landing places for the rafts and boats that brought goods to Venice. Here it was chosen to build the place to deposit the salt, a fundamental product in the economy of the lagoon city. The facade of the structure has a single storey and developed in length, with nine large portals surmounted by as many crescent windows; above the central openings is the word Emporio dei Sali. Inside there are nine spaces in which the salt was stored, where the aforementioned exhibitions are now organized.

The complex, designed by the architect Alvise Pigazzi, was then preciously restored around 1830. During the twentieth century, after the sale, the Magazzini del Sale suffered a period of decline, following which they were recovered and used, as is the case today, for exhibitions and cultural events. One of the nine Magazzini del Sale has been restored by the Emilio and Annabianca Vedova Foundation, based on a project by Renzo Piano; inaugurated in 2009 since then it has hosted exhibitions organized by the Foundation on Emilio Vedova and other artists for a dialectical comparison with Vedova’s works.

Ca ‘Foscari
Foscari Palace is a palace gothic of Venice located in the district of Dorsoduro. The building is the historic seat of the Ca ‘Foscari University of Venice. Built in 1452 by the will of Doge Francesco Foscari, it is an extraordinary example of Venetian Gothic. From the building you can enjoy a unique panorama that ranges from the Rialto bridge to the Academy of Fine Arts complex. In the 1930s and 1960s, Carlo Scarpa, a famous Venetian architect and designer, was called upon to restore the current Aula Mario Baratto and the adjacent spaces.

It is currently the historic seat of the Ca ‘Foscari University, which has made some of the most beautiful rooms accessible to the public. Thanks to its location in the vault of the Canal, that is on the widest curve of the Grand Canal, which allows you to wander with the view from the Rialto Bridge to the Gallerie dell’Accademia, the second floor was chosen by many painters (such as Giovanni Antonio Canal called Canaletto, Michele Marieschi, Francesco Guardi ) as a place to paint views of the Grand Canal. Two works by Canaletto were painted from the second floor of the building: Grand Canal from Ca ‘Balbi towards Rialto ( 1720 – 1723, Museum of the Venetian eighteenth century at Ca’ Rezzonico) and Regatta on the Grand Canal ( c.1732, Windsor, Royal Collection ). Ca ‘Foscari was also the subject of paintings by many landscape painters (such as Luca Carlevarijs and Michele Marieschi ).

Ca ‘Dario
Ca ‘Dario is a palace in Venice, located at number 353 in the district of Dorsoduro. Ca ‘Dario is often described as one of the most characteristic palaces in Venice. The slender and asymmetrical façade on the Grand Canal, characterized by a limited width of about 10 meters, hangs on one side due to a structural failure and has elements of a clear Renaissance matrix, in contrast to the other facades that still maintain the Gothic style then widespread in Venice. It is completely decorated with polychrome marble and Istrian stone, alternating in eighty circular medallions. The ground floor has two lancet windows and a water portal, while each of the upper floors is illuminated by a four-lancet window and a single lancet window.

The fireplaces, in typical Venetian style, are among the few original examples of the time that have survived to this day. The neo-Gothic balcony was added in the 19th century. Internally the building is distinguished by a large atrium with a well made of marble, a finely decorated marble staircase that leads to the main floors and an internal fountain of oriental inspiration, located in a room that follows the Moorish style in the decoration and shape of the windows. The rear façade, with a clearly restored Gothic aspect, appears uneven: the characteristic red tint is the glue for a set of fireplaces, roof terraces, Gothic windows and loggias.

Punta della Dogana
During the 15th century, the development of commercial activity in Venice led to the transfer to the western tip of Dorsoduro of the Maritime Customs, formerly located near the Arsenale. From here you can enjoy a beautiful view of the San Marco basin. The building was completed in 1682, five years before the nearby cathedral. The work of the architect Giuseppe Benoni is characterized by a tower, surmounted by a sculptural group, depicting two atlases, which raises a sphere in gilded bronze, surmounted by Fortuna, which by turning indicates the direction of the wind. The building continued to be a customs house and therefore has a significant link with the history of the city until the 1980s. After twenty years of oblivion, the Municipality of Venice has launched a tender to transform it into a modern art space.

Important restoration works, from January 2008 to March 2009, allowed the creation of a contemporary art center connected to Palazzo Grassi inside the Dogana da mar complex. The building had stood empty for decades, with failed plans to turn it into apartments or a hotel before being handed over to Pinault. The exterior has been restored without additions and is the only part of the original structure that remains intact. Cosmetic imperfections and putties have been repaired and damaged areas have been reinforced with stainless steel anchors but have been left exposed with visible bricks. The interior was left bare with no surface treatment, the bricks were replaced sparingly. The dividing walls of the last two centuries have been replaced by parallel and rectangular rooms. The roof was replaced by a similar roof with wooden gables, with added skylights. The new floors are made of exposed, polished concrete, in places with linoleum.

Loredan Cini Palace
Palazzo Loredan Cini is an architectural complex in Venice. This elegant 16th-century Gothic palace was the former home of the industrialist and philanthropist Vittorio Cini, who filled it with first-class paintings, interior items, ceramics and Murano glass. Wonderful paintings by little-known Renaissance artists such as Filippo Lippi, Piero Cosimo and Dosso Dossi are presented here. The palace, located at the confluence of the main waterway of the city and the Rio di San Vio, has three facades, both austere and clearly Renaissance. Facade on the Grand Canal: devoid of any architectural interest, it is spread over four floors and is characterized by a succession of mullioned windows and mullioned windows. It was once decorated with frescoes by Giuseppe Porta, which have now disappeared.

Facade on the Rio di San Vio: fifty meters long, it appears divided into two sections, each of which is identified as an independent building and corresponding to a different house number (respectively Dorsoduro 732 and Dorsoduro 864). It overlooks Campo San Vio in a monumental way, to which it is connected by a private bridge. The right-hand section, characterized by an imposing portal to water and by two pentafore, communicates and integrates with the other, which has a similar impact if it were not for the replacement of polifore with a serliana culminating in windows quadrangular. The other sparse single-lancet windows are of no artistic importance, with the happy exception of those on the noble floor, with round arches. Rear facade: overlooking the Forner swimming pool, it has single-light columns enlivened by the presence of a serliana.

Molino Stucky
Located on the western end of the island, it has neo-Gothic forms. The building is striking for its anomalous proportions compared to those of the traditional Venetian architecture present on both sides of the Giudecca Canal. Built in 1895 by Count Giovanni Stucky then slowly overtaken by the times and too expensive to maintain, it fell into disuse in 1955.

Taken over by the Acqua Pia Antica Marcia group, since 2007 it has been used as a convention center and hotel of the Hilton chain. On the basis of which the area was used as a real estate complex equipped with a residence, a conference center and a hotel with 379 rooms, a panoramic restaurant and swimming pool, a conference room with two thousand seats.

Hotel Cipriani
Hotel Cipriani, located on the opposite tip of the island, one of the most luxurious Venetian residences. The hotel was opened in 1958 by Giuseppe Cipriani, founder of Harry’s Bar in Venice and inventor of the Bellini cocktail. The rooms were decorated with Venetian furniture, including Murano glass chandeliers, Fortuny fabrics, and Venetian artwork.

In 2014, Hotel Cipriani change the name in Belmond Hotel Cipriani following the rebranding of Orient-Express Hotels chain as Belmond Ltd. The hotel expanded further into the adjacent Palazzo Vendramin, a 15th century palace overlooking the lagoon and Piazza San Marco. A restaurant called Cip’s Club was built on a pier in the lagoon and in 1990 the ancient granaries of the Republic (adjacent to the Hotel) were opened as a space for events.

Casa dei Tre Oci
The Casa dei Tre Oci or Casa di Maria is a palace in Venice, located in the Dorsoduro district, on the Giudecca island. It overlooks the Giudecca Canal, at the height of the Fondamenta delle Zitelle. It was conceived between 1912 and 1913 by the Emilian painter Mario de Maria, who made it his new Venetian home.

An example of early-twentieth-century neo – Gothic architecture, Casa dei Tre Oci is the result of different architectural trends, from those of the traditional Venetian warehouse-house to the avant-garde ones of the twentieth century. The building has three floors, but the importance of the noble floor is underlined, with the three enormous òci ( Venetian for “eyes”), large ogival windows overlooking the Giudecca Canal and the San Marco Basin. Centrally, on the second floor, the presence of a mullioned window framed by neo-Gothic decorations should be noted.

Villa Hériot
Villa Hériot also known as Villa Herriot is a building in Venice, on the Giudecca island.In the early twentieth century, French Hériot, who, after buying the land of a former Saponeria alla Giudecca, has two villa structures built on a project by Raffaele Mainella with eclectic architecture and copious decorative elements such as paterae, tiles, columns and other Byzantine motifs.

In 1947, Hériot’s wife, after her husband’s death, sold the Villa Hériot complex to the municipality, leaving attached to the deed of sale the will that it be used as a public school: the building therefore became the Carlo Goldoni elementary school. The school was later closed and Villa Hériot is the seat of the “European Society of Culture”, the “International University of Art, seat of Venice”, and the Venetian House of Memory of the 20th century.

Eden Garden Hundertwasser
The Giardino Eden Hundertwasser, also known as the Eden Garden is a villa with a famous garden, south of the Giudecca island in Venice. It is named after an Englishman, Frederic Eden, who designed the garden in 1884 and owned the property for a long time. The property was later expanded by two acres when the Venetian authorities enlarged the island. The couple created one of the largest private gardens in Venice, an English landscaped garden, containing statues, roses and animals. It was frequented by many figures from the world of the arts, including Marcel Proust, Rainer Maria Rilke, Walter Sickert, Henry James, Eleonora Duse etc.

The garden featured a large number of rose-covered willow pergolas and vast plantations of Madonna lily and other English flowers. Paths around the garden were covered with local shells. There were lawns, courtyards, and a cypress-lined promenade. In 1903 Eden published A Garden in Venice, a short book describing his creation of the garden. Damaged during the Second World War, the villa was rebuilt by Aspasia when peace returned. In 1945 the Eden Garden was designated a National Monument.

Cultural space

Palazzo Grassi
Palazzo Grassi is a Venetian civil building. It is one of the most famous lagoon buildings, as well as home to art exhibitions worthy of particular interest. The Contemporary art museum with temporary exhibitions from the collection of François Pinault. Exhibitions by different artists that make this center one of the most active in the world. In the center, there is a colonnaded courtyard, similar to that of Palazzo Corner, which divides the structure into two blocks: the front one houses four side rooms and a central hall, while the rear one houses smaller rooms and a sumptuous decorated staircase by Michelangelo Morlaiter and Fabio Canal, similar in shape to that of Palazzo Pisani Moretta. There are numerous single-lancet windows with or without balcony, neatly arranged in pairs.

Distinguished by two large facades, one front facing the Grand Canal and one side facing Campo San Samuele, it stands out for its incredible size and its whiteness. The main façade, in clear neoclassical style, hides a very complex and scenographic plan, inspired more by the Roman model than by the Venetian model. The main front clad entirely in Istrian stone and respects the traditional tripartite arrangement: the windows, with a linear appearance and of classical inspiration, are concentrated in a multi- lancet window on each of the noble floors. The holes differ in decoration: those on the first floor are round-arched, while those on the second have gables that are sometimes curvilinear, sometimes triangular. The windows are separated by smooth pilasters culminating in Ionic or Corinthian capitals. It has a water portal divided into three holes, similar to a triumphal arch. The façade is closed by a strip with a corbel cornice, which hides the attic. The side façade, equally imposing, imitates the main one in style, offering a Roman-inspired ground portal and a Serliana.

Palazzo Fortuny Museum
The Palazzo Fortuny is a palazzo gothic of Venic. It is named after the last owner, the artist Mariano Fortuny y Madrazo, and is home to the homonymous museum. The palace was founded at the end of the 15th century. Mariano Fortuny, who bought it at the beginning of the twentieth century to make their own atelier, was an eclectic man who took care of photography, set design and set design, textile design, painting. After his death, his wife Henriette donated the palace, which still well preserved Mariano’s fabrics and collections, to the Municipality of Venice (1956) who made it the place dedicated to dealing with the disciplines of visual communication, particularly experimentation and innovation, in harmony with the spirit and culture of the old owner.

Palazzo Fortuny is considered one of the largest palaces in Venice among those in the Gothic style. It is often cited as one of the best examples of Venetian Gothic architecture in those buliding not overlooking the Grand Canal, for its compactness and architectural coherence and the harmony of its stylistic design. Particularly important is the façade that overlooks the campo, characterized by two airy central heptaphorae with pointed arches and other more spaced openings on the sides. The facade on rio, more modest, is characterized by three major polifore plants and a large water portal surrounded by secondary windows. Characteristic are also the two huge arcades, to allow the light to illuminate the whole vast environment, it was necessary to create a large internal courtyard characterized by various openings. All the balconies are enriched with decorations: sometimes by sculpted lions, sometimes by friezes depicting cherubs.

Church of San Maurizio
The church of San Maurizio in Venice is located in the district of San Marco. A beautiful church with a collection of musical instruments, Venetian baroque paintings. The Interpreti Veneziani, the creators of the Music Museum, also offer concerts in the nearby church of San Vidal. It was rebuilt for the first time at the end of the 16th century; subsequently, in 1806 it was demolished and rebuilt according to the project of Antonio Diedo and Giannantonio Selva. The façade of the church is gabled, in neoclassical style, adorned with a bas-relief in the tympanum and two other rectangular bas-reliefs. Inside, whose plan is a Greek cross, with a central dome, the sacristy should be noted, with furniture, furnishings, stuccoes and paintings in the eighteenth-century style. The current church closed to worship, now the church is the seat of the Music Museum.

Diocesan Museum of Sacred Art of Sant’Apollonia
The Diocesan Museum of Sacred Art “Sant’Apollonia” is a museum in Venice. Religious furnishings and objects from demolished churches and convents, one of the most evocative Romanesque cloisters in Venice. It is located in the Benedictine monastery once on the Ammiana island, near Torcello, which has now disappeared. The Diocesan Museum of Sacred Art was transferred at the end of 2020 to the Pinacoteca Manfrediniana. The Romanesque cloister, the oldest in Venice, has been home to the Lapidary of Marciano since 1969, a collection of Roman, Byzantine and Veneto-Byzantine stone fragments, mainly coming from the ancient basilica of San Marco.

The museum itinerary is developed in six exhibition sections. Picture Gallery: The section brings together an interesting collection of paintings. Jewelery: The museum has one of the most important and ancient collections of sacred silverware made up of about 200 pieces, dating from the fourteenth to the twenty-first century, coming from various Venetian churches. Wooden works: The museum includes among his works a rich collection of wooden sculptures ranging from the 14th to the 16th century. Dressed Madonnas: In the diocesan museum there is a remarkable collection of Madonnas dressed in traditional Venetian clothes, very interesting both from a historical-artistic and social point of view. Vestments, fabrics and illuminated manuscripts: The museum preserves sacred vestments, dating from the eighteenth to the 19th century. Contemporary Art: The Museum has around 40 contemporary art paintings. The section was born thanks to the donations of artists. The sacred theme has been reconsidered through different media and mixed techniques.

Naval History Museum
The Naval History Museum, owned by the Italian Navy, is located in the Arsenale of Venice. The museum collects historical evidence concerning navigation and in particular the Italian maritime history and the Venetian navy. Also part of the museum are the “Pavilion of the Ships” in the ancient oar workshop of the arsenal and the church of San Biagio, an ancient place of worship of the Venetian and then Austrian navy, finally used for the religious functions of the Navy personnel. The main building collects artistic and historical relics related to the history of the Italian navy distributed in 42 exhibition rooms on a total of five floors. The first three levels are dedicated to the businesses, equipment and characters of the Venice Navy and the Italian Navy, with some testimonies from the other Maritime Republics on the third floor. Also on the third level, there is a room dedicated to the Bucintoro, the ancient ceremonial boat of doge.

On the fourth floor, here are exhibited models of boats typical of the Venice lagoon, fishing boats and various gondolas, including the one donated by Peggy Guggenheim to the museum after her death. Other models of oriental ships and various relics are placed in a further room. The fifth floor, also called the “Swedish room”, is dedicated to the links between Venice and Sweden and between the Italian and Swedish navies, showing the help that our industries have brought to the formation of the navy and aviation of the Scandinavian country. A rich collection of shells donated by Roberta di Camerino has been placed in a small room which is accessed via a staircase. Ships pavilion open to the public only on special occasions, the pavilion displays authentic Venetian and military ships and a part of the engine room of the Elettra yacht. Church of San Biagio belongs to the Navy and the crews of the ships stationed in Venice have always “taken mass” here before going out to sea.

Querini Stampalia Foundation
The Querini Stampalia Foundation is a cultural foundation of Venice. The institution was entrusted the task of promoting the cult of good studies and useful disciplines, which offers the public a library, a museum and areas where temporary exhibitions are held, with particular attention to contemporary art. Located on the first floor of Palazzo Querini Stampalia, the Library preserves a bibliographic heritage of about 350,000 volumes, which is divided into historical collections, deriving from family collections, and modern collections, established after the foundation of the Foundation and in continuous growth. In the consultation and reading rooms, organized on open shelves according to the Dewey Decimal Classification, 32,000 volumes are available, while in the newspaper library there are 300 magazines and 20 newspapers, both national and foreign.

Set up on the second floor of Palazzo Querini Stampalia, the Museum owes its collections to the artistic collections formed over the course of the family’s history which were accompanied by acquisitions and donations after the foundation of the Foundation. Residence-museum of the Querini-Stampa family, library, art gallery, furniture and household objects from the sixteenth century onwards, important paintings by Bellini, Palma, Ricci, Tiepolo and Longhi. It is proposed to the public as a museum house in which a collection of paintings ranging from the fourteenth to the twentieth century are exhibited, mainly from the Venetian school, eighteenth-century and neoclassical furnishings, sculptures, Murano glass chandeliers, porcelain, art objects and furnishings.

Palazzo Grimani Museum
Palazzo Grimani di Santa Maria Formosa is a museum State, located in Venice. A jewel of Renaissance architecture inaugurated in 2008 as a Venetian civic museum, collections of paintings, an archaeological collection of Greek and Roman artifacts, temporary exhibitions. The palace is, for the history of art and architecture in Venice, a unique and precious element. Its peculiar architectural form, the decorations full of enigmas and different interpretations, as well as the history of the events of the Grimani family of Santa Maria Formosa, are still today a passionate subject of study and research.

The long restoration has returned the rooms to the vision of visitors, including: the Camerino di Callisto, with stuccoes by Giovanni da Udine, the Camerino di Apollo, with frescoes by Francesco Salviati and Giovanni da Udine, the Sala del Doge Antonio, decorated with stuccoes and polychrome marbles, the Sala a Fogliami by Camillo Mantovano, with the ceiling entirely covered with fruit trees, flowers and animals, and the Tribune which housed more than one hundred pieces of the archaeological collection. Other works exhibited in the museum refer to the collecting interests of the Grimani family. In the Sala di Psiche you can admire the canvas with the Offering of gifts to Psyche, an ancient copy of the original by Francesco Salviati, already placed in the center of the wooden ceiling dismembered in the mid-nineteenth century.

Franchetti Gallery at the Cà d’Oro
The Ca ‘d’Oro is a well-known palace of Venice, whose name derives from the fact that originally parts of the façade were covered with gold trim that was part of a complex polychromy, considered one of the greatest examples of Venetian floral Gothic. The façade is characterized by the marked asymmetry between the left side, in which three perforated bands overlap (portico for mooring boats on the ground floor and loggias on the upper floors), and the right wing, in which the covered masonry prevails. A frieze from the previous Zeno residence has been inserted between the left and right sides of the façade. The only element that gives continuity to the façade, conditioning and dominating it, is the large cornice with the battlements above. On the upper floor, the loggia of Reverti, composed of an exaphor which is instead a novelty for the time, as above the quadrilobes, aligned with the vertices of the arches of the openings. The capitals of the columns with fat leaves that rise in a spiral are reinterpreted in an unprecedented way, breaking the classic Venetian coeval symmetry. Even the balustradesbetween the columns they have a strong decorative spirit. The loggia on the top floor is composed of a further exaphor with cross-shaped openings aligned with the columns.

Since 1927 it has been used as a museum as the seat of the Franchetti Gallery. The gallery houses the collection of works of art collected by Giorgio Franchetti in his life. A collection of paintings and statues in an ancient 15th century palace. One of the best examples of Gothic architecture in Venice, sculptures, bronzes, paintings by Mantegna, Giorgione and Tiziano, Flemish and Dutch paintings. Among the most valuable works are the San Sebastiano by Andrea Mantegna, the Portrait of Marcello Durazzo by Antoon van Dyck, the Double portrait by Tullio Lombardo, the Venus in the mirror by Titian, views by Francesco Guardi, the sleeping Venus by Paris Bordone and large portions of the frescoes by Giorgione and Tiziano, coming from the two facades of the Fondaco dei Tedeschi, among which the Giuditta stands out. By Vittore Carpaccioand workshop are the three canvases with the Stories of the Virgin from the Albanian School. In addition to the exhibition rooms, the museum houses various workshops for the conservation and restoration of works of art.

Jewish Museum
The Jewish Museum of Venice is a widespread museum or an architectural and museum urban complex that includes exhibition spaces and synagogues present inside and outside the museum itself. Since 1990 it is regularly open to the public with guided tours, permanent and temporary exhibitions. Two other rooms are usually used for temporary exhibitions while on the top floor, near the entrance to the women’s gallery of the Scola Canton, you can visit an ancient Sukkah, now restored. Inside the museum there is also a bookshop specializing in judaica and a kosher café.

The permanent collection of the museum includes ritual and household objects related to Jewish holidays, Torah and synagogue decoration fabrics, a collection of ketubboth (marriage contracts), a collection of ancient books including an early printed Talmud by Daniel Bomberg in 1500. The exhibition spaces include: a silver room dedicated to ritual objects related to the various Jewish holidays and to the embellishments of the Torah (there are precious examples of Rimmonim, the tips of the sticks on which the Torah is rolled up, and of Ataroth, the crowns of the Torah); the second room, on the other hand, features decorative fabrics from the Synagogue, such as theparochet, tents by Aron haQodesh (among these particularly precious is that of Stella da Perugia from the 17th century) and the Mappoth, fabrics from the Torah.

Oratory of the Crociferi
The Oratorio dei Crociferi is a small museum in Venice which houses significant canvases by Jacopo Palma the Younger. It was founded in the twelfth century together with the hospital run by the Crociferi fathers, which later became a hospice and is still used for its original function. Born to give accommodation and care to those who were leaving for the Holy Land, during the fourteenth century it was transformed into a shelter for poor women who received care and accommodation here and learned a manual trade. Destroyed by a fire in the 15th century, the Doge Pasquale Cicogna supported its renovation and decoration, culminating in the works of Palma il Giovane. Heavily damaged by the flood of November 4, 1966, the Oratory was closed to the public for eighteen years, to allow for the necessary restoration works.

The oratory has a simple Gothic facade and an aerial passage that connects it to the Palazzo degli Zen, a noble family that benefited from it in the 13th century with the doge Renier Zen. Inside, the pictorial cycle, painted between 1583 and 1592, narrates episodes relating to the Crociferi fathers and the two benefactor doges. The opposite building, with a portal surmounted by crosses, also testifies to the presence of that order. Remains of the ancient church are also the paintings by Palma il Giovane preserved in the nearby Jesuit sacristy.

Great School of San Rocco
The Scuola Grande di San Rocco is an ancient building in Venice, Inside is a masterpiece by Tintoretto, this house is an exquisite example of Mannerist art at its best. In order to allow a comfortable admiration of the detailed ceiling, mirrors are offered to visitors. Cycles of allegories, life and passion of Christ, scenes from the Old and New Testament are represented. In 1564 Tintoretto was commissioned to decorate the School. The marvelous cycle of canvases, created in the three rooms between 1564 and 1588, represents for Venice what the Sistine Chapel is for Rome.

On the second floor of the building, in the premises built by Giorgio Fossati in 1773, there is the Treasury of the Scuola Grande di San Rocco. The rooms of the Treasury are set up with large eighteenth-century cabinets that house objects intended for religious worship. Intended for the custody of silver and sacred relics, the large room was opened to the public in 1899 and took the name of Sala del Tesoro. The hall will be closed during the First World War to reopen only since 2009. Among the objects kept are of particular value the Altarolo with the Madonna and Child, and a candlestick made from a coral branch.

Great School of St. John the Evangelist
The Scuola Grande di San Giovanni Evangelista is a school in Venice, it is a monumental complex with notable examples of Venetian Gothic, Renaissance and Baroque art and architecture from Codussi, Lombardo, Massari, Morlaiter, Palma Giovanni, Tintoretto and Longi. For over seven centuries the School has housed the homonymous brotherhood of laity, as well as a museum open to the public. Today, conferences and concerts are held here and the School is open to the public when it is not being used for events. To see the monumental staircase by Codussi, the splendid Salone di San Giovanni, the Oratory of the Cross with precious reliquaries.

The Scuola Grande complex is accessible through the portal of the septum, the septum is the architectural element that gives artistic importance to the exterior of the complex, impressing, with its Renaissance sculptural decorations. To the right of the septum is the building, which is structured first on two floors in the building where the atrium is located, and then later expands into the large three-storey building, where the Chapter Hall takes place. Inside, the place of greatest interest is the Sala Capitolare, Massari’s masterpiece: a 11 meter high room, illuminated at the top by twelve large oval windows, decorated with polychrome marble surfaces, culminating in the altar of San Giovanni Evangelista. The oratory inside the Scuola Grande is the place where the relic of the Holy Cross has been kept since the fourteenth century, the object of the community’s cult over the centuries, as well as the inspiration for Bellini’s large canvases.

State Archives of Venice
State Archives of Venice is a research and conservation institute of MiBACT, One of the largest archives in the world, in an ancient Franciscan monastery. Manuscripts, texts and documents relating to the history of the Venetian Serenissima. The documentary heritage preserved in the Venetian archive is immense, going from the origins of the city to the modern era. According to data from the official website, the State Archives contain 70 km of shelves full of documents that affect the entire history of the Republic of Venice and the entire world with which it had political, economic and cultural relations.

The complex consists of several buildings arranged around two cloisters adjacent to each other and adjacent to the Basilica dei Frari. The entrance to the Archive is in Campo dei Frari, on the right side of the facade of the Basilica. However, it is on the north side of the complex that an enormous structure shows itself with three high floors and a neoclassical setting, with the inscription ARCHIVIO DI STATO depicted in large letters. This facade, developed in length, is on three levels and tripartite, of great importance and sobriety: the two “noble floors” of the building are characterized by long rows of rectangular single- lancet windows, which in the central part are separated by pilasters ending in the massive architrave surmounted by a large pediment containing the effigy. On the ground floor seven large round-arched portals (of which the first from the left has been walled up) provide access to the building.

International Gallery of Modern Art
The International Gallery of Modern Art in Venice is located in Ca ‘Pesaro, in the district of Santa Croce, near Campo San Stae. The building was donated by Felicita Bevilacqua La Masa to the city to become a center dedicated to modern art. The majestic exterior of this palace built in 1710 hides two interesting art museums. The fabulously painted ceilings of Ca ‘Pesaro, which allude to the strength and prestige of the Pesaro clan, also compete with the works of art. The International Gallery of Modern Art includes the works exhibited at the Venice Biennale and covers numerous artistic movements of the nineteenth and twentieth centuries, including McKyalio, the expressionists and surrealists and sculptures by Rodin and Wildt, often the result of acquisitions aimed at the various editions of the Biennial. On the middle floor there are regular temporary exhibitions showing modernist and contemporary artists.

Famous masterpieces stand out in the collection: among the canvases and drawings, Judith II by Klimt stands out; The mirror of Bonnard; the Rabbi of Chagall as well as works by Kandinsky, Klee, Rouault, Matisse, Grosz, Moore, Morandi, Donghi, De Chirico, Boccioni, Sironi, Gustavo Boldrini, Emilio Vedova, Felice Carena,Virgilio Guidi, Davide Orler and others. Among the sculptures there is a wide collection of works by Wildt, Martini, Medardo Rosso, while stand out a version of the Thinker and Burghers of Calais by Rodin, the latter exhibited in the first room. In the same Ca ‘Pesaro there is also the Oriental Art Museum, housed on the top floor.

Natural History Museum of Venice Giancarlo Ligabue
The Fontego dei Turchi is a palace in Venice, the palace dates back to the 13th century; it was built around 1225 on commission by Giacomo Palmieri, consul of the Pesaro municipality and identified as the founder of the Pesaro family. Starting from 1608, the theory was put forward of assigning a city building to the seat of Turkish merchants. The proposal was realized only in 1621; on that occasion the building was converted into a commercial center and there were built warehouses, wash houses, services, bedrooms. The palace maintained this function from the 17th to the 19th century. In 1860 the Municipality of Venice bought it for 80,000 florins and used it, after a restoration as a museum. In 1865 the Correr Museum was placed there, today in Piazza San Marco. Since 1923 it has housed the Civic Museum of Natural History of Venice.

The museum was born from the desire to collect various naturalistic collections located in the lagoon city, previously owned by different properties including the Correr Museum, the Venetian Institute of Sciences, Letters and Arts and Count Alessandro Pericle Ninni. Taking the opportunity of moving the Correr to the current headquarters of the Procuratie Nuove in 1922, the museum was born on the initiative of Silvio Coen. The most notable collections are the Giordani Soika entomological collection (present since 1983), the Bisacco Palazzi naturalistic collection (present since 1986), the malacological collectionCesari (present since 1993), the Perale ornithological collection and the Ligabue collection, containing among other fossil finds.

Palazzo Mocenigo
Palazzo Mocenigo is a stately building in Venice, it is the seat of the Museum of Palazzo Mocenigo – Study Center of the History of Textile, Costume and Perfume. Since 1985, the headquarters of the Study Center of the History of Textile and Costume and of the Museum of the History of Textile and Costume have been established here. In addition to preserving the precious collections mostly of Venetian origin, the Center offers scholars an important library specialized in the sector. In 2013, following a careful restoration of the interior of the building, the interior was enlarged by a new section (5 rooms) dedicated to the history of perfume and essences which highlights the ancient cosmetic tradition of Venice.With this reorganization of the museum, nineteen rooms on the noble floor of the building were involved, re-proposing the evocative setting of an authentic 18th century Venetian noble residence. At the same time, a path dedicated to understanding the evolution of the fashion, costume and textile trend was created.

The tour was completely renovated and expanded in 2013. There are twenty rooms on the first noble floor. Here the exhibition areas opened in 1985 have been doubled. The environment aims to describe as a whole different aspects of the life of the Venetian patriciate between the 17th and 18th centuries. Inhabited by mannequins wearing ancient clothes and accessories belonging to the Study Center of the History of Textiles and Costume, annexed to the Museum. These dresses, made of textured fabrics and embellished with embroidery and lace, document the accuracy of the artisans of the time and the refined elegance that made the Venetian culture famous. The care and details and the reality exhibited make us appreciate the purpose of the museum regarding the history of fashion and its infinite evolutions not only from the point of view of textiles but also of clothing.

Peggy Guggenheim Collection
The Peggy Guggenheim Collection is a museum on the Grand Canal in Venice based in Palazzo Venier dei Leoni. The second most visited Venetian museum. Mainly collecting the personal art collection of Peggy Guggenheim (1898–1979), ex-wife of artist Max Ernst and nephew of the magnate Solomon R. Guggenheim, this museum, once also the private home of Peggy Guggenheim, collects a collection in somehow smaller and more concentrated than those of the other Guggenheim museums.

In autumn 2016, the museum was expanded with the purchase of a final building. A new cafeteria, a small educational center and a warehouse for the works have been created. Thanks to the relocation of the cafeteria, it was possible to free up new exhibition rooms. The museum also opened to the public in an educational way.

Accademia Galleries
The Gallerie dell’Accademia in Venice is an Italian state museum. They collect the best collection of Venetian and Venetian art, especially linked to paintings from the period from the fourteenth to the eighteenth century: among the major artists represented are Tintoretto, Giambattista Pittoni, Tiziano, Canaletto, Giorgione, Giovanni Bellini, Vittore Carpaccio, Cima da Conegliano and Veronese. There are also preserved other forms of art such as sculptures and drawings, including the famous Vitruvian Man ofLeonardo da Vinci (exhibited only on special occasions).

Among the most important paintings of the Academy are: Gentile Bellini: Procession in Piazza San Marco (1496) and Miracle of the Cross at the Bridge of San Lorenzo (1500), Giovanni Bellini: Pietà (1500), Jacopo Bellini: Madonna with Child and Cherubini (c. 1450), Paris Bordenone: A fisherman presents to the doge the ring of San Marco (c. 1535), Vittore Carpaccio: Legend of Sant’Orsola (1490-1498), Cima da Conegliano: The Holy Virgin below the Orange (1496 ca.), Giorgione (1477-1510): The Tempest and the Old Woman (“The old one”), Andrea Mantegna (1431-1506): San Giorgio, Veronese Paolo (1528-1588): The feast in house of Levi (1573), Tintoretto: The miracles of San Marco (1548) and Titian.

Great School of the Carmini
The Scuola Grande dei Carmini is a palace in Venice, located in the Dorsoduro district, in the Calle della Scuola which connects Campo Santa Margherita and Campo dei Carmini. It is the seat of the homonymous school of devotion and charity. The School had as its purpose the charitable works, such as assistance to the poor and the sick or the “maritar donzele” with the due dowry, as well as the purposes of solidarity among the members (something now similar to insurance). The sustenance of the school was based on the income from the growing real estate assets.

Dedicated to the Madonna del Carmelo, with its luxurious interiors by Giambattista Tiepolo and Baldassare Longen. This school (religious fraternity) was the only one of the six large schools that recognized women and founded the place in the 13th century. Carmini continued to welcome dispossessed and prodigal travelers until Napoleon’s occupation of Venice. Music in Mask concerts are currently taking place here and Carmini members continue to organize charities to this day.

Vedova Foundation
Created by the artist himself and his wife, mainly engaged in promoting the art and creativity of Emilio Vedova and studying his role in 20th century contemporary art.

Leonardo’s Machines in Venice
An exhibition in the Church of San Barnaba showing about forty machine models reproduced from Leonardo’s codices. Some of the exhibits are interactive and copies of the codes are available for further reading. It was supposed to finish in 2012, since the church, an attraction in itself. It’s the one under which Indiana Jones finds the catacombs in The Last Crusade.

Museum of the Venetian Eighteenth Century
Ca ‘Rezzonico is one of the most famous palaces of Venice, contains municipal collections relating to the eighteenth century attempts to revive the domestic atmosphere of the Venetian nobility. It is divided into three important horizontal bands: the ground floor, enriched with ashlar decorations and a three-hole water portal with architrave and two noble floors, characterized by columns and round-arched windows with keystone heads. Each floor ends with coupled columns. The mezzanine attic is characterized by oval single-lancet windows, hidden in the articulated design of the facade. The plan of the building is very complex: it has a large ballroom, which occupies two floors in height, connected to the ground floor by a majestic monumental staircase. Apart from this extraordinary exception, the Palazzo is organized according to a traditional plan: it has a large portego in the center, which overlooks both the Grand Canal and the central courtyard: on both sides there are smaller rooms.

Reopened to the public after a restoration, the museum arrange the works in a natural way, almost as if they were part of the furniture. In addition to precious furniture and jewels, it also contains the most important paintings by Venetian artists of the 18th century, such as Giandomenico and Giambattista Tiepolo, Rosalba Carriera, Canaletto and the Longi and Guardi families. Thanks to donations, the museum’s collection has recently been reconstituted with another 300 works by artists such as Cima da Conegliano, Alvise Vivarini, Bonifacio de Pitati, Tintoretto, Sebastiano and Marco Ricci, as well as many other works of art. The museum is spread over four floors and visitors can also relax or have a snack in the large reception area, café or in the lovely garden.