The Barefoot Carmelitani friars acquired the land in 1646 and in 1660 began the edification of this church dedicated to Santa Maria di Nazareth, recovering the cult from an image of the Vergine transported here from the Old Lazzareto, once called of Saint Maria di Nazareth.
Project is by Baldassare Longhena, recognizable in its baroque language. The building came definitively consecrated in 1705.
The altars conserve numerous eighteenth-century paintings but the church is famous for its ceiling, entirely frescoed by Tiepolo and unfortunately damaged during the strafings. The rests of Trasporto della casa di Loreto (Transport of the house of Loreto) and other details survived of the ceiling are today kept at the Galleries of the Academy.

The name derives from a miraculous image of the Madonna who one scultore had placed in its house garden and that soon it began to being venerated from the inhabitants of sestriere. The church is fundamental stage in order to know the painting of Jacopo Robusti called the Tintoretto that here finally it was buried with the sons in the right chapel close to the main altar.
The construction engaged all the fifteenth century - changing an older building - and turning out one of the more typical structures of the Gotich Venice, as it demonstrates the tripartition of the facade.FThe niches are instead Of Romanesque derivation in which the statues of the Twelve Apostles are placeda work by Delle Masegne. Going up on the bridge of forehead to the church and turning the look it is instead possible to recognize the bell tower and the great infuence of the Arabic culture on the Venetian architecture.
La devotion to the Virgin is represented inside by La presentazione al Tempio (1552) that Jacopo Tintoretto painted on the organ's doors. To Tintoretto belongs the decoration of the presbitery with two huge paintings that belong to the juvanile phase: Il popolo ebraico che adora il vitello d'oro (The people Hebrew that adores the gold calf )and Il Giudizio Universale (Universal Judgment). While on the greater altar it dominates L'Annunciazione (the Annunciation) and Il Padre Eterno in gloria (Eternal Father in Glory) by Jacopo Palma il Giovane.
mon-sat: 10.00-17.00, sun: 13.00-17.00
ticket: € 2.50

It is one of the most famous buildings in Venice, and is, along with the Ducal Palace, the greatest expression of the full flower of Venetian Gothic. The facade was erected by Giovanni and Bartolomeo Bon, father and son, at the order of the Contarini family between 1424 and 1430, but at the beginning the work was directed by Matteo Raventi and successively completed by the Bons. In 1780 a theatrical accademy named the “Accademia degli Ardenti” with the motto “Flamma nos Ardet” was founded in the “Ca’ D’Oro” by the marquess Francesco Albergati Capacelli, count Alessandro Ercole Pepoli and other gentlemen, who every now and then allowed the inhabitants of Venice, and also educated tourists, to enjoy plays which were sometimes written by themselves and sometimes chosen from some of the best authors of the time. This accademy only lasted for around four years. The Ca’ D’Oro was made into a museum in 1927: the collection, apart from furnishings, hangings, and coins, also includes some reliefs by Titian, Carpaccio, Mantegna, Giorgione, Cima and others.
Mon 8.15-14.00, tue-sun 8.15-19.15

Old Austrian bridge, on this part of Gran Canal, represented an age that was finishing.
In this period of deep transformation, project by engineer Eugenio Miozzi (1931-2) was chosen to subsitute the rectilinear iron bridge (all the iron bridges in Venice had been built by Austrians).
This bridge clearly borrows the main characteristics of Rialto bridge except for the shop lines, here absentees: one arch and made with white stone.
In this way, the bridge can dash free on the Gran Canal.

Known also as the “Non Nobis Domine” because of the engraving based on the opening verse of a psalm which was cut into the stone under the ground-floor window. Conceived and in part constructed by Mauro Codussi, it was finished by the Bottega dei Lombardo in 1509. It is an architecturally harmonic structure, with double windows divided by columns. In 1883 Richard Wagner lived and died there (there is a memorial stone on the bank of the Grand Canal). It was bought by the Venice City Council in 1946, was the headquarters of Italian national television (RAI) and is now the winter seat of the Municipal Casino.

This great church has fourteenth-century origin, but the main constructive line was brought later in the half of fiteenth century on a project by Antonio Gambello first and Pietro Lombardo later. The elegant portal by Lombardo, is one of the testimonies of the formidable decorative ability of the Venetian Renaissance.
Inside has one huge, while the ceiling, once supported with wood trusses, appears now groin vault.
Many masterpieces from sixteenth century once kept here are now at Accademia Gallery: La presentazione di Gesù al tempio (1510) by Carpaccio, Cristo nell'orto (1510 c.) by Marco Basaiti, La Vergine in trono con angeli musicanti by Giovanni Bellini.
In the church are still kept Il Presepio (1540 c.) by Savoldo, the Pala con i Santi Pietro, Andrea e Nicolò by Paris Bordon or the triptych with Annunciazione, Sant'Antonio da Padova and San Michele (1445 c.) by Antonio Vivarini, last one kept in the sacresty.

Santa Maria dei Miracoli was built between 1481 and 1489 on a project by Pietro Lombardo with the aim of giving a worthy placing to the icon of the Virgin venerated since the 1408.
Church became one of the best example of the Venetian Renaissance: coloured marbles, false colonnade on the walls, semicircular pediment...
Interior has just one nave with a barrel-vault and is dominated by the big stair leading to the main altar totally decorated with statues by Tullio Lombardo, Alessandro Vittoria and Nicolò di Pietro, while the vault is divided in fifthy coffers decorated with the prophets's faces, a work by Gerolamo Pennacchi's brother, Vincenzo dalle Destre and Lattanzio da Rimini.
mon-sat: 10.00-17.00, sun: 13.00-17.00
ticket € 2.50

One of the most important buildings in the city, built between the end of the 17th and beginning of the 18th centuries, it takes its name from the Labia family, Catalan merchants who came to Venice during the war with Candia and became part of the patriciate after handing over a large sum of money (100.000 ducats). The Labias spent incredible sums of money on furnishing the palazzo, engaging GB. Tiepolo to fresco it. Together with the quadraturist Mengozzi Colonna, he began the great cycle of paintings depicting the life of Cleopatra, which can be visited by appointment. A part of the palazzo is today the home of the RAI. It was here that, after dinner one evening, the owner of the palazzo threw some of his furniture into the canal below, exclaiming arrogantly, “Le abia, o non le abia, sarò sempre Labia” (“Whether I’ve got them or not I will always be a Labia”). However, in that occasion there was belived to have been a net stretched under the waters of the canal and that boats placed there for the purpose pulled up the precious merchandise and took it back to its owner.