Church was dedicated to the Roman martyrs Giovanni and Paolo whom lived in the thirth century, built by Dominican friars between the XIII and the XV century and and consecrated in the 1430.
Facade is composed of bricks and suggeststhe inner division of the church in three naves. In the central part of the facade there's a big eye accompanied, in the lateral sides, by two smaller apertures.
Watching the photo it's possible to get how the inferior part of the building has been raised in a different age compare to the upper part and how it's distinguished by the presence of Gothic blind lancets closing the main entrance, Gothic itself but with some clear Renaissance influences.Those arches are the graves of some heads of the Serenissima (Venice government till the 1797), each giving hospitality to a funeral urn (white in the photo). The difference of materials among the main entrance and the rest of the facade is due to the partial realization of a remake project started in the fifteenth century
Interior has a Latin cross plan composed of three naves and lateral chapels, five huge columns divide the main nave from the side aisles.
Church gives hospitality to many funeral monuments of the Serenissima's heads whom used to be brought here with a funeral cortège going through Venice. One of the most important monuments is the one dedicated to Doge Pietro Mocenigo by Pietro Lombardo describing his virtue during the battles against Turks, so the Doge (Serenissima's leader) is represented armed and his urn held up by warriors.
In the rigth side aisle there's a polittico attributes to Bellini by Longhi in the 1914, after many centuries of discussions among critics. The work is cmposed of many paintings: La Pietà, La Vergine e l'Angelo Annunciante, Episodi della Vita di S. Vincenzo, Predica del Santo, Guarigione dei Paralitici.
In the Addolorata's Chapel the Mausoleo della Famiglia Dogale dei Valier drew by architect Andrea Tirali and realized by Venetian masters in the 1700.

Inside one of the most beautiful squares in Venice (Campo Santa Maria Formosa), rich of old palaces, there is this strange, funny church (VII century). Tradition says that the construction of this church has been due to an apparition of Our Lady as a shapely (formosa in italian) woman to Saint Magno in the seventh century.
Building has been rebuilt in the 1492 by architect Codussi. Church is really particular becouse of the two facades it owns, one facing the channel and one facing the campo (square in Venice), both wanted by the Captain Cappello's family, whose member fought and won the Turks with the fleet of Serenissima.
The bell tower has a baroque age (finished in the 1688).
Church, that gave hospitality to the Scuola dei Casselleri (nuptial case maker) for long time, received the annual visit by the Doge till the end of 1797. During this event honouring the merit of Casselleri in occasion of the Slavic's Abduction in the 944, when some Slavics tempt to kidnap many young Venetian woman, the Doge received a straw hat as a gift.
Building has a Latin cross plan with three naves and transept with groin vault and presbitery. In the interior are kept works by Palma il Giovane, by Vivarini and, in the chapel of the Scuola dei Bombardieri that here had the headquarters, a polittico by Jacopo Palma il Vecchio (1480-1510) representing Santa Barbara con i Santi Sebastiano e Antonio Abate and La pietà tra i Santi Domenico e Giovanni Battista.

The Arsenal, or naval dockyard, was the place where the Venetians built the famous workshops in which their powerful military and mercantile fleets were built and for centuries remained the pride and fortune of the Serenissima Republic. The name “Arsenal” seems to be a corruption of the Arabic darsina’a (meaning “house of industry”) from which comes the Italian word darsena. The Arsenal was built on two islands called Gemelle (meaning twins) in the year 1104 and was surrounded by high walls and square towers emblazoned with the symbolic winged lion. In the structure’s busier periods more than 16000 workers were employed there: chronicles from those times tell us that on one occasion a warship was completed in the Arsenal in twelve hours, and that a hundred such vessels were launched there in only two months. It was held in such awe by the rest of Europe that the word “arsenal” was in use in fourteen languages. Over the centuries it was continually enlarged until it attained a considerable size: the entire north-east edge of Venice between the San Pietro di Castello Canal, la Tana, San Martino and San Francesco della Vigna. “It is the repository of the Republic of St. Mark’s naval memories and in it are also preserved relics of the various regional Italian navies up to the last war and is well worth a visit because of the variety and historical and artistic interest of the exhibits.”
Unfortunately, access to the Arsenale area is not allowed, as it is still occupied quarters for the Italian navy.
In recent years, some of the Arsenale buildings have opened to the public during the Biennale and Navalis exhibitions.

Founded in the 1260, originally the brotherhood used to be nearby the actual Santa Croce Church. Then moved here at San Marco School only starting from the fifteenth century (1437).
During the years in fact the needs of the School grew up with their influence so that in the space of few decades the new School was built following the project of the earlier Scuola della Misericordia. A coronare il tutto, anzi, vi erano 3 edicole marmoree le quali successivamente vennero poste sul fronte verso la laguna (come appare correttamente dalla pianta cinquecentesca del de' Barbari).
Sadly a fire destroied the Shcool in 1485 and even if nothing remained of the original project, the rebuilt School was immeditely decided. Author of this first phase of reconstruction was Pietro Lombardo whom, thanks to some chisel workforce, thought an original project based on the use of friezes, columns splitting, prospectical game with insertion of windows, polichrome marbles, that immediately gives a strong visual impact to the viewer. It was not Lombardo the finisher of the works but Mauro Codussi, who also built the internal stairs, called to complete the upper part of the facade. Unfortunately the precious internal stairs wal destroied in the 1819, when was decided to transform the building in the principal Hospital of Venice, function kept nowadays. Probably the project of this stairs should have been similar to the one of S.Giovanni Evangelista.
Embellished works took place during the years but the main attraction of this School were the paintings that many famous artists gave as a present to commemorate San Marco:  Bellinis  (Giovanni e Gentile), a young  Tintoretto ,   Palma il Vecchio .  Works that strongly signed the popular imagination.
This story came to an end with the austrian domination that built the militar hospital making some changements also on the facade. Anyway the visitor will still be able to admire one of the most fascinating building in the entire Venice.

Due to its position adjacent to a hospital, this church of Santa Maria dei Derelitti is also known as the 'Ospedaletto'. Slightly obscured by the narrow street on which it stands, the beautiful building dates back to the 17th century. Designed by B. Longhena, it was paid for by B. Cagnoni. Inside are several paintings thought to be by Tiepolo.
tue, fri, sat: 15.30-18.30

The Church of Santa Maria della Pietà (simply known as La Pietà) is one of Venice's most famous music venues.
Attached to the church was an orphanage founded in 1346. Here the young orphan girls were also educated to the music.
Antonio Vivaldi was violin-master and later choirmaster at La Pietà for around 30 years (1705-1738), and wrote many of his finest pieces for this institution.
The first church in this site was built in the fifteenth century. The present church was designed in 1755 by Massari, but the facade was completed only in the early 20th-century.
The interior is one of the most elegant example of 18th-century church in Venice and contains a superb ceiling fresco by Tiepolo (1755).
The institution of La Pietà received donations by many doges and the orchestra and choir of La Pietà was famous and appreciated.
La Pietà is at the Riva degli Schiavoni close to the Landing Stop S. Zaccaria.

First foundation dates back to the ninth century but was subsequently transformed during the Renaissance. Serenissima Republic used to bury its leaders here in the ancient part of its history.
Facade, as appear nowadays, was built by the architect Mauro Codussi at the end of 1400, whom divided the median part of the interior from the aisles with many columns and disposed the windows in decreasing number from lower part to the top of the building, till the great arch that keeps just one eye. Above the main entrance stands the San Zaccaria's statue.
Church has a plan composed of three naves divided through columns and a cross-vault ceiling and keeps many interesting works that made of this church one of the most common visit in Venice. Among these works precious is Vergine col putto in trono, Santi ed Angeli musicanti by Giovanni Bellini (1505).
All the walls of the aisles are painted with religious scenes, as the Adorazione dei Magi and l'Adorazione dei Pastori, or representing the daily life of Venice, as the Visita annuale del Doge alla Chiesa nel giorno di Pasqua. The head of Serenissima Republic used to come here in Easter to commemorate the gift, a big part of a vegetable garden, done by the nuns at the end of 1200 allowing the widening of Saint Mark Square.

Saint George of Greeks belongs to that part of Venetian history that arose from the huge tolerance of the Serenissima establishment towards all the peoples of the world. Greeks got the permit to build the church and to celebrate mass with the orthodox rite, at the end of fifteenth century. Constuction of the church was ended in the 1561 by architect Giannantonio Chiona. Church has a unic nave with a hemispheric dome placed in the centre of the bulding's plan, that was added later in the 1571. The interior gives hospitaity to many paintings by Greeks painters of sixteenth and seventeenth century as the Cretans Michele Damaschinòs and Emanuele Zane. The first left here Figurazioni di Santi and the 12 Feste that compose the Iconostasi placed on the back wall; the second painted here Abramo e Melchisedech placed in the central part of the Iconostasi . Atthached to the church is the Scuola di San Nicolò dei Greci built on a project by architect Longhena

The palazzo was built during the Renaissance and was the residence of the Querini family. Exiled from Venice because of their involvement in the conspiracy of Bajamonte Tiepolo in 1310, they conquered the island of Stampalia in the Aegean, from which they took their name. The Palazzo was the seat of the Patriarchate of Venice during the construction of the Episcopal Palace at St. Mark’s. On the 3rd of August 1849 it was stormed by the people, who were against Venice’s resistance to Austria. Today the palazzo is the home of a public library and the Querini-Stampalia Foundation, an interesting collection of paintings and works of art.
The Foundation offers also a service of guides,
for reservations tel. ++39-41-2711420. Telephone ++39-41-2711411
All the fridays and saturday, to the 17 and the 20,30 the Foundation offers to the short visitors concerts, is executed from alive from students and the Masters of the School of Ancient Music of Venice
The concerts last approximately 30 minuteren and are comprised in the ticket of income to the Museum (Euro 6).
It is not necessary to reserve
Price entire € 6 and reduced € 4 residents gratis from the 10 to the 15.
Hour opening: tuesday, Wednesday, thursday and Sunday hours 10.00-18.00; friday and saturday hours 10.00-22.00; closed the monday