Church, of ancient Venetian-Byzantine foundation of the ninth century, suffered many restorations of which the last one was in the eighteenth century and strongly modified the facade and the interior through the aplication of plasters both in the nave and in the vaults of the ceiling. In the same occasion many works had been moved to make room for contemporary paintings: Gesù fra i dottori by Francesco Cappella, La visitazione della Vergine by Canal (1771) and two works really important for Marieschi's catalogue (Nascita di Cristo and Adorazione dei magi) that are not still here. Ceiling was painted by Canal and tells facts about Saint Eufemia's life. Really worthy of visiting are the sculptures by Gianmaria Morleiter (marble, XVIII century) with La Vergine col Cristo sulla ginocchia on the last altar in the left handside of the aisle.

Between the 1575 and the 1577 plague killed almost fifthy thousands people in Venice; the fourth of September 1576 Serenissima's senate decided to build a church dedicated to the Redeemer and the first stone was laid the third of May 1577. This church dominates the Giudecca's view and results to be a Palladio's thought about the entire classical architecture of the Renaissance, the attempt of join the Cristian Church with all the elements of a classical temple. A classical pediment dominates the facade and a stair, as wide as the dome's diameter (that is the unit of the entire building) symbolizes through its fifteen steps the ascent to the Jerusalem's temple.
Interior, having a longitudinal plan, is perfect to be used for processions: a main nave with deep lateral chapels, covered with a barreil vault and lightened by windows; a wide presbitery joined to the nave through a big arch and finally a rectangular choir. Dedicated to the events of Jesus's life are the paintings kept in the chapels: a Natività di Gesù Cristo and La Resurrezione by Francesco da Ponte are in the first altar on the right handside and on the second altar on the left handside. Trasporto di Cristo al Sepolcro by Jacopo Palma il Giovane kept on the third altar on the left handside is a work dates back to 1600. Two paintings by Domenico Tintoretto (1588) with the Flagellazione di Cristo and L'ascensione di Cristo, but maybe, the most suggestive work is Madonna con Bambino e due angeli musicanti by Alvise Vivarini, kept as a jewel in a really precious wood's frame. This work, painted in the 1500 belongs to the last phase of the painter's activity, when he had already received the influences by Mantegna and Giovanni Bellini.

San Giorgio is one of the most impressive Venetian buildings by Andrea Palladio. First stone was laid down in the 1566, when Palladio had already projected the facade of San Francesco della Vigna, Zitelle and Redentore, but the construction of this building was brought to a conclusion after his death by Simon Sorella.
Facade owns clear classical elements as the Corinthian columns. The subdivision of the facade reflects the internal three naves surmounted by the big dome at the crossing of the Latin Cross plan's axes. Wide barrel vault of the ceiling is held up with composed pillars.
San Giorgio Maggiore keeps many masterpieces of the Venetian Renaissance: Ultima cena by Tintoretto (1594), in which the artist, with the artificial light, annihilated the colors of the canvas. Never as in this painting the light becomes a symbol of the artist's spirituality. On the main altar, in front of this painting, it's possible to admire Il cader della manna where the outside scene allowed to Tintoretto to demonstrate his skill as a landscape painter.

Real name of this place is Santa Maria della Presentazione and the complex joins the church, the ancient convent and the orphan's institute famous since the eighteenth century for the lace's production. The classical influences on the facade proves the partecipation of Andrea Palladio to the first project, brought it to a conclusion by Jacopo Bozzetto in the 1586. The imposing main dome leans in the inner part of the church on great Corinthian columns making it agree with the church's remake of the eighteenth century. Zitelle's temple keeps a precious work by Jacopo Palma il Giovane (L'orazione nell'orto) and on the main altar La Presentazione della Vergine al Tempio, a work of uncertain attribution among Francesco and Leandro Bassano.

The Island of Torcello, is one of the main three-islands visited by tourists along with Murano and Burano. The furthest of the three from Venice , that means if you are taking public transportation to visit all three island you'll end up consuming 6 or more hours of your time in Venice.
A good and cheap alternative might be to take a three-island boat tour which operates daily at 9.30 and 2.30 pm lasting three hours to give you an idea of what the islands have to offer.
Once the commercial capital of Venice , nowadays Torcello boasts a population of only 60 people. Deserted, the island boasts two main attractions: the Venetian-Byzantine Cathedral of Santa Maria Assunta founded in the 7 th Century was Venice 's first cathedral.
Rebuilt in the 11 th it contains magnificent Byzantine mosaics. One of the highlights of the church's rich decorations can be found on the west wall with a vast mosaic featuring the Last Judgement, but the cathedrals great treasure is the Mosaic of the Madonna in the semi-dome of the apse. Starkly set on a pure gold background, the figure has been hailed by many as one of the most stunning works of Byzantine art in Italy .
The cathedral is open daily from 10 - 12.30 am , and from 2pm until 6.30 pm . If you plan to tour the three-islands by public transportation plan to get either an early start, or plan to visit them in the afternoon. The last thing you want to happen is to arrive after a 90 minute journey at Tronchetto to find the church closed.
Close to the church you'll find the Museum of Torcello which recounts the story of the Island over the centuries. Open from Tuesdays until Sunday from 10am – 12.30 am and 2pm until 6.30pm . Also note that close to the Cathedral is the tiny church of Santa Fosca which was founded in the 11 th Century to house the remains of Saint Fosca.
Apart from the cathedral, the other main attraction for tourists visiting the Island of Torcello is taking lunch as the celebrated Cipirianni restaurant. For those looking for a special experience amongst the Venetian Island we can arrange private guided boat tours of the Islands , along with a delicious lunch at this celebrated eatery.
How to get to Torcello:
Public Transportation - The island can be reached by public transportation by taking the # 12 water-bus from Fondamenta Nuove or the # 14 from San Zaccaria from nearby to St Marks.

The Island of Burano is the most picturesque of Venetian Island of the Lagoon. Famous for its lace-making industry, the pretty fishing village has its streets and canals lined by pastel coloured houses.
Visit the Museo del Merletto (Museum of Lace Making), Piazza Galuppi, to understand why something so exquisite should not be left to fade into extinction. It’s open Wednesday to Monday 10am to 5pm (to 4pm Nov–Mar), and admission is 4€ adults and 2.50€ children.

Murano is the most famous of the Venetian Islands , and the most visited courtesy of the famous glass-works that produce the popular “Murano Glass”.
The people of Venice have been making crystal and glass since the 10th Century, when the Venetian merchants brought back the secrets of production from the East.
A visit to the Museum of Glass (Museo del Vetro), Fondamenta Giustinian 8, will put the island’s centuries-old legacy into perspective and is recommended for those considering major buys.
Hours are Thursday to Tuesday 10am to 5pm (to 4pm Nov–Mar), and admission is 4€ for adults and 2.50€ for students.
Dozens of fornaci (furnaces) offer free shows of mouth-blown glassmaking almost invariably hitched to a hard-sell (“No obligation! Really!”) tour of the factory outlet. These retail showrooms of delicate glassware can be enlightening or boring, depending on your frame of mind. Almost all the places ship, often doubling the price. On the other hand, these pieces are instant heirlooms. Murano also has two worthy churches: San Pietro Martire , with its altarpieces by Tintoretto, Veronese, and Giovanni Bellini, and the ancient Santa Maria e Donato , with an intricate Byzantine exterior apse and a 6th-century pulpit and columns inside resting on a fantastic 12th-century inlaid floor.