78 Best Sights in Venice, Italy

Just past the glass museum, this is among the first churches founded by the lagoon's original inhabitants. The elaborate mosaic pavement includes the date 1140; its ship's-keel roof and Veneto-Byzantine columns add to the semblance of an ancient temple.

There's a wondrous collection of centuries-old books and illuminated manuscripts at this library, located across the piazzetta from Palazzo Ducale in two buildings designed by Renaissance architect Sansovino, Libreria Sansoviniana (Sansovinian Library) and the adjacent Zecca (Mint). The complex was begun in 1537, and the Zecca was finished in 1545. Facing the Bacino (San Marco basin), the Zecca along with the Palazzo Ducale form Venice's front door. The Palazzo Ducale, built during a period of Venetian ascendance and self-confident power, is light and decidedly unmenacing. The Zecca, built in a time when the Republic had received some serious defeats and was economically strapped, is purposefully heavy and stresses a fictitious connection with the classical world. The library is, again, much more graceful and was finished according to Sansovino's design only after his death. Palladio was so impressed by the Biblioteca that he called it "beyond envy."

The books can only be viewed by written request and are primarily the domain of scholars. But the Monumental Rooms in the Sansoviniana are worth visiting for the works of Veronese, Tintoretto, and Titian that decorate its walls. You reach the Monumental Rooms, which often host special exhibits, through the Museo Correr.

Baldassare Longhena's grand Baroque palace, begun in 1676, is the beautifully restored home of two impressive collections. The Galleria Internazionale d'Arte Moderna has works by 19th- and 20th-century artists, such as Klimt, Kandinsky, Matisse, and Miró. It also has a collection of representative works from the Venice Biennale that amounts to a panorama of 20th-century art. The pride of the Museo Orientale is its collection of Japanese art—and especially armor and weapons—of the Edo period (1603–1868). It also has a small but striking collection of Chinese and Indonesian porcelains and musical instruments.

Construction of Venice's famous brick bell tower (325 feet tall, plus the angel) began in the 9th century; it took on its present form in 1514. During the 15th century, the tower was used as a place of punishment: immoral clerics were suspended in wooden cages from the tower, some forced to subsist on bread and water for as long as a year; others were left to starve. In 1902, the tower unexpectedly collapsed, taking with it Jacopo Sansovino's marble loggia (1537–49) at its base. The largest original bell, called the Marangona, survived. The crushed loggia was promptly reconstructed, and the new tower, rebuilt to the old plan, reopened in 1912. Today, on a clear day the stunning view includes the Lido, the lagoon, and the mainland as far as the Alps, but strangely enough, none of the myriad canals that snake through the city.

Only Piazza San Marco is larger than this square, and the echo of children's voices bouncing off the surrounding palaces makes the space seem even bigger. Campo San Polo once hosted bullfights, fairs, military parades, and packed markets, and now comes especially alive on summer nights, when it's home to the city's outdoor cinema.

The Chiesa di San Polo has been restored so many times that little remains of the original 9th-century church, and the 19th-century alterations were so costly that, sadly, the friars sold off many great paintings to pay bills. Although Gianbattista Tiepolo is represented here, his work is outdone by 16 paintings by his son Giandomenico (1727–1804), including the Stations of the Cross in the oratory to the left of the entrance. The younger Tiepolo also created a series of expressive and theatrical renderings of the saints. Look for altarpieces by Tintoretto and Veronese that managed to escape auction.

San Polo's bell tower (begun 1362), across the street from the entrance to the church, remained unchanged over the centuries—don't miss the two lions, playing with a disembodied human head and a serpent, on the wall just above the tower's doorway. Tradition has it that the head refers to that of Marino Faliero, the doge executed for treason in 1355.

Lined with cafés and restaurants generally filled with students from the two nearby universities, Campo Santa Margherita also has produce vendors and benches where you can sit and take in the bustling local life of the campo. Also close to Ca' Rezzonico and the Scuola Grande dei Carmini, and only a 10-minute walk from the Gallerie dell'Accademia, the square is the center of Dorsoduro social life. It takes its name from the church to one side, closed since the early 19th century and now used as an auditorium. On weekend evenings, especially in the summer, it attracts hordes of students, even from the mainland.

This large, attractive square is the site of two city landmarks: the imposing namesake Gothic church and the Scuola Grande di San Marco, with one of the loveliest Renaissance facades in Italy. The scuola's (men's fraternal institution) exterior is the combined work of Venice's most prominent Renaissance architects. The facade was begun by Pietro Lombardo in the 1480s, then in 1490 the work was given over to Mauro Codussi, who also added a grand stairway in the interior. In the 16th century, Sansovino designed the facade facing the Rio dei Mendicanti. The campo also contains the only equestrian monument ever erected by La Serenissima. The rider, Bartolomeo Colleoni, served Venice well as a condottiere, or mercenary commander—the Venetians preferred to pay others to fight for them on land. When he died in 1475, he left his fortune to the city on the condition that a statue be erected in his honor "in the piazza before San Marco." The Republic's shrewd administrators coveted Colleoni's ducats but had no intention of honoring anyone, no matter how valorous, with a statue in Piazza San Marco. So they collected the money, commissioned a statue by Florentine sculptor Andrea del Verrocchio (1435–88), and put it up before the Scuola Grande di San Marco.

In Venice's most prestigious residential neighborhood, you'll find one of the city's busiest crossroads just over the Accademia Bridge; it's hard to believe this square once hosted bullfights, with bulls or oxen tied to a stake and baited by dogs. For centuries the campo (square) was all grass except for a stone avenue called the liston. It was so popular for strolling that in Venetian dialect "andare al liston" still means "to go for a walk." A sunny meeting spot popular with Venetians and visitors alike, the campo also hosts outdoor fairs during Christmas and Carnevale seasons. Check out the 14th-century Chiesa di Santo Stefano. The pride of the church is its very fine Gothic portal, created in 1442 by Bartolomeo Bon. Inside, you'll see works by Tintoretto.

Unwanted babies were left on the steps of this religious institute, founded by a Franciscan friar in 1346. The adjoining orphanage provided the children with a musical education. The quality of the performances here reached continental fame—the in-house conductor was none other than Antonio Vivaldi (1678–1741), who wrote some of his best compositions here for the hospice. The present church was designed in the 18th century by Giorgio Massari, but the facade was completed only in the early 20th century. The main reason for a visit is to view the magnificent ceiling fresco by Gianbattista Tiepolo. In a room to the left of the entrance is a tiny collection of Baroque instruments, including the violin played by Vivaldi. There are guided tours Tuesday through Sunday.

You'll pass this church just before you reach Murano's Grand Canal (a little more than 800 feet from the landing). Reconstructed in 1511, it houses Giovanni Bellini's very beautiful and spectacular Madonna and Child with Doge Augostino Barbarigo and Veronese's St. Jerome.

Within this Benedictine monastery is a peacefully shady 12th-century cloister that has been modified over the centuries. It remains the only surviving example of a Romanesque cloister in Venice. The brick pavement is original, and the many inscriptions and fragments on display (some from the 9th century) are all that remain of the first Basilica di San Marco.

Commonly referred to as the "Calatrava Bridge" after its designer, Santiago Calatrava, this swooping modern arch crossing the Grand Canal connects Piazzale Roma to the train station. Opinions have differed wildly on its aesthetic ever since its inauguration in 2008, but no one can deny its long-overdue usefulness---as many as 5,000 people a day cross it when arriving, departing, or daily commuting. It has become notorious for its structural flaws, most notably slippery steps made of Murano glass that are now in the process of being replaced by concrete. Whatever your thoughts on its beauty, the views from its graceful summit are always engaging.

This broad, bustling waterfront promenade is one of Venice's prime stretches for strolling; thanks to its southern orientation along the Giudecca Canal, it is full of families, students, children, and dogs whenever there is the slightest ray of sunshine. Come in spring or winter to warm up a little, or in the summer to cool off under café umbrellas with drinks or gelato. Restaurant terraces over the water lure diners until late. The name Zattere means "rafts," and this was the area designated by the Venetian government for storing the vast platforms of tree trunks that were floated down rivers from the nearby Alps destined to become pilings, beams, ships, or any other item made of wood.

When the Dominicans took over the church of Santa Maria della Visitazione from the suppressed order of Gesuati laymen in 1668, Giorgio Massari, the last of the great Venetian Baroque architects, was commissioned to build this structure between 1726 and 1735. It has an important Gianbattista Tiepolo (1696–1770) illusionistic ceiling and several other of his works, plus those of his contemporaries Giambattista Piazzetta (1683–1754) and Sebastiano Ricci (1659–1734). Outside on the right-hand wall above a small staircase is a bronze door decorated with a series of panels showing scenes from the life of Jesus by noted Venetian sculptor Francesco Scarpabolla.

Located between Piazzale Roma and the train station, this lush oasis was created in the 1830s by demolishing the former monastery of Santa Croce. A tranquil place to sit in the shade, the gardens feature flowers, large, leafy trees, and a small playground for children. Pause to admire the marble statue of civil engineer Pietro Paleòcapa; not a Venetian, but one of the great 19th-century hydraulic engineers modifying rivers and swamps in Italy and Europe. He served in Venice as Director of Public Works and crowned his career by collaborating with Luigi Negrelli in the planning of the Suez Canal.

Launched in 2019 and housed mainly in the former Dreher brewery industrial complex, GAD art village comprises a number of spaces, including those of renowned artist Fabrizio Plessi, and galleries including Galleria Michela Rizzo.

Set in the west wing of a former boarding school within the Cini Foundation complex, these sleek gallery rooms host exhibitions exploring 20th- and 21st-century glass, from art pieces to commercial producers, including Venini.

Most hotels on the Lido have access to charming beach clubs with cabanas, striped umbrellas, and chaise longues—all of which are often available for nonguests to use for a fee. On either end of the long barrier island, the public beaches offer a more rustic but still delightful setting for nature lovers to dig their toes in the sand. Amenities: food and drink; lifeguards; showers; toilets. Best for: swimming; walking.

Venice is the only major Italian city without an ancient past, yet it hosts a collection of ancient art that rivals those in Rome and Naples. The small museum housing this collection was first established in 1596, when the heirs of Cardinal Domenico Grimani—a noted humanist who had left his collection of original Greek (5th–1st centuries BC) and Roman antiquities to the Republic—inaugurated the historical artworks in Sansovino's then recently completed library in Piazza San Marco. You can see part of the collection, displayed just as Grimani (or at least his immediate heirs) had conceived it, in the vestibule of the Libreria Sansoviniana, which the museum shares with the Biblioteca Marciana. Highlights in the rest of the museum include the statue of Kore (420 BC); the 1st-century BC Ara Grimani, an elaborate Hellenistic altar stone with a bacchanalian scene; and a tiny but refined 1st-century BC crystal woman's head, which some say depicts Cleopatra. When you arrive, scan the QR code to get a handy museum guide on your phone.

Here's the place to marvel at the intricacies of Burano's lace making. The lace-making museum will likely continue to host a "sewing circle" of sorts, where on most weekdays you can watch local women carrying on the tradition. They may have authentic pieces for sale privately.

Although the collection leaves out some important periods, glassmakers, and styles, it is still the best way to get an overview of Venetian glassmaking through the ages. You can see an exhibition on the history of glass, along with a chance to review authentic Venetian styles, patterns, and works by some famous glassmakers. Don't miss the famous Barovier wedding cup from around 1470.

The small but well-arranged museum highlights centuries of Venetian Jewish culture with splendid silver Hanukkah lamps and Torahs and beautifully decorated wedding contracts handwritten in Hebrew. Tours of the ghetto and its five synagogues in Italian and English leave from the museum hourly (on the half hour).

The small but well-arranged museum highlights centuries of Venetian Jewish culture with splendid silver Hanukkah lamps and Torahs, and beautifully decorated wedding contracts handwritten in Hebrew. Tours of the ghetto and its five synagogues in Italian and English leave from the museum hourly (on the half hour).

The impressive boat collection here includes scale models, such as the doges' ceremonial Bucintoro, and full-size boats, such as Peggy Guggenheim's private gondola complete with romantic felze (cabin). There's a range of old galley and military pieces, a section dedicated to Admiral Morosini (who plundered the Arsenale's Porta Magna lions nearby), and a large collection of seashells. A visit to the Paglione delle Nave, a part of the museum, allows you to see a portion of the interior of the Arsenale otherwise closed to visitors.

Easy to miss despite its vicinity to Piazza San Marco, this Renaissance-Gothic palace is accessible only through a narrow backstreet that connects Campo Manin with Calle dei Fuseri. Built around 1500 for the renowned Contarini family, its striking six-floor spiral staircase, the Scala Contarini del Bovolo (bovolo means "snail" in Venetian dialect), is the most interesting aspect of the palazzo. You can start the climb up the 133 stairs every half hour between 9:30 am and 5 pm. Though there's not much to see inside the palazzo itself, except for a limited art collection including one work by Tintoretto, the views of Venice from the top of the staircase are worth a look.

Hallowed as the site of Richard Wagner's death and today Venice's most glamorous casino, this magnficent edifice found its fame centuries earlier: Venetian star architect Mauro Codussi (1440–1504) essentially invented Venetian Renaissance architecture with this design. Built for the Loredan family around 1500, Codussi's palace married the fortresslike design of the Florentine Alberti's Palazzo Rucellai with the lightness and delicacy of Venetian Gothic. Note how Codussi beautifully exploits the flickering light of Venetian waterways to play across the building's facade and to pour in through the generous windows. Consult the website for upcoming free guided tours of the small Museo Wagner upstairs, where an archive, events, and concerts may interest Wagnerians. 

Venice has always prized the beauty of this palace. In 1652 its owners were convicted of a rather gruesome murder, and the punishment would have involved, as was customary, the demolition of their palace. The murderers were banned from the Republic, but the palace, in view of its beauty and historical importance, was spared. Only a newly added wing was torn down.

Housed in the incomplete but nevertheless charming Palazzo Venier dei Leoni, this choice selection of 20th-century painting and sculpture represents the taste and extraordinary style of the late heiress Peggy Guggenheim. Through wealth, social connections, and a sharp eye for artistic trends, Guggenheim (1898–1979) became an important art dealer and collector from the 1930s through the 1950s, and her personal collection here includes works by Picasso, Kandinsky, Pollock, Motherwell, and Ernst (her onetime husband). The museum serves beverages, snacks, and light meals in its refreshingly shady and artistically sophisticated garden.

A connoisseur's delight, the art collection at this late-16th-century palace includes Giovanni Bellini's Presentation in the Temple and Sebastiano Ricci's triptych Dawn, Afternoon, and Evening. Portraits of newlyweds Francesco Querini and Paola Priuli were left unfinished on the death of Palma Vecchio (1480–1528); note the groom's hand and the bride's dress. Original 18th-century furniture and stuccowork are a fitting background for Pietro Longhi's portraits. Nearly 70 works by Gabriele Bella (1730–99) capture scenes of Venetian street life; downstairs is a café. The entrance hall and the small, charming rear garden were designed by famous Venetian architect Carlo Scarpa during the 1950s.

Officially titled San Giacomo Apostolo, but affectionately nicknamed San Giacometto ("Little Saint James"), this is one of the three oldest churches in Venice. Legend says its establishment coincides with the mythic date of Venice's founding on March 25, 421, but in fact it was built when the market was established in 1097. It's a tiny Romanesque jewel in Greek-cross form that miraculously survived the conflagration that leveled much of the Rialto area in 1514. The porch (15th century) is supported by five Veneto-Byzantine columns of Greek marble dating from when the church was built. The impressive clock (mid-15th century) above the entrance, marked in 24 hours, governed the market's opening and closing times. The bell gable (1792) was installed to replace the tower damaged in the disastrous fire of 1514; its economical but perfectly functional style is seen on several other churches in Venice. Concerts are often given here.