The church takes its name from the family Jubanico  who commissioned its building in the 9th century and who then gave it the name of Saint Mary of the Lily (Santa Maria del Giglio).
It possesses an extraordinary Baroque, double faced facade by Sardi and works of art by Tintoretto and a Holy Family by Rubens which is the only example of Flemish art in Venice.

This church was founded by the Desert Fathers in the 1200s.  It can be found at the end of the square after which it is named. 
It was completely rebuilt in the 14 century and decorated in the Gothic Venetian style.  The splendid marble decorated door is by Bartolomeo Bon (1442).

The church was built according to tradition in 639 after an apparition of Our Lady in rounded maternal form, hence the name Santa Maria Formosa, formosa meaning ‘buxom’ or ‘well rounded’ .
It was rebuilt in 1492 by Mauro Codussi and retains to this day its early Tuscan Renaissance structure.

The church can be found in a tiny square called the Miracoli. Its exterior and interior is decorated with many coloured marble.
Its ‘bijoux’ like size and the preciousness of its decoration make it a wonderful example of Venetian Renaissance architecture. 
It is the work of Pietro Lombardo and his workshop between 1481 and 1489.

This church, one of the lesser known in Venice, was closed for restoration work for 20 years and opened in 2002. It can be found in the Rialto market area and is a beautiful example of Renaissance architecture. It was rebuilt in 1538 and has a bell tower dating from the end of the 1300s.

The church was originally founded in the 9th century along Byzantine lines but underwent two radical interventions. One in late Gothic style of the 1400s of which remains the large rose window in the façade and the sharply arched side entrance door attributed to Bartolomeo Bon. The second intervention occurred at the beginning of the 1800s in neo classical style and is the work of Davide Rossi.

The Basilica is an example of Gothic architecture, unique in its sheer height.  It is, after the Basilica of San Marco, one of the largest churches in Venice and it is also an important centre for Franciscan monks in Italy.
For the wealth of artistic works it is also amongst the top churches in Venice along with St Giovanni and Paolo.

The church dates from the 9th century and is situated in one of the few tree lined squares in the heart of the city.  It shows several architectural elements but its basic Latin cross design with three naves and transept was begun in the 13th century and finished in the 15th and 16th centuries.

St Stae, with its sumptuous rococo style facade looks out on the Grand Canal and is the work of Domenico Rossi (1709). The church, dedicated to St Eustace, was built in the 1600s.

Visiting, both this church and the Madonna dell'Orto in Cannaregio, allows visitors to the city to see one of the remote parts of Venice, to lose themselves a little in the silence for which the city is known.  This suggestive church conserves its original Gothic facade and its brick bell tower behind the church dating from the 1300s.

This monumental Gothic church is placed in the northern most part of the area known as Cannaregio.  It looks onto the churchyard which still retains the original paving decorated in the old ‘fish-bone’ brick layout.

The Church is Palladian in style and rises from the ancient Island of Castello. It was once Venice’s cathedral. 
With its monumental façade and bell tower it dominates the large grassy square that surrounds it.

This church is considered one of Andrea Palladio’s works or art in religious architecture. It was commissioned by the Venetian Republic’s senate in 1577 as a memorial church consecrated to Christ the Redeemer in thanks for the end of the plague in 1576.

This scenographic church looks out over the wide Giudecca Canal from the waterfront called ‘the Zattere’. It dates from the 1700s and was designed by Giorgio Massari. Inside can be found works by Tiepolo, rococo sculpture and a  splendid altar piece by Piazzetta.

It was built in the first half of the 1500s under Antonio Abbondi or Scarpagnino, as he was known. It is a little bijoux church, richly decorated with works by Paolo Veronese, that make it a ‘not to miss’ visit. The church belonged to the Gerolimini Fathers and under Scarpagnino underwent the restructuring and enlargement that we see today.