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In the northwest of Venice it covers 94 acres. It has two very distinct areas; the eastside is very old and typically Venetian; a walk down here takes away from crowds. During thr last two centuries some industrial complex have appeared near the old buildings, and in somecases have repleaced them. Nowadays is commercially important because it links Venice to the mainland, even if this is not very important for the inhabitants that feel good only by water and that think that beyond the Ponte della Libertà, the car bridge that brings to the mainland, there is only...countriside! 

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Chiesa di S. Stae the facade, loaded with groups of marble decorations, is a pictorial and gorgeous exspression of Baroque art of the beginning of the 18th cent. from outside the church on the left take salizada San Stae and after 50 mt. On the left there is Fondaco dei Turchi this building, which began as a palace, was so badly damaged that it had to be completely rebuilt in 1860's.
Cà Mocenigo were none the less established in Venice for so long that at an early date they were already among the city's oldest patrician families. get back to the front of the church, take the irony bridge on the right, Ponte Giovannelli, take the first on the left and you arrive in front of Palazzo Pesaro now the international Gallery of Modern art and Museum of Oriental Art. 
From here you are very close to Rialto and to San Polo route: from outside the Ca’Pesaro museum turn left then left again, cross Ponte del Ravano, go on and turn right after 20 mt. Turn left in calle dei Morti, cross Ponte de la Chiesa and you’ll be in campo San Cassian. Follow the yellow signs for Rialto- St. Mark’s until you come to the fruit market close to the Rialto Bridge.

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Fondaco dei Turchi: Another big building with an impressive facade on the Grand Canal is the Fondaco dei Turchi.
This building, which began as a palace, was so badly damaged that it had to be completely rebuilt in 1860's. The result was a construction sumptuosly coated in marble, with the same expansive Venetian-Byzantine facade as its predecessor. The first palace was probably built in the early 13th century by Giacomo Palmieri, a former consul of Pesaro on the Atlantic coast, who took refuge in Venice and founded one of the city's greatest patrician and mercantile families, the Pesaros.
In 1621 the Seignory rented the palace to Ottoman merchants as their main business locale, with a view to monitoring their activities. At this time the building became known as the Fondaco dei Turchi (the Turks' Warehouse). Later, as trade with the East began to decline, the palace was abandoned by its Ottoman occupants and fell into ruin. In 1880 the municipality purchased the Fondaco and restored it. In 1924, after a spell as the Correr Museum (1898-1922), this former palace became Venice's Museum of Natural History, and it has been ever since.

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Ca' Mocenigo: The Mocenigos, who were Lombards by origin, were none the less established in Venice for so long that at an early date they were already among the city's oldest patrician families. One branch of the family resided in the San Stae quarter. the result was a traditional palazzo featuring a main hall (portego) in its central block.
When he bequeathed his palace to the city in 1954, Alvise Mocenigo presented the museums of Venice with a doubly remarkable asset. The interiors, for one thing, were completely intact; and for another the furniture and the interior still measured up to the standards of elegance that had prevailed in the great houses of the 18th century. Palazzo Mocenigo also houses the Vittorio Cini Collection of religious drapery and woven fabrics from many different sources.

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Now the international Gallery of Modern art and Museum of Oriental Art is one of the most sumptuous and imposing buildings of the 17th cent., built by Baldassarre Longhena. In it he achieves, as it was the last building, an exspression of majestic splenduor and titanic solidity. The work were interrupted in 1682 for the death of Longhena and again in 1703, and was only brought to completion in 1703 with the help of architect Antonio Gaspari who finished the top floor according to Longhena’s project, and also the side facing the canal.

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Palazzo Pesaro: Now the international Gallery of Modern art and Museum of Oriental Art is one of the most sumptuous and imposing buildings of the 17th cent., built by Baldassarre Longhena. In it he achieves, as it was the last building, an exspression of majestic splenduor and titanic solidity. The work were interrupted in 1682 for the death of Longhena and again in 1703, and was only brought to completion in 1703 with the help of architect Antonio Gaspari who finished the top floor according to Longhena’s project, and also the side facing the canal

San Polo: Enclose by the wide loop of the Grand Canal, San polo is Venice’s smallest sestiere but it includes the most lively part of Venice: Rialto. According to the tradition Rialto, since oldest times, was one of the centres of life in the Venetian islands, where the first inhabitants, having escaped from the mainland, availing themselves the firmer and higher soil – and therefore safe from floods – concentrated their trade. Rialto was the most important centre of the new group of islands, and Rivo Altus (“High Bank”), the ancient name, was indeed the name of the whole town until after the year 1000, when it eventually took the name of Venice

Ponte di Rialto (Rialto’s bridge): this was formerly the only permanent link between the two banks of the Grand Canal into which the city was divided. Chiesa di San Giacometto the oldest in Venice. take Ruga Vecchia San Giovanni, go straight along Rughetta del Ravano, keep going into Calle de l’Ogio o de la Rughetta until you reach Campo Sant’Aponal; from there, take Calle de Mezo, go straight into campiello Deo Meloni and keep going. Cross the Ponte de la Madoneta and after a few meters on your left you come to Campo San Polo. If you keep going straight, you’ll find, after 100 meters passing by the campo, the Ponte di San Polo; cross it, go straight down Calle dei Saoneri and at the end turn right into Rio tera dei Nomboli; turn right into Calle dei Nomboli, 20 m along on the left is the house where playwright Carlo Goldoni lived, Palazzo Centani. At the end of Calle die Nomboli, cross the Ponte di San Tomà, into campiello San Tomà, turn right and walk into Campo San Tomà, where you can see the church and the Scuoletta dei Calegheri. From there, take Ramo Calegheri, turn left, then right and you enter Campo dei Frari. Down on your right you can find the entrance of the S. Maria Gloriosa dei Frari the Lesser friars of the Franciscan order, and on your left the Salizada San Rocco you'll find the Scuola Grande of San Rocco, declared “Scuola Grande” by the Council of Ten in 1489
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Ponte di Rialto: (Rialto bridge): this was formerly the only permanent link between the two banks of the Grand Canal into which the city was divided. It seems that already in 1172, under Doge Ziani, a bridge of barges was planned; a story instead tells that in 1181 a pontoon bridge was built by Nicolo Baratieri. About the middle of the 12th century it was replaced by a bridge supported on wooden posts that was destroyed in 1310; the new one collapsed in 1444 and was rebuilt in wood again but enlarged and with shops on it. The bridge as we see it today was built between 1588–1591 by Antonio Da Ponte whose design was presented together with those of the most famous architects of that time. The construction was difficult because of the instability of the site and the height (25 feet). As we see it now, it is a great architectural masterpiece for its two sides of arcades, and contributes to make great the view of the Grand Canal. As a tip, we suggest taking the no. 1 waterbus route from San Zaccaria to admire the full length of the Canal in its beauty; you will certainly be spoiled for choice! It’s difficult to take in so much on such a short trip.

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Chiesa di San Giacometto: Right in the heart of the Naranzeria there is the Chiesa di San Giacometto. A popular tradition consider this church as the oldest in Venice, erected, owing to the oath of a Cretan carpenter, at the time of the first refugees to the island in the 5th century. It was visited by the Doge every year on Good Friday, in commemoration of the indulgences granted by Pope Alexander III in 1177. The church is very little but very nice mostly for its position, in the very ancient heart of Venice where all the main business were done all the trades ad from where all Venice started to grow. On the facade we can see a large clock built in 1410.
On the other side of the campo is the Sottoportego del Banco Giro, the first bank of Venice. It was founded in 1985 by Doge Jacopo Foscarini who wanted the circulation of money to be under the Republic’s supervision. The Bank was open every day from noon until 7 pm to guarantee a good service.

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Carlo Goldoni: Palazzo Centani is a 15th century building with a pointed arch facade facing the canal and visible from Ponte San Toma with a lovely courtyard and an open air stairway. In it in 1707 was born Carlo Goldoni, the creator of modern theatre. Upon the initiative of Aldo Ravà, an illustrious scholar of Venetian culture; a committee of distinguished citizens bought the house in 1914 and create a centre for the preservations of Goldoni’s relics. Thus the palace became, in 1952, the Institute for Theatrical Studies with in it the theatrical section of the Library of the Correr Museum. Goldoni with his works shows us how dialect can be a language and how it helps to give currency to the theatre making it understandable by everybody and also entertaining and funny. The most famous successes of Goldoni are: I Rusteghi (1760), the trilogy of La Villeggiatura (1761) and Le Baruffe Chiozzotte (1762).

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S. Maria Gloriosa dei Frari: opposite is Santa Maria Gloriosa dei Frari. It was built by the Lesser friars of the Franciscan order, commonly known as the Frari. Indeed as soon as they came to Venice they obtain help and patronage from the Serenissima and in 1250, when they were given a plot of ground by Doge Jacopo Tiepolo; they built their first church, which was completed only in 1338, being much smaller than the present and facing in the opposite direction. Donations from great Venetian families made possible to enlarge and embellish this structure in the mid-14th cent.; it was then demolished in the early 15th cent. to built a new basilica, a huge mass of brick punctueted by features of white marble. The facade, severe and stately, is of late Gothic style, divided into three parts by pilasters with a curved crowning, decorated with characteristic little tabernacles with Venetian-byzantine capitals. The interior is impressive; is on a latin cross plan with transept, a central nave and aisles divided by twelve massive piers, linked by wooden catene, with a central apse and three minor apse-chapels on either side, on a polygonal plan; the ceiling is pointed-arch cross-vaulting. The church contains plenty of works of many artist like Titian, Palma the Younger and Piazzetta. Inside the old convent and the oratory there is the city’s archieve with about 15 million volumes packed in three hundred odd rooms,.which record the entire history of the Serenissima.

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Scuola Grande of San Rocco: The impressive white marble building in front of you is the Scuola Grande San Rocco. San Rocco was declared a Scuola Grande by the Council of Ten in 1489, and the construction of the actual headquarter building was given to Bartolomeo Bon in the same year, but the works lasted for 50 years and many architects changed. The paternity of the building belongs therefore essentially to Bon and Scarpagnino. It’s likely, however, that the facade was left unfinished in it’s final portion, because it lacks a proper crowning. The carved decorations are very rich and, though showing motives of the Renaissance, already hints at a character of heavy redundance, peculiar to the Venetians sculptors of the middle of the 15th. At the fall of the Repubblic the School suffered a terrible blow: its rich possessions were seized, most of its sacred decorations dispersed, and it was condemned to be demolished. Rescued by the piety of some citizens, it was re-opened for divine service in the same year 1806, getting back as well, though with scanty resources, its former assignment of assisting the poor and the tutelage of art masterpieces, trough which its name was, and still is, celebrated allover the world. The interiors are full of great works by Tintoretto, Titian, G. B. Tiepolo and Giorgione describing the whole Bible.

San Marco: Is the smallest sestiere but is like a small, precious diamond with the most beautiful buildings of Venice and – perhaps of the whole world. St. Mark's square is the center of the sestiere, and standing in the middle of the square you are in the world’s loveliest drawing room surrounded by hundreds of years of history represented by superb monuments. Also its cafés are enchanting, with their outside chairs and orchestras playing classical music that, on those foggy November days, will whisk you away in a dream. You have also met el paron de casa, the master of the household as we call the belltower, so now you can start visit this breathtaking house: just take one monument, open all your senses and breathe art, beauty and history all together.

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Piazza San Marco: it is as unique as its name: indeed it is the only “Piazza” in Venice as the others are campi. In those far off days when the Veneti people chose this land as the seat of their Government, at the beginning of the 9th century, and built their Ducal castle and later their Basilica, the piazza was much smaller, squeezed more or less between the facade of the church and a canal, now filled in, called the rio Batario. In time, about the end of the 12th century, the church of St. Mark’s was enlarged, the Ducal Palace was turned into a "palacio" and the political and commercial power of Venice had become much stronger and more stable. Thus little by little the Piazza came to be what it was when Gentile Bellini drew it in his famous painting of the Procession of the Cross, at the end of the 15th century. The Piazza put in order in this way, with herring-bone brick pavement until 1264, later with the modern type of Euganean trachyte with white stripes, which was used for the first time in 1723, from a design by Andrea Tirali, it becomes the most suitable place for fetes, cavalcades and ceremonies.

Castello: The maps shows Venice shaped like a fish and Castello is its tail. Castello is the largest and most varied of the six districts and also, most importantly, the home of maritime Arsenale, which stands behind its high towers, a forbidden city within a city. The northern part of the sestiere was controlled by mendicant orders, the charitable institutions of which proliferated.

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Campo S. Maria Formosa is one of the most characteristic Venetian campi, famous for the important buildings surrounding it. Take Calle Lunga S. Maria Formosa, turn left into Calle Trevisana o Cicogna, go straight on, crossing Ponte Minich, straight on again along Calle Bressana and you’ll come out into SS. Giovanni e Paolo, where, in its center is the monument of Colleoni, where we can find the Scuola Grande di San Marco, which has been converted into the main hospital of the city, that is one of the six Scuole Grandi (great Guilds) in Venice. The Church of SS. Giovanni e Paolo, built by the Dominican friars is an example of religious Gothic architecture. Take the Barbaria delle Tole and go straight on until it ends and you will come to Campo Santa Giustina; take Calle Zon, cross Ponte Zon, turn left, take Calle S. Francesco and at the end you’ll find yourself in front of the Chiesa di San Francesco della Vigna the name of which is reputed to come from the vineyards (vigne). Coming out from the church, turn left, cross the Ponte di S. Francesco o del Nuncio, continue on to Salizada San Francesco, Salizada de le Gate, turn right into Campo de le Gate, crossing it and going on along Calle dei Furlani, turn left in Fondamenta dei Furlani, cross Ponte S. Antonin, go straight on Salizada dei Greci an at its end on the left of the Ponte dei Greci you can find the Chiesa di San Giorgio Dei Greci. Take Salizada dei Greci again, go on and cross Ponte S. Antonin, take salizada S. Antonin then turn right in Campo Bandiera e Moro, crossing it you’ll find Calle XXX, which will bring you out in Riva degli Schiavoni (the name comes from the word Schiavonia, the actual Dalmatia from which the Schiavoni comes, because their ships stopped here), turn right, cross the Ponte del Sepolcro and on your right you’ll find the Chiesa della Pietà one of the most beautiful and elegant churches of the 17th century. Leaving the church, turn right, cross Ponte del Sepolcro again, go straight on Riva degli Schiavoni (on the right side you’ll have a great view of the lagoon and of S. Giorgio island), cross Ponte del Ca’ di Dio, go on Riva di Ca’ di Dio, cross the Ponte della Tana, turn left in fondamenta della Tana and take the wooden Ponte dell’Arsenale from which you can have a view of the Arsenale a big group of buildings from whose yards the powerful war fleet and merchant navy went out to sea. from the entrance of the museum keep left and walk along the Riva S. Biagio, cross the bridge and walk down Riva dei Sette Martiri (a story tells that the name comes from a fact occurred the 1st of August 1944: a German sailor disappeared during a party and the Germans, sure that he has been killed by partisans, killed seven of them; one day after the man was found dead drunk in a canal), cross the Ponte dei Marinai d’Italia, go on Viale Trieste, and after 50 m on your left you’ll find the Giardini della Biennale, a group of buildings where the International Exhibitions of Modern Art and Architecture are held. From there going on you can find Sant’Elena island, a residential zone and the "tale" of Venice’s fish. The Venice soccer team has his stadium there.

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Campo S. Maria Formosa Is one of the most characteristic Venetian campi, famous for the important buildings that surround it. With your back to the fountain on the front we have Palazzo Malipiero Trevisan, rebuilt at the beginning of the 16th cen., that has on the facade porphiry and green marble medallions. Going on to the right we find Palazzo Vitturi, a 13th cent. building , then Palazzo Don with putti and angels branding the Don’s family arms. In the campo’s corner there is Palazzo Ruzzini with it’s elegant open work balconi designed by Manopola, one of the architects of the Doge’s Palace.
In the nearby Campiello Querini is the Palazzo Querini Stampalia, built in the 16th century by Coducci upon requested from the Querini family. In 1894 the count Giovanni Querini left his impressive collection of books and all his properties to a foundation he created: the Querini Stampalia Foundation, and made a great public library with over 270,000 books. The library, by his expressly request, is open when the others library are closed. The first floor is a museum with plenty of paintings by Palma the Younger, Tintoretto, Bellini and others.
The S. Maria Formosa church is one of the eight churches that were built, according to the tradition, by San Magno, bishop of Oderzo, in the 7th century to whom the Madonna is said to have appeared in the guise of a buxom matron. The church was rebuilt many times: in 1492 by Marco Coducci, using the ancient building of 11th cent.; the dome was rebuilt in 1668 after an earthquake and again in 1921; the last rebuilt of the whole building was made from 1916 to 1921 with grants from the government and from Couny G.B. Venier. The baroque Campanile was built in 1688 on a project by Francesco Zucconi.One of the main facade, the one facing the canal, was built with money given by the Cappello family in the honour of Cap. Vincenzo Cappello who defeated the Turks. The interior is an example of Mauro Coducci’s work, with a Latin cross plan superimposed on the previous Greek cross foundations; it has a nave and side aisles, chancel, cross-vaulted transepts and a blind hemispherical dome. It is characterized by an interesting chromatic play of grey and white and contains paintings by Bartolomeo Vivarini, Palma the Younger and the Elder.
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Campo SS. Giovanni e Paolo, with in its center the monument of Colleoni, where we can find the Scuola Grande di San Marco, now the main hospital of the city, that is one of the six Scuole Grandi (great Guilds) in Venice. It was built in 1260 for humanitarian purposes and has always preserved his special patronage from the Signoria. The palace caught fire in 1485 and its reconstruction was assigned to Lombardo and Buora. The original plan of the building was retained but it is a wonderful example of the purest Lombard period of the Renaissance, especially for the wonderful marble decorated facade. In the Salone delle Adunanze we can still admire the Sansovino altar and several paintings by Tintoretto’s collaborators. The building was converted into a hospital in 1815 by the Austrians.
The Church of SS. Giovanni e Paolo (two Roman brothers martyred in Rome in the 2nd century in Rome), built by the Dominican friars, was begun in 1234 under the supervision of a friar of the order and it took almost two century to be finished. It is an example of the religious, gothic architecture, with a facade divided into three parts, with central rose window and two lateral round openings. The lower part of it is adorned by a series of blind gothic arcades and the two sarcophagi of Marco Michiel and Daniele Marco Bon on the right and of Doge Jacopo Tiepolo and his son Lorenzo on the left. The interior, designed as a Latin cross, is full of funeral monuments of Doges and other famous people and of masterpieces by Lombardo, Piazzetta and many artists of Bellini’s school.

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Chiesa di San Francesco della Vigna: The name seems to come from the vineyards (vigne) which Marco Ziani, son of the Doge Pietro, gave to the Minor Friars in 1253, and over which the first church of the hermitage close by was built. The church was built in 1534 on a design by Sansovino who also supervised the construction works. The facade was built later (1568-1577) on a design by Andrea Palladio. Two statues in bronze by Tiziano Aspetti stand in the niches, on the left Moses and on the right St. Paul. The interior is on a Latin Cross plan with a nave, side chapels, an isolated High Altar in the chancel and a deep choir. Inside we can notice works from Palma the Younger, like the Virgin and Child with Saints in the chapel of the Contarini family, on the right side of the church, or the Virgin in Glory adored by donor in the choir.

Cannaregio: Together with Castello it is the largest of the sestieri. Really there is an open-war between the two sestieri for who is the largest, because Cannaregio has the highest street numbers but Castello has S. Elena with a different numbering system. Cannaregio starts from the other side of the canal of SS. Giovanni e Paolo, the bridges are the border line, and goes down to the train station. The name has two different explanations: for the first it comes from Canal Regio, Royal Canal, that once provided the access to the city from the main land; for the second it comes from Canna Regio, area of cane-brake. 
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From Campo SS. Giovanni e Paolo Cross Ponte Cavallerizza, go down in Calle Xxx, Cross Ponte Xxx, go straight on, cross Ponte Santa Maria Nova and in front of you there is the Chiesa di S. Maria dei Miracoli built to protect the sacer image "Virgin between two Saints". cross Ponte Santa Maria Nova again, cross Campo S. Maria Nova keeping left, turn left and get out in Campiello Santa Maria Nova, then right into Campiello Bruno Crovato, go down to Salizzada S. Canzian until you come out into Campiello Flaminio Corner and follow the signs for Piazzale Roma-Ferrovia; after 50 m, turn left into Sottoportego Falier, carry on and cross the bridge on your right and you’ll come to Campo SS. Apostoli. Its church is thought to have been founded in the 9th century. From the front door of the church, turn right into Salizada del Pistor, go straight on and at the end turn right into Rio Terà dei Franceschi; at the end, turn left until you arrive at Rio Terà del Barba Frutariol then take Calle del Spezierand, cross Ponte dei Sartori keeping right; go straight on, cross Ponte dei Gesuiti and in front of you will be the Church of the Gesuiti or Santa Maria Assunta: originally, in the 19th century, it belonged to the order of the Crociferi, then it was rebuilt in 1657 when the nearby Monastery was acquired by Gesuits. down the Gesuiti bridge, turn left down in the Fondamenta, the first part is Zen and the second S. Caterina; cross the second bridge on your left, Ponte Molin, and go down Calle Racchetta, crossing Ponte Priuli and go down Calle Priuli; at the end turn left and you come out into Corte dei Pali già Testori; from there in front of you there is the Strada Nova with the Ca’d’Oro palace , take it on the left and after 50 mt. on your right there is the calle Ca’d’Oro. get back to Strada Nova and go straight on the right, cross the ponte nuovo di S. Felice, turn right, go straight on the fondamenta, at the end turn left, cross ponte della Misericordia, and you arrive in front of the Church of the Abbey of the Misericordia founded in the 10th cent. from the front of the Abbey go straight down fondamenta della Misericordia, after a 100 mt. Turn right in calle Larga and going down straight cross ponte dei Mori; go straight on crossing the campo cross ponte de la Madonna dell’Orto and in front of you there is the Chiesa della Madonna dell’Orto: built about the middle of the 15th cent. by Fra Tiberio da Parma with the name of San Cristofofo later changed to Madonna dell’ Orto. from outside the church turn right into the fondamenta and at the end cross the wooden bridge on your left; go on into the calle and when you come out in fondamenta de la Sensa turn right, go on cross ponte Rosso, keep going and cross the wooden bridge, ponte Turluna, on the end of the fondamenta on the left. Go straight on the calle Turlona, at the end turn left and you find the irony ponte drl Ghetto Novo that brings you in the Ghetto degli Ebrei (Jewish District).

Dorsoduro: The sestiere of Dorsoduro covers Venice’s southern flanc, including the island of Giudecca. The name of this island has a particular history: as it was the island where were isolated the prisoners, the name derives from Dante’s Divine Comedy in which the Giudecca is the last circle of Hell where there are the benefactor’s betrayer. The name Dorsoduro means "hard back" and refears to the quality of the soil. Dorsoduro in the 17th and 18th cent. acquired both dignity and status, with a lavish rebuilding of many of its churches and the construction of magnificent palaces. The skyline was radically changed by the building of La Salute and the Zattere. During the 19th cent., after the establishment of the Accademia at La Carità and the construction of the Accademia bridge, the sestiere become one of the favourite areas for wealthy foreign residents. Here there is the last still working Gondola’s yard in Venice. 
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Basilica della Salute out from the main entrance, cross the wooden bridge on your left, go straight into the sottoportego, take calle San Grgorio, keep going in calle del Bastion, cross the bridge, keep going following the street, cross Ponte San Cristoforo and after 20 mt. you’ll find the entrance of The Peggy Guggenheim Collection outside the museum turn right, then right again, keep going down the fondamenta Venier dai Leoni,and then in calle deilla Chiesa and you get out in campo San Vio; cross the bridge in front of you and go down in piscina del forner that becomes calle Nuova Sant’Agnese and at the end turning left you find yourself in front of the Accademia bridge, where nearby there is the Accademia outside the Gallery turn left following the signals to Ple. Roma-Ferrovia, keep going following the street, cross the Ponte delle Maravegie go straight on for 100 mt. following the street,cross the bridge and after the sottoportego del Casin dei Nobili and you’ll get out in campo San Barnaba. On your right you have the chiesa di San Barnaba; if you take calle del Traghetto also on the right, at the end you’ll find the boat stop of Ca’ Rezzonico.

On October the 22nd 1630 the Senate decreed that in order to give thanks for the liberation of Venice from a virulent plague, they would build a great church to be dedicated to the Virgin. Among the eleven models presented the one by Baldassarre Longhena was chosen. He gave the main facade grander proportions, not without some ideas taken from Palladio, and in the middle placed the splendid doorway, crowning the pediment and the space between the columns with statues. To increase the feeling of grandeur he placed the whole mass on a raised platform with a flight of steps in front, which were restored in 1899. The interior is surprisingly effective in the sober grandeur of the masses, it consist of a central body on an octagonal plan, on each side of which rise a corresponding number of stout arches divided by composite columns on which rest the cornice and the drum of the colossal dome. Inside there is a large collection of paintings and sculptures, to name just a few: the Pentecost, St. Roch and St. Sebastian, David and Goliath and Cain and Abel by Titian; Wedding at Cana of Tintoretto and Jonas and Samson of Palma The Younger.
Every year on November 21st on the celebration of the Presentation of the Virgin, the Signoria used to go processionally to solemnize the anniversary of the favour granted, leaving St. Mark’s and crossing the Grand Canal over the pontoon bridge built every year to connect San Moise to La Salute. This ceremony still continues and all Venetians of every ages partecipate to have good ealthfor the whole year.