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Behind the palace’s beautiful Gothic tracery is a memorable column-filled courtyard paved with myriad coloured tesserae. Inside is the Galleria Franchetti, an enticing collection of paintings, sculptures, coins and ceramics donated to the State by Baron Giorgio Franchetti in 1916, together with the building. One highlight is Andrea Mantegna’s agonizing St Sebastian (1560) pierced by arrows “like a hedgehog”, in the portico leading through to a stunning loggia overlooking the Grand Canal. An ornate 15th-century staircase climbs to the second floor where there are huge 16th-century Flemish tapestries (see Ca’ Dario).

The word “ghetto” originated in Venice, derived from getto (casting) due to an old iron foundry here. As of 1492 many Jewish refugees reached Venice after expulsion from Spain and in 1527 they were obliged by law to move to this area. Subject to a curfew to prevent their fraternizing with local women, they slept behind locked gates, their island circled by an armed patrol boat. Waves of arrivals saw each language group build its own synagogue (five in all) and raise the lowceilinged buildings to seven floors in height. Today 33 Jews still live in the ghetto, while a further 450 reside in other parts of the city. The synagogues can be visited with a guide and there’s a museum of sacred objects.

The newly restructured Malibran Theatre in this photogenic square was erected on the site of the Polo family abode, where famous 13th-century explorer Marco was born (see Marco Polo). Other early Gothic buildings remain, their timber overhangs set off by bright red geraniums. Along with the adjoining bridge, the square was named in honour of the explorer whose marvellous stories about the Orient in his book Il Milione continue to inspire generations of travellers.

A “jewellery box” of marble slabs and exquisite basreliefs, this Renaissance church was named after a miracle-working icon from 1409, said to have resuscitated a drowned man and now enshrined in the main altar (see Santa Maria dei Miracoli).

In this odd funnel-shaped square your attention is drawn to three statues of Arabian-style “Moors” – but neither North African nor Muslim, they hailed from Morea in Greece. Rioba, Sandi and Afani Mastelli were medieval traders who made their home in the family palace around the corner. Next to the bridge over Rio della Sensa is a doorway marked No. 3399, once the residence of the renowned 16th-century artist Tintoretto (see Jacopo Tintoretto)

The “Casa degli Speziali”, the oldest pharmacy in Venice, carries on its business in modern premises alongside its restored 16th-century rooms. Displayed on original briarwood shelving adorned with Baroque statues in Arolla pinewood, are rows of 17th-century porcelain jars for medicinal ingredients; for safety reasons poisons were kept in a rear room. Pharmacies were strictly regulated and totalled 518 in 1564, the year their guild was formed.

Parallel to the Strada Nova but worlds away from the tourist bustle, these adjoining quaysides have a real neighbourhood feel. There’s a good sprinkling of osterie (wine bars) alongside Mexican and Middle Eastern restaurants, a continuation of former trade links: the word “ormesini ” derives from a rich fabric traded through Hormuz, now in Iran, and imitated in Florence and Venice. Ormesini leads into Misericordia and to the towering red-brick Scuola Grande building. Currently closed for restructuring, it served as the city’s basketball team headquarters for many years.

The fames and fortunes of this 17th-century palace overlooking the Canal di Cannaregio could fill a book. Abandoned when its wealthy merchant owners fled to Vienna at the fall of the Republic, it acted as a silk factory, saw-mill and primary school, but the worst damage was inflicted in 1945 when a boat loaded with munitions blew up right in front of it. Luckily the wonderful ballroom frescoed by Tiepolo has been restored. The palace now belongs to RAI, the Italian state broadcasting service.

Set in a peaceful square, this church is a bit of a hotchpotch after undergoing numerous architectural modifications before it was suppressed under Napoleon. An oratory and a paupers’ hospital, it was founded in the 14th-century, with funding from Doge Cristoforo Moro and decorations by Pietro Lombardo. Superb altarpieces by Giovanni Bellini and Vittorio Carpaccio now hang in the Accademia Galleries (see Accademia Galleries), but still here are a 1445 triptych by Vivarini in the sacristy and a lovely Nativity (1540) by Girolamo Savoldo.

This lagoon-side pavement, opposite the cemetery island of San Michele (see San Michele), is an important jumping-off point for ferries to the northern islands and sports one of the city’s rare petrol stations. The ample quaysides were not constructed and paved until the mid-1500s; until then the waterfront reached back to Titian’s garden (No. 5113, Calle Larga dei Botteri) allowing him unobstructed views of the Alps on a clear day, which delighted this native of Cadore.