traveldk.com

The Renaissance designs of Lombard native Coducci (c.1440– 1504) can be seen in the shape of Palazzo Vendramin-Calergi (see Casinò Municipale, Palazzo Vendramin-Calergi) and the churches of San Zaccaria and San Michele.

Original military fortification designs by this Mannerist architect (1484–1559) are to be found on the former Venetian islands of Crete and Cyprus, as well as monumental portals in his home town Verona (see Verona Arena).

Plans are afoot to convert this impressive Hanseatic Gothic flour mill dominating the Giudecca Canal into a conference and hotel complex. Built between 1897– 1920, workers pale-faced from flour were a common sight until 1954 when operations ceased.

Cole Porter, Diaghilev, Monet and Whistler are just a few of the great names who figure among the past guests of this private double palace, courtesy of the 19th-century Curtis family from Boston. Henry James wrote The Aspen Papers here and used it as the setting for The Wings of a Dove (see Henry James).

A 15th-century residence, enlarged by architect Vincenzo Scamozzi for the 17th-century proprietor Contarini “of the coffers” (scrigni ), so-called for the vast wealth of his family which resided in the Veneto region. The roof-top “folly” acted as a useful observatory for astronomers.

This eclectic delight, tucked away on a peaceful back canal of Cannaregio, was the abode of three merchant brothers from Morea on the Peloponnese from 1112. Their turbaned likenesses in stone adorn neighbouring Campo dei Mori (see Campo dei Mori). A fascinating carved menagerie of lions, birds and a prominent camel can be picked out on the Gothic façade.

Venue of a fabulous masked ball during Carnival, when VIP guests still glide up in gondolas to the candlelit Gothic façade on the Grand Canal, as did the Tsar of Russia and Napoleon’s Josephine in days gone by. Tiepolo and Guarana contributed to the interior Baroque decorations.

The high-ceilinged first floor of a palazzo hosts the sumptuous salons and family’s living quarters.

A native of Lombardy, sculptor Pietro (1435–1515) took over as director of works at the Doge’s Palace when Antonio Rizzo fled, accused of embezzlement. His trademark is a leafy bas-relief pattern, also seen on his Renaissance masterpiece, Santa Maria dei Miracoli (see Santa Maria dei Miracoli).