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The sky-blue vault studded with gold stars in this glorious Paduan chapel seems to hover over Giotto’s vibrant frescoes narrating the lives of Mary and Jesus. The Florentine artist (1266–1337) was summoned by Enrico Scrovegni to work on the chapel in 1305–06, to atone for the sins of his late father, a moneylender. Especially noteworthy of the 38 distinct scenes is the Last Judgment on the entrance wall, with ranks of helmeted, haloed and shield-bearing angels. Book well in advance and be prepared to wait in the “decontamination” chamber before the 15-minute visit.

“Italy’s Molière” (1707–93) is celebrated at the Venetian theatre named in his honour (see Teatro Goldoni). Performances of his lively, witty comedies are staged in Venetian dialect and peopled with recognizable local characters. The prolific playwright moved to Paris and was rewarded with a royal pension, but he died destitute due to the French Revolution.

Tourists flock to “Juliet’s House”, the 13th-century presumed abode of the Shakespearean heroine. Complete with a pretty balcony (added in 1928...) the romantically inclined can imagine her uttering that immortal cry: “Romeo, Romeo, wherefore art thou Romeo?” The courtyard walls are plastered with multilingual graffiti left by lovers from all over the world.

An inspired biography of the famous seducer (see Giovanni Casanova).

This Venetian noblewoman (1454–1510) married the king of Cyprus then allegedly poisoned him, thus securing the strategic island for Venice. Her return to the city was an occasion of great pomp, recalled to this day in a waterborne procession during the Regata Storica (see Regata Storica). Cornaro’s reward was the hilltown of Asolo.

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).

This impressive Oriental Art Collection is an eclectic mix of 19th-century curiosities from all over the Far East. Exhibits include armour, porcelain and costumes, dainty lacquerwork boxes and musical instruments. The neigh-bouring modern art gallery in monumental Ca’ Pesaro (see Fondaco dei Turchi and Ca’ Pesaro Galleria d’Arte Moderna) has also recently reopened after restructuring.

The great English novelist (1812–70) spent a brief period in Venice during a tour of Italy, and the city inspired a dream sequence in his work Pictures from Italy (1846).

Set right on the Zattere waterfront close to the main ferry moorings, the Gesuati (also known as Santa Maria del Rosario) is often confused with the Gesuiti (Jesuit) establishment in Cannaregio. Taking over from a minor religious order, the Domenican friars had this church constructed in Classical style in 1726 by Giorgio Massari. Inside the ceiling consists of three uplifting frescoes (1737–9) by Tiepolo (see Giorgione), which are considered among his best work, portraying St Dominic amid glorious angels in flight.

In the back alleys of Castello, this Franciscan church sports a combination of architectural styles courtesy of both Sansovino and Palladio (see Andrea Palladio), who designed the façade. The colonnaded cloister can be seen while you’re appreciating Giovanni Bellini’s Madonna and Child (1507). Playgrounds have replaced the 13th-century vineyards (vigna ).