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(see Accademia Galleries).

This broad waterfront took its name from the rafts of timber (zattere ) floated downstream from the extensive forests in the northern Dolomite region which were managed by the Venetian Republic. The precious wood was used for constructing palaces or transformed into masts and the like for the important shipbuilding industry. The tall-masted sailing ships and rowing boats which used to moor here have been replaced by motorized vaporetti and tourist launches, and nowadays the Zattere signifies lovely lagoon views, perfect for a day or evening stroll.

This Veneto-Byzantine church with an imposing square campanile (bell tower) will be recognized by film buffs from the chilling Nicholas Roeg film Don’t Look Now . Hidden away in a maze of narrow alleyways off the port zone, “St Nicholas of the beggars” has a pretty portico which doubled as a shelter for the poor. Founded in the 7th century, it is the second oldest church in Venice. In the 1970s it was restored by the Venice in Peril Fund, who waterproofed the low floor.

This is by far the city’s most famous gondola repair and construction yard, though its active days may be numbered. The combined workshop-dwelling, its window sills clad with geraniums, is reminiscent of an Alpine chalet as the first occupants came from the mountainous Cadore region. Though closed to visitors, it backs on to a canal (Rio di San Gervasio e Protasio) so it’s easy to watch the goings-on as oar-propelled craft are brought in for caulking and cleaning.

This 16th-century church is a treasure trove of Paolo Veronese paintings, and the artist devoted most of his life to the spectacular fresco cycle (see San Sebastiano).

This reclaimed thoroughfare between the Zattere and Santa Maria della Salute is dominated by a long building, now a school, where prisoners-of-war of the Republic who did not profess the Christian faith would be held captive until they converted. This quiet backwater comes alive on 21 November when the Salute festivities are in full swing (see Madonna della Salute).

A cavernous, labyrinthine construction that takes up a lengthy stretch of the Zattere, this erstwhile hospital is undergoing vast renovations to adapt it for the Accademia Art Institute, scheduled to transfer here and leave the historic galleries room for expansion (see Accademia Galleries). The building dates from the 1500s, founded to shelter women with incurable venereal diseases, and later took in orphans and a trade school. Legend has it that St Francis Xavier, ordained in Venice, was sent to serve here with his companions on orders from Ignatius Loyola. More recently, it has served as a juvenile court.

Nowadays a modest square dotted with some low-key bars, its main attraction is a colourful moored barge loaded high with shiny fresh fruit and vegetables – a must for photographers. Its history has not always been so peaceful, however – the square used to be the arena for fierce rivalries between the city’s working class bands, the Nicolotti and Castellani, who would fight it out on the Ponte dei Pugni (see Ponte dei Pugni). On a more forgiving note, the rather nondescript church used to take in disgraced and bankrupt nobility.

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.

The vast docks occupy a good part of the northwestern continuation of the Zattere waterfront, and are usually crowded with trucks and cars queueing up to board the ferries to Greece. The modern terminal also handles the increasing cruise liner traffic, whereas the former industrial structures such as the cotton mill and cold stores are being converted for use by Venice University (see Historic Conversions). The outstanding 17th-century pastel portrait artist Rosalba Carriera (see Portraits by Rosalba Carriera) was born in the San Basilio parish and returned there to die, destitute and totally blind, in 1757.