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(see Basilica San Marco).

(see Santa Maria Gloriosa dei Frari).

The monumental tombs of 25 doges take pride of place in this solemn Gothic giant, erected by Dominican friars from the 13th to 15th centuries. Among them is the grandiose tribute to Pietro Mocenigo for his valorous struggle to defend Venice’s eastern colonies against the Turks (west wall). Inside are splendid paintings by Veronese and a polyptych (1465) by Giovanni Bellini.

A favourite among Venetians for weddings, Pietro Lombardo’s showcase (1481–9) is resplendent again after restoration to deal with rising damp. The problem is not new – in Renaissance times marble slabs were affixed to the brick exterior with a cavity left for air flow. The ceiling gleams with gilt miniatures of holy figures (see Santa Maria dei Miracoli).

An intricately decorated 15th-century façade by Coducci and, inside, Giovanni Bellini’s superb Madonna and Saints (1505) are highlights of this 9th-century church. The adjoining convent, now a police station, used to host puppet shows to entertain the nuns.

Palladio’s harmoniously proportioned church (1566–1610), inspired by Greek temple design, stands across the water from Piazza San Marco. The interior is offset by two dynamic paintings by Tintoretto from 1594, The Last Supper and Gathering the Manna , on the chancel walls. The bell tower offers views over Venice. Don’t miss the monks’ Gregorian chants every Sunday at 11am.

A remarkable Baroque church dominating the southernmost entrance to the Grand Canal, its silhouette has become one of Venice’s most well-known landmarks. Designed by Longhena in 1630, it has a spacious, light-filled interior, while the altar houses a precious Byzantine icon. Dramatic works by Titian and Tintoretto can be appreciated in the sacristy.

Paolo Veronese spent a large proportion of his life joyously decorating the ceiling, walls, organ doors and altar of this unassuming 16th-century church, and was buried among his colourful masterpieces, now beautifully restored (see Chiesa di San Sebastiano).

Huge canvases by devout parishioner Tintoretto enhance this graceful Gothic church set on a quiet back canal. Two 1546 masterpieces flank the high altar, the gruesome Last Judgment and the soaring grandeur of The Worship of the Golden Calf .

Two treasures lurk behind a ramshackle façade: a nail from the True Cross in a rich Gothic altar and the overwhelming ceiling by Gian Antonio Fumiani, a labour of love (1680–1704) which ended when he purportedly plunged from the scaffolding to his death.