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The Riva degli Schiavoni is a waterfront area in Venice, Italy. There is a lively—albeit often overcrowded—promenade along the waterfront, which sits on St. Mark's Basin. It was originally built in the ninth century from dredged silt and was named for the Slavic men who brought cargo to Venice from across the Adriatic Sea. Many of the boats and launches that ferry tourists from the mainland and cruise ships stop at the Riva to allow passengers to disembark close to Piazza San Marco. There are other landmarks named after the early Slav merchants such as Palazzo Schiavoni, Scuola di San Giorgio degli Schiavoni, and a naval detachment of oltremarini, a mercenary group of Slavs either from the Montenegrin or Dalmatian litoral who as uskoks decided to join the Republic of Venice and fight a common enemy in the Candian Wars. Also, today Schiavone is a common Italian surname. In Italian schiavona is a basket-hilted sword.

The Monument to Victor Emmanuel II , known by the Venetians simply as the monument, is a equestrian statue made in 1887 by the Roman sculptor Ettore Ferrari located in Riva degli Schiavoni, in Castello, Venice, Italy. The bronze statue was made in 1887, to commemorate the tenth anniversary of the death of Vittorio Emanuele II (1820-1878), first king of the Kingdom of Italy.

Ponte della Paglia is a bridge in Venice, Italy. The current structure dates from 1847, and the original structure was built in 1360. The original structure was the oldest stone bridge in Venice. The name of the bridge is understood to come from boats mooring nearby to offload straw (paglia). The bridge is a common place from which to view the Bridge of Sighs.

Piombi ("The Leads" in English) is a former prison in the Doge's Palace in Venice. The name of the prison refers to its position directly under the roof of the palace, which was covered with slabs of lead. In winter, these slabs let the cold pass and they acted as a conductor in the summer heat, imposing harsh conditions for inmates.

The Church of San Zaccaria is a 15th-century former monastic church in central Venice, Italy. It is a large edifice, located in the Campo San Zaccaria, just off the waterfront to the southeast of Piazza San Marco and St Mark's Basilica. It is dedicated to St. Zechariah, the father of John the Baptist.

San Giovanni Nuovo (also known as San Zan Novo or San Zaninovo) is a Roman Catholic church in the campo of the same name, in the sestiere of Castello.

The Doge's Palace (Italian: Palazzo Ducale; Venetian: Pałaso Dogal) is a palace built in Venetian Gothic style, and one of the main landmarks of the city of Venice in northern Italy. The palace was the residence of the Doge of Venice, the supreme authority of the former Republic of Venice. It was built in 1340 and extended and modified in the following centuries. It became a museum in 1923 and is one of the 11 museums run by the Fondazione Musei Civici di Venezia.

The Palazzo Zorzi Galeoni or Palazzo Zorzi a Rio San Severo is a Renaissance style palace of the Zorzi family (also spelled Giorgi)in the Sestiere of Castello, number 4930, in central Venice, Italy; it was designed after 1480 by Mauro Codussi. It lies a few streets away from Santa Maria Formosa, also designed by Codussi. There are a number of Zorzi palaces in Venice, including the Palazzo Zorzi Liassidi and Palazzo Zorzi Bon. The Zorzi Galeoni in 2018 houses the offices of UNESCO in Venice. The United Nations Educational, Scientific and Cultural Organization. It seeks to build peace through international cooperation in Education, the Sciences and Culture.

The Portrait of the Four Tetrarchs is a porphyry sculpture group of four Roman emperors dating from around 300 AD. The sculptural group has been fixed to a corner of the façade of St Mark's Basilica in Venice, Italy since the Middle Ages. It probably formed part of the decorations of the Philadelphion in Constantinople, and was removed to Venice in 1204 or soon after. Spolia from the Fourth Crusade, the statues were originally designed as two separate sculptures, each consisting of a pair of armoured late Roman emperors embracing one another. The paired statues stand on plinths supported by a console of the same stone, and their backs are engaged in the remains of large porphyry columns to which the statues were once attached, carved all of a piece. The columns no longer exist, and one emperor pair is missing part of the plinth and an emperor's foot, which has been found in Istanbul. One statue pair has been sliced vertically and is missing a large portion of the right-hand emperor's right side, while another vertical slice divides the two figures and has sawn through their embracing arms. The Portrait of the Four Tetrarchs probably depicts the four rulers of the Empire instituted by Emperor Diocletian – the first Tetrarchy. He appointed as co-augustus Maximian; they chose Galerius and Constantius I as their caesares; Constantius was father to Constantine the Great. There is disagreement as to the identity of these statues and their placement, but it is suggested that the Eastern rulers form a pair and the Western rulers form the other pair, each pair consisting of the senior augustus and the junior caesar. Another possibility is that the two augusti are depicted in one pair and the two caesares in the other. A third, older theory is that they represent a dynastic group of the Constantinian dynasty.

Columns of San Marco and San Teodoro are two columns in Piazza San Marco, Venice, Italy. They comprise the Column of the Lion and the Column of San Todaro. The sculpture Lion of Venice surmounts Column of the Lion.

The Patriarchate of Venice (Italian: Patriarcato di Venezia; Latin: Patriarchatus Venetiarum), also sometimes called the Archdiocese of Venice, is a patriarchate of the Latin Church of the Catholic Church, located in the Metropolitan City of Venice. Its episcopal seat is in the Cathedral Basilica of St. Mark in Venice. One of only four extant patriarchates in the Latin Church, its ordinary is the Patriarch of Venice, who is traditionally created a cardinal by the pope. Immediately upon installation in office, however, the Patriarch of Venice has the right to wear scarlet vesture (like a cardinal), whether or not he has yet been elevated to the College of Cardinals. As a metropolitan, the Patriarch of Venice is the metropolitan of the Ecclesiastical Province of Venice. Its suffragan dioceses include Adria-Rovigo, Belluno-Feltre, Chioggia, Concordia-Pordenone, Padova, Treviso, Verona, Vicenza, and Vittorio Veneto. In 1451 the Patriarchate of Grado was merged with the Bishopric of Castello and Venice to form the Patriarchate of Venice.

The Patriarchal Cathedral Basilica of Saint Mark (Italian: Basilica Cattedrale Patriarcale di San Marco), commonly known as St Mark's Basilica (Italian: Basilica di San Marco; Venetian: Baxéłega de San Marco), is the cathedral church of the Catholic Patriarchate of Venice; it became the episcopal seat of the Patriarch of Venice in 1807, replacing the earlier cathedral of San Pietro di Castello. It is dedicated to and holds the relics of Saint Mark the Evangelist, the patron saint of the city. The church is located on the eastern end of Saint Mark's Square, the former political and religious centre of the Republic of Venice, and is attached to the Doge's Palace. Prior to the fall of the republic in 1797, it was the chapel of the Doge and was subject to his jurisdiction, with the concurrence of the procurators of Saint Mark de supra for administrative and financial affairs. The present structure is the third church, begun probably in 1063 to express Venice's growing civic consciousness and pride. Like the two earlier churches, its model was the sixth-century Church of the Holy Apostles in Constantinople, although accommodations were made to adapt the design to the limitations of the physical site and to meet the specific needs of Venetian state ceremonies. Middle-Byzantine, Romanesque, and Islamic influences are also evident, and Gothic elements were later incorporated. To convey the republic's wealth and power, the original brick façades and interior walls were embellished over time with precious stones and rare marbles, primarily in the thirteenth century. Many of the columns, reliefs, and sculptures were spoils stripped from the churches, palaces, and public monuments of Constantinople as a result of the Venetian participation in the Fourth Crusade. Among the plundered artefacts brought back to Venice were the four ancient bronze horses that were placed prominently over the entry. The interior of the domes, the vaults, and the upper walls were slowly covered with gold-ground mosaics depicting saints, prophets, and biblical scenes. Many of these mosaics were later retouched or remade as artistic tastes changed and damaged mosaics had to be replaced, such that the mosaics represent eight hundred years of artistic styles. Some of them derive from traditional Byzantine representations and are masterworks of Medieval art; others are based on preparatory drawings made by prominent Renaissance artists from Venice and Florence, including Paolo Veronese, Tintoretto, Titian, Paolo Uccello, and Andrea del Castagno.