Fondazione Querini Stampalia

Santa Maria Formosa, formally The Church of the Purification of Mary, is a church in Venice, northern Italy. It was erected in 1492 under the design by Renaissance architect Mauro Codussi. It lies on the site of a previous church dating from the 7th century, which, according to tradition, was one of the eight founded by San Magno, bishop of Oderzo. The name "formosa" relates to an alleged appearance of the Holy Virgin disguised as a voluptuous woman1.

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.

Casa Venier is a small Gothic-style palace on the north eastern side of Campo Santa Maria Formosa, adjacent to the complex of Palazzi Donà in the Sestiere of Castello, Venice, Italy.

Campo Santa Maria Formosa is a city square in the Castello district of Venice, Italy.

The Palazzo Grimani of Santa Maria Formosa is a State museum, located in Venice in the Castello district, near Campo Santa Maria Formosa.

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 Palazzo Donà-Ottobon is a palace located at Calle della Madonna on the Fondamenta di San Severo, corner with Calle Larga San Lorenzo, in the Sestiere of Castello in Venice, Italy. The remains of this Venetian Gothic palace are a small corner facade, alongside a canal, with two and a half walled-up gothic arcades in the piano nobile. The portal has an equally awkward marble relief of the Virgin with St Francis, St Claire de Montefalco, and a donor of reduced size. Earlier authors do not mention this portal.

San Basso is a Baroque style deconsecrated Roman Catholic church in central Venice, Italy; it now serves as a concert hall. According to the Venetian historian Flaminio Corner, the church was erected in the year 1079. It was rebuilt after fires in 1105 and again in 1661, the latter to a design by Baldassarre Longhena. Located nearby the St. Mark's Clocktower, it has a side façade on the Piazza San Marco. It has four Corinthian columns and two single mullioned windows. In 1806, during the Napoleonic occupation, the church was closed and sold to a private source. In 1847 it was ceded to the Basilica di San Marco, which used it to store marbles and sculptures until, in the 1890s, it was restored as a meeting and concert hall.

The Ponte Minich is a bridge which lies in the Sestiere Castello in Venice and connects the Calle Trevisan with the Calle Bressana. It is named after the surgeon Angelo Minich (1817–1893), who in his will of 25 September 1893 bequeathed the city of Venice thirty thousand lire for the comfort and education of the city, and to ensure the accuracy of the Venetian electrical clocks. The clocks still exist today; they have a white face with Roman numerals and housings made of cast iron.

Piazzetta dei Leoncini is a city square in Venice, Italy. The square is located on the north side of the St Mark's Basilica, near the Palazzo Patriarcale and San Basso. The square is known for its lion statuary. Also on the square, in an alcove of the Basilica itself, is the sarcophagus of Daniele Manin, the president of the brief independent Republic of San Marco, established during a rebellion in 1848 against Habsburg rule.

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.