San Zulian

Santa Croce degli Armeni or Holy Cross Armenian Church is a church in Venice, on Calle dei Armeni, near St Mark's Basilica. It is the national church of the Armenian community in Venice.

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 Clock Tower in Venice is an early Renaissance building on the north side of the Piazza San Marco, at the entrance to the Merceria. It comprises a tower, which contains the clock, and lower buildings on each side. It adjoins the eastern end of the Procuratie Vecchie. Both the tower and the clock date from the last decade of the 15th century, though the mechanism of the clock has subsequently been much altered. It was placed where the clock would be visible from the waters of the lagoon and give notice to everyone of the wealth and glory of Venice. The lower two floors of the tower make a monumental archway into the main street of the city, the Merceria, which linked the political and religious centre (the Piazza) with the commercial and financial centre (the Rialto). Today it is one of the 11 venues managed by the Fondazione Musei Civici di Venezia.

Ponte dei Bareteri is a bridge in Venice, Italy. It is named after manufacturers of caps (barète in Venetian dialect) which were common in the area. The original bridge was wood, replaced by stone in 1508. Both balustrades were restored between 2006 and 2007.

St Mark's Clock is housed in the Clock Tower on the Piazza San Marco (Saint Mark's Square) in Venice, Italy, adjoining the Procuratie Vecchie. The first clock housed in the tower was built and installed by Gian Paolo and Gian Carlo Rainieri, father and son, between 1496 and 1499, and was one of a number of large public astronomical clocks erected throughout Europe during the 14th and 15th centuries. The clock has had an eventful horological history, and been the subject of many restorations, some controversial. After restorations in 1551 by Giuseppe Mazzoleni, and in 1615, by Giovanni Battista Santi, the clock mechanism was almost completely replaced in the 1750s, by Bartolomeo Ferracina. In 1858 the clock was restored by Luigi De Lucia. In 1996, a major restoration, undertaken by Giuseppe Brusa and Alberto Gorla, was the subject of controversy, amid claims of unsympathetic restoration and poor workmanship.

Caffé Lavena is a café in the city of Venice, Italy. It was established in 1750, and was originally called Regina d'Ungheria (the Queen of Hungary) under the Austro-Hungarian empire. The café has its origins in the popular Venice of the 17th century, it became later Orso Coronato (Crowned Bear) because of the picturesque sign showing a bear standing on his hind legs with a crown on its head. In 1860, Carlo Lavena bought the cafè and it has remained in his family ever since.

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.

Santa Maria della Fava, also originally known as Santa Maria della Consolazione, is an ancient Roman Catholic church in the sestiere of Castello in Venice, Italy. The suffix of della Fava (of the bean) attributed to the church, bridge and piazza has a number of attributed derivations. One explanation is that this area in Venice was used for the commerce of beans or the home of pastry shops for bean cake. A more colorful legend, perhaps for consumption of tourists, is that a man smuggling salt and beans was apprehended at the site, but when he kneeled before a local icon of the Madonna painted on a wall of Ca' Dolce, the salt from his bag disappeared, and thus he escaped imprisonment. The church then was built to house the miraculous icon. Finally, the church may have been endowed by the Fava family from Ferrara. The original church at the site was completed by 1500. While by 1662, it was under the jurisdiction of the Procuratoria of St Mark, it later was under the order of Saint Phillip Neri. The reconstructed, but unfinished, church we see today was designed by Antonio Gaspari in 1711, while the apse and presbytery (1750) were completed by Giorgio Massari. The interior of the church has a famous altarpiece of Saint Anne, Young Mary, and Saint Gioacchino, (1732) by Tiepolo. It also houses a Virgin with St Phillip Neri by Piazzetta. A series of statues of Saints and Evangelists were carved by Giuseppe Bernardi. Flanking the altar, which was designed by Massari are two angels by Giovanni Maria Morlaiter.

The Horses of Saint Mark (Italian: Cavalli di San Marco), also known as the Triumphal Quadriga or Horses of the Hippodrome of Constantinople, is a set of bronze statues of four horses, originally part of a monument depicting a quadriga (a four-horse carriage used for chariot racing). The horses were placed on the facade, on the loggia above the porch, of St Mark's Basilica in Venice, northern Italy after the sack and looting of Constantinople in 1204. They remained there until looted by Napoleon in 1797 but were returned in 1815. The sculptures have been removed from the facade and placed in the interior of St Mark's for conservation purposes, with replicas in their position on the loggia.

Caffè Quadri (Italian pronunciation: [kafˌfɛ kˈkwaːdri]) is a coffeehouse located in the Procuratie Vecchie of Piazza San Marco, Venice. It was established in 1775. The restaurant underwent a first important renovation in 1830, under the management of the Vaerini brothers, who expanded both the spaces and the activities, purchasing the upper floor that was used as a restaurant. The ground floor was decorated with pastel stuccos, with a prevalence of green and yellow colors, and completed with views and scenes of Venetian life, the work of the painter Giuseppe Ponga, inspired by the style of Pietro Longhi.The property together with some other shops here are owned by Russian conductor Valery Gergiev as a part of the vast real estate inheritance of the philanthropist Yoko Nagae Ceschina who has died in 2015.

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.