venicefestival

Venice-a place to love

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Venice Glass Blower on Murano.

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Some places selling nice Venice things-

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http://www.artofvenice.com/ ..........Some nice glass ware from the city.Very colourful.

http://www.boglewood.com/murano/ ........inspirational.

www.boglewood.com/murano/ ...................colours to please.

crimeajewel .............inexpensive pearl items for the festival.

www.venicemaskshop.com/.................wonderful masks.

Venice-a gothic wonderland.

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The Canals of Venice

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For more fine Venice glass ware-try the url below :

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www.artofvenice.com/art/fuin.asp

The Rialto Bridge

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The Rialto Bridge ( Ponte di Rialto) is one of the three bridges spanning the Grand Canal in Venice and is the oldest bridge across the canal and probably the most famous in the city.

The first dry crossing of the Grand Canal was a pontoon bridge built in 1181 by Nicolò Barattieri. It was called the Ponte della Moneta, presumably because of the mint that stood near its eastern entrance.
The development and importance of the Rialto market on the eastern bank increased traffic on the floating bridge. So it was replaced around 1250 by a wooden bridge. This structure had two inclined ramps meeting at a movable central section, that could be raised to allow the passage of tall ships. The connection with the market eventually led to a change of name for the bridge. During the first half of the 15th century two rows of shops were built along the sides of the bridge. The rents brought an income to the State Treasury, which helped maintain the bridge.
Maintenance was vital for the timber bridge. It was partly burnt in the revolt led by Bajamonte Tiepolo in 1310. In 1444 it collapsed under the weight of a crowd watching a boat parade and it collapsed again in 1524.
The idea of rebuilding the bridge in stone was first proposed in 1503, and several projects were considered over the following decades. The Venetian Senate appointed three noble provveditori to oversee a design competition for the rebuilding of the bridge, which included Jacopo Foscarini, Alvise Zorzi, and Marcantonio Barbaro of the noble Barbaro family. In 1551 the provveditori requested proposals for the renewal of the Rialto Bridge, and plans were offered by famous architects such as Jacopo Sansovino, Palladio and Vignola, all of which involved a Classical approach with several arches, officially judged inappropriate to the situation. Even Michelangelo was considered to design the bridge.
The present stone bridge, a single span, was designed by Antonio da Ponte, and completed in 1591. It is remarkably similar to the wooden bridge it succeeded. Two inclined ramps lead up to a central portico. On either side of the portico the covered ramps carry rows of shops. The engineering of the bridge was considered so audacious that architect Vincenzo Scamozzi predicted future ruin. The bridge has defied its critics to become one of the architectural icons of Venice.

Santa Maria della Salute

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The Basilica di Santa Maria della Salute (Basilica of St Mary of Health/Salvation), commonly known simply as the Salute, is a famous church in Venice, placed scenically at a narrow finger of land which lies between the Grand Canal and the Bacino di San Marco on the lagoon, visible as one enters the Piazza San Marco from the water. While it has the status of a minor basilica, its decorative and distinctive profile and location make it among the most photographed churches in Italy

Starting in the Summer of 1629, a wave of the plague assaulted Venice, and over the next two years killed nearly a third of the population. Repeated displays of the sacrament, as well as prayers and processions to churches dedicated to San Rocco and San Lorenzo Giustiniani, had failed to stall the continuation of the epidemic. Echoing the architectural response to a prior assault of the plague (1575–76), when Palladio was asked to design the picturesque il Redentore dedicated to Christ the Redeemer, the Venetian Senate in October 22, 1630, decreed that a new church would be built. It was not to be dedicated to a mere "plague" or patron saint, but to the Virgin Mary, who for many reasons was thought to be a protector of the Republic.
It was also decided that the Senate would visit the church yearly, on 21 November, the Feast of the Presentation of the Virgin, in a celebration known as the Festa della Madonna della Salute, where the city's officials parade from San Marco to the Salute in the sestieri Dorsoduro for a service in gratitude for deliverance from the plague. This involved crossing the Grand Canal on a specially constructed pontoon bridge and is still a major event in Venice.
The desire to create a suitable monument at a place that allows for an easy processional access from Piazza San Marco, led senators to select the present site from among 8 potential locations. The Salute, emblematic of the city's piety, stands adjacent to the rusticated single story customs house or Dogana da Mar, the emblem of its maritime commerce, and near the civic center of the city. A dispute with the patriarch, Rome's representative in Venice and owner of the church and seminary at the site, was overcome, and razing of some of the buildings began by 1631. Likely, the diplomat Sarpi and Doge Nicolo Contarini shared the intent to link church to an order less-associated with the Papacy, and ultimately the Somascan Fathers, an order founded near Bergamo by a Venetian noble, were chosen.
A competition was held to select the building. Of the eleven submission (including designs by Alessandro Varotari, Matteo Ignoli, and Berteo Belli), only two were chosen for the final round. The architect Baldassare Longhena was selected to design the new church. It was finally completed in 1681, the year before Longhena's death. The other competitive, but losing, design was by Antonio Smeraldi (il Fracao) and Zambattista Rubertini. Of the proposals still extant, Belli's and Smeraldi's original plans were a conventional counter-reformation linear churches, resembling Palladio's Redentore and San Giorgio Maggiore; while Varotari's was a sketchy geometrical abstraction. Longhena's proposal was a concrete architectural plan, detailing the structure and costs, although also bold in design, he wrote:
"I have created a church in the form of a rotunda, a work of new invention, not built in Venice, a work very worthy and desired by many. This church, having the mystery of its dedication, being dedicated to the Blessed Virgin, made me think, with what little talent God has bestowed upon me of building the church in the … shape of a crown."
Later in a memorandum, he wrote:
"Firstly, it is a virgin work, never before seen, curious, worthy and beautiful, made in the form of a round monument that has never been seen, nor ever before invented, neither altogether, nor in part, in other churches in this most serene city, just as my competitor (il Fracao) has done for his own advantage, being poor in invention"
Ultimately the Salute, while novel in many ways, still breathes the influence of Palladian classicism and the domes in Venice. The Venetian Senate voted 66 in favor, 29 against with 2 abstentions to authorize the designs of the 26 year old Longhena.

The Salute is a vast, octagonal building built on a platform made of 100,000 wooden piles. It is constructed of Istrian stone and marmorino (brick covered with marble dust). While its external decoration and location capture the eye, the internal design itself is quite remarkable. The octagonal church, while ringed by a classic vocabulary, hearkens to Byzantine designs such as the Basilica of San Vitale. The interior has its architectural elements demarcated by the coloration of the material, and the central nave with its ring of saints atop a balustrade is a novel design. It is full of Marian symbolism – the great dome represents her crown, the cavernous interior her womb, the eight sides the eight points on her symbolic star.
Ultimately, the dome of the Salute was one of the main additions to the Venice skyline, and became emblematic of the city, just as the domes of the Cathedral in Florence and St.Peter's in Rome were for their respective cities; however, unlike those massive major churches, the Salute is not meant to caparison the populace. It is a pilgrimage church inside a city, it is the church that blessed the riches entering the port by commerce. While Longhena, saw the structure like a crown, the decorative circular building makes it seem more like a reliquary, a cyborium, and embroidered inverted chalice that shelters the city's piety.
The Salute is part of the parish of the Gesuati.

The Baroque high altar arrangement, designed by Longhena himself, shelters an iconic Byzantine Madonna and Child of the 12th or 13th century. The theatric statuary at the high altar, depicting the queen of heaven expelling the Plague(1670) was a theatrical Baroque masterpiece by the Flemish sculptor Josse de Corte. It originally held Alessandro Varotari's painting of the Virgin holding a church, that the painter submitted with his architectural proposal.
Tintoretto contributed Marriage at Cana in the great sacristy, which includes a self-portrait. The most represented artist included in the church is Titian, who painted St Mark enthroned with saints Cosmas, Damian, Sebastian and Roch, the altarpiece of the sacristy, as well as ceiling paintings of David and Goliath, Abraham and Isaac and Cain and Abel, and eight tondi of the Doctors of the Church and the Evangelists, all in the great sacristy, and Pentecost in the nave.

Venice's majestic Theatre- La Fenice

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In 1774, the San Benedetto Theatre, which had been Venice's leading opera house for more than forty years, burned to the ground. No sooner had it been rebuilt than a legal dispute broke out between the company managing it and the owners, the Venier family. The issue was decided in favor of the Veniers. As a result, the theatre company decided to build a new opera house of its own on the Campo San Fantin.
The construction began in June 1790, and by May 1792 the theatre was completed. It was named "La Fenice", in reference to the company's survival, first of the fire, then of the loss of its former quarters. La Fenice was inaugurated on May 16, 1792 with an opera by Giovanni Paisiello entitled I Giochi di Agrigento.
From the beginning of the 19th century, La Fenice acquired a European reputation. Rossini mounted two major productions in the theatre and Bellini had two operas premiered there. Donizetti, fresh from his triumphs in Milan and Naples, returned to Venice in 1836, after an absence of seventeen years.

In December 1836, disaster struck again when the theatre was destroyed by fire. However, it was quickly rebuilt with a design provided by the architect-engineer team of the brothers, Tommaso Meduna and Giambattista Meduna La Fenice once again rose from its ashes to open its doors on the evening of December 26, 1837.
Giuseppe Verdi's association with La Fenice began in 1844, with a performance of Ernani during the Carnival season. Over the next thirteen years, the premieres of Attila, Rigoletto, La Traviata and Simon Boccanegra took place there.
During the First World War, La Fenice was closed, but reopened to again become the scene of much activity, attracting many of the world's greatest singers and conductors. In 1930, the Venice Biennale initiated the First International Festival of Contemporary Music, which brought such composers as Stravinsky and Britten, and more recently Berio, Nono and Bussotti, to write for La Fenice.
On 29 January 1996, it was completely destroyed by fire. Arson was immediately suspected. In March 2001, a court in Venice found two electricians guilty of setting the fire. Enrico Carella and his cousin, Massimiliano Marchetti, appeared to have set the building ablaze because their company was facing heavy fines over delays in repair work. Carella, the company's owner, was sent to prison for seven years, while Marchetti received a six-year sentence.

After various delays, reconstruction began in earnest in 2001. In 650 days, a team of two hundred plasterers, artists, woodworkers, and other craftsman succeeded in recreating the ambience of the old theatre at a cost of some €90 million.
La Fenice was rebuilt in 19th-century style on the basis of a design by architect Aldo Rossi and using still photographs from the opening scenes of Luchino Visconti's 1954 film Senso which was filmed in the house in order to obtain details of its design. It reopened on 14 December 2003 with an inaugural concert of Beethoven, Wagner, and Stravinsky. The first opera production was La Traviata in November, 2004. Critical response to the rebuilt La Fenice was mixed. The music critic of the rightwing paper Il Tempo, Enrico Cavalotti, was satisfied. He found the colours a bit bright but the sound good and compact. For his colleague Dino Villatico of the leftwing La Repubblica, however, the acoustics of the new hall lacked resonance and the colours were painfully bright. He found it "kitsch, a fake imitation of the past". He said that "the city should have had the nerve to build a completely new theater; Venice betrayed its innovative past by ignoring it". However, for many Venetians, a painful wound in the historical, much-admired cityscape has been healed.

For those looking for nice Murano glass figurines, I recommend :

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www.benetto.net/

www.murano-art-glass.com/

................2 favourites of mine in the art.

The Venice Arsenal.

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The Venetian Arsenal (Italian: Arsenale di Venezia) is a shipyard and naval depot that played a leading role in Venetian empire-building. It was one of the most important areas of Venice, lying in the Castello sestiere.
The Byzantine-style establishment may have existed as early as the 8th century, though the present structure is usually said to have been begun in 1104 during the reign of Ordelafo Faliero, although there is no evidence for such a precise date. It definitely existed by the early thirteenth century and is mentioned in Dante's Inferno. The name probably comes from Arabic Dar al Sina’a ("Dockyard") and the concept was clearly Islamic as much as Byzantine.
Initially the state dockyard worked merely to maintain naval ships built privately, but in 1320 the Arsenal Nuovo was built, much larger than the original. It enabled all the state's navy and the larger merchant ships to be both constructed and maintained in one place. The Arsenal incidentally became an important centre for rope manufacture, while housing for the arsenal workers grew up outside its walls.
Venice developed methods of mass-producing warships in the Arsenal, including the frame-first system to replace the Roman hull-first practice. The new system was much faster and required less wood. At the peak of its efficiency in the early 16th century, the Arsenal employed some 16,000 people who apparently were able to produce nearly one ship each day, and could fit out, arm, and provision a newly-built galley with standardized parts on a production-line basis not seen again until the Industrial Revolution.
The staff of the Arsenal also developed new firearms at an early date, beginning with bombards in the 1370s and numerous small arms against the Genoese a few years later. Improvements in handguns led to their muzzle velocity (and therefore their ability to penetrate armor) exceeding that of the crossbow. The Venetian condottieri leader, Bartolomeo Colleoni, is usually given credit as being the first to mount the Arsenal's new lighter-weight artillery on mobile carriages for field use.

The Arsenal's main gate, the Porta Magna, was built in about 1460 and was the first Classical revival structure to be built in Venice. It was perhaps built by Antonio Gambello from a design by Jacopo Bellini. Two lions taken from Greece situated beside it were added in 1687. One of the lions, known as the Piraeus Lion, is notable for having been defaced with lengthy runic inscriptions carved in the 11th century by Scandinavian mercenary soldiers.
The Arsenal Novissimo was begun in 1473. It enabled the creation of a system similar to an assembly line, in which hulls were constructed in the newer areas of the Arsenal before being fitted out in the old Arsenal.
In the late 16th century, the Arsenal's designers experimented with larger ships as platforms for heavy naval guns. The most impressive was the galleass, already used at Lepanto, and developed from the old merchanting "great galley". It was huge, with sails as well as oars, and was virtually a floating fortress, with guns mounted on wheeled carriages along the sides in the modern fashion. It was slow and unwieldy in battle, however, and few were ever built. The galleon, also developed at the Arsenal, was an armed sailing ship, a slimmer version of the merchant "round ship". It was useful in major naval battles, but not in the small bays and off the frequent lee shores of the Dalmatian coast.
Significant parts of the Arsenal were destroyed under Napoleonic rule, and later rebuilt to enable the Arsenal's present use as a naval base. It is also used as a research centre, an exhibition venue during the Venice Biennale and is home to a historic boat preservation centre.

Palazzo Labia

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The Labia family, who commissioned the palazzo, were originally Spanish and bought their way into nobility in 1646, hence considered arriviste by the old Venetian aristocracy. The wars with the Ottamans had depleted the coffers of the Republic of Venice which then sold inscriptions into nobility, thus giving political clout. It has been said that they compensated their lack of ancestors by a great display of wealth. [1] Today the Palazzo Labia is the sole remaining example of this ostentation.
It is the members of the Labia family of the mid 18th century to whom the palazzo owes its notability today, it was inhabited by two brothers with their wives, children and mother. The brothers Angelo Maria Labia and his brother Paolo Antonio Labia employed Tiepolo at the height of his powers to decorate the ballroom. Employing Tiepolo seems to have been the most remarkable thing the brothers ever achieved. Angelo Maria became an Abbé, merely in order to escape the political obligations of an aristocrat of the Republic. Curiously his holy employment did not prevent him marrying. His wife however was a commoner, which indicates an almost morganatic status to the marriage. Angelo's chief interests were constructing a marionette theatre, which concealed real singers behind its scenes. The marionettes often performed satirical plays which Angelo wrote himself. In later life he failed to endear himself to Venetian society by becoming an informer to the dreaded inquisition. His younger brother Paolo, married conventionally into the old Venetian aristocracy, a class prepared to except the Labia's money and hospitality if not equality. Paolo too never assumed any public duties. It appears that it was their mother, Maria Labia, who was the intellectual driving force of the family, in her youth a great beauty, she was painted by Rosalba Carriera. The French traveller and social commentator Charles de Brosses reported that in old age she had a lively wit, flirtatious nature and possessed the finest collection of jewels in Europe. This collection was also portrayed in some of Tiepolo's work in the palazzo.

San Marco at dusk.

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Saint Mark's Basilica (Italian: Basilica di San Marco a Venezia), the cathedral of Venice, is the most famous of the city's churches and one of the best known examples of Byzantine architecture. It lies on St Mark's Square (in the San Marco sestiere or district) adjacent and connected to the Doge's Palace. Originally it was the "chapel" of the Venetian rulers, and not the city's cathedral. Since 1807 it has been the seat of the Patriarch of Venice, archbishop of the Roman Catholic Archdiocese of Venice. For its opulent design, gilded Byzantine mosaics, and its status as a symbol of Venetian wealth and power, from the 11th century on the building was known by the nickname Chiesa d'Oro (Church of gold).

The drama of the fashion , the drama of the season.

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Venice is a place to walk, to pause , to listen , to think and contemplate the world.

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Flickering shades of light , shadows and memories comprise the heart of Venice.

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Maybe because of the absence of cars,Venice is a very thoughtful , atmospheric and on peaceful nights mesmeric and tranquil place.

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There are many ghosts and lost loves in the shadows of Venice.

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The colours of the Venice carnival

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Colours , fshion and mystery at the festival.

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Try out Crimeajewel.com if you need colourful things for the Venice Carnival.

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Try out Crimeajewel.com if you need colourful things for the Venice Carnival.

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The Venice Festival I go to every year-but more of that later.Enjoy the colours.A fountain of rainbow colours.

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The Venice Festival I go to every year-but more of that later.Enjoy the colours.A fountain of rainbow colours.

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The Venice Festival I go to every year-but more of that later.Enjoy the colours.A fountain of rainbow colours.

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The Venice Festival I go to every year-but more of that later.Enjoy the colours.A fountain of rainbow colours.

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The Venice Festival I go to every year-but more of that later.Enjoy the colours.A fountain of rainbow colours.

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For those visiting for this year's Venice Festival

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For those visiting for this year's Venice Festival and needing some nice pink and white pearls , I have bought my own from a website crimeajewel.com And worth a look-as these are expensive in Venice. Even the glassware in Venice,although colourful can be expensive.

Ca' Rezzonico

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Ca' Rezzonico is a palazzo on the Grand Canal in Venice. Today it is a public museum dedicated to 18th century Venice.

Ca' Rezzonico stands on the right bank of the canal, at the point where it is joined by the Rio di San Barnaba. The site was previously occupied by two houses belonging to the Bon family, one of Venice's most aristocratic and patrician families. In 1649 the head of the family, Filippo Bon decided to build a large palazzo on the site. For this purpose he employed Baldassarre Longhena, the greatest exponent of Venetian Baroque, a style slowly replacing the more floral gothic style of such palazzi as (its near neighbour) Ca' Foscari and Ca' d'Oro built over 100 years previously. However, neither architect nor client were to see the completion of the Palazzo Bon, Longhena died in 1682, and Filippo Bon suffered a financial collapse.
The design was for a three story marble façade facing the canal. The ground floor rusticated, containing a central recessed portico of three bays without a pediment, symmetrically flanked by windows in two bays. Above this the first piano nobile of seven bays of arched windows, separated by pilasters, above this the second piano nobile was identical, and above this a mezzanine floor of low oval windows. The slight projection of the two tiers of balconies to the piani nobili accentuate the baroque decoration and design of the building. The palazzo today follows this form, although it was not finished until 1756 by the architect Giorgio Massari, who had been brought in to oversee the completion of the project by the new owners - the Rezzonico Family. Massari however, seems to have adhered to the original plans of Longhena, with the addition of some concepts of his own which reflected the change in architecture between the palazzo's conception and its completion 100 years later.

The unfinished palazzo had been bought from the impoverished Bon family by Giambattista Rezzonico. His family, like their friends at the Palazzo Labia, had bought their noble Venetian status in the mid-17th century following a war with Turkey, when the Venetian state coffers were depleted. Hence the mere rich, as opposed to the wealthy aristocracy, could make a large donation to the Serene Republic, thus purchasing patents of nobility and having their names inscribed in the Libro d'Oro (the "Golden Book").
A Canaletto painting of the early 1700s shows only the ground floor and first piano nobile completed, and a temporary roof protecting the structure from the elements. The completion of the palazzo symbolised the completion of the Rezzonico's upward social journey. The pinnacle of the Rezzonico's power and the Palazzo's grandeur came in 1758, when Carlo, son of Giambattista Rezzonico, was elected Pope as Clement XIII, the same year Ludovico Rezzonico married Faustina Savorgnan in Venice. Thus two of Venice's most influential families were united. However this union, unusually for the era, was also a love match, which was to be celebrated in the frescos of the palazzo. The happy couple lived a contented, carefree life in their beautiful palazzo at the summit of Venetian society. Ludovico later became the procurator of St. Mark's Basilica. By 1810 the family had died out, leaving only their stupendous palazzo to preserve the Rezzonico name.

In 1758 the newly completed palazzo was enhanced further, by the addition of frescos to the ceilings of the state rooms on the first piano nobile overlooking the rio di San Barnaba. The artists selected for this task were Jacopo Guarana, Gaspare Diziani and most importantly Giambattista Tiepolo. These frescos remaining today are among the finest preserved in Venice.
The Palazzo's principal rooms are arranged on the 1st piano nobile; on all floors the famous canal facade is only three rooms wide. On each side of the building a suite of four state rooms lead from the grand canal facade to the largest room in the palazzo - the magnificent ballroom at the rear. This room, created by Massari, is of double height. The walls are decorated in trompe l'oeil by the Lombard Pietro Visconti. The images are of an architectural nature, which create the feeling that the large room is even more massive than it is. The ceiling, painted by Giovan Battista Crosato, depicts Apollo riding his carriage between Europe, Asia, Africa and The Americas. The Ballroom and following state rooms are reached by the vast staircase of honour, its marble balustrades decorated with statuary by Giusto Le Court. Le Court the leading sculptor in Venice in the late 17th century worked closely on many projects with the first architect Longhena, which suggests the regal importance the ballroom and staircase give to the palazzo was one of the intentions of the patrician Bon family rather than the 'arriviste' Rezzonicos.

The first piano nobile also contains such rooms as the Chapel, and the beautifully frescoed Nuptial Allegory Room decorated to celebrate the 1758 marriage of Ludovico Rezzonico. Ludovico and his bride are depicted by Tiepolo in trompe l'oeil drawn across the ceiling in Apollo's chariot .This romantic theme is continued in the adjoining room, thus celebrating the happy marriage. This room and the Palazzo Labia ballroom house major ceiling frescoes "in situ" by Tiepolo in Venice.
At the centre of the rectangular palazzo is a small courtyard decorated with sculptures and a small fountain; the court is overlooked by a colonnaded balcony on the first piano nobile. The ground floor resembles a mere expansion of the vaulted portego - a hall which links the canal entrance to the land entrance at the rear.

In the early years of the 19th century the palazzo was to became Jesuit College, however through complicated inheritance it finally came into the hands of the Pindemonte-Giovanelli family. In 1832 the family sold the entire furnishings and collections of the palazzo. Only the frescos remained in situ. In 1837 Ca' Rezzonico was acquired by Count Ladislao Zelinsky, he in turn let the palazzo to a succession of aristocratic tenants. In the 1880s it became the home of the painter Robert Barrett Browning, whose father Robert Browning, the poet, died in his apartment on the mezzanine floor in 1889. At this time the American portrait painter John Singer Sargent also had a studio in the palazzo.
In 1906 Browning ignoring an offer from the German Emperor Wilhelm II sold the building to Count Lionello von Hierschel de Minerbi instead. The extravagant, art loving de Minerbi (who refurnished the palazzo with objects d'art, sometimes in questionable taste) lived lavishly at the palazzo until 1935 when, like his predecessors the Bon family, the money ran out.

In 1935 after lengthy negotiations Ca' Rezzonico was acquired by City Council of Venice to display the vast collections of 18th century Venetian art, which lack of space prevented its display in the Correr Museum.
Thus today the palazzo is more sumptously furnished than ever before. Further paintings by Tiepolo have been added, including an entire frescoed ceiling, depicting 'The Allegory of Merit', which was rescued from Palazzo Barbarigo, now in the throne room.
The Throne Room was originally described as a bridal chambers of the Rezzonico family; today it is of all the reconstructed chambers perhaps the most remarkable, consisting chiefly of articles pertaining to the Venetian patrician family of Barbarigo. One of the most remarkable items in the room after the ceiling, is a picture frame. This ornate gilt frame celebrates with putti, shields and other allegories the glories of the illustrious family of Barbarigo. It was originally given to Pietro Barbarigo whose portrait it surrounds. The room is named for the ornate gilt chair or throne by rococo sculptor Antonio Corradini. Two very similar chairs were included in the sale at Mentmore Towers in the 1970s, rather than serving as the thrones of monarchs, they were often used by high ranking priests in the many churches of the city during the interminable masses.
In addition to the throne room, a Chinese style salon from the palazzo of the Calbo-Crotta family and many more entire rooms have been salvaged from decaying Venetian palazzi.
Numerous paintings by such artists as Pietro Longhi, Francesco Guardi and Giandomenico Tiepolo can be found in the Palazzo. In addition to collections of antique furniture, there is also a fine collection of Venetian glass, showing that the skills of the 18th century masters at Murano were probably superior to those on the island today.
Ca' Rezzonico opened as a public museum in 1936. Today it is one of the finest museums in Venice; this is largely because of its unique character, where objects designed for great palazzi are displayed in a palazzo, thus the contents and the container harmonise in a way not possible in a purpose built museum.

Ca'd'Oro, ( correctly Palazzo Santa Sofia ).

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Ca' d'Oro (correctly Palazzo Santa Sofia) is regarded as one of the most beautiful palazzos on the Grand Canal in Venice. One of the older palazzos, it has always been known as Ca' d'Oro (golden house) due to the gilt and polychrome external decorations which once adorned its walls.
The Palazzo was built between 1428 and 1430 for the Contarini family, who provided Venice with eight Doges between 1043 and 1676. Upon election, each new Doge would leave his own palazzo and take residence in the Doge's Palace.
The architects of the Ca d'Oro were Giovanni Bon and his son Bartolomeo Bon. The work of these two sculptors and architects epitomises the Gothic style in Venice: they are best known for their work on the Doge's Palace and in particular the Porta della Carta with its monumental sculpture of the judgement of Solomon.
The principal façade of Ca' d'Oro facing onto the Grand Canal is built in the Bon's Venetian floral gothic style. Other nearby buildings in this style are Palazzo Barbaro and the Palazzo Giustinian. This elegant linear style favoured by the Venetian architects was not totally superseded by the flourishes of baroque until the end of the 16th century.
The Venetian Gothic style is Byzantine in appearance. On the Ca' d'Oro's ground floor a recessed colonnaded loggia gives access to the entrance hall (portego de mezo) directly from the canal. Above this colonnade is the enclosed balcony of the principal salon on the piano nobile. The columns and arches of this balcony have capitals which in turn support a row of quatrefoil windows of great delicacy; above this balcony is another enclosed balcony or loggia of a similar yet even lighter design. To describe the style of the palazzo simply:- it is a cross between a medieval church and a Moorish temple. This wedding cake exterior gives no hint that the palazzo is in fact built (like most other Palazzi) around a small inner courtyard.
Following the fall of the Venetian Republic in 1797 the palazzo changed ownership several times. One 19th century owner, the ballet dancer Marie Taglioni, removed (in what today can be considered an act of vandalism) the Gothic stairway from the inner courtyard and also destroyed the ornate balconies overlooking the court.
In 1922 the palazzo was bequeathed to the State by its last owner and saviour Baron Giorgio Franchetti who had acquired it in 1894. Following extensive restoration to its former glory (including the reconstruction of the stairway), it is now open to the public as a gallery.

Palazzo Grassi,( also known as Palazzo Grassi-Stucky)

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Palazzo Grassi (also known as the Palazzo Grassi-Stucky) is a fine example of Venetian Classical architecture and located on the Grand Canal of Venice. It was designed by Giorgio Massari, and the building was completed between 1748-1772.The latecomer among the palaces on the Grand Canal of Venice, Palazzo Grassi has an academic classical style that is in contrast to the surrounding Byzantine Romanesque and Baroque Venetian palazzos. It has a formal palace façade, constructed in white marble, and lacking the lower mercantile openings typical of many Venetian patrician palaces.
The Grassi family sold the palazzo in 1840, with ownership that followed passing through many different individuals. The Palazzo was purchased by the Fiat Group in 1983, under the late chairman Gianni Agnelli, and it underwent a complete restoration overseen by Count Antonio Foscari Widmann Rezzonico, the current owner of Villa Foscari. The group's aim was to transform Palazzo Grassi into an exhibition hall for the visual arts. It continues to be used as an art gallery today.
Between 1984-1990, Pontus Hultén was in charge of the art museum which also contains a 600 seat outdoor theatre. Since 2006, the palace has been owned by the french entrepreneur François Pinault who exhibits his personal art collection there. Currently, there is some interest in the Grassi family, who reside in New York, to purchase the palazzo back with the intentions of maintaining it as an art museum.

The Doge's Palace

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The Doge's Palace is a gothic palace in Venice. In Italian it is called the Palazzo Ducale di Venezia. The palace was the residence of the Doge of Venice.
Its two most visible facades look towards the Venetian Lagoon and St Mark's Square, or rather the Piazzetta. The use of arcading in the lower stories produces an interesting "gravity-defying" effect. There is also effective use of colour contrasts (unfortunately, the patterns are not well shown in the illustrative photographs accompanying this article...from a distance the colours blur).
The current palace was largely constructed from 1309 to 1424, designed perhaps by Filippo Calendario. It replaced earlier fortified buildings of which relatively little is known. Giovanni and Bartolomeo Bon created the Porta della Carta in 1442, a monumental late-gothic gate on the Piazzetta side of the palace. This gate leads to a central courtyard.
The palace was badly damaged by fire in 1574. In the subsequent rebuilding work it was decided to respect the original gothic style, despite the submission of a neo-classical alternative design by Palladio. However, there are some classical features, for example since the sixteenth century the palace has been linked to the prison by the Bridge of Sighs.
As well as being the ducal residence, the palace housed political institutions of the Republic of Venice until the Napoleonic occupation of the city. Venice was ruled by an aristocratic elite, but there was a facility for citizens to submit written complaints at what was known as the Bussola chamber.

Campo di San Polo

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Campo di San Polo is the largest campo in Venice after that of Piazza San Marco.
Originally dedicated to grazing and agriculture, in 1493 it was entirely paved, a well (one of the few fountains to be found in Venice) being placed in the middle. It was subsequently used as the scene of many a bullfight, mass sermons and masked balls. After the 17th century the poor's market was moved here from Piazza San Marco.
It remains to this day one of the most popular carnival venues and is also used for open air concerts and screenings during the film festival.
Lorenzino de' Medici was assassinated here in 1548.

St.Mark's Campanile on St.Mark's Square-you may walk the stairs to the top for a view.

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Pizza San Marco or St Mark's Square

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Piazza San Marco, often known in English as St Mark's Square, is the principal square of Venice, Italy.
A remark often attributed to Napoleon (but perhaps more correctly to Alfred de Musset) calls the Piazza San Marco "The drawing room of europe". It is one of the few great urban spaces in a Europe where human voices prevail over the sounds of motorized traffic, which is confined to Venice's waterways. It is the only urban space called a piazza in Venice; the others, regardless of size, are called campi.
As the central landmark and gathering place for Venice, Piazza San Marco is extremely popular with tourists, photographers, and Venetian pigeons.
The Piazza originated in the 9th century as a small area in front of the original St Mark's Basilica. It was enlarged to its present size and shape in 1177, when the Rio Batario, which had bounded it to the west, and a dock, which had isolated the Doge's Palace from the square, were filled in. The rearrangement was for the meeting of Pope Alexander III and the Emperor Frederick Barbarossa.
The Piazza has always been seen as the centre of Venice. It was the location of all the important offices of the Venetian state, and has been the seat of the archbishopric since the 19th century. It was also the focus for many of Venice's festivals. It is a greatly popular place in Italy even today.

The Piazza is dominated by the Basilica, the Doge's Palace and the Basilica's campanile, which stands apart from it.
The buildings around the Piazza are, counter-clockwise from the Grand Canal, the Doge's Palace, St Mark's Basilica, St Mark's Clocktower, the Procuratie Vecchie, the Napoleonic Wing of the Procuraties, the Procuratie Nuove, St Mark's Campanile and Loggetta and the Biblioteca Marciana. Most of the ground floor of the Procuraties is occupied by cafés, including the Caffè Florian and Gran Caffè Quadri. The Correr Museum and the Museum of Archaeology are located in some of the buildings of the Piazza. The Venetian Mint lies beyond the Biblioteca Marciana on the riva or bank of the Grand Canal.
During the French occupation from 1797, Napoleon converted the Procuratie Nuove into his royal palace. He constructed a new wing to house his ballroom, and this caused the destruction of the Church of San Geminiano, built by Jacopo Sansovino. The Ala Napoleonica (Napoleonic Wing) was designed by Giuseppe Soli in 1810. The Napoleonic Wing was the last of the Piazza's buildings to be completed, excepting the campanile which has since been rebuilt, but to its original design.
The Piazza has also served as inspiration for other public areas. Minoru Yamasaki used the site as a basis for the 5-acre Austin J. Tobin Plaza that was located at the World Trade Center in New York City until September 11th 2001.

The Piazza was paved in the late 13th century with bricks laid in a herringbone pattern. Bands of light-colored stone ran parallel to the long axis of the main piazza. These lines were probably used in setting up market stalls and in organizing frequent ceremonial processions. This original pavement design can be seen in paintings of the late Middle Ages and through the Renaissance, such as Gentile Bellini's Procession in Piazza San Marco of 1496.
In 1723 the bricks were replaced with a more complex geometrical pavement design composed of a field of dark-colored igneous trachyte with geometrical designs executed in white Istrian stone, similar to travertine. Squares of diagonally-laid blocks alternated with rectangular and oval designs along broad parallel bands. The squares were pitched to the center, like a bowl, where a drain conducted surface water into a below-grade drainage system. The pattern connected the central portal of the Basilica with the center of the western opening into the piazza. This line more closely parallels the façade of the Procuratie Vecchie, leaving a nearly triangular space adjacent to the Procuratie Nuove with its wider end closed off by the Campanile. The pattern continued past the campanile, stopping at a line connecting the three large flagpoles and leaving the space immediately in front of the Basilica undecorated. A smaller version of the same pattern in the Piazzetta paralleled Sansovino's Library, leaving a narrow trapezoid adjacent to the Doge's palace with the wide end closed off by the southwest corner of the Basilica. This smaller pattern had the internal squares inclined to form non-orthogonal quadrilaterals.

The design was laid out by Venetian architect Andrea Tirali. Little is known about Tirali's reasoning for the particulars of the design. Some have speculated that the pattern was still used to regulate market stalls, or at least to recall their former presence in the square. Others believe the pattern may have been drawn from oriental rugs, which were a popular luxury item in this trading center. The overall alignment of the pavement pattern serves to visually lengthen the long axis and reinforce the position of the Basilica at its head. This arrangement mirrors the interior relationship of nave to altar within the cathedral.
As part of the design, the level of the piazza was raised by approximately one meter to mitigate flooding and allow more room for the internal drains to carry water to the Grand Canal.
In 1890, the pavement was renewed "due to wear and tear". The new work closely follows Tirali's design, but eliminated the oval shapes and cut off the west edge of the pattern to accommodate the Napoleonic wing at that end of the Piazza

The part of the Piazza between the Doge's Palace and the Biblioteca Marciana, Jacopo Sansovino's Library, is the Piazzetta San Marco. It is open to the lagoon at the mouth of the Grand Canal, and is known for the columns of Venice's two patrons, Marco and Todaro, that stand by the water's edge: on them are the lion of Saint Mark and the statue of Saint Teodoro of Amasea, "Santodaro" to the Venetians, who is standing on the sacred crocodile of Egypt. Theodore of Amasea is less well known than the Evangelist: he burned down a temple of Cybele as an act of Christian piety and was martyred for it. These columns constituted the official gateway to Venice; when there were no official guests in the city, gambling was permitted in the space between the columns. It was also the site of executions in the city.
Since 1480, three ships' masts have faced the waterfront. The banner of St Mark is flown from them on feast days.
Across the expanse of water (the Bacino di San Marco) is the Punta della Salute to the left of Baldassarre Longhena's Santa Maria della Salute. The Dogana di mare (Customs House) has given its name to every Italian customs shed, much as Venice also had the original Arsenal.

The Venetian Lagoon

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The Venetian Lagoon is a lagoon of the Adriatic Sea in which the city of Venice is situated. Its name in the Venetian language has provided the international name for an enclosed, shallow embayment of saltwater.
The Venetian Lagoon stretches from the Sile in the north to the Brenta in the south, with a surface area of around 550 km². It is around 8% land, including Venice itself and many smaller islands. About 11% is permanently water, or canal as the network of dredged channels are called, while around 80% is mud flats, tidal shallows and salt marshes. The lagoon is the largest wetland on the Mediterranean Basin.
It is connected to the Adriatic Sea by three inlets: Lido inlet, Malamocco inlet and Chioggia inlet. Being at the end of a closed sea, the lagoon is subject to high variations in water level, the most extreme being the spring tides known as the acqua alta (Italian for "high waters"), which regularly flood much of Venice.
The Lagoon of Venice is the most important survivor of a system of estuarine lagoons that in Roman times extended from Ravenna north to Trieste. In the sixth century, the Lagoon gave security to Romanised people fleeing invaders (mostly the Huns). Later, it provided the conditions for the growth of the Venetian Republic and its maritime empire. It still provides a base for a seaport, the Venetian Arsenal and for fishing, as well as a limited amount of hunting and the newer industry of fish farming.

The Lagoon was formed about six to seven thousand years ago, when the marine transgression following the Ice Age flooded the upper Adriatic coastal plain. River sediments compensated for the sinking coastal plain, and coastwise drift from the mouth of the Po tended to close tidal inlets. Venetiuan hydraulic projects to prevent the lagoon from turning into a marsh reversed the natural evolution of the Lagoon in the fifteenth and sixteenth centuries. Pumping of aquifers since the nineteenth century has increased subsidence. Thus the present aspect of the Lagoon is due to human intervention. Originally many of the Lagoon’s islands were marshy, but a gradual programme of drainage rendered them habitable. Many of the smaller islands are entirely artificial, while some areas around the seaport of the Mestre are also reclaimed islands. The remaining islands are essentially dunes, including those of the coastal strip (Lido, Pellestrina and Treporti).

Largest islands or archipelagos by area (excluding coastal reclaimed land and the coastal strip

San Servolo is an Italian island in the Venetian Lagoon, to the southeast of San Giorgio Maggiore

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San Servolo is an Italian island in the Venetian Lagoon, to the southeast of San Giorgio Maggiore

From at least the eighth century and for almost five hundred years, Benedictine monks lived on this island. They were joined later by nuns escaping from the convents of Saints Leone and Basso on the island of Malamocco which was destroyed by a seaquake. At the beginning of the fifteenth century the nuns departed, but they were soon replaced by a few dozen other nuns, who were fleeing the Turkish invasion of Crete. However, by the beginning of the eighteenth century, only a few were left, and soon thereafter the Senate of the Republic of Venice designated San Servolo as the site of a new military hospital, needed due to the continuing war against the Turks. Later the hospital was used to care for the mentally ill. (As a consequence, the question "Ma ti xe de S. Servolo?"— "Are you from San Servolo?"— was commonly used to ask whether someone was crazy.
In 1978, government-instituted reforms of psychiatric treatment resulted in the closure of the hospital. The next year, the Venice government established on the island the "Istituto per le Ricerche e gli Studi sull´Emarginazione Sociale e Culturale" (Institute for the Study of Social and Cultural Marginalization) to preserve the documents associated with the history of the psychiatric hostpital. Venice International University, a center for research and education and a collaboration among ten universities from around the world, was formed on San Servolo in 1995.
Also noteworthy is the rich flora of San Servolo originally planted for the island's pharmacy which was used to supply medicine to the military.

Like the rest of Venice, San Servolo has inspired generations of writers and artists — particularly its history as an insane asylum.
Recently, San Servolo has started hosting an annual international artist residency and has become the site for numerous exhibitions, festivals and performances.

Torcello

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Torcello is a quiet and sparsely populated island at the northern end of the Venetian Lagoon. It is considered the oldest continuously populated region of Venice, and once held the largest population of the Republic of Venice.

After the downfall of the Roman Empire, Torcello was one of the first lagoon islands to be successively populated by those Veneti who fled the terra firma (mainland) to take shelter from the recurring barbarian invasions, especially after Attila the Hun had destroyed the city of Altinum and all of the surrounding settlements in 452. Although the hard-fought Veneto region formally belonged to the Byzantine Exarchate of Ravenna since the end of the Gothic War, it remained unsafe on account of frequent Germanic invasions and wars: During the following 200 years the Langobards and the Franks fuelled a permanent influx of sophisticated urban refugees to the island’s relative safety, including the Bishop of Altino himself: In 638 Torcello became the bishop’s official see for more than a thousand years and the people of Altinum brought with them the relics of Saint Eliodorus, now the patron saint of the island.
Torcello benefited from and maintaining close cultural and trading ties with Constantinople, after the fall of the western Roman Empire, but as a rather distant outpost of the Byzantine Empire it could establish de facto autonomy from the eastern capital. Torcello rapidly grew in importance as a political and trading centre: In the tenth century it had a population of at least 10,000 people and was much more powerful than Venice. Thanks to the lagoon’s salt marshes, the salines became Torcello’s economic backbone and its harbour developed quickly into an important re-export market in the profitable east-west-trade, which was largely controlled by Byzantium during that period. Fortunately for the island of rivus altus (see Rialto), the lagoon around the island of Torcello gradually became a swamp from the twelfth century onwards and Torcello’s heyday came to an end: Navigation in the laguna morta (dead lagoon) was impossible before long and the growing swamps seriously aggravated the malaria situation, so that the population abandoned the worthless island bit by bit and left for Murano, Burano or Venice. It now has a population of around 20 people.

The former splendour of Torcello’s numerous palazzi, its twelve parishes and its sixteen cloisters has almost disappeared since the Venetians recycled the useful building material. The only remaining medieval buildings form an ensemble of four edifices.Today's main attraction is the Cathedral of Santa Maria Assunta, founded in 639 and with much eleventh and twelfth century Byzantine work, including mosaics (e.g. a vivid version of the Last Judgement), surviving. Other attractions include the eleventh and twelfth century Church of Santa Fosca, which is surrounded by a porticus in form of a Greek cross, and a museum housed in two fourteenth century palaces, the Palazzo dell’Archivio and the Palazzo del Consiglio, which was once the seat of the communal government. Another noteworthy sight for tourists is an ancient stone chair, known as Attila’s Throne. It has, however, nothing to do with the king of the Huns, but it was most likely the podestà’s or the bishop’s chair.
Torcello is also home to a Devil's Bridge, known as the Ponte del Diavolo or alternatively the Pontecello del Diavolo (devil's little bridge ).

One of the most famous fans of the island’s decayed and contemplative charm was Ernest Hemingway who spent some time there in 1948, writing parts of Across the River and Into the Trees.

San't Erasmo

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Sant'Erasmo is an island in the Venetian Lagoon lying north of the Lido and north east of Venice.
The island was a port attached to Murano in the 8th century, but is now known for market gardening. Ruined fortifications including the Fort of Maximillian ring the isle, while an annual boat race takes place around it. Sant'Erasmo is also known for the waders on sand banks in the Lagoon around it.

San Michele, - The Island of the Dead

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..............Please be aware,there are here in this quiet place graves with photographs of some very young people, which brings tears to your eyes.But,it is a quiet place for thought and reflection.

San Michele, The Island of the Dead, is the cemetery island of Venice. It is associated with the sestiere of Cannaregio from which it lies a short distance north east.

Along with neighbouring San Cristoforo della Pace, the island was a popular place for local travellers and fishermen to land. Mauro Codussi's Chiesa di San Michele in Isola of 1469, the first Renaissance church in Venice, and a monastery lie on the island.
San Cristoforo was selected to become a cemetery in 1807, designed by Antonio Selva, when under French occupation it was decreed that burial on the mainland was unsanitary. The canal that separated the two islands was filled in during 1836, and subsequently the larger island became known as San Michele. The island briefly doubled as a prison, but it is the now-closed section of the cemetery which is famous. Bodies were carried to the island on special funeral gondolas, including Igor Stravinsky, Joseph Brodsky, Sergei Diaghilev, Ezra Pound, Luigi Nono and Zoran Mušič. Other attractions include the Cappella Emiliana chapel.
The cemetery is still in use today. However, due to shortage of space, as is the custom in many European countries, after a few years the dead are exhumed and stored in compact concrete ossuary boxes in another part of the cemetery.

The Venice Lido

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Venice's Lido is an 11-mile (18 km) long sandbar, home to about 20,000 residents, greatly augmented by the (mainly Italian) tourists who move in every summer. The Venice film festival takes place at the Lido every September

The island is home to three settlements. The Lido itself, in the north, is home to the Film Festival, the Grand Hotel des Bains, the Venice Casino and the Grand Hotel Excelsior. Malamocco, in the centre, is the first and for a long time the only settlement. It was at one time home to the Doge of Venice. Alberoni at the southern end is home to the Fort San Nicolo and a golf course.
At least half the Adriatic side of the island is constituted by a sandy beach, much of which belongs to the various hotels that house the summer tourists. These include the renowned Excelsior and the Des Bains, setting for Thomas Mann's classic novel Death in Venice. These beaches are private, though towards the northern and southern ends of the island there are two enormous public beaches. The Adriatic Sea is fairly clean and warm, ideal for children, with only the occasional jellyfish to disturb swimming.
The heart of the island is the Gran Viale Santa Maria Elisabetta, a wide street approximately 700 m long that leads from the lagoon on one side to the sea on the other. It houses hotels, shops, and tourist-centric restaurants. At the lagoon end of the Gran Viale, you find the boats that connect to Venice (15'), the mainland (35'), the islands and the Marco Polo airport (60').

In 1202 at the beginning of the Fourth Crusade, it was used as a camp by tens of thousands of crusaders, who were blockaded there by the Venetians when they could not pay for the Venetian ships they needed for transport.
The island's casino has recently closed down - it used to operate in the summer months, moving to Palazzo Vendramin Calergi in Venice for the winter.

Murano-another island is enchanting.

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Murano was settled by the Romans, then from the sixth century by people from Altino and Oderzo. At first, the island prospered as a fishing port and through production of salt. It was also a centre for trade, through the port it controlled on Sant'Erasmo. From the eleventh century, it began to decline as islanders moved to Dorsoduro. It had a Grand Council, like that of Venice, but from the thirteenth century Murano was ultimately governed by a podestà from Venice. Unlike the other islands in the Lagoon, Murano minted its own coins.
In 1291, all the glassmakers in Venice were forced to move to Murano due to the risk of fires. In the following century, exports began, and the island became famous, initially for glass beads and mirrors. Aventurine glass was invented on the island, and for a while Murano was the main producer of glass in Europe. The island later became known for chandeliers. Although decline set in during the eighteenth century, glassmaking is still the island's main industry.
In the fifteenth century, the island became popular as a resort for Venetians, and palaces were built, but this later declined. The countryside of the island was known for its orchards and vegetable gardens until the nineteenth century, when more housing was built.
Attractions on the island include the Church of Santa Maria e San Donato, known for its twelfth century Byzantine mosaic pavement and said to house the bones of the dragon slain by Saint Donatus, the Church of San Pietro Martire with his splendid chapel of the Ballarin family build in 1503 and the Palazzo da Mula. Glass-related attractions include the many glassworks, some Mediaeval and most open to the public, and the Glass Museum, housed in the large Palazzo Giustinian.

Murano’s reputation as a center for glassmaking was born when the Venetian Republic, fearing fire and destruction to the city’s mostly wood buildings, ordered glassmakers to move their foundries to Murano in 1291. Murano glass is still interwoven with Venetian glass.
Murano's glassmakers were soon the island’s most prominent citizens. By the 14th century, glass makers were allowed to wear swords, enjoyed immunity from prosecution by the Venetian state and found their daughters married into Venice’s most affluent families. Of course there was a catch: glassmakers weren't allowed to leave the Republic. However, many craftsmen took this risk and set up glass furnaces in surrounding cities and as far afield as England and the Netherlands.
Murano’s glassmakers held a monopoly on quality glassmaking for centuries, developing or refining many technologies including crystalline glass, enameled glass (smalto), glass with threads of gold (aventurine), multicolored glass (millefiori), milk glass (lattimo), and imitation gemstones made of glass. Today, the artisans of Murano are still employing these century-old techniques, crafting everything from contemporary art glass and glass jewelry to Murano glass chandeliers and wine stoppers.
Today, Murano is home to the Museo Vetrario or Glass Museum in the Palazzo Giustinian, which holds displays on the history of glassmaking as well as glass samples ranging from Egyptian times through the present day.

Burano-an island of Venice easy to get to by Vaporetto

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Burano is an island in the Venetian Lagoon, although like Venice itself it could more correctly be called an archipelago of islands linked by bridges. It lies near Torcello at the northern end of the Lagoon, and is known for its lacework. The island was probably settled by the Romans, and in the sixth century was occupied by people from Altino, who named it for one of the gates of their former city. Two stories are attributed to how the city obtained its name. One is that it was initially founded by the Buriana family, and another is that the first settlers of Burano came from the small island of Buranello, five miles to the south.
Although the island soon became a thriving settlement, it was administered from Torcello and had none of the privileges of that island or of Murano. It rose in importance only in the sixteenth century, when women on the island began making lace with needles. The lace was soon exported across Europe, but decline began in the eighteenth century and the industry did not revive until 1872, when a school of lacemaking was opened. Lacemaking on the island boomed again, but few now make lace in the traditional manner as it is extremely time-consuming and therefore expensive.
Burano is also known for its small, brightly-painted houses, popular with artists. The designer Philippe Starck owns three houses. Other attractions include the Church of San Martino with a campanile, the Oratorio Santa Barbara and the Museum and School of Lacemaking. The colours of the houses follow a specific system originating from the golden age of its development; if someone wishes to paint their home, one must send a request to the government, who will respond by making notice of the certain colours permitted for that lot. This practice has resulted in the myriad of warm, pastelly colours that characterises the island today.
Burano is situated 7 kilometers from Venice, a short 40 minute trip by Venetian boats, "vaporetti." The island is linked to Mazzorbo by a bridge. The current population of Burano is about 4,000.

Venice has a long history-like Egypt.

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Venice (Italian: Venezia, Venetian: Venezsia) is a city in northern Italy, the capital of region Veneto, and has a population of 271,251 (census estimate January 1, 2004). Together with Padua, the city is included in the Padua-Venice Metropolitan Area (population 1,600,000). Venice has been known as the "La Dominante", "Serenissima", "Queen of the Adriatic", "City of Water", "City of Bridges", and "The City of Light". It is considered by many one of the more beautiful cities in the world.
The city stretches across 118 small islands in the marshy Venetian Lagoon along the Adriatic Sea in northeast Italy. The saltwater lagoon stretches along the shoreline between the mouths of the Po (south) and the Piave (north) Rivers. The population estimate of 272,000 inhabitants includes the population of the whole Comune of Venezia; around 62,000 in the historic city of Venice (Centro storico); 176,000 in Terraferma (the Mainland), mostly in the large frazione of Mestre and Marghera; and 31,000 live on other islands in the lagoon.
The Venetian Republic was a major maritime power during the Middle Ages and Renaissance, and a staging area for the Crusades and the Battle of Lepanto, as well as a very important center of commerce (especially silk, grain and spice trade) and art in the 13th century up to the end of the 17th century.

While there are no historical records that deal directly with the origins of Venice, the available evidence has led several historians to agree that the original population of Venice comprised refugees from Roman cities such as Padua, Aquileia, Altino and Concordia (modern Portogruaro) who were fleeing successive waves of Germanic invasions.

Starting in 166-168, the Quadi and Marcomanni destroyed the main center in the area, the current Oderzo. The Roman defenses were again overthrown in the early 5th century by the Visigoths and, some 50 years later, by the Huns led by Attila. The last and most enduring was that of the Lombards in 568. This left the Eastern Roman Empire; a small strip of coast in current Veneto, and the main administrative and religious entities, were therefore transferred to this remaining dominion. New ports were built, including those at Malamocco and Torcello in the Venetian lagoon.
The Byzantine domination of central and northern Italy was largely eliminated by the conquest of the Exarchate of Ravenna in 751 by Aistulf. During this period, the seat of the local Byzantine governor (the "duke", later "doge") was situated in Malamocco. Settlement across the islands in the lagoon probably increased in correspondence with the Lombard conquest of the Byzantine territories.
In 775-776, the bishopric seat of Olivolo (Helipolis) was created. During the reign of duke Agnello Particiaco (811-827) the ducal seat was moved from Malamocco to the highly protected Rialto (Rivoalto, "High Shore") island, the current location of Venice. The monastery of St. Zachary and the first ducal palace and basilica of St. Mark, as well as a walled defense (civitatis murus) between Olivolo and Rialto were subsequently built here.
In 828, the new city's prestige was raised by the liberation of the relics of St. Mark the Evangelist from Alexandria, which were placed in the new basilica. The patriarchal seat was also moved to Rialto. As the community continued to develop and as Byzantine power waned, it led to the growth of autonomy and eventual independence.

From the ninth to the twelfth century Venice developed into a city state (an Italian thalassocracy or Repubblica Marinara, the other three being Genoa, Pisa, and Amalfi). Its strategic position at the head of the Adriatic made Venetian naval and commercial power almost invulnerable. The city became a flourishing trade center between Western Europe and the rest of the world (especially the Byzantine Empire and the Islamic world).
In the 12th century the foundations of Venice's power were laid: the Venetian Arsenal was under construction in 1104; Venice wrested control of the Brenner Pass from Verona in 1178, opening a lifeline to silver from Germany; the last autocratic doge, Vitale Michiele, died in 1172.
The Republic of Venice seized the eastern shores of the Adriatic before 1200, mostly for commercial reasons, because pirates based there were a menace to trade. The Doge already carried the titles of Duke of Dalmatia and Duke of Istria. Later mainland possessions, which extended across Lake Garda as far west as the Adda River, were known as "Terraferma", and were acquired partly as a buffer against belligerent neighbours, partly to guarantee Alpine trade routes, and partly to ensure the supply of mainland wheat, on which the city depended. In building its maritime commercial empire, the Republic acquired control of most of the islands in the Aegean, including Cyprus and Crete, and became a major power-broker in the Near East. By the standards of the time, Venice's stewardship of its mainland territories was relatively enlightened and the citizens of such towns as Bergamo, Brescia and Verona rallied to the defence of Venetian sovereignty when it was threatened by invaders.
Venice became an imperial power following the Fourth Crusade, which seized Constantinople in 1204 and established the Latin Empire; Venice herself carved out a sphere of influence known as the Duchy of the Archipelago. This seizure of Constantinople would ultimately prove as decisive a factor in ending the Byzantine Empire as the loss of the Anatolian themes after Manzikert. Though the Byzantines recovered control of the ravaged city a half century later, the Byzantine Empire was greatly weakened, and existed as a ghost of its old self until Sultan Mehmet The Conqueror took the city in 1453. Considerable Byzantine plunder was brought back to Venice, including the Winged Lion of St. Mark, symbol of Venice.

Situated on the Adriatic Sea, Venice traded with the Byzantine Empire and the Muslim world extensively. During the late thirteenth century, Venice was the most prosperous city in all of Europe. At the peak of its power and wealth, it had 36,000 sailors operating 3,300 ships, dominating Mediterranean commerce. During this time, Venice's leading families vied with each other to build the grandest palaces and support the work of the greatest and most talented artists. The city was governed by the Great Council, which was made up of members of the most influential families in Venice. The Great Council appointed all public officials and elected a Senate of 200 to 300 individuals. The Senate then chose the Council of Ten, a secretive group which held the utmost power in the administration of the city. One member of the great council was elected "doge", or duke, the ceremonial head of the city, who held the title until his death.
The Venetian governmental structure was similar in some ways to the republican system of ancient Rome, with an elected executive power (the Doge), a senate-like assembly of nobles, and a mass of citizens with limited political power, who originally had the power to grant or withhold their approval of each newly elected Doge. Church and various private properties were tied to military service, though there was no knight tenure within the city itself. The Cavalieri di San Marco was the only order of chivalry ever instituted in Venice, and no citizen could accept or join a foreign order without the government's consent. Venice remained a republic throughout its independent period and politics and the military were kept completely separate, except when on occasion the Doge personally led the military. War was regarded as a continuation of commerce by other means (hence, the city's early production of large numbers of mercenaries for service elsewhere, and later its reliance on foreign mercenaries when the ruling class was preoccupied with commerce).

The chief executive was the Doge (duke), who, theoretically, held his elective office for life. In practice, a number of Doges were forced by pressure from their oligarchical peers to resign the office and retire into monastic seclusion when they were felt to have been discredited by perceived political failure.
Though the people of Venice generally remained orthodox Roman Catholics, the state of Venice was notable for its freedom from religious fanaticism and it enacted not a single execution for religious heresy during the Counter-Reformation. This apparent lack of zeal contributed to Venice's frequent conflicts with the Papacy. Venice was threatened with the interdict on a number of occasions and twice suffered its imposition. The second, most famous, occasion was on April 27, 1509, by order of Pope Julius II (see League of Cambrai).
Venetian ambassadors sent home still-extant secret reports of the politics and rumours of European courts, providing fascinating information to modern historians.

Venice’s long decline started when she sent troops to help defend Byzantine Constantinople against the besieging Turks (1453). After the city fell to Sultan Mehmet II he declared war on Venice. It lasted thirty years and cost Venice much of her eastern Mediterranean possessions. Next, Spain discovered the New World. Then Portugal found a sea route to India, destroying Venice’s land route monopoly. France, England and Holland followed them. Venice’s oared galleys could not traverse the open seas. She was left behind in the race for colonies.
In 1630, the plague killed a third of Venice's 150,000 citizens. Venice began to lose its position as a center of international trade during the later part of the Renaissance as Portugal became Europe's principal intermediary in the trade with the East, striking at the very foundation of Venice's great wealth, while France and Spain fought for hegemony over Italy in the Italian Wars, marginalising her political influence. However, the Venetian empire was a major exporter of agricultural products and, until the mid-18th century, a significant manufacturing center.

By 1303, crossbow practice had become compulsory in the city, with citizens training in groups. As weapons became more expensive and complex to operate, professional soldiers were assigned to help work merchant sailing ships and as rowers in galleys. The company of "Noble Bowmen" was recruited in the later 14th century from among the younger aristocracy and served aboard both war-galleys and as armed merchantmen, with the privilege of sharing the captain's cabin.
Though Venice was famous for its navy, its army was equally effective. In the 13th century, most Italian city states already were hiring mercenaries, but Venetian troops were still recruited from the lagoon, plus feudal levies from Dalmatia and Istria. In times of emergency, all males between seventeen and sixty years were registered and their weapons were surveyed, with those called to actually fight being organized into companies of twelve. The register of 1338 estimated that 30,000 Venetian men were capable of bearing arms; many of these were skilled crossbowmen. As in other Italian cities, aristocrats and other wealthy men were cavalrymen while the city's conscripts fought as infantry.
By 1450, more than 3,000 Venetian merchant ships were in operation, and most of these could be converted when necessary into either warships or transports. The government required each merchant ship to carry a specified number of weapons (mostly crossbows and javelins) and armor; merchant passengers were also expected to be armed and to fight when necessary. A reserve of some 25 (later 100) war-galleys was maintained in the Arsenal. Galley slaves did not exist in medieval Venice, the oarsmen coming from the city itself or from its possessions, especially Dalmatia. Those from the city were chosen by lot from each parish, their families being supported by the remainder of the parish while the rowers were away. Debtors generally worked off their obligations rowing the galleys. Rowing skills were encouraged through races and regattas.

Early in the 15th century, as new mainland territories were expanded, the first standing army was organized, consisting of condottieri on contract. In its alliance with Florence in 1426, Venice agreed to supply 8,000 cavalry and 3,000 infantry in time of war, and 3,000 and 1,000 in peacetime. Later in that century, uniforms were adopted that featured red-and-white stripes, and a system of honors and pensions developed. Throughout the 15th century, Venetian land forces were almost always on the offensive and were regarded as the most effective in Italy, largely because of the tradition of all classes carrying arms in defense of the city and official encouragement of general military training.
The command structure in the army was different from that in the fleet. By ancient law, no nobleman could command more than twenty-five men (to prevent against sedition by private armies), and while the position of Captain General was introduced in the mid-14th century, he still had to answer to a civilian panel of twenty "wise men". Not only was efficiency not degraded, this policy saved Venice from the military takeovers that other Italian city states so often experienced. A civilian commissioner (not unlike a commissar) accompanied each army to keep an eye on things, especially the mercenaries. The Venetian military tradition also was notably cautious; they were more interested in achieving success with a minimum expense of lives and money than in the pursuit of glory.

After 1070 years, the Republic lost its independence when Napoleon Bonaparte on May 12, 1797, conquered Venice during the First Coalition. The French conqueror brought to an end the most fascinating century of its history: It was during the Settecento (1700s) that Venice became perhaps the most elegant and refined city in Europe, greatly influencing art, architecture, and literature. Napoleon was seen as something of a liberator by the city's Jewish population, although it can be argued they had lived with fewer restrictions in Venice. He removed the gates of the Ghetto and ended the restrictions on when and where Jews could live and travel in the city.
Venice became Austrian territory when Napoleon signed the Treaty of Campo Formio on October 12, 1797. The Austrians took control of the city on January 18, 1798. It was taken from Austria by the Treaty of Pressburg in 1805 and became part of Napoleon's Kingdom of Italy, but was returned to Austria following Napoleon's defeat in 1814, when it became part of the Austrian-held Kingdom of Lombardy-Venetia. In 1848-1849 a revolt briefly reestablished the Venetian Republic under Daniele Manin. In 1866, following the Seven Weeks War, Venice, along with the rest of Venetia, became part of Italy.
After 1797, the city fell into a serious decline, with many of the old palaces and other buildings abandoned and falling into disrepair, although the Lido became a popular beach resort in the late 19th century.

Venice is world-famous for its canals. It is built on an archipelago of 118 islands formed by about 150 canals in a shallow lagoon. The islands on which the city is built are connected by about 400 bridges. In the old center, the canals serve the function of roads, and every form of transport is on water or on foot. In the 19th century a causeway to the mainland brought a railway station to Venice, and an automobile causeway and parking lot was added in the 20th century. Beyond these land entrances at the northern edge of the city, transportation within the city remains, as it was in centuries past, entirely on water or on foot. Venice is Europe's largest urban car free area, unique in Europe in remaining a sizable functioning city in the 21st century entirely without motorcars or trucks.
The classical Venetian boat is the gondola, although it is now mostly used for tourists, or for weddings, funerals, or other ceremonies. Most Venetians now travel by motorised waterbuses (vaporetti) which ply regular routes along the major canals and between the city's islands. The city also has many private boats. The only gondolas still in common use by Venetians are the traghetti, foot passenger ferries crossing the Grand Canal at certain points without bridges.
Azienda Consorzio Trasporti Veneziano (ACTV) is the name of the public transport system in Venice. It combines both land transportation, with buses, and canal travel, with water buses (vaporetti). In total, there are 25 routes which connect the city.
Venice is served by the newly rebuilt Marco Polo International Airport, or Aeroporto di Venezia Marco Polo, named in honor of its famous citizen. The airport is on the mainland and was rebuilt away from the coast, however the water taxis or Alilaguna waterbus' to Venice are only a seven minute walk from the terminals.
Some airlines market Treviso Airport in Treviso, 20km from Venice, as a Venice gateway. Some simply advertise flights to "Venice" without naming the actual airport except in the small print.

The sestieri are the primary traditional divisions of Venice. The city is divided into the six districts of Cannaregio, San Polo, Dorsoduro (including the Giudecca), Santa Croce, San Marco (including San Giorgio Maggiore), and Castello (including San Pietro di Castello and Sant'Elena). At the front of the Gondolas that work in the city there is a large piece of metal intended as a likeness of the Doge's hat. On this sit six notches pointing forwards and one pointing backwards. Each of these represent one of the Sestieri (the one which points backwards represents the Giudecca).

The villas of the Veneto, rural residences for nobles during the Republic, are one of the most interesting aspects of Venetian countryside. They are surrounded by elegant gardens, suitable for fashionable parties of high society. Most of these villas were designed by Palladio, and are now a UNESCO World Heritage Site. According to the architects, water around the villas was a very important architectural element because it added more brilliance to the façade.

The buildings of Venice are constructed on closely spaced wood piles, which were imported from Russia, (under water, in the absence of oxygen, wood does not decay) which penetrate alternating layers of clay and sand. Wood for piles was cut in the most western part of today's Slovenia, resulting in the barren land in a region today called Kras, and in two regions of Croatia, Lika and Gorski kotar (resulting in the barren slopes of Velebit). Most of these piles are still intact after centuries of submersion. The foundations rest on the piles, and buildings of brick or stone sit above these footings. The buildings are often threatened by flood tides pushing in from the Adriatic between autumn and early spring.
Six hundred years ago, Venetians protected themselves from land-based attacks by diverting all the major rivers flowing into the lagoon and thus preventing sediment from filling the area around the city. This created an ever-deeper lagoon environment.
During the 20th century, when many artesian wells were sunk into the periphery of the lagoon to draw water for local industry, Venice began to subside. It was realized that extraction of the aquifer was the cause. This sinking process has slowed markedly since artesian wells were banned in the 1960s. However, the city is still threatened by more frequent low-level floods (so-called Acqua alta, "high water") that creep to a height of several centimeters over its quays, regularly following certain tides. In many old houses the former staircases used by people to unload goods are now flooded, rendering the former ground floor uninhabitable. Many Venetians have resorted to moving up to the upper floors and continuing with their lives.

Some recent studies have suggested that the city is no longer sinking,but this is not yet certain; therefore, a state of alert has not been revoked. In May 2003 the Italian Prime Minister Silvio Berlusconi inaugurated the MOSE project (Modulo Sperimentale Elettromeccanico), an experimental model for evaluating the performance of inflatable gates; the idea is to lay a series of 79 inflatable pontoons across the sea bed at the three entrances to the lagoon. When tides are predicted to rise above 110 centimetres, the pontoons will be filled with air and block the incoming water from the Adriatic sea. This engineering work is due to be completed by 2011.
Some experts say that the best way to protect Venice is to physically lift the City to a greater height above sea level, by pumping water into the soil underneath the city. This way, some hope, it could rise above sea levels, protecting it for hundreds of years, and eventually the MOSE project may not be necessary (it will, controversially, alter the tidal patterns in the lagoon, damaging some wildlife). A further point about the "lifting" system would be that it would be permanent; the MOSE Project is, by its very nature, a temporary system: it is expected to protect Venice for only 100 years.
In 1604, to defray the cost of flood relief Venice introduced what could be considered the first example of what became elsewhere a 'stamp tax'. When the revenue fell short of expectations in 1608 Venice introduced paper with the superscription 'AQ' and imprinted instructions which was to be used for 'letters to officials'. Initially this was to be a temporary tax but in fact remained in effect to the fall of the Republic in 1797. Shortly after the introduction of the tax Spain produced similar paper for more general taxation purposes and the practice spread to other countries.

In the 14th century, many young Venetian men began wearing tight-fitting multicoloured hose, the designs on which indicated the Compagnie della Calza ("Trouser Club") to which they belonged. The Senate passed sumptuary laws, but these merely resulted in changes in fashion in order to circumvent the law. Dull garments were worn over colourful ones, which then were cut to show the hidden colours — which resulted in the wide spread of men's "slashed" fashions in the 15th century.
During the 16th century, Venice became one of the most important musical centers of Europe, marked by a characteristic style of composition (the Venetian school) and the development of the Venetian polychoral style under composers such as Adrian Willaert, who worked at San Marco. Venice was the early center of music printing; Ottaviano Petrucci began publishing music almost as soon as this technology was available, and his publishing enterprise helped to attract composers from all over Europe, especially from France and Flanders. By the end of the century, Venice was famous for the splendor of its music, as exemplified in the "colossal style" of Andrea and Giovanni Gabrieli, which used multiple choruses and instrumental groups.
In the same century, Venice was the European capital of printing, being the first city to build a press after Germany, in 1500 having 417 printers. The most important printing office was the Aldine Press of Aldus Manutius, which in the 1499 printed the Hypnerotomachia Poliphili, considered the most beautiful book of Renaissance, and established the modern punctuation, page format and italic type, and he first printed the work of Aristotle.

Canvases (the common painting surface) originated in Venice during the early renaissance. These early canvases were generally rough.

The Venice Art Biennale is one of the most important events in the arts calendar. During 1893 headed by the mayor of Venice, Riccardo Selvatico, the Venetian City Council passed a resolution on 19 April to set up an Esposizione biennale artistica nazionale (biennial exhibition of Italian art), to be inaugurated on 22 April 1894.[8] Following the outbreak of hostilities during the Second World War, the activities of the Biennale were interrupted in September 1942, but resumed in 1948

I love Venice, I have visited 20 times.First in 1973

2008-05-19T11:11:00.000-07:00

I love Venice, I have visited 20 times.First in 1973