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Adjacent to the modern Santa Lucia railway station, you will find the church of Santa Maria di Nazareth, commonly known as the Scalzi. The term "scalzi" refers to the barefoot Carmelite friars who arrived in Venice during the 1670s and commissioned the construction of this church along the Grand Canal.

The facade, completed by Giuseppe Sardi between 1672-80, is truly striking, adorned with numerous statues; however, it is the vast Baroque interior that will truly leave you awe-inspired. Designed by Baldassare Longhena, the interior exudes a theatrical grandeur, characterized by lavish marble, intricately gilded woodwork, and magnificent sculptures.

While exploring the interior, be sure to gaze up at the ceiling painting titled "Proclamation of the Maternity of the Virgin at the Council of Ephesus", a masterpiece by Ettore Tito dating back to 1934. This artwork replaced an earlier fresco by Tiepolo, sadly destroyed in October 1915 by an Austrian bomb intended for the nearby train station.

Before leaving the church, be sure to visit the lovely gift shop, where you may find delightful mementos or souvenirs to commemorate your visit.

San Simeone Piccolo stands prominently in Venice, directly opposite the train station, making it impossible to miss. Designed by Giovanni Scalfarotto in 1718, it is one of the last churches built in Venice, showcasing the emerging eclecticism of Neoclassical architecture. Its architectural influence draws from both Rome's Pantheon, evident in its fa莽ade and layout, and the grandeur of Santa Maria della Salute church, reflected in the striking exaggeration of its dome.

As you approach the entrance, your attention is captured by the pediment adorned with a marble relief depicting 'The Martyrdom of the Saints', an artwork crafted by Francesco Penso. This portrayal refers to the martyrdom of Saint Simon, believed to be the cousin of Christ, who met his fate at the hands of the Romans due to his Jewish heritage. Inside the church, venture along the long corridors to discover an underground crypt housing an altar. Venturing down there may result in a dimly lit environment where a candle becomes your sole source of illumination; however, for those seeking an extraordinary and adventurous experience, it's a rather unique opportunity.

Situated majestically along the Grand Canal, the Turks' Inn ("Fondaco dei Turchi") is an architectural marvel embodying the captivating Veneto-Gothic style. Its construction traces back to the early 13th century, and in the 1800s it was heralded as "a Byzantine palace", a rare non-ecclesiastical gem in Venice. Once considered one of Europe's most unique and intriguing edifices, it stood as a significant exemplar of Italo-Byzantine architecture. However, in 1869, the government undertook extensive modernization efforts, resulting in a partial reconstruction of this historic landmark.

Having served as a residence for esteemed visitors, the building acquired its epithet "dei Turchi" when the Ottoman Turkish community repurposed it as a fondaco鈥攁 multifunctional establishment combining dwelling, warehouse, and marketplace for Turkish traders. With the decline in Oriental commerce, the fondaco fell into disrepair until Austrian authorities commenced restoration work in the 1850s.

Since 1923, the Turks' Inn has been home to the Natural History Museum ("Museo di Storia Naturale"). After years of meticulous restoration, the museum recently reopened its doors, presenting its exhibits using captivating and contemporary techniques while maintaining the intellectual rigor of its content. The initial sequence of rooms guides visitors through the fossil collection, thoughtfully arranged to trace the evolutionary process鈥攈ighlighting this narrative are fossilized animal tracks ingeniously embedded in the flooring. The museum also features sections dedicated to locomotion, with separate showcases for land, water, and airborne creatures.

Noteworthy are the extraordinary artifacts amassed by Giovanni Miani during his expedition in 1859-60 to discover the source of the Nile, as well as a striking collection of African hunting trophies amassed by Giuseppe de Reali. In a long room overlooking the magnificent Grand Canal, visitors can marvel at a splendid array of cabinets illustrating the evolution of the study of natural history in Venice, including exquisitely grisly specimens of dissected animals. A meticulous reconstruction of a Wunderkammer, or Cabinet of Curiosities, awaits exploration鈥攁 treasure trove of zoological, botanical, and mineralogical wonders akin to the abodes of Renaissance scholars and erudite minds of subsequent centuries.

While the collection is vast and captivating, it is worth noting that the museum caters primarily to Italian-speaking visitors, as the captions are exclusively in Italian.

Why You Should Visit:
Fascinating fossils inside, and excellent showcase of the collection, including the traditional 19th-century presentation for some of the animal collections.
Notably, the museum offers a respite from the heat with its air-conditioned premises, an English guidebook, and an exquisite inner courtyard, all at reasonable prices.

Tip:
If you bring a picnic, the museum grounds provide an enchanting setting to savor your meal and immerse yourself in the ambiance of the surroundings.

Established in the 11th century, but later rebuilt and adorned with a new facade in the 17th century, Sant'Eustachio, also known as San Stae, underwent a comprehensive restoration in 1977-78. While it may appear comparatively modest in size when compared to other churches in Venice, its prime location alongside the Grand Canal and the San Stae vaporetto stop makes it stand out.

The edifice showcases a sculpted Baroque facade adorned with numerous statues and columns, lending it an air of mystery. Inside, instead of extravagant adornments, visitors will discover a collection of paintings beautifully exhibited against the backdrop of pristine white walls. Noteworthy works include Tiepolo's "The Martyrdom of Saint Bartholomew", Pittoni's "Torture of Saint Thomas", Sebastiano Ricci's "The Liberation of Saint Peter", and many others. Ample windows allow natural light to flood the interior, illuminating the exquisite artwork.

Located near the second altar on the left, you will find a bust of Antonio Foscarini, a Venetian nobleman whose fate took a dramatic twist in 1622. Sentenced to death for high treason by the Council of Ten (a secretive council responsible for maintaining political stability), he was executed. However, just ten months later, the same council reversed its decision, posthumously exonerating Foscarini and officially notifying European courts of the annulment of his guilty verdict and death sentence. This extraordinary turn of events continues to shroud Foscarini's involvement in a perplexing tale of Venetian political intrigue.

Once headquarters of the German merchant community in Venice, Fondaco dei Tedeschi is an immense building standing just beside the Rialto Bridge. During its heyday, German traders were the most influential foreign group in the city and had rented this centrally-located building from as early as the 13th century. After being ravaged by fire, the Fondaco was rebuilt in the 16th century as a functional four-story building with a grand inner courtyard. While architecturally it is typically Italian Renaissance, the fundamental concept of the building, much like the word "fondaco" itself, derives from Arabic origins. Similar to the Fondaco dei Turchi, the Fondaco dei Tedeschi encompassed a palace, a warehouse, and restricted living quarters for its inhabitants 鈥� mainly merchants from German cities such as Nuremberg, Judenburg, and Augsburg.

Today, this grand establishment has transformed into one of Venice's largest and resplendent shopping centers, specialized in high-end luxury goods. It comes as no surprise that prices here tend to be on the higher side, but the place is still a popular hangout, always teeming with tourists.

But don't let the crowd put you off 鈥� at least not before you experience the views from the Fondaco's rooftop terrace, fit to blow anyone away. The 4th-floor Event Pavilion serves as an exhibition space and grants free access to the terrace, affording one of the best panoramas of the Grand Canal, a downward view of the Rialto Bridge, and a distant glimpse of Saint Mark's Basilica, situated a kilometer or so away 鈥� quite a different angle from what you can see at ground-level!

Tip:
To access the rooftop terrace, you will need a ticket, which is provided for free but issued for a specific time slot to manage visitor numbers and prevent overcrowding. It is advisable to obtain your ticket on the top floor first and then explore the shopping mall below. Otherwise, you can book your ticket in advance online through the Fondaco's website. If you happen to catch a sunset while up on the roof, your efforts will be well rewarded!

Once a renowned residence-museum, the Grimani Palace was home to a remarkable collection of antiquities amassed by the Grimani brothers, Giovanni and Vettore, who undertook the renovation of their grandfather's palace in the mid-16th century. The result is a magnificent architectural masterpiece that blends Tuscan and Roman elements with the original Venetian style, highlighted by the Roman courtyard and staircase, its most exquisite features.

While many of the Grimani brothers' treasures now reside in the Archaeological Museum, the unfurnished yet captivating rooms of Palazzo Grimani boast rich decorations, including elaborate marble and stucco work, statues, fireplaces, and remarkable frescoes. Noteworthy rooms like the Foliage Room, adorned with trees, fruits, flowers, and birds, and the Dining Room, featuring depictions of wildfowl and fish, are alone worth the visit. Additionally, the palazzo hosts temporary exhibitions, further adding to its allure as a cultural destination.

One of the few squares that open up to the Grand Canal, Saint Samuel's Square ("Campo San Samuele") boasts two remarkable palaces of immense historical, architectural, and cultural significance to Venice: the Grassi Palace ("Palazzo Grassi"), a renowned gallery showcasing contemporary masterpieces, and the Malipiero Palace ("Palazzo Malipiero"), once the residence of the legendary Venetian lover, Giacomo Casanova.

With its origins dating back to the Byzantine era, the Malipiero Palace carries a rich architectural legacy spanning nine centuries. The intricate design of the building reflects the care and passion for the arts exhibited by each successive generation of owners. Presently, the palace has been divided into multiple apartments, while the 2nd floor houses a hotel that still boasts beautifully preserved 18th-century frescoes.

Meanwhile, the historical abode of the Grassi family exudes grandeur befitting a palatial residence, complete with a central courtyard and a magnificent baroque staircase. As is customary for galleries hosting rotating exhibitions, it is advisable to inquire about the current displays.

At the heart of the square stands the Church of Saint Samuel ("Chiesa di San Samuele"), where Casanova received his baptism. Erected in the late 12th century, the church has retained much of its original form and features one of the city's oldest bell towers. Although the church was established in the preceding century, it underwent extensive reconstruction in the late 17th century.

Located opposite the Gallery of the Academy and adjacent to Barbarigo Palace, this structure stands as one of the most magnificent along the Grand Canal. Adorned with intricate Gothic tracery and featuring a beautifully maintained large garden, it is a true sight to behold. A 16th-century creation, the palace showcases a captivating blend of Gothic and Byzantine influences. Today, it houses the headquarters of the Venetian Institute of Science, Letters, and Art.

Over the course of centuries, the palace changed hands many times, leading to internal modernizations and external embellishments in the distinctive Venetian Gothic style, characterized by opulent window frames. The first round of neo-Gothic renovations took place in 1840 under the patronage of the young Archduke of Austria, Frederick Ferdinand, in a bid to enhance the Habsburg presence in Venice. The Archduke resided in the palace until 1878 when it was sold to Baron Raimondo Franchetti, who also initiated renovations, but never made actually the palace his personal residence.

Today, the palace serves various purposes but primarily hosts rotating exhibitions of contemporary art 鈥� which, in turn, provides a refreshing contrast to the prevailing dominance of Renaissance art in the surrounding area. Inside the palace, each room is adorned with magnificent Murano glass chandeliers, some of which are truly monumental.

Why You Should Visit:
In addition to the art and the breathtaking views of the Grand Canal, visitors to the palace can also enjoy a charming on-site cafeteria that offers a delightful lunch menu.

Originally constructed in the 16th century and formerly owned by Venice's largest glass factory proprietors, the Barbarigo Palace stands out for its exterior adorned with Murano glass mosaics. These mosaics, added in 1886, are said to have been inspired by the similarly adorned facade of Saint Mark's Basilica.

Nonetheless, upon completion of the front mosaic, the aristocratic neighbors were less than impressed. They accused the new owners of the palace of being "nouveau riches" with a taste that they considered garish and out of touch with the elegant decay of the surrounding buildings. This criticism was unfair, as many Renaissance palaces along the Grand Canal were once adorned with vibrant polychrome and gilt decorations, showcasing elaborate plaster and stucco work that only enhanced their magnificence.

Today, the Barbarigo Palace stands as one of the most extravagant architectural gems along the Grand Canal. The central frieze mosaic portrays 35 cherubs actively engaged in various artistic endeavors, such as painting, drawing, sculpture, and architecture. Two separate murals commemorate visits by royal figures to Venice: one depicts Holy Roman Emperor Charlemagne conversing with Titian on the scaffold of Saint Mark's Basilica during a visit in the 16th century, while the other portrays French King Henry III arriving on the Doge's barge accompanied by a team of glass-makers in 1574.

Above these scenes, the portraits of two renowned Venetian painters, Titian and Tintoretto, can be found. One portrait is crowned by the lion of Saint Mark, symbolizing Venice, while the other features the rooster, symbolizing Murano.

While San Marco may hold the title of Venice's most famous church in name, it is Santa Maria della Salute that claims the city's most iconic image and silhouette. Affectionately known as La Salute, this grand historical church is largely recognized as the pinnacle of the city's Baroque movement.

La Salute is the youngest among the so-called "plague churches". Back in the early 1630s, Venice was ravaged by a plague that claimed the lives of nearly 100,000 people, roughly one-third of the lagoon's population. In gratitude for deliverance from this calamity, the Republic of Venice made a vow to construct and dedicate a church to Our Lady of Good Health (or Deliverance), hence the name "Salute" in Italian. Resting on a foundation of over 100,000 wooden piles, the church was designed in the fashionable Baroque style of the time by Baldassare Longhena, who devoted half a century to this grand project and lived long enough to witness its completion in 1681.

The dome of La Salute became an important addition to the Venetian skyline and soon became emblematic of the city, inspiring painters both local, such as Canaletto and Francesco Guardi, and foreign, such as J. M. W. Turner, Claude Monet and John Singer Sargent.

The basilica itself offers an intriguing visit. Its sacristy houses a small art gallery featuring notable works such as Tintoretto's "Marriage Feast of Cana" and allegorical ceiling paintings by Titian, the eminent figure of the 16th-century Venetian school. These include masterpieces like "David and Goliath", "Abraham and Isaac", "Cain and Abel", as well as eight circular paintings depicting the "Doctors of the Church and the Evangelists". Also by Titian are "The Descent of the Holy Ghost", located in the third altar to the left of the entrance, and the altarpiece of the sacristy portraying "Saint Mark Enthroned with Saints Cosmas, Damian, Sebastian, and Roch."

A highly symbolic statuary group called "The Queen of Heaven expelling the Plague" (1670) by the Flemish sculptor Josse de Corte stands out at the high altar. This theatrical Baroque masterpiece depicts the Virgin (portrayed as a kneeling young woman) and Child rescuing Venice from the clutches of the plague (portrayed as an old woman).

Entrance to the Basilica is always free during the opening hours, although a ticket is required to enter the main sacristy (museum). It is advisable to secure your tickets in advance to avoid long queues. Once inside, you can indulge in a unique view of the adjoining square from the balcony and, if fortunate, attend a 30-minute organ recital following the service. Be sure to check the events program in advance for schedules and enjoy this special experience.

Tip:
As there are limited cafes in the vicinity, it is advisable to bring a drink with you during your visit.