Venice's Hidden Art Treasures (Self Guided), Venice

The religious fraternity of Saint Roch was founded in Venice in 1478, at a time when faith and fear often went hand in hand. Seven years later, the saint’s relics arrived from Germany, and donations began pouring in with impressive enthusiasm. By 1489, the group had grown wealthy enough to be promoted to a “Great School” status, the top tier of Venetian confraternities. Then came the plague of 1527. As panic spread throughout the city, so did contributions, with Venetians hoping Saint Roch might offer some protection against the disease. The result was a financial windfall that eventually paid for the impressive building you see today—along with its extraordinary painted interiors...

What sets the Great School of San Roch apart is its decoration. No other Venetian confraternity went quite this far. The entire interior was entrusted to one artist: Tintoretto. Born Jacopo Robusti, he earned his nickname—Tintoretto (which means “Little Dyer”)—from his father’s trade, and then another nickname, Il Furioso (or “The Furious”), from the sheer intensity of his work style. Indeed, his brushwork shocked some contemporaries, thrilled others, and moved at a speed that seemed almost reckless. Even so, this was no quick job. Tintoretto began the project at age 46 and was still painting here three decades later, working almost until his death in 1594.

Over those thirty years, he produced more than fifty monumental canvases, covering walls and ceilings with scenes that feel dramatic, restless, and alive. Critics later called the building one of the most precious in Italy, largely because of this overwhelming cycle. Although the story begins downstairs with the Annunciation, the best place to start is upstairs, in the smaller Sala dell’Albergo. Here, the vast Crucifixion unfolds like a visual storm, offering a clear sense of Tintoretto at full power.

The main upper hall continues with New Testament scenes that ignore polite rules of perspective and lighting. Figures lean, twist, and surge through space, painted by the artist already in his late sixties and still pushing boundaries. Many consider these works among the finest of his career.

One last thing before you go in: this place is often quieter than Venice’s headline attractions, which only adds to its impact. Bring an audio guide—there are no wall texts to help you—and dress warmly, as the rooms can be chilly. Mirrors in the chapter room let you study the ceiling without turning your neck into a work of modern sculpture. And yes, bring your camera, too. Just don’t expect photos to capture the real experience...

Also known as Santa Maria dei Carmelo, this church was constructed in the 14th century but has undergone significant modifications over time. The most notable external feature is the tall bell tower, which was skillfully straightened in 1688 to correct its precarious lean. The interior is spacious, solemn, and lavishly adorned, with gilded statues embellishing the nave, and a series of paintings depicting the history of the Carmelite Order.

The church houses two noteworthy paintings in its side altars. Cima da Conegliano's "Adoration of the Shepherds" (circa 1509) can be found in the second altar on the right (don't forget to bring coins for the light meter). In the second altar on the left, there is Lorenzo Lotto's "Saint Nicholas of Bari with Saints Lucy and John the Baptist" (circa 1529). This artwork showcases the artist's religious devotion and his appreciation for nature. Within the highly detailed landscape on the right side, you can spot a miniature depiction of Saint George slaying the dragon. Adjacent to it is Paolo Veronese's "Holy Family".

Originally, there had been a place of worship on this site since as early as 699 AD. The current church, which is no longer used for religious purposes, was constructed in 1806. Designed in the Neoclassical style, it was the creation of architect Giovanni Antonio Selva, renowned for his work on the famous local opera house, The Phoenix ("La Fenice").

Now occupying the space is the Museum of Musical Instruments, one of the few free museums in the city. The exhibits, all located in a single room, showcase a collection of antique musical instruments, documents, and artifacts related to the musical personalities of Baroque Venice. Among them are renowned figures such as Antonio Vivaldi, the world-famous virtuoso violinist and composer born in Venice in 1678; the Amati family, esteemed violin makers, including Nicolò Amati, who taught Antonio Stradivari and Andrea Guarneri; Giovanni Battista Guadagnini, an esteemed Italian luthier considered one of the greatest craftsmen of string instruments in history, following Antonio Stradivari and Giuseppe Guarneri ("del Gesù"); and Francesco and Matteo Goffriller, master makers of violins, violas, and cellos in the Venetian school, among others.

The collection consists of around 150 instruments dating from the 16th to the 19th centuries, and includes nearly 40 violins, 20 violas, several cellos and double basses, as well as approximately 10 mandolins. Additionally, visitors can explore historical flutes, harps, and other intriguing musical instruments, such as the 17th-century psalterium that was later transformed into a zither and dulcimer.

San Marco may dominate postcards by reputation, but when it comes to Venice’s most recognizable outline, the real scene-stealer is the Basilica of Our Lady of Good Health. Known locally as La Salute, this sweeping white church commands the entrance to the Grand Canal with a dome that feels less like a roof and more like a statement. It stands as the clearest expression of Venetian Baroque ambition—bold, theatrical, and impossible to ignore...

Its origins are tied to crisis rather than confidence. In the early 1630s, a devastating plague swept through Venice, killing nearly a third of the city’s population. In response, the Venetian Republic made a vow: if deliverance came, a church would rise in honor of Our Lady of Good Health. The promise held, and construction followed.

Designed by Baldassare Longhena, then just in his early thirties, the project would define his career. Built on more than 100,000 wooden piles driven into the lagoon floor, La Salute took around fifty years to complete. Longhena devoted most of his life to it and lived just long enough to see the final result in 1681.

Once finished, the basilica's dome quickly became part of Venice’s visual identity. Painters took note. Canaletto and Francesco Guardi returned to it again and again, while artists visiting from abroad—Turner, Monet, and John Singer Sargent among them—used it as a focal point for light, reflection, and atmosphere. The silhouette you see today is not just architecture; it is centuries of artistic attention layered onto stone.

Inside, the basilica continues to surprise. The sacristy doubles as a compact art gallery, featuring works by Titian and Tintoretto. Ceiling paintings such as David and Goliath, Cain and Abel, and Abraham and Isaac unfold overhead, while The Marriage Feast of Cana anchors the space with dramatic intensity. At the high altar, a sculptural group by Josse de Corte delivers pure Baroque theater: the Virgin and Child banish the plague itself, imagined as a defeated old woman retreating from Venice.

Entry to the church is free during opening hours, though the sacristy requires a ticket. From the balcony, views spill back onto the square, and on certain days, a short organ recital follows the service—an unexpected reward for those who linger. Check the schedule in advance, and plan ahead.

Cafés are scarce nearby, so bringing a drink isn’t a bad idea. La Salute rewards patience, timing, and a willingness to look up...

When it comes to star attractions in Venice, Saint Mark’s Basilica leads the pack. This is the city’s most famous landmark, whose story started in the year 832, when the building was created to house the remains of Saint Mark, Venice’s holy patron. According to legend, Venetian merchants smuggled the saint's body out of Alexandria, Egypt, hidden in barrels of pork—an inspired move, given that Muslim guards were unlikely to check. When the relics reached the lagoon, an angel was said to have appeared, declaring that Saint Mark would rest here. That tale alone fueled centuries of imagery, symbolism, and quiet civic pride...

Some 200 years later, Venice decided that the saint deserved something grander. His earlier church was replaced by a new basilica, modeled on the Church of the Apostles in Constantinople. This was no modest upgrade. Marble arrived from across the Mediterranean, and walls and domes were covered in glowing mosaics illustrating scenes from the Old and New Testaments, along with episodes from the lives of Christ, Virgin Mary, and Saint Mark himself. The result was a building that felt more like a vision than a structure...

Time, fashion, and wear inevitably left their mark. Damaged mosaics were repaired, styles changed, and new designs replaced older ones. What you see today is not from a single period but an extraordinary visual archive spanning roughly eight centuries. Some mosaics follow strict Byzantine traditions, while others were designed using drawings by leading Renaissance artists, such as Veronese, Tintoretto, Titian, Paolo Uccello, and Andrea del Castagno.

The latter, who worked here in the mid-15th century, brought along a strong sense of perspective, especially in the Mascoli Chapel’s “Dormition of the Virgin.” Tintoretto later designed the dramatic “Presentation of Jesus at the Temple” in the central nave, while Titian created the Old Testament prophets that decorate the Sacristy vault in the early 1500s. It is less a single artistic statement than a long conversation across time...

Beyond the main space, the basilica hides several optional areas: the Golden Altar, the Treasury, the Museum, and the Crypt. Access to the upper level is especially worthwhile, offering views over the interior mosaics and out across St. Mark’s Square. Entry to the basilica itself is free, though reserving a time slot lets you skip the line.

Come around midday, when the lights briefly switch on and the mosaics glow at full strength. Here, for one short hour, Venice quite literally shines...

The standout feature of this 16th-century Greek church is its leaning campanile, which appears as though it could tumble into the Rio dei Greci at any moment. Inside, you will find the "matroneo", a gallery where, following Greek Orthodox tradition, women would sit separately from the men. Take note of the iconostasis, a screen that separates the sanctuary from the nave, adorned with marble decorations and paintings by Michele Damasceno, a prominent artist from the 16th-century Cretan school. Despite immigrating to Italy and being influenced by Venetian painters like Tintoretto and Paolo Veronese, Damasceno remained strongly rooted in the Greek-Byzantine style. His paintings depict various saints, and on the architrave, you will find depictions of the Twelve Feasts.

Close by, the Scuola di San Nicolò dei Greci, redesigned in 1678, now serves as the Museum of Icons ("Museo delle Icone") of the Hellenic Institute, dedicated to Greek-Byzantine icons and Orthodox sacred vestments. It boasts a collection of 300 icons and numerous manuscripts, including a notable copy of the Alexander Romance, a narrative detailing the life and adventures of Alexander the Great.

Museum