Along with Santa Maria Gloriosa dei Frari, this is one of two Franciscan churches in Venice. The site, originally a vineyard (Vigna), was donated by Marco Ziani in 1253 for construction of the monastery. A tiny chapel already on the site recalled the spot where an angel supposedly had pronounced Pax tibi Evangelista meus.. to the shipwrecked apostle St. Mark, patron of Venice. Cloister. The first church at the site was a triple-nave Gothic church by Marino da Pisa. A monastery housed the Frati Minori dell'Osservanza, while the Conventuali occupied the Frari across town. By the 16th century, the church building was in need of repair. Two main impulses led to the reconstruction of this church; one was the reform sweeping the order of the Franciscan Observants, and the other was the wishes of Doge Andrea Gritti, whose family palace neighbored the church. In 1534, this Doge laid the foundation stone for the new church. The nave was roofed over by 1554. The church was designed in Renaissance style by Jacopo Sansovino, with the advice of the Franciscan friar, Fra Francesco Zorzi. Fra Zorzi based the sizing of the various elements on the number three, because of its association with the Trinity: the nave should be nine paces wide and 27 paces long, each side chapel three paces wide. Each chapel was sold for 200-350 ducats to aristocratic donors, raising much needed construction funds, granting the rights to place their coat-of-arms in the chapel and to bury their family there. For the right to be buried in the floor of the chancel in front of the high altar, Doge Andrea Gritti paid 1000 ducats. In 1542, Vettor Grimani and his brother Cardinal Marino acquired rights to build the facade for the church. The three sarcophagi for two cardinals and a patriarch from the Grimani family are no longer in place. The facade of the church was ultimately commissioned from Andrea Palladio (1562) by Giovanni Grimani.

The church of Santa Maria Assunta had stood here since 1155, being built, along with an attached monastery and hospital, by the order of the Crucifers (Crociferi) It was then rebuilt after fires in 1214 and 1514. It was acquired by the Jesuits in 1657, following the suppression of the Crucifers in 1656 for moral turpitude. The Manin family (who have tombs here) later put up the money for the church's reconstruction, and work began in 1715. The gap between acquisition and rebuilding was caused by the Jesuits being expelled from Venice due to the Republic's argument with the Pope over the right to try clergymen convicted of crimes. The Jesuits were never popular in Venice, which might explain this church's remote position, as well as the degree to which the church tries to overawe and impress. The work was entrusted to architect Domenico Rossi (the Manin family architect and Giuseppe Sardi's nephew). When the Jesuits were suppressed in 1773 the monastery became a school and then, in 1808, a barracks. The Jesuits returned in 1844 and still occupy the convent buildings to the north. Those to the south seem to be being converted to housing.

CHURCH OF SANTA MARIA DELLA PIETÀ O DELLA VISITAZIONE (XVIII sec.) Santa Maria AssuntaFirst fondation was of the fifteenth century but its actual aspect is due to architect Massari who completely rebuilt it in the 1745. The facade has a classical style, with a bas-relief above the main entrance representing the La Carità, a work by the sculptor Marsili (1800). Church has a egg-shaped plan with a vaulted ceiling; sideways there're two choirs where once were played concerts by the woman whom used to live in the institute that stands from the side. Church has an absolute importance becouse of the presence of Gian Battista Tiepolo's works, the Fortezza e la Pace on the ceiling of the entry and the Trionfo delle Fede painted on the ceiling of the church, a real masterpiece by Tiepolo representing the crowning of Our Lady by the God's hand.

The Scuola di San Rocco ("Confraternity of St. Roch", protector against plague, which had struck Venice in that century) was established in 1478 by a group of wealthy Venetian citizens, next to the church of San Rocco, from which it takes its name. In January 1515 the project of the building was entrusted to Bartolomeo Bon, although some authorities assign it to his son Pietro Bon. In 1524 his work was continued by Sante Lombardo, who, in turn, three years later was replaced by Antonio Scarpagnino. Following his death in 1549, the last architect to work on the edifice was Giangiacomo dei Grigi, finishing in September 1560. The design was similar to other scuole in Venice, characterized by two halls, one at ground floor level, the other at first floor level. The Sala Terra (lower) has a nave and two aisles, with the entrance from the campo[3] outside. From this hall a stair (with a landing surmounted by a dome) led to the upper storey. The Sala Superiore ("Upper Hall") was used for meetings of the fellows and had a wooden altar. It provided access to the Sala dell'Albergo, which housed the Banca and the Zonta (the confraternity's supervisory boards) n 1564 the painter Tintoretto was commissioned to provide paintings for the Scuola, and his most renowned works are to be found in the Sala dell'Albergo and the Sala Superiore. All the works in the building are by him, or his assistants, including his son Domenico: they were executed between 1564 and 1587. Works in the sala terra are in homage to the Virgin Mary, and concentrate on episodes from her life. In the sala superiore, works on the ceiling are from the Old Testament, and on the walls from the New Testament. Together, they show the biblical story from Fall to Redemption.

The Chiesa di San Salvatore (of the Holy Savior) is a church in Venice, northern Italy. Known in Venetian as San Salvador, is located on the Campo San Salvador, along the Merceria, the main shopping street of Venice. The church was first consecrated in 1177 by Pope Alexander III shortly after his reconciliation with Emperor Frederick Barbarossa at nearby San Marco. The present church, however, was begun in around 1508 by Giorgio Spavento and continued after his death the following year by Tullio Lombardo, Vincenzo Scamozzi and possibly Jacopo Sansovino. They built a large hall church, formed from three Greek crosses placed end to end. Each has a dome with a lantern to let light into the cavernous interior. The facade was added in 1663 by Giuseppe Sardi. Adjoining the church is the former monastery, now the offices of the telephone company, which still contain Sansovino's magnificent cloisters. San Salvador is parish church of a parish in the Vicariate of San Marco-Castello. Other churches in the parish are San Bartolomeo and San Zulian. San Salvador is a small, but still active religious, cultural and social centre.[1] Below the left column on the facade, there is a cannon ball embedded in the bses of the column. It derived from a bombardment in 1849 by Austrian forces in the fort of Marghera, of the independent republic which had been proclaimed by Daniele Manin.

San Zaccaria is a church in Venice, northern Italy, dedicated to St. Zacharias, the father of John the Baptist, whose body it supposedly contains. It is a large edifice, located in the quiet Campo San Zaccaria, just off the waterfront to the south east of St. Mark's basilica. San Zaccaria Altarpiece by Giovanni Bellini. The present church was built in a mixture of Gothic and Renaissance styles between 1444 and 1515. Antonio Gambello was the original architect, who started the building in the Gothic style, but the upper part of the facade and the upper parts of the interior were completed by Mauro Codussi in early Renaissance style. The first church on the site was founded by Doge Giustiniano Participazio in the 9th century and eight doges are buried in the still existing crypt. The original Romanesque church was rebuilt in the 1170s (when the present campanile was built) and was replaced by a Gothic church in the 14th century. The church was attached to a Benedictine monastery, which was visited by the doge annually at Easter in a ceremony which included presentation of the cornu (ducal cap). This tradition was begun after the monks donated land for the extension of the Piazza San Marco in the 12th century. The interior of the church has an apse surrounded by an ambulatory lit by tall Gothic windows, a typical feature of Northern European church architecture which is unique in Venice. The church houses one of the most famous work by Giovanni Bellini, the San Zaccaria Altarpiece. The walls of the aisles are entirely covered with paintings by other artists including Tintoretto, Angelo Trevisani, Giuseppe Salviati, Antonio Balestra, Giovanni Domenico Tiepolo, Palma the Elder and Van Dyck. The artist Alessandro Vittoria is buried in the church, his tomb marked by a self-portrait bust.