Famous Churches in Venice, a journey through centuries of art
Venice is home to more than 250 churches, both consecrated and deconsecrated. While the active churches continue to serve as places of worship, taken together, they represent one of the world’s most extraordinary collections of religious, artistic, and cultural heritage.
Walking into a Venetian church is often like entering a treasure chest. One is surrounded by mosaics, marble, stucco, gold leaf, and funerary monuments — the final resting places of doges and nobles who spared no expense in securing their place in eternity. But the real marvel lies in the fact that many of these churches are also masterpieces of Renaissance and Baroque art, created by the greatest minds of their time.
Between the 14th and 17th centuries, architects like Palladio, Longhena, Scarpagnino, and Lombardo shaped the city’s skyline, while painters and sculptors such as Tintoretto, Titian, Veronese, Bellini, Sansovino, Lotto, and Palma il Giovane adorned their interiors with works of lasting power and beauty. Even the smallest neighborhood chapel might house a hidden masterpiece, tucked away from the tourist trail but glowing in the filtered light of a stained-glass window.
In each of Venice’s six sestieri, you’ll find religious buildings of outstanding artistic value — many of which we’ve already highlighted in our neighborhood guides. But here, we invite you to take a closer look at ten of the most remarkable churches in Venice — the unmissable ones — complete with little-known stories that make these monuments feel more human than divine.
St. Mark’s Basilica
At the heart of Venice stands its most iconic church: Basilica di San Marco. For more than a thousand years, this has been the symbolic center of Venetian religious and political life — a place where East meets West in a dazzling blend of Byzantine, Gothic, and Renaissance elements.
Originally built in the 9th century, the Basilica’s story begins with a legend: two Venetian merchants, Buono da Malamocco and Rustico da Torcello, smuggled the relics of St. Mark the Evangelist out of Alexandria, Egypt, in 828. Once brought to Venice, St. Mark was proclaimed the new patron saint, displacing St. Theodore — and a new church was erected in his honor.
The Basilica we see today is largely the result of 12th-century reconstruction, with countless additions over the centuries. Its golden mosaics, covering over 8,000 square meters, are unrivaled in Europe. From the atrium to the high altar, the mosaics trace biblical history, including episodes from the Old Testament, the life of Christ, and — naturally — scenes from the life of St. Mark himself.
Inside, one of the greatest treasures is the Pala d’Oro, a breathtaking golden altarpiece encrusted with over 1,900 precious stones. But the true heart of the church is the St. Mark’s Treasury, a collection of hundreds of exquisite objects — chalices, incense burners, Byzantine goblets, filigree ornaments, Islamic-inspired lamps, and reliquaries — many brought to Venice by merchants, diplomats, and crusaders over centuries.
A Story Worth Knowing
The Treasury has endured theft, fire, and looting. Its worst blow came from Napoleon, who ordered that many of its gold and silver pieces be melted down for bullion. Even more intriguing is the foiled heist of the 15th century, when a Cretan man allegedly spent months digging a tunnel beneath the Basilica in an attempt to reach the treasure. He was discovered before ever breaking through — and legend has it that he never saw the light of day again.
Basilica of Santi Giovanni e Paolo
Ask a local for directions to the Basilica of Santi Giovanni e Paolo, and you might hear, “You mean San Zanipòlo?” This nickname, a blend of the saints’ names in Venetian dialect, hints at the church’s deep roots in the city’s identity.
Built by Dominican friars between 1246 and 1430, the basilica is the most majestic example of Venetian Gothic architecture. During the height of the Serenissima, it became one of the city’s most revered churches — the final resting place of 25 Doges, as well as generals, artists, and noble families. Their desire to be buried here speaks volumes about the basilica’s status.
Inside, visitors are greeted by monumental tombs, many adorned with life-size statues, which offer a visual history of Venice’s artistic evolution. Among the most impressive are those of Doge Pietro Mocenigo, Andrea Vendramin, and Marco Corner, as well as a sculptural masterpiece by Tullio Lombardo. Between the chapels and nave, you’ll also find notable works by Giovanni Bellini, Paolo Veronese, and Lorenzo Lotto.
Curiosities Worth Knowing
The basilica’s origin is tied to a dream: Doge Jacopo Tiepolo, whose own monument stands within the church, reportedly envisioned doves bearing crosses flying above a future church. Interpreting this as a divine sign, he granted the land to the Dominicans.
A darker tale surrounds the tomb of Marcantonio Bragadin, the Venetian commander tortured and executed by the Ottomans after defending Famagusta, Cyprus. His flayed skin, stuffed with straw and carried through the streets in mockery, was later recovered and buried here with full honors — a story as haunting as it is heroic.
Church of San Zaccaria
Tucked away in the Castello district, the Church of San Zaccaria is a quiet gem of Venetian architecture. From the outside, it impresses with a graceful Renaissance façade, while inside, it surprises visitors with a glowing Gothic interior — a rare and beautifully executed blend.
Built in the 15th century, the church contains several large canvases from the 16th to 18th centuries, most notably Giovanni Bellini’s serene Madonna and Child Enthroned with Saints. In the Chapel of San Tarasio, visitors will also find frescoes by Andrea del Castagno, one of the few Tuscan painters active in Venice at the time, along with works by Antonio Vivarini, Giovanni d’Alemagna, and Francesco da Faenza.
San Zaccaria was originally part of a Benedictine convent, closely tied to the Venetian Doges. Each year, a solemn procession would escort the Zoia — the Doge’s ceremonial cap, encrusted with jewels — to the church as part of a public ritual of devotion.
One architectural highlight is the deambulatorio, a narrow corridor encircling the altar — a feature more commonly found in Northern European churches, and one of the few examples in Venice.
A Little-Known Chapter
By 1456, the original church had fallen into disrepair. The nuns, aware of its significance, wrote directly to Pope Callixtus III, seeking help. The response was more than generous: the Pope funded not only the restoration of the old church but the construction of an entirely new one, built alongside it. Ingeniously, the two structures were fused into a single, majestic complex — a symbol of both continuity and renewal.
Basilica del Santissimo Redentore – The Symbol of Rebirth
Each year on the third Sunday of July, Venice celebrates the Feast of the Redeemer (Festa del Redentore)—a moment of reflection, gratitude, and festivity marking the city’s deliverance from the plague of 1576, which claimed thousands of lives, including that of the great painter Titian.
In 1577, the Venetian Senate entrusted the creation of a church to commemorate this rebirth to Andrea Palladio, one of the most revered architects of the Renaissance. The result was the Basilica del Santissimo Redentore, a serene masterpiece of spiritual and architectural purity.
The church, built on Giudecca Island, was assigned to Capuchin friars, who received special permission from the Senate to prohibit burials inside the church—a reflection of their Franciscan ideals of poverty and simplicity. Its placement on the water’s edge facing St. Mark’s Basin was intentional, making it a visible symbol of hope for the entire city.
From the outside, the Basilica showcases Palladio’s classical style, with a clean, harmonious façade. The white marble interior is defined by majestic simplicity, drawing visitors into a sacred space of calm and symmetry. Among its artistic treasures are paintings by Jacopo Tintoretto, Pietro Vecchia, and Jacopo Palma il Giovane, as well as a striking altarpiece—The Baptism of Christ by Paolo Veronese.
A Closer Look
Palladio’s architectural blueprint for this church became so influential that it was later replicated in the construction of the Cathedral of SS. Peter and Paul in Villafranca di Verona. The church’s wide staircase, too, was purpose-built to accommodate the massive crowds expected during public ceremonies—most famously during the Redeemer Feast, when a temporary floating bridge connects the church to the city in one of Venice’s most moving annual rituals.
Basilica of San Giorgio Maggiore
Standing proudly on its own island just across from St. Mark’s Square, the Basilica of San Giorgio Maggiore is a beacon of balance, light, and classical beauty. Designed, like its counterpart on Giudecca, by Andrea Palladio, the church is part of a larger monastic complex that includes the historic Benedictine monastery, founded in 982 AD and now home to the Giorgio Cini Foundation.
The Foundation has played a major role in reviving the island, promoting cultural events, conferences, and artistic research, and breathing new life into one of Venice’s most tranquil spaces.
The basilica itself, completed after Palladio’s death, remains one of the best expressions of Roman-inspired Palladian architecture. Its white marble façade gives way to a light-filled interior adorned with masterpieces by Tintoretto, Jacopo Palma il Giovane, Sebastiano Ricci, and others. Particularly remarkable are Tintoretto’s Last Supper and The Gathering of Manna, both located in the presbytery, and Carpaccio’s St. George Slaying the Dragon.
Sacred and Historical Significance
The church holds a special place in history: in 1799, Pope Pius VII was elected within its walls. The stove used to burn the conclave ballots is still preserved in the chapel, a quiet testament to the church’s political and spiritual legacy.
The Benedictine monks still care for the complex today. They offer hospitality to visitors wishing to stay on the island and organize Gregorian chant sessions, which bring a deeply meditative atmosphere to Sunday liturgies.
Don’t Miss the Bell Tower
Though less famous than its counterpart in St. Mark’s Square, the bell tower of San Giorgio Maggiore, rebuilt in 1790 after collapsing in 1774, offers one of the best panoramic views in Venice. At 20 meters shorter than the Campanile di San Marco, it is often preferred by visitors seeking fewer crowds, wider vistas, and a more peaceful experience—not to mention the lower entry fee (5 euros versus 8).
Basilica di Santa Maria della Salute
At the very tip of Dorsoduro, on a narrow spit of land known as Punta della Dogana, rises one of Venice’s most beloved and visually striking churches: the Basilica di Santa Maria della Salute. Completed in 1630, this monumental white-marble structure commands the skyline, facing both St. Mark’s Basin and the Giudecca Canal.
Commissioned by the Venetian Senate as an offering to the Virgin Mary in gratitude for the end of the devastating plague of 1630, which claimed over 80,000 lives, the church was designed by Baldassarre Longhena—and remains one of the finest examples of Venetian Baroque architecture.
Its octagonal floor plan, massive dome, and sculptural embellishments give the church a distinctive silhouette that has inspired painters for centuries. From Canaletto to Turner, artists have immortalized it in their depictions of Venice.
Inside, the Basilica holds treasured works by Tintoretto, Titian, and Luca Giordano, while the high altar—adorned with expressive marble figures by Giusto Le Court, a Flemish sculptor—is one of the most striking in the city. Visitors who arrive on a Saturday afternoon are often treated to a live organ performance on the majestic instrument crafted by Francesco Dacci Jr. in 1782.
A Venice Tradition and a Lasting Symbol
The Festa della Salute, held every November 21, is one of the city’s most cherished religious celebrations. On this day, Venetians cross a temporary bridge over the Grand Canal on foot to give thanks for deliverance from the plague—a tradition that has endured for nearly four centuries.
And here’s a lasting detail: Venice’s gondolas have been painted black ever since 1630, in remembrance of the victims of the plague and the sorrow it left behind. The Basilica thus not only represents architectural brilliance, but a city’s collective act of healing.
Basilica di Santa Maria Gloriosa dei Frari
Located in Campo dei Frari in the San Polo district, the Basilica di Santa Maria Gloriosa dei Frari—known simply as the Frari—is one of Venice’s most significant religious buildings. With its massive Gothic façade and richly decorated interior, the church is second only to St. Mark’s in religious importance.
Founded by Franciscan friars in the early 13th century, the church underwent several expansions before reaching its current form in the 16th century. Today, it remains a center of both spiritual life and cultural enrichment, regularly hosting classical and symphonic concerts in its vast and acoustically rich nave.
Inside, the Frari is a gallery of Renaissance masterpieces, featuring:
- Titian’s Assumption of the Virgin, a towering altarpiece once deemed too daring by the monks, who reconsidered when a foreign ambassador offered a handsome sum for it
- His other great work here, the Pesaro Madonna
- Giovanni Bellini’s Triptych of the Madonna and Saints
- A wooden statue of St. John the Baptist by Donatello
- Additional works by Sansovino, Bartolomeo Bon, and others
The basilica is not just a monument to visual art but to musical heritage as well.
A Cathedral of Sound
The Frari hosts three pipe organs, each from a different era. Two of them, the Piaggia organ (1732) and the Callido organ (1795), face each other along the central nave and are still used to perform double-chorus compositions during major liturgical celebrations. The third, a Mascioni organ from 1928, is positioned behind the main altar.
Together, they make the Frari one of the most remarkable spaces in Venice—not only for those who love sacred art, but also for those moved by sacred sound.
Church of San Sebastiano
Tucked away in the quiet Campo San Sebastiano in the Dorsoduro district, this modest-looking church offers one of Venice’s most extraordinary surprises: the largest and most cohesive body of work by Paolo Veronese anywhere in the city.
Built in 1455 and completed a century later by architect Scarpagnino, the Church of San Sebastiano may not appear imposing from the outside, but inside, it transforms into a temple of art. Veronese, one of the giants of Venetian painting, poured his heart and talent into the decoration of this space, turning it into what many consider his spiritual and artistic mausoleum.
The most remarkable feature is the ceiling cycle depicting the story of Esther, taken from the Book of Esther (2nd century BC). This biblical tale, in which a young Jewish queen saves her people from destruction, is rarely found in Christian iconography, making Veronese’s choice both unique and bold. The vividness, movement, and dramatic storytelling across the ceiling panels are a testament to the artist at the height of his powers.
Beyond Veronese’s work, the church also houses paintings by Titian, Tintoretto, Jacopo Palma il Giovane, and sculptures by Jacopo Sansovino — a remarkable concentration of talent in one intimate space.
A Historical Footnote
The current building replaced an earlier church from 1393, and records show that construction began in 1506. Unusually, every detail of the expansion — donations, contracts, payrolls, materials, even Veronese’s receipts — were preserved in a file titled Process n. 7. It offers a rare glimpse into the administrative and financial workings of Renaissance Venice, documenting the collaborative process that brought the church to life.
Church of Santa Maria dei Miracoli
Nicknamed “the casket” by Venetians, the Church of Santa Maria dei Miracoli is one of the most charming and refined buildings in the city. Hidden in the Cannaregio district, near Campo dei Miracoli, this jewel-box church dazzles with its harmonious proportions and rich decoration.
Built by Pietro Lombardo and his workshop in the late 15th century, the church was commissioned by Angelo Amadi, a nobleman who wished to house a miraculous image of the Virgin and Child. The painting, now displayed above the main altar, quickly attracted a following, and the church became a site of Marian devotion.
From the outside, the church is covered in polychrome marble, much of it left over from the construction of St. Mark’s Basilica. Inside, the space glows with gilded woodwork, soft pastel stone, and a spectacular barrel-vaulted ceiling decorated with gilded coffers. A short staircase leads up to the elevated presbytery, often bathed in ethereal light — making it one of the most sought-after churches in Venice for weddings.
Adding to its unique charm, the church’s left wall emerges directly from the canal, giving it a dreamy, floating quality.
A Beloved Place of Prayer
For centuries, Santa Maria dei Miracoli has been a pilgrimage site for those devoted to Mary, Mother of Jesus. The church is especially beloved in May, the month dedicated to Mary, when the faithful bring flowers and prayers daily. Despite its small size, the church remains deeply spiritual and intimately tied to Venetian religious life.
Church of Madonna dell’Orto
In a quiet corner of the Cannaregio district, far from the crowds of central Venice, stands the Church of Madonna dell’Orto, a place of faith with a curious and somewhat ironic origin. Built in the 14th century, the church was initially part of a monastery run by the Humiliati, a religious order that preached Christian humility and poverty.
However, the church happened to rise in a bustling area filled with wealthy merchants and traders, eager to donate generously. As a result, the monastery and its friars quickly amassed considerable wealth and influence — quite the opposite of the simplicity they once promoted.
Originally, the church was dedicated to St. Christopher, patron of travelers. But over time, the monks introduced into the church a statue of the Virgin Mary that had gained great popularity among Venetians. It had previously been kept in a nearby garden, and as devotion to the statue grew, so too did the church’s new identity. Locals began calling it the Church of Our Lady of the Garden (Madonna dell’Orto), and the name stuck. Today, only a statue of St. Christopher at the entrance remains to remind visitors of its original dedication.
A Hidden Artistic Treasure
Despite its modest profile, the church houses an exceptional collection of artworks. Chief among them are the powerful paintings of Jacopo Tintoretto, who lived nearby and is buried in the church. His dramatic use of light and space fills much of the interior. Other works by Cima da Conegliano, Giovanni Bellini, and Jacopo Palma il Giovane add to the richness of this sacred space.
The rose window above the main portal, flanked by two arched windows, is especially striking. Its design incorporates red and white stone in a subtle yet refined color pattern, adding a touch of uniqueness to the otherwise brick Gothic façade.
A Church That Remembers the Land
Located at the northern edge of Cannaregio, the church stands in what was once a patchwork of gardens and orchards, hence its name. The square in front, Campo dell’Orto, and nearby Campo dei Mori and Campo di Sant’Alvise, preserve original Venetian paving — a rare sight in the modern city. The elegant design of white stone strips and herringbone-set bricks has endured for centuries, connecting visitors not only to art and faith but to the living fabric of Venice’s past.