Categoria: Venice

The Gallerie dell’Accademia in Venice is one of the most important Italian museums. It hosts  an extraordinary collection of Venetian works from 1300 to 1700: there are works by Bellini, Giorgione, Carpaccio, Tiziano, Tiepolo, Hayez, Longhi, Tintoretto and Veronese.

Here is preserved the famous Vitruvian Man drawing by Leonardo da Vinci. The complex where the museum is housed, is an extraordinary work of architecture formed by the Church of Santa Maria dellaCarità, the Convento dei Canonici Lateranensi and the great School of Charity.

Founded  in 1750 with educational purposes, the Academy of Fine Arts was the art school in Venice. Like other  Italian Academies (Brera and Bologna), the Academy also had the task of collecting and preserving works of art as example and inspiration for students. With the fall of the Venetian Republic and the invasion by the French troops of Napoleon Bonaparte in 1797, religious orders were abolished and many churches were raided. Many masterpieces were sent to the  Louvre in Paris and another part was sent to the  Academy Gallery of Fine Arts of Brera in Milan. Other works were lost  and was sold to private individuals. It was in this context that Gallery Accademyof Fine Arts became a defence against further Venetian works theft

With a Napoleonic decree in 1807, it was founded the Academy of Fine Arts in Venice (evolution of the existing Academy of Painters and Sculptors already active since 1750) which is housed in the complex of Charity.

After a first attempt to collect representative works of the greatest Italian and foreign schools of painting, it was decided to give priority to the Venetian artistic production: nowadays Galleriedell’Accademiaare the most important collection of masterpieces of Venetian school.

Since 2004 the whole complex is dedicated to works of art. In 12 halls are collected all the paintings that over the centuries have been purchased by the museum, donated by collectors or recovered from churches. Since the 1800are part of the collection the Feast in the House of Levi by Paolo Veronese, the Lion Polyptych by Lorenzo Veneziano with the Annunciation, the Paradise of Giambono and triptychs of Alberegno and Jacobello del Fiore, the San Girolamo by Pierodella Francesca and Virgin between two Saints by Bellini, the Madonna of small trees, Madonna with the Child by Giovanni Bellini and the Venetian scenes by Pietro Longhi. In 1822, fromthe graphic collection of Giuseppe Bossi – arrived the famous Vitruvian Man and from the  Emperor Francis Joseph the St. George by Mantegna, the Portrait of a young man by Memling  and Old Lady by  Giorgione. After the annexation to the Italian State it was added to the collection the Tempest by Giorgione.

Murano is one of the main islands of the lagoon and is famous for its blown glasstradition. For centuries, the life of this small island  was all around the furnaces in which are made glass objects sold worldwide. Murano is like a small Venice , made up of 9 small islands linked by bridges in the middle of the Grand Canal.

You can visit Murano  in a few hours, walking between low houses and colourful bridges on the canals, shops selling blown glass. Tourists can visit the Museo del Vetro, the Chiesa di San Donato and the furnaces to see up close the blown glass manufacturing.

The extraordinary ability to create the glass is, in fact, a very difficult and dangerous  activity . This is why in 1295 theSerenissima di Venezia decided the transfer of all the furnace for glass blown manufacturing on the island of Murano. The buildings of the time were entirely of wood, and it’s easy to imagine the damage that fires could made to such  large buildings. But the idea of ​​transferring the glass blown manufacturing on the island was also  to control and prevent the diffusion of information concerning the main techniques. The glassmakers were forced to live on the island and could leave Venice only after special permission. The whole activity was under Venetian direct control. Despite the censorious control of the Republic many Masters managed to escape, bringing their art around the world. You can get there by boat in  40 minutes from Venice (Line 4.1 or 4.2).

The Museum del Vetro in Murano,  housed inside the ancient Palace of the Bishops of Torcello, was founded to overcome the biggest crisis in the industry that Venice has ever known. The start of production of Swarovski crystals, the fall of the Republic and the years of foreign domination stopped the market of the blown glass. After the crisis period, the mayor of Murano Antonio Colleoni and the Abbot Zanetti managed to create an archive with all the documents available on the island’s history. In a short time the archive  was transformed into a museum thanks to the large amount of donations from the furnaces owners that from the second half of the nineteenth century went back to work at the highest levels. Following the annexation of the island to Venice, which took place in 1923, the Museum became part of the Venetian Civic Museums and then was also added an archaeological section, whose finest examples come from the necropolis of Enona (Zara). The enrichment of the Museum continues also today, through the purchase of works and the donation by the Masters going to enlarge the contemporary collection. The visit to the museum allows you to admire the extraordinary glass masterpieces from 300 to 900 and learn more about how to make glass.

Murano had once  18 constructions : Churches, convents and monasteries before the advent of Napoleone Bonaparte on the island. After the Emperor’s passage it only remained three of them, the others were destroyed and looted, and today you can still see the remains. The first church to visit is the Basilica dei Santi Maria e Donato. Originally dedicated to the Virgin, it took the name of St. Donato when, in 1125 were brought the mortal remains of the saint, after the conquest of the island. Very important is the mosaic floor, with the same story as the one of the Basilica di San Marco.

The second church to visit is Santa Maria degliAngeli, on the Grand Canal, built after  the donation of Ginevra Gradenigo, of a piece of land to the abbess Boncio to build a church dedicated to Our Lady. The church  was abandoned for a long period, after which a part of it was used as a hospital for the poorest families.

The Third Church is dedicated to St. Pietro Martire. Destroyed by a fire,  it was completely rebuilt in 1551 and dedicated to the Apostle founder of the Church of Rome. Here are preserved many of the works stolen from other churches to protect them from the looting made by Napoleon.

The glass lamps with the famous “almonds” are among the most important objects of the Church, as well as the paintings “The Doge Barbarigo presented to the Virgin and Cherub” and ‘ “Assumption of the Virgin and Saints”. Don’t miss the monument  dedicated to the Grand Chancellor of the Republic of Venice Giovan Battista Ballarin.

Despite its internal position, the beautiful building with marble from Istria, thanks to a sumptuous game of mirrors, is able to project its light in the center of the Bocca di Porto del Lido and it is an important aid for boats  during the night. Since the Middle Ages the lighthouse had the task of illuminating the lagoon, always using a game of mirrors to enhance its light that was  generated by fires lit on top of the lighthouse, which was not in marble, but made by wood.

The colourful houses are the hallmark of the island of Burano. They are the attractions that people want to see and also the memory that remains most impressed when they leave the island. Legend tells that in the past the fishermen had coloured their homes to differentiate them from each other and to be able to recognize their own from a distance, coming back from the beach after fishing.

Burano is a very quiet island, you can visit in one day and its famous for the peace and colors of the landscape. When you arrive on the island by water, you will see the statue of RemigioBarbaro, Burano artist. Walking along the main road you arrive to the square of the island, the Galuppi Piazza with its shops where you can observe its lace manifacturing, an activity for which Burano is known around the world.  Here you can find typical buranelle taverns, where you can enjoy fresh fish or one of the traditional sweets of the island such as the “Bussolà”, made of flour, butter and fresh eggs. In Piazza Galuppi there is the Church of St. Martin Bishop which houses a painting by Gian Battista Tiepolo. In this square you can admire the island’s most important structures such as the Town Hall, the Chapel of Santa Barbara, the Istrian stone well and beautiful Museo del Merletto. Walking into the characteristics streets of Burano you can find the “Bepi House”, a colorful building that attracts many tourists.

The Lace manufacturing is one of the island’s secular activities. The legend tells that a  fisherman who was already fiancé resisted to  the call of the mermaids. The queen of the mermaids, was impressed by the man’s loyalty and gave him a veil made by the foam of the sea. When the bride put on her veil, her beauty was such charming that all the women of the island, envious of the gift,tried to imitate it using needle and string. In this way on the island began the traditional lace manufacturing.

The Museo del Merletto since 1995 belongs to the complex of the Venetian Civic Museums and is based in the School of Lace of Burano, founded by Countess Marcello in 1872. Since 1978 he began a careful search to rediscover and enhance the art . The rich archive of the School has drawings and documents that form the basis of the Museum. Today there are more than one hundred precious pieces,  dating back until the sixteenth century. You can still watch the handmade works of the lace makers who, every morning, go to the museum to give the opportunity to the tourists to observe closely their technique.

The legend about the island’s saints testifies about a certain “cold war” between the islands of Venice. In the eleventh century  arrived on the banks of Burano a floating stone box. It is said that it came from Mangozaand that not even the strongest men of the island were able to carry it on land. Only four children were able to carry it on the length using the force of their innocence.Inside the box were found the bodies of the Sant’ Albano, San Domenico, and Sant’Orso and a wine barrel also said the “Bottazzodi S. Albano”. So it was that the three Saints, along with Santa Barbara became the patron of the island. Legend tells  that the discovery of the relics created a feeling of  envy among  the inhabitants of Murano, who stole the “Bottazzodi S. Albano”, considering it miraculous. Today the bottle of wine is kept in the Church of San Donato in Murano.

Another legend tells about the relic of St. Alban. This relic, consisting of a gold arm was fused during the plague in order to pay its costs and replaced by a copper arm that, over time, has darkened. It was for this called “the pegola” arm, by which the Venetians and the Murano, mocked the island’s inhabitants. But there is another version of the legend :  a jeweller landed on the island, asked to the inhabitants of the island to merge all of Burano gold to build one arm with precious mineral in honour of St. Alban . Citizens, very devoted, agreed immediately. But once summer came the Burano people realized the scam: from the gold arm began to trickle a dark substance, confirming that the relic was not made by gold, but filled with fish. The jeweller  disappeared and Burano inhabitants became the laughing stock of the islanders.

Venetians use to call it “canalazzo”,  and  itcross the city dividing the centre in two parts.  The Grand Canal is even older than Venice, and the construction of the city was adapted on the route of it. it’s 4 kilometers long and it has a S reverse shape and the two  extreme points are Ponte dellaLibertà and the Bacino di San Marco. The Grand Canal is 5 meters deep in some points and in some others can be 70 meters width. A boat tour on the Grand Canal will give you the chance to admire all the beauty of the Republic of Venice.

From Saint Lucia railway station, in front of Piazzale Roma you can take a ride in a boat that leads to Piazza San Marco, crossing the Grand Canal. The city view from the water is great: you’ll admire the  doorways of the rich palaces along the canal entrances that will leave you breathless. Once boarded, near the station you can see the dome of the Church of San Simeon Piccolo. Proceeding along the Grand Canal, you’ll pass under the Scalzi Bridge designed in the 30’s to let the pedestrian crossing from one bank of the Canal without being forced to reach Rialto. Once passed the bridge, your attention will be caught by two imposing buildings on either side of the channel. The Gothic-style building on the right bank is the Ca’ Foscari, while the left one is the Ca’ CalboCrotta. Proceeding  on the tour  you will come across a very stylish and elegant gray building of the XVI century. Here it was hidden one of the most famous “brothels” of Venice. It is precisely in this area that the Biagio legend is developed, the grim butcher who had his shop on the shore, which then became Biagio Riva, and it is said that it was in charge to get rid of unwanted children conceived in the brothel.

Walking along the main stream of Torcello, in an area where today there are only orchards, you’ll see  the Devil’s Bridge. According to local legend, it was built in one night by the devil and is unfinished. In fact, the legend of the devil who builds bridges is widespread throughout Italy and dates back to the time when you could not explain how a bridge could remain standing!

Just in front of the Fondaco it stands the Municipal Casino, housed in the elegant Ca’ Vendramin Calergi. Then you can see the last residence of Richard Wagner, the German composer who ended his days in Venice, the Ala Grimaldi which is characterized by the small garden. The boat then arrives in San Stae, where on the left bank there is  Ca’Pesaro, the current seat of the Modern Art Museum and the Museum of Oriental Art and the particular Ca’ Corner della Regina. Continuing the route,  you’ll  start to see the Rialto Bridge, the walkway on the Grand Canal that has accompanied, over the centuries, the city’s development.  The Grand Canal then arrive into the city, where the buildings have hot and vibrant colors and are one closed to another. After the stop at Rialto, you’ll notice  Ca’ DolfinManin, home of the Bank of Italy, which is followed by the residence of the poet Pietro Bembo, called Ca’ Bembo.

Continuing on the route you’ll see one of the most bizarre buildings of Venice, the Ca ‘Bernardo, built with first and secondasymmetric floor. Then you will find Ca’ MocenigoVecchia, sixteenth century palace in which  was arrested Giordano Bruno. The navigation then leads into the southern way of the Canal, and the past and present face each other:  there is Ca’Rezzonico, owned by Pope Clement XIII family, now the Museum of Venetianeighteenth Century, and on the left Palazzo Grassi bought by the French magnate Francois Pinault which housed the exhibition of some works from its rich collection. Then you reach the Accademia Bridge, the walkway that leads from the center of the city the art gallery made in a desecrated Monastery of Saint Mary of Charity. On the left of the bridge there is  Ca’Franchettiwhile on the right side the imposing balcony with sculptures and large stair of Ca’ Venierdei Leoni, home of the Peggy Guggenheim Museum. The Dome of Santa Maria della Salute, designed as a votive offering to the entire city by the end of the terrible plague in  1630. Overcoming the Dogana del Mar and its special flag with the shape of Lady Fortuna on a golden globe, the right bank goes down into the sea, while on the left there is San Marco Square whose frame is made from the ColonneGemelle,  Palazzo Ducale, the Campanile, and the beautiful Clock Tower.

In Venice there are 354 bridges, each one  offering a different view of the city, a particular framing, a piece of modern history such as the Liberty Bridge, other a piece of ancient times, such as the Rialto Bridge.

In the lagoon city, it has always been inevitable and necessary  to build bridges  in order to facilitate transfers from one bank to another. But Venetians were able to transform a need into an opportunity of embellishment of an already beautiful city. The two banks of the Grand Canal, the main waterway of the city, are connected by three bridges: the Rialto, the Accademiaand the Scalzi. To these we have to add the Calatrava Bridge, the most recent one. All the other bridges  connect other parts of the city, passing over the more than 150 channels that run through Venice.

In 1181 NicolòBarattieri was commissioned to build the first connection between the two banks of the Grand Canal. The bridge was built using the disused vessels and called “Ponte della Moneta”, probably because of the proximity of the Venetian Mint. After the development of the Rialto district, where it was moved the market, it became necessary to give more stability to the construction, because of the large traffic. So  in 1250 the boats were replaced by a more solid wood structure. The bridge had a movable central section, that was raised to allow the passage of the highest boats. Following these works, the “Ponte della Moneta” became the “Rialto Bridge”, thus indicating the direction to take to enter into the market. But the wooden structure, required a meticulous maintenance. To support the costs of the works were built two rows of shops along the banks, and the profits were used for the Rialto Bridge. In 1310 the fire made  by Bajamonte Tiepolo men  created  several doubts on the material used for construction. After 1444 and two collapses of the bridge people began to evaluate several projects which included the construction of a stone bridge.

The current bridge was completed in 1591, designed by Antonio da Ponte ( “ponte” in Italian means “Bridge” so who better than him!). After the Venetian authorities had rejected proposals by famous architects such as Sansovino and Vignola. The new Rialto Bridge is not far from the former wooden structure with two ramps and a central section, all covered by an elegant portico. There were many  controversy in the construction  by some architects who considered it dangerous. The Rialto Bridge, however, has survived many the centuries and today looks like the majestic example of Venetian architecture.

Because of the growing popularity of Venice , people understood they had to increase the connections between the two banks of the Grand Canal. In 1854 it was inaugurated the new passage, called Ponte dell’Accademia. The new bridge was made  completely of iron, but the proximity to water and high humidity, underlined soon the unhappy choice of material. A competition was held for the construction of new public work, but the ambitious winning project was never realized. In its place it was built by engineer Eugenio Mozzi an anonymous wooden bridge, opened in 1933. The structure visible today is virtually the original, to which were added various metal parts, to improve its stability. It is certainly one of the most beautiful bridges of Venice, but the view that you can appreciate is really very impressive: the Grand Canal is admired for several kilometres and on its banks you can watch itscolored buildings  with the sky as background and the Dome of the beautiful Church of Santa Maria della Salute.

The “Ponte degliScalzi” is the first land connection that you meet when you come into town from the station. A few years after the construction of the “Academy” Bridge, it was decided the construction of the third land connection between the two banks of the Grand Canal. The “Scalzi Bridge” was built in 1858 to facilitate the connection with the train station, commissioned by the recently Habsburg . Known also with the name of “the Station Bridge,” had a significant renovation in 1934, when it was replaced by  a new one built in Istrian stone, widely used materials in Venice, by engineer Eugenio Mozzi, who built  also the “Accademia Bridge”. The railing supported by low columns,  in Istria stone, gives to the bridge a royal and elegant aspect  well harmonized with the surrounding landscape.

Many other bridges will allow you to walk around,  looking at the Venice canals and beautiful buildings from different angles, but they will also tell you  the story of the city and the transformations that, over the centuries, it had.  For example the “Freedom Bridge” which connect Venice to the mainland and was designed by engineer Miozzi in 1931. Opened in 1933 by Benito Mussolini as the “Littorio Bridge” it allowed, for the first time in history, to reach Venice by car, connecting it to the mainland. After the end of World War II, the bridge was renamed “Freedom Bridge” in honor of the liberation from the Nazis. Other bridges  tell about customs  of Venetian society. The “Bridge of Pungi” for example on which the inhabitants of the factions of St. Peter and St. Nicholas of Mendicoli used to fight . The team with more men on the bridge was the winner . The “Ponte delleTette”, however, placed in Carampane area, a real red light district back in time, so called because of prostitutes looking out from their apartments, showed their breasts to potential customers on the bridge.

Another bridge that represent a tradition is the Bridge of Sighs. It connects  Palazzo Ducale to the PrigioniNove. The legend tells  that the indicted people, once convicted, had to cross the bridge to go to jail, and from that point they used to sigh looking at Venice. Today couples from around the world use to kiss and they think  that the bridge is the one of lovers…

Just about 10 permanent residents live nowadays in Torcello island that was one of the first island of the lagoon to be inhabited since the seventh century. Here you can find some hotels, Locanda Cipriani and almost nothing else. Despite this, or perhaps because of it, today Torcello island is a favoritedestination by  tourists. The peace  and the important historical and archaeological sites, make it the ideal place where to spend a day without the hustle and crowds of Venice.

Probably after  the transfer of the Catholic Bishop of Altino on the island,  in 638, much of the population has followed the high priest in Torcello. The following year he founded the Basilica of Santa Maria. The Torcello economy experienced its most profitable time between the seventeenth and the year one thousand when the ability of the people in the trade allowed a  growth of businesses on the island. The success of Venice  of later centuries  accentuated the decline of Torcello. Even the bishop left the island in the mid-1600s and moved to Murano. With the decline of Torcello, the island was turned into a huge cave with buildings left in ruins that were dismantled to provide bricks and building material for building development in Venice. Fortunately some resistant residents allowed to preserve the medieval forms of the Basilica and the Church of Santa Fosca, avoiding the rebuilding in  Renaissance or Baroque style.

Walking along the main stream of Torcello, in an area where today there are only orchards, you’ll see  the Devil’s Bridge. According to local legend, it was built in one night by the devil and is unfinished. In fact, the legend of the devil who builds bridges is widespread throughout Italy and dates back to the time when you could not explain how a bridge could remain standing!

Side by side, the churches of Santa Maria and Santa Fosca look  like two bastions through the passage of time and the decadence of Torcello. Santa Maria dates back to 639 but it was rebuilt and dedicated to Santa Maria Assunta in 1008 when  it was decided to add  the three naves. The church contains a beautiful mosaic on the back wall, of  Venetian-Byzantine school of 1100-1200 and depicting the Apotheosis of Christ and the Last Judgment. Even the floor of the church is an exceptional mosaic, probably dating from the ninth century.

The history of Torcello Museum began in 1870, when the  Prefect Torelli of Venice bought the building of the Council with the aim of collecting  ancient objects found both on the islands and on the mainland of Venice. Today the small museum has an exceptional archaeological collection that tells a lot about the history of Torcello and the origins of Venice itself.

The Basilica of San Marco represents the east  architectural style in Italy. Inspired by the Church of the Twelve Apostles in Constantinople, it was built from 1063 on the site where it  was the first and the second church dedicated to San Marco, later destroyed by fire. The body of the saint, in fact, had been brought to Venice after being stolen in Alexandriad’Egitto by two Venetian merchants.

Since then the church was constantly enriched with marble and mosaics, enlarged and decorated with columns and statues, to become the masterpiece as  we can see today. The façade and the interior of the church are decorated with many valuable artefacts that Venetians have brought here from all over the world, making it a gift to the most representative monument of the whole city. In particular, in 1204 an army of crusaders left for the conquest of Constantinople. The mission was accomplished thanks to the vessels that the Republic of Venice gave to the army. The subsequent looting of the city, gave to Venice a large amount of materials.

The Basilica di San Marco  is 76.5 meters long and 62.60 wide, and reaches a maximum height of 48 meters. This is explained by the particular nature of Venice, built on a sandy bottom, where it was preferred to build lighter buildings. Outside it is still visible one of the original mosaics  and copies of bronze horses captured by Venetian at the  Hippodrome of Constantinople during the Fourth Crusade. Always from looting comes  “The tetrarchs”, thered porphyry block  with the figures of the “tetrarchs”. The Venetians call them “the four thieves” because according to the legend  there would be 4 thieves surprised by San Marco while stealing the treasure inside and they were petrified and walled next to the Porta della Carta.

More than 8,000 square meters of mosaics decorate the interior with the shape of a Greek cross with 5 domes. The mosaics tell stories from the Bible, allegorical figures, episodes from the life of Christ, the Virgin, St. Mark and other saints. The particular contrast between the light  in the upper part and the darkness of the lower part refers to the division between earthly and unearthly area typical of Byzantine constructions. The light reflected from the mosaics in the upper part gives a heavenly connotation. The bottom instead, made by marble and the floor often represents the earthly world.

In the Byzantine churches the iconostasis is a transenna used to separate the presbytery from the nave. In San Marco there is an extraordinary iconostasis work of the Venetian brothers Pierpaolo and JacobellodalleMasegne formed by 14 marble statues of the 12 Apostles with the Virgin and San Marco. The sculptures are in white marble but have a brown color made by  the candles that were lit during the centuries between the figures.

At the center of the presbytery of the basilica there is the tabernacle that encloses the high altar where the body of San Marco is preserved. The ancient green marble ciborium is supported by four columns decorated with scenes of the canonical gospels and the apocryphal. Ninety scenes commented by an inscription with episodes from the life of the Virgin and Jesus.

The Italian term “Pala “, comes from the Latin “palla” (fabric)which  indicates the frieze behind the altar to beautify  the area reserved for the ritual. That main altar of the Basilica of San Marco is one of the most beautiful in the world, finely embroidered and adorned with gold and silver. The “Pala” was ordered by the Doge OrdelaffoFalier in 1102, and represents, in addition to Christ and the Doge who commissioned, the Old and New Testament scenes. The “Pala” is opened only for liturgical celebrations of the Basilica, since its creation.  During other period of the year,  this beautiful work of art remains covered by an alterpiece called “Feriale”, made up of a painting on wood which entirely covers the “Pala d’Oro”. The currently visible coverage  was processed in the first half of the fifteenth century by a late Gothic master.

Piazza San Marco is the only area called “Square”. All other areas with this form are called “fields.” The square structure consists of three areas: the square, the Piazzetta San Marco and the PiazzettadeiLeoncini.  The imposing Basilica of the area and the bell tower , the Campanile, can offer you a truly picturesque architectural show.

The Piazzetta San Marco is an extension of the space in front of the Palazzo Ducale, where is built the library. It’s the first view people coming by the sea have about the “marciana area”  framed by two huge columns. The Bacino San Marco is the piece of  the lagoon  on which overlooks the pier of the Ducal Palace. The PiazzettadeiLeoncini is on the left of the Basilica of San Marco and takes its name from the two statues that surround the area.

Always a favourite destination of all tourists visiting Venice, Piazza San Marco is close to the Basilica of San Marco. The current shape of the square had many renovation works during the centuries . Originally the area was a large vegetable garden crossed by the Rio Batario, which joined the stream of Cavalletto and the one of the Zecca.

The Ducal Palace, which had the shape of a medieval castle with defensive towers, was completely surrounded by a canal that protected the access. In the area of ​​the square there was a dock used for loading and unloading of goods. With the launch of the construction of the Basilica, after  the arrival of the relics of St. Mark in 828, the area started to become the centre of political and social activities in Venice. The terrible fire of 976 nearly destroyed the Basilica and the entire area around the building was severely damaged. But the importance of the Church and of the city centre inspired many renovation works  in just two years to rebuild the Basilica and the Castle.

In  1172 it was realized the expansion of the Piazzetta for new  buildings. The new  Piazza San Marco was bordered by the Church of San Geminiano and the two monumental columns that represent the entrance to the area. In 1264 it was made the herringbone paving of the square, exactly sixty years after the arrival of the Horses of San Marco and the statue of Tetrachi, made in marble taken with the capture of Constantinople by the Fourth Crusade.

From 1495 to 1517 were built the “ProcuratieVecchie” so called because  were staying there the Procurators of St. Mark. The imposing structure consists of a portico of 50 arches and 100 windows. In these years it was also built the Clock Tower, which borders one side of the building. At the same time started some works to clean warehouses and gardens that still occupied the area of the square. Subsequently, Jacopo Tatti, known as Sansovino, built the Loggetta and the beautiful building of the Library. The work of renewal of the square proceeded until 1640, when “New Procuratie were built.” The area was completed iin 1807, when under Napoleonic rule, was demolished the Church of San Geminiano and ProcuratieNuovissime were built, better as known as the ” Napoleonic Wing”. In 1902 the Campanile di San Marco  suddenly collapsed destroying the Loggia and a part of the Library. Construction was started and completed in a very short time, using the same pieces of plaster, still in good condition.