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163 images Created 22 Apr 2014

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  • Basilica di San Marco church,view from the belltower.
    em7140604.jpg
  • San Marco square with the Clock Tower view  from San Marco belltower.
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  • San Marco square view  from San Marco belltower.
    em7140585.jpg
  • San Marco square with the Clock Tower view  from San Marco belltower.
    em7140586.jpg
  • San Marco square view  from San Marco belltower.
    em7140593.jpg
  • San Marco square, The Palazzo dei Dogi and San Giorgio Maggore island, view  from San Marco belltower.
    em7140595.jpg
  • San Marco square, The Palazzo dei Dogi and San Giorgio Maggore island, view  from San Marco belltower.
    em7140596.jpg
  • San Marco square, The Palazzo dei Dogi and San Giorgio Maggore island, view  from San Marco belltower.
    em7140603.jpg
  • San Marco square. Palazzo dei Dogi, the Venice's Republic government seat.
    em7140611.jpg
  • San Marco square. Palazzo dei Dogi, the Venice's Republic government seat.
    em7140615.jpg
  • Basilica di San Marco church, the exterior of the west facade. Mosaics with the history of the relics of Saint Mark from right to left fill the lunettes of the lateral portals; the first on the left is the only one on the façade still surviving from the 13th century. The formal subject is the Deposition of the Relics, but it is probably depicted as the crowd leaving San Marco after the ceremonial installation of a new doge.
    em7140518.jpg
  • San Marco square. Palazzo dei Dogi, the Venice's Republic government seat. In the foreground the columns of San Marco lion (right) and San Todaro (left).
    em7140543.jpg
  • San Marco square. Palazzo dei Dogi, the Venice's Republic government seat with the columns of San Marco lion (left) and San Todaro (right).
    em7140546.jpg
  • San Marco square. Palazzo dei Dogi, the Venice's Republic government seat with the columns of San Marco lion (left) and San Todaro (right).
    em7140548.jpg
  • Basilica di San Marco church, the exterior of the west facade. Mosaics with the history of the relics of Saint Mark from right to left fill the lunettes of the lateral portals; the first on the left is the only one on the façade still surviving from the 13th century. The formal subject is the Deposition of the Relics, but it is probably depicted as the crowd leaving San Marco after the ceremonial installation of a new doge.
    em7140521.jpg
  • San Marco Basilica. The church is one of the best known examples of Italo-Byzantine architecture. The Horses of Saint Mark, installed on the balcony above the portal of the basilica date to Classical Antiquity and were sent to Venice as part of the loot sacked from Constantinople in the Fourth Crusade (1204).  After a long restoration,  the originals have been kept in St Mark’s Museum inside the basilica and the horses on the facade of the cathedral are bronze replicas.
    em7140535.jpg
  • San Marco Basilica. The church is one of the best known examples of Italo-Byzantine architecture. The Horses of Saint Mark, installed on the balcony above the portal of the basilica date to Classical Antiquity and were sent to Venice as part of the loot sacked from Constantinople in the Fourth Crusade (1204).  After a long restoration,  the originals have been kept in St Mark’s Museum inside the basilica and the horses on the facade of the cathedral are bronze replicas.
    em7140536.jpg
  • San Marco Basilica. The church is one of the best known examples of Italo-Byzantine architecture. The Horses of Saint Mark, installed on the balcony above the portal of the basilica date to Classical Antiquity and were sent to Venice as part of the loot sacked from Constantinople in the Fourth Crusade (1204).  After a long restoration,  the originals have been kept in St Mark’s Museum inside the basilica and the horses on the facade of the cathedral are bronze replicas.
    em7140539.jpg
  • Basilica di San Marco church, the exterior of the west facade.
    em7140542.jpg
  • San Marco Basilica. The church is one of the best known examples of Italo-Byzantine architecture. The Horses of Saint Mark, installed on the balcony above the portal of the basilica date to Classical Antiquity and were sent to Venice as part of the loot sacked from Constantinople in the Fourth Crusade (1204).  After a long restoration,  the originals have been kept in St Mark’s Museum inside the basilica and the horses on the facade of the cathedral are bronze replicas.
    em7141267.jpg
  • San Marco Basilica, on the back the Clock Tower. The Horses of Saint Mark, installed on the balcony above the portal of the basilica date to Classical Antiquity and were sent to Venice as part of the loot sacked from Constantinople in the Fourth Crusade (1204).  After a long restoration,  the originals have been kept in St Mark’s Museum inside the basilica and the horses on the facade of the cathedral are bronze replicas.
    em7140576.jpg
  • San Marco Basilica, on the back the Clock Tower. The Horses of Saint Mark, installed on the balcony above the portal of the basilica date to Classical Antiquity and were sent to Venice as part of the loot sacked from Constantinople in the Fourth Crusade (1204).  After a long restoration,  the originals have been kept in St Mark’s Museum inside the basilica and the horses on the facade of the cathedral are bronze replicas.
    em7140577.jpg
  • San Marco Basilica, on the back the Clock Tower. The Horses of Saint Mark, installed on the balcony above the portal of the basilica date to Classical Antiquity and were sent to Venice as part of the loot sacked from Constantinople in the Fourth Crusade (1204).  After a long restoration,  the originals have been kept in St Mark’s Museum inside the basilica and the horses on the facade of the cathedral are bronze replicas.
    em7140578.jpg
  • Basilica di San Marco church, the exterior of the west facade. Mosaics with the history of the relics of Saint Mark from right to left fill the lunettes of the lateral portals; the first on the left is the only one on the façade still surviving from the 13th century. The formal subject is the Deposition of the Relics, but it is probably depicted as the crowd leaving San Marco after the ceremonial installation of a new doge.
    em7140507.jpg
  • Basilica di San Marco church, the exterior of the west facade. Mosaics with the history of the relics of Saint Mark from right to left fill the lunettes of the lateral portals; the first on the left is the only one on the façade still surviving from the 13th century. The formal subject is the Deposition of the Relics, but it is probably depicted as the crowd leaving San Marco after the ceremonial installation of a new doge.
    em7140508.jpg
  • Basilica di San Marco church, the exterior of the west facade. Mosaics with the history of the relics of Saint Mark from right to left fill the lunettes of the lateral portals; the first on the left is the only one on the façade still surviving from the 13th century. The formal subject is the Deposition of the Relics, but it is probably depicted as the crowd leaving San Marco after the ceremonial installation of a new doge.
    em7140509.jpg
  • Basilica di San Marco church, the exterior of the west facade. Mosaics with the history of the relics of Saint Mark from right to left fill the lunettes of the lateral portals; the first on the left is the only one on the façade still surviving from the 13th century. The formal subject is the Deposition of the Relics, but it is probably depicted as the crowd leaving San Marco after the ceremonial installation of a new doge.
    em7140513.jpg
  • Basilica di San Marco church, the exterior of the west facade. Mosaics with the history of the relics of Saint Mark from right to left fill the lunettes of the lateral portals; the first on the left is the only one on the façade still surviving from the 13th century. The formal subject is the Deposition of the Relics, but it is probably depicted as the crowd leaving San Marco after the ceremonial installation of a new doge.
    em7140515.jpg
  • Basilica di San Marco church, the exterior of the west facade. The St Mark's dream,, when a angel told him that he would be buried in the islands of the Venice lagoon.
    em7140532.jpg
  • San Marco square. Palazzo dei Dogi, the Venice's Republic government seat.
    em7140553.jpg
  • San Marco square. Palazzo dei Dogi, the Venice's Republic government seat.
    em7140554.jpg
  • San Marco square. Palazzo dei Dogi, the Venice's Republic government seat.
    em7140555.jpg
  • San Marco square. Palazzo dei Dogi, the Venice's Republic government seat.
    em7140556.jpg
  • San Marco square. Palazzo dei Dogi, the Venice's Republic government seat with the column of San Todaro.
    em7140557.jpg
  • San Marco square. Palazzo dei Dogi, the Venice's Republic government seat.
    em7140558.jpg
  • San Marco square. Palazzo dei Dogi, the Venice's Republic government seat.
    em7140748.jpg
  • St Mark square.
    em7140571.jpg
  • San Marco square. The Portrait of the Four Tetrarchs is a porphyry sculpture group of four Roman emperors dating from around 300 CE. Since the Middle Ages it has been fixed to a corner of the façade of St Mark's Basilica in Venice. It probably originally formed part of the decorations of the Philadelphion in Constantinople, and was removed to Venice in 1204 or soon after.
    em7140723.jpg
  • San Marco square. The Portrait of the Four Tetrarchs is a porphyry sculpture group of four Roman emperors dating from around 300 CE. Since the Middle Ages it has been fixed to a corner of the façade of St Mark's Basilica in Venice. It probably originally formed part of the decorations of the Philadelphion in Constantinople, and was removed to Venice in 1204 or soon after.
    em7140727.jpg
  • San Marco square. The Portrait of the Four Tetrarchs is a porphyry sculpture group of four Roman emperors dating from around 300 CE. Since the Middle Ages it has been fixed to a corner of the façade of St Mark's Basilica in Venice. It probably originally formed part of the decorations of the Philadelphion in Constantinople, and was removed to Venice in 1204 or soon after.
    em7140729.jpg
  • San Marco square. The Portrait of the Four Tetrarchs is a porphyry sculpture group of four Roman emperors dating from around 300 CE. Since the Middle Ages it has been fixed to a corner of the façade of St Mark's Basilica in Venice. It probably originally formed part of the decorations of the Philadelphion in Constantinople, and was removed to Venice in 1204 or soon after.
    em7140732.jpg
  • San Marco square. The Portrait of the Four Tetrarchs is a porphyry sculpture group of four Roman emperors dating from around 300 CE. Since the Middle Ages it has been fixed to a corner of the façade of St Mark's Basilica in Venice. It probably originally formed part of the decorations of the Philadelphion in Constantinople, and was removed to Venice in 1204 or soon after.
    em7140734.jpg
  • San Marco square. The Portrait of the Four Tetrarchs is a porphyry sculpture group of four Roman emperors dating from around 300 CE. Since the Middle Ages it has been fixed to a corner of the façade of St Mark's Basilica in Venice. It probably originally formed part of the decorations of the Philadelphion in Constantinople, and was removed to Venice in 1204 or soon after.
    em7140735.jpg
  • San Marco square. The Portrait of the Four Tetrarchs is a porphyry sculpture group of four Roman emperors dating from around 300 CE. Since the Middle Ages it has been fixed to a corner of the façade of St Mark's Basilica in Venice. It probably originally formed part of the decorations of the Philadelphion in Constantinople, and was removed to Venice in 1204 or soon after.
    em7140739.jpg
  • San Marco square. The Portrait of the Four Tetrarchs is a porphyry sculpture group of four Roman emperors dating from around 300 CE. Since the Middle Ages it has been fixed to a corner of the façade of St Mark's Basilica in Venice. It probably originally formed part of the decorations of the Philadelphion in Constantinople, and was removed to Venice in 1204 or soon after.
    em7140746.jpg
  • Sam Marco square.
    em7129509.jpg
  • San Marco square. On the back Sa Giorgio island.
    em7129503.jpg
  • San Marco square, gondolas piers. On the back San Giorgio Maggiore island.
    em7140670.jpg
  • San Marco square, gondolas piers. On the back San Giorgio Maggiore island.
    em7140674.jpg
  • San Marco square, gondolas piers.
    em7140709.jpg
  • San Marco square, gondolas piers.
    em7140621.jpg
  • San Marco square, gondolas piers.
    em7140656.jpg
  • Around San Marco square.
    em7140713.jpg
  • Around San Marco square.
    em7140715.jpg
  • Gondola in a canal near San Marco square.
    em7140721.jpg
  • Cannaregio Canal.
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  • Cannaregio Canal.
    em7140756.jpg
  • Grand Canal, on the back St Geremia church.
    em7140761.jpg
  • Grand Canal, on the back St Geremia church.
    em7140765.jpg
  • Grand Canal, St Geremia church.The apse of the church faces the Grand Canal and the edifice is popular as the seat of the cult of Saint Lucy of Syracuse, whose remains are housed inside.
    em7140766.jpg
  • Grand Canal, St Geremia church.The apse of the church faces the Grand Canal and the edifice is popular as the seat of the cult of Saint Lucy of Syracuse, whose remains are housed inside.
    em7140773.jpg
  • Grand Canal.
    em7140776.jpg
  • Grand Canal, St Geremia church.The apse of the church faces the Grand Canal and the edifice is popular as the seat of the cult of Saint Lucy of Syracuse, whose remains are housed inside.
    em7140779.jpg
  • St Geremia church.The edifice is popular as the seat of the cult of Saint Lucy of Syracuse, whose remains are housed inside.
    em7140789.jpg
  • St Geremia church.The edifice is popular as the seat of the cult of Saint Lucy of Syracuse, whose remains are housed inside.
    em7140790.jpg
  • St Geremia church.The edifice is popular as the seat of the cult of Saint Lucy of Syracuse, whose remains are housed inside.
    em7140794.jpg
  • St Geremia church.The edifice is popular as the seat of the cult of Saint Lucy of Syracuse, whose remains are housed inside.
    em7140813.jpg
  • St Geremia church.The edifice is popular as the seat of the cult of Saint Lucy of Syracuse, whose remains are housed inside.
    em7140822.jpg
  • St Geremia church.The edifice is popular as the seat of the cult of Saint Lucy of Syracuse, whose remains are housed inside.
    em7140828.jpg
  • St Geremia church.The edifice is popular as the seat of the cult of Saint Lucy of Syracuse, whose remains are housed inside.
    em7140829.jpg
  • The Basilica di Santa Maria Gloriosa dei Frari, usually just called the Frari and completed in 1538, is one of the greatest churches in the city,
    em7140838.jpg
  • The Basilica di Santa Maria Gloriosa dei Frari, usually just called the Frari and completed in 1538, is one of the greatest churches in the city,
    em7140842.jpg
  • The Basilica di Santa Maria Gloriosa dei Frari, usually just called the Frari and completed in 1538, is one of the greatest churches in the city,
    em7140844.jpg
  • The Basilica di Santa Maria Gloriosa dei Frari, usually just called the Frari and completed in 1538, is one of the greatest churches in the city,
    em7140846.jpg
  • The Basilica di Santa Maria Gloriosa dei Frari, completed in 1538, is one of the greatest churches in the city. The Altar of the Relics contains one of the most remarkable relics of Venice: the Precious Blood of Christ. This relic, much venerated in the church of Santa Cristina of Constantinople, came into possession of Melchiorre Trevisan who gave it to the Frari in  1480. The three bas-reliefs made by Cabianca in Carrara marble, representing the Crucifixion, the Deposition and Burial of Jesus Christ. In the two lower panes are placed angels with symbols of the Passion.
    em7140850.jpg
  • The Basilica di Santa Maria Gloriosa dei Frari, completed in 1538, is one of the greatest churches in the city. The Altar of the Relics contains one of the most remarkable relics of Venice: the Precious Blood of Christ. This relic, much venerated in the church of Santa Cristina of Constantinople, came into possession of Melchiorre Trevisan who gave it to the Frari in  1480. The three bas-reliefs made by Cabianca in Carrara marble, representing the Crucifixion, the Deposition and Burial of Jesus Christ. In the two lower panes are placed angels with symbols of the Passion.
    em7140864.jpg
  • The Basilica di Santa Maria Gloriosa dei Frari, completed in 1538, is one of the greatest churches in the city. The Altar of the Relics contains one of the most remarkable relics of Venice: the Precious Blood of Christ. This relic, much venerated in the church of Santa Cristina of Constantinople, came into possession of Melchiorre Trevisan who gave it to the Frari in  1480. The three bas-reliefs made by Cabianca in Carrara marble, representing the Crucifixion, the Deposition and Burial of Jesus Christ. In the two lower panes are placed angels with symbols of the Passion.
    em7140883.jpg
  • The Basilica di Santa Maria Gloriosa dei Frari, completed in 1538, is one of the greatest churches in the city. The Altar of the Relics contains one of the most remarkable relics of Venice: the Precious Blood of Christ. This relic, much venerated in the church of Santa Cristina of Constantinople, came into possession of Melchiorre Trevisan who gave it to the Frari in  1480. The three bas-reliefs made by Cabianca in Carrara marble, representing the Crucifixion, the Deposition and Burial of Jesus Christ. In the two lower panes are placed angels with symbols of the Passion.
    em7140886.jpg
  • The Basilica di Santa Maria Gloriosa dei Frari, completed in 1538, is one of the greatest churches in the city. The Altar of the Relics contains one of the most remarkable relics of Venice: the Precious Blood of Christ. This relic, much venerated in the church of Santa Cristina of Constantinople, came into possession of Melchiorre Trevisan who gave it to the Frari in  1480. The three bas-reliefs made by Cabianca in Carrara marble, representing the Crucifixion, the Deposition and Burial of Jesus Christ. In the two lower panes are placed angels with symbols of the Passion.
    em7140897.jpg
  • The Basilica di Santa Maria Gloriosa dei Frari, completed in 1538, is one of the greatest churches in the city. The Altar of the Relics contains one of the most remarkable relics of Venice: the Precious Blood of Christ. This relic, much venerated in the church of Santa Cristina of Constantinople, came into possession of Melchiorre Trevisan who gave it to the Frari in  1480. The three bas-reliefs made by Cabianca in Carrara marble, representing the Crucifixion, the Deposition and Burial of Jesus Christ. In the two lower panes are placed angels with symbols of the Passion.
    em7140907.jpg
  • The Basilica di Santa Maria Gloriosa dei Frari, completed in 1538, is one of the greatest churches in the city. The Altar of the Relics contains one of the most remarkable relics of Venice: the Precious Blood of Christ. This relic, much venerated in the church of Santa Cristina of Constantinople, came into possession of Melchiorre Trevisan who gave it to the Frari in  1480. The three bas-reliefs made by Cabianca in Carrara marble, representing the Crucifixion, the Deposition and Burial of Jesus Christ. In the two lower panes are placed angels with symbols of the Passion.
    em7140915.jpg
  • The Basilica di Santa Maria Gloriosa dei Frari, completed in 1538, is one of the greatest churches in the city. The Altar of the Relics contains one of the most remarkable relics of Venice: the Precious Blood of Christ. This relic, much venerated in the church of Santa Cristina of Constantinople, came into possession of Melchiorre Trevisan who gave it to the Frari in  1480. The three bas-reliefs made by Cabianca in Carrara marble, representing the Crucifixion, the Deposition and Burial of Jesus Christ. In the two lower panes are placed angels with symbols of the Passion.
    em7140916.jpg
  • The Basilica di Santa Maria Gloriosa dei Frari,  completed in 1538, is one of the greatest churches in the city. Funerary monument of the sculptor Antonio Canova (only his heart is buried here; the tomb, realised by his disciples, is based on the drawing of Canova himself for an unrealised tomb for Titian).
    em7140934.jpg
  • The Basilica di Santa Maria Gloriosa dei Frari,  completed in 1538, is one of the greatest churches in the city. Funerary monument of the sculptor Antonio Canova (only his heart is buried here; the tomb, realised by his disciples, is based on the drawing of Canova himself for an unrealised tomb for Titian).
    em7140940.jpg
  • The Basilica di Santa Maria Gloriosa dei Frari,  completed in 1538, is one of the greatest churches in the city. Funerary monument of the sculptor Antonio Canova (only his heart is buried here; the tomb, realised by his disciples, is based on the drawing of Canova himself for an unrealised tomb for Titian).
    em7140946.jpg
  • The Basilica di Santa Maria Gloriosa dei Frari,  completed in 1538, is one of the greatest churches in the city. Funerary monument of the sculptor Antonio Canova (only his heart is buried here; the tomb, realised by his disciples, is based on the drawing of Canova himself for an unrealised tomb for Titian).
    em7140949.jpg
  • The Basilica di Santa Maria Gloriosa dei Frari,  completed in 1538, is one of the greatest churches in the city. Funerary monument of the sculptor Antonio Canova (only his heart is buried here; the tomb, realised by his disciples, is based on the drawing of Canova himself for an unrealised tomb for Titian).
    em7140954.jpg
  • The Basilica di Santa Maria Gloriosa dei Frari,  completed in 1538, is one of the greatest churches in the city. Funerary monument of the sculptor Antonio Canova (only his heart is buried here; the tomb, realised by his disciples, is based on the drawing of Canova himself for an unrealised tomb for Titian).
    em7140956.jpg
  • The Basilica di Santa Maria Gloriosa dei Frari,  completed in 1538, is one of the greatest churches in the city. Funerary monument of Titian .
    em7140960.jpg
  • The Basilica di Santa Maria Gloriosa dei Frari,  completed in 1538, is one of the greatest churches in the city. Funerary monument of Titian .
    em7140961.jpg
  • The Basilica di Santa Maria Gloriosa dei Frari,  completed in 1538, is one of the greatest churches in the city. Funerary monument of Titian .
    em7140964.jpg
  • The Basilica di Santa Maria Gloriosa dei Frari,  completed in 1538, is one of the greatest churches in the city. Funerary monument of Titian .
    em7140965.jpg
  • The Basilica di Santa Maria Gloriosa dei Frari, usually just called the Frari and completed in 1538, is one of the greatest churches in the city,
    em7140966.jpg
  • The Basilica di Santa Maria Gloriosa dei Frari, usually just called the Frari and completed in 1538, is one of the greatest churches in the city,
    em7140968.jpg
  • The Basilica di Santa Maria Gloriosa dei Frari, usually just called the Frari and completed in 1538, is one of the greatest churches in the city,
    em7140971.jpg
  • The Basilica di Santa Maria Gloriosa dei Frari, usually just called the Frari and completed in 1538, is one of the greatest churches in the city. Choir stalls by Marco Cozzi.
    em7140972.jpg
  • The Basilica di Santa Maria Gloriosa dei Frari, usually just called the Frari and completed in 1538, is one of the greatest churches in the city. Choir stalls by Marco Cozzi.
    em7140973.jpg
  • The Basilica di Santa Maria Gloriosa dei Frari, usually just called the Frari and completed in 1538, is one of the greatest churches in the city. Choir stalls by Marco Cozzi.
    em7140974.jpg
  • The Basilica di Santa Maria Gloriosa dei Frari, usually just called the Frari and completed in 1538, is one of the greatest churches in the city,
    em7140976.jpg
  • The Basilica di Santa Maria Gloriosa dei Frari, usually just called the Frari and completed in 1538, is one of the greatest churches in the city,
    em7140978.jpg
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