This word evokes older and more recent horrors, but the Ghetto was first of all a neighborhood in Venice. Its taller buildings stand out, taller because Jews were forced to remain there no matter how much their population increased. Nowadays, the unique atmosphere in this quarter is present through signs written in Hebrew, shops selling Kosher products and, in particular, the five synagogues that point to the diversity of the origins of the Venetian members of the Diaspora.

Located in the German Synagogue (Scola Tedesca), this museum traces the history of Venice’s Jewish community and contains precious objects of worship, whether ornamental or for handling the Scrolls, and vestments.

This vast square bears witness to the darkest hours of the Second World War deportations: a stele by Lithuanian artist Blatas (1979) and the monument in memory of the deported Jews are a reminder that Venice’s Jewish community paid a heavy price in the face of barbarism. The tranquillity and serene atmosphere that reign in the area only accentuate the tragic dimension of the events; and the knowledge that although one is in Venice, this is a Venice different from that of palaces and gondolas.

Decorated with simple obelisks, this bridge was opened in 1580 on the Cannaregio canal, in front of the Labia palace, and it must taken by all those who, on their way from the station, are walking to the Strada Nuova and the Rialto bridge.

Built of Istrian stone, the palace was built in the late 17C for a rich family of Spanish merchants who gave it its name. The interior is worth seeing for the Tiepolo frescoes in the Salone delle Feste. Other rooms laid out around the main reception chamber have Brussels tapestries, portraits of the Labia family, trompe l’oeil pictures and globes of the world.

Richard Wagner lived and died in this Renaissance palace, built on the Grand Canal by architect Mauro Codussi, who created a beautiful example of a reinterpretation of Byzantine and Gothic architecture. Given to the city in 1946, it is today home to the municipal casino.

This peaceful square is adorned with 13C statues gazing down from the façades with enigmatic looks on their faces. They are said to represent the Mastelli brothers, merchants from Morea. Their palace, with a camel relief on its façade, gives onto the Rio della Madonna dell’Orto canal.

An intimate "campo", a harmonious facade made of bricks and decorated with statues: this church has a miraculous statue of the Virgin found in a garden, and is known as the church of Tintoretto: the painter lived nearby and is buried here, also some of his paintings are here, including The Adoration of the golden calf, the most remarkable. Also notice a Saint John the Baptist, masterpiece of Cima da Conegliano.

Visitors should enter this church devoted to Saint Louis of Anjou (Alvise is the Venetian version of Louis) on account of its fine 15C tempera paintings attributed to Lazzaro Bastiani (active between 1449 and 1512). The right wall of the axial chapel has a Calvary by Tiepolo (1749) who also painted the Flagellation and Crown of Thorns.