10 Best Sights in Venice, Italy

This compact yet informative museum displays glass items dating from the 3rd century to today. You’ll learn all about techniques introduced through the ages (many of which are still in use), including 15th-century gold-leaf decoration, 16th-century filigree work that incorporated thin bands of white or colored glass into the crystal, and the 18th-century origins of Murano's iconic chandeliers. A visit here will help you to understand the provenance of the glass you’ll see for sale—and may be tempted to buy—in shops around the island.

One of the world's most beautiful squares, Piazza San Marco (St. Mark's Square) is the spiritual and artistic heart of Venice, a vast open space bordered by an orderly procession of arcades marching toward the fairy-tale cupolas and marble lacework of the Basilica di San Marco. From midmorning on, it is generally packed with tourists. (If Venetians have business in the piazza, they try to conduct it in the early morning, before the crowds swell.) At night the piazza can be magical, especially in winter, when mists swirl around the lampposts and the campanile.

Facing the basilica, on your left, the long, arcaded building is the Procuratie Vecchie, renovated to its present form in 1514 as offices and residences for the powerful procurators, or magistrates.

On your right is the Procuratie Nuove, built half a century later in a more imposing, classical style. It was originally planned by Venice's great Renaissance architect Jacopo Sansovino (1486–1570), to carry on the look of his Libreria Sansoviniana (Sansovinian Library), but he died before construction on the Nuove had begun. Vincenzo Scamozzi (circa 1552–1616), a pupil of Andrea Palladio (1508–80), completed the design and construction. Still later, the Procuratie Nuove was modified by architect Baldassare Longhena (1598–1682), one of Venice's Baroque masters.

When Napoléon (1769–1821) entered Venice with his troops in 1797, he expressed his admiration for the piazza and promptly gave orders to alter it. His architects demolished a church with a Sansovino facade in order to build the Ala Napoleonica (Napoleonic Wing), or Fabbrica Nuova (New Building), which linked the two 16th-century procuratie and effectively enclosed the piazza.

Piazzetta San Marco is the "little square" leading from Piazza San Marco to the waters of Bacino San Marco (St. Mark's Basin); its molo (landing) once served as the grand entrance to the Republic. Two imposing columns tower above the waterfront. One is topped by the winged lion, a traditional emblem of St. Mark that became the symbol of Venice itself; the other supports St. Theodore, the city's first patron, along with his dragon. (A third column fell off its barge and ended up in the bacino before it could be placed alongside the others.) Although the columns are a glorious vision today, the Republic traditionally executed convicts here—and some superstitious Venetians still avoid walking between them.

The competition to design a stone bridge across the Grand Canal attracted the best architects of the late 16th century, including Michelangelo, Palladio, and Sansovino, but the job went to the less famous (if appropriately named) Antonio da Ponte (1512–95). His pragmatic design, completed in 1591, featured shop space and was high enough for galleys to pass beneath. Putting practicality and economy over aesthetic considerations—unlike the classical plans proposed by his more famous contemporaries—da Ponte's bridge essentially followed the design of its wooden predecessor. But it kept decoration and cost to a minimum at a time when the Republic's coffers were low, due to continual wars against the Turks and competition brought about by the Spanish and Portuguese opening of oceanic trade routes. Along the railing you'll enjoy one of the city's most famous views: the Grand Canal vibrant with boat traffic.

Located between Piazzale Roma and the train station, this lush oasis was created in the 1830s by demolishing the former monastery of Santa Croce. A tranquil place to sit in the shade, the gardens feature flowers, large, leafy trees, and a small playground for children. Pause to admire the marble statue of civil engineer Pietro Paleòcapa; not a Venetian, but one of the great 19th-century hydraulic engineers modifying rivers and swamps in Italy and Europe. He served in Venice as Director of Public Works and crowned his career by collaborating with Luigi Negrelli in the planning of the Suez Canal.

Most hotels on the Lido have access to charming beach clubs with cabanas, striped umbrellas, and chaise longues—all of which are often available for nonguests to use for a fee. On either end of the long barrier island, the public beaches offer a more rustic but still delightful setting for nature lovers to dig their toes in the sand. Amenities: food and drink; lifeguards; showers; toilets. Best for: swimming; walking.

The impressive boat collection here includes scale models, such as the doges' ceremonial Bucintoro, and full-size boats, such as Peggy Guggenheim's private gondola complete with romantic felze (cabin). There's a range of old galley and military pieces, a section dedicated to Admiral Morosini (who plundered the Arsenale's Porta Magna lions nearby), and a large collection of seashells. A visit to the Paglione delle Nave, a part of the museum, allows you to see a portion of the interior of the Arsenale otherwise closed to visitors.

Housed in the incomplete but nevertheless charming Palazzo Venier dei Leoni, this choice selection of 20th-century painting and sculpture represents the taste and extraordinary style of the late heiress Peggy Guggenheim. Through wealth, social connections, and a sharp eye for artistic trends, Guggenheim (1898–1979) became an important art dealer and collector from the 1930s through the 1950s, and her personal collection here includes works by Picasso, Kandinsky, Pollock, Motherwell, and Ernst (her onetime husband). The museum serves beverages, snacks, and light meals in its refreshingly shady and artistically sophisticated garden.

San Trovaso is one of only four squeri, or boatbuilding yards specifically dedicated to gondolas and other Venetian wooden boats, still operating in Venice. (There once were at least 45). Dating from the 17th century, it is a registered monument where you can really observe and appreciate a unique mode of transportation that still thrives today. If the small wooden buildings seem to resemble an Alpine chalet, it's because Venice's boatbuilders historically came from the nearby mountains. Notice the wooden planks stacked outside to season (a gondola is made of eight different types of wood). Half-hour visits can be booked.

This enameled clock, completed in 1499, was most likely designed by Venetian Renaissance architect Mauro Codussi. Twin giant figures with tarnished bronze bodies strike the hour each day, while three wise men with an angel walk out and bow to the Virgin Mary on Epiphany (January 6) and during Ascension Week (40 days after Easter). An inscription on the tower reads "Horas non numero nisi serenas" ("I only count happy hours"). Originally, the clock tower had a much lighter, more graceful appearance, and was freestanding. The four lateral bays were added in the early 16th century, while the upper stories and balustrades were completed in 1755. The clock itself was neglected until the 19th century, but after years of painstaking labor, it was reassembled and is fully operational. Guided tours, which start at the Museo Correr's ticket office, are held in English on Thursday at 3 pm; book in advance online or by phone.