BASILICA DI SANTA MARIA DELLA SALUTE

One of Venice's most iconic landmarks is the majestic silhouette of the Basilica della Salute, recognizable from the open sea thanks to its large dome topped by a statue of the Virgin Mary and its powerful scrolled buttresses. Located at the southern entrance to the Grand Canal, this magnificent Baroque church was designed by Baldassarre Longhena and his pupils between 1631 and 1687, Longhena dying in 1682. Its construction required the demolition of an already inhabited area, and took 56 years to complete, in thanksgiving to the Virgin Mary for the city's deliverance from the terrible plague of 1630.

Every November 21, the day of Mary's presentation in the temple, the basilica becomes a place of pilgrimage for Venetians. To mark the occasion, a pontoon bridge was built across the Grand Canal, allowing the faithful to walk to the church and light candles as a sign of devotion.

To support this imposing structure, no fewer than 1,556,627 wooden posts were used. The octagonal basilica, built of white Istrian stone, is crowned by a colossal dome, the top of which is topped by a statue of the Virgin Mary holding a staff, symbolizing the "captain of the seas". A second dome is topped by the effigy of Saint Mark. The exterior is delicately sculpted with motifs evoking the Virgin Mary and her mission as protector of the city. Inside, the vast, luminous space is clad in grey Florentine stone and supported by magnificent Palladian columns. The soft light filtering through the openings highlights the marble tones of the polychrome paving.

A succession of arches draws the eye to the high altar, sculpted by Juste le Court. Above it stands the icon of the Madonna of Salvation, supposedly painted by Saint Luke. This black Madonna, set against a silver background, is known as the Mesopanditissa (Mediatrix of Peace) and was brought back from Crete in 1670 by Francesco Morosini, future Doge of Venice.

Finally, the church is enriched by works by Bartolomeo Bon and Pietro Lombardo. The paintings in the sacristy deserve particular attention, with several canvases by Titian on the ceiling and by Tintoretto, including The Wedding at Cana, where the first apostle on the left can be seen representing Tintoretto himself. Works by Palma il Giovane, such as Samson and Jonah the Prophet, as well as several Greco-Byzantine icons, add to the artistic richness of this sacred site.