The Venetian Republic always placed great importance on trade relations with Dalmatia, its neighbor across the Adriatic Sea. The rapport with the Dalmatian Slavs (known to the Italians as Schiavoni) became still more intense at the beginning of the fifteenth century, when coastal regions of Dalmatia came under the power of the Republic. In 1451, the Schiavoni in Venice united to form a guild under their patron saints, Saint George, Saint Tryphone, and Saint Jerome. Then, in the early sixteenth century, the Dalmatian community built its own Guild Hall in Castello. The guild's official name was Scuola Dalmata dei Santi Giorgio e Trifone, although the Scuola is commonly known to Venetians as Scuola di San Giorgio degli Schiavoni.

The architect Giovanni de Zan designed the facade of the Scuola in the Sansovino style. Over the doorway is a relief dated 1552 by Pietro da Salò (also a follower of Sansovino) showing Saint George and the Dragon. Directly above this is a fourteenth-century relief of the Virgin enthroned between Saint John the Baptist and Saint Catherine.

Due to the perilous condition of the Istrian stone facings, which have blackened dramatically due to age and pollutants, the Superintendency of Architectural and Environmental Heritage of Venice has classified the restoration of the facade a priority. Cleaning of the stone surface and consolidation of the decorative elements, including the two reliefs, will greatly improve the appearance of the building and restore yet another Scuola to its former glory.

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Built by Giuseppe Benoni; the Istrian stone façade is the work of Giuseppe Sardi.Antonio Barbaro left detailed instructions in his will for the design, building and financing of this church, which was intended to glorify the generosity of the donor and his family. The themes represented on the richly decorated façade are profane and, indeed, war-like, with little relation to the religious function of a church.

The upper half of the façade is decorated with representations of civic and military virtues. Statues of Antonio’s four brothers stand in niches on either side of the entrance. Below, the plinths of a solid stylobate are decorated with relief plans of cities and naval battles illustrating the career of Antonio Barbaro, whose statue stands right in the centre of the façade. The statues of Barbaro and his four brothers, the niche, the urn and the coats of arms are sculpted in Carrara marble.

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The bridge is situated on the Via Aemilia over teh River Marecchia and connects the end of Corso Augusto (Old Rimini's main road) with the village of San Giuliano. San Giuliano is a medieval village which has numerous frescos with interesting murals of the life and works of Federico Fellini.

The bridge was was ordered by Emperor Augustus, but it's actual construction took place under his successor, Tiberius (14-21 AD).

Built entirely with stone from Istria, the bridge consists of five Doric arches and its piers are decorated with four blind rectangular windows. It was built without separating the foundations of the individual pillars, thus creating a unique structure that is is in almost perfect state of preservation and still being used today.

Tiberius' Bridge became a national monument in 1885.

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Goldoni, a native of Venice... "praised the breadth of the Rialto Bridge, which spans the Grand Canal in one giant bound with a single arch, high enough to permit small boats and barks to pass unimpeded, yet wide enough to allow three lanes of foot traffic and support "twenty-four shops with their lodgings and lead-covered roofs." The famous bridge was built of Istrian stone between 1588 and 1592 on the site of an old wooden bridge, visible in Vittore Carpaccio's Miracle of the Holy Cross. The old one had been the city's business center until a fire in 1514 destroyed it and all the banks that had prospered nearby, along with the former covered market, where bales of silk and spices from the distant Orient were unloaded."

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Note:  Loreto and Istria have another link to one another. Click here.