Nobody arrives in Venice and sees the city for the first time. Depicted and described so often that its image has become part of the European collective consciousness, Venice can initially create the slightly anticlimactic feeling that everything looks exactly as it should. The water-lapped palaces along the Canal Grande are just as the brochure photographs made them out to be, Piazza San Marco does indeed look as perfect as a film set, and the panorama across the water from the Palazzo Ducale is precisely as Canaletto painted it. The sense of familiarity soon fades, however, as details of the scene begin to catch the attention - an ancient carving high on a wall, a boat being manoeuvred round an impossible corner, a tiny shop in a dilapidated building, a waterlogged basement. And the longer one looks, the stranger and more intriguing Venice becomes. Founded fifteen hundred years ago on a cluster of mudflats in the centre of the lagoon, Venice rose to become Europe’s main trading post between the West and the East, and at its height controlled an empire that spread north to the Dolomites and over the sea as far as Cyprus. As its wealth increased and its population grew, the fabric of the city grew ever more dense. Very few parts of the hundred or so islets that compose the historic centre are not built up, and very few of its closely knit streets bear no sign of the city’s long lineage. Even in the most insignificant alleyway you might find fragments of a medieval building embedded in the wall of a house like fossil remains lodged in a cliff face.

The melancholic air of the place is in part a product of the discrepancy between the grandeur of its history and what the city has become. In the heyday of the Venetian Republic, some 200,000 people lived in Venice, not far short of three times its present population. Merchants from Germany, Greece, Turkey and a host of other countries maintained warehouses here; transactions in the banks and bazaars of the Rialto dictated the value of commodities all over the continent; in the dockyards of the Arsenale the workforce was so vast that a warship could be built and fitted out in a single day; and the Piazza San Marco was perpetually thronged with people here to set up business deals or report to the Republic’s government. Nowadays it’s no longer a living metropolis but rather the embodiment of a fabulous past, dependent for its survival largely on the people who come to marvel at its relics.

The monuments which draw the largest crowds are the Basilica di San Marco - the mausoleum of the city’s patron saint - and the Palazzo Ducale - the home of the doge and all the governing councils. Certainly these are the most dramatic structures in the city: the first a mosaic-clad emblem of Venice’s Byzantine origins, the second perhaps the finest of all secular Gothic buildings. Every parish rewards exploration, though - a roll-call of the churches worth visiting would feature over fifty names, and a list of the important paintings and sculptures they contain would be twice as long. Two of the distinctively Venetian institutions known as the Scuole retain some of the outstanding examples of Italian Renaissance art - the Scuola di San Rocco , with its dozens of pictures by Tintoretto, and the Scuola di San Giorgio degli Schiavoni , decorated with a gorgeous sequence by Carpaccio.

Although many of the city’s treasures remain in the buildings for which they were created, a sizeable number have been removed to one or other of Venice’s museums. The one that should not be missed is the Accademia , an assembly of Venetian painting that consists of virtually nothing but masterpieces; other prominent collections include the museum of eighteenth-century art in the Ca’ Rezzonico and the Museo Correr , the civic museum of Venice - but again, a comprehensive list would fill a page.

Then, of course, there’s the inexhaustible spectacle of the streets themselves, of the majestic and sometimes decrepit palaces, of the hemmed-in squares where much of the social life of the city is conducted, of the sunlit courtyards that suddenly open up at the end of an unpromising passageway. The cultural heritage preserved in the museums and churches is a source of endless fascination, but you should discard your itineraries for a day and just wander - the anonymous parts of Venice reveal as much of the city’s essence as the highlighted attractions. Equally indispensible for a full understanding of Venice’s way of life and development are expeditions to the northern and southern islands of the lagoon, where the incursions of the tourist industry are on the whole less obtrusive.

Venice’s hinterland - the Veneto - is historically and economically one of Italy’s most important regions. Its major cities - Padua , Vicenza and Verona - are all covered in the guide, along with many of the smaller towns located between the lagoon and the mountains to the north. Although rock-bottom hotel prices are rare in the affluent Veneto, the cost of accommodation on the mainland is appreciably lower than in Venice itself, and to get the most out of the less accessible sights of the Veneto it’s definitely necessary to base yourself for a day or two somewhere other than Venice - perhaps in the northern town of Belluno or in the more central Castelfranco.

Water-buses
As soon as you arrive in Venice buy an ACTV travel card. Available for one day, three days or seven, it allows unlimited use of the water-bus network - essential if you want to see the hotspots.

The Basilica di San Marco
Clad in lustrous mosaics and crammed with precious objects, the Basilica di San Marco is the most exotic of Europe’s cathedrals. Get there early, as it’s the city’s number one sight and attracts enormous crowds.

The Gallerie dell’Accademia
The Accademia gallery gives you a crash-course in Venetian painting from the fourteenth to the eighteenth centuries. Featuring Titian, all the Bellini clan, Tintoretto, Veronese and the Tiepolos, it’s Venice’s top museum by far.

The Frari
After San Marco, the Frari is the one Venetian church you have to visit. A colossal brick hulk, it houses a batch of the city’s best pictures, and a great range of monuments.

Do Mori
Hidden in a tiny alley by the Rialto market, Do Mori is an utterly genuine bar. No tables, no seats - just good wine, delicious snacks and as friendly a welcome as you’ll find in Venice.

The Scuola Grande di San Rocco
Next to the Frari stands the Scuola Grande di San Rocco, a mind-blowing showcase for the art of Tintoretto. A highlight of the fifty-picture cycle is the enormous and overwhelmingly intense Crucifixion.

Paradiso Perduto
Venetian nightlife is notoriously tepid, but Paradiso Perduto - a bar-cum-restaurant-cum-music venue - is generally the liveliest joint in town. Turn up around 10pm, when the local students should be out in force.

The Island of San Pietro
For a taste of authentic Venice take a stroll up Via Garibaldi to the island of San Pietro, once the ecclesiastical centre of Venice, nowadays a backwater district where the chief activity is the repairing of boats.

Torcello
Torcello in its fourteenth-century prime was home to 20,000 people. Today the population is about 100, but Venice’s first cathedral is still there, and the place is steeped in the charisma of its past.

San Giorgio Maggiore
One of Venice’s immediately recognizable landmarks, San Giorgio Maggiore is a perfect Palladian church, and its bell tower gives the finest bird’s-eye view of the city.

The biggest tourist office - known as the Venice Pavilion - occupies the Palazzina del Santi, the waterfront building on the west side of the Giardinetti Reali, within a minute of the Piazza (daily 10am-6pm; tel 041.522.5150, ); smaller offices operate at Calle dell’Ascension 71/c, in the corner of the Piazza’s arcades (Mon-Sat: summer 9.45am-5.15pm; winter closes 3.15pm; tel 041.520.8964), the train station (daily 8am-7pm; tel 041.529.8727), in the airport arrivals area (Mon-Sat 9am-8pm), and on the Lido at Gran Viale S.M. Elisabetta 6 (May-Oct daily 9.30am-3.30pm; tel 041.526.5721). The Calle dell’Ascension 71/c office is supposed to be the city’s main outlet for information on the whole Veneto, but the staff are rarely as helpful as those in the Venice Pavilion.From February to October there are also tourist information booths in Campo San Felice (Cannaregio), Campo dei Frari (San Polo) and Riva dei Sette Martiri (Castello); these are all open from 10am to 1pm then from 1.30 to 5pm. The free map distributed by these offices is fine for general orientation, but not much else. Far more useful is the English-Italian magazine Un Ospite di Venezia , produced weekly in summer and monthly in winter, which gives up-to-date information on exhibitions, special events and vaporetto timetables - it’s free from the Palazzina del Santi office, and from the receptions of the posher hotels.