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Work began in 1481 on the present church and continued into the early 1490s.

It was also funded by Angelo Amadi, the nephew of Francesco who had had the icon painted.

...speaking of the buildings of the Grotesque Renaissance, that many of them are remarkable for a kind of dishonesty, even in the use of true marbles, resulting not from motives of economy, but from mere love of juggling and falsehood for their own sake.

Having been rebuilt after fires in 12 it was acquired by the Jesuits in 1657, following the suppression of the Crucifers in 1656, for moral turpitude.Statues of six archangels on the pilasters around the crossing and in the apse are the work of Giuseppe Toretti, who also carved some of the figures on the faade.Titians 1548, great and spooky Martyrdom of Saint Lawrence (see below far right) in the first chapel on the left, which had been in the Crociferi, the previous church on this site, having been commissioned by Elisabetta, the widow of Lorenzo Massolo.Tintoretto's early and movement-filled Assumption of the Virgin is now in the ornate marble altar dedicated to the Zen family, in the left (shallow) transept.It was painted in 1554 for the high altar of the original Crociferi church, commissioned by the fathers, again according to Ridolfi, on the understanding that it would be in imitation of the style of Paolo Veronese.It is said to be the work of Giovanni Battista Fattoretto, probably to an original design by Rossi.On the first level there are statues of the apostles who witnessed the Assumption of the Virgin, by various sculptors.damaged altarpiece depicting Saint Lanfranc Enthroned between Saint John the Baptist and (probably) Saint Liberius is now in the Fitzwilliam Museum in Cambridge, was probably commissioned by the local Arte dei Pellicari, a guild trading in Balkan squirrel fur, for their altar here to the right of the entrance.The picture is a late work, and may have been commissioned in 1514 when the church was redecorated after the fire. Amongst their relics the Crociferi possessed Saint Lanfranc's head, which was probably kept on or in this altar. Cima's A Miracle of St Mark, in which St Mark heals Anianus, the cobbler who injured himself with an awl while repairing the saints shoe, painted for the chapel of the Arte dei Setaioli (silk weavers), is in the Gemldegalerie in Berlin.Ridolfi described it as 'totally blackened and incomprehensible' in 1648.A situation that was blamed on the effect of fumes wafting up from decomposing corpses in the tombs in the crypt.

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