Leaving the Chapel of Our Lady of the Rosary
Leaving the Chapel of Our Lady of the Rosary and passing by the monuments already described, we find at the corner of the transept and the aisle a 15th century marble altar, originally belonging to the choir; it is decorated with a painting of St. Joseph close to the school of Guido Reni. High up inside the space of the first bay projects the massive organ gallery, constructed by the celebrated Gaetano Calido in the 18th century. Beneath this can be discerned the stone recording the consecration of the church in 1430.
Lower down, to the right are three panels painted in 1473 by Bartolomeo Vivarini († 1499); they are the remains of a famous polyptych of nine compartments which was once on the altar near the door on this side and dedicated to St. Augustin. In the middle is a St. Augustin, to the right St. Lawrence, and to the left St. Dominic.
Coming out of the Sacristy
Coming out of the Sacristy is the monument to doge Pasquale Malipiero († 1462), work in Renaissance style byPietro Lombardo. In the lunette is a Pietà. The three statues represent Justice, Abundance and Peace. In the roundels: the coats of arms and the lion of St. Mark. The two griffins, the winged shell, the richly carved corbels, and every other detail exhibits the overall perfection and elegance of the work.
The monument to senator Giambattista Bonzi († 1518), erected in 1525, is attributed to of the Paduan Gian Maria Mosca. On the face of the urn are the four virtues: Temperance, Hope, Justice and Charity; above is Faith. The other two virtues were lost when the monument, which was on the opposite wall (where that of the Valiers is now), was transferred here. On the sides of the double arch are two fine statues, St. Thomas Aquinas and St. Dominic, attributed to Antonio Lombardo. In the first arch on the right, you can see the tomb of doge Michele Steno († 1413). The monument was badly damaged when it was brought here in 1811 from the demolished church of St. Marina. In the second arch is the tomb of Alvise Trevisan († 1528), man of letters and benefactor (he left the convent his very rich library), carved by Gian Maria Mosca.
The equestrian monument in gilded wood is to general Pompeo Giustiniani, called «the iron fist», a Genoese in the service of the Venetian Republic who died at the siege of Gorizia in 1616; the artist was Francesco Terillida Feltre (17th century). Of same historical interest three slabs, the first records the residence in the adjoining convent of the cardinal Chiaromonti, before he was elected pope under the name Pius VII on the nearby Venetian island of St. George (Isola di S. Giorgio 1800). The second slab was brought here from the tomb of doge Giovanni Dandolo († 1289). The third records the stay of Pius VI on his way back from Vienna in 1782.
The monument to doge Tommaso Mocenigo († 1423). This work marks the beginning of the spread of the style of Donatello (note the warrior at the left corner of the sarcophagus, close to the St. George by Donatello and is dated 1423 and signed: Pietro di Maestro Nicolò Lamberti (from Florence) and Giovanni di Martino da Fiesole. A transitional work between the art of the Gothic and the Renaissance periods with Venetian elements and Florentine forms. The baldachin knotted at the top by a floral motive flanked by two rampant lions is typical; and the large architectonic panel with six saints in niches is reminiscent of an altar reredos. On the front of the sarcophagus are figures representing the theological and cardinal virtues. Right at the top of the monument is Justice. The doge is buried under the slab at the foot of the monument together with his father Pietro, procurator of St. Mark.
Going on you can see the monument to doge Nicolò Marcello († 1474), a priceless work by Pietro Lombardo. In the lunette: Our Lady enthroned with St. Mark presenting the doge, and St. Teodoro; the four statues represent the cardinal virtues; overall is the Eternal. The coat of arms and slab placed here in 1753 commemorate doge Marino Zorzi († 1312) known as the saint, who was buried in the nearby cloister, and who gave the Dominicans the church and convent of St. Domenico a Castello which have since been destroyed.