Step through the doors of the Palladio-designed exterior and you are inside a classic Latin cross plan church. The single wide nave is lined with numerous chapels. As soon as reconstruction on the church got underway in the 1530s, there was a rush to sign up for those chapels. They contain funerary monumentsfor members of the Bragadin, Badoer, Contarini and, of course, Gritti families. For a time the Gritti family had a chapel in the presbytery in its name that contained paintings and sculptures from the workshops of the best artists in sixteenth-century Venice. The Morosini chapel on the right of the transept houses an enthroned Madonna with child, the only definitively identified work of Franciscan Antonio da Negroponte. Its elegant depiction and accomplished details raise the question of why there is no other known work by this painter. Much of the church and its interiors were recently fully restored, and the altarpiece has since beenreturned to its rightful place. The Madonna sits on a large marble structurethat resembles a building rather than the classic throne for a fifteenth-century Madonna. References to the archeological activity conducted in those years appear. Artifacts from the earliest digs in northern Italy mix with ancient marble intarsia. All around there are various colors and species of birds and flowers worthy of pure Gothic floral motifs. Mary, clad in a beautiful damask garment, gazes adoringly at the child, who reclines on her lap in this heaven on earth, protected and private. This is a fantastic late Gothic garden painted in the final years of the style, which played an important role in Venetian history.