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Titian’s glowing 1518 depiction of the triumphant ascent of Mary shows her robed in crimson accompanied by a semi-circle of saints, while the 12 Apostles are left gesticulating in wonderment below. This brilliant canvas on the high altar is the inevitable focus of the church.

A beautifully carved blend of Renaissance and Gothic elements by Pietro Lombardo and Bartolomeo Bon (1475), the screen divides the worship area and nave.

Unique for Venice, the original three tiers of 124 friars’ seats deserve examination for their fascinating inlaid woodwork. Crafted by Marco Cozzi in 1468, they show the influence of northern European styles.

Tucked away in the sacristy, and still in its original engraved frame, is another delight for Bellini fans (1488). “It seems painted with molten gems,” wrote Henry James of the triptych.

The robust 14th-century bell tower set into the church’s left transept is the second tallest in Venice.

This colossal monument, based on Canova’s Neo-Classical design for Titian’s tomb, which was never built, was a tribute by the sculptor’s followers in 1822.

A fine Renaissance tribute to the man responsible for Venice’s mainland expansion. Foscari was the subject of Lord Byron’s The Two Foscari, turned into an opera by Verdi.

The inspirational wood statue from 1450, created especially for the church by artist Donatello (1386– 1466), stands in the Florentine chapel. The emaciated figure is particularly lifelike.

Titian was afforded special authorization for burial here after his death during the 1576 plague, although this sturdy mausoleum was not built for another 300 years.

The monsters and black marble figures supporting the sarcophagus of this macabre Baroque monument prompted art critic John Ruskin to write “it seems impossible for false taste and base feeling to sink lower”.