The Pesaro family had as his burial chapel the apse of the sacristy, but only for one of them who was elected doge made this grand mausoleum. The project was realized by Baldassarre Longhena, marble statues by Melchior Bartel of Dresden while the two bronze skeletons and the two monsters placed under the doge's throne by Bernardo Falcone of Lugano.

• Artwork: Monument to Giovanni Pesaro.
• Artist/Author: Baldasarre Longhena, Melchior Barthel and Bernardo Falcone da Lugano.
• Date: 1660-69
• Artistic Technique: Sculpture
• Location: Left aisle (number 4). See church plan.

The altar Pesaro given to a noble family in 1518, already in 1361, was dedicated to the Immaculate Conception, which is why the altarpiece commissioned by Jacopo Pesaro in 1519, has the double task of illustrating the theme of Mary and glorify the family of the client. The Virgin is seated on a tall pedestal with a white veil that envelops even the child: it is foreshadowing of the funeral shroud that will cover both. Jacopo Pesaro is pictured on the left in prayer while behind him a soldier holding the banner of Pope Alexander VI and leans next to a turbaned turkish. It is the celebration of the naval victory at the Battle of Santa Maura (1503) by Pesaro, commander of the papal fleet, over the Ottoman navy. In forefront the portraits of his brothers Francesco, Antonio, Fantino and Giovanni and his nephew Leonardo, above of them San Francesco turns to the child while on the other hand, the figure of St. Peter.

• Artwork: Pala Pesaro.
• Artist/Author: Tiziano Vecellio.
• Date: 1519-26
• Artistic Technique: Painting, oil on canvas, 485 x 270 cm.
• Location: Left aisle (number 5). See church plan.

The monument was erected by the same Jacopo. The inscription indicates the ability to defeat enemies, but also himself.

• Artwork: Monument to Jacopo Pesaro.
• Artist/Author: Lombardo workshop.
• Date: 1524
• Artistic Technique: Sculpture.
• Location: Left aisle (number 6). See church plan.

Some historians attribute the elegant urn to the work of Antonio da Verona, rather than the hand of Pietro Lombardo.

• Artwork: Monument to Generosa Orsini e Maffeo Zen.
• Artist/Author: Pietro Lombardo (attr.)
• Date: 15th century
• Artistic Technique: Sculpture
• Location: Left transept (number 8). See church plan.

The chapel of the Milanese was so named because the Lombard colony, thriving in Venice, obtained by Franciscan friars, since 1361, license to use it. The Brotherhood restored the chapel at his own expense to consecrate it, in 1421, at the bishop of Como Antonio Rusconi. The Pala represents the triumph of St. Ambrose bearing in his right hand the scourge and the crook in his left.

• Artwork: Saint Ambrose Enthroned with Saints.
• Artist/Author: Alvise Vivarini and Marco Basaiti
• Date: 1503
• Artistic Technique: Painting on panel
• Location: Milanese Chapel (number 10). See church plan.

The plate commemorates the burial of the famous musician Claudio Monteverdi from Cremona, brother of the School, who died in Venice November 28, 1643.

• Artwork: Tomb of Claudio Monteverdi.
• Artist/Author: Anonymous
• Date: 17th century
• Artistic Technique: Pavement slab
• Location: Milanese Chapel (number 10). See church plan.

The altarpiece depicting the Madonna and Child enthroned. To his right are St. Clare, St. Bonaventure, St. Francis and St. Mark; behind the head of the client: father Antonietto da Venezia; to the left: St. John the Baptist, St. Anthony, St. Louis d'Anjou (Bishop of Toulouse) and Saint Andrew.

• Artwork: Madonna and Child with Saints.
• Artist/Author: Bernardino Licinio
• Date: 1524
• Artistic Technique: Painting
• Location: Chapel of the Franciscan Saints (number 12). See church plan.

The painting of the martyrs of the Franciscan represents the first five Franciscan martyrs: Bernard, Peter, Accursio, Adiuto and Ottone martyred in Morocco.

• Artwork: The first martyrs of the Franciscan.
• Artist/Author: Bernardino Licinio
• Date: 16th century
• Artistic Technique: Painting on panel
• Location: Chapel of the Franciscan Saints (number 12). See church plan.

The monument celebrates the recognition of the Venetian Republic to the rich merchant Niccolò Tron, for having rescued it from the period of economic crisis that was going through. The architectural and monumental work of Rizzo is one of the greatest works of the Venetian Renaissance sculpture. The twenty-two statues are divided into four orders: the first order, in the middle, represents the Doge, to the left Faith and to right Charity. In the second order, two warriors hold up the shield of family Tron, while the center is placed the inscription flanked by two bas-reliefs. In the third order, the Doge lies on the urn decorated with the three statues of Prudence, Wisdom, and Strength. The two side niches Singing and Harmony. The fourth order exposes other statues of virtues and allegories. The great arch preserved in the risen Christ and the bezel on the sides of the Annunciation. At the top of the Eternal Father.

• Artwork: Monument to Doge Nicolò Tron.
• Artist/Author: Antonio Rizzo
• Date: 1476
• Artistic Technique: Sculpture
• Location: Chancel, the left wall (number 15). See church plan.

The high altar was consecrated on February 13, 1469. The frame with the two fluted columns of the Corinthian order, was made in 1516 by raising superior of the convent of the Friars Germano Casale. On the entablature are the statues of the Risen Christ, St. Francis and St. Anthony of Padua works by Lorenzo Bregna. The altar table was separated from the complex in 1825.

The impressive altarpiece commissioned to Titian in 1516 by Friar Germano, prior of the convent of the Friars, aroused the delivery, two years later, severe embarrassment to the client and rather cold welcome. The traditional iconography of the assumption into heaven of the Virgin was in fact completely renovated. After a period of exposure to the Accademia Gallery, where he became one of the favorite and acclaimed paintings of the nineteenth century, Titian's masterpiece is back to its original location on the main altar of the Basilica August 13, 1945, where today you can admire in the exact conditions for which the artist intended.

• Artwork: Titian's The Assumption.
• Artist/Author: Tiziano Vecellio
• Date: 1518
• Artistic Technique: Painting, oil on canvas.
• Location: Chancel (number 13). See church plan.

Francesco Foscari was one of the greatest doges of Venice, and in thirty-four years of government led the borders of the Republic to the river Adda and Ravenna, aided by the famous generals Carmagnola, Gattamelata and Colleoni. The lodge Foscari in the ducal palace, and the Palazzo Foscari, now a university, bearing his coat of arms, while the tomb in the Frari welcomes his remains. The monument is by Niccolò di Giovanni. The urn on which rests the doge is supported by four ornate corbels in the boxes by the three theological virtues of Faith, Hope and Charity. The sides are St. Anthony of Padua and St. Mark. On the corners of the casket assist the doge the four cardinal virtues: Fortitude, Justice, Prudence and Temperance. Two warriors carry the shield doge.

• Artwork: Monument to Doge Francesco Foscari (Chancel).
• Artist/Author: Niccolò di Giovanni Fiorentino
• Date: 1457 ca.
• Artistic Technique: Sculpture
• Location: Chancel, right wall (number 16). See church plan.

The work was commissioned to the master of the Florentine School, Donatello, and is the only masterpiece he left Venice. The long restoration completed in 1973 brought to light the original idea of the artist who instead were stacked two repainting. The statue is placed in the central compartment of the wooden altar, in the sides are the statues of Saints Zenobius and Genevieve. At the top, the Annunciation and the statue of the Risen Christ, above which stands the lily symbol of Florence. On the dais they are scenes from the Life of John the Baptist attributed to Andrea Schiavone. Under the altar, a wooden statue contains the relics of the Blessed Gentile da Matelica dei Frati Minori, who was martyred in Persia September 5, 1340.

• Artwork: Wooden statue of John the Baptist.
• Artist/Author: Donatello
• Date: 1438
• Artistic Technique: Sculpture
• Location: Chapel of St John the Baptist (number 17). See church plan.

Enthroned Madonna and Child with Saints Andrew and Nicholas of Bari, Paul and Peter. In 1482 the Bernardo Venetian family became the owner of this chapel and restored it. The triptych is signed and dated by the artist, Bartolomeo Vivarini. In the central compartment depicting the Virgin Enthroned with the Child on her knees; after the plague of 1631, this painting was considered miraculous and took the name of Madonna della Salute. In the side compartments, on the left, St. Andrew and St. Nicholas of Bari, and on the right, St. Paul and St. Peter. In the upper compartment is depicted Christ died, flanked by two angels in gilded wood. The altarpiece is set in a Renaissance setting attributed to Jacopo da Faenza.

• Artwork: Virgin Enthroned with Child and Saints (polyptych).
• Artist/Author: Bartolomeo Vivarini
• Date: 1482
• Artistic Technique: Painting on table.
• Location: Bernardo Chapel (number 20). See church plan.

The altar is baroque rich expression and contains one of the most remarkable relics of Venice: the Precious Blood of Christ. This relic, much venerated in the church of Santa Cristina of Constantinople, came into possession of Melchiorre Trevisan in 1479. Trevisan gave it to the Frari March 19, 1480 on the occasion of his return from the East. The date of construction of the altar is stated in the inscription engraved in black marble and placed at the base of the complex sculptural. The three bas-reliefs made by Cabianca in Carrara marble, representing the Crucifixion, the Deposition and Burial of Jesus Christ. In the two lower panes are placed angels with symbols of the Passion.

• Artwork: Altar of the Relics.
• Artist/Author: Francesco Penso called il Cabianca and Andrea Brustolon
• Date: 1711
• Artistic Technique: Sculpture. Carrara marble, red gravel of Verona, Siena yellow and golden wood.
• Location: Sacristy (number 22). See church plan.