Luca Giordano’s masterpiece from 1667. Originally sent from Naples to Venice for evaluation, the altarpiece was received with such enthusiasm that Giordano was awarded 200 piastre for his work. Two lively angels, sculpted by Ruer, grace the pendentives, adding a three-dimensional sense of movement to the altar.
On either side of the chapel, two paintings by Gregorio Lazzarini, who passed away in 1730, depict pivotal moments in the prophet Elijah’s story: one shows him being fed by a deer, the other being confronted by an angel. These works were relocated here from the Church of Saint Martin in Murano after the Napoleonic period.
Giordano’s altar itself depicts the Assumption, or Ascension, of Mary. The Virgin rises in radiant glory, bathed in heavenly light. Positioned on the right side of the entrance, it forms a dialogue with the Nativity and Presentation altars, creating a visual narrative that guides visitors through key moments in Mary’s life. Together, these altars emphasize her central role in Venetian devotion while enhancing the architectural harmony of the church.
