The vault of the church nave once housed a major fresco by Giambattista Tiepolo depicting the Translation of the House of Loreto.
Tiepolo had previously worked in the church, decorating the vaults of the chapel of St Teresa in 1727-1730 and chapel of Crucifix in 1732-33.
He had also painted a Virgin of Mount Carmel for the Carmelite church of St Aponal; thus was well known to the order.
Thus in 1743, Tiepolo arranged to work alongside Gerolamo Mengozzi Colonna, who provided quadratura for 1500 ducats; Tiepolo painted a daring vision of the flying House, transported by angels, which repels falling winged figures of heresy and falsehood (completed in 1745).
The frescoes were destroyed by an Austrian bombardment from the mainland during October 24, 1915.
From 1929 to 1933, Ettore Tito painted canvases and frescoes to repair the damage.
The remains of the fragments of Tiepolo's work are now in the Gallerie dell'Accademia.

It’s possible to see a real and complete view of this work with a 1914 picture by James Anderson, a 1914 copy of Mariano Fortuny and a 2020 drawing by Olivier Maceratesi
The vault of the church nave once housed a major fresco by Giambattista Tiepolo depicting the Translation of the House of Loreto. Tiepolo had previously worked in the church, decorating the vaults of the chapel of St Teresa in 1727-1730 and chapel of Crucifix in 1732-33. He had also painted a Virgin of Mount Carmel for the Carmelite church of St Aponal; thus was well known to the order. Thus in 1743, Tiepolo arranged to work alongside Gerolamo Mengozzi Colonna, who provided quadratura for 1500 ducats; Tiepolo painted a daring vision of the flying House, transported by angels, which repels falling winged figures of heresy and falsehood (completed in 1745). The frescoes were destroyed by an Austrian bombardment from the mainland during October 24, 1915. From 1929 to 1933, Ettore Tito painted canvases and frescoes to repair the damage. The remains of the fragments of Tiepolo's work are now in the Gallerie dell'Accademia.
It’s possible to see a real and complete view of this work with a 1914 picture by James Anderson, a 1914 copy of Mariano Fortuny and a 2020 drawing by Olivier Maceratesi
Scalzi, Venice