Mary of Salvation.
It was designed by Baldassarre Longhena, a Venetian architect who worked during the first half of the seventeenth century and whose masterpiece this is.
Within, the Salute is notable for possessing Tintoretto's "Marriage in Cana," one of the few pictures painted by him in which he allowed himself an interval (so to speak) of perfect calm.

It is, as it was bound to be in his hands and no doubt was in reality, a busy scene.

The guests are all animated; the servitors are bustling about; a number of spectators talk together at the back; a woman in the foreground holds out a vessel to the men opposite to show them the remarkable change which the water has undergone.

But it is in the centre of his picture (which is reproduced on the opposite page) that the painter has achieved one of his pleasantest effects, for here is a row of pretty women sitting side by side at the banquetting table, with a soft light upon them, who make together one of the most charming of those rare oases of pure sweetness in all Tintoretto's work.

The chief light is theirs and they shine most graciously in it.
Among other pictures are a S.Sebastian by Basaiti, with a good landscape; a glowing altar-piece by Titian, in his Giorgionesque manner, representing S.Mark and four saints; a "Descent of the Holy Ghost," by the same hand but under no such influence; and a spirited if rather theatrical "Nativity of the Virgin" by Lucia Giordano.