The date is supposed to be about 1450 and the source of Brother Antonio's inspiration must have been similar to that of the great Mantegna's.
There are also the very delightful marble pictures in the chapel of the Giustiniani family to the left of the choir, the work of the Lombardi.
About the walls are the evangelists and prophets (S.John no more than a beautiful and sensitive boy), while over the altar are scenes in the life of S.Jerome, whom we again see with his lion.

In one relief he extracts the thorn from its foot; in another the lion assists in holding up the theological work which the saint is perusing, while in his other hand the saint poises a model of the church and campanile of S.
Zaccaria.

Below, on the altar cloth, is a Last Judgment, with the prettiest little angel boys to sound the dreadful trumps.

To these must be added two pictures by Paul Veronese, one with a kneeling woman in it who at once brings to mind the S.Helena in our National Gallery.
Furthermore, in the little Cappella Santa is a rich and lovely Giovanni Bellini, with sacred relics in jars above and below it, and outside is the gay little cloistered garden of the still existing monastery, with a figure of S.Francis in the midst of its greenery.
So much for the more ingratiating details of this great church, which are displayed with much spirit by a young sacristan who is something of a linguist: his English consisting of the three phrases: "Good morning," "Very nice," and "Come on!" The great church has also various tombs of Doges, the most splendid being that noble floor slab in front of the high altar, beneath which repose the bones of Marcantonio Trevisan (1553-1554).

What Trevisan was like may be learned from the relief over the sacristy entrance, where he kneels to the crucifix.