Beyond the sacristy door is the fine Renaissance monument of Doge Pasquale Malipiero (1462) by a Florentine of the fifteenth century. In the arcade under the next monument (in the N. aisle) is the recumbent figure of Doge Michel Steno (pp. 124, 139) (1414). The inscription tells that he was a lover of righteousness, peace and plenty. At the end of the aisle against the entrance wall is the monument of Doge Giovanni Mocenigo (1485), a typical and early Renaissance work by Tullio and Ant. Lombardo. Over the main portal are the huge monuments of Doge Alvise Mocenigo (1577), his wife Loredana Marcella, and Doge Giovanni Bembo (1618). Against the entrance wall south aisle is another imposing monument by the Lombardi to Doge Pietro Mocenigo (1476). The growing pride of dominion is clearly seen in these sumptuous mausoleums. Pietro’s tomb wrought from the spoils of his enemies, as the inscription tells, is adorned with two reliefs boasting of his exploits in war. “The Vendramin Statue,” says Ruskin, “is the last which shows the recumbent figure laid in death. A few years later the idea became disagreeable to polite minds, the figures raised themselves on their elbows and began to look about them.[108] ...But the statue soon rose up and presented itself as an actor on the stage in the front of his tomb, surrounded by every circumstance of pomp and symbol of adulation that flattery could suggest or insolence claim.” The development of the sepulchral monument from the simple sarcophagus of the early Doges, as in the Tiepolo tombs on the west front to its culmination in the fourteenth and fifteenth century monuments; its subsequent decline and then its utter degradation in the eighteenth century Bertucci mausoleum, may be traced in this church. In the S. aisle a stone with reliefs of Christ between two angels recalls the memory of Doge Renier Zen (1268). Between the first and second altars is the monument to Marc’ Antonio Brigadin, hero of the defence of Famagosta. Beyond the side chapel is the colossal monument, 60 feet in length, of Bertuccio (1658) and Silvestre Valier (1700), and the latter’s wife Elisabetta, executed by Baratta and other followers of Bernini. This elaborate specimen of rococo art is denounced by Ruskin as exhibiting every condition of false taste and feeble conception. Among the paintings we note the St Augustine by Bart. Vivarini, one of the master’s greatest works; an altar-piece, The Apotheosis of S. Antonino of Florence, by Lotto; one of Rocco Marconi’s best works, Christ with SS. Andrew and Peter; Alvise Vivarini’s Christ bearing the Cross, highly praised by Mr Berenson; and Bissolo’s Madonna and saints.