The imposing edifice is built of brick and is one of the three notable churches in the city that retain most of their Venetian Gothic appearance.

It contains many very grand wall monuments to distinguished Venetians buried in the church, including a number of Doges.

Paintings in situ include two large and important altarpieces by Titian, the Assumption of the Virgin on the high altar and the Pesaro Madonna in a chapel.

In 1231, under Doge Jacopo Tiepolo, the city donated land at this site to establish a monastery and church belonging to the Franciscan Order of Friars Minor.

Work almost immediately began on its much larger replacement, the current church, which took more than a century to build.

The new church inverted the original orientation, thus placing the facade so that it faces the plaza and small canal.

In the sixteenth century, however, devotional life changed significantly; being private, less moral, and contained people from various countries.

All connections had a relationship with the brotherhood involved in the church, as most of the other chapel areas were designed for private groups.

[1] The church overall has a vaulted Gothic rib ceiling, making the interior volume large.

The materials used were mostly hard and resonant, from marble and Istrian stone tile floors, to masonry walls, and vaults with brick covered with intonaco.

After the investigation, several instruments, including a crack-gauge and a strain gauge were used to keep track of the work on the bell tower in real time.

[2] The plan of the church resembled a typical Gothic cathedral, as it was shaped like a Latin cross, and featured aisles on the sides.

In 1475, a choir screen was built at the Santa Maria Gloriosa dei Frari so that during the service, the friars were separated from everyone else.

The activity, known up to now, of this Venetian organ builder extends, in fact, from 1740 to 1760, the organ he built for the Venetian church of San Giovanni Evangelista dates back to that date and has remained almost unchanged; the latter therefore served as a term of comparison to validate the attribution of that of the Frari and, above all, to allow its reconstruction in 1970.

In fact, after Gaetano Callido had built the front organ (1795), this instrument was progressively abandoned, so as to reach the early seventies almost completely stripped of the metal rods.

For this reconstruction all the surviving elements were used and, on the basis of these, also making comparisons with the organ of San Giovanni Evangelista, the measures of the pipes were established.

The exhibition consists of 21 pipes, belonging to the main register and forming a single cusp with side wings and with aligned shield mouths.

The exhibition consists of 21 pipes, belonging to the main register and forming a single cusp with lateral wings and with aligned miter mouths, at the foot of which the tromboncini are housed.

Despite the transformation of the transmission from pneumatic to electric, the organ preserved all the pipes (about 2000), the bellows, and the wind chests (with the exception of that of the third manual that was destroyed by high water during the restoration of the Pala Assunta in the 1960s), and the beautiful wooden console table, with its original ivory keys.

In 1965 it had already been dismantled to allow the restoration of the altarpiece in a previous intervention, once restored, the organ had been rebuilt in 1977, many parts were destroyed, including the wind chest of the 3rd manual, but many other patios were resumed and reassembled because they were missing, some registers from the same period also made by Mascioni.

The Mascioni organ now has been donated to the parish church of Santa Maria Ausiliatrice in Lido di Jesolo (Venice) with extensive plans for it to be mounted.

Restorations and tampering by the Zanin di Codroipo company that are necessary to adapt the organ for use in a different location, however, will leave the city of Venice without its only romantic-symphonic concert instrument.