Rows of uneven brick articulate the sacred space, materializing behind crumbling frescoed surfaces

The left lower scene in particular renders an unusual composition: a standing saint and angel, visible only from the bust upwards because of the fragmented plaster, gaze out at the viewer, the latter of which clasps a crossed staff in its hands

Giovanni Battista Franceschini was commissioned to execute the new incrostadura di marmo of the front facade, with low reliefs in pietra columbina, a dovewhite stone, on ily shield immured in the top centre frieze festoon of the new composition most likely represents the Morosini crest and implies their financial support. With these external alterations, the Morosini transformed the high altar of San Clemente into a family chapel, shading the communal vision of the Holy House with a dynastic veil. Angelo Contarini, for example, bequeathed a silver lamp and funds to maintain a lit flame in perpetuity at asianmelodies anmeldelser the Capella della Beata Vergine. The resulting Morosini facade gestures back to Loreto while re-envisioning the apse of San Clemente as a family chapel of noble proportions. The close of the seventeenth century brought transformations at San Clemente calling to mind the Loretan marble prototype, but the community still maintained visual elements infused with Venetian taste.

The seemingly haphazard, degraded interior is as consciously articulated as the structure's decorative facade, re-creating the humble materiality of the Santa Casa original

These decisions are fairly standard: exteriors of Holy House replicas are often wildly individualized with decorative schemas filtered through regional priorities and materials. What further sets the San Clemente Santa Casa apart from contemporary constructions are the stylistic tensions wrought between the Venetian structure's sacred interior and its authoritative predecessor, and the influence of the version at San Clemente upon subsequent Sante Case.