The way in which Jacopo Tintoretto had managed to fit a series of his paintings, commissioned by the Confraternity of Saint Roch, into the architectural structure of its headquarters, the Scuola di San Rocco in Venice, is an extremely interesting artistic solution of the problem of such a relationship in late Renaissance art in Venice. In articles published over forty years ago, the author analysed a relationship between paintings from Tintoretto’s Marian cycle and Pietro Bon’s Codussian architecture of the Sala Terrena, the entrance space on the ground floor of the Scuola’s building.

Now, after over four decades since the author’s research into the Sala Terrena, he has returned to the problem of the relationship between Tintoretto’s paintings and architecture, but this time in the Sala d’Albergo of the same Scuola, the space designed by Antonio Abbondi.