Closed in 1806 and later demolished, the little Franciscan church of San Niccolò ai Frari in Venice was previously decorated with an ensemble of sixteenth-century paintings of great distinction. These included, in addition to a major work by Titian above the high altar, a cycle by Paolo Veronese and his family assistants, also involving his younger contemporaries Paolo Fiammingo and Palma Giovane. Using contemporary documents and early printed sources, the present article traces a history of the church and provides a reconstruction of the original arrangement of these paintings, drawing new conclusions about their dating, patronage, and iconography.