The church of San Salvador was originally founded in the VIIth century however the current edifice was built between 1507 and 1534 by Giorgio Spavento and continued after his death the following year by Tullio Lombardo, Vincenzo Scamozzi and possibly Jacopo Sansovino.The drawing depicts the interior double-level structure and decoration of the church. The church interior is a large hall formed from three Greek crosses placed end to end. Two funeral monuments, with two sarcophagi each, are separated by a series of arcades, a richly carved door and Corinthian columns that supports the first level of arcades. Above these tombs and arcades, there is a second level showing Romanic vaults and two cupolas. The façade can be seen through a cross-section on the left-hand side with a free standing statue on top. The façade dates from 1663, after a design by Giuseppe Sardi, and shows decorative sculptures by Bernardo Falcone

Antonio Visentini (Venice, 21 Nov 1688 – Venice, 26 June 1782) was an Italian painter, engraver, architect and theorist. He was first known as a painter and trained with the Venetian history painter Giovanni Antonio Pellegrini (1675-1741). He became known as an engraver by the end of the 1720s when he was commissioned by Joseph Smith to produce engravings of Canaletto’s views of Venice. Visentini started working as an architect in 1731, and his first theoretical work, Libro di Architettura, which included Rococo-influenced drawings by Pier Antonio Morelli after Visentini’s ideas, was published in 1733.

His ideas on contemporary architecture derived from Antiquity and the work of Andrea Palladio (1508-80). Later however, Visentini developed neo-Palladian and anti-Baroque ideas. Visentini and his pupils executed numerous drawings of ancient and contemporary buildings intended to disseminate exemplary architecture. He participated to the foundation of the Venetian Academy in 1755, where he became a teacher of architectural perspective in 1772.