EN 
At this point it is best to begin the visit to the side aisles, starting with the left one.
Go back to the far end, towards the main door. Above the entrance is the organ and, on the platform outside it, Saint Stephen, a marble statue from the late 17th century that once stood on the high altar.
Then, on the left side: a huge fresco from the second half of the 16th century by an unknown artist, showing Saint Christopher crossing the river with the Christ Child on his shoulders.
This is a precious document of popular piety, because the saint was depicted either on the outside of churches or near the exit door, usually facing the sea or a river, to protect the town from destructive waters.
Here in Caorle, from exceptional tides or other dangers from the nearby sea.
The huge image, which had to be seen by everyone, was also meant to ensure protection from any kind of danger for those who looked at the saint early in the morning.
In the aisle, note on the wall the 18th-century wooden statue of Saint Roch.
It comes from the demolished church of the saint that stood outside, next to the central apse, built after 1686 as a votive offering after the plague of that year. Next on the wall are some paintings: the Pentecost, by an unknown Venetian-school artist of the mid-17th century; the Birth of the Virgin, by an unknown 17th-century Venetian-school artist, a document of popular piety since the scene stood for the protection of motherhood and, here in Caorle in particular, for safe births and the protection of newborns, who faced a high mortality rate.
Next on the wall is the painting of Saint Anthony of Padua, by an unknown artist around 1671, a follower of the Maganza family of Vicenza. Besides the usual meaning of popular devotion to this well-known saint, the painting recalls the confraternity of the same name and the altar in his honour.
Then, in the small apse at the end, raised three steps above the floor of the aisle, the altar of the Blessed Sacrament, a decent contemporary work, and the tabernacle with the four evangelists in gilded metal, a recent work by the Legnaghi brothers, are worth a look.
A Roman altar from the 1st century AD, belonging to the Licovia family according to its clear inscription, has been used to support the altar table: the family is usually thought to have lived in Roman Caorle, although there is no firm proof. The Roman altar was in the earlier altar.
In the lower part of the apse there is a series of coats of arms.
The most valuable work is the fresco in the apse vault, recently restored. In the centre, seated on a simple tabernacle-shaped throne, is the Virgin with Child, flanked by the deacon saints, Lawrence on the left and Stephen, patron saint of Caorle, on the right.
At their feet winds the procession of the brothers of the local confraternity of the Battuti, kneeling in cloaks and hoods, with the warden on the left leaning on his staff of office.
The painting is precious because it documents, in images, the presence of the local confraternity, founded in 1425, so the fresco should date from shortly afterwards. The artist is unknown.
It has been suggested that he was a follower of Lorenzo Veneziano. Perhaps he is better placed among the late Venetian followers of Giotto active in Eastern Veneto.
