After a century of management, Bishop Vallaresso suppressed the chapter of chaplains officiating the sanctuary and decreed on October 10, 1710 the establishment of a convent for the fathers of the congregation of Blessed Giacomo Salomonico delle Zattere of Venice. 

The Dominicans settled on August 25-26, 1714 in the chaplains' houses adapted into a convent (corresponding to the current Palazzo Cecchini and Palazzo Mainardi), where they created a dormitory, refectory, chapter hall, guesthouse, kitchens, pantry, a first cloister, and later another cloister in the novices' area, intervening several times with restorations, adaptations, and expansions (such as the wall closure of the garden and braida, documented before 1729). 

In 1723, the religious community was composed of 12 friars, 9 clerics, and 3 lay brothers and boasted a very well-stocked library. 

With the arrival of the French under Gen. Bernadotte (May 1797) and the start of the municipality, the convent began a progressive decline, becoming a place for troop quarters and a military hospital; it was plundered of precious objects (including the church furnishings) and documents by the municipality (described by chroniclers of the time as ‘ginia’ and ‘hungry wolves’). The convent was suppressed by Napoleonic measures, and the Dominican fathers left Cordovado forever on October 6, 1806. 

In the period 1809-1811, the buildings were purchased by Vincenzo Marzin. The descendants later sold to Eng. Francesco Cecchini (1865) the part of the palace adjacent to the Sanctuary, which he renovated on the facade, also creating an internal wing and a series of rooms (by 1887). 

Palazzo Cecchini, with a medieval-style facade, is municipally owned and is used as a cultural center and civic library. 

Palazzo Mainardi (formerly Marzin-Mainardi), with a large portico, is instead diocesan property and is used as an oratory. 

Of notable interest are the 19th-century frescoes that adorn the interiors of the various sections of Palazzo Cecchini, with scenes ranging from the Patriotic Allegory (central hall of the library) to grotesques and landscapes with a Pompeian and neo-Gothic flavor; the two Nocturnes by an anonymous 19th-century painter in the manner of Ippolito Caffi are suggestive. 

In the external portico, noteworthy are the two frescoes: Madonna with Child in Glory by Baldassar d’Anna and St. Nicholas by an anonymous Friulian of the 18th century. The wrought iron gate is interesting, a work of the local artisan workshop of the Ventoruzzo (1719), which is still active.