The legend which describes St. Mark as the disciple and amanuensis of St. Peter, has given occasion for those votive pictures in which they are represented together. 1. In the treasury of St. Mark’s is preserved a golden reliquary of a square form, containing, it is said, a fragment of the original gospel in the handwriting of St. Mark; the chased cover represents St. Peter on a throne, and before him kneels the evangelist, writing from his dictation.[111] 2. And again, in an ancient Greek Evangelarium, St. Mark is seated, writing; St. Peter stands before him with his hand raised as dictating. 3. In a beautiful picture by Angelico da Fiesole,[112] St. Peter is in a pulpit preaching to the Romans; and Mark, seated, is taking down his words in a book. 4. St. Peter and St. Mark standing together, the former holding a book, the latter a pen, with an inkhorn suspended from his girdle, by Bellini;[113] and, 5, a similar one by Bonvicino—very beautiful.[114] Such pictures are extremely interesting, showing the opinion generally entertained of the origin of St. Mark’s Gospel. Historical pictures from the legendary life of St. Mark abound in the Venetian school, but are not often found out of Venice. St. Mark preaching the Gospel at Alexandria, by Gentil Bellini,[115] a very large composition with numerous figures, is on many accounts extremely curious. The painter, who had been at Constantinople, transferred to Alexandria the Oriental scenery and costume with which he had become acquainted. The church of St. Euphemia at Alexandria, in the background, has the air of a Turkish mosque; a crowd of persons, men and women, in the costume of the Turks, surround the saint, who is standing on a kind of pedestal or platform, ascended by a flight of steps, from which he addresses his audience with great fervour. Gentil Bellini painted this picture for the Scuola di San Marco, at Venice. It is related that one day St. Mark, in his progress through the city of Alexandria, saw a poor cobbler, who had wounded his hand severely with his awl, so as to be incapacitated from gaining his bread: St. Mark healed the wound; and the cobbler, whose name was Anianus, being converted and properly instructed, became a zealous Christian, and succeeded St. Mark as bishop of Alexandria. This miraculous cure of St. Anianus, and his subsequent baptism, are represented in two pictures by Mansueti.[116] In the Berlin Gallery is the cure of St. Anianus, by Cima da Conegliano; a large composition with many figures. The cure and baptism of St. Anianus, represented as a very aged man, form the subjects of two fine bas-reliefs on the façade of the School of St. Mark, by Tullio Lombardo, A.D. 1502. In the Martyrdom of St. Mark, he is dragged through the streets by the enraged populace, who haul him along by a rope; a storm from above overwhelms the idolaters. The subject is thus represented by Angelico da Fiesole.[117] * * * * *