The Convent of Sant’ Elena was the vantage point chosen for looking on Venice, and at the moment the army of barges and brigantines reached it, they spread out in front of His Majesty, and a salute broke from them all; “to which the galleys in the train of the King replied in such ordered unity that His Majesty rose to his feet with great curiosity to see them, praising exceedingly so wonderful a sight, admiring to his right the fair and famous city marvellously built upon the salt waters, and on the left a forest of so many ships and vessels with so great noise of artillery and arquebuses, and of trumpets and drums, that he remained astounded; while he openly showed himself not less merry than content, seeing so rare a thing as was never before seen of him.” Henry’s arrival at the Lido is portrayed in the Sala delle Quattro Porte in the Ducal Palace. He is seen advancing with sprightly step, between two dignitaries of the Church, up a temporary wooden bridge towards the Triumphal Arch and Temple of Palladio. This arch was decorated with paintings by Paolo and Tintoretto, and in connexion with it Ridolfi tells a delightful story of the painting of Henry’s portrait. “Tintoretto,” says Ridolfi, “was longing to paint the King’s portrait, and in consequence begged Paolo to finish the arch by himself; and, taking off his toga, Tintoretto dressed himself as one of the Doge’s equerries, and took his place among them in the Bucintoro as it moved to meet the King, thus furtively procuring a chalk sketch of the proposed portrait, which he was afterwards to enlarge to life size; and having made friends with M. Bellagarda, the King’s treasurer, he was introduced with much difficulty, owing to the frequent visits of the Doge, into the royal apartments to retouch the portrait from life. Now whilst he stood painting, and the King with great courtesy admiring, there entered presumptuously into the apartments at smith of the Arsenal, presenting an ill-done portrait by himself, and saying that, while His Majesty was dining in the Arsenal, he had done the likeness of him. His presumption was humbled by a courtier who snatched it from his hand, and ripping it up with his dagger threw it into the neighbouring Grand Canal: which incident, on account of the whispering it produced, made it difficult for the painter to carry out his intention. Tintoretto had also observed on that occasion that from time to time certain persons were introduced to the King, whom he touched lightly on the shoulder with his rapier, adding other ceremonies. And pretending not to understand the meaning, he asked it of Bellagarda, who said that they were created knights by His Majesty, and that he, Tintoretto, might prepare himself to receive that degree; for he had discussed the matter with the King, to whom Tintoretto’s conditions were known and who had shown himself disposed, in attestation of his powers, to create him also a knight; but our painter, not being willing