The dome of the S. transept bears figures of SS. Leonard, Nicholas, Clement and Blaise. In the pendentives SS. Erasmus, Euphemia, Dorothy and Thecla. While Vicenzo Sebastiani was finishing this last, he fell from the scaffolding and was killed. On the vaultings of the transepts are represented the parables and miracles of Christ. The vaulting to the E., between the S. and the centre domes, has delightfully naive and dramatic representations of the Temptation and the Entry into Jerusalem. On the western side are beautiful representations of the Last Supper and the Washing of the Disciples’ Feet. On the vaultings and the walls of the aisles are stories of the martyrdom of the Apostles. Modern mosaics illustrating the Book of Revelation, the Last Judgment, Hell and Paradise, cover the vaultings beyond the W. dome and over the W. gallery. They and many other of the mosaics are best seen from the galleries. On the lower walls of the aisles are repeated the figures of prophets that foretold the coming of Christ bearing the usual scrolls. To the N. are Hosea, Joel, Micah and Jeremiah, with a beautiful representation of the youthful Christ in the centre. S. are Isaiah, David, Solomon and Ezekiel, with the Virgin answering to the figure of Christ. The story of the patron saint begins on the vaulting of the N. organ loft over the choir, where scenes in his life and martyrdom are portrayed. They are, however, partly concealed by the organ. These, perhaps the oldest mosaics in the church, were largely restored in 1879 by the Venezia-Murano Company. Opposite, to the S., on the vaulting, is most quaintly told how the body of the saint came to Venice. The designers are very frank in their story of the Translation of the body. _Furenter_, “it is stolen” from Alexandria. On the W. wall of the S. transept opposite the Chapel of the Holy Blood is told the story of the miraculous rediscovery of the body in 1094: The Doge, clergy and people, with solemn fast and prayer, implore divine aid, and a round column in the church opens and discloses the saint’s body. Tradition, however, says that the body was found in the large pier called St Mark’s pillar, to the left of the Chapel of the Holy Blood. An angel’s head in full relief is carved above the spot, and a lamp burns below an inlaid cross. The line of cleavage is still seen. Tradition, however, would seem to be at fault in this matter, for when the pillar was recently stripped of the marble facing, the solid core had clearly never been disturbed.