We turn by the Loggia Palladiana, hung with late Dutch and Flemish paintings, copies and school pictures of minor interest, and enter Room XI. on the R., which is given to some characteristic landscapes, scenes of peasant life and portraits by the Bassani. Rooms XII. and XIII. display work by artists of the seventeenth and eighteenth centuries, including some interesting genre pictures by Pietro Longhi. Room XIV. contains some Tiepolos, among them a fine ceiling painting, No. 462, the Invention of the Cross, three small Guardis, 704, 705, 706, two Canalettos, 463 and 494, and other works of minor interest. In Corridor I.[100] is the much debated, No. 516, The Tempest calmed by SS. Mark, George and Nicholas, illustrating the story of the Fisherman and St Mark. We now turn to Room XV., where are exhibited the paintings illustrating the miracles of the Holy Cross which Gentile Bellini and his pupils were commissioned to execute for the decoration of the Hall of the Guild of S. Giovanni Evangelista about 1490. The room is specially constructed to display these important pictures to the best advantage. 561 by Lazzaro Sebastiani. A crusader, Filippo de’ Massari, on his return from Jerusalem offers a fragment of the Holy Cross to the brethren of the Guild. 562 by Mansueti. The daughter of one Benvenuto da S. Polo is healed on touching three candles sanctified by contact with the relic. The scene is the interior of an old Venetian palace with costumes of the period. 563 by Gentile Bellini. Pietro de’ Ludovici, sick of a fever, is healed by means of a candle as in the former miracle. We are here in the chapel of the guild with the brethren in their black and crimson robes in the foreground. 564 by Mansueti. The relic is brought over the wooden bridge opposite St Lio to accompany the remains of a brother who during his life had scoffed at its power. The procession which is to accompany the body to its last resting-place is thrown into confusion by the Cross containing the relic refusing to advance into the church where the body lies. The scene is most animated. Spectators look from the windows, from the housetops and from the streets. The gondola of the period is represented. The artist himself stands at the foot of the bridge to the left, holding a paper inscribed with his name, Giovanni Mansueti the Venetian, disciple of Bellini. 565, attributed to Benedetto Diana, is said to portray the healing by the relic of a child fallen from the top of the stairs. Neither the quality of the work nor the subject seems convincing. The woman seems to have slipped on the pavement with her child. If genuine it can be no more than a fragment of a larger composition referred to by the older writers as containing elaborate architectural details and groups of people similar to the other paintings of this series. 566 by Carpaccio. Casting out of a devil by the Patriarch Francesco Querini. The Grand Canal is crowded with gondolas.