The old wooden Rialto drawbridge with its bascules and levers spans the canal. Above, L., the patriarch is seen in a loggia of his palace at S. Silvestre casting forth the evil spirit by holding out the relic. A most interesting presentation of old Venetian architecture. Two youths in the foreground, with their backs to the spectator, one of whom has a mermaid embroidered on his hood, are in Calza costume. 567 by Gentile Bellini, Procession in the Piazza. A merchant of Brescia whose son lay dying made a vow to the relic as the procession passed and his son was saved. In the ducal procession to the R. the Doge is seen under the State umbrella with the Procurators of St Mark, chamberlains and senators and trumpeters. This is one of the most precious pictorial documents for the aspect of the Piazza in 1496. The thirteenth-century mosaics of St Mark’s are in their place; the Procuratie Vecchie are there but no Clock Tower; houses abut on the Campanile. The Porta della Carta and the façade of St Mark’s are richly gilded. According to Vasari, Gentile surpassed himself in the next painting (568), which firmly established his reputation. During a procession to the church of St Lorenzo the reliquary falls from a bridge into the canal. Several persons plunge in to save it. To none but the warden of the guild, Andrea Vendramin, was it vouchsafed to recover the shrine. A vivid representation of a piece of old Venice. At the head of the Venetian ladies, kneeling to the L., is Catherine Cornaro, Queen of Cyprus, wearing her crown. This picture, and No. 567, the artist tells us, were painted in pious affection for the Holy Cross. 570, a faded work by the same artist, S. Lorenzo Giustiniani, with two kneeling canons and angels bearing his crook and mitre. In the apse are two important works painted by Mansueti for the Guild of St Mark. 569, St Mark heals the cobbler Anianus, wounded by his awl, a favourite legend; and 571, St Mark preaching at Alexandria.