The sacristy on the right of the altar hides a true masterpiece by Bellini besides hosting some smaller treasures. One of them is the Altar of the Relics displaying a Baroque style and standing opposite to the entrance. It was made by Andrea Bustolon and by Cabianca. It is enriched by some high-relief scenes from Christ’s Passion. We cannot avoid to have a glance at the very fine carved wood clock by Francesco Pianta, the original sculptor of the reredos at the nearby Scuola Grande di San Rocco. It is a great object for a ‘Wunderkammer’ and it is enriched with figurines which refer to the unstoppable flow of time. It is an exquisite albeit small object. It acts as a full expression of Baroque art as well as its strong desire to astonish through classy virtuosity. These artworks, albeit very fine, cannot arouse in us the magic and enchanted feeling we have admiring Bellini’s masterpiece shoving the Virgin with Child among Saints Nicholas, Peter, Benedict and Mark. It is placed in front of the sacristy’s apse and is dated 1488. The picture shines inside the rich classic-style frame by Jacopo da Faenza. Henry James, disillusioned by the Assumption by Titian, was full of praises for this painting and granted this picture the first place in an ideal list: ‘In Venice we cannot find in a picture as perfect as this one ………it holds in itself the geniality of a painter, a life experience and the perfection of a school. The picture seems to have been painted with melted gems purified by time. It is as solemn as it is magnificent; as simple as it is deep’. There is no better description than this one in order to make us appreciate this painting that lives in an atmosphere of rapt and mysterious silence in which St Benedict’s magnetic stare sticks out. His figure is austere and shows a remarkably realistic face. He is the only one among the saints who looks the viewer in the eyes. In this way the onlooker is drawn into the picture and involved into the experience of the sacred which is taking place in its inside. The view of this exceptional topmost example of the late-1400 Venetian painting ends in an unforgettable way our visit to Santa Maria Gloriosa dei Frari.