in attendance, the third for plenary meetings. Paintings, primarily portraits of the procurators and devotional works, were transferred from the previous offices and adapted to the new rooms by Tintoretto, under the direction of Scamozzi. In the offices of the procurators de supra, the portraits were hung in double rows, the meeting room being reserved for the portraits of the procurators who had subsequently been elected as doges. Following the fall of the Republic of Venice, the art collection of the ridotti was removed and in part dispersed when the library was annexed to the Procuratie Nuove as the royal apartment for Eugène de Beauharnais, the viceroy of the Napoleonic Kingdom of Italy. The former ridotti were decorated by Felice Giani between 1807 and 1808 with neoclassical motifs, allegorical figures, and mythological scenes that exalt moral and intellectual virtues. Procuratie Nuovissime (Napoleonic Wing) Historical background When during the second period of French domination the Procuratie Nuove was transformed into a royal residence, the former apartments of the procurators were adapted for residential purposes. But the structure lacked a suitably grand entry as well as larger rooms for audiences and entertaining. In 1807, the Church of San Geminiano, located on the western side of the square, was consequently demolished to have the space needed to extend the royal residence and create the necessary rooms. The church, dating back to the reign of Sebastiano Ziani (1172–1178), had been rebuilt in the early sixteenth century by Cristoforo da Legname and then completed by Jacopo Sansovino in 1557 with the addition of a dome and the façade. It was flanked on both sides by the wings of the Procuratie Vecchie and the Procuratie Nuove, built respectively by Sansovino and Longhena. Proposals for the building that was to replace the church and join the wing of the Procuratie Vecchie with the wing of the Procuratie Nuove varied. Although the imperial French government sought a sense of monumentality, the projects of Grazioso Buttacalice for a triumphal arch and of Gaetano Pinali for a Corinthian portico were both deemed too radical and equally incongruous with the overall aspect of Saint Mark's Square. Giovanni Antonio Antolini’s more modest design for a two-storey loggia with a grand staircase in the rear was accepted. Construction In 1810, Antolini's project was abandoned and the section of the building already constructed was demolished. The wing of the Procuratie Vecchie was also demolished