Doge's Palace, the procurators de supra were also specifically responsible for the construction, maintenance, and management of the public buildings around Saint Mark's Square, including the shops, food stalls, and apartments that were rented out as sources of revenue. Procuratie Vecchie Historical background Following the enlargement of Saint Mark's Square in the second half of the twelfth century, several buildings and lands in and near the square were donated as rental properties to the Commune of Venice, principally by Doge Sebastiano Ziani and his immediate descendants. Subsequently, the administration of many of the properties was delegated to the procurators de supra. The intention was to create a steady flow of revenue in order to fund further work on the Church of Saint Mark and provide charitable assistance to the poor, thus avoiding the need to rely upon private pious donations and state financing. The properties included the long building erected by Ziani along the northern side of the square. As shown in Gentile Bellini's Processione di Corpus Domini in Piazza san Marco (1496), it was a two-storey building with a series of apartments above and shops on the ground floor that were leased. A fire in June 1512 destroyed one of the apartments near the clock tower and led to the collapse of a portion of the façade. It was subsequently decided that notwithstanding the financial constraints at the time of the War of the League of Cambrai (1508–1516), the entire structure would be rebuilt as a statement of Venice's self-confidence. Significantly, Marin Sanudo remarked in his diary that the reconstruction was "in order to make it very beautiful for the glory of the land … despite the war" ("farle di novo e bellissime, che sarà onor di la terra … ben sia la guerra"). The architect of the Procuratie Vecchie is not known from any official source, and various names have been suggested, primarily on the basis of stylistic considerations and the prominence of the individual architect at the time. These include Mauro Codussi, Pietro Lombardo, and Antonio Abbondi. With regard to the sixteenth-century sources, Marin Sanudo mentions the little-known Tuscan architect Zuan Celestro in his diary (1514), whereas Francesco Sansovino in his guide to the city (1581) attributes the design to , the proto (consultant architect and buildings manager) to the procurators de supra. But the precise contributions of Bon and Celestro to the design remain unclear. Bon,