In 'The Miraculous Healing', Marija Jaensch engages with Gentile Bellini's Renaissance masterpiece of 1501, transforming the narrative of the 'Miraculous Healing of Pietro de' Ludovici' into a geometric abstraction. Through her precise cutting and arrangement of fabric, Jaensch creates a work that responds to the intricate floor patterns in Bellini's painting, commissioned for Venice's Scuola Grande di San Giovanni Evangelista (now at the Gallerie dell'Accademia di Venezia). The artist reorients Bellini's composition in a significant spatial shift. Where the Renaissance painting guides viewers from the church entrance toward the distant miracle at the altar, Jaensch reverses this perspective, placing us at the point of the miraculous healing looking outward. This reversal transforms the viewer's role from observer to participant, reflected in the simplified title that omits Pietro's name. Just as Bellini signed his painting on a 'cartellino', Jaensch places her own 'cartellino' on the reverse of her work, bearing the inscription ‘CONCEPTUM A GENTILIS BELLINI / SED NATUM EX Marija Jaensch' (‘Conceived by Gentile Bellini / But born from Marija Jaensch’). This reference illustrates how artistic ideas can be reimagined across time, while maintaining their conceptual essence.