To right of door,

At

2. (46) Christ before Pilate. Judea was then under Roman rule, and the final judgment of all capital offences was reserved for the Roman tribunals. Christ was triednominally at least for treason against the State. Jerusalem these cases were brought up at the time of the great festivals, when the Roman procurator, who resided ordinarily at Cæsarea, visited the capital. For the past six years Pontius Pilate had held that office in Judea, and he was now in Jerusalem at the feast of the Passover. At this season no Jew would enter the house of a Gentile, lest he should be defiled, consequently the trial of Christ took place outside of Pilate's house.1

"Ce tableau est d'une grande effet et d'une belle intelligence de lumiere." (Cochin iii. p. 76.)

66

'Simplicity, grace, elevation of thought, beauty of colouring, all are united in this splendid canvas.' (Translated from Pontès, "Peinture Ven.," p. 134.)

"A most interesting picture, but, which is unusual, best șeen on a dark day when the white figure of Christ alone draws the eye, looking almost like a spirit; the painting of the rest of the picture being both somewhat thin and imperfect. The Pilate is very mean, perhaps intentionally, that no reverence might be withdrawn from the figure of Christ. (Ruskin.)

Over the door,

3. (47) Titian (?). Ecce Homo! or the Crown of Thorns. Few writers mention this work, and C. & C. class it among the unknown. T. Wiel thinks (p. 51.) that it was painted by Titian shortly before the completion of the Scuola in 1517. Ruskin mentions it among Tintoretto's works here. The subject is treated with truth and freedom, but the drawing is not good throughout.

"Then came Jesus forth, wearing the crown of thorns, and the purple robe, and Pilate said unto them, Behold the Man!Ecce Homo!" (John xix. 5.)

"As usual Tintoret's own particular view of the subject. Both this and the picture last mentioned resemble Titian more than Tintoret in the style of their treatment." (Ruskin.)

To left of the door,

4. (48) Titian. Christ Bearing the Cross. (The No. on the picture is 3.) Morelli says that this is one of Titian's earliest works, painted before 1517, the date of the erection of the present Scuola di San Rocco. Vasari ascribes it in turn both to Titian and to Giorgione, but Sansovino and

1 Munckacsy, in his celebrated picture "Christ before Pilate," has made the curious mistake of placing the scene within Pilate's house.

more modern writers justly attribute it to Titian, though Ruskin has made a curious mistake in describing it among Tintoretto's works here. It is now a mere wreck, and not imposing in its present blackened and bad condition.

"Ce morceau est d'une composition piquante. (Cochin iii. P. 77.)

"The power of the picture is chiefly in effect, the figure of Christ being too far off to be very interesting, but for this very reason it seems to be more effective." (Ruskin," Stones of Ven.," p. 343.) On the ceiling, centre,

7. (51) *San Rocco Received in Heaven. In 1560 Paolo Veronese, Andrea Schiavone, Giuseppe del Salviati, Federigo Zuccaro, and Tintoretto entered into competition for the design of this compartment of the ceiling. The others made mere sketches for their designs, but Tintoretto furnished a finished picture for the space. The confraternity were unwilling to allow it to remain, but when Tintoretto declared it was a gift to San Rocco, they were obliged to accept it, as one of their by-laws prohibited the refusal of a gift. After this Tintoretto was awarded a pension of 100 ducats a year to complete the decorations of the hall. The picture is precisely as Tintoretto left it in the centre of the ceiling, and its extreme freshness is perhaps due in part to the fact that it was not quite finished when put in its place. However, it shows no signs of haste or inattention. The remarkable figures in the lower part are personifications of the five other chief "Scuole" of Venice.

"Having been painted in competition with Paolo Veronese and other powerful painters of the day, it was probably Tintoret's endeavour to make it as popular and as showy as possible. It is quite different from his common works, bright in all its tints and tones; the faces carefully drawn, and of an agreeable type; the outlines firm, and the shadows few; the whole resembling Correggio more than any Venetian painter. It lacks all the great virtues of Tintoret, without obtaining the lusciousness of Correggio." (Ruskin.)

8. (52) to 11 (55) Children's Heads,

"Which it is much to be regretted should be thus lost in filling small vacancies of the ceiling." (Ruskin.)

12. (56) to 15 (59) Figures of Children, merely decorative. 16. (60) to 27 (71) Allegorical Figures.

"If they were not in the same room with the Crucifixion,' they would attract more public attention than any works in the Scuola, as there are here no black shadows, nor extravagancies of invention, but very beautiful figures richly and delicately coloured, a good deal resembling some of the best works of Andrea del Sarto. There is nothing in them, however, requiring detailed examination." (Ruskin.)

THE collection bequeathed to Venice by Teodoro Correr in 1830 is now united with the Municipal Collection (“ Muséo Cívico") in a handsome building on the Grand Canal, not far from the Railway Station.

The Correr Museum (or Muséo Cívico) is open daily from 10 to 4. Admission, 1 franc; Sundays, 10 to 3, free.

This museum contains a few interesting works by the old masters, which are jumbled up with common-place productions of the last and present century. Only the most important of the pictures here will be mentioned. The rooms containing pictures are numbered 6, 7, 8, 9, 10, and 12, on the second floor. In room No. 10 is a work by Carpaccio, which Ruskin strangely calls "the best picture in the world." Room No. 7 (the first room entered), over door, 14. Pannini. Interior of St. Peter's, Rome.

16. Bartolommeo Vivarini. Trinity and Saints. On wood, in tempera.

6. Mansueti. St. Jerome. This is more in the manner of Basaiti's school.

7. Jacobo Bellini. An archbishop.

23. *Mantegna (?). The Transfiguration.

C. & C. and Woltmann assign this tempera to Giov. Bellini, and Morelli considers that it is an early work of his. It was originally in San Salvatore; it is now very dirty.

"The colour is highly blended and enamelled, and the finishing is wonderful. His rendering of the anatomy of the human body is very respectable." (C. & C.)

24. 27.

Palmezzano. Christ bearing the Cross.

Spinelli. A curious Wedding Procession.
Room 6,

32. Cranach. The Resurrection.

58. Brueghel (the Younger). Adoration of the Magi. 43. Braun. A Girl and an old Woman.

85. Callot. Gipsy scene.

I.

And other works of the Dutch school.

Room 8,

Tintoretto. Sketch for his "Golden Calf" in S. M.

dell' Orto.

33. Tintoretto. Sketch for his "Last Judgment,” in the Doges' Palace.

21-30. Girolamo da Santa Croce. Various subjects. 14. Marconi. God the Father.

Ascribed to Gentile Bellini.

supposed to be himself.

Portrait of a Young Man,

Soft in outline and colour. It might be ascribed to Giorgione,

as well as to Gentile or Giovanni." (C. & C.)

Room 9. Large picture to the left,

5. Aliense.

Cyprus, in Venice.

31.

Opposite,

Arrival of Catherine Cornaro, Queen of

Vicentino. Entrance of the Dogeresse Grimani into Doges' Palace.

10. Pasqualino. Madonna and Saints. This picture has been assigned to Giov. Bellini.

13. Bissolo. Madonna and Saints.

57. Bissolo. Madonna giving a Benediction to St. Peter Martyr.

This picture has been unjustly assigned to Cordegliaghi (Previtalli).

16. Cima. Madonna.

18. Catena. Madonna and Saints.

21, 23, 26. Bart. Vivarini.

24. Basaiti. Madonna.

25.

Montagna. A Saint.

Madonnas.

35. Giovanni Martini da Udine. Madonna and Saints. Dated 1498. The forms of the Child recall those of the Vivarini, and the technical treatment is that of the school of the

Muranese, when oil began to supersede tempera. In many respects Giovanni da Udine here recalls Jacopo da Valentia." (C. & C..) 37. Catena. Madonna and Saints.

38. Lorenzo Veneziano. Saviour enthroned, giving keys to St. Peter. Dated January, 1369.

"The best picture of Lorenzo. Here is a production executed with a certain power as regards colour. The Saviour's mien might almost be called noble, but the forms and draperies are obviously reminiscent of the period preceding the Florentine revival." (C. & C., "Ptg. in It." ii. p. 264.)

39. Marco Bello. Madonna and Saints.

44. Alvise Vivarini. St. Anthony of Padua.

*46. Catalogued to Mantegna; C. & C. say by Ercoli Roberti; Morelli and Layard say by Giov. Bellini. The Crucifixion. A small painting in tempera.

"It appears to me to be an indisputable work of Giovanni Bellini, produced between 1450 and 1460." (Morelli.)

*55. Giov. Bellini (catalogued to Pennacchi). Christ in the Tomb. The date "1494" is forged. It is a replica of the same subject in the Berlin Museum.

"I consider it to be a genuine work by Bellini, full of the most profound feeling." (Morelli.)

58. Francesco da Santa Croce. Madonna.

Room 10. On an easel,

*II. Carpaccio. Two Venetian Courtesans on a roof of their House. This picture is chiefly interesting from the glimpse it gives of a phase of Venetian life. It is a feeble production of disagreeable colour, in tempera. Ruskin has extolled it far beyond its merits, calling it "the most interesting piece of his finished execution existing in Venice."

"I named two pictures of John Bellini-the Madonna in San Zaccaria, and that in the sacristy of the Frari-as the two best pictures in the world. Looking only to the perfection of execution, and essentially artistic power of design, I rank this Carpaccio above either of them, and therefore, as in these respects, the best picture in the world. I know no other which unites every nameable quality of painter's art in so intense a degree. Breadth with minuteness, brilliancy with quietness, decision with tenderness, colour with light and shade. I know no other picture in

the world which can be compared with it." (Ruskin, "St. Mark's Rest the Shrine of the Slaves," p. 38.)

25, 26, 29, 32-43, 47, 61.

31. Pietro Longhi.

9.

Pietro Longhi. Various scenes. Himself painting a Lady.

Pietro Longhi. Himself painting a Procurator. 5. Alessandro Longhi.

10, 23.

Portrait of Carlo Goldoni.

Canaletto. Views of Venice.