made by Lodovico da Friuli in 1444, as an inscription states. To the left, Altar-piece of Margarita Donato. Altar-piece of Agnesina Giustiniani. Both with paintings by Giov. and Antonio Vivarini, executed in 1443, now much injured and repainted, but showing the influence of the Cologne School. Behind the central altar are figures of saints in monochrome, attributed to the Vivarini. In the semi-dome of this chapel are some much-damaged rescoes, representing Evangelists, Prophets, etc., painted in 1442 by Jacopo Bellini. "The figures are colossal, and unpleasant; the angels hard and wooden." (C. & C.) In the Choir of the Church, second chapel on left, Attributed to Giov. Bellini, and by some to Bissolo. The Circumcision. Sir Joseph A. Crowe says that Bellini certainly painted this "almost unsupportable scene," but as it was executed for an altar of the choir, erected to the memory of Pietro Cappello after 1524, Giov. Bellini (14271516) could not have painted it, and it is probably the work of Bissolo, who painted a repetition of it, now in the Academy. Left aisle, second altar, Giov. Bellini. * Madonna between Four Saints. Ruskin calls this celebrated picture the "best John Bellini in Venice, after that of San Crisostomo." It was painted in 1505, when he was eighty years old, for the altar where it now is, consequently its perspective is arranged to suit the spot. This is a masterpiece of the class which Vasari calls “la maniera moderna " ("the modern manner "), the term which was first applied, and justly, to Leonardo da Vinci's "Last Supper." Bellini's picture was carried off by the French with many others, and transferred to canvas and “restored” in Paris in 1797. Subsequent restorations have injured it still more. The Madonna is seated on a high Renaissance throne, with the Child standing on her knee. Behind the throne is the usual canopy, and on one of the steps sits a lovely little angel, in dark-green and yellow robes, playing a viol. This is the charming figure that is nearly always introduced into Bellini's Madonnas. St. Lucy, on the right, a pretty, blonde girl showing an exquisite profile, offers a purse to the infant Jesus. She is dressed in grey, blue, and red drapery. St. Catherine is on the other side of the Virgin. On the left is St. Peter, a grand figure, and on the right, St. Jerome. Their draperies are large and carefully composed. On each side of the canopy is a narrow strip of landscape on one side a fig-tree, and on the other an elm. "It is not one of his best, but it is a glorious picture." (Mrs. Clement, "Queen of the Adriatic," p. 205.) "An altar-piece in which Bellini takes us with a spring into the midst of the Venetian moderns. The quality for which it is pre-eminently remarkable is depth of light and shade." (C. & C., N. It." i. p. 173.) 66 Nothing more grand than the figures of SS. Peter and Jerome can be conceived, and the expression of the female saints is touchingly simple, graceful and naïve — attributes which were the exclusive productions of that age, which was the golden age of religious paint ing." (Rio.) "The whole painting is bathed in a soft but luminous haze of gold; yet each figure has its individuality of treatment, the glowing face of St. Peter contrasting with the pearly colours of the drapery and flesh-tints of the Virgin. No brush work is perceptible. Surface substance has been elaborated into one harmonious richness which defies analysis." (Symonds, "Ren. in It. Fine Arts," pp. 365, 356.) CAPPELLA ZEN. (SCUOLA DE' CROCIFERI, sometimes called, ORATORIO DI SS. FILIPPO E LUIGI, or, CHIESA DELL' OSPEDALETTO.) Opposite the Church of the Gesuiti. This little chapel contains some interesting pictures, for the most part by Palma Giovane, relating to the Doge P. Cicogna, a representation of whom will also be found in the Doges' Palace. Doge Pasquale Cicogna was elected in 1585, and died ten years later. Under his rule the Republic prospered greatly; the Rialto Bridge was built, the Doges' Palace restored, and the buildings in the Piazza San Marco were completed. He married, in 1548, Laura Morosini, who belonged to an illustrious and ancient Venetian family. Wall opposite the entrance, Palma Giovane. (1) Doge Cicogna hearing Mass in his Senator's robe. (The artist is represented as the man to the right of the Doge.) (2) The same Doge receiving the news of his election. (3) The same Doge visiting this church. To the left of the Altar, Palma Giovane. Pope St. Clement instituting the Order of the Crociferi. This order was afterwards merged into the more modern one of the Jesuits. To the right of the Altar, Palma Giovane. Pope Paul IV. giving the ambassador of Venice a brief for the Crociferi. Wall opposite the Altar, Palma Giovane. The Saviour in Glory with Doge Raniero Zen and his wife granting the privileges of the Hospice. To the right, on the same wall, an Tintoretto. Descent from the Cross. Over the entrance door, Tintoretto. *The Flagellation of Christ. The figure of Christ in this picture is remarkably fine. On the ceiling is Assumption of the Virgin," by Palma Giovane, sometimes attributed to Titian. On the Altar is a representation of the "Madonna appearing to Venice," a poor work by Lazarini. SANTA MARIA ZOBENIGO. (SANTA MARIA GIUBENIGO.) On the way to the Academy from San Marco. Left side, third altar, Tintoretto. Christ with (1.) St. Justina and (r.) St. Augustine. Christ is descending out of the clouds between two saints who are kneeling on the sea-shore. The distance is a Venetian view, with a scarlet galley. "The saints are respectable Venetians of the lower class, in humble dress and with homely faces. The whole picture is quietly painted, and somewhat slightly; free from all extravagance, and displaying little power except in the general truth or harmony of colours so easily laid on. It is better preserved than usual, and worth dwelling upon as an instance of the style of the master when at rest." (Ruskin, "Stones of Ven." iii.) In the Sacristy, School of Rubens. Madonna with St. John. Attributed to Tintoretto. Two Evangelists. END OF THE ACCOUNT OF THE CHURCHES. Q |