are uninteresting, but the distant cavalcade is designed with spirit, and the architecture carefully rendered." (Eastlake, p. 50.) 276. St. Francis and St. Paul. Formerly in the Magistrato del Sale. Canvas: 5 ft. 11 in. by 4 ft. 6 in. 286. St. Anthony, St. John the Evangelist, and St. Andrew. Formerly in the Magistrato del Monte Novissimo. Canvas: 8 ft. 10 in. by 4 ft. 7 in. 283. SS. Anthony and Mark; life-size. Formerly in the Magistrato dei Governatori dell' Entrata. Canvas: 7 ft. 4 in. by 4 ft. 7 in. 290. St. Philip and St. Silvester. The latter was that Bishop of Rome who cured the Emperor Constantine of a horrible leprosy, and caused him immediately to become a Christian. Dated 1562. Formerly in the office of the Customs House. Canvas: 7 ft. 2 in. by 4 ft. 3 in. 318. Attributed to Bonifazio III. St. Mark the Evangelist. Formerly in the Magistrato del Sale. Canvas; 7 ft. 4 in. by 4 ft. 3 in. -- "It is painted in a low key of colour, with a certain Titanesque quality in the tone and treatment of the draperies.' (Eastlake.) 269. The Holy Family. Before a curtain, suspended from trees, the Virgin sits with the Infant Christ. On the left, St. Joseph and a venerable companion (St. James) read from a book. On the right are two female saints, one of whom, St. Elizabeth, supports the youthful Baptist, presenting his cross to the Saviour. Most of the heads in the picture are turned and twisted about for the sake of effect, and there is an attempt at naturalistic treatment. From the brotherhood of San Pasquale Baylon. On wood: 2 ft. 7 in. by 4 ft. 54 in. "The rich and sharply contrasted keys of colour in this picture would be unpleasant but for the liberal use of white, which Bonifazio rarely failed to introduce in pictures of this class." (Eastlake.) 288. St. James and St. Vincent. Below are the arms of the Venetian families, Moro and Priuli. Formerly in the Magistrato del Sale. Canvas: 6 ft. 5 in. by 3 ft. 11 in. 292. Copy of one of the Bonifazios. Nativity of the Virgin Mary. Formerly in the Ufficio del Monte Novissimo. Canvas 6 ft. 6 in. by 5 ft. 14. Bonvicino (Alessandro). See Moretto. 320. Bordone (Paris). ** The Fisherman presenting St. Mark's ring to Doge Gradenigo. This picture is generally considered Bordone's masterpiece. It is signed by the artist, and was formerly in the Scuola di San Marco. Vasari made a strange mistake in calling it a "fresco." Legend.-On Feb. 25th, 1394, Venice was visited by a great storm, at the commencement of which an old fisherman had with difficulty made his boat fast alongside the Riva di San Marco. He was accosted by a stranger who offered a handsome reward to be rowed over to San Giorgio Maggiore. The fisherman pointed out the danger which would attend the undertaking, but finally consented, and succeeded in reaching San Giorgio. The stranger landed, and presently returned with a young man requesting the fisherman to row them to San Niccolò di Lido. Again the fisherinan protested, but, yielding once more, rowed the two men to the Lido, where they landed. They presently returned with a third passenger,' and commanded the fisherto row them "beyond the two castles." " When the boat reached the open sea, its occupants beheld an enormous galley, manned by demons, which was proceeding to the destruction of Venice. The storm was then at its height, but the three strangers, making the sign of the cross, exorcised the demons, whereupon the galley disappeared and the storm ceased. Then the fisherman rowed the strangers back to the places where they had embarked, and demanded his reward of the one who landed at San Marco. The latter said he was St. Mark himself, and that the others were St. George and St. Theodore respectively, declaring that they had gone out to quell the storm, which had arisen in consequence of the wickedness of a certain schoolmaster at San Felice, who had hanged himself after selling his soul to the devil. St. Mark bade the fisherman tell the Doge what he had seen, and that he would receive his reward. The fisherman declared that his story would not be believed, whereupon St. Mark, taking a ring from his finger, told him to show it to the Doge in support of his story, explaining further that this was the ring usually kept in the sanctuary. The next morning the fisherman presented himself before the Doge, and related the events of the previous night. The Procuratori on inquiry ascertained that the ring was not in the sanctuary and that the triple lock which guarded the case 1 In some versions of the legend the three personages are said to have entered the fisherman's boat together. 2 The two castles of San Andrea and San Niccolò, opposite which the Doge threw the ring into the sea, during the ceremony of the " Wedding the Adriatic." 3 See also another episode of this legend depicted in the picture attributed to Palma Vecchio or Giorgione. had not been tampered with. So the fisherman's story was believed, and he was awarded a pension for life. A Mass was said in San Marco in commemoration of the averted peril.' The scene takes place in the loggia of an imaginary palace. To the right sits the Doge, enthroned, with senators on either side; the fisherman, ascending the steps, presents the ring. The vivid colour, the grand architecture, and the numerous figures recall Paolo Veronese, but this work is more delicate in its execution. The perspective is irreproachable, and the personages are astonishingly life-like in attitude and gesture. It is signed "O Paradis Bordono." Canvas: 12 ft. in. by 9 ft. 9 in. "The most beautifully painted ceremonial picture that exists anywhere." (Burckhardt.) "It is a lovely picture which captivates all eyes; the general design of the composition, the fine colouring, the graceful drawing, all contribute to make of this work one of the most beautiful canvasses in the Academy." (Lecomte, "Venise," p. 420.) The "The architectural portions of this work alone would make it attractive, so admirably is the perspective managed. quiet dignity of the senators, the earnest but unaffected action of the bystanders whose heads are painted with great vitality and power, combine to place this work among the finest of its class in realistic character; while the judicious balance of light and shade, and above all the rich but admirably associated tones of colour with which the canvas glows, present a perfect triumph of pictorial skill." (Eastlake, p. 58.) 322. Paradise. Arched at the top and divided into two portions. In the upper part, God the Father and the Saviour are crowning the Virgin. Formerly in the Church of All Saints, in Treviso. An inferior work of this master. Canvas: 8 ft. 8 in. by 5 ft. 9 in. "There is little or no artistic merit in the composition, and the colour is positively unpleasant." (Eastlake.) 305. Attributed to Bordone, but by Licinio (Bernardino). Portrait of a Lady. Dutch; 1596-1667. A Pagan 356. Bramer (Leonhard). Marriage. Presented by Molin. 73 in. 1 St. Mark's ring was stolen in 1585. His body, though deposited in some mysterious receptacle known only to the Doge and certain special custodians, called " Provveditori," disappeared before that time. The English traveller, Eustace, accuses the Doge Carossio of having sold the precious relic. 357. A Hebrew Marriage. Presented by Molin. Panel: 2 ft. 3 in. by 1 ft. 7 in. 369. Breenbergh (Bartolomeus). Dutch; 1599 c. 1659. A Mountainous Landscape. Presented by Molin. Panel: 9 in. by 13 in. Breughel (Jan). Flemish; 1568-1625. Landscape with Figures and Windmills. Presented by Molin. Copper : 9 in. by 1 ft. 23 in. 135. Bril (Paul). Flemish; 1554-1625. View of Tivoli. Canvas: I ft. 4 in. by 2 ft. 10 in. 377. Brun (Charles le). French; 1619-1690. The Magdalene at the Feet of the Saviour in the House of Levi. This picture was given to Venice by France in place of some Venetian canvasses which had been taken away by Napoleon, and which it was feared would suffer by the transfer if they were returned; among these was "The Last Supper" ("Cena") of Paolo Veronese, now in the Louvre. 12 ft. 8 in. by 10 ft. 3 in. Canvas: "The 'Cena' of Paolo Veronese being worth, I should say, roughly, about ten good millions of sterling ducats, or twenty ironclads; and the Le Brun worth, if it were put to its proper use, precisely what its canvas may now be worth to make a packing-case of." (Ruskin.) Brusasorci. See Riccio. 602. Buonconsigli (Giovanni), called "Il Marescalco." Saints Cosmo, holding a pen, Benedict, with a closed book, and Tecla. This is a fragment of a large altar-piece, once in the Church of SS. Cosmo e Damiano alla Giudecca; formerly in the Manfrini Gallery. Signed and dated Dec. 22nd, 1477. Panel: 2 ft. 83 in. by 2 ft. 3 in. "The heads are vigorously painted, with broad and unduly forced shadows." (Eastlake.) 81. Busati (Andrea). St. Mark, enthroned, attended by Two Saints. On the left St. Andrew, and on the right, San Bernardino, or St. Francis. St. Mark bears in one hand an open book, inscribed with the Venetian motto: “Pax tibi, Marce Evangelista, meus"; the other hand is raised in blessing. A fruitless but leafy fig-tree in the background is thought to refer to the incident of the barren fig-tree mentioned in the Gospel Why an apple-tree should be likewise behind St. Bernardino has never been explained! Formerly in the Magistrato delle Ragioni Vecchie. Canvas: 5 ft. 7 in. by 4 ft. I in. Boschini notices this picture, which was painted about 1510, under the name of Andrea Basaiti, and Zanetti under that of Marco Basaiti. Beneath the signature are the armorial shields of the families of Contarini, Donà, and Marin. "The heads are not remarkable for interest, but the draperies are well cast and tasteful in their well-gradationed colour." (Eastlake.) Caliari (Paolo). See Veronese (Paolo). Caliari (Benedetto). His name is also spelt Cagliari. He was a brother of Paolo Veronese. Christ before Pilate. Formerly in the Church of San Niccolò della Latuga ai Frari. Canvas: 9 ft. 10 in. by 14 ft. 7 in. Here Pilate's wife was present, contrary to Scripture. (For an account of the subject here represented see page 153.) 263. The Last Supper. Christ washing the feet of the Apostles. Formerly in the same church as above. Canvas: 9 ft. 1 in. by 12 ft. in. 254, 257, 329 and 330. Caliari (Carlo or Carletto). Son of Paolo Veronese. Angels bearing Emblems of the Passion of Jesus Christ. Formerly in the same church as above. Each canvas: 6 ft. 4 in. by 2 ft. 2 in. 246. The Raising of Lazarus. Formerly in the Confraternità dei Varotari. Canvas: 6 ft. 11 in. by 16 ft. 9 in. 259. The Assumption of the Virgin. A large altar-piece, formerly in Santa Maria Maggiore. Canvas: 13 ft. in. by 4 ft. I in. (For an account of the Assumption see Titian's Assumption.") "It is vigorously painted, but pathos and sentiment vanish from a scene in which all is sacrificed to pictorial effect." (Eastlake.) Foundation of the "Instituzione del Soccorso." An institution for the rescue of fallen women. The Virgin and Child appear in glory, and surrounded by angels, while Venice presents to her women who have dedicated themselves to live apart from the world. Formerly in the Church del Soccorso. Canvas: 7 ft. 11 in. by 8 ft. 7 in. 532, 534, and 535. Three heads, two men and a woman. Once part of the ceiling of the refectory in the Convent of San Giacomo alla Giudecca. Woman's head: 1 ft. 11 in. by 1 ft. 8 in.; men's heads: 1 ft. 7 in. by 1 ft. 4 in. 248. Christ bearing the Cross, and St. Veronica. Formerly in Santa Croce, Belluno. Canvas: 7 ft. 9 in. by 10 ft. 13 in. Caliari (Carletto and Benedetto). Signed as heirs of Paolo Veronese. Supper in the House of the Pharisee. A |