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In the Church of S. Maria dell'Orto, where, as has been told above, Cristofano and his brother, painters of Brescia, painted the ceiling, Tintoretto has painted that is, on canvas and in oils the two walls of the principal chapel, which are twenty-two braccia in height from the vaulting to the cornice at the foot. In that which is on the right hand he has depicted Moses returning from the Mount, where he had received the Laws from God, and finding the people worshipping the Golden Calf; and opposite to that, in the other, is the Universal Judgment of the last day, painted with an extravagant invention that truly has in it something awesome and terrible, by reason of the diversity of figures of either sex and all ages that are there, with vistas and distant views of the souls of the blessed and the damned. There, also, may be seen the boat of Charon, but in a manner so different from that of others, that it is a thing beautiful and strange. If this fantastic invention had been executed with correct and well-ordered drawing, and if the painter had given diligent attention to the parts and to each particular detail, as he has done to the whole in expressing the confusion, turmoil, and terror of that day, it would have been a most stupendous picture. And whoever glances at it for a moment, is struck with astonishment; but, considering it afterwards minutely, it appears as if painted as a jest. The same master has painted in oils in that church, on the doors of the organ, Our Lady ascending the steps of the Temple, which is a highly-finished work, and the best-executed and most gladsome picture that there is in that place. In S. Maria Zebenigo, likewise on the doors of the organ, he has painted the Conversion of S. Paul, but not with much care. In the Carit
"This fastidious Roman expressed also his annoyance at the inaccuracy of the costume, in Paul's fine picture of the 'Family of Darius presented to Alexander, and lamented that so admirable a work should have been blemished by this gross anachronism. You are, doubtless, well acquainted with a painting which belongs to a branch of your family. It may be truly called the triumph of colouring; and certainly more harmony, splendour, and loveliness, never met together in one picture. To these merits must be added the truth of character which prevails in all the heads, most of which are portraits. Forget for a moment that the incident is borrowed from ancient story; imagine it the victory of a hero of the sixteenth century, and the painting becomes, in all respects, a masterpiece. The architecture, in the background, gives a tone to the whole; but it required the delicate outlines and the exquisite perception of harmonious colouring which distinguish Paul Veronese, to give relief and contrast to the figures and draperies on so light a ground. The pyramidal group, formed by anold man and four female figures, is superlatively lovely; the countenances wonderfully expressive, and sparkling with animation. The head of Alexander is beautiful, but deficient in masculine firmness, and more adapted to charm the softer sex than to awe the world; while the nobler features of Parmenia exhibit a strength of character finely contrasted with the more feminine graces of the royal conqueror, and his yellow drapery is admirably folded and coloured. How exquisitely finished, too, is the long and beautifully braided flaxen hair of the Persian Princesses! And what a host of figures in this noble picture, most of them the size of life, as in the 'Nuptials of Cana! Certainly, this painting is nearly unrivalled in close fidelity to nature; and in the truth and splendour of its colouring, it yields only to that triumphant specimen of Venetian art in the Scuola della Carit
One of the most celebrated pictures by Titian is the Presentation in the Temple, which was painted for the Church of the Brotherhood of Charity, called in Italian "La Scuola della Carit
It is in Venice that the fine genius of Palladio develops all its supremacy. The Cornaro palace on the grand canal, and the unfinished convent of La Carit
The river of Venice Canal steamers Motor boats Venetian nobility to-day The great architects A desirable enactment The custom house vane The Seminario and Giorgione S. Maria della Salute Tintoretto's "Marriage in Cana" The lost blue curtain San Gregorio The Palazzo Dario Porphyry The story of S. Vio Delectable homes Browning in Venice S. Maria della Carit
"It is he, verily, who hath painted our Blessed Lady for the barca of the Lady Caterina; for Madonna Fiorenza is almost a saint and devote ! She hath the heart of a carit
He went out in the middle of the third act, and he did not come back again. After a while Gemma moved restlessly. "Orazio, per carit
Next we reach the church, convent and Scuola of S. Maria della Carit
To 1538 belongs the large and beautiful picture of the Presentation of the Virgin Mary in the Temple, painted for the Scuola della Carit
Outside, in the market-place, the country women were sitting in the shade of their enormous red and blue striped umbrellas beside their stalls of fruit, while the people who came to buy moved to and fro from one to the other, beating down prices, chaffering eagerly with little cries of "Per carit
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