The second picture is by Paris Bordone,[121] and represents the fisherman presenting the miraculous ring of St. Mark to the Doge Gradenigo. It is like a grand piece of scenic decoration: we have before us a magnificent marble hall, with columns and buildings in perspective; to the right, on the summit of a flight of steps, sits the Doge in council; the poor fisherman, ascending the steps, holds forth the ring. The numerous figures, the vivid colour, the luxuriant architecture, remind us of Paul Veronese, with, however, more delicacy, both in colour and execution. * * * * * A Christian slave, in the service of a certain nobleman of Provence, disobeyed the commands of his lord, and persisted in paying his devotions at the shrine of St. Mark, which was at some distance. On his return home, he was condemned to the torture. As it was about to be inflicted, the saint himself descended from heaven to aid his votary; the instruments of torture were broken or blunted, the oppressor and his executioners confounded. This legend is the subject of a celebrated picture by Tintoretto,[122] of which Mr. Rogers had the original sketch. The slave lies on the ground amid a crowd of spectators, who look on, animated by all the various emotions of sympathy, rage, terror; a woman in front, with a child in her arms, has always been admired for the life-like vivacity of her attitude and expression. The executioner holds up the broken implements; St. Mark, with a headlong movement, seems to rush down from heaven in haste to save his worshipper; the dramatic grouping in this picture is wonderful; the colouring, in its gorgeous depth and harmony, is in Mr. Rogers’s sketch finer than in the picture. * * * * * In St. Mark’s, at Venice, we find the whole history of St. Mark on the vault of the Cappella Zen (opening from the Baptistery), in a series of very curious mosaics of the twelfth century. The translation of the body of St. Mark; the carrying off the relics from Alexandria; their arrival in Venice; the grand religious ceremonies which took place on their arrival; are also represented in the mosaics over the portico of St. Mark’s, executed chiefly between 1650 and 1680. We have the same legend in two compositions of Tintoretto:[123] in the first, the remains of St. Mark are taken forcibly from the tomb by the Venetian mariners; in the other, they are borne away to sea in a night-storm, while in the air is seen hovering a bright transparent form,—the soul of the saint flitting with his body to Venice. ST. LUKE. _Lat._ Sanctus Luca. _Ital._ San Luca. _Fr._ Saint Luc. (Oct. 18.)