I have supplied somewhat copious notices of the pictures of Tintoret, because they are much injured, difficult to read, and entirely neglected by other writers on art. I cannot express the astonishment and indignation I felt on finding, in Kugler's handbook, a paltry cenacolo, painted probably in a couple of hours for a couple of zecchins, for the monks of St. Trovaso, quoted as characteristic of this master; just as foolish readers quote separate stanzas of Peter Bell or the Idiot Boy, as characteristic of Wordsworth. Finally, the reader is requested to observe, that the dates assigned to the various buildings named in the following index, are almost without exception conjectural; that is to say, founded exclusively on the internal evidence of which a portion has been given in the Final Appendix. It is likely, therefore, that here and there, in particular instances, further inquiry may prove me to have been deceived; but such occasional errors are not of the smallest importance with respect to the general conclusions of the preceding pages, which will be found to rest on too broad a basis to be disturbed. A ACCADEMIA DELLE BELLE ARTI. Notice above the door the two bas-reliefs of St. Leonard and St. Christopher, chiefly remarkable for their rude cutting at so late a date as 1377; but the niches under which they stand are unusual in their bent gables, and in little crosses within circles which fill their cusps. The traveller is generally too much struck by Titian's great picture of the "Assumption," to be able to pay proper attention to the other works in this gallery. Let him, however, ask himself candidly, how much of his admiration is dependent merely upon the picture being larger than any other in the room, and having bright masses of red and blue in it: let him be assured that the picture is in reality not one whit the better for being either large, or gaudy in color; and he will then be better disposed to give the pains necessary to discover the merit of the more profound and solemn works of Bellini and Tintoret. One of the most wonderful works in the whole gallery is Tintoret's "Death of Abel," on the left of the "Assumption;" the "Adam and Eve," on the right of it, is hardly inferior; and both are more characteristic examples of the master, and in many respects better pictures, than the much vaunted "Miracle of St. Mark." All the works of Bellini in this room are of great beauty and interest. In the great room, that which contains Titian's "Presentation of the Virgin," the traveller should examine carefully all the pictures by Vittor Carpaccio and Gentile Bellini, which represent scenes in ancient Venice; they are full of interesting architecture and costume. Marco Basaiti's "Agony in the Garden" is a lovely example of the religious school. The Tintorets in this room are all second rate, but most of the Veronese are good, and the large ones