3. _The Descent into Hades._ (On the right-hand side of the high altar.) Much injured and little to be regretted. I never was more puzzled by any picture, the painting being throughout careless, and in some places utterly bad, and yet not like modern work; the principal figure, however, of Eve, has either been redone, or is scholar's work altogether, as, I suspect, most of the rest of the picture. It looks as if Tintoret had sketched it when he was ill, left it to a bad scholar to work on with, and then finished it in a hurry; but he has assuredly had something to do with it; it is not likely that anybody else would have refused all aid from the usual spectral company with which common painters fill the scene. Bronzino, for instance, covers his canvas with every form of monster that his sluggish imagination could coin. Tintoret admits only a somewhat haggard Adam, a graceful Eve, two or three Venetians in court dress, seen amongst the smoke, and a Satan represented as a handsome youth, recognizable only by the claws on his feet. The picture is dark and spoiled, but I am pretty sure there are no demons or spectres in it. This is quite in accordance with the master's caprice, but it considerably diminishes the interest of a work in other ways unsatisfactory. There may once have been something impressive in the shooting in of the rays at the top of the cavern, as well as in the strange grass that grows in the bottom, whose infernal character is indicated by its all being knotted together; but so little of these parts can be seen, that it is not worth spending time on a work certainly unworthy of the master, and in great part probably never seen by him. CATTARINA, CHURCH OF ST., said to contain a _chef-d'oeuvre_ of Paul Veronese, the "Marriage of St. Catherine." I have not seen it. CAVALLI, PALAZZO, opposite the Academy of Arts. An imposing pile, on the Grand Canal, of Renaissance Gothic, but of little merit in the details; and the effect of its traceries has been of late destroyed by the fittings of modern external blinds. Its balconies are good, of the later Gothic type. See "BARBARO." CAVALLI, PALAZZO, next the Casa Grimani (or Post-Office), but on the other side of the narrow canal. Good Gothic, founded on the Ducal Palace, circa 1380. The capitals of the first story are remarkably rich in the deep fillets at the necks. The crests, heads of sea-horses, inserted between the windows, appear to be later, but are very fine of their kind. CICOGNA, PALAZZO, at San Sebastiano, II. 265. CLEMENTE, CHURCH OF ST. On an island to the south of Venice, from which the view of the city is peculiarly beautiful. See "SCALZI."