1. _Gathering the Manna._ (On the left hand of the high altar.) One of Tintoret's most remarkable landscapes. A brook flowing through a mountainous country, studded with thickets and palm trees; the congregation have been long in the Wilderness, and are employed in various manufactures much more than in gathering the manna. One group is forging, another grinding manna in a mill, another making shoes, one woman making a piece of dress, some washing; the main purpose of Tintoret being evidently to indicate the _continuity_ of the supply of heavenly food. Another painter would have made the congregation hurrying to gather it, and wondering at it; Tintoret at once makes us remember that they have been fed with it "by the space of forty years." It is a large picture, full of interest and power, but scattered in effect, and not striking except from its elaborate landscape. 2. _The Last Supper._ (Opposite the former.) These two pictures have been painted for their places, the subjects being illustrative of the sacrifice of the mass. This latter is remarkable for its entire homeliness in the general treatment of the subject; the entertainment being represented like any large supper in a second-rate Italian inn, the figures being all comparatively uninteresting; but we are reminded that the subject is a sacred one, not only by the strong light shining from the head of Christ, but because the smoke of the lamp which hangs over the table turns, as it rises, into a multitude of angels, all painted in grey, the color of the smoke; and so writhed and twisted together that the eye hardly at first distinguishes them from the vapor out of which they are formed, ghosts of countenances and filmy wings filling up the intervals between the completed heads. The idea is highly characteristic of the master. The picture has been grievously injured, but still shows miracles of skill in the expression of candle-light mixed with twilight; variously reflected rays, and half tones of the dimly lighted chamber, mingled with the beams of the lantern and those from the head of Christ, flashing along the metal and glass upon the table, and under it along the floor, and dying away into the recesses of the room. 3. _Martyrdom of various Saints._ (Altar piece of the third altar in the South aisle.) A moderately sized picture, and now a very disagreeable one, owing to the violent red into which the color that formed the glory of the angel at the top is changed. It has been hastily painted, and only shows the artist's power in the energy of the figure of an executioner drawing a bow, and in the magnificent ease with which the other figures are thrown together in all manner of wild groups and defiances of probability. Stones and arrows are flying about in the air at random.