4. _Coronation of the Virgin._ (Fourth altar in the same aisle.) Painted more for the sake of the portraits at the bottom, than of the Virgin at the top. A good picture, but somewhat tame for Tintoret, and much injured. The principal figure, in black, is still, however, very fine. 5. _Resurrection of Christ._ (At the end of the north aisle, in the chapel beside the choir.) Another picture painted chiefly for the sake of the included portraits, and remarkably cold in general conception; its color has, however, been gay and delicate, lilac, yellow, and blue being largely used in it. The flag which our Saviour bears in his hand, has been once as bright as the sail of a Venetian fishing-boat, but the colors are now all chilled, and the picture is rather crude than brilliant; a mere wreck of what it was, and all covered with droppings of wax at the bottom. 6. _Martyrdom of St. Stephen._ (Altar piece in the north transept.) The Saint is in a rich prelate's dress, looking as if he had just been saying mass, kneeling in the foreground, and perfectly serene. The stones are flying about him like hail, and the ground is covered with them as thickly as if it were a river bed. But in the midst of them, at the saint's right hand, there is a book lying, crushed but open, two or three stones which have torn one of its leaves lying upon it. The freedom and ease with which the leaf is crumpled is just as characteristic of the master as any of the grander features; no one but Tintoret could have so crushed a leaf; but the idea is still more characteristic of him, for the book is evidently meant for the Mosaic History which Stephen had just been expounding, and its being crushed by the stones shows how the blind rage of the Jews was violating their own law in the murder of Stephen. In the upper part of the picture are three figures,--Christ, the Father, and St. Michael. Christ of course at the right hand of the Father, as Stephen saw him standing; but there is little dignity in this part of the conception. In the middle of the picture, which is also the middle distance, are three or four men throwing stones, with Tintoret's usual vigor of gesture, and behind them an immense and confused crowd; so that, at first, we wonder where St. Paul is; but presently we observe that, in the front of this crowd, and _almost exactly in the centre of the picture_, there is a figure seated on the ground, very noble and quiet, and with some loose garments thrown across its knees. It is dressed in vigorous black and red. The figure of the Father in the sky above is dressed in black and red also, and these two figures are the centres of color to the whole design. It is almost impossible to praise too highly the refinement of conception which withdrew the unconverted St. Paul into the distance, so as entirely to separate him from the immediate