manner being much more that of Titian than of Tintoret. The sky appears full of light, though it is as dark as the flesh of the faces; and the forms of its floating clouds, as well as of the hills over which they rise, are drawn with a deep remembrance of reality. There are hundreds of pictures of Tintoret's more amazing than this, but I hardly know one that I more love. The reader ought especially to study the sculpture round the altar of the Capella del Rosario, as an example of the abuse of the sculptor's art; every accessory being labored out with as much ingenuity and intense effort to turn sculpture into painting, the grass, trees, and landscape being as far realized as possible, and in alto-relievo. These bas-reliefs are by various artists, and therefore exhibit the folly of the age, not the error of an individual. The following alphabetical list of the tombs in this church which are alluded to as described in the text, with references to the pages where they are mentioned, will save some trouble: Cavalli, Jacopo, III. 82. | Mocenigo, Pietro, III. 89. Cornaro, Marco, III. 11. | Mocenigo, Tomaso, I. 8, 26, III. 84. Dolfin, Giovanni, III. 78. | Morosini, Michele, III. 80. Giustiniani, Marco, I. 315. | Steno, Michele, III. 83. Mocenigo, Giovanni, III. 89. | Vendramin, Andrea, I. 27, III. 88. GIOVANNI GRISOSTOMO, CHURCH OF ST. One of the most important in Venice. It is early Renaissance, containing some good sculpture, but chiefly notable as containing a noble Sebastian del Piombo, and a John Bellini, which a few years hence, unless it be "restored," will be esteemed one of the most precious pictures in Italy, and among the most perfect in the world. John Bellini is the only artist who appears to me to have united, in equal and magnificent measures, justness of drawing, nobleness of coloring, and perfect manliness of treatment, with the purest religious feeling. He did, as far as it is possible to do it, instinctively and unaffectedly, what the Caracci only pretended to do. Titian colors better, but has not his piety. Leonardo draws better, but has not his color. Angelico is more heavenly, but has not his manliness, far less his powers of art. GIOVANNI ELEMOSINARIO, CHURCH OF ST. Said to contain a Titian and a Bonifazio. Of no other interest. GIOVANNI IN BRAGOLA, CHURCH OF ST. A Gothic church of the fourteenth century, small, but interesting, and said to contain some precious works by Cima da Conegliano, and one by John Bellini. GIOVANNI NOVO, CHURCH OF ST. Of no importance. GIOVANNI, S., SCUOLA DI. A fine example of the Byzantine Renaissance, mixed with remnants of good late Gothic. The little exterior cortile is sweet in feeling, and Lazari praises highly the work of the interior staircase.