MOISÈ, CHURCH OF ST., III. 124. Notable as one of the basest examples of the basest school of the Renaissance. It contains one important picture, namely "Christ washing the Disciples' Feet," by Tintoret; on the left side of the chapel, north of the choir. This picture has been originally dark, is now much faded--in parts, I believe, altogether destroyed--and is hung in the worst light of a chapel, where, on a sunny day at noon, one could not easily read without a candle. I cannot, therefore, give much information respecting it; but it is certainly one of the least successful of the painter's works, and both careless and unsatisfactory in its composition as well as its color. One circumstance is noticeable, as in a considerable degree detracting from the interest of most of Tintoret's representations of our Saviour with his disciples. He never loses sight of the fact that all were poor, and the latter ignorant; and while he never paints a senator, or a saint once thoroughly canonized, except as a gentleman, he is very careful to paint the Apostles, in their living intercourse with the Saviour, in such a manner that the spectator may see in an instant, as the Pharisee did of old, that they were unlearned and ignorant men; and, whenever we find them in a room, it is always such a one as would be inhabited by the lower classes. There seems some violation of this practice in the dais, or flight of steps, at the top of which the Saviour is placed in the present picture; but we are quickly reminded that the guests' chamber or upper room ready prepared was not likely to have been in a palace, by the humble furniture upon the floor, consisting of a tub with a copper saucepan in it, a coffee-pot, and a pair of bellows, curiously associated with a symbolic cup with a wafer, which, however, is in an injured part of the canvas, and may have been added by the priests. I am totally unable to state what the background of the picture is or has been; and the only point farther to be noted about it is the solemnity, which, in spite of the familiar and homely circumstances above noticed, the painter has given to the scene, by placing the Saviour, in the act of washing the feet of Peter, at the top of a circle of steps, on which the other Apostles kneel in adoration and astonishment. MORO, PALAZZO. See OTHELLO. MOROSINI, PALAZZO, near the Ponte dell' Ospedaletto, at San Giovannie Paolo. Outside it is not interesting, though the gateway shows remains of brickwork of the thirteenth century. Its interior court is singularly beautiful; the staircase of early fourteenth century Gothic has originally been superb, and the window in the angle above is the most perfect that I know in Venice of the kind; the lightly sculptured coronet is exquisitely introduced at the top of its spiral shaft.