3. _Pool of Bethesda._ (On the right side of the church, in its centre, the lowest of the two pictures which occupy the wall.) A noble work, but eminently disagreeable, as must be all pictures of this subject; and with the same character in it of undefinable want, which I have noticed in the two preceding works. The main figure in it is the cripple, who has taken up his bed; but the whole effect of this action is lost by his not turning to Christ, but flinging it on his shoulder like a triumphant porter with a huge load; and the corrupt Renaissance architecture, among which the figures are crowded, is both ugly in itself, and much too small for them. It is worth noticing, for the benefit of persons who find fault with the perspective of the Pre-Raphaelites, that the perspective of the brackets beneath these pillars is utterly absurd; and that, in fine, the presence or absence of perspective has nothing to do with the merits of a great picture: not that the perspective of the Pre-Raphaelites _is_ false in any case that I have examined, the objection being just as untenable as it is ridiculous. 4. _San Rocco in the Desert._ (Above the last-named picture.) A single recumbent figure in a not very interesting landscape, deserving less attention than a picture of St. Martin just opposite to it,--a noble and knightly figure on horseback by Pordenone, to which I cannot pay a greater compliment than by saying that I was a considerable time in doubt whether or not it was another Tintoret.