George, Margaret, and Louis; SS. Andrew and Jerome. Senato: S. Mark presenting Doge Loredano to the Virgin. Sala Quattro Porte: Ceiling. Ante-room: Portraits; Ceiling, Doge Priuli with Justice. Passage to Council of Ten: Portraits; Nobles illumined by Holy Spirit. Sala del Gran Consiglio: Paradise, 1590. Sala dello Scrutino: Battle of Zara. Palazzo Reale: Transportation of Body of S. Mark; S. Mark rescues a Shipwrecked Saracen; Philosophers. Giovanelli Palace: Battlepiece; Portraits. S. Cassiano: Crucifixion; Christ in Limbo; Resurrection. S. Giorgio Maggiore: Last Supper; Gathering of Manna; Entombment (in Mortuary Chapel). S. Maria Mater Domini: Finding of True Cross. S. Maria dell' Orto: Last Judgment (E.); Golden Calf (E.); Presentation of Virgin (E.); Martyrdom of S. Agnes. S. Polo: Last Supper; Assumption of Virgin. S. Rocco: Annunciation; Pool of Bethesda; S. Roch and the Beasts; S. Roch healing the Sick; S. Roch in Campo d' Armata; S. Roch consoled by an Angel. Scuola di S. Rocco: Lower Hall, all the paintings on wall. Staircase: Visitation. Upper Hall: all the paintings on walls and ceiling. Refectory: Crucifixion, 1565; Christ before Pilate; Ecce Homo; Way to Golgotha; Ceiling, 1560. Salute: Marriage of Cana, 1561; Martyrdom of S. Stephen. S. Silvestro: Baptism. S. Stefano: Last Supper; Washing of Feet; Agony in Garden. S. Trovaso: Temptation of S. Anthony. Vienna. Susanna and the Elders; Sebastian Venier; Portraits of Procurators, Senators, and Men (fifteen in all); Old Man and Boy; Portrait of Lady. CHAPTER XXVII BASSANO We wonder how many of those sightseers who pass through the Ante-Collegio in the Ducal Palace, and stare for a few moments at Tintoretto's famous quartet and at Veronese's "Rape of Europa," turn to give even such fleeting attention to the long, dark canvas which hangs beside them, "Jacob's Journey into Canaan," by Jacopo da Ponte, called Bassano. Yet from the position in which it is placed the visitor might guess that it is considered to be a gem, and it gains something in interest when we learn from Zanetti that it was ordered by Jacopo Contarini at the same time as the "Rape of Europa," as if the great connoisseur enjoyed contrasting Veronese's light, gay style with the vigorous brush of da Ponte.