The second cupola contains scenes from the life of Abraham. In the lunette over St Peter, above the inner door, Abraham receives the three angels and entertains them. Behind is Sarah at the door of her tent laughing at the promise that she should bear a son. The third cupola tells the story of Joseph, which is continued on the fourth and fifth cupolas to the N. The sixth cupola deals with the story of Moses. In the recess opposite the lunette to the R. once lay the remains[89] (whence they were taken and brought to England) of Thomas Mowbray, Duke of Norfolk-- “Who at Venice gave His body to that pleasant country’s earth, And his pure soul unto his captain, Christ, Under whose colours he had fought so long.” --RICHARD II., iv. I. Returning to the main portal of the atrium--in the lunette is St Mark, executed by the brothers Zuccati in 1545 from a cartoon by Titian. Below in seven niches are the Virgin and Child and six Apostles; lower down on either side of the portal, the four Evangelists. In the lunette, R., Raising of Lazarus; lunette over the outer portal, Crucifixion; lunette L., Burial of the Virgin. These, which are among the finest mosaics of the period, formed part of the work that the Zuccati had to answer for in 1563. They were charged by the Bianchini and Bozza with having used the methods of painting and not of true mosaic to produce certain effects. The most famous tribunal ever brought together in the history of art sat to try the case. It was composed of Titian, Paul Veronese, Tintoretto, Jacopo da Pistoia and Schiavone. Although the Zuccati were condemned to remove and replace at their own cost the work that had been gone over with the brush, the honours of the trial rested with them, Titian frankly eulogising their craftsmanship. No sense of disappointment will be felt at the first view of the interior. The symmetry of the architecture, the gorgeous mosaics, the rich pavement, the precious marbles covering the walls, the manifold variety of the columns, and (if the traveller have the fortune to be present on Easter or St Mark’s Day) the dazzling brilliancy of the Pala d’Oro glittering with jewels make a scene of oriental splendour not easily forgotten. In earlier times, when the windows were filled with pierced screen-work of marble, the church was much darker, for, says Moryson, “the papist churches are commonly dark to cause a religious horror.” Evelyn in 1645 found the interior dark and dismal.