BY TINTORETTO] The door opposite the entrance leads to a small ante-room (Anti-Collegio) containing some of the most charming pictures in the palace--Tintoretto’s Ariadne and Bacchus, Minerva repelling Mars, and Mercury with the Graces, painted 1578. Sensuous beauty and poetry of line are their main qualities. A famous painting by Veronese, The Rape of Europa, and Jacopo Bassano’s Return of Jacob are on the wall opposite the windows. A foreshadowing of modern naturalism in the treatment of the sheep and horse in the last picture is especially noteworthy. We now enter the room where the Signory received foreign ambassadors (Sala del Collegio). Over the entrance is a portrait of Doge Andrea Gritti kneeling before the Virgin; over the door of exit, the Marriage of St Catherine, with a ceremonial portrait of Doge Francesco Donà, elaborated with the usual accessories, the figure of the Doge’s name saint, in this case St Francis, is common to all these compositions; to the L. is a portrait of Doge Nicolo da Ponte, with the Virgin in glory; farther on, Doge Alvise Mocenigo adoring the Saviour. All these are by Tintoretto; the figures of the Virgin and of St Catherine in the second and third of these pictures are from his favourite model and in his most gracious manner. Over the throne, Doge Sebastiano Venier returning Thanks for the Victory of Lepanto, is by Veronese. The ceiling, designed by Ant. da Ponte and painted by Veronese in his grandiose style, is considered by Ruskin to be the finest in the palace. Parallel to the last two rooms is the Senate hall (Sala del Senato). The paintings here are of but secondary interest: ceremonial portraits of Doges by Palma Giovane, Marco Vecelli and Tintoretto. The central panel of the gorgeous ceiling--Venice, Queen of the Sea--is by Domenico Tintoretto, son of Jacopo. A door R. of the dais gives access to the vestibule of the Doge’s private chapel (Anti-Chiesetta). Here are the two pictures painted by Tintoretto for the Camerlenghi in 1552; over the entrance door, SS. Jerome and Andrew; opposite, St Louis of Toulouse and St George. Two early Madonnas in the chapel are doubtfully attributed to the schools of Boccacino and Bellini. Christ in Limbo and the Israelites crossing the Red Sea are attributed by Mr Berenson to Previtali. These and other paintings in the chapel afford fruitful themes for critical ingenuity.