Room X. is largely held by the creations of Bonifazio and his pupils. 281, The Adoration of the Magi, is a beautiful work, painted with great care, by the master, for the Ten. On the opposite wall, 319, The Slaughter of the Innocents is the companion picture. Bonifazio’s receipt, dated 1545, for ten ducats on account of these two pictures still exists among the archives of the Ten. They were hung in their Financial Secretary’s office in the Palazzo dei Camerlenghi. 291, The Rich Man’s Feast (p. 207). For depth of feeling, sumptuous colour, variety and strength of characterisation, one of the most noteworthy creations of Venetian art. Dives[98] is seated in a Venetian country-house at table between two courtesans, one of whom he clasps by the hand. She, with a far-away look, turns aside listening to a woman playing on the lute, accompanied by a man with the bass viol. All the accessories of a rich man’s establishment are present. Hawks are being trained, horses exercised. To the R., Lazarus is seen, a dog licking his sores, and in the background lurid flames forbode impending doom. 284, Christ Enthroned, is a richly coloured picture formerly placed in the chief office of the Customs. On the top line are twelve groups of saints,[99] painted in the Bonifazio atelier, and formerly assigned to Bonifazio III. 318, St Mark, skied among them, is however a finer work, probably by the master’s hand. On the screen are The Judgment of Solomon, another masterly composition, painted in 1533 for the Salt Office, in the Palazzo dei Camerlenghi, and some portraits by Pordenone. 400, a Deposition, is Titian’s last work, a pathetic canvas. An inscription tells that what Titian left unfinished, Palma Giovane completed, and dedicated to God. The Virgin bears the dead Saviour on her knees. To the R. kneels St Joseph of Arimathea; to the L., in an attitude of poignant grief, is St Mary Magdalen. 320, Paris Bordone: scene from the legend of St Mark and the Fisherman (p. 121). The Doge, Bartolomeo Gradenigo, is represented enthroned in the midst of the Council, bending forward to receive the ring. 316 is Pordenone’s masterpiece. The patriarch, S. Lorenzo Giustiniani, with Dantesque features, stands under a Renaissance chapel. Before him kneels S. Francis, behind whom is St Augustine and an acolyte. R., S. John the Baptist, with the muscular development of an athlete, behind whom is St Bernardine of Siena and a kneeling monk.