On the walls of the upper hall are continued the scenes of New Testament history begun in the lower. They are unequal in merit, and include, according to Ruskin, two of the worst Tintorettos in Venice: The Last Supper and the altar-piece, S. Rocco in Glory. The ceiling, decorated with scenes from Old Testament history, is painted with all the master’s force and decorative science. The Crucifixion in the Guest-Chamber on the same floor is justly esteemed as Tintoretto’s greatest work. On it he concentrated all his art and all his majestic power. It was his favourite work, and when Carracci’s plate was brought to him for approval he fell on the engraver’s neck and kissed him. Opposite the Crucifixion is the Christ before Pilate; over the door, an Ecce Homo. The series closes with the Christ bearing His Cross. The ceiling is decorated with the Apotheosis of S. Rocco (p. 210) and other allegorical figures. The choir stalls in the large hall are beautifully carved with scenes from the life, of S. Rocco by Giovanni Marchiori. In the small room to R. of entrance is an early Titian, Ecce Homo, and the death-mask of Doge Alvise Mocenigo with his ducal cap. CHURCH OF S. ROCCO. Tintoretto has here dealt with the story of the saint in his most unequal fashion. Not all his art can make the scenes of disease and death envisaged in so realistic a manner other than disagreeable. We turn from their contemplation with relief to the noble and stately SS. Christopher and Martin by Pordenone and to the latest of miracle-working pictures, Christ led to Execution, by Titian, in the chapel to the R. of the choir. In the vestibule of the sacristy is Pordenone’s fresco, St Sebastian. SECTION VIII _S. Zaccaria--S. Giorgio degli Schiavoni--S. Francesco della Vigna_ We pass the N. portal of St Mark’s, follow the Calle di Canonica, turn R., and first observing the beautiful façade of the Palazzo Trevisan, associated with the memory of the notorious Bianca Cappello,[109] cross the Ponte di Canonica. We continue E., cross the Ponte S. Provolo, pass under a Gothic portal with a restored relief in the lunette of the Virgin and Child, the Baptist and St Mark, and reach the Campo and church of S. Zaccaria, once the chapel of the oldest, richest and most extensive nunnery in Venice (now a barrack), and the burial-place of the early Doges. The present church dates from the second half of the fifteenth century. The visitor will infallibly be drawn to the altar on the L. where stands Giovanni Bellini’s Virgin and Child with four saints. R. of the enthroned Virgin stand SS. Lucy and Jerome: L., SS. Catherine of Alexandria and Peter. Though imperfectly preserved and ill seen its charm is indescribable. Feminine tenderness and virile strength, fervent piety and dignity are expressed with all the lucidity and winning grace of the master. It was painted in 1505 when he was seventy-nine years of age.