The nuns’ choir, entered by a door on the right, has some fine choir stalls by Marco da Vicenza, and some pictures, among them a doubtful Palma Vecchio and a badly-preserved Tintoretto--the Birth of the Baptist. The sacristan will open the chapel of S. Tarasius (p. 31) which contains three gilded, carved altar-pieces of wood with paintings by Giovanni Alemano and Antonio Vivarini. Each altar-piece is inscribed with the name of the donatrix. The expert in the iconography of the saints will find scope for his science in the interpretation of the various symbols. The tomb of Alessandro Vittoria is in the L. aisle. We return to the Campo S. Provolo and make our way N.E. to the little oratory of S. Giorgio degli Schiavoni (Dalmatians), belonging to the lay foundation (1451) of that name and built (1551) by Zuane Zon, master mason of the arsenal. The foundation is still under Austrian jurisdiction, and a rather poor endowment is helped by a yearly contribution of two lire each from some hundred brethren, the Emperor of Austria assisting by an annual subscription. Three Dalmatian priests serve the chapel. St George’s Day, when high mass is sung and the upper chamber is filled by the brethren and their friends, is a great festival. During six years, 1502-8, Carpaccio was employed in decorating the hall with scenes from the lives of three great Dalmatian saints, SS. George, Tryphonius and Jerome. These charming and naïve paintings, happily still in their original setting, have been described by Ruskin in “St Mark’s Rest.”