N.E. from the campo stands the church of the Gesuiti, built (1715) on the site of the ruined church of the Crociferi in the base style of the age. The interior, lavishly decorated with marble and inlay of _verde antico_, is incredibly vulgar in taste and contains, first chapel L., Titian’s martyrdom of St Lawrence, painted in 1558 when the old painter was under Michael Angelo’s influence. The work, which was generally esteemed one of the most rare and remarkable of his creations, is now so darkened by time as to be barely legible. The church possesses also an Assumption by Tintoretto. Nearly opposite the Gesuiti is the oratory of the Crociferi, with Palma Giovane’s, Doge Cigogna visiting the Oratory, and six other paintings in the artist’s best style. The room contains also a Flagellation by Tintoretto and a ceiling painting, the Assumption, by Titian. The large monastery buildings opposite, still bearing the device of the order (three crosses), are now a barrack. We retrace our steps across the campo. About a hundred yards along the fondamenta Zen is the entrance to the little church of S. Caterina, which contains Veronese’s admirably preserved Marriage of St Catherine (p. 211). The church has works by Palma Giovane and the inevitable Tintoretto, but we have eyes alone for the St Catherine, one of the most satisfying examples of the later glories of the Venetian school. In an outlying part of the city to the N.W. is the church of S. Maria dell’ Orto. Cima’s Baptist with SS. Peter, Mark, Jerome and Paul, in a marble setting by Leopardi (p. 200) stands over the first altar, R. aisle. In the third chapel L., is Tintoretto’s Presentation at the Temple, and in the Cappella Contarini, the same master’s St Agnes. Both have been freely restored, the former, says Ruskin, “has been so daubed as to be a ghastly ruin and a disgrace to modern Venice.” We turn to the choir, R. and L. of which are Tintoretto’s huge canvases, the Last Judgment, and the Worship of the Golden Calf. These are very highly appreciated by Ruskin but “demand resolute study if the traveller is to derive any pleasure from them.” Vasari, who saw them shortly after they were painted, was impressed by the terrible yet capricious invention displayed in the Last Judgment, but lamented the lack of care and diligence which marred what might have been a stupendous creation. Closely scrutinised, however, both seemed to him painted _da burla_ (in jest). The first chapel L. of entrance has (R. wall) a Pietà by Lorenzo Lotto, and over the altar an early Virgin and Child by Giov. Bellini disastrously repainted. Over the sacristy door is a miracle-working half-figure of the Virgin and Child (restored), which was discovered in a garden in 1577 and gave the present name to the church (Our Lady of the Garden). Verocchio, Leopardi and Tintoretto were buried in the sacristy, but most of the tombs were defaced or destroyed by the Austrians when the church was used as a military magazine in 1855.