The fifth painting, by Francesco Bassano, represents "the Pope presenting a consecrated sword to the Doge." It is a most interesting study, it being a representation of the Piazza as it appeared at the end of the sixteenth century. The scene is actually in the Piazzetta, between the landing and the column of the Lion. In perspective, on one side the Ducal Palace appears, and on the other the Campanile and the angle of the Procuratorie, while in the distance is the Clock-Tower. The Piazza is full of people. Priests in fine vestments, Senators in their robes, soldiers with nodding plumes in their hats, trumpeters and drummers, all witness the ceremony. The Doge, wearing the ducal crown, in his crimson velvet dress, beneath the mantle of the cloth of gold, is most impressive, as he slightly bends his knee when receiving the sword. Francesco Bassano excelled in giving an air of reality to his paintings, and in his aptness in invention; and while this scene actually occurred in 1172, he has surrounded it with the Piazza of four centuries later, which greatly adds to its value for us,--he wrought better than he knew. Above a window Fiammingo painted "The Doge receiving the Parting Benediction of the Pope;" and next that is the "Battle of Salboro," in which Otho, the son of Barbarossa, was taken prisoner. This is the work of Domenico Tintoretto, who showed himself at his best, {349} and seemed a worthy son of his father, in his pictures of naval battles. When we are told that the battle of Salboro was never fought, and that the whole story is but a piece of Venetian boasting, it is impossible to feel the same interest in the work that a representation of a well attested fact would arouse; but this does not prevent the study of the details of costume, armor, and naval equipments, which are very curious. Above a door Andrea Vicentino painted a picture of "The Doge presenting Prince Otho to the Pope;" and in the next scene Palina Giovane represented the "Release of Otho by the Pope." After Veronese and Tintoretto, and among the secondary artists who were honored by commissions in the decoration of the Ducal Palace, Palma Giovane may well claim attention. Domenico Tintoretto alone rivals him in their class. He was skilful in design, but lacked sentiment and intensity of spirit. He knew all the optical effects in painting. He used his brush dexterously. He had studied and copied from Michael Angelo until he had mastered foreshortening. He handled his colors after Titian's manner. In short, he only lacked soul, in order to have been a great painter. But through the friendship and influence of Alexander Vittoria he became the fashion, and his pictures are seen in all the churches, and other edifices of honor in Venice, as well as in many galleries of the chief cities of Italy, and other European countries. His drawings and engravings were much valued, and were sold for nearly as large sums as were paid for his pictures in oil.