"The Emperor submitting to the Pope" affords one of the most interesting scenes and best artistic opportunities in the series. It is by Federigo Zucchero, who was by no means a great artist; yet this work is very attractive. Above another door Girolamo Gamberato painted "The Doge landing at Ancona with the Pope and the Emperor {350} after the Reconciliation." Tradition teaches that on this occasion the people of Ancona came out to meet their visitors bringing umbrellas or canopies for the Pope and the Emperor only, and Alexander ordered a third to be brought for Ziani, who, under God, had been the means of establishing this peace. The series ends with the scene in St. John Lateran in Rome, when "Pope Alexander III. presents consecrated banners to the Doge Ziani." It is the work of Giulio dal Moro, and so badly done that it merits no attention here nor when one stands beneath it. We need not be surprised when we remember that this "Jack at all trades" signed himself "painter, sculptor, and architect." Of the pictures of the Fourth Crusade, the first is by Le Clerc, and represents the scene in San Marco, in 1201, when the alliance was concluded between the Venetians and the Crusaders,--a most interesting subject, which should have been treated by a greater master. The second, by Andrea Vicentino, is the "Siege of Zara;" and next, above a window, the "Surrender of Zara," by Domenico Tintoretto, which is followed by "Alexius Comnenus imploring the Help of the Venetians for his Father," by Andrea Vicentino. Domenico Tintoretto represents the "Second Taking of Constantinople, in 1204." "The Election and Coronation of Baldwin" follow, by Andrea Vicentino and Aliense, and close the story of this Crusade, the final space being filled by Paul Veronese's representation of "The Return of Doge Contarini after the Defeat of the Genoese at Chioggia." The frieze of this Hall of the Great Council is composed of the portraits of seventy-two Doges. The reign of the earliest dates from 809; and many of them must, of course, have been painted from fancy. A large number are from the hand of Tintoretto. The space where the {351} portrait of Marino Faliero should have hung is covered with a black veil, and has the inscription, "Hic est locus Marini Falethri decapitati pro criminibus" (This is the place of Marino Faliero, beheaded for his crimes).