The two Bellini and Palma Giovane are entombed at San Zanipolo, while the tombs of Titian and Canova are at the Frari, all of them being in most masterful company; but in the last-named church there exists a beautiful Madonna and Saints by Giovanni Bellini, and the splendid altarpiece by Titian called "La Pala dei Pesari." It is a Madonna with Saints and some of the Pesari family. It is the finest _ex-voto_ picture in the world. It was ordered in 1519, and Titian was paid ninety-six ducats for it. We have barely mentioned Tintoretto, his "Paradiso" and his "Miracle of Saint Mark." He is to many the most unusual man among the Venetian painters of his time, and to others an artist who was not surpassed. He seized and still holds his own domain in the Church of Santa Maria dell' Orto and the Scuola di San Rocco. "Boiling with thoughts," having means to live without earning, he but desired space and opportunity to paint; and these he secured when he offered to work without price for the fathers of the Orto. The two enormous pictures of the "Last Judgment" and "The Israelites worshipping the Golden Calf" still remain to prove that he was no vain boaster when he proposed to satisfy himself and win a glorious fame; and these two great pictures finished, he proceeded, so to speak, to decorate the whole church. It was not alone in the palaces and churches of Venice that the artists found opportunities for the indulgence of their imagination in depicting historical and ideal religious subjects. The Scuole, of which there were five, were associations of private individuals for benevolent purposes. They are remarkable monuments to the people, not to the government, and are all the more interesting {367} because in this regard they are unique. They were largely endowed; and their edifices, built by voluntary gifts, are among the chief ornaments of Mediæval Venice. Among their objects were the provision of occupation for boys, and the gift of dowries to maidens, fifteen hundred of these being annually married by the aid of these confraternities. Perhaps the Scuola di San Marco on the Campo of the same name, was as remarkable as any one of these institutions. For this brotherhood Tintoretto painted the "Miracle of Saint Mark," now in the Academy. No words can describe this picture, of which Taine says: "No painting, in my judgment, surpasses or perhaps equals his Saint Mark in the Academy; at all events, no painting has made an equal impression on my mind." And Blanc says: "Tintoretto has here employed all his knowledge, all his love. It is the work of a colorist, who could be made to pale by no other, even in Venice.... By this resplendent painting Tintoretto attained to the highest rank, and he could no longer be ignored in the decoration of the Ducal Palace."