aginative is the treatment
which covers the ground with piles of stones, and yet leaves the
martyr apparently unwounded. Another painter would have covered him
with blood, and elaborated the expression of pain upon his
countenance. Tintoret leaves us under no doubt as to what manner of
death he is dying; he makes the air hurtle with the stones, but he
does not choose to make his picture disgusting, or even painful. The
face of the martyr is serene, and exulting; and we leave the picture,
remembering only how "he fell asleep."

GIOVANELLI, PALAZZO, at the Ponte di Noale. A fine example of
fifteenth century Gothic, founded on the Ducal Palace.

GIOVANNI E PAOLO, CHURCH OF ST.[72] Foundation of, III. 69. An
impressive church, though none of its Gothic is comparable with that
of the North, or with that of Verona. The Western door is interesting
as one of the last conditions of Gothic design passing into
Renaissance, very rich and beautiful of its kind, especially the
wreath of fruit and flowers which forms its principal molding. The
statue of Bartolomeo Colleone, in the little square beside the church,
is certainly one of the noblest works in Italy. I have never seen
anything approaching it in animation, in vigor of portraiture, or
nobleness of line. The reader will need Lazari's Guide in making the
circuit of the church, which is full of interesting monuments: but I
wish especially to direct his attention to two pictures, besides the
celebrated Peter Martyr: namely,

1. _The Crucifixion_, by Tintoret; on the wall of the left-hand aisle,
just before turning into the transept. A picture fifteen feet long by
eleven or twelve high. I do not believe that either the "Miracle of
St. Mark," or the great "Crucifixion" in the Scuola di San Rocco, cost
Tintoret more pains than this comparatively small work, which is now
utterly neglected, covered with filth and cobwebs, and fearfully
injured. As a piece of color, and light and shade, it is altogether
marvellous. Of all the fifty figures which the picture contains, there
is not one which in any way injures or contends with another; nay,
there is not a single fold of garment or touch of the pencil which
could be spared; every virtue of Tintoret, as a painter, is there in
its highest degree,--color at once the most intense and the most
delicate, the utmost decision in the arrangemen