little John Bellini (St.
Jerome), the pictures are all of a kind which may be seen elsewhere.

MANGILI VALMARANA, PALAZZO, on the Grand Canal. Of no importance.

MANIN, PALAZZO, on the Grand Canal. Of no importance.

MANZONI, PALAZZO, on the Grand Canal, near the Church of the Carita. A
perfect and very rich example of Byzantine Renaissance: its warm
yellow marbles are magnificent.

MARCILIAN, CHURCH OF ST. Said to contain a Titian, "Tobit and the
Angel:" otherwise of no importance.

MARIA, CHURCHES OF STA. See FORMOSA, MATER DOMINI, MIRACOLI, ORTO,
SALUTE, and ZOBENIGO.

MARCO, SCUOLA DI SAN, III. 16.

MARK, CHURCH OF ST., history of, II. 57; approach to, II. 71; general
teaching of, II. 112, 116; measures of facade of, II. 126; balustrades
of, II. 244, 247; cornices of, I. 311; horseshoe arches of, II. 249;
entrances of, II. 271, III. 245; shafts of, II. 384; base in
baptistery of, I. 290; mosaics in atrium of, II. 112; mosaics in
cupola of, II. 114, III. 192; lily capitals of, II. 137; Plates
illustrative of (Vol. II.), VI. VII. figs. 9, 10, 11, VIII. figs. 8,
9, 12, 13, 15, IX. XI. fig. 1, and Plate III. Vol. III.

MARK, SQUARE OF ST. (Piazza di San Marco), anciently a garden, II. 58;
general effect of, II. 66, 116; plan of, II. 282.

MARTINO, CHURCH OF ST. Of no importance.

MATER DOMINI, CHURCH OF ST. MARIA. It contains two important pictures:
one over the second altar on the right, "St. Christina," by Vincenzo
Catena, a very lovely example of the Venetian religious school; and,
over the north transept door, the "Finding of the Cross," by Tintoret,
a carefully painted and attractive picture, but by no means a good
specimen of the master, as far as regards power of conception. He does
not seem to have entered into his subject. There is no wonder, no
rapture, no entire devotion in any of the figures. They are only
interested and pleased in a mild way; and the kneeling woman who hands
the nails to a man stooping forward to receive them on the right hand,
does so with the air of a person saying, "You had better take care of
them; they may be wanted another time." This general coldness in
expression is much increased by the presence of several figures on the
right and left, introduced for the sake of portraiture merely; and
the reality, as well as the feeling, of the scene is destroyed by our
seeing one of the young