e and eye: note also the sculpture of the
Annunciation on the southern side of it; how beautifully arranged, so
as to give more lightness and a grace to the arch--_the dove, flying
towards the Madonna, forming the keystone_,--and thus the whole action
of the figures being parallel to the curve of the arch, while all the
masonry is at right angles to it. Note, finally, one circumstance
which gives peculiar firmness to the figure of the angel, and
associates itself with the general expression of strength in the
whole building; namely that the sole of the advanced foot is set
perfectly level, as if placed on the ground, instead of being thrown
back behind like a heron's, as in most modern figures of this kind.

The sculptures themselves are not good; but these pieces of feeling in
them are very admirable. The two figures on the other side, St. Mark
and St. Theodore, are inferior, though all by the same sculptor,
Girolamo Campagna.

The bridge was built by Antonio da Ponte, in 1588. It was anciently of
wood, with a drawbridge in the centre, a representation of which may
be seen in one of Carpaccio's pictures at the Accademia delle Belle
Arti: and the traveller should observe that the interesting effect,
both of this and the Bridge of Sighs, depends in great part on their
both being _more_ than bridges; the one a covered passage, the other a
row of shops, sustained on an arch. No such effect can be produced
merely by the masonry of the roadway itself.

RIO DEL PALAZZO, II. 282.

ROCCO, CAMPIELLO DI SAN, windows in, II. 258.

ROCCO, CHURCH OF ST. Notable only for the most interesting pictures by
Tintoret which it contains, namely:

1. _San Rocco before the Pope._ (On the left of the door as we enter.)
A delightful picture in his best manner, but not much labored; and,
like several other pictures in this church, it seems to me to have
been executed at some period of the painter's life when he was either
in ill health, or else had got into a mechanical way of painting, from
having made too little reference to nature for a long time. There is
something stiff and forced in the white draperies on both sides, and a
general character about the whole which I can feel better than I can
describe; but which, if I had been the painter's physician, would have
immediately caused me to order him to shut up his painting-room, and
ta