above the
eye, but by looking at it in a strong light, it is discoverable that
the Saint Elizabeth is dressed in green and crimson, the Virgin in the
peculiar red which all great colorists delight in--a sort of glowing
brick-color or brownish scarlet, opposed to rich golden brownish
black; and both have white kerchiefs, or drapery, thrown over their
shoulders. Zacharias leans on his staff behind them in a black dress
with white sleeves. The stroke of brilliant white light, which
outlines the knee of Saint Elizabeth, is a curious instance of the
habit of the painter to relieve his dark forms by a sort of halo of
more vivid light, which, until lately, one would have been apt to
suppose a somewhat artificial and unjustifiable means of effect. The
daguerreotype has shown, what the naked eye never could, that the
instinct of the great painter was true, and that there is actually
such a sudden and sharp line of light round the edges of dark objects
relieved by luminous space.

Opposite this picture is a most precious Titian, the "Annunciation,"
full of grace and beauty. I think the Madonna one of the sweetest
figures he ever painted. But if the traveller has entered at all into
the spirit of Tintoret, he will immediately feel the comparative
feebleness and conventionality of the Titian. Note especially the mean
and petty folds of the angel's drapery, and compare them with the
draperies of the opposite picture. The larger pictures at the sides of
the stairs by Zanchi and Negri, are utterly worthless.

[Illustration: Second Group. On the walls of the upper room.

10. Adoration of Shepherds. 17. Resurrection of Lazarus.
11. Baptism. 18. Ascension.
12. Resurrection. 19. Pool of Bethesda.
13. Agony in Garden. 20. Temptation.
14. Last Supper. 21. St. Rocco.
15. Altar Piece: St. Rocco. 22. St. Sebastian.
16. Miracle of Loaves.]

10. _The Adoration of the Shepherds._ This picture commences the
series of the upper room, which, as already noticed, is painted with
far less care than that of the lower. It is one of the painter's
inconceivable caprices that the only canvases that are in good light
should be covered in this hasty manner, while those in the dungeon
below, and on the ceiling above, are all highly labored. It is,
however,