ear to him in a dream.

14. _The Last Supper._ A most unsatisfactory picture; I think about
the worst I know of Tintoret's, where there is no appearance of
retouching. He always makes the disciples in this scene too vulgar;
they are here not only vulgar, but diminutive, and Christ is at the
end of the table, the smallest figure of them all. The principal
figures are two mendicants sitting on steps in front; a kind of
supporters, but I suppose intended to be waiting for the fragments; a
dog, in still more earnest expectation, is watching the movements of
the disciples, who are talking together, Judas having just gone out.
Christ is represented as giving what one at first supposes is the sop
to Judas, but as the disciple who received it has a glory, and there
are only eleven at table, it is evidently the Sacramental bread. The
room in which they are assembled is a sort of large kitchen, and the
host is seen employed at a dresser in the background. This picture has
not only been originally poor, but is one of those exposed all day to
the sun, and is dried into mere dusty canvas: where there was once
blue, there is now nothing.

15. _Saint Rocco in Glory._ One of the worst order of Tintorets, with
apparent smoothness and finish, yet languidly painted, as if in
illness or fatigue; very dark and heavy in tone also; its figures, for
the most part, of an awkward middle size, about five feet high, and
very uninteresting. St. Rocco ascends to heaven, looking down upon a
crowd of poor and sick persons who are blessing and adoring him. One
of these, kneeling at the bottom, is very nearly a repetition, though
a careless and indolent one, of that of St. Stephen, in St. Giorgio
Maggiore, and of the central figure in the "Paradise" of the Ducal
Palace. It is a kind of lay figure, of which he seems to have been
fond; its clasped hands are here shockingly painted--I should think
unfinished. It forms the only important light at the bottom, relieved
on a dark ground; at the top of the picture, the figure of St. Rocco
is seen in shadow against the light of the sky, and all the rest is in
confused shadow. The commonplaceness of this composition is curiously
connected with the languor of thought and touch throughout the work.

16. _Miracle of the Loaves._ Hardly anything but a fine piece of
landscape is here left; it is more exposed to th