and much more of other colorists,
either the light and shade or the local color is predominant; in the
one case the picture has a tendency to look as if painted by
candle-light, in the other it becomes daringly conventional, and
approaches the conditions of glass-painting. This picture unites
color as rich as Titian's with light and shade as forcible as
Rembrandt's, and far more decisive.

There are one or two other interesting pictures of the early Venetian
schools in this sacristy, and several important tombs in the adjoining
cloister; among which that of Francesco Dandolo, transported here from
the Church of the Frari, deserves especial attention. See above, p.
74.

SALVATORE, CHURCH OF ST. Base Renaissance, occupying the place of the
ancient church, under the porch of which the Pope Alexander III. is
said to have passed the night. M. Lazari states it to have been richly
decorated with mosaics; now all is gone.

In the interior of the church are some of the best examples of
Renaissance sculptural monuments in Venice. (See above, Chap. II. Sec.
LXXX.) It is said to possess an important pala of silver, of the
thirteenth century, one of the objects in Venice which I much regret
having forgotten to examine; besides two Titians, a Bonifazio, and a
John Bellini. The latter ("The Supper at Emmaus") must, I think, have
been entirely repainted: it is not only unworthy of the master, but
unlike him; as far, at least, as I could see from below, for it is
hung high.

SANUDO PALAZZO. At the Miracoli. A noble Gothic palace of the fourteenth
century, with Byzantine fragments and cornices built into its walls,
especially round the interior court, in which the staircase is very
noble. Its door, opening on the quay, is the only one in Venice
entirely uninjured; retaining its wooden valve richly sculptured, its
wicket for examination of the stranger demanding admittance, and its
quaint knocker in the form of a fish.

SCALZI, CHURCH OF THE. It possesses a fine John Bellini, and is renowned
through Venice for its precious marbles. I omitted to notice above, in
speaking of the buildings of the Grotesque Renaissance, that many of
them are remarkable for a kind of dishonesty, even in the use of
_true_ marbles, resulting not from motives of economy, but from mere
love of juggling and falsehood for their own sake. I hardly know which