ter Danieli's brings us to S. Zaccaria, one of the few
Venetian churches with any marble on its facade. S. Zaccaria has no
longer the importance it had when the Doge visited it in state every
Easter. It is now chiefly famous for its very beautiful Bellini
altar-piece, of which I give a reproduction on the opposite page. The
picture in its grouping is typical of its painter, and nothing from his
hand has a more pervading sweetness. The musical angel at the foot of
the throne is among his best and the bland old men are more righteous
than rectitude itself. To see this altar-piece aright one must go in the
early morning: as I did on my first visit, only to find the central
aisle given up to a funeral mass.

The coffin was in the midst, and about it, on their knees, were the
family, a typical gondolier all in black being the chief mourner. Such
prayers as he might have been uttering were constantly broken into by
the repeated calls of an attendant with a box for alms, and it was
interesting to watch the struggle going on in the simple fellow's mind
between native prudence and good form. How much he ought to give?
Whether it was quite the thing to bring the box so often and at such a
season? Whether shaking it so noisily was not peculiarly tactless? What
the spectators and church officials would think if he refused? Could he
refuse? and, However much were these obsequies going to cost?--these
questions one could discern revolving almost visibly beneath his
short-haired scalp. At last the priests left the high altar and came
down to the coffin, to sprinkle it and do whatever was now possible for
its occupant; and in a few minutes the church was empty save for the
undertaker's men, myself, and the Bellini. It is truly a lovely picture,
although perhaps a thought too mild, and one should go often to see it.

[Illustration: MADONNA AND CHILD WITH SAINTS
FROM THE PAINTING BY GIOVANNI BELLINI
_In the Church of S. Zaccaria_]

The sculptor Alessandro Vittoria, who did so much to perpetuate the
features of great Venetians and was the friend of so many artists,
including Tintoretto and Paul Veronese, is buried here. The floor slabs
of red stone with beautiful lettering should be noticed; but all over
Venice such memorials have a noble dignity and simplicity.

It will be remembered that the site of this church was determined by the
vision of Bishop Magnus, S. John appearing to him and commanding it to
be built in honour of his