m is this. In the multitude of
seafaring men who in the course of their trade came to Venice with
cargoes or for cargoes were a large number of Dalmatians, or
Sclavonians, whose ships lay as a rule opposite that part of the city
which is known as the Riva degli Schiavoni. Their lot being somewhat
noticeably hard, a few wealthy Dalmatian merchants decided in 1451 to
make a kind of Seamen's Institute (as we should now say), and a little
building was the result of this effort, the patron saints of the altar
in it being S. George and S. Tryphonius. Fifty years later the original
"Institute" was rebuilt and Carpaccio was called in to decorate it.

The most famous of the pictures are those on the left wall as you
enter--S. George attacking the dragon, S. George subduing the dragon,
and (on the end wall) S. George baptising the king and princess. These
are not only lovely autumnal schemes of colour, but they are perfect
illustrations to a fairy tale, for no artist has ever equalled this
Venetian in the art of being entertaining. Look at the spirit of the
first picture: the onset of both antagonists; and then examine the
detail--the remains of the dragon's victims, the half-consumed maidens;
the princess in despair; the ships on the sea; the adorable city
mounting up and up the hill, with spectators at every balcony. (I
reproduce it opposite page 212). And then in the next how Carpaccio must
have enjoyed his work on the costumes! Look at the crowds, the band in
full blast, the restless horses which like dragons no more than they
like bears.

The third, although the subject is less entertaining, shows no decrease
of liveliness. Carpaccio's humour underlies every touch of colour. The
dog's averted face is one of the funniest things in art--a dog with
sceptical views as to baptism!--and the band is hard at it, even though
the ceremony, which, from the size of the vase, promises to be very
thorough, is beginning.

S. George is a link between Venice and England, for we both honour him
as a patron. He is to be seen in pictures again and again in Venetian
churches, but these three scenes by Carpaccio are the finest. The Saint
was a Cappadocian gentleman and the dragon ranged and terrorized the
Libyan desert. Every day the people of the city which the dragon most
affected bribed him away with two sheep. When the sheep gave out a man
was substituted. Then children and young people, to be selected by lot,
and the lot in time fell on t