ke this?

We should walk beside this pleasant Rio, for a little way down on the
left is the church of S. Trovaso, with a campo that still retains some
of the grass which gave these open spaces their name, and a few graceful
acacia trees. In this church is a curiously realistic "Adoration of the
Magi" by Tintoretto: a moving scene of life in which a Spanish-looking
peasant seems strangely out of place. An altar in a little chapel has a
beautiful shallow relief which should not be overlooked. The high-altar
picture--a "Temptation of S. Anthony" by Tintoretto--is now hidden by a
golden shrine, while another of the show pieces, a saint on horseback,
possibly by Jacobello del Fiore, in the chapel to the left of the choir,
is sadly in need of cleaning, but obviously deserving of every care.

We now return to the Zattere, in a house on which, just beyond the Rio
di S. Trovaso. Browning often stayed. In one of his letters he thus
describes the view from his room: "Every morning at six, I see the sun
rise; far more wonderfully, to my mind, than his famous setting, which
everybody glorifies. My bedroom window commands a perfect view--the
still grey lagune, the few seagulls flying, the islet of S. Giorgio in
deep shadow, and the clouds in a long purple rack, behind which a sort
of spirit of rose burns up till presently all the ruins are on fire with
gold, and last of all the orb sends before it a long column of its own
essence apparently: so my day begins."

Still keeping beside the shipping, we proceed to the little Albergo of
the Winds where the fondamenta ends. Here we turn to the right, cross a
campo with a school beside it, and a hundred boys either playing on the
stones or audible at their lessons within walls, and before us, on the
other side of the canal, is the church of S. Sebastiano, where the
superb Veronese painted and all that was mortal of him was laid to rest
in 1588. Let us enter.

For Paolo Veronese at his best, in Venice, you must go to the Doges'
Palace and the Accademia. Nearer home he is to be found in the Salon
Carre in the Louvre, where his great banqueting scene hangs, and in our
own National Gallery, notably in the beautiful S. Helena, more
beautiful, to my mind, than anything of his in Venice, and not only more
beautiful but more simple and sincere, and also in the magnificent
"House of Darius".

Not much is known of the life of Paolo Caliari of Verona. The son of a
stone-cutter, he was born in 1528