to Venice. VICENZA. 43. Route. 267
Ground Floor : Román antiquities from an ancient theatre. — The
Upper Floor (entr. to the left in the court) contains the "Pinacoteca. Ante-
chamber. End-wall to the left: no number, Tiepolo, Madonna on the ter-
restrial globe; 2. Jac. Bassano, Senators before the Madonna; opposite no
number, Strozzi, Christ in the house of Simón the Pharisee. The cabi'nets
contain ancient terracottas and bronzes, medals, etc. — Room I (to the left):
to the right, *6. Van Dyck, The four ages (an early work). — Room II.
Entrance-wall, 38. Titian (?), Resurrection of Christ, a sketch; opposite. 12.
Paolo Veronese, Madonna and two saints (injured). — Room III. Entrance-
wall, 17. Antonello da Messina, Ecce Homo; 18. Cima da Conegliano, Madonna
in an arbour, the earliest signed work of this master (1489, tempera; in¬
jured); opposite, 31. Memling (here attributed to Amberger), Portrait (in¬
jured) ; 3. Memling, Crucifixión, with saints and monks (early work); farther
on, 28. Paolo da Venezia, Altar-piece (1333). — Room IV contains the chief
works of the Vicenza School. Montagna, 2. Madonna enthroned, with four
saints and angel-musicians, below is a predella, 3. Adoration of the Child,
both early works (ca. 1480), in tempera; 6, 6. Madonnas; 8. Presentatiou
in the Temple; 17. Madonna between SS. Onuphrius and John the Baptist.
Buonconsiglio, 21. St. Catharine, "22. Pieta, an early work in tempera, very
impressive. — V. Room. Portraits. — The following rooms contain en-
gravings; in the last but one, modern glass from Murano; in the last,
drawings and manuscripts of Palladio, etc., and coins. — On the other
side of the anteroom are rooms with inferior pictures. — The Natural
History Collection contains valuable fossils (a fish, a palm, a crocodile,
etc.), most of them found near Vicenza.
In the vicinity is the *Teatro Olímpico (Pl. C, 2; custodian on
the E. side at No. 3; fee i/2 fr.), begun by Palladio in 1579,
completed in 1584, after his death, by Scamozzi, and inaugurated
by the performance of the 'Gídipus Tyrannus' of Sophocles. Palladio
adhered generally to the precepts of Vitruvius as to the construction
of ancient theatres, but the building is far from being a mere imi-
tation. The auditoriurn rises in thirteen semi-oval tiers, while the
orchestra and the two-storied stage lie 5 ft. below the level of the
seats. The three door-openings at the back of the stago afford views
of ascending streets, in curiously deceptive relief.
The most interesting churches and many flne palazzi are to be
found in the quarter to the N. of the Corso. The Contrada di Santa
Corona, diverging just before the E. end of the Corso, leads to the
Dominican church of Santa Corona (Pl. C, 2), a Gothic brick edifice
of 1260-1300, with a plain facade.
Interior. 2nd altar on the left, Five aaints by Bart. Montagna (in
rich Renaissance frame); 4th altar on the left, Madonna of the 14th cent.,
with angels by Fogolino (ca. 1530); 5th altar on the left, "Baptism of Christ
by Giovanni Bellini, in a fine frame, a late work and one of the flnest
productions of the master (about 1501?). Chapel to tbe right of the choir,
two fine Gothic mural monuments (15th cent.).
The Contrada Santo Stefano, opposite, a little to the right, leads
to Santo Stefano (Pl. C, 2); in the left transept, Palma Vecchio,
*Madonna enthroned with SS. Lucia and George, an admirable
example of his middle period (best light in the morning).
Opposite, to the left, in the Contrada Giacomo Zanella, stands
the unfinished Palazzo Thiene (now the Banca Popolare), the front
designed by Palladio (1556), tho back part facing the Contrada
Porti, being an early-Renaissance structure. Opposite to it, in the