310 Route 47. VENICE. 6. Academy.
San Daniele, Annunciation (1519). — In the centre, *147. Palma
Vecchio, Holy Family with SS. John the Baptist and Catharine, an
Room VIII (dei Fiamminghi). Entrance-wall: 180. J. Steen,
Astrologer ;^368. Ad. Elsheimer, Peter's denial, an early work. •—
Opposite: *191. Rogier van der Weyden, Portrait of a man; 586.
Memling, Portrait of a young man (copy?). — By the exit, 182, 184.
H. Bosch, Scenes in Hades. — We now return to R. V and ascend
the steps to —
Room IX (di Paolo Veronese). On the end-wall to the ri^'ht,
*203. Paolo Veronese, Jesús in the house of Levi (1573), a master-
piece of the artist, who has used the historical incident as a pretext
for delineating a group of handsome figures in the unfettered enjoy-
ment of existence (much dainaged). — Opposite, 217. Jac. Tinto¬
retto, Descent from the Cross. — To the right, 252. Leandro Bassano,
Raising of Lazarus; 260. Paolo Veronese, Annunciation.
Room X (di Bonifazio). To the left, Bonifazio, 269. Madonna
with saints, 280. SS. Bernard and Sebastian.
*291. Bonifazio, Banquet of Dives.
'An attractive narrative composition, affording us a glimpse of the
private life of a Venetian aristocrat. In the splendour of the colouring,
the beauty of the forma, and the charm of the landscape in the back¬
ground, we may recognize the influence of Titian's masterpiecea of ca.
1510-20'. — Burckhardt.
Bonifazio, 284. Christ enthroned, with saints (1530), 318. St.
Mark. — 302. Palma Vecchio^), St. Peter enthroned, with six saints
(retouched). — *400. Titian, Pietá, his last picture, on which he
was engaged at the time of his death in his 99th year, completed
by Palma Giovane in 1576, as the inscription records.
'It may be that looking closely at the 'Pietá', our eyea will lose
themselvea in a chaoa of touchea; but retiring to the focal diatance, they
recover themselves and distinguish all that Titian meant to convey. In
the group of the Virgin and Christ — a group full of the deepest and
truest feeling — there lies a grandeur comparable in one sense with that
which atrikes us in the 'Pietá' of Michaelangelo.' — C. & C.
321. Pordenone, Madonna of the Carmelites, with saints (in¬
jured); 319. Bonifazio, Massacre of the Innocents; *320. Paris Bor¬
done, Fisherman presenting the Doge with the ring received from
St. Mark, probably the most beautiful ceremonial picture in existence
316. Pordenone, San Lorenzo Giustiniani, with John the Baptist,
St. Francis, St. Augustine, and three other figures.
'The composition unites all the peculiar qualities of the master, and
we can see that a supreme effort has been made to produce a grand im-
pression. The work, however, cannot be put on a level with the great
creations of Titian'. — C. & C.
In the centre, 295. Bonifazio, Judgment of Solo mon (1533). —
In the recess, Canova, Original model for the group of Hercules and
Lichas. — We enter the Loggia Palladiana and turn to the right