6. Academy. VENICE. 47. Route. 311
Room XI (dei Bassani). This room contains pictures by Francesco
Bassano, Jacopo Bassano, and Leandro Bassano. — We then return
to the —
Loggia Palladiana. The numbering of the pictures (17-18th
cent.), begins at the opposite end, to the right: Hondecoeter, 345.
Victorious cock, 344. Poultry; Jan Fyt, Dead game (1642); above,
343. G. B. Tiepolo, The Brazen Serpent (injured). — To the right
through Rooms XIV & XIII into —
Room XII (dei Seooli XVII & XVIII). On the back-wall: 643.
Luca Giordano, Descent from the Cross. — Room XIII (di Rosalba
Camera), with twelve pastéis by Rosalba Corriera. Also, 464-469.
Paintings by Pietro Longhi, oí interest on account of their illustra-
tion of Venetian costumes and customs in the 18th century.
Room XIV (del Tiepolo). On the back-wall, 462. Tiepolo, St.
Helena finding the Holy Cross, one of the master's flnest ceiling
paintings (restored). On the left wall, 484. Tiepolo, St. Joseph with
the Holy Child and four saints; Ant. Canale (Canaletto), 494. Scuola
di San Marco, 463. Palace-court (1765); 709. Franc. Guardi, Islands
of San Giorgio Maggiore and Giudecca. — We next pass through the
Loggia Palladiana into —
Corridors I & II, with unimportant pictures of the 16th and
17th cent.; in Corridorl. to the right, 516. Paris Bordone (?), Storm
(retouched). From the last window in Corridor II., fine view of
Palladio's building (see p. 313). — The middle door (right) leads
Room XV (di Gentile Bellini), with pictures from the Scuola di
San Giovanni Evangelista (p. 336), representations of the Miracles of
the Cross, etc. To the left of the entrance, 563. Gentile Bellini,
High-altar-piece, with adoration of a fragment of the Cross (injured);
*566. Carpaccio, Cure of a lunatic, with the oíd Rialto Bridge in the
background. Gentile Bellini, *567. Procession in the Piazza S. Marco
(1496), where the piazza differs from its present form; 568. Miraculous
finding of a fragment of the 'True Cross', which had fallen into the
canal (1500); 570. San Lorenzo Giustiniani, a tempera painting on
canvas from the church of the Madonna del Orto (1465; much injured).
— In the apse to the right: 569, 571. Giov. Mansueti, Miracles of
St. Mark. — We now return to Room XV and enter —
Room XVI (del CaTpaccio), with nine *Scenes from the legend
of St. Ursala, painted by Vittore Carpaccio in 1490-95 for the Scuola
di Sant' Orsola in Venice.
Beginning to the right of the exit: 572. The ambassadors of the pagan
king of England bring to King Manrus, father of St. Úrsula, the proposals of
their master for the hand of his daughter; to the right, the king deliberates
over the matter; 573. The ambassadors depart with the answer that the
bride desired the postponement oí the marriage for three years, in order
to make a pilgrimage to Rome, accompanied by eleven thousand virgins;
574. Return of the ambassadors to England and their report to the king;
575. Double picture, representing the Departure of the English prince,
who has resolved to share in the pilgrimage, and his Meeting with Úrsula