322 Route 47. VEMCE. d. From St. Mark to
dicated in 1489 in favour of Venice (see p. 289). — Choir. Transfiguration,
high-altar-piece by Titian, painted about 1560 (injured; covered; best light
at midday); the chased silver altar-covering with numerous figures of
saints, etc., executed about 1290, is seen only on high festivala. — Chapel
on the left: "Chriat at Emmaus, perhaps by Giov. Bellini (covered). —
Left Aisle. By the altar to the right of the organ, statues of SS. Rochus
and Sebastian, by Al. Vittoria; a statue of St. Jerome, by Dáñese Cattaneo.
SS. Augustine and Theodore on the wings of the organ are by Franc.
Vecelli. Lofty architectural monument of the doges Girolamo (d. 1567) aod
Lorenzo Priuli (d. 1559), with gilded recumbent figures of the brothers.
The Campanile (adm. 20 c; ascent from the right transept or from
the sacrist.i) affords a good survey of the town though far inferior to
that obtainable from the tower of San Giorgio Maggiore (p. 341).
Then to the right (N.) to the Campo San Bartolomeo (Pl. 6, i),
in which a bronze statue, modelled by Dai Zotto, was erected in
1883 to Carlo Goldoni, the dramatist (1707-93). In the church of
San Bartolomeo, to the right and left of the organ, SS. Sinibald
and Louis, and to the right and left in the aisles, SS. Bartholomew
and Sebastian, all by Sebastian del Piombo (early works, under
Giorgione's influence). — The street to the E. leads past the church
of San Lio (Pl. G, 4; over the flrst altar on the left Titian's St. lago
di Compostella, i565) to Santa María Formosa, see p. 325. The
Ponte Rialto lies to the W. of the Campo S. Bartolomeo (p. 317).
We cross the piazza in a straight (N.) direction, pass the Fon¬
daco de' Tedeschi (p. 318) on the left, and reach, on the right —
San Giovanni Crisostomo (Pl. G, 4), erected in the early-
Renaissance style after 1497 by Moro Coducci.
Second altar on the left, Coronation of the Virgin, and the Apostles,
reliefs by Tullio Lombardi. First altar on the right, Giov. Bellini, "SS. Jerome,
Christopher, and Augustine in a beautiful monntainous landscape (his last
signed work, in his 85th year, 1513; restored in 1895): 'John Bellini is
the only artist who appears to me to have united, in equal and magniflcent
measures, justness of drawing, nobleness of colouring, and perfect man-
liness of treatment, with the purest religious feeling' (Ruskin). — High-altar
(good light at midday), Seb. del Piombo, -St. Chrysostom with SS. Augustine,
John the Baptist, Libérale, Catharine, Agnes, and Mary Magdalen, the
master's most important work while under the influence of Giorgione,
painted about 1508, immediately before his departure for Rome (restored
in 1895; covered): 'there is much to characterise Sebastian in the ideal
sensualism and consciously attractive bearing which distinguish the females
on the left foreground' (C. & C).
Farther on, beyond the second bridge, is the church of the Santi
Apostoli (Pl. G, 3), rebuilt in 1672, but including the Cappella
Cornaro (second chapel on the right), which belonged to the earlier
church, erected by Gugl. Bergamasco about 1530. It contains two
monuments of the Cornaro family and a beautiful altar-piece by
Tiepolo, Communion of St. Lucia (restored).
Opposite is the oíd Scuola dell' Angelo Custode (Pl. G, 3, 4;
Germán Prot. church), with a facade by Andr. Tirali (1734).
To the N.W. of the Campo SS. Apostoli runs the new Coeso
Vittorio Emanuele (Pl. F, G, 3), the broadest street in Venice,
by which we may proceed past the church of San Felice and the
two cañáis of the same ñame to the —