SS. Giovanni e Paolo. VENICE.
47. Route. 325
style of the Massegne, oí the Madonna between John the Baptist
and St. Mark. This leads to the Campo and church of —
San Zacearía (Pl. H, I, 5), erected in 1458-1515 in the transi¬
tion style between Gothic and Renaissance, partly by Ant. Gambello
and Moro Coducci. The rounded arcades are borne by six Corinthian
columns. The recess of the high-altar, the ambulatory, and the
radiating chapéis are Gothic. The facade is of somewhat later date.
Over the entrance, the statue of St. Zacharias by Al. Vittoria.
The walla in the Nave are covered with large picturea, all, except
those over the altara, representing eventa in the history of the church.
To the left, above the second altar: 'Madonna enthroned, with four sainta
and an angel-muaician by Giov. Bellini (1505): — this altar-piece 'takes
U3 with a spring into the midst of the Venetian moderna. . . . There is
no other example up to thia time of great monumental art in this achool;
none in which composition, expression, movement, effect, and colour are
so richly combined with freedom of hand' (C. Je C.). The work '3 un-
fortunately aomewhat injured and ia aeen to advantage in ita .present
position only before 10 a.m. Farther on ia the tombstone of Alessandro
Vittoria (d. 1608), with a buat by the maater himself, 'qui vivens vivos
duxit e marmore vultus'. — The third arcade on the right leada to the
Coro dellb Monache (choir of the nuns), with inlaid choir-stalla by Marco
and Francesco Cozzi (1455-64) and a Nativity of the Baptiat by Jac. Tin¬
toretto (above the door). — In the Cappella di San Tarasio (to the right
of the high-altar; closed, adm. 50c.) are three gilded altara in carved
wood, by Ant. Vivarini and Giov. Alemanno. At the high-altar ia a Madonna
and saints of 1444; the smaller altars to the right and left are adorned
with aaints of 1443.
We retrace our steps, and from the Campo di San Provolo take
the Calle San Provolo to the right (N.), cross the Ponte dei Carmini
(to the left), follow the Calle Corte Rotta and the Ruga Giuffa (on
the right is the Gothic Arco Bon), and thus reach the larger Campo
Santa María Formosa, in which is situated —
Santa Maria Formosa (Pl. H, 4), a church of early origin, but
several times remodelled (for the last time in 1699).
Interior, lst Altar on the right: Palma Vecchio, '^St. Barbara and
four other aránts, with a Pietá above, in the best and grandest form of
Palma's art. 'St. Barbara's shape ia grandioso and queenly. The glance, the
masaive hair, the diadem and vestments, the full neck and throat, are all
regal; and the whole impersonation scenta of the Giorgionesque and reveáis
the 16th century. It ia the very counterpart of the fine-chiaelled and
voluptuous fair one who sits so gorgeously in her red dress and auburn
locks amongst the three gracea of the Dresden Museum' (C. Je C). —
2nd Altar: Bart. Vivarini, Birth of Mary, Mary as the Mater Misericordia;,
and SS. Anna and Joachim (1473). S. Transept: L. Bassano (?), Laat Supper.
— A chapel, to which a staircase ascenda (ghown by the aacriatan), con¬
tains Madonnas by Sassoferrato and by Pietro da Messina (a signed work
of this rare maater).
The Palazzo Malipiero, at the comer of the Ruga Giuffa, on the
S.E. side of the Campo S. Maria Formosa, is an elegant early Re¬
naissance building by Sante Lombardi (after 1500). — A few paces
to the E., beyond the Ponte Ruga Giuffa, in the little Campo
Querini, lies the —
Pal. Querini (Pl. H, 4, 5), which has belonged to the town
since 1868. On the second floor is the Fondazione Querini-Stam-