434 VENETIAN INDEX

Venice.¹ The west entrance is much later than any of the rest, and is of the richest Renaissance Gothic, a little anterior to the Porta della Carta, and first-rate of its kind. The manner of the introduction of the figure of the angel at the top of the arch is full of beauty. Note the extravagant crockets and cusp finials as signs of decline.

STEFANO, CHURCH OF ST., at Murano (pugnacity of its abbot), X. 44. The church no longer exists.

STROPE, CAMPIELLO DELLA, house in, X. 310.

T

TANA [RIO DELLA,] windows at, X. 303 n.

[“TERRACED HOUSE,” X. 151, 453.]

TEPFOLO, PALAZZO, on the Grand Canal. Of no importance.

TOLENTINI, CHURCH OF THE. One of the basest and coldest works of the late Renaissance. It is said to contain two Bonifazios.

TOMA, CHURCH OF ST. Of no importance.

TOMA, PONTE SAN. There is an interesting ancient doorway opening on the canal close to this bridge, probably of the twelfth century, and a good early Gothic door, opening upon the bridge itself.

TORCELLO, general aspect of, X. 17; Santa Fosca at, IX. 148, X. 20; duomo, X. 20; mosaics of X. 232; measures of, X. 444; date of, X. 444; [capital at, XI. Examples, 3.]

TREVISAN, PALAZZO, IX. 425 (and Plate 20), XI. 256.

TRON, PALAZZO. Of no importance.

TROVASO, CHURCH OF ST.² Itself of no importance, but containing two pictures by Tintoret, namely:

1. The Temptation of St. Anthony. (Altar-piece in the chapel on the left of the choir.) A small and very carefully finished picture, but marvellously temperate and quite in treatment, especially considering the subject, which one would have imagined likely to inspire the painter with one of his most fantastic visions. As if on purpose to disappoint us, both the effect and the conception of the figures are perfectly quiet, and appear the result much more of careful study than of vigorous imagination. The effect is one of plain daylight; there are a few clouds drifting in the distance, but with no wildness in them, nor is there any energy or heat in the flames which mantle about the waist of one of the figures. But for the noble workmanship, we might almost fancy it the production of a modern academy: yet, as we begin to read the picture, the painter’s mind becomes felt. St. Anthony is surrounded by four figures, one of which only has the form of a demon, and he is in the background, engaged in no more terrific act of violence towards St. Anthony, than endeavouring to pull off his mantle;

¹ [This church and its campanile have recently been restored. Frescoes-decorative diaper work-have been discovered round the clerestory walls, and the whitewash which concealed them is now removed.]

² [A corruption of SS. Gervasio e Protasio.]

[Version 0.04: March 2008]