ANDREA-BARTOLOMEO 363

Greek decadence,-mere cumber of ground: but at least decently quiet, not strutting or sprawling or mouthing like lions of modern notion. Pacific at least-not insolent lumber. The traveller who cares for Turner should look with remembering attention at the internal angle of the Arsenal canal. Turner made its brick walls one flame of spiritual fire, in his mystic drawing of them, now in our National Gallery.¹)

B

BADOER, PALAZZO, in the Campo San Giovanni in Bragora [IX. 289-290 and Plate 8]. A magnificent example of the fourteenth century Gothic, circa 1310-1320, anterior to the Ducal Palace, and showing beautiful ranges of the fifth-order window, with fragments of the original balconies, and the usual lateral window larger than any of the rest. In the centre of its arcade on the first floor is the inlaid ornament drawn in Plate 8, Vol. IX. The fresco painting on the walls is of later date; and I believe the heads which form the finials have been inserted afterwards also, the original windows having been pure fifth order.

The building is now a ruin, inhabited by the lowest orders; the first floor, when I was last in Venice, by a laundress.

(1877. Restored and destroyed.)

BAFFO, PALAZZO, in the Campo St. Maurizio. The commonest late Renaissance. A few olive-leaves and vestiges of two figures still remain upon it, of the frescoes by Paul Veronese with which it was once adorned.

(1877. All but gone now; nor were they Paul’s-only some clever imitations.)

[BAGATIN, Calle del, X. 281.]

BALBI, PALAZZO, in Volta di Canal. Of no importance.

BARBARIGO, PALAZZO, on the Grand Canal, next the Casa Pisani [X. 325]. Late Renaissance; noticeable only as a house in which some of the best pictures of Titian were allowed to be ruined by damp, and out of which they were then sold to the Emperor of Russia.²

BARBARO, PALAZZO, on the Grand Canal, next the Palazzo Cavalli. These two buildings form the principal objects in the foreground of the view which almost every artist seizes on his first traverse of the Grand Canal, the Church of the Salute forming a most graceful distance. Neither is, however, of much value, except in general effect; but the Barbaro is the best, and the pointed arcade in its side wall, seen from the narrow canal between it and the Cavalli, is good Gothic of the earliest fourteenth century type.

BARNABA, CHURCH OF ST. Of no importance.

BARTOLOMEO, CHURCH OF ST. I did not go to look at the works of Sebastian del Piombo which it contains, fully crediting M. Lazari’s statement,

¹ [No. 173 in the Water Colour Collection; referred to by Ruskin in the Preface to his Notes on the Turner Gallery, 1856, as “an excellent instance of Turner’s later manner.”]

² [This was in 1850. The pictures by Titian-a penitent “Magdalen” (by his son Pompinio), “Venus with the Mirror,” “Portrait of Paul III.,” and five others-are now in the gallery of the Hermitage at St. Petersburg.]

[Version 0.04: March 2008]