380 VENETIAN INDEX

the best Titian in Venice; the powers of portraiture and disciplined composition, shown in it, placing it far above the showy masses of commonplace cherubs and merely picturesque men, in the Assumption.¹)

G

GEREMIA, CHURCH OF ST. Of no importance.

GESUATI, CHURCH OF THE. Of no importance.

GIACOMO DELL’ ORIO, CHURCH OF ST. A most interesting church, of the early thirteenth century, but grievously restored. Its capitals have been already noticed as characteristic of the earliest Gothic [IX. 43]; and it is said to contain four works of Paul Veronese, but I have not examined them.² The pulpit is admired by the Italians, but is utterly worthless. The verd-antique pillar in the south transept is a very noble example of the “Jewel Shaft.” See the note at p. 101, Vol. X.

GIACOMO DI RIALTO, CHURCH OF ST. [IX. 41]. A picturesque little church, on the Piazza di Rialto. It has been grievously restored, but the pillars and capitals of its nave are certainly of the eleventh century; those of its portico are of good central Gothic; and it will surely not be left unvisited, on this ground, if on no other, that it stands on the site, and still retains the name, of the first church ever built on that Rialto which formed the nucleus of future Venice, and became afterwards the mart of her merchants.³

GIOBBE, CHURCH OF ST., near the Canna Reggio. Its principal entrance is a very fine example of early Renaissance sculpture. Note in it, especially, its beautiful use of the flower of the convolvulus. There are said to be still more beautiful examples of the same period, in the interior. The cloister, though much defaced, is of the Gothic period, and worth a glance.

GIORGIO DE’ CHURCH OF ST. The Greek Church. It contains no valuable objects of art, but its service is worth attending by those who have never seen the Greek ritual.

GIORGIO DE’ SCHIAVONI, CHURCH OF ST. Said to contain a very precious

¹ [The “Pesaro Titian” is the votive picture over the altar of the Pesaro family. Titian in 1519 received 102 golden ducats for the picture, which represents the Madonna and Child, with St. Francis, St. Peter, and St. George; on the standard borne by the latter saint are emblazoned the Pesaro arms. Ruskin refers to the picture in the Guide to the Academy at Venice (as “the portrait group of the Pesaro family”), and in Modern Painters, vol. v. pt. viii. ch. ii. § 12. The picture was also a favourite of Sir Joshua Reynolds (see his Journey to Flanders and Holland, vol. ii. p. 174 of The Literary Works of Sir Joshua Reynolds, 1852 ed.). See the same Guide for the “Assumption,” and compare the earlier notices of it in Modern Painters, vol. v. pt. ix. chapters iii., vi., and x.]

² [The pictures by Veronese are (1) Faith, Hope, and Charity, with the four Fathers of the Church detached; these have been transferred from the ceiling to the wall of the north aisle; (2) in the chapel to the right of the high altar, “St. Jerome and St. John the Baptist”; (3) beside this is another picture, also ascribed to Veronese but badly restored, of “St. Gregory, St. Lorenzo, and St. Augustine.”]

³ [In the course of his later work at Venice (1876-1877), Ruskin discovered an inscription on its gable facing the Rialto bridge, which caused him to attach peculiar importance to this church; see St. Mark’s Rest, §§ 30, 35, 131.]

[Version 0.04: March 2008]