GIOVANNI-GIOVANNI 387

are by various artists, and therefore exhibit the folly of the age, not the error of an individual.

The following alphabetical list of the tombs in this church which are alluded to or described in the text, with references to the pages where they are mentioned, will save some trouble:¹-

Cavalli, Jacopo, XI. 101, 302.|Mocenigo, Pietro, XI. 108.

Cornaro, Marco, XI. 13|Mocenigo, Tomaso, IX. 48, XI. 102.

Dolfin, Giovanni, XI. 95|Morosini, Michele, XI. 100.

Giustiniani, Marco, IX. 370, XI. 298.|Steno, Michele, XI. 101.

Mocenigo, Giovanni, XI. 108.|Vendramin, Andrea, IX. 49, XI. 107.

GIOVANNI GRISOSTOMO, CHURCH OF ST. One of the most important in Venice. It is early Renaissance, containing some good sculpture, but chiefly notable as containing a noble Sebastian del Piombo,² and a John Bellini, which a few years hence, unless it be “restored,” will be esteemed one of the most precious pictures in Italy, and among the most perfect in the world.³ John Bellini is the only artist who appears to me to have united, in equal and magnificent measures, justness of drawing, nobleness of colouring, and perfect manliness of treatment, with the purest religious feeling. He did, as far as it is possible to do it, instinctively and unaffectedly, what the Caracci only pretended to do. Titian colours better, but has not his piety. Leonardo draws better, but has not his colour. Angelico is more heavenly, but has not his manliness, far less his powers of art.

GIOVANNI ELEMOSINARIO, CHURCH OF ST. Said to contain a Titian and a Bonifazio. Of no other interest.

(1877. 1398-1410, Selvatico. Its campanile is the most interesting piece of central Gothic remaining comparatively intact in Venice.⁴ It stands on four detached piers; a greengrocer’s shop in the space between them; the stable tower for its roof. There are three lovely bits of heraldry, carved on three square stones, on its side towards the Rialto. Selvatico gives no ground for his date; I believe 1298-1310 more probable. The Titian, only visible to me by the sacristan’s single candle, seems languid and affected.)

GIOVANNI IN BRAGORA, CHURCH OF ST. A Gothic church of the fourteenth century, small but interesting, and said to contain some precious works by Cima da conegliano, and one by John Bellini.⁵

GIOVANNI, NOVO, CHURCH OF ST. Of no importance.

¹ [The following additions to the list refer to Appendix 11:- Andrea Morosini, XI. 297; Nicolaus Marcellus, XI. 307.]

² [Over the High Altar-St. Chrysostom, with SS. Catharine, Mary Magdalen, Lucia, Paul, John Baptist, and Liberale. The Bellini is “St. Jerome,” Christopher and Augustine-dated 1513, three years before the painter’s death.]

³ [See above, p. 379 n., and compare, for Ruskin’s general estimate of Bellini, The Relation between Michael Angelo and Tintoret.]

⁴ [For another mention of the campanile, see St. Mark’s Rest, § 35. The Titian over the high altar is a picture of the saint; the Bonifazio, over the first altar to the left on entering, is “St. Mark, St. Peter and St. Paul before the Madonna.”]

⁵ [The pictures by Cima are “St. Helena and Constantine at the Cross” (restored, 1903) and a “Baptism” (1491)-the latter much restored. The Bellini is a “Virgin and Child” in the second chapel on the right, by some attributed to Alvise Vivarini.]

[Version 0.04: March 2008]