428 VENETIAN INDEX

climbing Calvary by a winding path of which two turns are seen, the figures on the uppermost ledge, and Christ in the centre of them, being relieved against the sky; but instead of the usual simple expedient of the bright horizon to relieve the dark masses, there is here introduced, on the left, the head of a white horse, which blends itself with the sky in one broad mass of light. The power of the picture is chiefly in effect, the figure of Christ being too far off to be very interesting, and only the malefactors being seen on the nearer path; but for this very reason it seems to me more impressive, as if one had been truly present at the scene, though not exactly in the right place for seeing it.

62. The Crucifixion. I must leave this picture to work its will on the spectator; for it is beyond all analysis, and above all praise.¹

S

SAGREDO, PALAZZO, on the Grand Canal, X. 299 [and Plate F], XI. 27. Much defaced, but full of interest. Its sea story is restored: its first floor has a most interesting arcade of the early thirteenth century thirdorder windows; its upper windows are the finest fourth and fifth orders of early fourteenth century: the group of fourth orders in the centre being brought into some resemblance to the late Gothic traceries by the subsequent introduction of the quatrefoils above them.

SALUTE, CHURCH OF STA. MARIA DELLA, on the Grand Canal, [X. 6, 7, 443; XI. 92, 363.] One of the earliest buildings of the Grotesque Renaissance, rendered impressive by its position, size, and general proportions. These latter are exceedingly good; the grace of the whole building being chiefly dependent on the inequality of size in its cupolas, and pretty grouping of the two campaniles behind them. It is to be generally observed that the proportions of buildings have nothing whatever to do with the style or general merits of their architecture. An architect trained in the worst schools, and utterly devoid of all meaning or purpose in his work, may yet have such a natural gift of massing and grouping as will render all his structures effective when seen from a distance: such a gift is very general with the late Italian builders, so that many of the most contemptible edifices in the country have good stage effect so long as we do not approach them. The Church of the Salute is farther assisted by the beautiful flight of steps in front of it down to the canal; and its facade is rich and beautiful of its kind, and was chosen by Turner for the principal object in his well-known view of the Grand Canal.² The principal faults of the building are the meagre windows in the sides of the cupola, and the ridiculous disguise of the buttresses under the form of colossal scrolls; the buttresses themselves being originally a hypocrisy, for the cupola is stated by Lazari to be of timber, and therefore needs none. The sacristy contains several precious pictures: the three on its roof by Titian,

¹ [The picture is described at length in Modern Painters, vol. ii. (Vol. IV. p. 270); in the note to that passage, other references are collected.]

² [“Venice,” exhibited at the Royal Academy in 1834.]

[Version 0.04: March 2008]