62 Giacomo de Lorio, Church of St.
A most interesting church, of the early thirteenth century, but grievously restored. Its capitals have
63 Giacomo di Rialto, Church of St.
on the Piazza di Rialto.
64 Giobbe, Church of St.
near the Canna Reggio.
65 Giorgio dei Greci, 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.
66 Giorgio de' Schiavoni, Church of St.
Said to contain a very precious series of paintings by Vittor Carpaccio. [1877. See "St. Mark's Rest." First Supplement, "The Shrine of the Slaves."]
67 Giorgio in Alga (St. George in the seaweed), Church of St.
Unimportant in itself, but the most beautiful view of Venice at sunset is from a point about two-thirds of the distance from the city to the island.
68 Giorgio Maggiore, Church of St.
A building which owes its interesting effect chiefly to its isolated position, being seen over the great space of lagoon. The traveller should especially notice in its facade the manner in which the central Renaissance architects (of whose style this church is a renowned example) endeavoured to fit the laws they had established to the requirements of their age. Churches were required with aisles and clerestories, that is to say, with a high central nave and lower wings; and the question was, how to face this form with pillars of one proportion. The noble Romanesque architects built story above story, as at Pisa and Lucca; but the base Palladian architects dared not do this. They must needs retain some image of the Greek temple, but the Greek temple was all of one height, a low gable roof being borne on ranges of equal pillars. So the Palladian builders raised first a Greek temple with pilasters for shafts; and, through the middle of its roof, or horizontal beam, that is to say, of the cornice which externally represented this beam, they lifted another temple on pedestals, adding these barbarous appendages to the shafts, which otherwise would not have been high enough; fragments of the divided cornice or tie-beam being left between the shafts, and the great door of the church thrust in between the pedestals. It is impossible to conceive a design more gross, more barbarous, more childish in conception, more servile in plagiarism, more insipid in result, more contemptible under every point of rational regard.
69 Giovanelli, Palazzo
70 Giovanni e Paolo, Church of St.
An impressive church, though none of its Gothic is comparable with that of the North, or with that of Verona. The western door is interesting as one of the last conditions of Gothic design passing into Renaissance, very rich and beautiful of its kind, especially the wreath of fruit and flowers which forms its principal moulding. The statue of Bartolomeo Colleone, in the little square beside the church, is certainly one of the noblest works in Italy. I have never seen anything approaching it in animation, in vigour or portraiture, or nobleness of line. The reader will need Lazari's Guide in making the circuit of the church, which is full of interesting monuments: but I wish especially to direct his attention to two pictures, besides the celebrated Peter Martyr:
71 Giovanni Crisostomo, 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, 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. 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 or art.
72 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. 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.]
73 Giovanni in Bragola, 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.
74 Giovanni, S., Scuola di.
A fine example of the Byzantine Renaissance, mixed with remnants of good late Gothic. The little exterior cortile is sweet in feeling, and Lazari praises highly the work of the interior staircase.
The crescent-shaped island (or series of islands) which forms the most northern extremity of the city of Venice, though separated by a broad channel from the main city. Commonly said to derive its name from the number of Jews who lived upon it; but Lazari derives it from the word "judicato," in Venetian dialect "Zudega," it having been in old time "adjudged" as a kind of prison territory to the more dangerous and turbulent citizens. It is now inhabited only by the poor, and covered by desolate groups of miserable dwellings, divided by stagnant canals.
76 Giuseppe di Castello, Church of St.
Said to contain a Paul Veronese: otherwise of no importance.
77 Giustiniani, Palazzo
on the Grand Canal
78 Giustiniani, Palazzo
Lazari, I know not on what authority, says that this palace was built by the Giustiniani family before 1428. It is one of those founded directly on the Ducal Palace, together with the Casa Foscari at its side: and there could have been no doubt of their date on this ground; but it would be interesting, after what we have seen of the progress of the Ducal Palace, to ascertain the exact year of the erection of any of these imitations.
79 Giustinian Lolin, Palazzo
on the Grand Canal.
80 Grassi, Palazzo
on the Grand Canal,
81 Gregorio, Church of St.
on the Grand Canal.
82 Grimani, Palazzo
on the Grand Canal,