ca
Cappello fled from it; but the tradition seems to fluctuate between
the various houses belonging to her family.

CARITA, CHURCH OF THE. Once an interesting Gothic church of the
fourteenth century, lately defaced, and applied to some of the usual
important purposes of the modern Italians. The effect of its ancient
facade may partly be guessed at from the pictures of Canaletto, but
only guessed at; Canaletto being less to be trusted for renderings of
details, than the rudest and most ignorant painter of the thirteenth
century.

CARMINI, CHURCH OF THE. A most interesting church of late thirteenth
century work, but much altered and defaced. Its nave, in which the
early shafts and capitals of the pure truncate form are unaltered, is
very fine in effect; its lateral porch is quaint and beautiful,
decorated with Byzantine circular sculptures (of which the central one
is given in Vol. II. Plate XI. fig. 5), and supported on two shafts
whose capitals are the most archaic examples of the pure Rose form
that I know in Venice.

There is a glorious Tintoret over the first altar on the right in
entering; the "Circumcision of Christ." I do not know an aged head
either more beautiful or more picturesque than that of the high
priest. The cloister is full of notable tombs, nearly all dated; one,
of the fifteenth century, to the left on entering, is interesting from
the color still left on the leaves and flowers of its sculptured
roses.

CASSANO, CHURCH OF ST. This church must on no account be missed, as it
contains three Tintorets, of which one, the "Crucifixion," is among
the finest in Europe. There is nothing worth notice in the building
itself, except the jamb of an ancient door (left in the Renaissance
buildings, facing the canal), which has been given among the examples
of Byzantine jambs; and the traveller may, therefore, devote his
entire attention to the three pictures in the chancel.

1. _The Crucifixion._ (On the left of the high altar.) It is
refreshing to find a picture taken care of, and in a bright though not
a good light, so that such parts of it as are seen at all are seen
well. It is also in a better state than most pictures in galleries,
and most remarkable for its new and strange treatment of the subject.
It seems to have been painted more for the artist's own delight, than
with any labored attempt at co