ark's, Venice, were worked by Fra Vincenzo da Verona,
another Olivetan, under whom was Fra Pietro da Padova, Jesuit, with two
youths to assist them. The commission was given in 1523. Three rooms in
the hospital of "Messer Jesu Cristo" were assigned him as workshops, and
100 ducats for food and clothing, as stated in the registers of the
procurators of S. Mark's. On January 15, 1524, they inspected the work
done, and were not satisfied, and so suspended it, "praising,
nevertheless, the manners and the life of Fra Vincenzo." According to
Cicogna, the registers contained, under date April 7, 1526, a note of
money paid to "Fra Vincenzio, of the order of the Jesuits, for the
finishing of the works of inlay" in the choir of S. Marco. On February
25, 1537, certain moneys were given to more workmen for the construction
of the doge's seat, which is said to have been "a great thing full of
artistic pangs" (!), and rather hindered the genuflections to the
altar. This was made for Andrea Gritti, who was doge that year. This Fra
Vincenzo da Verona, or Vincenzo dalla Vacche, is mentioned by Morello in
his "Notizie" as excellent, especially in his work at S. Benedetto
Novello at Padua, four panels from which are now in the Louvre. He
became novice in 1492, "Conventuale" of Monte Oliveto in 1498, was a
priest like Fra Giovanni, and lived almost all his life in his native
city. He died in 1531. The tarsie in the presbytery at S. Marco consist
of seven great compartments, five lesser, and thirteen which are small.
The eighteen smaller compartments are panels of ornament. The others are
figure subjects, but by more than one hand. First comes a figure of S.
Mark with a lion at his feet, which is not very good (it was restored in
1848-50 by Antonio Camusso); next, a figure of Charity side by side with
one of Justice, a woman with a baby, and one holding the balances. Next
comes a figure of Strength or Courage, older and rougher in character,
then four ornamental panels, a door, and five others, also of ornament.
The next panel in the corner bears date 1535, to which year the figures
of Justice and Charity may be assigned. The other figures are Prudence
and Temperance, the latter of which resembles Strength in character. The
remaining subject, a Pieta, is like Charity and Justice, and is
masterly. Three spaces are empty. The doge's seat, until the fall of the
Republic, was on the right of the principal entrance to the choir, as
Sansovino says.