C
Camerlenghi, Palace of the, beside the Rialto. A graceful work of the early Renaissance (1525) passing into Roman Renaissance. Its details are inferior to most of the work of the school. The “Camerlenghi,” properly “Camerlenghi di Comune,” were the three officers or ministers who had care of the administration of public expenses.
Cancellaria, [II. 293].
Canciano, Church of St. Of no importance.
Cappello, Palazzo, at St. Aponal. Of no interest. Some say that Bianca Cappello fled from it; but the tradition seems to fluctuate between the various houses belonging to her family.
Carità, 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 façade 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.