S Fantini Church. Here are two marble monuments to B. Martini and V. Dandolo, of the sixteenth century. Above the door of the sacristy is a small picture of the Virgin and Infant Jesus, by G. Bellini. Leave by this door and you come out in front of the Athenæum, which has some good pictures. Then take the way to the left, through Piazza S. Angelo, to the beautiful Cloister of S. Stefano, built 1532, by Fra Gabriel. From thence you pass on to

*S. Stefano, or St. Stephen's Church, near Rio del Santissimo; a large Gothic structure, erected 1294-1335, for the Austin Friars. It contains a magnificent high altar, and monuments to F. Morosini, the Peloponnesian, and to several of the Contarini family. On the left of the great door is a mausoleum of G. Suriano, a famous doctor of the fourteenth century, with a bronze bas-relief of the Virgin and Child, with other figures by an unknown artist. Leaving this, walk down the Campo S. Stefano, and you pass the Palaces Loredano and Pisani, both good, and the latter very large; also the Palazzo Morosini, built in the sixteenth century. Through the Square of S. Stefano to the street on the right side, and over the neighbouring bridge, to the Piazza S. Maurizio; so called after the Church of

S. Maurizio or St. Maurice, in which are sculptures by D. Fadiga, a modern artist. Turn to the right over two bridges, near the Churches of Santa Maria of the Lily and Santa Maria de Zobenigo. The latter church, by G. Sardi (1680), has a picturesque façade, full of columns and statues, and rather overdone with ornament. The rest of the building, with its spire, is plain. Follow the way towards St. Mark's Square, over Ostriche Bridge; beyond which, on the left, is the Micheli Court, where, at No. 2,040, is the Testocchi-Albrizzi Palace, in which is a fine head of Canova, his gift to the Countess Isabella. A little further on to the left is a turning called Pisina di S. Mosé, where Count Cicognara lived, at No. 3,218. He was the founder of the Academy of Fine Arts, and the author of a splendid work on the most striking buildings in Venice. "Le Fabbriche piu cospicue di Venezia." In his collection is a bust of Dante's Beatrice, and a large one of the Chevalier Cicognara; both by Canova, who presented them to the Chevalier; also a bust of Canova, by his pupil, Rinaldi, copied from one by Canova himself.

From the Cicognara Palace, proceed through Calle Lunga; thence, turning to the right, and then to the left, you come to the Barozzi Court, in which, at No. 1,256, is the

Palazzo Emo-Treves, on the Grande Canale, next the Hotel dell' Europa, containing Canova's colossal marble statues of Hector and Ajax. Cross the Barozzi Bridge, and proceed towards St. Mark's Place. At the Comello Palace is Canova's bas-relief of Socrates Taking Leave of his Family before Drinking the Heinlock.

SEVENTH TOUR.

On Foot, or in Gondola. *Santa Maria Formosa faces Ponte del Paradise, and a picturesque and elegant screen or arch of the fourteenth century. Built 1491, and rebuilt in Sansovino's time. On the door is a statue of Gen. Capello. At the altar to the right, on entering, is a picture in six divisions, by Palma Vecchio, having S. Barbara in the middle. From this church the Brides of Venice were carried off by the Istrian pirates, in 887. Several brides, according to custom, were to be married here at the same time. The pirates from Trieste landed, and bore them away; but they were pursued by the Doge, Pietro Candiano, who rescued the brides and brought them back in triumph; an event formerly celebrated on 2nd February, and often dramatised. Near this is the Stampalia Querini, or Querini Library, a free library founded by the Duke of Querini, whose palace is a school. Leaving by the right aisle, turn to the right, and we come to the Palazzo Malipiero, over the canal, in front of it. Cross the bridge to Calle Ruga Giuffa, in which is

*Palazzo Grimani, built by the Patriarch Grimani in the fifteenth century. The court is decorated with a rich collection of ancient statues, urns, basreliefs, inscriptions, &c., of the classic age, both Greek and Roman. On the left, as we enter, is a colossal Mark Agrippa, from the vestibule of the Pantheon, at Rome, with a companion statue, called an Augustus, but really a manufactured figure. On the first landing is a gallery of ancient inscriptions, bronzes, medals, vases, &c., a bust of Caracalla, and paintings by the best artists. Among the pictures in other rooms of the palace is A. Dürer's Institution of the Rosary, full of portraits, including those of the artist and his wife. Five pictures are devoted to the History of Psyche, the largest of which is a masterpiece of F. Salviati, of Florence.

Turn back to Santa Maria Formosa, and, opposite the Ruga Giuffa Bridge, is the Priuli Palace. Follow the street at the side of it, and, after crossing two bridges, you come to the square of Santa Maria. Then turning to the right, cross the bridge, to the Calle de Miracoli, and the Square

and Church of

*Santa Maria dei Miracoli, built 1481-9, an elegant building in the early-pointed style, something like S. Zaccaria, with a great chapel much admired, having a balustrade, altar, &c., in well-executed marble, by the Lombardi. Leaving this church, go over four bridges in succession, to the Church of

*SS. Giovanni e Paolo, or Sts. John and Paul, called "San Zanipolo," by the Venetians; the next church to St. Mark in point of interest and magnificence, being 300 feet long, and full of monuments of Doges, Senators, &c. It was built by one of the Pisanos, in the Gothic style (1246-1430), and stands near the Civil Hospital (formerly the Scuola of S. Marco, by M. Lombardo, 1485), and the Rio dei Medicanti. It is full of monuments and statues, of the pointed and Renaissance periods,

At

Near the entrance, on the right, is the tomb of Doge Mocenigo, by the Lombardi family. the first altar, is the Virgin and Child and Saints, one of the best works of G. Bellini, in distemper, almost destroyed by time; and a monument to M. Lancia, by Barthel, 1674; observe the expression of a woman who is weeping. At the second altar, which is rich and elegant, is a picture in nine divisions, of a Dead Christ, the Annunciation, St. Christopher, &c.; a celebrated work by Bartolommeo or L. Vivarini. Then comes the large mausoleum of Doge Valier, near a stained glass window, by J. Mocetto, in the sixteenth century.

At the eighth altar, the Saviour and his Apostles, a beautiful work of Marcori. In the great chapel, on the right wall, is the monument of Doge M. Morosini, decorated with many sculptures, and some mosaics of the fourteenth century. A fine mausoleum of Doge L. Loredano, by J. Grafiglia, in 1572. Opposite this, another of Doge Vendramini, or the "New Man," who was made a noble for his great services at Chioggia, against the Genoese. It is one of the most elegant monuments in Venice. There is another to Admiral C. Zeno, who figured in the same war. The high altar is a magnificent work, by M. Camero (1619), behind which is the Annunciation, by L. Carona. The partition walls of this altar are covered with marble bas-reliefs of the Life of Christ, the work of several artists between 1600 and 1732, as Bonazza, Tagliapietra, Toretto (Canova's master), &c.; besides beautiful carvings in wood. To the left, near the sacristy door, is the monument of Doge P. Malipiero. Below it, a picture of the Crowning of the Virgin, attributed to Carpaccio. Further on, are various monuments, including that of General P. Giustiniani on horseback, by F. Terilli, of Feltre; that of Doge T. Mocenigo, and another of Doge N. Marcello, about the end of the fifteenth century

Other tombs are to the memory of CaptainGeneral Orsini, and to Bragadino, the defender of Famagosta. Near the great door was Titian's famous picture on wood of *S. Peter Martyr (a Dominican monk, at Milan, killed 1227), considered the third or fourth best picture existing, but unluckily burnt 1867. Titian's bust is over the church door. Near the same door is the large monument to Doges A. Mocenigo and G. Bembo, by Grapiglia; and below it an elegant one to B. Bragadino; and two stone landscapes, by Doretto, the master of Canova, deserve notice for their delicate finish.

The Sarcophagus of the Doge Marino Faliero stood inside the church at first, but when Byron was here he found it placed outside the wall. Close to this church, at Lombardi's School of S. Marco, now a hospital, is the

Colleoni Monument, to the memory of Bartolommeo Colleoni, of Bergamo; a celebrated leader under the Venetian Republic, and one of the first who made use of cannon. The pedestal, in the Corinthian style, is much admired for the richness of its marble carvings. Leaving this, walk to the

Corniani Palace. After this is visited, return to the Fondamente Juove Quay, and then over a bridge to the

Jesuits' Church, or St. Maria Assunta dei Gesuiti; a modern grey and green building, by D. Rossi, 1728, but richly adorned with coloured marbles and sculptures. The marble pulpit has a canopy and curtains of marble, and even a marble carpet. The high altar is a magnificent piece of work, by Fra J. Fozzo, enriched with lapis lazuli and verdeantico pillars. Here is the flag of the last Doge, Manin. A chapel on the left, close to the wall, has a fine monument to Doge P. Cicogna, by Campagna. Observe among the paintings, the Martyrdom of S. Laurence, by Titian; the Circumcision and the Assumption, both by Tintoretto; the Preaching of S. Francis Xavier, by Liberi; and the Virgin in Glory, by Palma Vecchio. From this church turn to the left, follow the quay to

Santa Catarina, belonging to the Liceo-Convitto College, founded 1807, by the French. At the high altar is P. Veronese's Marriage of S. Catherine. Thence down the canal, called Traghetto di Santa Catarina, to the

Abbey Church, or All' Abbazia della Misericordia. It contains the Tobias of Cima da Conegliano. From this, follow the quay over the Muti Bridge, and along the Mori Quay, past Tintoretto's House; at the end of which, turn to the right, cross the Madonna dell' Orto Bridge, to the Church of

*Santa Maria dell' Orto, alarge and ancient Gothic structure, built 1350-1480, of brick; with a campanile tower 175 feet high. Ten pillars of veined Greek marble support the nave. This church has for many years been in course of restoration. In the chapel on the right is the large Judgment Day of Tintoretto; and to the left, the Adoration of the Golden Calf, with Mount Sinai and Moses receiving the Two Tables; a companion picture by the same artist, who was buried here. His S. Agnes, which the French carried off to Paris, with other pictures, is now at the Academy. Two rich marble monuments fill up the sides of this chapel, on which are six busts of the Contarini family. Near this church, and the railway station, is the Church of

S. Giobbe (S. Job), built 1451-93, by the Lombardi. It contains a fine choir. The Botanic Gardens are close by. Cross the Madonna dell' Orto and Mori Bridges; follow the quay on the left, to S. Marciliano Bridge and the Church of

S. Marciliano or S. Martial. At the first altar, inside the principal door, is a famous picture of *Tobias and the Angel, by Titian. Return over the last bridge, take the turning to the right, and at the end of the quay is the Convent of Misericordia. Cross the bridge of this name, turn to the right, and follow the quay to the Church of S. Felix.

Besides the churches already mentioned, there are S. Eustachio or S. Stac, on the Grand Canal, built 1709, with a later façade added, by D. Rossi.

SS. Simon e Giuda (Simon and Jude), built 1718, by G. Scalfarotto, having a large dome 56 feet diameter, and a beautiful Corinthian portico, of very harmonious design.

La Maddalena, by Temenza, is a rotunda within, 50 feet diameter. This church is at the northern extremity of the city, beyond the Canale Grande; and in the same quarter are the following churches, seldom visited:-S. Fosca, near the Giovanelli Palace; L' Annunciata, near the Gli Terri Convent; S. Marcuolo, opposite the Fondaco de Turchi; S. Leonardo, near the Cannareggio; S. Gerolamo, near the old and new Ghetto, or Jews' quarter; and S. Alviso and the Reformati, facing the Canale di Murano.

Santa Marta, is at the west end of the Giudecca Canal. Santa Teresa and Santa Maria Maggiore are near the Campo di Marte (Field of Mars), not far from the new Tobacco Factory (Nuovo Fabbrica dei Tabachi). Le Vergini and S. Pietro Patriarcato are on the Canale di Castello and the new port. S. Giacomo is in the Giudecca, near Rio de Ponte Longo; and Santa Eufemia and S. Cosmo are at the end of the Giudecca.

There are also many other Palaces deserving a visit. Most of them line the sides of the Grand Canal. Such are the following: *Ca (for Casa) d'Oro, which has a rich but unfinished façade, of the thirteenth century, by an unknown architect. "It has no high roofs or boldly marked buttresses; but flat roofs and horizontal divisions pervade the design; and every part is pervaded by a fanciful richness, characteristic of the luxurious refinement of the East."-Fergusson. The arches are sur

rounded by a curious dental moulding peculiar to Venice, as well as to the buildings of the pointed Gothic period.

*Palazzo Vendramini Calergi, by P. Lombardo, 1484, in the cinque-cento style. "Nothing can exceed the beauty of the proportions of the three cornices, and the dignity which crowns the whole. The base, too, is sufficiently solid without being heavy, and the windows being all mullioned, and the spaces being reinforced with three-quarter columns, there is no appearance of weakness anywhere."-Fergusson. It is 86 by 65 feet.

Near this is the Fondaco de' Turchi (or Levant Warehouse),

Palazzo Cornari, near the St. Angelo Theatre, is another fine cinque-cento building. Palazzo Contarini, near S. Luca's Church, is a beautiful structure of the fourteenth century, architect unknown; another Palazzo Contarini, near St. Samuelo, is supposed to be by the Lombardi, about the beginning of the sixteenth century; another is called dagli Scrigni, because fitted up with cabinets containing piles of gold crowns and zecchini.

Its

Palazzo Trevisano, by Bergamasco, 1530, has a rich and imposing façade. It once belonged to Bianca Capello, the wife of Francesco de' Medici. façade in four storeys, is 84 feet by 75, the largest in Venice.

Palazzo Camerlinghi, an elegant three-storey house, by Bergamasco, 1525, near the Rialto. Palazzo Cornaro (or Corner), near S. Paolo, has a good basement, by Sanmicheli.

Another Palazzo Cornaro (or Corner), called Ca Grande, is by Sansovino, and is now the Palace of the Governor. It is faced by coupled Corinthian and Ionic pillars on a solid rustic basement. The front, 104 feet long by 97, has oval windows in the top, and is imitated in the Army and Navy Club, Pall Mall.

Palazzo Manin, near the Rialto, is also by Sansovino, in the sixteenth century, though altered by Selva, in the last century. It has a front of three orders, and was the seat of the last Doge, Manin. The house of "Blind old Dandolo," near this, is now a café.

Palazzo Balbi, near the Frari Church, by A. Vittoria (1582), is in three storeys or orders.

Palazzo Battaglia, has a curious front, by B. Longhena. Palazzo Giovanelli is a richly adorned House, near Sta. Fosca.

Palazzo Pesaro, or Bevilacqua, another work of Longhena's, with a rustic base supporting a noble façade of two orders. "From the water line to the cornice it is a rich, varied, and appropriate design." -Fergusson.

Palazzo Rezzonico, in three orders, also by Longhena. Palazzo Corner della Regina, near the Church of S. Simeone Piccolo, on the Grand Canal, opposite the Railway Station, by D. Rossi, 1724, has a rich façade, and is converted into the Monte de Pietà. Here is the Palazzo Correr, or

Museo, bequeathed to the city by Count Correr, and open on Wednesdays and Saturdays. Besides a collection of medals, MSS., marbles, engravings (including a plan of Venice, as old as 1500), objects in glass and majolica, with pistols, daggers, knives, glass, gems, &c., of Venice make; it contains a gallery of drawings and paintings. Among the last are G. Bellini's Doge Mocenigo and several other portraits of Doges; Mantegna's Transfiguration; M. Schon's Christ Bearing the Cross. Here also is Canova's earliest work, two fruit baskets. Giorgione's House is in Riva dell' Olio. Across the canal is the Giardino Botanico, laid out according to the Linnean system.

EIGHTH TOUR.

This may be spent in visiting the islands in a gondola.

Murano, to the north, has about 6,000 population, and was once remarkable for its manufactures of glass, plate-glass, enamel vases, crystal, &c., established here in the thirteenth century, when the makers received exclusive privileges from the Senate. Mock pearls and conterie or beads are the chief products now. Glass beads are made in the following way:-"Two men with long iron rods, took out of the fire large lumps of soft glass, being about the consistency of thick honey, which they

Route 19.]

moulded round the ends, keeping them red-hot. Then, after forming a hole in the centre of each, they stood opposite another, and joining the two lumps just where the holes were, they walked backwards, pulling the soft glass into a long thin pipe of 100 feet or more in length, till the lumps were exhausted. When retouched it was hard, and the perforation ran through it from end to end. This was broken into lengths and carried to another room, where, by a very simple machine, it was cut up into bugles or beads; and beyond were rooms full of girls, threading them for the Eastern market. This they effected by having large basins of beads before them, and a number of long, slender needles ready threaded, in one hand, which they plunged into the basins repeatedly till all were full; then pulling the beads on to the thread, they renewed the action. By this means the work was speedily done."--MISS CATLOW's Sketching Rambles.

At the Church of S. Michele, over the great door, is the monument of Cardinal Doffino, who died 1622, chiefly by Bernini. The lofty choir is covered with many sculptured marbles; and the church altogether is highly ornamented. There are monuinents to Fra Paolo Sarpi, the historian, and Morelli, the scholar, who was former librarian of St. Mark's. On the left is the Cappella Emilana, a highly adorned domed chapel of six sides, 28 feet diameter within, by Bergamasco.

SS. Pietro e Paolo Church contains many paintings. Near the second altar is Pordonone's Annunciation. To the left of this, near the wall, is the Virgin on a Throne, with the infant Jesus and Saints; a fine work by Vivarini. Fronting this picture is G. Bellino's Virgin and the two Angels, with the Doge A. Barberigo, and other persons, kneeling before her. Leaving this church cross the wooden bridge, turn to the left, and on the quay is

Degli Angeli Church.-The sacristy has some ancient tapestry from Cartoons of the Venetian school of the sixteenth century. A little way back from this, beyond the bridge, is

S. Donato, the Duomo of Murano, the oldest and most curious church here, in the Byzantine style of the twelfth century. Ten Greek marble columns support the roof, and the pavement is inlaid with mosaics of the year 1140. A picture of the Virgin is almost as old as the church, and there are some traces of early frescoes, but the whole are in a state of neglect. The altar of the chapel is imposing.

Burano is north of this; where lace and straw hats are made.

Then comes Torcello, which has a fine old church, built 1008, by Bishop Orseolo, covered with mosaics and marble. Eighteen pillars, with curiously shaped capitals, hold up the nave. The holy water basin was formerly a Pagan altar. The sanctuary, further in, is adorned with beautiful marble sculptures; within this, in old times, only the clergy were allowed to come. Behind the high altar is the bishop's marble chair, under a vault

87

covered with fine mosaics of the Last Judgment, now falling to pieces. The antiquated marble shutters on iron hinges are worth remark. From this church, you proceed to the very old Church of

S. Fosca, built in the ninth century, out of the stones of Roman buildings, by fugitives from Altineum and Julia Concordia, on the mainland, when it was ravaged by the barbarians. This church is decorated with pillars in the Greek style.

The island of SANTA ELENA, close to Venice, has a church to the memory of Constantine's mother, Helena.

A quarantine called the Lazzaretto Nuovo and Vecchio, is established on two islands.

S. Andrea del Lido, the port to Venice, so called from the Lido or Littorale, a strip 35 miles long, which fences off the sea from the lagoons, has a fortress or castle, built 1541-71, by Sanmicheli, to command the main entrance here (10 feet of water). It is a fine rustic specimen with a Doric entablature, and is considered a master-piece of this architect, whose works of the same class still exist at Verona. There are sea-baths on the Lido, and shells are found on the beach. Here Byron used to ride, and wished to be buried. "No pencil can paint the scene which I have so often beheld from the shores of the Lido, when the sun pours his last rays upon innumerable domes, palaces, and towers, floating as it were on the bosom of the water; and long after he has sunk behind the cupola of St. George, leaves his old purple light upon the distant snow-Alps and far-seen promontories of Istria."-Lord Broughton.

Malamocco, or Malamauco, guarding one of the chief entrances from the Adriatic (with 17 feet of water), was the early seat of the Doges, after leaving Eraclea, where the first Doge, Anafesto, was elected, in 697. They removed hence to the Rialto, in 809.

Forts Alberoni and S. Pietro are stationed at the mouth of the Porto, in the middle of the great dyke, which is 14 miles long, at the edge of the lagoons, and is made of enormous stone blocks.

On S. Lazzaro, to the south of Venice, is a convent of Armenians, who settled here 1717; and have a library of 10,000 volumes, about 400 Armenian MSS., some as early as the fourth century, but most of them of the eighth century; a printing press, and a priests' seminary. Byron studied Armenian here, and helped his tutor in a dictionary of the language.

Near PALESTRINA is the Murazzi or breakwater, a marble wall on piles rising 10 feet above the sea. Chioggia, or Chiozza, the most southern island in the Lagoons (20 feet water here), contains a town and bishop's see of 20,380 souls, with a good cathedral, theatre, &c. Here, in 1380, the Genoese were finally defeated after a long and doubtful struggle, and 4,000 made prisoners by the Venetians, under Doge Pisani. Bombards or mortars were first used on this occasion; the