S. Tomà, or St. Thomas, built in 1742 by B. Bognola. Titian lived in a small court near this, and not far from S. Silvestro (p. 88). Cross the square to the Calle del Cristo, and turn to the left over the Donna Onesta Bridge; then by the Calle della Speziale to the square and Church of

S. Pantaleone, built 1668. The high altar is crowned by a magnificent tabernacle by J. Sardi. Here The painted ceiling is by J. A. Fumiani. are P. Veronese's St. Pantaleone Healing a Child, and the Coronation of the Virgin, by G. and A. da Murano. In the Loretto Chapel is a marble altar of the fifteenth century. Cross the square again to the Piazza delle Mosche; then to the left to Minolli Quay, at the end of which, to the right, you come to the Tolentini Quay, and the Tolentini Church, or S. Nicolò dei Tolentini, near Rio degli Tolentini, built in 1595 by Scamozzi, with a Corinthian portico added by A. Tiroli in the last century. The cupola over the centre of the church, which is a cross, is ornamented with frescoes by Zampini and Algeri. On the right, near the choir, is a confessional, with a picture over it of S. Lorenzo Giustiniani Distributing the Goods of the Church to the Poor.

Leaving this building, take the quay to the right and proceed to the Tedeschi Square; further on is the Ragabella and its bridge; and beyond this the Church of

S. Giacomo dello Orio.-One good picture is Jesus Christ supported by an Angel, by G. Palma. Near the side door is a ceiling in five compartments; the middle one being a painting of the Theological Virtues, the others the Four Doctors, by P. Veronese. Close to the door of the sacristy is a picture of St. Sebastian, St. Roch, and St. Lawrence, one of J. Buonconsiglio's best works. Go out by the sacristy door and turn to the right, and a short distance brings you to

Santa Maria Mater Domini, built by Sansovino, 1540. In one corner of this church is the Invention of the Cross, a fine work by Tintoretto. One chapel contains statues by L. Bregno. Pass out by the great door, turn to the right of Calle Longa and make for the Piazza de Frari, in which stands

*Santa Maria Gloriosa dei Frari, a fine old church in the Tedesco-Gotico (German-Gothic) style of the thirteenth century, built by the Minor Friars of St. Francis (1250-1338). Its campanile is of the fourteenth century. The first altar on the right is rich in marble work, by Sardi or Longhena. The second altar is close to the mortal remains of Tiziano Vecellio, or Vecelli, best known as Titian, who died 1566. The large monument to him, dated 1852, has a sitting figure under a canopy. Next this is the statue of St. Jerome, a fine work of A. Vittoria, with a head of Titian. Further on, the picture of the Martyrdom of St. Catherine, by Palma Giovane. In the sacristy door is the mausoleum of General Pesaro, with his statue, by L. Bregno; and a statue of Mars by Baccio da Montelupo, a Tuscan artist. The altar of the sacristy'

deserves notice, with its pictures in three compartments, by G. Bellino, 1488, of the Virgin and Four Saints. Two magnificent tombs in the Great Chapel, of Doge Francisco Foscari and Doge M. Trou. The latter immense composition contains nineteen statues in all. That of the Doge, with some others, is by A. Bregno. At the high altar is an Ascension by Salviati. In the sixth chapel on the right is the monument of General Trevisano, a simple but elegant work.

Near the transept is the Orsini Tomb, by an unknown hand, but supposed to be of the fifteenth century. Then a rich monument in marble to the memory of J. Venier of the seventeenth century. The Chapel of St. Peter is full of statues and sculptures of the fifteenth century. Further on is a decorated monument to G. Pesaro, a general and bishop, who died 1547; and then Titian's altar-piece of the Virgin with St. Peter and other saints, including portraits of members of the Pesaro family. We then come to the large mausoleum of Doge G. Pesaro, by B. Longhena, supported by four negroes in white. On one side of this is a monument to Canova, erected by public subscription, 1827, and executed by Zendomenighi, Ferrari, Bosa, Fabris, Martini, Rinaldi, and Fadiga, all Venetian artists of the day. It is a pyramid with a procession of Art, Genius, &c., walking into the door, copied from his own design for the Archduchess Christina. Beyond this is an elegant altar of inlaid wood by two Florentine artists. A statue of S. John the Baptist, in the middle, is by Donatello. Between the altar and the great door is a fine marble tomb of P. Bernardo, who died 1558. Above the door is the monument of J. Varzoni. In the midst of the church is a choir with 150 stalls of wood, superbly inlaid with marbles, &c., 1408, by one of the Canozzi family, called Marc de Vicenza. The cloister surrounding this choir is adorned with statues and bas-reliefs, 1475. In the neighbouring convent the

*Public Archives are kept, which Daru used in his "History of the Republic," and the best of which like many other Italian works, made a journey to Paris and back. This collection fills 300 rooms. It is wonderfully voluminous, going back to the year 883, and coming down to the present time; and is especially rich in documents of the thirteenth to the sixteenth century. One important relic is a Description of the States formerly under Venetian rule, in four folio volumes, of which only seven copies were printed for the use of members of the government. Open daily from 10 to 3, after permission has been obtained from the authorities. Some divisions are closed to every one.

Leaving Mater Domini on the left, you come to the Church of S. Rocco or St. Roch, built 1495, and restored 1725. Here are paintings of St. Roch before the Pope, St. Roch in the Desert, and another: all by J. Tintoretto. The Annunciation and Christ in the hands of the Executioners, by Titian. The high altar, in a rich and elegant style, was executed by Venturino in the beginning of the sixteenth century.

The* Scuola di S. Rocco, an institute for charitable purposes, founded by a religious community of laymen and attached to the church, was built 1517-50, by B. Buono and Santo Lombardo, in a mixed style. It is remarkable for its richness and solidity, and for its wall paintings by J. Tintoretto. Its magnificent staircase was completed by Scarpagnino. At the middle of it are two pictures, the Annunciation by Titian, and the Visitation by Tintoretto; and at the bottom the pedestals of the columns are carved with subjects from sacred history. The Cancelleria Room, resting on marble columns, is adorned with sixteen or seventeen paintings by Tintoretto, and with sculptures on wood of the life of St. Roch, by G. Marchesi; and its fine timber ceiling is by F. Pianta and M. Angelo of Florence, a namesake of the great sculptor. Above the beautiful marble door, 1547, stands the portrait of Tintoretto, painted by himself, 1572. On the wall in the next room called the Albergo, facing this, is his great work of the *Crucifixion, 1565, with portraits of himself and Titian, and as remarkable for its composition as for its execution.

In the square of St. Paul stands the Church of St. Peter and St. Paul. Its belfry and two marble lions in the doorway deserve notice; a serpent is twisted round one of the lions as if strangling it; the other holds in its paws a head just cut from a human body. These are supposed to be symbolical allusions to Gen. Carmagnola, who was beheaded by the Republic for treason. Near this church, at the end of St. Paul's Square (or Paolo in Campo), is

Palazzo Corner-Mocenigo, a fine building by Sanmicheli. From this you pass by Calla della Madonetta to the Rialto, and come to the Church

of

S. Silvestro, or Silvester.-In its principal chapel is a large picture of the Lord's Supper, by Palma Vecchio. Giorgione lived opposite this church. Turn to the left into the street which leads to the Rialto Bridge, called Ruga Vecchio, where, by the side of an old tower, is the Church of St. John the Almoner (S. Giovanni Elemosinario, or S. Zuane di Rialto), built by Scarpagnino, about 1530. Paintings by Titian (at the high altar), Pordonone, &c. From this, over the Rialto, to the Church of

S. Giacomo di Rialto, rebuilt 1531, on the site, and in the shape, of the earliest church founded in the city, viz., A.D., 421. Here are some handsome pillars and bronzes, with A. Vittoria's St. James (or S. Giacomo), the patron of this little church. In this neighbourhood is the Church of

S. Cassano, containing three good Tintorettos, viz., the Crucifixion, Descent into Hell, and Resurrection.

SIXTH TOUR.

On foot or in gondola, according to the inclination of the visitor.

SS. Apostoli, or Holy Apostles' Church, is an elegant building, and is full of marbles and

sculptures. It contains two fine monuments to the Cornaro family, one of the members of which was the well known Ludovico Cornaro, author of a work on temperance, which Wesley translated. He died at Padua, 104 years old, though his constitution had been almost destroyed by dissipation down to his fortieth year, when he reformed. This family claims a descent from the Cornelia family of old Rome. Another chapel to the right has a magnificent altar. Cross the bridge on the left, close to the

Palazzo Faliero, of the thirteenth century, the residence of the Doge, who was beheaded in 1355. Then go towards the Rialto, over another bridge to the Church of

St. John Chrysostom or S. Zangrisostomo, as the Venetians call it, built 1489. Paintings by Del Piombo (at the high altar) and G. Bellini. Near this is the Malibran Theatre, the most popular in Venice. Continue on towards the Rialto, across the square of S. Bartolommeo to the Mercerie, where the first church in view is the restored

*S. Salvatore or St. Saviour, a large and elegant structure, by T. Lombardo, Sansovino, and Scammozzi; built 1500-64, with three transepts. There is a fine mausoleum of a Dolfin and his wife, attributed to G. del Moro. The second altar has a by G. Compagna. Then comes the fine monument Virgin and Child, a beautiful work supposed to be of Doge F. Venier, by Sansovino; author also of the two statues on each side of the urn. At the third altar, by Sansovino, is a painting of the Annunciation by Titian, in his old age. In an aisle to the right is the large mausoleum of Catherine Cornaro, Queen of Cyprus, by whose marriage with James Lusignan, the Venetians first got possession of that island.

In the next chapel is the Supper at Emmaus, one of the best pieces of G. Bellino. The organ front was designed by Sansovino, and painted by Titian's brother, Francis Vecellio. At an altar further on, by G. Bergamasco, is the statue of St. Jerome, by T. Lombardo, one of the architects of the church. Then a large monument to the Doges L. and G. Priuli, supposed to be by C. Franco. Upon leaving this church and the Mercerie Tower, cross over the Barratteri Bridge, beyond which, through a passage on the right, is the Church of St. Julian, called

S. Giuliano, or Zulian, by the Venetians, built by Sansovino; paintings by Santa Croce, P. Veronese, &c. Follow this to the Piazza S. Marco, and then by the passage near the grand staircase of the Royal Palace, to the Church of

S. Moisè, in which Law, the author of the Missisippi scheme, is buried. He died in 1729. Leave the church by the great door, and the bridge in front of it, till you come to the Palazzo Caletti. Cross the Piazza di S. Fantini, to the

*Fenice Theatre (Phoenix), one of the largest in Italy, rebuilt since the fire of 1835. It holds about 3,000 persons.

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 Collconi, 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; 1728, but richly adorned with coloured marbles a modern grey and green building, by D. Rossi, 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, a large 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 surrounded 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.

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.

Its

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 Dandole," 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 heads 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