At the end of the Merceria is S. Salvatore, a big quiet church in the Renaissance style, containing the ashes of S. Theodore, the tombs of various Doges, and a good Bellini: a warm, rich, and very human scene of a wayside inn at Emmaus and Christ appearing there. An "Annunciation" by Titian is in the church proper, painted when he was getting very old, and framed by Sansovino; a "Transfiguration" by Titian is in the pretty sacristy, which, like many of the Venetian churches, is presided over by a dwarf. A procession of Venetian sacristans would, by the way, be a strange and grotesque spectacle. The best of the S. Salvatore monuments is that by Sansovino of Doge Francesco Venier (1554-1556), with beautiful figures in the niches from the same hand--that of Charity, on the left, being singularly sweet. When Sansovino made these he was nearly eighty. Sansovino also designed the fine doorway beneath the organ. The most imposing monuments are those of Caterina Cornaro (or Corner) the deposed queen of Cyprus, in the south transept; of three Cardinals of the Corner family; and of the Doges Lorenzo and Girolamo Priuli, each with his patron saint above him. The oddity of its architecture, together with its situation at a point where a little silence is peculiarly grateful, makes this church a favourite of mine, but there are many buildings in Venice which are more beautiful. Opposite, diagonally, is one of the depressing sights of Venice, a church turned into a cinema. Leaving S. Salvatore by the main door and turning to the left, we soon come (past a hat shop which offers "Rooswelts" at 2.45 each), to the Goldoni Theatre. Leaving San Salvatore by the same door and turning to the right, we come to Goldoni himself, in bronze, in the midst of the Campo S. Bartolommeo: the little brisk observant satirist upon whom Browning wrote the admirably critical sonnet which I quote earlier in this book. The comedies of Carlo Goldoni (1707-1793) still hold the Italian stage, but so far as translations can tell me they are very far from justifying any comparison between himself and Moliere. Goldoni's _Autobiography_ is not a very entertaining work, but it is told with the engaging minuteness which seems to have been a Venetian trait. The church of S. Bartolommeo contains altar pieces by Giorgione's pupil, Sebastian del Piombo, but there is no light by which to see them.