Now comes the great and splendid Foscari Palace, once also a Giustiniani home and once also the lodging of a king of France--Henry III, certain of whose sumptuous Venetian experiences we saw depicted on the walls of the Doges' Palace. The Foscari is very splendid with its golden borders to the windows, its rich reliefs and pretty effects of red brickwork, and more than most it brings to mind the lost aristocratic glories of Venice. To-day it is a commercial school, with a courtyard at the back full of weeds. The fine lamp at its corner must give as useful a light as any in Venice. CHAPTER X THE GRAND CANAL. III: FROM THE RIO FOSCARI TO S. SIMEONE, LOOKING TO THE LEFT Napoleon _s'amuse_--Paul Veronese--The Layard collection--The Palazzo Papadopoli--The Rialto Bridge--The keystone--Carpaccio--The "Uncle" of Venice--Modern painting--English artists in Venice--The Civic Museum--Pictures and curiosities--Carnival costumes--Carpaccio and Ruskin--Historical scenes--A pleasant garden. The big palace on the other side of the Rio Foscari, next the shabby brown, deserted house which might be made so desirable with its view down the Canal, is the Balbi, and it has the distinction that Napoleon stood in one of its windows to see a Grand Canal regatta, the races in which ended at this point. Next it is the Angaran, and then a nice little place with lions guarding the terrace gate, at the corner of the Rio della Frescada, one of the prettiest of the side canals. Next we come to another large and solid but very dull house, the Civran (afterwards Grimani); then the forsaken Dandolo, and we are at the steamboat station of S. Toma, where the passengers for the Frari and S. Rocco land. Hereabouts the houses are very uninteresting. Two more and a traghetto and the Rio S. Toma; then the Palazzo Giustiniani, a rich Venetian red, with a glimpse of a courtyard; then the ugliest building in the canal, also red, like the back of a block of flats; and after passing the pretty little Gothic Tiepolo palace with blue posts with yellow bands, and the larger Palazzo Tiepolo adjoining it, we are at the fine fifteenth-century Pisani Moretta, with a double row of rich Gothic windows. Here once hung Veronese's "Family of Darius," now No. 294 in our National Gallery, and, according to Ruskin, "the most precious" of the painter's works. The story goes that Veronese being driven to make use of the Pisani villa at Este as a temporary home, painted the picture while there and left it behind him with a message that he hoped it would pay for his board and lodging. The Pisani family sold it to the National Gallery in 1857.