Next, a pretty little house which might be made very liveable in, facing the fruit market, and then the hideous modern Sernagiotto, dating from 1847 and therefore more than negligible. A green little house with a sottoportico under it, and then a little red brick prison and the ugly Civran palace is reached. Next, the Perducci, now a busy statuary store, and next it the Ca Ruzzini, all spick and span, and the Rio dell'Olio o del Fontego, through which come the fruit barges from Malamocco. And now we touch very interesting history again, for the next great building, with the motor-boats before it, now the central Post Office, is the very Fondaco dei Tedeschi, the head-quarters of German merchants in Venice, on whose walls Giorgione and Titian painted the famous frescoes and in which Tintoretto held a sinecure post. Giorgion's frescoes faced the Canal; Titian's the Rialto. And so we reach the Rialto bridge, on this side of which are no shrines, but a lion is on the keystone, and on each side is a holy man. After the Rialto bridge there is nothing of any moment for many yards, save a house with a high narrow archway which may be seen in Mr. Morley's picture, until we reach Sansovino's Palazzo Manin, now the Bank of Italy, a fine building and the home of the last Doge. The three steamboat stations hereabouts are for passengers for the Riva and Lido, for Mestre, and for the railway station, respectively. The palace next the Ponte Manin, over the Rio San Salvatore, is the Bembo, with very fine windows. Then the Calle Bembo, and then various offices on the fondamenta, under chiefly red facades. At the next calle is a traghetto and then the Palazzo Loredan, a Byzantine building of the eleventh or twelfth century, since restored. It has lovely arches. This and the next palace, the Farsetti, now form the Town Hall of Venice: hence the splendid blue posts and golden lions. In the vestibule are posted up the notices of engagements, with full particulars of the contracting parties--the celibi and the nubili. It was in the Farsetti that Canova acquired his earliest knowledge of sculpture, for he was allowed as a boy to copy the casts collected there.