I must confess that on the whole, in spite of the grand size of some of them, I was rather disappointed on first seeing these buildings. One cannot but be impressed with the magnificent size of such a church as the Frari, with its many interesting details, and its monuments and woodwork. But in spite of all this, there is something wanting. I had not expected larger churches, but I had imagined that their style would be more pure, and at the same time more unlike what I was accustomed to elsewhere. The impression they left on my mind was decidedly that they were very inferior in almost every respect to churches of the same size and degree of ornament in the North of Europe, whilst in scarcely any point did they seem to me to have features which could with any advantage be imitated by us. I had allowed myself to expect a very different result, and was proportionately disappointed. There is no church in Venice--(in what I am now saying I mean always to except S. Mark’s)--comparable either to Sta. Anastasia or to the cathedral at Verona in the interior; and the exteriors, though fine as examples of the bold use of brick, are nevertheless not first-rate, nor at all superior to what one sees elsewhere. Sta. Maria Gloriosa dei Frari ought first to be described, as being certainly the finest of its class. The first stone is said to have been laid on April 3rd, 1250, Nicola Pisano being the architect. The campanile was begun in 1361 [Illustration: 23.--INTERIOR OF STA. MARIA GLORIOSA DEI FRARI. VENICE. Page 177.] under Jacopo Collega, and completed in 1396 by Pietro Paolo his son. The first impression of the church on landing from the gondola on the desolate-looking piece of pavement which here, as in many of the Venetian churches, forms a court between the canal and the west front, is not pleasing. The design of the west front is nothing short of being positively ugly; it is finished with a great sham gable, with a curved outline, somewhat akin to the degraded taste of our worst Jacobæan art, and entirely without any beauty or even picturesqueness of appearance; the doorways, too, are particularly poor, consisting of a succession of twisted and reedy mouldings, thin and shadowless, like so many cords stretched from cap to base and round the arch, without any proper distinction of jamb and archivolt.