tracery and other contemporary modes of vaulting, that it is the truest and most agreeable system of roofing in stone. The simple groining of the Frari is entirely executed in brick, and springs in the aisles from pilasters corbelled out of the walls midway in height, just as in Sta. Anastasia at Verona, and in the nave and choir from clusters of shafts rising from the caps of the columns. The apse is the noblest feature of the whole church; its windows, with their singular and not quite pleasing transome of tracery, are refreshing because they have tracery, though indeed it is of a rude and heavy kind. There is something impressive about the arrangement of the church. The choir is prolonged by the length of about one bay and a half into the nave, and fenced off to the west by a great screen, surmounted by figures of the Apostles, with a crucifix rising in the centre. The nave is, of course, quite free from any fixed seats; and this, with the great area of the transept and the fine perspective of the long range of seven apsidal chapels on its east side, gives a grand air of spaciousness to the whole interior. There are some fine monuments here, quite worth notice as very characteristic of Italian art. They are generally high tombs corbelled out from the walls, with arched canopies over them, inclosing paintings. Here the south transept wall over the door to the vestry contains a group of such monuments, which is extremely picturesque. The monument of “Beatus Pacificus” (A.D. 1437) has a graceful painting of the Annunciation over its arch, and sculptures under it of the Baptism, and, on the tomb, of the Resurrection and the Descent into Hell.[39] Another monument has a life-size figure on horseback, and all have so much freshness to an English eye, and yet so much identity in principle with our own old monuments, that they are well worthy of study. Last, but not least, are two immense monuments facing each other, near the west end of the nave, to Canova and Titian, preposterous in size, heavy, ugly, and cold in character, quite unsuitable to a church, and, so far at least as I could judge, entirely devoid of merit as works of religious art. There is, too, a painting by Giovanni Bellini of the Madonna and Saints, which ought to be visited, in the grand and well-used sacristy--a room such as one never seems to see save in Italy. It is still in its old frame over the sacristy altar. Both in artistic interest and in religious effect it is perfectly fine; the subject--a Madonna and Child, such as Gian Bellini alone could paint. Angels playing instruments, sweet and pretty in character, and saints full of reverence and awe for Our Lord, all treated with a colour of exquisite depth and richness throughout, make this as worshipful a picture as I know. There is also in the north transept a most elaborately framed Gothic triptych, with figures well drawn and rich in colour.