Next in order of merit to this church are those of SS. Giovanni e Paolo and of the Madonna dell’ Orto, both of them savouring most strongly of the influence of the Pisani, and in very many points remarkably like the church of the Frari. We will take SS. Giovanni e Paolo first. The plan is of the same sort as that of the Frari--nave with aisles, and transepts with two chapels opening on each side of them. These are all apsidal, but planned in the usual way and not as at the Frari. The east end is a fine composition, having an apse of seven sides, and is the only part of the exterior to which much praise can be given. It is divided into two stages by an elaborate brick cornice and a good balustraded passage in front of the upper windows. The traceries are all unskilfully designed, and set back from the face of the wall with a bald plain splay of brickwork round them; the lower windows here have two transoms, and the upper a single band of heavy tracery which performs the part of a transom in an ungainly fashion, though not so badly as in the great south-transept window in the same church. Here, just as at the Frari, it is obvious that the absence of buttresses to these many-sided apses is the secret of the largeness and breadth which mark them; and, to say the truth, not only are large buttresses to an apse often detrimental to its effect, but at the same time they are very often not wanted for strength. The interior is remarkable on account of the fine scale on which it is built, and for the large number of interesting monuments corbelled out from its walls. Many of them are mediæval and rich in sculpture of figures, not only on the tombs themselves, but again in the face of the wall, around their canopies. The effigy of the deceased is almost always placed on the top of the high tomb or sarcophagus, which, in order that it may be visible from below, is made with a slope towards the spectator, the effect of which is most distressing. Much more beautiful generally is the curtained tester often put above the figure, on either side of which guardian angels, holding back the folds of the draperies, allow us to join them in looking at the figure on the tomb. There is here a very fine lectern--a double-headed eagle standing on a scorpion--with a rich mediæval stand and base. There are small two-light windows just over the arches in the nave which take the place of a triforium, and which look almost as if they were the clerestory windows of an earlier church whose arches were much less lofty than those which now exist.