A very noticeable point in the general effect of the façade of the Fondaco de’ Turchi is that, from the peculiar shape and great projection of the capitals of the shafts and the narrow span of the arches, the whole of the arcading has, at a small distance, almost the effect of a series of trefoils, and so seems to pave the way for the continuous traceries of the Ducal Palace and other later buildings. There is a ruined fragment of a house of the same age as the Fondaco de’ Turchi in a canal behind the Foscari Palace. Here the centre arch is very wide, has four stilted arches on the sides, the archivolts are all delicately carved, and small sculptured medallions are introduced in the spandrels. Here, I think, the red brick of the walls was always intended to be seen. Of very similar character is a much larger fragment on the right of the Grand Canal after passing under the Rialto. Here there are two stories still remaining. The round-arched doorway has two open and stilted arches on each side, and then a space of blank wall; and the upper stage has a group of seven arches in the centre, and a single arch at each end over the blank wall below. The labels of these upper arches are turned up at the point into an ogee shape, which, strange as it may seem, must be original, as the detail is early, and they are surmounted by a collection of carved medallions and a carved string-course of early style.[43] The Ca’ Loredan has two stages in height, above which all is modern--but all the Byzantine arrangements of these two stages are perfect. There are five open arches in the centre, and an arcaded pier on each side; and in the next stage, though the division of centre and wings is preserved, the arches are increased in number, and consequently the columns of this stage do not come above those of the lower stage. The string-courses are formed with a billet mould; the capitals are some of them genuine Byzantine, and some copies of Corinthian. The wall-faces were all inlaid, but they were in part altered in the fourteenth century, when some coats-of-arms and figures were added. Those at the extreme angles are of David and Goliath, and on each side of the centre sitting figures of Justice and Force. Next to the Ca’ Loredan is the Ca’ Farsetti (now the Municipio), which is, I think, slightly the older building of the two. Here there are three arches resting on shafts in the centre, and an equal number resting on piers on each side, and a continuous arcade of fifteen arches on the upper stage resting on coupled shafts. The Palazzo Businetto on the Grand Canal opposite the Ca’ Grimani, has remains of Byzantine work in its two lower stages. Here the caps are Byzantine in character, the archivolts flat inlays, with a billet mould on each side, and a carved string-course of running foliage inclosed between two lines of notched or billet mould. [Illustration: 26. BYZANTINE WELL. VENICE. p. 193.]