Venice, church of The Redentore, general scheme, 100 (cut); east end, 100, 101; orders, 101; façade, 101. Church of S. Fantino, 151. Church of San Francesco della Vigna façade, 100. Church of San Giorgio Maggiore, 97; nave, 97, 98; piers, 97, 98 (cut); orders raised on pedestals, 98, 99; placed under the archivolts, 98; entablature, 98, 99, 101; façade, 99 (cut), 101. Church of Santa Maria Formosa reproduces features of St. Andrea of Mantua with details of the character of the Lombardi, 153. Church of Santa Maria dei Miracoli, 151 (cut), 156; refinement in details, 151; façade a marvel of excellence in mechanical execution, 151, 152 (cut); Lombard blind arcade recalled in decoration of the façade, 151; carving of ear of barley and flower stalks, 169 (plate); carved mask from a pilaster, 178 (cut). Church of St. Mark, piers pierced longitudinally and transversely, 150 (cut). Church of San Salvatore, 150, 151; peculiar pier supports of the barrel vaulting, 150 (cut); use of an attic as support for vaulting, 151; its system is that of the ch. of St. Mark, 151. Church of San Zaccaria, general description of interior, 149, 150; singular column of nondescript character, 150 (cut). Palaces of the grand canal, finest are those of the later mediæval period, 159. Palazzo Contarini, 161; details of façade, 161; window openings, 161 (cut); grouping of pilasters of three different proportions and magnitudes, 161 (cut). Palazzo Corner-Spinelli, 160 (plate); window openings, mediæval features, incompleted circle in the tympanum space, 160; pilasters, panelling of, 160. Palazzo Cornaro, description of the front, 124; unequal main divisions of the front overladen with heavy orders, 162. Ducal Palace, east side of the court, 154 (plate); façade described in detail, 154, 155; window openings described, 154, 155; north side of court, window openings, 155 (cut); giant’s stair, fine execution of, 156; arabesque after Roman model, 167 (cut); grotesque creatures in the relief of the Scala d’Oro, 177 (cut). Palazzo Grimani, façade, 163. Palazzo Pesaro, 163. Palazzo Valmarano, 133. Palazzo Vendramini, 161; full orders in all three stories, 161, 162; grouping of mediæval window openings, 162; balconies, 162; disproportion of topmost entablature, 162. Library of St. Mark, 121 (cut); arrangement of the metope in the frieze, 121, 122 (cuts); orders, 122; frieze and balustraded balconies, 123; free-standing column under the archivolt in the order of the