are magnificent. ALIGA. See GIORGIO. ALVISE, CHURCH OF ST. I have never been in this church, but Lazari dates its interior, with decision, as of the year 1388, and it may be worth a glance, if the traveller has time. ANDREA, CHURCH OF ST. Well worth visiting for the sake of the peculiarly sweet and melancholy effect of its little grass-grown campo, opening to the lagoon and the Alps. The sculpture over the door, "St. Peter walking on the Water," is a quaint piece of Renaissance work. Note the distant rocky landscape, and the oar of the existing gondola floating by St. Andrew's boat. The church is of the later Gothic period, much defaced, but still picturesque. The lateral windows are bluntly trefoiled, and good of their time. ANGELI, CHURCH DELGLI, at Murano. The sculpture of the "Annunciation" over the entrance-gate is graceful. In exploring Murano, it is worth while to row up the great canal thus far for the sake of the opening to the lagoon. ANTONINO, CHURCH OF ST. Of no importance. APOLLINARE, CHURCH OF ST. Of no importance. APOSTOLI, CHURCH OF THE. The exterior is nothing. There is said to be a picture by Veronese in the interior, "The Fall of the Manna." I have not seen it; but, if it be of importance, the traveller should compare it carefully with Tintoret's, in the Scuola di San Rocco, and San Giorgio Maggiore. APOSTOLI, PALACE AT, II. 253, on the Grand Canal, near the Rialto, opposite the fruit-market. A most important transitional palace. Its sculpture in the first story is peculiarly rich and curious; I think Venetian, in imitation of Byzantine. The sea story and first floor are of the first half of the thirteenth century, the rest modern. Observe that only one wing of the sea story is left, the other half having been modernized. The traveller should land to look at the capital drawn in Plate II. of Vol. III. fig. 7. ARSENAL. Its gateway is a curiously picturesque example of Renaissance workmanship, admirably sharp and expressive in its ornamental sculpture; it is in many parts like some of the best Byzantine work. The Greek lions in front of it appear to me to deserve more praise than they have received; though they are awkwardly balanced between conventional and imitative representation, having neither the severity proper to the one, nor the veracity necessary for the other. B