There are several other palaces in Venice belonging to this family, but none of any architectural interest. J JESUITI, CHURCH OF THE. The basest Renaissance; but worth a visit in order to examine the imitations of curtains in white marble inlaid with green. It contains a Tintoret, "The Assumption," which I have not examined; and a Titian, "The Martyrdom of St. Lawrence," originally, it seems to me, of little value, and now, having been restored, of none. L LABIA PALAZZO, on the Canna Reggio. Of no importance. LAZZARO DE' MENDICANTI, CHURCH OF ST. Of no importance. LIBRERIA VECCHIA. A graceful building of the central Renaissance, designed by Sansovino, 1536, and much admired by all architects of the school. It was continued by Scamozzi, down the whole side of St. Mark's Place, adding another story above it, which modern critics blame as destroying the "eurithmia;" never considering that had the two low stories of the Library been continued along the entire length of the Piazza, they would have looked so low that the entire dignity of the square would have been lost. As it is, the Library is left in its originally good proportions, and the larger mass of the Procuratie Nuove forms a more majestic, though less graceful, side for the great square. But the real faults of the building are not in its number of stories, but in the design of the parts. It is one of the grossest examples of the base Renaissance habit of turning _keystones_ into _brackets_, throwing them out in bold projection (not less than a foot and a half) beyond the mouldings of the arch; a practice utterly barbarous, inasmuch as it evidently tends to dislocate the entire arch, if any real weight were laid on the extremity of the keystone; and it is also a very characteristic example of the vulgar and painful mode of filling spandrils by naked figures in alto-relievo, leaning against the arch on each side, and appearing as if they were continually in danger of slipping off. Many of these figures have, however, some merit in themselves; and the whole building is graceful and effective of its kind. The continuation of the Procuratie Nuove, at the western extremity of St. Mark's Place (together with various apartments in the great line of the Procuratie Nuove) forms the "Royal Palace," the residence of the Emperor when at Venice. This building is entirely modern, built in 1810, in imitation of the Procuratie Nuove, and on the site of Sansovino's Church of San Geminiano.