Continuing our way down the Rio della Fava we pass almost immediately, on the left, the Palazzo Gussoni, a palace the great beauty of which cannot be overlooked. It is a building of the first Renaissance combining extreme richness of detail with simplicity of general effect. The basement is beautifully and variously sculptured and surmounted by a band of Verona marble; above it rises a design of leaves and ears of corn growing and spreading like a plant, and full of graceful and delicate fancy. The unique feature of the palace is the richly sculptured stone barbacan that supports the projecting portion of the upper storey overhanging the Calle della Fava. There is in Venice an abundance of fine wooden barbacans, but this is the only example we remember of the sumptuous casing in stone. A little further and we pass below a palace of the Transition, from whose graceful balcony keep watch a row of sculptured lions in half-relief. As we come into the Rio della Guerra, the midday light plays reflectively on the water, striking out of it a thousand fitful diamonds, and the now ebbing tide washes with a soft caressing sound against the houses. At the juncture of the Rio della Guerra with the Rio del Palazzo is the Casa dell’ Angelo so named from the beautiful sculptured angel on the wall that faces us. It stands erect, with wings spread, holding in the left hand a globe signed with the Cross, which it seems in the act of blessing. The lower part of its body is covered with two shields bearing, according to Tassini, the arms of the Narni family. It is sheltered by a pent-roof, supported on graceful pillars, most delicately and nobly worked. In the lunette above the angel, in the immediate shadow of the roof, is discernible a painting of the Madonna and Child between two kneeling angels, which still retain traces of soft and beautiful colouring. But the most precious possessions of this palace front are the remnants of fresco under the broad projecting roof at the further end of the building. The beautiful figure of a woman, with head resting on her hand and braided golden hair, is still intact. There is another fine figure between the windows, and there are many fading fragments in the plaster below. Tradition unanimously attributes these frescoes to Tintoretto, and it is difficult to believe that the lovely woman could have come from any other hand.