Beyond the altar of St Paul is the great N. pulpit. It is one of the finest architectural features in the church and rich in historical memories. Here Enrico Dandolo and other great Doges and prelates addressed the people in national crises. Another pulpit smaller and simpler in style stands to the S. of the choir screen, and an altar to St James balances that to St Paul on the N. On the architrave of the screen stand the crucifix, statues of the Virgin, St Mark and the Twelve Apostles by the Massegne, signed and dated 1394-97. On either side of the choir are three reliefs in bronze by Sansovino. The great bronze-doors by the same master lead from the L. of the choir to the Sacristy. The canopy of the high altar is borne by four marble columns with reliefs (p. 187). The rude timeworn figures tell the story of the life of the Virgin on the N.E. pillar and the life of Christ on the remaining pillars, reading N.W., S.E. and S.W. The gorgeous Pala d’Oro is exposed to view on Easter Eve and Day, and St Mark’s Eve and Day. It may be seen on other days between twelve and two on payment of 50 centesimi. This magnificent example of the goldsmith’s art was made to the order of Ordelafo Falier by Byzantine craftsmen at Constantinople in 1105. It was added to and restored by Gothic artists under Pietro Ziani in 1209, and under Andrea Dandolo in 1345. The gold, estimated to weigh thirty, the silver three hundred pounds, is set with some 1200 pearls and a like number of precious stones. Most of the jewels were, however, looted by the French in 1797 and are replaced by inferior modern stones, which may be detected by the fact that they are cut in facets. The upper compartment has in the centre St Michael surrounded by sixteen medallions of the doctors of the Church. To the L. are three panels: The Feast of Palms, Descent into Limbo, Crucifixion; to the R., other three, the Ascension, Pentecost, Death of the Virgin. The lower and larger compartment is framed on three sides by twenty-seven small panels whose subjects are taken from the lives of St Mark, Christ and the Virgin. In the middle is a large panel with the figure of the seated Christ and four smaller figures of the Evangelists; above are two archangels and two cherubim. On each side of the large panel are two sets of six medallions, the upper and smaller of archangels, the lower and larger of the Apostles. Beneath the figure of Christ in the large panel are three plaques: the centre contains the figure of the Virgin; L. of her is a crowned figure, which a Latin inscription tells is that of Doge Ordelafo Falier; R. of the Virgin is a crowned figure with a Greek inscription stating it to be the Empress Irene. If, however, the observer will scrutinise the figure of the Doge it will be seen that his head has been substituted for that of the Empress’s consort, John Comnenus. On each side of these three central figures are inscriptions which give the history of the Pala d’Oro and