us until we reach the PONTE DI RIALTO, which replaced a wooden drawbridge similar to that represented in Carpaccio’s picture. It was built (1588-92) by Antonio da Ponte from a design by Boldù. Many famous Renaissance architects had at various periods offered designs, among others Michael Angelo, who, when living on the Giudecca, was invited by Doge Gritti to submit a drawing, but this “most rich and rare invention” met the fate of the rest--it was set aside as too costly. An Annunciation is sculptured on the hither side of the bridge: Gabriel and the Virgin on the spandrils; the dove on the keystone. By the farther side stands the PAL. DEI CAMERLENGHI (1525-28) by Guglielmo Bergamasco, once adorned with pictures by Bonifazio, for the offices of the three Lords of the Treasury. We pass the vegetable and fish-markets. Behind the latter, the last house before reaching the Ponte Pescaria was the old PAL. QUERINI, known as the Stallone, with the two large Gothic portals of the old shambles (p. 109). It became the poultry-market after the fall of the Republic. A new fish-market is, however, projected, and the old palace will probably be incorporated in the new building. A few houses farther on is the Gothic PAL. MOROSINI; yet farther the lofty PAL. CORNER DELLA REGINA (now the municipal pawn-office). It was erected in 1724 by Rossi, the architect of S. Eustacchio, on the site of a palace occupied by the Queen of Cyprus. The huge assertive PAL. PESARO by Longhena, 1679, now comes into view. It is highly praised by Fergusson. [Illustration: GRAND CANAL--PALAZZI REZZONICO AND FOSCARI.] [Illustration: GRAND CANAL, WITH THE RIVA DEL CARBON AND RIALTO BRIDGE] [Illustration: CA’ D’ORO] The church of S. EUSTACCHIO (S. Stae), 1709, with its _baroque_ façade will be easily recognised. The bust of the ill-fated Ant. Foscarini will be found in the third chapel L. of entrance, the higher of the two busts to the R. of the chapel. (The church is rarely open and will be more conveniently visited in connection with S. M., Mater Domini, whose sacristan has the key.) At the farther corner of the campo is the PAL. PRIULI, with an early transitional Gothic arcade. At the near corner of the rio Tron is the PAL. TRON, sixteenth-century Renaissance; at the farther corner, the PAL. BATTAGGIA by Longhena. The building adjacent is one of the old granaries of the Republic, with the outline of the Lion of St Mark still visible on the façade. Interest ends at the restored FONDACO DE’ TURCHI (Mart of the Turks) (p. 302).