We cross to the church of S. MARCUOLA (SS. Ermagora and Fortunato), which contains a doubtful Titian (the infant Christ on a pedestal between SS. Catherine and Andrew), thought, however, by Morelli to be a genuine youthful work of the master. Some distance farther on is the PAL. VENDRAMIN by Pietro Lombardi (1481), one of the finest palaces on the canal. The garden wing is by Scamozzi. Next but one is the PAL. ERIZZO, fifteenth-century Gothic. We pass on to the CA’ D’ORO, the most exquisite little mansion in Venice. It was built (1424-30) for the Contarini, and being richly gilded, was known as the Ca’ d’Oro (the Golden House). The derivation from a supposed Doro family is untenable. The contracts with the Buoni and many another famous _tajapiera_ (stone-cutter), and a contract with Mastro Zuan di Franza, Pintor, for the gilding and the painting of the façade with vermilion and ultramarine still exist. The building was profaned by some ill-designed structural alterations and the beautiful wellhead, by Bart. Buono, was sold to a dealer, when the fabric fell into the hands of the ballet-dancer, Taglioni, in 1847. Recently Baron Franchetti has restored it to somewhat of its original form, and the well-head has been recovered.[105] Beyond the Ca’ d’Oro Pier is the earlier and simpler Gothic PAL. SAGREDO, now the Ravà College. The small PAL. FOSCARI beyond the Campo S. Sofia has interesting Gothic details. The larger, PAL. MICHIELI DELLE COLONNE, was rebuilt in the seventeenth century. Passing the rio SS. Apostoli we reach the interesting CA’ DA MOSTO, twelfth-century Byzantine, but hinting at the coming Gothic. An inscription tells that here was born Alvise da Ca’ Mosto, discoverer of the Cape Verde Islands. Set back in a small court (Corte Remera) is a thirteenth-century house with an external stairway and a fine Byzantine portal. It shows admirably the pointed arch asserting itself in a Byzantine building. Hard by the Rialto bridge is the Fondaco dei Tedeschi (Mart of the Germans), designed in 1505 by Girolamo Tedesco and completed by Scarpagnino. It is now the Central Post Office. The solitary figure that remains of Giorgione’s frescoes will be seen high up between two of the top-floor windows. The sculptures on this side the Rialto bridge represent SS. Theodore and Mark. [Illustration: PALAZZO VENDRAMIN]