Palladio’s beautiful and impressive interior (p. 194) has been little disturbed. Among other works of pictorial interest are two Tintorettos in the choir (R., the Last Supper; L., the Fall of Manna), and five other paintings by the same master, all described at length by Ruskin in the Venetian Index. Noteworthy are the beautiful choir stalls by Albert of Brussels, some of the finest examples of Flemish wood-carving in Italy. Longhena’s modern monument and the old Latin epitaph to puissant Doge Dom. Michieli will be found in a passage behind the choir to the R. In the Sala del Conclave, where the Sacred College met in 1800 and elected Pius VII., is a fine Carpaccio, St George and the Dragon, with a predella, four episodes in the life of the saint. The campanile is a late erection (1774) on the model of the old tower of St Mark. The campanile collapsed in February 1773, doing much damage to the conventual buildings and killing one of the monks. All that remains of the rich and vast Benedictine monastery, one of the four most opulent in Italy, is now a barrack, and of the 150 brothers it once housed, some half-dozen are permitted to linger amid the secularised surroundings and tend the sanctuary. SECTION VI _S. Zulian--S. Maria Formosa--S. Zanipolo_ (_SS. Giovanni e Paolo_)--_The Colleoni Statue--The Scuola di S. Marco--S. Maria dei Miracoli_ Fresh from memories evoked by the mansions of the ruling families of the Republic, we may now fitly turn to the more important of the two great churches of the Friars which together form the Walhalla of Venice. We enter the Merceria from the Piazza, noting the site of the Casa del Morter (p. 109). A few hundred yards down the busy street the ramo S. Zulian on the right leads to the church of that name, which contains two unimportant Veroneses, an interesting Boccaccino, Virgin and Child, SS. Peter, Michael, and the two Johns, first altar left of entrance, and one of Campagna’s best works, a group in high relief of the dying Christ, to the left of the altar.