We take our way along the Merceria, past the church of S. Zulian, until we come in sight of the tall apse of S. Salvatore. We enter from the Merceria by the door of the L. aisle. S. Salvatore is one of the most important examples of ecclesiastical Renaissance architecture in Venice. Spavento, four of the Lombardi, Sansovino, Scamozzi and Longhena all contributed at various periods to the building and decoration, not to speak of more modern restorers. Here in the R. transept is the massive memorial to unhappy Queen Catherine Cornaro by Bernardini Contino. A finer specimen of monumental art is Sansovino’s tomb of Doge Franc. Venier (1556), beyond the second altar in the R. aisle. The figures of Faith and Charity, the former said to have been almost wholly carved by the master in his eightieth year, are among the greatest achievements of later Renaissance sculpture. Over the third altar is Titian’s Annunciation and at the high altar his Transfiguration, both painted when he was approaching ninety years of age; the latter, however, by some critics is depreciated to a school painting. In the chapel L. of choir is a most interesting, Christ at Emmaus, generally attributed to Giovanni Bellini, but by Crowe and Cavalcaselle confidently assigned to Carpaccio. Another critic (Molmenti) is convinced it is by no other hand than that of Benedetto Diana. Leaving by the front entrance we find ourselves on the Campo S. Salvatore, where in olden times stood a water trough, and a fig tree to which horses were tied, after the law of 1287 forbade equestrian traffic along the Merceria. We turn R. by the new Merceria due Aprile, pass the Goldoni statue, and cross the Ponte dell’ Olio to the church of S. Giovanni Grisostomo. Before we enter, a slight deviation by the calle Ufficio della Seta and the calle del Teatro (over a fruiterer’s shop will be seen the inscription: PROVISORES SIRICI, p. 117) will bring us on the R. to the entrance to the Corte Milione. On the N. side of this court stood the house of the Polo family which Marco, then a lad of seventeen, left in 1271, with his uncles Nicolo and Maffeo, for the East. A quarter of a century later three travel-stained wanderers, dressed in coarse garb of Tartar cut and speaking broken Venetian with a Tartar accent, were at first refused admission by their kinsmen. The three, to warm the affection of their relatives, invited them to a sumptuous banquet, and when all were seated entered arrayed in flowing crimson robes of satin. Having washed their hands, they retired and returned clothed in crimson damask, and ordered the first dresses to be cut up and distributed among the servants. After a few dishes a similar change was made into crimson velvet and similarly disposed of. Again they changed into dresses of ordinary fashion. When the nine suits had been divided among the servants, Marco rose, went to his chamber, and appeared with the old Tartar coats, and ripping them open with a knife,