signature of Dürer; (8) a Crucifixion, and (II) Christ mourned by Three Angels. Portraits of Doge Giov. Mocenigo (16) by Gentile Bellini and (19) a Bellini school painting of Doge Franc. Foscari. The curious old church of S. Giacomo dall’ Orio stands S. of the Museo Civico. The timber coved roof dates from the fourteenth century. On the wall R. of the entrance is a fine picture (1511) SS. Sebastian, Lawrence and Roch by Giov. Buonconsiglio, a Vicenzian painter of the early sixteenth century, sometimes known as Marescalco. In the R. aisle is a richly carved and gilded vaulted frieze beneath which is Franc. Bassano’s Preaching of the Baptist, one of his most beautiful works: opposite is an Ionic column of _verde antico_ of wonderful size and beauty, one of the “jewel shafts”[115] referred to by Ruskin. In a chapel in the L. aisle is a Lorenzo Lotto, Coronation of the Virgin with SS. Andrew, James, Cosimo and Damian (1546). The picture, which has been much restored, brought the artist 130 gold ducats. SECTION XIV _S. Sebastiano--S. M. del Carmine--S. Pantaleone--The Cobblers’ Guildhall--S. Polo--S. Apollinare_ We follow the route (Section XI.) to the Campo Morosini and turn R. by the church of S. Vitale along the Campiello Loredan. After crossing two bridges and turning an angle to the L., we reach the Campo S. Samuele. The ferry across the Grand Canal will land us at the Calle del Traghetto, which we follow to the Campo S. Barnabà. Crossing the Campo obliquely we reach on the R. the Ponte dei Pugni, as its name implies, one of the bridges where the faction fights between the Castellani and Nicolotti used to take place. The former were distinguished by red, the latter by black caps and scarves. These contests were favoured by the Signory, in order, it is believed, to foster a warlike spirit among the people, and were continued until 1705, when a peculiarly bloody affray in which stones and knives were used, led to their abolition.[116] If the traveller will mount to the crown of the bridge he will see two footmarks in stone let into the paving on either side. Victory smiled on that faction which could thrust their adversaries beyond the line marked by the feet. The bridge then had no parapets and in the course of the struggle many a champion fell into the canal. We resume our way along the Fondamenta as far as the Ponte delle Pazienze. A turning opposite, to the L., brings us to the Calle Lunga, which we follow to the R. direct to the church of S. Sebastiano. No admirer of Veronese should leave this church unvisited. Here the painter, when he came, a young man of twenty seven, to try his fortune at Venice, received his first commission to decorate the sacristy, owing to the influence of his uncle the prior of the monastery. Veronese has made the walls of this temple glorious with some of his greatest creations. Here he desired to be buried, and his two sons and his brother (all fellow artists) piously