This church is therefore regarded as the Venetian Westminster Abbey. The chapel del Rosario was an adjunct to it, and when entire must have been of exquisite beauty, as is evident from the remains of the sculpture. It was, unhappily, set on fire by an incendiary in 1867, whereby many fine paintings were destroyed, including a grand one by Titian. The keeper of the chapel had photographs of the sculpture for sale; but, as usual when offered at show places, asked extravagant prices. * * * * * The palaces, however, of Venice are among its main attractions. They line almost continuously the Grand Canal, and are to be found occasionally in the side canals. Formerly the abodes of the old nobility, probably few of them are now occupied by private proprietors. To appearance, the majority of them are diverted to other uses—some as government offices, others as hotels, others as museums, and, I suspect, even in some cases for purposes of trade and manufacture. For any one to attempt to describe them in few pages would be vain, and they require the aid of the pictorial art to realize them. Fortunately, good photographs of many of them can be procured. They are imposing, and not infrequently very beautiful buildings. Their design is in some cases a species of fanciful Gothic, and in others the heavier style of the Renaissance; but a character of their own pervades them, denoting them Venetian. Our architects at home occasionally reproduce them in our public buildings, with variations. No two are alike. Their variety is pleasing, and age has in many imparted a rich colouring to the stone or marble of which they are built. In nearly all the balcony is a prominent feature; and no doubt on many grand occasions their balconies were crowded by the fairest of the fair, decked in their best attire, and many bright and loving eyes have peered over balustrades gaily decorated with brilliant hangings on sumptuous pageants passing beneath, and darted captivating glances on favoured gallants taking their part in the spectacles. Long poles stuck into the canal in front of many of the palaces indicate the nobility of the families to which they now or at one time belonged. Some of the rooms in these palaces are very spacious, as, for example, those in the Palazzo Pesaro, a large edifice in the style of the Renaissance, where there was one great hall the whole depth of the house, from the front facing the canal to the back. This room was filled with pictures, some for sale; and, as usual, balconies overlooked the canal, from which we had a charming view of all the life afloat. In the Palazzo Emo–Treves we were shown the two last works of Canova—statues of Hector and Ajax. They are gigantic, and seem rather out of place in a comparatively small room. In other palaces the visitors are conducted through suites of rooms hung with paintings. * * * * *