he doorway
illustrated at Trau; those of the north arcade are of the seventeenth
century. A fourth aisle was added to the north in 1532 as a burial
chapel. The ciborium has three octagonal stages pierced with
quatrefoils, above long architrave blocks, the carving of all the lower
part being Renaissance in style. The interior of the church was sadly
modernised in 1804, but the curious sacristy door still remains. It has
a tympanum with S. Michael weighing souls and trampling on the Devil,
and, below the lintel, two brackets with musicians, the hood mould
running up in ogee-shape to a finial. The high-altar-piece is a
Tintoretto--S. Mark vested as a bishop and blessing, with a lion at his
feet between SS. Bartholomew and Jerome, who are nearer the spectator.
On a side altar is a picture representing the Trinity, by Giacomo da
Ponte (1510-1592). The treasury possesses some good embroideries and two
or three chalices, one of which, with a half-figure of Christ in the
tomb, is set before the baldacchino on Good Friday, to show symbolically
that the Body of Christ is in the Sacrament.

On the way to the church of Ognissanti the Palazzo Arneri is passed; it
has a fine knocker in the manner of John of Bologna--Neptune standing
and controlling two lions, a design of which there are examples in Padua
and elsewhere. The church of All Saints was built in 1303. It has been
modernised, but still retains a ciborium with quatrefoil piercings and
angle pinnacles, bearing much resemblance to that in the cathedral. A
stair leads to a Greek church, in which are several painted wood
crucifixes and Byzantine pictures.

Some forty minutes away, on a small island to the east, is the
Franciscan convent, La Badia, a building of the fifteenth century for
the most part, containing a rather pretty cloister of white marble
erected in 1477. The arches are stilted, pointed, and trefoiled,
arranged in groups of three, with wider slightly segmental openings with
cuspings for entrances. The spandrils are filled with Gothic leafage,
the bases and caps to the columns are early Renaissance, and the frieze
is quite plain, with a dentilled cornice. The church is not interesting
architecturally; the western facade is imitated from the cathedral, but
it contains a crucifix brought from Bosnia by refugees after the battle
of Kossovo.

[Illustration: TRAVELLING AT EASE: AMONG THE ISLANDS

_To face page 329_]

The plague of 1558 smote Curzola very heavily, a