still picturesque. The lateral
windows are bluntly trefoiled, and good of their time.

ANGELI, CHURCH DELGLI, at Murano. The sculpture of the "Annunciation"
over the entrance-gate is graceful. In exploring Murano, it is worth
while to row up the great canal thus far for the sake of the opening
to the lagoon.

ANTONINO, CHURCH OF ST. Of no importance.

APOLLINARE, CHURCH OF ST. Of no importance.

APOSTOLI, CHURCH OF THE. The exterior is nothing. There is said to be
a picture by Veronese in the interior, "The Fall of the Manna." I have
not seen it; but, if it be of importance, the traveller should compare
it carefully with Tintoret's, in the Scuola di San Rocco, and San
Giorgio Maggiore.

APOSTOLI, PALACE AT, II. 253, on the Grand Canal, near the Rialto,
opposite the fruit-market. A most important transitional palace. Its
sculpture in the first story is peculiarly rich and curious; I think
Venetian, in imitation of Byzantine. The sea story and first floor are
of the first half of the thirteenth century, the rest modern. Observe
that only one wing of the sea story is left, the other half having
been modernized. The traveller should land to look at the capital
drawn in Plate II. of Vol. III. fig. 7.

ARSENAL. Its gateway is a curiously picturesque example of Renaissance
workmanship, admirably sharp and expressive in its ornamental
sculpture; it is in many parts like some of the best Byzantine work.
The Greek lions in front of it appear to me to deserve more praise
than they have received; though they are awkwardly balanced between
conventional and imitative representation, having neither the severity
proper to the one, nor the veracity necessary for the other.

B

BADOER, PALAZZO, in the Campo San Giovanni in Bragola. A magnificent
example of the fourteenth century Gothic, circa 1310-1320, anterior to
the Ducal Palace, and showing beautiful ranges of the fifth order
window, with fragments of the original balconies, and the usual
lateral window larger than any of the rest. In the centre of its
arcade on the first floor is the inlaid ornament drawn in Plate VIII.
Vol. I. The fresco painting on the walls is of later date; and I
believe the heads which form the finials have been inserted afterwards
also, the original windows having been pure fifth order.

The building is now a ruin, inhabited by the lowest orders; t