he first
floor, when I was last in Venice, by a laundress.

BAFFO, PALAZZO, in the Campo St. Maurizio. The commonest late
Renaissance. A few olive leaves and vestiges of two figures still
remain upon it, of the frescoes by Paul Veronese, with which it was
once adorned.

BALBI, PALAZZO, in Volta di Canal. Of no importance.

BARBARIGO, PALAZZO, on the Grand Canal, next the Casa Pisani. Late
Renaissance; noticeable only as a house in which some of the best
pictures of Titian were allowed to be ruined by damp, and out of which
they were then sold to the Emperor of Russia.

BARBARO, PALAZZO, on the Grand Canal, next the Palazzo Cavalli. These
two buildings form the principal objects in the foreground of the view
which almost every artist seizes on his first traverse of the Grand
Canal, the Church of the Salute forming a most graceful distance.
Neither is, however, of much value, except in general effect; but the
Barbaro is the best, and the pointed arcade in its side wall, seen
from the narrow canal between it and the Cavalli, is good Gothic, of
the earliest fourteenth century type.

BARNABA, CHURCH OF ST. Of no importance.

BARTOLOMEO, CHURCH OF ST. I did not go to look at the works of
Sebastian del Piombo which it contains, fully crediting M. Lazari's
statement, that they have been "Barbaramente sfigurati da mani
imperite, che pretendevano ristaurarli." Otherwise the church is of no
importance.

BASSO, CHURCH OF ST. Of no importance.

BATTAGIA, PALAZZO, on the Grand Canal. Of no importance.

BECCHERIE. See QUERINI.

BEMBO, PALAZZO, on the Grand Canal, next the Casa Manin. A noble
Gothic pile, circa 1350-1380, which, before it was painted by the
modern Venetians with the two most valuable colors of Tintoret, Bianco
e Nero, by being whitewashed above, and turned into a coal warehouse
below, must have been among the most noble in effect on the whole
Grand Canal. It still forms a beautiful group with the Rialto, some
large shipping being generally anchored at its quay. Its sea story and
entresol are of earlier date, I believe, than the rest; the doors of
the former are Byzantine (see above, Final Appendix, under head
"Jambs"); and above the entresol is a beautiful Byzantine cornice,
built into the wall, and harmonizing well with the Gothic work.

BEMBO, PALAZZO, in the Calle Magno, at the Campo de' due Pozzi, close
t