ce covered. See Vol. II. 80, and III.
23.

FORMOSA, CHURCH OF SANTA MARIA, III. 113, 122,

FOSCA, CHURCH OF ST. Notable for its exceedingly picturesque
campanile, of late Gothic, but uninjured by restorations, and
peculiarly Venetian in being crowned by the cupola instead of the
pyramid, which would have been employed at the same period in any
other Italian city.

FOSCARI, PALAZZO, on the Grand Canal. The noblest example in Venice of
the fifteenth century Gothic, founded on the Ducal Palace, but lately
restored and spoiled, all but the stone-work of the main windows. The
restoration was necessary, however: for, when I was in Venice in 1845,
this palace was a foul ruin; its great hall a mass of mud, used as a
back receptacle of a stone-mason's yard; and its rooms whitewashed,
and scribbled over with indecent caricatures. It has since been
partially strengthened and put in order; but as the Venetian
municipality have now given it to the Austrians to be used as
barracks, it will probably soon be reduced to its former condition.
The lower palaces at the side of this building are said by some to
have belonged to the younger Foscari. See "GIUSTINIANI."

FRANCESCO DELLA VIGNA, CHURCH OF ST. Base Renaissance, but must be
visited in order to see the John Bellini in the Cappella Santa. The
late sculpture, in the Cappella Giustiniani, appears from Lazari's
statement to be deserving of careful study. This church is said also
to contain two pictures by Paul Veronese.

FRARI, CHURCH OF THE. Founded in 1250, and continued at various
subsequent periods. The apse and adjoining chapels are the earliest
portions, and their traceries have been above noticed (II. 234) as the
origin of those of the Ducal Palace. The best view of the apse, which
is a very noble example of Italian Gothic, is from the door of the
Scuola di San Rocco. The doors of the church are all later than any
other portion of it, very elaborate Renaissance Gothic. The interior
is good Gothic, but not interesting, except in its monuments. Of
these, the following are noticed in the text of this volume:

That of Duccio degli Alberti, at pages 74, 80; of the unknown Knight,
opposite that of Duccio, III. 74; of Francesco Foscari, III. 84; of
Giovanni Pesaro, 91; of Jacopo Pesaro, 92.

Besides these tombs, the traveller ought to notice carefully that of
Pietro Bernardo,