h of
the fourteenth century, now desecrated, but still interesting. Its
apse is on the little canal crossing from the Grand Canal to the
Giudecca, beside the Church of the Salute, and is very characteristic
of the rude ecclesiastical Gothic contemporary with the Ducal Palace.
The entrance to its cloisters, from the Grand Canal, is somewhat
later; a noble square door, with two windows on each side of it, the
grandest examples in Venice of the late window of the fourth order.

The cloister, to which this door gives entrance, is exactly
contemporary with the finest work of the Ducal Palace, circa 1350. It
is the loveliest cortile I know in Venice; its capitals consummate in
design and execution; and the low wall on which they stand showing
remnants of sculpture unique, as far as I know, in such application.

GRIMANI, PALAZZO, on the Grand Canal, III. 32.

There are several other palaces in Venice belonging to this family,
but none of any architectural interest.

J

JESUITI, CHURCH OF THE. The basest Renaissance; but worth a visit in
order to examine the imitations of curtains in white marble inlaid
with green.

It contains a Tintoret, "The Assumption," which I have not examined;
and a Titian, "The Martyrdom of St. Lawrence," originally, it seems to
me, of little value, and now, having been restored, of none.

L

LABIA PALAZZO, on the Canna Reggio. Of no importance.

LAZZARO DE' MENDICANTI, CHURCH OF ST. Of no importance.

LIBRERIA VECCHIA. A graceful building of the central Renaissance,
designed by Sansovino, 1536, and much admired by all architects of the
school. It was continued by Scamozzi, down the whole side of St.
Mark's Place, adding another story above it, which modern critics
blame as destroying the "eurithmia;" never considering that had the
two low stories of the Library been continued along the entire length
of the Piazza, they would have looked so low that the entire dignity
of the square would have been lost. As it is, the Library is left in
its originally good proportions, and the larger mass of the Procuratie
Nuove forms a more majestic, though less graceful, side for the great
square.

But the real faults of the building are not in its number of stories,
but in the design of the parts. It is one of the grossest examples of
the base Renaissance habit of turning _keystones_ into _brac