ch, visited by
strangers for its early Titian and a "Last Supper" by Tintoretto. The
Titian, which is dark and grimy, is quite pleasing, the infant Christ,
who stands between S. Andrew and S. Catherine on a little pedestal,
being very real and Venetian. There are, however, who deny Titian's
authorship; Mr. Ricketts, for example, gives the picture to Francesco
Vecellio, the painter's son. Tintoretto's "Last Supper," on the left of
the high altar, is more convivial than is usual: there is plenty of
food; a woman and children are coming in; a dog begs; Judas is
noticeable. Opposite this picture is a rather interesting dark canvas
blending seraphim and Italian architecture. Beside the church is the
shop of a maker of oars, who may be seen very conscientiously running
his eye along a new one.

A neat and smiling little house comes next, with blue and white posts
and an inscription stating that it was once the home of the architect
Pellegrino Orefice; then a little house with pretty windows, now an
"antichita"; then the Rio di S. Marcuola; and after a small and ugly
little house with a courtyard that might be made very attractive, we
come to the rich crumbling red wall of the garden of the Palazzo
Vendramin Calergi, which is notable as architecture, being one of the
works of Pietro Lombardi, in 1481, and also as having once housed the
noble Loredan family who produced more than one Doge. Many years later
the Duchesse de Berry lived here; and, more interesting still, here died
Richard Wagner.

We have seen Wagner's earlier residence in Venice, in 1858-59; to this
palace he came in the autumn of 1882, an old and feeble man. He was well
enough to conduct a private performance of his Symphony in C at the
Liceo Martello on Christmas Eve. He died quietly on the February 13th
following, and was buried at Bayreuth. In D'Annunzio's Venetian novel
_Il Fuoco_, called, in its English translation, _The Flame of Life_, is
most curiously woven the personality of Wagner, his ideals and theories,
and his life and death in this city. It was D'Annunzio who composed the
tablet on the wall.

The palace has an imposing but forbidding facade, and a new kind of lion
peers over the balcony. On the facade is the motto "Non nobis, Domine."
Another garden spreads before the new wing on the right, and a fine
acacia-tree is over the gateway. Next is the Palazzo Marcello, and here
too the Duchesse de Berry lived for a while. The next, with the little
p