which destroyed so many treasures in the Ducal Palace.  What he was like you may see in the picture numbered 750 in our National Gallery, once given to Carpaccio, then to Lorenzo Bastiani, and now to the school of Gentile Bellini.  In this work the Doge kneels to the Virgin and implores intercession for the plague-stricken city.  Pietro’s monument is the most splendid, with a number of statues by Pietro Lombardi, architect of the Ducal Palace after the same fire.  S. Christopher is among these figures, with a nice little Christ holding on to his ear.

In the right aisle we find the monument of Bragadino, a Venetian commander who, on the fall of Cyprus, which he had been defending against the Turks, was flayed alive.  But this was not all the punishment put upon him by the Turks for daring to hold out so long.  First his nose and ears were cut off; then for some days he was made to work like the lowest labourer.  Then came the flaying, after which his skin was stuffed with straw and fastened as a figure-head to the Turkish admiral’s prow on his triumphant return to Constantinople.  For years the trophy was kept in the arsenal of that city, but it was removed by some means or other, purchase or theft, and now reposes in the tomb at which we are looking.  This monument greatly affected old Coryat.  “Truly,” he says, “I could not read it with dry eyes.”

Farther on is the pretentious Valier monument, a triumph of bad taste.  Here we see Doge Bertucci Valier (1656-1658) with his courtly abundant dame, and Doge Silvestro Valier (1694-1700), all proud and foolish in death, as I feel sure they must have been in life to have commissioned such a memorial.  In the choir are more Doges, some of sterner stuff:  Michele Morosini (1382), who after only a few months was killed by a visitation of the plague, which carried off also twenty thousand more ordinary Venetians, but who has a tomb of great distinction worthy of commemorating a full and sagacious reign; Leonardo Loredan (1501-1521) whose features we know so well by reason of Bellini’s portrait in the National Gallery, the Doge on the throne when the League of Cambray was formed by the Powers to crush the Republic; and Andrea Vendramini (1476-1478) who has the most beautiful monument of all, the work of Tullio and Antonio Lombardi.  Vendramini, who came between Pietro and Giovanni Mocenigo, had a brief and bellicose reign.  Lastly here lies Doge Marco Corner (1365-1368), who made little history, but was a fine character.

In the left transept we find warlike metal, for here is the modern statue of the great Sebastian Venier whom we have already seen in the Ducal Palace as the hero of the battle of Lepanto in 1571, and it is peculiarly fitting that he should be honoured in the same church as the luckless Bragadino, for it was at Lepanto that the Turks who had triumphed at Cyprus and behaved so vilely were for the moment utterly defeated.  On the death of Alvise Mocenigo, Venier was made Doge,