The building is now a ruin, inhabited by the lowest orders; the 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.