The Porta della Carta, the late-Gothic chief portal, next to the church, leads into the quadrangle of the palace, where the façades, though still partly Gothic, show the influence of the new Renaissance style. In the interior (adm., see p. [420]) we visit the central and upper floors, containing the state-apartments which were redecorated after the fires of 1574 and 1577, a brilliant example of the Venetian late-Renaissance and rococo art. The countless pictures by Titian, Paolo Veronese, Jac. Tintoretto, and other masters, proclaim the ancient glory of Venice. (Guide unnecessary. Catalogues for public use on week-days.) The groundfloor contains the Archaeological Museum (antiques, Renaissance sculptures, etc.).
At the E. end of the Molo (p. [422]) the Ponte della Paglia (Pl. H, 5, 6), which crosses the Rio di Palazzo, affords a good view of the ‘Bridge of Sighs’ (Ponte dei Sospiri; Pl. H, 5), specially interesting to readers of Childe Harold. The latter bridge connects the Doges’ Palace with the Prigioni di San Marco.
The contiguous Riva degli Schiavoni (Pl. H, I, 5; ‘quay of the Slavonians’) forms the sunniest promenade in the town. To the left, nearly opposite the Monument of Victor Emmanuel II., a narrow lane leads to the church of San Zaccaria (Pl. H, I, 5; adm. in the afternoon 50 c.), built in 1458–1515. Over the second altar on the left is a Madonna by Giov. Bellini (1505).
A few paces to the W. of the church is Campo San Provolo. The street of that name to the right, the first bridge to the left, and then the Calle Corte Rotta and the Ruga Giuffa (Pl. H, 5) lead to Santa Maria Formosa (Pl. H, 4; knock at W. portal; gratuity 25–30 c.), with the famous *St. Barbara by Palma Vecchio.
From the Campo Santa Maria Formosa we follow the Calle Lunga to the E., and near the end of it the Calle Bragadin to the left (N.) to the—
Campo Santi Giovanni e Paolo, with the *Monument of Colleoni (Venetian condottiere, d. 1475), the grandest equestrian statue of the Italian Renaissance, by the Florentine Andrea Verrocchio.
The church of *Santi Giovanni e Paolo (Pl. H, 4; adm. see p. [420]), once the church of the Dominicans and the burial-church of the doges, erected in the Gothic style in 1330–90, is quite a museum of Venetian sculpture. The finest monument is that of Andrea Vendramin (d. 1478; in the choir, on the left), by Tullio and Ant. Lombardi and Al. Leopardi.
On the S. side of the Canale di San Marco (p. [421]), reached by ferry from the Molo (‘traghetto’, 1–2 pers. 15, 3–4 pers. 20, 5–6 pers. 30 c.), or more quickly by steamer from the Riva degli Schiavoni (see p. [419]), are the island and the Benedictine church of San Giorgio Maggiore (Pl. H, 7; if closed, ring on the right), built by Palladio (1565) and Ant. Palliari. The Campanile, 197 ft. high (ascent to the left of the choir; easy wooden stairs), offers a superb **View of the city, the lagoons, and the sea, embracing in clear weather the Alpine chain far away to the N. (finest in the early morning or just before sunset).
