a. Riva degli Schiavoni. VENICE. 47. Route. 305
of the Palace, were destroyed in 1797. A staircase descends from
the above-mentioned passage to the Pozzi, a series of gloomy dun-
geons, with a torture-chamber and the place of execution for po-
litical crimináis. Too much sentiment need not be wasted on the
Bridge of Sighs, as the present structure — that 'pathetic swindle'
as Mr. Howells calis it —, serving merely as a means of oommuni-
cation between the Criminal Courts and the Criminal Prison, has
probably never been crossed by any prisouer whose ñame is worth
remembering or whose fate deserved our sympathy.
A good survey of the Bridge of Sighs and of the handsome E.
side of the Doges' Palace, more harmonious in appearance than the
W. side, with a basement of facetted stone, is obtained from the
Ponte di Canónica (p. 324) or from the Ponte della Paglia, which
conneets the Molo with the *Eiva degli Schiavoni (Pl. H, I, 5;
'quay of the Dalmatians'), a quay paved with unpolished marble.
This quay presents a busy scene, being the most popular and
sunniest lounge in Venice. In 1887 it was embellished with an
equestrian Statue of Victor Emmanuel II., by E. Ferrari; at the
back of the pedestal is Venetia enslaved, in front Venetia liberated.
The Hotel Danieli (p. 281) was the home of Alfred de Musset and
George Sand in 1833. — Beyond the next bridge rises the church
of Santa María della Pieta (Pl. I, 5), with a new facade (1905):
in the high-choir, above the principal entrance, *Christ in the
house of the Pharisee by Moretto (1544); on the ceiling, Victory
of the Faith, by Tiepolo. Near this church is the Casa del Petrarca,
presented by the Republic to Petrarch in 1362.
For the adjoining churches of S. Zacearía, S. Giorgio dei Greci,
and $. Giovanni in Bragora, see pp. 325, 328, 329; for the Arsenal
and the Giardini Pubblici, see p. 329.
b. From the Piazza of St. Mark to the Academy.
The passage in the S.W. comer of the Piazza of St. Mark leads
to the Salizzada San Moisé, with its numerous shops. To the
right is the Frezzeria (p. 286), another busy street. To the left, in
the Campo San Moisé, is the church of San Moisé (Pl. G, 6), with
an over-decorated facade by Al. Tremignan (1668), 'notable', says
Mr. Ruskin, 'as one of the basest examples of the basest school of
the Renaissance'. John Law (1671-1729), originatoT of the 'Missi-
ssippi Scheme', is buried in this church. Beyond it we cross the
bridge and proceed straight on along the Via Ventidue Marzo.
The aecond side-street to the right, the Calle delle Véate, leads to the
Campo San Fantino, in which are situated the Teatro Feniee (Pl. F, 6); the
Ateneo Véneto (see p. 286), a Renaissance building by Al. Vittoria, formerly
the Scuola di San Girolamo; and the interesting church of "San Fantino,
built in the early-Renaissance style after 1607 by Scarpagnino, whicb, apart
from ita groined vaulting, may be regarded aa a precursor of San Salvatore
(p. 321). The fine choir of S. Fantino is by Jac. Sansovino (1549); in the
pavement are tombstones of the 16th century.