Church of S. Maria della Salute :  Critics have complained of the sumptuousness that prevails in every part of this costly structure: the exterior they particularly protest against, as being overloaded with ornament; but the interior is unquestionably free from all such impeachment: it is intricate without confusion, wants neither majesty nor grandeur, and is favourable to the expression of richness and splendour. Mr. Forsyth says, " It is magnificent, to be sure, and lofty, and rich ', but it runs into too many angles and projections, too many  'coignes of vantage,' both without and within.  It issues into a pyramid, from the very basement up to the cupolas; but those cupolas screen each other, and are shored-up with vile inverted consoles."*   Had this very elegant scholar, and very generally just critic, directed his entire indignation against the repetition of the cupola alone, he would have made more proselytes than he now can hope for. It is this unsightly introduction which marks the decline of the art.  It possesses neither the graces of the gothic nor the simple beauty of the antique.  When of very large dimensions, it is majestic; but then it crushes the structure which it adorns ! when small, it is a paltry cap, that blends with no other member of the architecture, and rises above the entablature for the express purpose of breaking the harmonious line of the ogee. The event in which the erection of this gorgeous temple originated, is finely represented in marble, over the grand altar.  On the right of a figure of the Blessed Virgin holding an infant Christ in her arms, is Venice supplicating her interference to deliver the people from the ravages of a plague : while on the opposite side, " Plague" is represented flying before an angel with a torch in his hand.  The high altar is also adorned with a bronze chandelier, the work of AndreaAlessandro, more than six feet in height, and, next to that at Padua, esteemed the most beautiful design of the class in Italy. Many have even preferred the graceful ornaments of the upper part of Alessandro's design to any part of its Paduan rival.