The appendixes feature two archival documents of value to the View of Venice, including the previously unpublished will of Anton Kolb, the German merchant who oversaw the woodcut’s production. One appendix presents entries on the sites and buildings still most tvisited by tourists today—the spaces of premodern governance and industry but also of the palaces that line the Grand Canal, and churches and their belltowers. It considers the Venetians who have long inhabited the lagoon, somewhat marginalized in relationship to the architecture of Venice’s past but on whose shoulders the city’s survival has rested. This section prompts readers to ponder the following questions: How do we as conscientious tourists take in the wonders of Venice? What is our collective responsibility to protect Venice, an invaluable artefact of the past that continues to have global resonances? And what does the future hold for such a rich repository of cultural heritage?