The reader will observe that the Ducal Palace is arranged somewhat in the form of a hoilow

square, of which one side faces the Piazzetta, B, and another the quay called the Riva de' Schia

FIG. 2. The Ducal Palace-Bird's eye View.

voni, R R; the third is on the dark canal called the "Rio del Palazzo," and the fourth joins the Church of St. Mark.

Of this fourth side, therefore, nothing can be seen. Of the other three sides we shall have to speak constantly; and they will be respectively called, that towards the Piazzetta, the "Piazzetta Façade;" that towards the Riva de' Schiavoni, the "Sea Façade;" and that towards the Rio del Palazzo, the "Rio Façade." This Rio, or canal, is usually looked upon by the traveller with great respect, or even horror, because it passes under the Bridge of Sighs. It is, however, one of the principal thoroughfares of the city; and the bridge and its canal together occupy, in the mind of a Venetian, very much the position of Fleet Street and Temple Bar in that of a Londoner,-at least, at the time when Temple Bar was occasionally decorated with human heads. The two buildings closely resemble each other in form.

§ IV. We must now proceed to obtain some rough idea of the appearance and distribution of the palace itself; but its arrangement will be better understood by supposing ourselves raised some hundred and fifty feet above the point in the lagoon in front of it, so as to get a general view of the Sea Façade and Rio Façade (the latter in very steep perspective), and to look down into

its interior court. Fig. II. roughly represents such a view, omitting all details on the roofs, in order to avoid confusion. In this drawing we have merely to notice that, of the two bridges seen on the right, the uppermost, above the black canal, is the Bridge of Sighs; the lower one is the Ponte della Paglia, the regular thoroughfare from quay to quay, and, I believe, called the Bridge of Straw, because the boats which brought straw from the mainland used to sell it at this place. The corner of the palace, rising above this bridge, and formed by the meeting of the Sea Façade and Rio Façade, will always be called the Vine angle, because it is decorated by a sculpture of the drunkenness of Noah. The angle opposite will be called the Fig-tree angle, because it is decorated by a sculpture of the Fall of Man. The long and narrow range of building, of which the roof is seen in perspective behind this angle, is the part of the palace fronting the Piazzetta; and the angle under the pinnacle most to the left of the two which terminate it will be called, for a reason presently to be stated, the Judgment angle. Within the square formed by the building is seen its interior court (with one of its wells), terminated by small and fantastic buildings of the Renaissance period, which face the Giant's Stair,

of which the extremity is seen sloping down on the left.

§ v. The great façade which fronts the spectator looks southward. Hence the two traceried windows lower than the rest, and to the right of the spectator, may be conveniently distinguished as the "Eastern Windows." There are two others like them, filled with tracery, and at the same level, which look upon the narrow canal between the Ponte della Paglia and the Bridge of Sighs: these we may conveniently call the 66 Canal Windows." The reader will observe a vertical line in this dark side of the palace, separating its nearer and plainer wall from a long four-storied range of rich architecture. This more distant range is entirely Renaissance: its extremity is not indicated, because I have no accurate sketch of the small buildings and bridges beyond it, and we shall have nothing whatever to do with this part of the palace in our present inquiry. The nearer and undecorated wall is part of the older palace, though much defaced by modern opening of common windows, refittings of the brickwork, etc.

8 vi. It will be observed that the façade is composed of a smooth mass of wall, sustained on two tiers of pillars, one above the other. The manner in which these support the whole

A, B, C are the three stories of the interior of the palace.

The reader sees that it is impossible for any plan to be more simple, and that if the inner floors and walls of the stories A, B were removed, there would be left merely the form of a basilica,-two high walls, carried on ranges of shafts, and roofed by a low gable.

The stories A, B are entirely modernized, and divided into confused ranges of small apartments, among which what vestiges remain of ancient masonry are entirely undecipherable, except by investigations such as I have had neither the time nor, as in most cases they would involve the removal of modern plastering, the opportunity, to make. With the subdivisions of this story, therefore, I shall not trouble the