taining a portion of the
skull of St. John; the sword of the Doge Morocini; cuneiform writings
from Persepolis; an episcopal throne of the seventh century, said to
have been St. Mark's; and many other things, the genuineness of which to
try and believe was of course next to impossible; and one could only
marvel at the credulity of many good men and women, who must have dearly
liked to be deceived, and who almost worshipped these lying relics, and
would only look at them devoutly on their knees. One heartily wishes
that a valiant Luther had arisen amongst them in those days, to set them
free from this miserable bondage, and teach them that Christ's atonement
was surely enough for them.

On leaving the chapel, we were allowed as an exceptional privilege to
ascend the galleries round the interior, and look closely into the
beautiful mosaic-work, most of which is in a wonderful state of
preservation, though some of it is much defaced and decayed by damp. The
mosaics now being used in the restoration are made on a new principle,
being glazed over to preserve the surface and colour from the effect of
the air. We next went out into the open facade gallery, overlooking the
great Piazza, and stood between the famous bronze horses, whose
Arab-like symmetry we greatly admired.

"Before St. Mark's still glow the steeds of brass,
Their gilded collars glittering in the sun."

I hardly recognized the justice of Goethe's observation, of their
appearing to be somewhat heavily and clumsily modelled on a close
survey, considering their slender elegance when seen from below.

We found a great many masons and workmen employed, both inside and
outside St. Mark's, on the restoration and repairs. Fragments of the
beautiful mosaic were scattered about in heaps, which it seemed almost
desecration to tread upon. I swept them carefully together, and called
the attention of the workmen to the neglect of such precious bits of
antique workmanship. I believe these restorations are greatly exciting
the anger of lovers of art in England, by the imputed Vandalism of the
committee who are employed in directing the work. As this outcry is
principally raised by many eminent artists, who look on St. Mark's as a
perfect gem of antiquity, there must be some good reason for this
righteous anger, which, however, I much fear will be ineffectual to stay
the hand of the Goth.

I must confess, though with secret misgiving as to how such heresy will
be