d that the river would fall in a few weeks and leave a dirty high-water
mark on the houses, and the streets full of mud and rubbish.

In the glare of day, there is little poetry about Venice, but under the
charitable moon her stained palaces are white again, their battered
sculptures are hidden in shadows, and the old city seems crowned once
more with the grandeur that was hers five hundred years ago. It is easy,
then, in fancy, to people these silent canals with plumed gallants and
fair ladies--with Shylocks in gaberdine and sandals, venturing loans upon
the rich argosies of Venetian commerce--with Othellos and Desdemonas,
with Iagos and Roderigos--with noble fleets and victorious legions
returning from the wars. In the treacherous sunlight we see Venice
decayed, forlorn, poverty-stricken, and commerceless--forgotten and
utterly insignificant. But in the moonlight, her fourteen centuries of
greatness fling their glories about her, and once more is she the
princeliest among the nations of the earth.

"There is a glorious city in the sea;
The sea is in the broad, the narrow streets,
Ebbing and flowing; and the salt-sea weed
Clings to the marble of her palaces.
No track of men, no footsteps to and fro,
Lead to her gates! The path lies o'er the sea,
Invisible: and from the land we went,
As to a floating city--steering in,
And gliding up her streets, as in a dream,
So smoothly, silently--by many a dome,
Mosque-like, and many a stately portico,
The statues ranged along an azure sky;
By many a pile, in more than Eastern pride,
Of old the residence of merchant kings;
The fronts of some, tho' time had shatter'd them,
Still glowing with the richest hues of art,
As tho' the wealth within them had run o'er."

What would one naturally wish to see first in Venice? The Bridge of
Sighs, of course--and next the Church and the Great Square of St. Mark,
the Bronze Horses, and the famous Lion of St. Mark.

We intended to go to the Bridge of Sighs, but happened into the Ducal
Palace first--a building which necessarily figures largely in Venetian
poetry and tradition. In the Senate Chamber of the ancient Republic we
wearied our eyes with staring at acres of historical paintings by
Tintoretto and Paul Veronese, but nothing struck us forcibly except the
one thing