particular one in architecture, and refers to the
part of the building occupied by the bust; but the main meaning of it is
that "Vincenzo Fini fills all height with his virtue." The inscription
goes on into farther praise, but this example is enough. Over the two
lateral doors are two other laudatory inscriptions of younger members of
the Fini family, the dates of death of the three heroes being 1660,
1685, and 1726, marking thus the period of consummate degradation.

[Illustration: Plate III.
NOBLE AND IGNOBLE GROTESQUE.]

Sec. XXI. In like manner, the Church of Santa Maria Zobenigo is entirely
dedicated to the Barbaro family; the only religious symbols with which
it is invested being statues of angels blowing brazen trumpets, intended
to express the spreading of the fame of the Barbaro family in heaven. At
the top of the church is Venice crowned, between Justice and Temperance,
Justice holding a pair of grocer's scales, of iron, swinging in the
wind. There is a two-necked stone eagle (the Barbaro crest), with a
copper crown, in the centre of the pediment. A huge statue of a Barbaro
in armor, with a fantastic head-dress, over the central door; and four
Barbaros in niches, two on each side of it, strutting statues, in the
common stage postures of the period,--Jo. Maria Barbaro, sapiens
ordinum; Marinus Barbaro, Senator (reading a speech in a Ciceronian
attitude); Franc. Barbaro, legatus in classe (in armor, with high-heeled
boots, and looking resolutely fierce); and Carolus Barbaro, sapiens
ordinum: the decorations of the facade being completed by two trophies,
consisting of drums, trumpets, flags and cannon; and six plans,
sculptured in relief, of the towns of Zara, Candia, Padua, Rome, Corfu,
and Spalatro.

Sec. XXII. When the traveller has sufficiently considered the meaning of
this facade, he ought to visit the Church of St. Eustachio, remarkable
for the dramatic effect of the group of sculpture on its facade, and
then the Church of the Ospedaletto (see Index, under head Ospedaletto);
noticing, on his way, the heads on the foundations of the Palazzo Corner
della Regina, and the Palazzo Pesaro, and any other heads carved on the
modern bridges, closing with those on the Bridge of Sighs.

He will then have obtained a perfect idea of the style and feeling of
the Grotesque Renaissance. I cannot pollute this volume by any
illustration of its worst forms, but the head turned to the front, on
the right-ha