in all these instances, to _limit their statement_ to the part
facing the Piazza, that no reader might suppose the Council Chamber to
have been built or begun at the same time; though, as long as to the end
of the sixteenth century, we find the Council Chamber still included in
the expression "Palazzo Nuovo." Thus, in the MS. No. 75 in the Correr
Museum, which is about that date, we have "Del 1422, a di 20 Settembre
fu preso nel consegio grando de dover _compir_ el Palazo Novo, e dovesen
fare la spessa li officialli del Sal (61. M. 2. B.)." And, so long as
this is the case, the "Palazzo Vecchio" always means the Ziani Palace.
Thus, in the next page of this same MS. we have "a di 27 Marzo (1424 by
context) fo principia a butar zosso, el _Palazzo Vecchio_ per refarlo da
novo, e poi se he" (and so it is done); and in the MS. No. 81, "Del
1424, fo gittado zoso el _Palazzo Vecchio_ per refarlo de nuovo, a di 27
Marzo." But in the time of Sansovino the Ziani Palace was quite
forgotten; the Council Chamber was then the _old_ palace, and Foscari's
part was the new. His account of the "Palazzo Publico" will now be
perfectly intelligible; but, as the work itself is easily accessible, I
shall not burden the reader with any farther extracts, only noticing
that the chequering of the facade with red and white marbles, which he
ascribes to Foscari, may or may not be of so late a date, as there is
nothing in the style of the work which can be produced as evidence.

2. THEOLOGY OF SPENSER.

The following analysis of the first books of the "Faerie Queen," may be
interesting to readers who have been in the habit of reading the noble
poem too hastily to connect its parts completely together; and may
perhaps induce them to more careful study of the rest of the poem.

The Redcrosse Knight is Holiness,--the "Pietas" of St. Mark's, the
"Devotio" of Orcagna,--meaning, I think, in general, Reverence and Godly
Fear.

This Virtue, in the opening of the book, has Truth (or Una) at its side,
but presently enters the Wandering Wood, and encounters the serpent
Error; that is to say, Error in her universal form, the first enemy of
Reverence and Holiness; and more especially Error as founded on
learning; for when Holiness strangles her,

"Her vomit _full of bookes and papers was_,
With loathly frogs and toades, which eyes did lacke."

Having vanquished this first open and palpable form of Error, as
Reverence and Religion must always vanquis