mouldings are quite Byzantine in character, but look somewhat like
imitations.

DUCAL PALACE, I. 29; history of, II. 282, etc.; III. 199; plan and
section of, II. 282, 283; description of, II. 304, etc.; series of its
capitals, II. 332, etc.; spandrils of, I. 299, 415; shafts of, I. 413;
traceries of, derived from those of the Frari, II. 234; angles of, II.
239; main balcony of, II. 245; base of, III. 212; Rio Facade of, III.
25; paintings in, II. 372. The multitude of works by various masters,
which cover the walls of this palace is so great, that the traveller
is in general merely wearied and confused by them. He had better
refuse all attention except to the following works:

1. _Paradise_, by Tintoret; at the extremity of the Great Council
chamber. I found it impossible to count the number of figures in this
picture, of which the grouping is so intricate, that at the upper part
it is not easy to distinguish one figure from another; but I counted
150 important figures in one half of it alone; so that, as there are
nearly as many in subordinate position, the total number cannot be
under 500. I believe this is, on the whole, Tintoret's
_chef-d'oeuvre_; though it is so vast that no one takes the trouble
to read it, and therefore less wonderful pictures are preferred to it.
I have not myself been able to study except a few fragments of it, all
executed in his finest manner; but it may assist a hurried observer to
point out to him that the whole composition is divided into concentric
zones, represented one above another like the stories of a cupola,
round the figures of Christ and the Madonna, at the central and
highest point: both these figures are exceedingly dignified and
beautiful. Between each zone or belt of the nearer figures, the white
distances of heaven are seen filled with floating spirits. The picture
is, on the whole, wonderfully preserved, and the most precious thing
that Venice possesses. She will not possess it long; for the Venetian
academicians, finding it exceedingly unlike their own works, declare
it to want harmony, and are going to retouch it to their own ideas of
perfection.

2. _Siege of Zara_; the first picture on the right on entering the
Sala del Scrutinio. It is a mere battle piece, in which the figures,
like the arrows, are put in by the score. There are high merits in the
thing, and so