palace; the next, or
twenty-sixth capital, is the first of those executed in the fifteenth
century under Foscari; and hence to the Judgment angle the traveller has
nothing to do but to compare the base copies of the earlier work with
their originals, or to observe the total want of invention in the
Renaissance sculptor, wherever he has depended on his own resources.
This, however, always with the exception of the twenty-seventh and of
the last capital, which are both fine.

I shall merely enumerate the subjects and point out the plagiarisms of
these capitals, as they are not worth description.

Sec. CXXV. TWENTY-SIXTH CAPITAL. Copied from the fifteenth, merely
changing the succession of the figures.

TWENTY-SEVENTH CAPITAL. I think it possible that this may be part of the
old work displaced in joining the new palace with the old; at all
events, it is well designed, though a little coarse. It represents eight
different kinds of fruit, each in a basket; the characters well given,
and groups well arranged, but without much care or finish. The names are
inscribed above, though somewhat unnecessarily, and with certainly as
much disrespect to the beholder's intelligence as the sculptor's art,
namely, ZEREXIS, PIRI, CHUCUMERIS, PERSICI, ZUCHE, MOLONI, FICI, HUVA.
Zerexis (cherries) and Zuche (gourds) both begin with the same letter,
whether meant for z, s, or c I am not sure. The Zuche are the common
gourds, divided into two protuberances, one larger than the other, like
a bottle compresed near the neck; and the Moloni are the long
water-melons, which, roasted, form a staple food of the Venetians to
this day.

Sec. CXXVI. TWENTY-EIGHTH CAPITAL. Copied from the seventh.

TWENTY-NINTH CAPITAL. Copied from the ninth.

THIRTIETH CAPITAL. Copied from the tenth. The "Accidia" is noticeable as
having the inscription complete, "ACCIDIA ME STRINGIT;" and the
"Luxuria" for its utter want of expression, having a severe and calm
face, a robe up to the neck, and her hand upon her breast. The
inscription is also different: "LUXURIA SUM STERC^S (?) INFERI" (?).

THIRTY-FIRST CAPITAL. Copied from the eighth.

THIRTY-SECOND CAPITAL. Has no inscription, only fully robed figures
laying their hands, without any meaning, on their own shoulders, heads,
or chins, or on the leaves around them.

THIRTY-THIRD CAPITAL. Copied from the twelfth.

THIRTY-FOURTH CAPITAL. Copied from the eleventh.

THIRTY-FIFTH CAPITAL. Has children, with birds