Our narrative now leads us to one of these patrician abodes of
the first class.
A heavy magnificence pervaded the style of the dwelling. The vestibule
was vast, vaulted, and massive. The stairs, rich in marbles, heavy and
grand. The apartments were imposing in their gildings and sculpture,
while the walls sustained countless works on which the highest geniuses
of Italy had lavishly diffused their power. Among these relics of an age
more happy in this respect than that of which we write, the connoisseur
would readily have known the pencils of Titian, Paul Veronese, and
Tintoretto--the three great names in which the subjects of St. Mark so
justly prided themselves. Among these works of the higher masters were
mingled others by the pencils of Bellino, and Montegna, and Palma
Vecchio--artists who were secondary only to the more renowned colorists
of the Venetian school. Vast sheets of mirrors lined the walls, wherever
the still more precious paintings had no place; while the ordinary
hangings of velvet and silk became objects of secondary admiration, in a
scene of nearly royal magnificence. The cool and beautiful floors, made
of a composition in which all the prized marbles of Italy and of the
East polished to the last degree of art, were curiously embedded, formed
a suitable finish to a style so gorgeous, and in which luxury and taste
were blended in equal profusion.
The building, which, on two of its sides, literally rose from out the
water, was, as usual, erected around a dark court.
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