Habitual art, on the part of
the state, and resolute but wary intention, on the part of the young
noble, concealed all else from observation.
In this manner the day passed, not a tongue in Venice, beyond those
which whispered in secret, making any allusion to the incidents of our
tale.
Just as the sun was setting a gondola swept slowly up to the water-gate
of the ducal palace. The gondolier landed, fastened his boat in the
usual manner to the stepping-stones, and entered the court. He wore a
mask, for the hour of disguise had come, and his attire was so like the
ordinary fashion of men of his class, as to defeat recognition by its
simplicity. Glancing an eye about him, he entered the building by a
private door.
The edifice in which the Doges of Venice dwelt still stands a gloomy
monument of the policy of the Republic, furnishing evidence, in itself,
of the specious character of the prince whom it held. It is built around
a vast but gloomy court, as is usual with nearly all of the principal
edifices of Europe. One of its fronts forms a side of the piazzetta so
often mentioned, and another lines the quay next the port. The
architecture of these two exterior faces of the palace renders the
structure remarkable. A low portico, which forms the Broglio, sustains
a row of massive oriental windows, and above these again lies a pile of
masonry, slightly relieved by apertures, which reverses the ordinary
uses of the art.
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