Chamberss Edinburgh Journal, No. 425 | Page 3

fresh, are found to be occupied by the post, the customs, or some other office, the insignia of which figure in gaudy colouring over the principal entrance. In connection with most of the palaces, the name of some architect of reputation is mentioned. They are wholly of marble; and, in many cases, round stones of a precious kind, or pieces of marble of a brilliantly veined character, are set in a species of framework in front, communicating a peculiarly rich effect. The least pleasing circumstance connected with these superb mansions, is their being so closely beset by other buildings. We saw only one or two which had any spare space associated with them, to form either a court-yard or a piece of garden-ground. Space is indeed the great want of Venice. Many of the canals, dividing lines of houses as lofty as those of the Old Town of Edinburgh, are not wider than the wynds of that celebrated city. And yet there we see the landing-places and entrances of magnificent mansions, though more frequently the houses on such narrow canals have the air of merchants' stores and warehouses.
It would be vain to attempt a detailed description of one-half of the wonderfully beautiful old churches, palazzos, and other buildings, which we examined during this and the subsequent day. We were agreeably disappointed on the whole; for we had come with an idea that we should see only the shell of ancient Venice, and few of those works of art which used to be associated with its name; whereas the fact is, that all the most remarkable old buildings are entire, and in tolerable order; and scarcely a picture, or statue, or antique curiosity, has been lost during the political changes which the city has undergone. Doubtless, it is living Venice no more: it is Venice reduced to a museum--but what a museum! And here I must do the Austrian government the justice to say, that it appears to have a deep feeling of interest in the ancient monuments of the republic. It contributes handsomely for their maintenance; and no modern proprietor of an old palazzo can make any change in it, till he has satisfied a tribunal of taste, that the change will be in keeping with the antique and picturesque glories of the place.
We went at an early hour one day to see the Pisani palace: one of those which are attractive on account of their containing good works of art. The Pisani are an illustrious family: and the representative still lives in this fine old mansion, or at least occasionally occupies it; but he is a broken-down old man, who has survived wife, children, and other relatives, and his death must speedily close the many-centuried history of his name. It was with melancholy feelings that we stepped into the hall or vestibule, whose broken plasters are still graced with coats-armorial and emblems of ancient dignity; amongst the rest, two standards wrapped up round their staves, probably memorials of the great Pisano--a naval commander of the fourteenth century. The housekeeper's little children were playing about the place, as children in an ordinary city would play in a street among the dogs and carriages. Mounting a wide side-staircase, we reached a handsome first floor, composed of a central salle and side-rooms, tolerably furnished; and here we found the two pictures for which the Pisani are famous--The Death of Darius, and his Queen supplicating Alexander, by Paul Veronese. They are beautiful paintings; and by their value, still give a sort of dignity to this decayed family.
Another palace we visited was that of the Vendramini Colerghi, now the property of the Duchesse de Berri, who makes it her ordinary winter-quarters. It is a large and elegant building, in a form approaching that of the letter Z, with a flower-garden in front of the receding part. The duchesse is understood to have purchased it for 120,000 zwanzigers--equivalent to about L.4000, and not the value of the stones of which it is built. With great good taste, she has made no alteration in the decoration or destination of the rooms, but has added modern furniture, family portraits, and many objects of virtu. The series of apartments on the first floor above the vestibule is extensive and superb; and though the tout ensemble is more characteristic of a modern French princess than of an ancient Venetian family, it was pleasant to see at least one of the palazzos of the ancient republic handsomely furnished, and having the appearance of cheerful occupation. Among the portraits are some that could scarcely have been expected to survive the Revolution of 1792--as Louis XIV.; Louis XV. when a boy; some of the princesses, aunts of Louis XVI.; also the dauphin, father of the latter monarch. There is likewise a beautiful