Chamberss Edinburgh Journal, No. 425 | Page 3

old, and few of the owners being able to spend much in
or on them. A few that look tolerably 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;