As tho' the wealth within them had run o'er."

What would one naturally wish to see first in Venice? The Bridge of
Sighs, of course--and next the Church and the Great Square of St. Mark,
the Bronze Horses, and the famous Lion of St. Mark.

We intended to go to the Bridge of Sighs, but happened into the Ducal
Palace first--a building which necessarily figures largely in Venetian
poetry and tradition. In the Senate Chamber of the ancient Republic we
wearied our eyes with staring at acres of historical paintings by
Tintoretto and Paul Veronese, but nothing struck us forcibly except the
one thing that strikes all strangers forcibly--a black square in the
midst of a gallery of portraits. In one long row, around the great hall,
were painted the portraits of the Doges of Venice (venerable fellows,
with flowing white beards, for of the three hundred Senators eligible to
the office, the oldest was usually chosen Doge,) and each had its
complimentary inscription attached--till you came to the place that
should have had Marino Faliero's picture in it, and that was blank and
black--blank, except that it bore a terse inscription, saying that the
conspirator had died for his crime. It seemed cruel to keep that
pitiless inscription still staring from the walls after the unhappy
wretch had been in his grave five hundred years.

At the head of the Giant's Staircase, where Marino Faliero was beheaded,
and where the Doges were crowned in ancient times, two small slits in the
stone wall were pointed out--two harmless, insignificant orifices that
would never attract a stranger's attention--yet these were the terrible
Lions' Mouths! The heads were gone (knocked off by the French during
their occupation of Venice,) but these were the throats, down which went
the anonymous accusation, thrust in secretly at dead of night by an