[26] The order of the planets attached to the seven ages is as follows:--I. The Moon. II. Mercury. III. Venus. IV. The Sun. V. Mars. VI. Jupiter. VII. Saturn. [27] This is the tradition, but it is one which is not, I think, supported either by documentary evidence or by the style of the building. Nicola left Padua four years before the church was commenced; and Fra. Carello is mentioned in the archives of the convent as one of the architects, of whom no doubt there were several before the work was finished. [28] The eastern chapel and dome are comparatively modern, and the coverings of the other domes appear to be also modern; but I suppose they follow the old outline. [29] The dimensions are worth giving to show how little this church owes to mere size. It is 245 feet long, 201 feet across the transept, and 170 feet across the west front. The height of the central cupola is 90 feet, and that of the west front 72 feet. [30] The inscription on the screen, which gives the date and the name of the Doge Antonio Venerio, gives also the names of the sculptors. [31] The tomb of Vitale Faliero and another. [32] The tomb of the Doge Marino Morosini. [33] ‘Sagornino Chronicon,’ p. 119. [34] ‘Il Palazzo Ducale di Venezia,’ per Francesco Zanotto, i. p. 9. [35] ‘Continental Ecclesiology,’ p. 306. [36] The mosaics here, as in Venice, are wholly of glass. The gold is covered with a thin film of glass, and the other colours used are dead white, black, dark and light blue, green and red. The very smallness of the palette was here, just as it was with the old painters on glass, a distinct advantage, saving them from the bizarre and confused effect produced in such works by the use of too many colours or shades of colours. [37] The red bricks are 2¼ thick × 9½ in. long, whilst the yellow bricks are 3¼ thick × 12 in. long. [38] The twelfth-century bricks here measure seven inches by two inches, and are built with a half inch mortar joint; they are of red and yellow colour, used indiscriminately, and, though good and lasting, extremely rough in their make. [39] The crockets on the monument of A.D. 1437 are exactly similar to those on the western gables of S. Mark’s, and prove that these are of about the same date. [40] I refer here to San Giacomo del Rialto. Its neighbour, San Giacomo del Olio, has also a brick campanile, but of inferior merit. [41] A view in the ‘Nuremberg Chronicle’ shews these three gables just as they now are. [42] I leave this description as it stood in 1855. Since then the whole of this interesting building has been so elaborately restored, that I doubt whether an old stone remains. It has lost all its charm, and this was once intense. [43] This house is in the Sestiere di Cannaregio, Parrochia San Canciano. [44] Zanotto, ‘Il Palazzo Ducale di Venezia,’ i. 39. [45] Ibid., i. 52-60.