The keep, or Clinton’s Tower was perhaps built between 1170 and 1180. Lunn’s Tower may be the work of King John. Henry III. expended large sums at Kenilworth, and to him is ascribed the great dam, the Water and Warden’s Towers, and much of the curtain on the south and east. Robert Dudley, Earl of Leicester, altered the keep into Tudor Style, and besides the buildings called by his name, added the Gallery Tower and the gatehouse at the north-east, “a very fine example of a declining period in English architecture.” John of Gaunt certainly built the great Hall (circ. 1390), “one of the most beautiful examples of Early Perpendicular work in the kingdom,” and he is said to have built the portion called Lancaster’s Buildings, between Cæsar’s Tower and the hill. It was at Kenilworth, during one of her visits in August, 1572, while out hunting, that Queen Elizabeth read, as she rode, the terrible news of the massacre of Saint Bartholomew. SANTA MARIA DELLA SALUTE JOHN RUSKIN “SANTA MARIA DELLA SALUTE,” Our Lady of Health, or of Safety, would be a more literal translation, yet not perhaps fully expressing the force of the Italian word in this case. The church was built between 1630 and 1680, in acknowledgment of the cessation of the plague:--of course to the Virgin, to whom the modern Italian has recourse in all his principal distresses, and who receives his gratitude for all principal deliverances. The hasty traveller is usually enthusiastic in his admiration of this building; but there is a notable lesson to be derived from it, which is not often read. On the opposite side of the broad canal of the Guidecca is a small church, celebrated among Renaissance architects as of Palladian design, but which would hardly attract the notice of the general observer, unless on account of the pictures by John Bellini which it contains, in order to see which the traveller may perhaps remember having been taken across the Guidecca to the Church of the “Redentore.” But he ought carefully to compare these two buildings with each other, the one built “to the Virgin,” the other “to the Redeemer” (also a votive offering after the cessation of the plague of 1576): the one, the most conspicuous church in Venice, its dome, the principal one by which she is first discerned, rising out of the distant sea; the other, small and contemptible, on a suburban island, and only becoming an object of interest, because it contains three small pictures! For in relative magnitude and conspicuousness of these two buildings, we have an accurate index of the relative importance of the ideas of the Madonna and of Christ in the modern Italian mind. [Illustration: SANTA MARIA DELLA SALUTE, ITALY.]