I have written a list of these palaces, not quite all but the most remarkable of them, and I dare not insert it on account of its length. It takes up five or six pages: Pietro Lombardo, Scamozzi, Vittoria, Longhena, Andrea Tremignan, Giorgio Massari, Sansovino, Sebastiano Mazzoni, Sammichelli, the great architect of Verona, Selva, Domenico Rossi, and Visentini designed and superintended the construction of these princely dwellings,--without counting the marvellous unknown artists of the Middle Ages who erected the most picturesque and romantic ones, those that gave to Venice her distinction and originality. Upon these two banks, façades, all charming and variously beautiful, succeed each other without interruption. After a specimen of Renaissance architecture, with its columns and superimposed orders comes a mediæval palace of the Gothic-Arabian style, of which the Ducal palace is the prototype, with its open-work, balconies, its ogives, its trefoils and its lace-like acrotera. A little farther is a façade encased in coloured marbles, ornamented with medalions and consoles; then comes a great rose-coloured wall, where a large window with little columns is cut out. Every style is found here: Byzantine, Saracen, Lombard, Gothic, Roman, Greek, and even Rococo; the column and the small column, the ogive and the cincture and the capricious capital filled with birds and flowers that has come from Acre or Jaffa; the Greek capital found amidst Athenian ruins, the mosaic and the bas-relief; the classic severity and the elegant fantasy of the Renaissance. It is an immense gallery in the open air, where one can study from his gondola the art of seven or eight centuries. What genius, talent and money have been expended in this space that can be traversed in less than an hour! What wonderful artists! But also what intelligent and magnificent lords! What a pity that the patricians who knew how to have such beautiful things made should exist no longer save in the canvasses of Titian, Tintoretto and Il Moro!