The different uses to which some of these Palaces are applied, all at once, is characteristic. For instance, the English Banker (my excellent and hospitable friend) has his office in a good-sized Palazzo in the Strada Nuova. In the hall (every inch of which is elaborately painted, but which is as dirty as a police-station in London), a hook-nosed Saracen’s Head with an immense quantity of black hair (there is a man attached to it) sells walking-sticks. On the other side of the doorway, a lady with a showy handkerchief for head-dress (wife to the Saracen’s Head, I believe) sells articles of her own knitting; and sometimes flowers. A little further in, two or three blind men occasionally beg. Sometimes, they are visited by a man without legs, on a little go-cart, but who has such a fresh-coloured, lively face, and such a respectable, well-conditioned body, that he looks as if he had sunk into the ground up to his middle, or had come, but partially, up a flight of cellar-steps to speak to somebody. A little further in, a few men, perhaps, lie asleep in the middle of the day; or they may be chairmen waiting for their absent freight. If so, they have brought their chairs in with them, and there _they_ stand also. On the left of the hall is a little room: a hatter’s shop. On the first floor, is the English bank. On the first floor also, is a whole house, and a good large residence too. Heaven knows what there may be above that; but when you are there, you have only just begun to go up-stairs. And yet, coming down-stairs again, thinking of this; and passing out at a great crazy door in the back of the hall, instead of turning the other way, to get into the street again; it bangs behind you, making the dismallest and most lonesome echoes, and you stand in a yard (the yard of the same house) which seems to have been unvisited by human foot, for a hundred years. Not a sound disturbs its repose. Not a head, thrust out of any of the grim, dark, jealous windows, within sight, makes the weeds in the cracked pavement faint of heart, by suggesting the possibility of there being hands to grub them up. Opposite to you, is a giant figure carved in stone, reclining, with an urn, upon a lofty piece of artificial rockwork; and out of the urn, dangles the fag end of a leaden pipe, which, once upon a time, poured a small torrent down the rocks. But the eye-sockets of the giant are not drier than this channel is now. He seems to have given his urn, which is nearly upside down, a final tilt; and after crying, like a sepulchral child, ‘All gone!’ to have lapsed into a stony silence.