This was, of course, a large picture. The process has already been continued in an equally destructive, though somewhat more delicate manner, over the whole of the humbler canvases on the ceiling of the Sala del Gran Consiglio; and I heard it threatened when I was last in Venice (1851-2) to the "Paradise" at its extremity, which is yet in tolerable condition,--the largest work of Tintoret, and the most wonderful piece of pure, manly, and masterly oil-painting in the world. SECTION CXIX. I leave these facts to the consideration of the European patrons of art. Twenty years hence they will be acknowledged and regretted; at present, I am well aware, that it is of little use to bring them forward, except only to explain the present impossibility of stating what pictures _are_, and what _were_, in the interior of the Ducal Palace. I can only say, that in the winter of 1851, the "Paradise" of Tintoret was still comparatively uninjured, and that the Camera di Collegio, and its antechamber, and the Sala de' Pregadi were full of pictures by Veronese and Tintoret, that made their walls as precious as so many kingdoms; so precious indeed, and so full of majesty, that sometimes when walking at evening on the Lido, whence the great chain of the Alps, crested with silver clouds, might be seen rising above the front of the Ducal Palace, I used to feel as much awe in gazing on the building as on the hills, and could believe that God had done a greater work in breathing into the narrowness of dust the mighty spirits by whom its haughty walls had been raised, and its burning legends written, than in lifting the rocks of granite higher than the clouds of heaven, and veiling them with their various mantle of purple flower and shadowy pine. NOTE. I have printed the chapter on the Ducal Palace, quite one of the most important pieces of work done in my life, without alteration of its references to the plates of the first edition, because I hope both to republish some of those plates, and together with them, a few permanent photographs (both from the sculpture of the Palace itself, and from my own drawings of its detail), which may be purchased by the possessors of this smaller edition to bind with the book or not, as they please. This separate publication I can now soon set in hand; and I believe it will cause much less confusion to leave for the present the references to the old plates untouched. The wood-blocks used for the first three figures in this chapter, are the original ones: that of the Ducal Palace facade was drawn on the wood by my own hand, and cost me more trouble than it is worth, being merely given for division and proportion. The greater part of the first volume, omitted in this edition after "the Quarry," will be republished in the series of my reprinted works, with its original wood-blocks.