One of these great campanili had an almost startling effect as the gondola passed it. It seemed to interpose itself between the moon and ourselves. We never saw any building which, for the moment, seemed so gigantic. On we went—past the opening of many a narrow canal, looking on one side into impenetrable gloom, and on the other into almost magical light. Here and there was some exquisitely traceried window, illuminated like burnished silver. The plash of the oar and the ripple of the water against the gondola added to the charm of the scene, and before long the strains of distant music enhanced the poetry of that most lovely night. A huge arch soon came in sight, spanning the great canal. Need we say that this was the Rialto? The gondola shot beneath it, and wound its way along past a sharp curve in the canal through another bridge, and on our right the Church of the Salute came in sight, and we soon emerged on to the broad and lake-like water of the Giudecca. To our left was a garden, and a little behind it rose the group of domes and the lofty isolated campanili of St. Mark. We knew it was St. Mark’s, and were therefore not surprised at its exquisite beauty, though, owing to the intervening buildings, we could only see its domes and campanile. The Ducal Palace, strange to say, did not present so striking an appearance by moonlight, owing to its somewhat box-like outline. But still the deep gloom of its arcades somewhat repaid the mind for the disappointment experienced in its general aspect. Of course, we looked out for the Bridge of Sighs, which was buried, as it should be, in profound gloom. It was appropriate that this tragic structure should be hidden in the deepest shadow of our first view of Venice, just as we recollect the dome of the Salute forming its greatest light. On the one side was typified human suffering, human woe, tyranny, cruelty, and oppression, and on the other the salvation which came to us through the Healer, whose purity is rightly symbolled in the clear white dome of the church. These two buildings, so typical of human life, are rightly placed. The one at the junction of the two great canals, where they expand almost into a lake, lifts its marble dome, soaring up to the skies, and everyone asks as they come in sight of it, “What is that?” The answer is, “That is the Salute” (Salvation). Happy omen for a city where such a sign is always visible amidst the surrounding gloom! The other building, half concealed, and skulking away over a gloomy canal, like secret sin deep buried in the human heart. We know it is there, and that its loathsome presence will be found when sought for, and though the gloom of night may for a time conceal it, yet with the daylight it will be visible, carrying with it condemnation.