Within the loggia are various sculptured ornaments. The doorway leading into the courtyard is decorated with a little scroll of foliage round the arch, and small half-length human figures. The capitals and imposts are admirably carved with groups of figures full of movement. The impost to the right bears on the front face a group of putti or angels playing various musical instruments, quite in the style of Michelozzo, while on the return face is a group of armed men. Of the left-hand impost the front face is adorned with the figures of a man and woman embracing each other, a boy standing at their side; and the return face, with a group of dancing figures, one of whom is blowing a horn—a curious specimen of perspective. The small brackets whence the vaulting springs are also beautifully carved with groups of men and animals. The best of these is the one with a shepherd boy and a dragon, both full of movement and grace, and likewise interesting in perspective. All this sculpture is Onofrio’s work, and so is the Porta della Carità to the right, otherwise called the “Porta è l’Officio del Fondico.” Here in times of famine the poor received their doles of bread, sold below cost price or on easy credit. Adjoining is the small door leading to the hall of the Minor Council on the mezzanine floor. To the right and left of the main entrance are rows of carved marble benches. The ones to the right are in double tiers, and here on grand occasions the Rector would sit with the Minor Council, the Archbishop, and, in later times, the Imperial Resident. The lower single-tier seats were for the Grand Council. The whole loggia was known as “sotto i volti.”