Walls, general analysis of their structure, i. 48; bases of, i. 52, 53; cornices of, i. 63; rustication of, i. 61, 338; decoration of, i. 294; courses in, i. 61, 295. Water, its use in ornamentation, i. 226; ancient representations of, i. 417. Weaving, importance of associations connected with, ii. 136. Wells, old Venetian, ii. 279. Windows, general forms of, i. 179; Arabian, i. 180, ii. 135; square-headed, ii. 211, 269; development of, in Venice, ii. 235; orders of, in Venice, ii. 248; advisable form of, in modern buildings, ii. 269. Winds, how symbolized at Venice, ii. 367. Wooden architecture, i. 381. Womanhood, virtues of, as given by Spenser, ii. 326. Z Zigzag, Norman, i. 339. IV. VENETIAN INDEX. I have endeavored to make the following index as useful as possible to the traveller, by indicating only the objects which are really worth his study. A traveller's interest, stimulated as it is into strange vigor by the freshness of every impression, and deepened by the sacredness of the charm of association which long familiarity with any scene too fatally wears away,[71] is too precious a thing to be heedlessly wasted; and as it is physically impossible to see and to understand more than a certain quantity of art in a given time, the attention bestowed on second-rate works, in such a city as Venice, is not merely lost, but actually harmful,--deadening the interest and confusing the memory with respect to those which it is a duty to enjoy, and a disgrace to forget. The reader need not fear being misled by any omissions; for I have conscientiously pointed out every characteristic example, even of the styles which I dislike, and have referred to Lazari in all instances in which my own information failed: but if he is in any wise willing to trust me, I should recommend him to devote his principal attention, if he is fond of paintings, to the works of Tintoret, Paul Veronese, and John Bellini; not of course neglecting Titian, yet remembering that Titian can be well and thoroughly studied in almost any great European gallery, while Tintoret and Bellini can be judged of _only_ in Venice, and Paul Veronese, though gloriously represented by the two great pictures in the Louvre, and many others throughout Europe, is yet not to be fully estimated until he is seen at play among the fantastic chequers of the Venetian ceilings.