the walls are filled with scenes from the heroic times of Venetian history. Here again the crowded canvases, the conscious straining after effect weary the spectator, and few are they who do not soon turn from detailed examination of the pictures, to rest eye and brain on the beautiful scene that opens out from the loggia on the side of the hall--the island of S. Giorgio; the Giudecca; the waters laughing in the sun; the peaceful lagoon; the Lido far away with its line of trees. The series of paintings on the N. wall represent scenes, mainly legendary, in the story of Pope Alexander III. and the Emperor Barbarossa, mostly by inferior artists. The S. wall is decorated with scenes in the epic story of the conquest of Constantinople under Enrico Dandolo; a single canvas, at the end of the hall opposite the Paradiso, by Veronese, has for its subject the return of Doge Contarini after the defeat of the Genoese at Chioggia. The panels of the magnificent ceiling were painted by Veronese, Tintoretto, Palma Giovane and F. Bassano. Veronese’s Apotheosis of Venice and Tintoretto’s Doge Nic. da Ponte with the Senate and envoys from conquered cities paying homage to Venice are stupendous works of their kind. On the frieze are portraits, mostly imaginary, of seventy-six Doges, by Tintoretto and his assistants, the place of Marino Falier being filled by a black tablet with the inscription: _Hic est locus Marini Faletri decapitati pro criminibus._ A door to the R. leads to the Hall of the Scrutineers (Sala dello Scrutinio). This, which almost rivals the Hall of the Great Council for magnificence, was the chamber where the Doges and other officers of State were elected. The S. end is filled with an ambitious Last Judgment by Palma Giovane in which that very second-rate artist tried to emulate Tintoretto’s Paradise. The E. and W. walls are decorated with scenes in the history of Venice of small artistic merit. When Garibaldi was at the Ducal Palace his attention was arrested by the resemblance to himself of the figure of Admiral Sebastiano Venier in Vicentino’s Battle of Lepanto. Thirty-nine portraits of Doges complete the line from the Hall of the Great Council ending on the W. wall with Ludovico Manin. At the N. end is the monument to Doge Francesco Morosini.