We retrace our steps to the Scala dei Censori, beyond which is a suite of rooms, once the private apartments of the Doges, now used as an archæological museum. In the corridor are two fine allegorical pictures of St Mark’s Lion by Jacobello del Fiore and Carpaccio; and Bart. Buoni’s remarkable head of Francesco Foscari. The beautiful rooms with their gilded ceilings and fine chimney-pieces by the Lombardi, contain Greek, Roman and Venetian sculpture, Renaissance bronzes, coins, old maps and other objects, many of them of high merit but only of interest to the more leisured student. In the Stanza degli Stucchi are a voting urn from the Scuola della Carità, and another from the Great Council. Before he leaves this room the visitor should ask to be shown one of the most interesting paintings in the palace--an unrestored fresco by Titian of St Christopher, with a view of Venice in the bottom background, at the foot of the staircase leading up to the Doge’s chapel. The Piombi have long since disappeared owing to structural alterations; such of the Pozzi and other cells that are shown may well be left unvisited. Before descending the Giant’s Staircase permission may be had, on application to the “Ufficio Regionale per la Conservazione dei Monumenti del Veneto,” to inspect the “Cobden Madonna” at the E. end of the S. gallery overlooking the Grand Canal. It is a fine marble relief of the Virgin and Child with attendant angels, wrought probably by Pietro Lombardo to commemorate the reduction of the duties on corn during a severe famine in the reign of one of the Mocenighi towards the end of the fifteenth century. When Richard Cobden was in Venice in 1847, during the course of his triumphant journey through Europe, he wrote his name, which is still visible, over one of the ears of corn beneath the Latin inscription. SECTION IV _The Accademia_