She stands there in full majesty, a beautiful young girl, proud in her bearing, but full of human attraction. She is not saint-like, and wears her crown with no humility, and holds her palm as it might be a sceptre. Her rich brown robe, carelessly held about her waist by a knotted ribbon, is in exquisite contrast with her crimson mantle. A white veil is twisted in her golden crown, falls on one side, and crosses her breast; while her magnificent hair falls in wavy tresses on each side her throat, and rests on her bosom. Cannon are at her feet, and her tower is seen behind her. It is a splendid, lovable woman who is here portrayed in a marvellous manner. Charles Blanc tells us that when he first entered this church with his friend, Mass was being said before the altar of Santa Barbara; but in spite of the ceremony and the place they were both surprised into cries of admiration as they saw the picture. Naturally the priests and worshippers were scandalized, and our author was publicly reproved. Tradition teaches us that this Barbara was a portrait of Palma's daughter, Violante, who was passionately loved by Titian. So good an authority as Blanc tells us that "it is certain" that Palma's daughter was the mistress of Titian late in his life. Both these masters made several portraits of her, introducing her into a variety of scenes. {364} One knows her by her limpid, wide-open eyes, her voluptuous mouth and peculiar nose. She is often represented in dishabille, with her large shoulders and beautiful bosom half bare. When attired, she is much decorated, with puffs and slashes in her gowns, with bows of ribbon, and numerous chains and other ornaments. Just at the left of the western front of Santa Maria Formosa is the entrance to the Ponte del Paradiso, with its exquisite Gothic archway.--one of the most charming bits of old architecture in Venice. A very short walk takes one to the Campo of SS. Giovanni and Paola, on which are situated the grand Dominican church of the same name; the Scuola of San Marco, now a hospital; and the chapel of Santa Maria della Pace, in which the Falieri were buried, and where, in 1815, the skeleton of the unhappy Doge was found with the head between the knees. Here too is the splendid statue of Verrochio's, of which Ruskin says, "I do not believe that there is a more glorious work of sculpture existing in the world than the equestrian statue of Bartolommeo Colleoni,"--which to me seems rather extreme praise.