APPENDIX, 2 251

We have here the part built by Foscari distinctly called the Palazzo Nuovo, as opposed to the Great Council Chamber, which had now completely taken the position of the Palazzo Vecchio, and is actually so called by Sansovino. In the copy of the chronicle of Paolo Morosini, and in the MSS. numbered respectively 57, 59, 74, and 76 in the Correr Museum, the passage above given from No. 53 is variously repeated with slight modifications and curtailments; the entry in the Morosini Chronicle being headed, “Come fu principiato il palazo che guarda sopra la piaza grande di S. Marco,” and proceeding in the words, “El Palazo Nuovo di Venetia, cioe quella partechee sopra la piaza,” etc.; the writers being cautious, in all these instances, to limit their statement to the part facing the Piazza, that no reader might suppose the Council Chamber to have been built or begun at the same time; though, as long as to the end of the sixteenth century, we find the Council Chamber still included in the expression “Palazzo Nuovo.” Thus, in the MSS. No. 75 in the Correr Museum, which is about that date, we have “Del 1422, a di 20, Settembre fu preso nel consegio grando de dover compir el Palazo Novo e dovesen fare la spessa li officialli del Sal (61, M. 2, B).” And so long as this is the case, the “Palazzo Vecchio” always means the Ziani Palace. Thus, in the next page of the same MS. we have “a di 27 Marzo (1424 by context) fo pncipia a butar zosso, el Palazzo Vecchio per refarlo da novo, e poi se he” (and so it is done); and in the MS. No. 81, “Del 1424, fo gittado zoso el Palazzo Vecchio per refarlo de nuovo, a di 27 Marzo.” But in the time of Sansovino the Ziani Palace was quite forgotten; the Council Chamber was then the old palace, and Foscari’s part was the new. His account of the “Palazzo Publico” will now be perfectly intelligible; but, as the work itself is easily accessible,¹ I shall not burden the reader with any farther extracts, only noticing that the chequering of the façade with red and white marbles, which he ascribes to Foscari, may or may not be of so late a date, as there is nothing in the style of the work which can be produced as evidence.

2. [VOL. X. P. 383 n.] THEOLOGY OF SPENSER

The following analysis of the first book of the Faërie Queene may be interesting to readers who have been in the habit of reading the noble poem too hastily to connect its parts completely together, and may perhaps induce them to more careful study of the rest of the poem.

The Redcrosse Knight is Holiness,-the “Pietas” of St. Mark’s, the “Devotio” of Orcagna,²-meaning, I think, in general, Reverence and Godly Fear.

This Virtue, in the opening of the book, has Truth (or Una) at its side, but presently enters the Wandering Wood, and encounters the serpent Error; that is to say, Error in her universal form, the first enemy of Reverence and Holiness; and more especially Error as founded on learning; for when Holiness strangles her,

“Her vomit full of books and papers was,

With loathly frogs and toades, which eyes did lacke.”

¹ [For its title, see Vol. IX. p. 20 n.]

² [See Vol. X. p. 385.]

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