, ii. 327.
Trees, use of, in ornamentation, i. 231.
Trefoil, use of, in ornamentation, ii. 42.
Triangles, used for ornaments at Murano, ii. 43.
Tribune at Torcello, ii. 24.
Triglyphs, ugliness of, i, 43.
Trunkmakers, their share in recovery of Brides of Venice, iii. 117, 118.
Truth, relation of, to religion, in Spenser's "Faerie Queen," iii,
205; typified by stones, iii. 31.
Tympanum, decoration of, i. 299.

U

Unity of Venetian nobility, i. 10.

V

Vain glory, speedy punishment of, iii. 122.
Vanity, how symbolized, ii. 346.
Variety in ornamental design, importance of, ii. 43, 133, 142, 172.
Vegetation, use of, in ornamentation, i. 232; peculiar meaning of, in
Gothic, ii. 199; how connected with cusps, ii. 219.
Veil (wall veil), construction of, i. 58; decoration of, i. 294.
Vine, Lombardic sculpture of, i. 375; at Torcello, ii. 15; use of, in
ornamentation, ii. 141; in symbolism, ii. 143; sculpture of, on Ducal
Palace, ii. 308.
Virtues, how symbolized in sepulchral monuments, iii. 82, 86; systems
of, in Pagan and Christian philosophy, ii. 312; cardinal, ii. 317,
318, 320; of architecture, i. 36, 44.
Voussoirs defined, i. 125; contest between them and architraves, i.
336.

W

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 preciou