probably also were added then.

When the elegant spired cupolas at each corner of the palace roof were
built, I do not know, but they look like a happy afterthought. The
small balcony overlooking the lagoon, which is gained from the
Sala del Maggior Consiglio, and which in Canaletto and Guardi's
eighteenth-century pictures always, as now, has a few people on it, was
built in 1404. It is to be seen rightly only from the water or through
glasses. The Madonna in the circle is charming. She has one child in her
arms and two at her knees, and her lap is a favourite resting-place for
pigeons. In the morning when the day is fine the green bronze of the
sword and crown of Justice (or, as some say, Mars), who surmounts all,
is beautiful against the blue of the sky.

The Piazzetta facade balcony was built early in the sixteenth century,
but the statue of S. George is a recent addition, Canova being the
sculptor.

Now let us examine the carved capitals of the columns of the Ducal
Palace arcade, for these are extremely interesting and transform it into
something like an encyclopedia in stone. Much thought has gone to them,
the old Venetians' love of symbols being gratified often to our
perplexity. We will begin at the end by the Porta della Carta, under the
group representing the Judgment of Solomon--the Venetians' platonic
affection for the idea of Justice being here again displayed. This
group, though primitive, the work of two sculptors from Fiesole early in
the fifteenth century, has a beauty of its own which grows increasingly
attractive as one returns and returns to the Piazzetta. Above the group
is the Angel Gabriel; below it, on the richly foliated capital of this
sturdy corner column, which bears so much weight and splendour, is
Justice herself, facing Sansovino's Loggetta: a little stone lady with
scales and sword of bronze. Here also is Aristotle giving the law to
some bearded men; while other figures represent Solon, another jurist,
Scipio the chaste, Numa Pompilius building a church, Moses receiving the
tables of the law, and Trajan on horseback administering justice to a
widow. All are named in Latin.

The second capital has cherubs with fruit and birds and no lettering.

The third has cranes and no lettering.

The fourth is allegorical, representing, but without much psychology,
named virtues and vices, such as misery, cheerfulness, folly, chastity,
honesty, falsehood, injustice, abstinence.

The fifth has fi