ish miniaturist with a fine sense of the open air and the
movement of the seasons. But it is hard to be put off with an ordinary
bookseller's traveller's specimen instead of the real thing. If one may
be so near Titian's autograph and the illuminated _Divine Comedy_, why
not this treasure too? January reveals a rich man at his table, dining
alone, with his servitors and dogs about him; February's scene is white
with snow--a small farm with the wife at the spinning-wheel, seen
through the door, and various indications of cold, without; March shows
the revival of field labours; April, a love scene among lords and
ladies; May, a courtly festival; June, haymaking outside a fascinating
city; July, sheep-shearing and reaping; August, the departure for the
chase; September, grape-picking for the vintage; October, sowing seeds
in a field near another fascinating city--a busy scene of various
activities; November, beating oak-trees to bring down acorns for the
pigs; and December, a boar hunt--the death. And all most gaily coloured,
with the signs of the Zodiac added.

The little building under the campanile is Sansovino's Loggetta, which
he seems to have set there as a proof of his wonderful catholicity--to
demonstrate that he was not only severe as in the Old Library, and
Titanic as in the Giants, but that he had his gentler, sweeter thoughts
too. The Loggetta was destroyed by the fall of the campanile; but it
has risen from its ruins with a freshness and vivacity that are
bewildering. It is possible indeed to think of its revivification as
being more of a miracle than the new campanile: for the new campanile
was a straight-forward building feat, whereas to reconstruct Sansovino's
charm and delicacy required peculiar and very unusual gifts. Yet there
it is: not what it was, of course, for the softening quality of old age
has left it, yet very beautiful, and in a niche within a wonderful
restoration of Sansovino's group of the Madonna and Child with S. John.
The reliefs outside have been pieced together too, and though here and
there a nose has gone, the effect remains admirable. The glory of Venice
is the subject of all.

The most superb of the external bronzes is the "Mercury" on the left of
the facade. To the patience and genius of Signor Giacomo Boni is the
restored statuary of the Loggetta due; Cav. Munaretti was responsible
for the bronzes, and Signor Moretti for the building. All honour to
them!

Old Coryat's enthusias