Chapter CXXVI: Section XIX: In saying that it is the same now in existence, I do not

mean that it has undergone no alterations; as we shall see hereafter, it has been refitted again and again, and some portions of its walls rebuilt; but in the place and form in which it first stood, it still stands; and by a glance at the position which its windows occupy, as shown in Figure II. above, the reader will see at once that whatever can be known respecting the design of the Sea Facade, must be gleaned out of the entries which refer to the building of this Great Council Chamber.

Cadorin quotes two of great importance, to which we shall return in due time, made during the progress of the work in 1342 and 1344; then one of 1349, resolving that the works at the Ducal Palace, which had been discontinued during the plague, should be resumed; and finally one in 1362, which speaks of the Great Council Chamber as having been neglected and suffered to fall into "great desolation," and resolves that it shall be forthwith completed. [Footnote: Cadorin, 185, 2. The decree of 1342 is falsely given as of 1345 by the Sivos Chronicle, and by Magno; while Sanuto gives the decree to its right year, 1342, but speaks of the Council Chamber as only begun in 1345.]

The interruption had not been caused by the plague only, but by the conspiracy of Faliero, and the violent death of the master builder. [Footnote: Calendario. See Appendix I., Vol. III.] The work was resumed in 1362, and completed within the next three years, at least so far as that Guariento was enabled to paint his Paradise on the walls; [Footnote: "II primo che vi colorisse fu Guariento il quale l'anno 1365 vi fece il Paradiso in testa della sala."--_Sansovino_.] so that the building must, at any rate, have been roofed by this time. Its decorations and fittings, however, were long in completion; the paintings on the roof being only executed in 1400. [Footnote: "L'an poi 1400 vi fece il ciclo compartita a quadretti d'oro, ripieni di stelle, ch'era la insegna del Doge Steno."--_Sansovino_, lib. viii.] They represented the heavens covered with stars, [Footnote: "In questi tempi si messe in oro il ciclo della sala del Gran Consiglio et si fece il pergole del finestra grande chi guarda sul canale, adornato l'uno e l'altro di stelle, eh' erano la insegne del Doge."--_Sansovino_, lib. xiii. Compare also Pareri, p. 129.] this being, says Sansovino, the bearings of the Doge Steno. Almost all ceilings and vaults were at this time in Venice covered with stars, without any reference to armorial bearings; but Steno claims, under his noble title of Stellifer, an important share in completing the chamber, in an inscription upon two square tablets, now inlaid in the walls on each side of the great window towards the sea:

"MILLE QUADRINGENTI CURREBANT QUATUOR ANNI
HOC OPUS ILLUSTRIS MICHAEL DUX STELLIFER AUXIT."

And in fact it is to this Doge that we owe the beautiful balcony of that window, though the work above it is partly of more recent date; and I think the tablets bearing this important inscription have been taken out and reinserted in the newer masonry. The labor of these final decorations occupied a total period of sixty years. The Grand Council sat in the finished chamber for the first time in 1423. In that year the Gothic Ducal Palace of Venice was completed. It had taken, to build it, the energies of the entire period which I have above described as the central one of her life.