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the rapacity of creditors, and they punished thefts sustained by the merchants. It is curious to find contemporary with this beneficent magistracy, a charge of equal dignity exercised by the College of Reprisals. A citizen offended in his person or property abroad, demanded justice of the government of the country in which the offense was committed. If the demand was refused, it was repeated by the Republic; if still refused, then the Republic, although at peace with the nation from which the offense came, seized any citizen of that country whom it could find, and, through its College of Reprisals, spoiled him of sufficient property to pay the damage done to its citizen. Finally, besides several other magistracies resident in Venice, the Republic appointed Consuls in its colonies and some foreign ports, to superintend the traffic of its citizens, and to compose their controversies. The Consuls were paid out of duties levied on the merchandise; they were usually nobles, and acted with the advice and consent of twelve other Venetian nobles or merchants.

      At this time, and, indeed, throughout its existence, the great lucrative monopoly of the Republic was the salt manufactured in the lagoons, and forced into every market, at rates that no other salt could compete with. Wherever alien enterprise attempted rivalry, it was instantly discouraged by Venice. There were troublesome salt mines, for example, in Croatia; and in 1381 the Republic caused them to be closed by paying the King of Hungary an annual pension of seven thousand crowns of gold. The exact income of the State, however, from the monopoly of salt, or from the various imposts and duties levied upon merchandise, it is now difficult to know, and it is impossible to compute accurately the value or extent of Venetian commerce at any one time. It reached the acme of its prosperity under Tommaso Mocenigo, who was Doge from 1414 to 1423. There were then three thousand and three hundred vessels of the mercantile marine, giving employment to thirty-three thousand seamen, and netting to their owners a profit of forty per cent, on the capital invested. How great has been the decline of this trade may be understood from the fact that in 1863 it amounted, according to the careful statistics of the Chamber of Commerce, to only $60,229,740, and that the number of vessels now owned in Venice is one hundred and fifty. As the total tonnage of these is but 26,000, it may be inferred that they are small craft, and in fact they are nearly all coasting vessels. They no longer bring to Venice the drugs and spices and silks of Samarcand, or carry her own rare manufactures to the ports of western Europe; but they sail to and from her canals with humble freights of grain, lumber, and hemp. Almost as many Greek as Venetian ships now visit the old queen, who once levied a tax upon every foreign vessel in her Adriatic; and the shipping from the cities of the kingdom of Italy exceeds hers by ninety sail, while the tonnage of Great Britain is vastly greater. Her commerce has not only wasted to the shadow of its former magnitude, but it has also almost entirely lost its distinctive character. Glass of Murano is still exported to a value of about two millions of dollars annually; but in this industry, as in nearly all others of the lagoons, there is an annual decline. The trade of the port falls off from one to three millions of dollars yearly, and the manufacturing interests of the province have dwindled in the same proportion. So far as silk is concerned, there has been an immediate cause for the decrease in the disease which has afflicted the cocoons for several years past. Wine and oil are at present articles of import solely,—the former because of a malady of the grape, the latter because of negligent cultivation of the olive.

A considerable number of persons are still employed in the manufacture of objects of taste and ornament; and in the Ruga Vecchia at Rialto they yet make the famous Venetian gold chain, which few visitors to the city can have failed to notice hanging in strands and wound upon spools, in the shop windows of the Old Procuratie and the Bridge of Rialto. It is wrought of all degrees of fineness, and is always so flexile that it may be folded and wound in any shape. It is now no longer made in great quantity, and is chiefly worn by contadine (as a safe investment of their ready money), ³³ and old-fashioned people of the city, who display the finer sort in skeins or strands. At Chioggia, I remember to have seen a babe at its christening in church literally manacled and shackled with Venetian chain; and the little girl who came to us one day, to show us the splendors in which she had appeared at a disputa (examination of children in doctrine), was loaded with it. Formerly, in the luxurious days of the Republic, it is said the chain was made as fine as sewing-silk, and worn embroidered on Genoa velvet by the patrician dames. It had then a cruel interest from the fact that its manufacture, after a time, cost the artisans their eyesight, so nice and subtle was the work. I could not help noticing that the workmen at the shops in the Ruga Vecchia still suffer in their eyes, even though the work is much coarser. I do not hope to describe the chain, except by saying that the links are horseshoe and oval shaped, and are connected by twos,—an oval being welded crosswise into a horseshoe, and so on, each two being linked loosely into the next.

      An infinitely more important art, in which Venice was distinguished a thousand years ago, has recently been revived there by Signor Salviati, an enthusiast in mosaic painting. His establishment is on the Grand Canal, not far from the Academy, and you might go by the old palace quite unsuspicious of the ancient art stirring with new life in its breast. “A. Salviati, Avvocato,” is the legend of the bell-pull, and you do not by any means take this legal style for that of the restorer of a neglected art, and a possessor of forgotten secrets in gilded glass and “smalts,” as they term the small delicate rods of vitreous substance, with which the wonders of the art are achieved. But inside of the palace are some two hundred artisans at work,—cutting the smalts and glass into the minute fragments of which the mosaics are made, grinding and smoothing these fragments, polishing the completed works, and reproducing, with incredible patience and skill, the lights and shadows of the pictures to be copied.

      You first enter the rooms of those whose talent distinguishes them as artists, and in whose work all the wonderful neatness and finish and long-suffering toil of the Byzantines are visible, as well as original life and inspiration alike impossible and profane to the elder mosaicists. Each artist has at hand a great variety of the slender stems of smalts already mentioned, and breaking these into minute fragments as he proceeds, he inserts them in the bed of cement prepared to receive his picture, and thus counterfeits in enduring mineral the perishable work of the painter.

      In other rooms artisans are at work upon various tasks of marqueterie,—table-tops, album-covers, paper-weights, brooches, pins and the like,—and in others they are sawing the smalts and glass into strips, and grinding the edges. Passing through yet another room, where the finished mosaic-works—of course not the pictorial mosaics—are polished by machinery, we enter the store-room, where the crowded shelves display blocks of smalts and glass of endless variety of color. By far the greater number of these colors are discoveries or improvements of the venerable mosaicist Lorenzo Radi, who has found again the Byzantine secrets of counterfeiting, in vitreous paste, aventurine (gold stone), onyx, chalcedony, malachite, and other natural stones, and who has been praised by the Academy of Fine Arts in Venice for producing mosaics even more durable in tint and workmanship than those of the Byzantine artists.

      In an upper story of the palace a room is set apart for the exhibition of the many beautiful and costly things which the art of the establishment produces. Here, besides pictures in mosaic, there are cunningly inlaid tables and cabinets, caskets, rich vases of chalcedony mounted in silver, and delicately wrought jewelry, while the floor is covered with a mosaic pavement ordered for the Viceroy of Egypt. There are here, moreover, to be seen the designs furnished by the Crown Princess of Prussia for the mosaics of the Queen’s Chapel at Windsor. These, like all other pictures and decorations in mosaic, are completed in the establishment on the Grand Canal, and are afterward put up as wholes in the places intended for them.

      In Venice nothing in decay is strange. But it is startling to find her in her old age nourishing into fresh life an art that, after feebly preserving the memory of painting for so many centuries, had decorated her prime only with the glories of its decline;—for Kugler ascribes the completion of the mosaics of the church of St. Cyprian in Murano to the year 882, and the earliest mosaics of St. Mark’s to the tenth or eleventh centuries, when the Greek Church had already laid her ascetic hand on Byzantine art, and fixed its conventional forms, paralyzed its motives, and forbidden its inspirations. I think, however, one would look about him in vain for other evidences of a returning prosperity in the lagoons. The old prosperity of Venice, was based upon her monopoly of the

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