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Updated: May 25, 2025
The great sea-fight picture on the right wall represents another battle of Lepanto, a later engagement than Venier's; the painter is Andrea Vicentino, who has depicted himself as the figure in the water; while in another naval battle scene, in the Dardanelles, the painter, Pietro Liberi, is the fat naked slave with a poniard. For the rest the guide-book should be consulted.
I am called the 'Ballarin." The ignoble meanness of Zorzi's tormentors roused Venier's generous blood. "You will yet be their master," he said. "You will some day have a furnace of your own, and they will fawn to you. Your nickname will be better than their names in a few years!" "I hope so," answered Zorzi.
Zuan Venier's visit had recalled very clearly the obligations by which he had solemnly bound himself, and which he honestly meant to fulfil; and apart from them, when he tried to reason about his love, he could make it seem absurd enough that he should dream of winning Marietta for his wife. But love itself does not argue.
When Zorzi saw Venier's expression of astonishment on seeing him, he smiled quietly, but offered no audible greeting, for he did not know what was expected of him. But Venier took his hand frankly and held it a moment. "I am glad to find you here," he said, less indolently than he usually spoke. "I have good news for you, if you will take my advice."
At first Contarini had answered with offended surprise, asking what concern it could be of Venier's whether a miserable glass-blower were exiled or not, and he appealed to the others, asking whether it would not be far better for them all that such an outsider as Zorzi should be banished from Venice.
He was tall, broad shouldered, and well proportioned, with beautiful hands and shapely feet, yet he did not give an impression of strength, whereas Venier's languid manner, assumed as it doubtless was, could not hide the restless energy that lay in his lean frame.
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