The barge passed on to the grand canal, where Montoni's mansion was situated. And here, other forms of beauty and of grandeur, such as her imagination had never painted, were unfolded to Emily in the palaces of Sansovino and Palladio, as she glided along the waves. The air bore no sounds, but those of sweetness, echoing along each margin of the canal, and from gondolas on its surface, while groups of masks were seen dancing on the moon-light terraces, and seemed almost to realize the romance of fairyland.

The barge stopped before the portico of a large house, from whence a servant of Montoni crossed the terrace, and immediately the party disembarked. From the portico they passed a noble hall to a stair- case of marble, which led to a saloon, fitted up in a style of magnificence that surprised Emily. The walls and ceilings were adorned with historical and allegorical paintings, in fresco; silver tripods, depending from chains of the same metal, illumined the apartment, the floor of which was covered with Indian mats painted in a variety of colours and devices; the couches and drapery of the lattices were of pale green silk, embroidered and fringed with green and gold. Balcony lattices opened upon the grand canal, whence rose a confusion of voices and of musical instruments, and the breeze that gave freshness to the apartment. Emily, considering the gloomy temper of Montoni, looked upon the splendid furniture of this house with surprise, and remembered the report of his being a man of broken fortune, with astonishment. 'Ah!' said she to herself, 'if Valancourt could but see this mansion, what peace would it give him! He would then be convinced that the report was groundless.'

Madame Montoni seemed to assume the air of a princess; but Montoni was restless and discontented, and did not even observe the civility of bidding her welcome to her home.

Soon after his arrival, he ordered his gondola, and, with Cavigni, went out to mingle in the scenes of the evening. Madame then became serious and thoughtful. Emily, who was charmed with every thing she saw, endeavoured to enliven her; but reflection had not, with Madame Montoni, subdued caprice and ill-humour, and her answers discovered so much of both, that Emily gave up the attempt of diverting her, and withdrew to a lattice, to amuse herself with the scene without, so new and so enchanting.

The first object that attracted her notice was a group of dancers on the terrace below, led by a guitar and some other instruments. The girl, who struck the guitar, and another, who flourished a tambourine, passed on in a dancing step, and with a light grace and gaiety of heart, that would have subdued the goddess of spleen in her worst humour. After these came a group of fantastic figures, some dressed as gondolieri, others as minstrels, while others seemed to defy all description. They sung in parts, their voices accompanied by a few soft instruments. At a little distance from the portico they stopped, and Emily distinguished the verses of Ariosto. They sung of the wars of the Moors against Charlemagne, and then of the woes of Orlando: afterwards the measure changed, and the melancholy sweetness of Petrarch succeeded. The magic of his grief was assisted by all that Italian music and Italian expression, heightened by the enchantments of Venetian moonlight, could give.