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The salmon-pink intonaco that covers Venice's palazzi is not paint but a lime render tinted with brick dust, applied in coats and burnished — a finish that the Adriatic humidity weathers in its own way, deepening in patches and lightening at edges. Here it meets its recurring counterpart: Istrian stone, the dense white limestone quarried from across the lagoon that frames every arch, window, and cornice in the city. At the center, a classical mascherone — a bearded face pressed flat above a keystone — watches from the arch with the mild indifference of a decorative program repeated on ten thousand buildings. Above, corbeled cornices throw their shadows with the precision of sundials. Venice uses ornament the way it uses everything: practically, in abundance, and without apology.
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