Eight diamond-shaped windows punch through a flat ochre wall in two rows of four, each one set into a white beveled recess that catches the light on two faces and falls to shadow on the other two. Seven hold only darkness inside; the eighth, bottom right, catches a slice of reflected light — white against black — that breaks the pattern just enough to make you look twice. It is the kind of building that earns its place in a city defined by ornament through sheer geometric confidence: no cornice, no pilaster, no mascherone, just the ochre field and the diamonds repeating across it. Venice has always known that repetition, done well enough, becomes its own form of decoration.
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