The exhibited autographs include Titian's hand large and forcible; Leopardi's, very neat; Goldoni's, delicate and self-conscious; Galileo's, much in earnest; and a poem by Tasso with myriad afterthoughts.
But the one idea of the custodian is to get you to admire the famous Grimani Breviary--not alas! in the original, which is not shown, but in a coloured reproduction.

Very well, you say; and then discover that the privilege of displaying it is the perquisite of a rusty old colleague.
That is to say, one custodian extols the work in order that another may reap a second harvest by turning its leaves.

This delightful book dates from the early sixteenth century and is the work of some ingenious and masterly Flemish miniaturist with a fine sense of the open air and the movement of the seasons.

But it is hard to be put off with an ordinary bookseller's traveller's specimen instead of the real thing.

If one may be so near Titian's autograph and the illuminated _Divine Comedy_, why not this treasure too?
January reveals a rich man at his table, dining alone, with his servitors and dogs about him; February's scene is white with snow--a small farm with the wife at the spinning-wheel, seen through the door, and various indications of cold, without; March shows the revival of field labours; April, a love scene among lords and ladies; May, a courtly festival; June, haymaking outside a fascinating city; July, sheep-shearing and reaping; August, the departure for the chase; September, grape-picking for the vintage; October, sowing seeds in a field near another fascinating city--a busy scene of various activities; November, beating oak-trees to bring down acorns for the pigs; and December, a boar hunt--the death.