Asterisk denotes entries on real places.
Tina’s garden. Garden of Juliana’s niece, or grandniece, Tina Bordereau (called Tita in the original edition of the novel). The narrator courts Juliana’s favor by planting flowers and bombarding her “citadel” with bouquets. The garden becomes edenic when Juliana, with devilish intent, encourages the narrator to tryst there with innocent Tina, who promises to help him. Juliana’s death causes trouble, because Tina, at best a twisted Eve, will surrender the papers only upon condition of marriage. Ultimately the narrator suffers expulsion.
*Venice. Northeastern Italian city famous for its avenues of canals. In lacking streets and vehicles and having sociable pedestrians, Venice strikes the narrator as communal, even apartment-like–ironically, because the Bordereaus become no family for him. He delights in the Piazza of San Marco but never prays in its beckoning church. He takes Tina to Florian’s, a restaurant famous for its ices. He goes to the Lido, Venice’s famous beach, but never bathes. At sunset he stands before the equestrian statue of Bartolomeo Colleoni, the cruel Venetian mercenary, again, ironically, because though also cruel and greedy the narrator is both dwarfed by the lofty statue and unsuccessful in his mission.
The sinuous waterways of Venice, along which the narrator often moves between the palazzo and the main parts of town, both alone, sometimes aimlessly, and once with Tina, symbolize by means of alternate sunshine and darkness his mental maze, combining ambition, hopes, doubts, worries, and gloom.