<Li> Antechamber to the Hall of the Full College was the formal antechamber where foreign ambassadors and delegations waited to be received by the Full College, delegated by the Senate to deal with foreign affairs . This room was restored after the 1574 fire and so was its decorations, with stucco - works and ceiling frescoes . The central fresco by Veronese shows Venice distributing honors and rewards . The top of the walls is decorated with a fine frieze and other sumptuous fittings, including the fireplace between the windows and the fine doorway leading into the Hall of the Full College, whose Corinthian columns bear a pediment surmounted by a marble sculpture showing the female figure of Venice resting on a lion and accompanied by allegories of Glory and Concord . Next to the doorways are four canvases that Tintoretto painted for the Square Atrium, but which were brought here in 1716 to replace the original leather wall panelling . Each of the mythological scenes depicted is also an allegory of the Republic's government . </Li> <Li> The Council Chamber: the Full College was mainly responsible for organizing and coordinating the work of the Venetian Senate, reading dispatches from ambassadors and city governors, receiving foreign delegations and promoting other political and legislative activity . Alongside these shared functions, each body had their own particular mandates, which made this body a sort of "guiding intelligence" behind the work of the Senate, especially in foreign affairs . The decorations were designed by Andrea Palladio to replace that destroyed in the 1574 fire; the wood panelling of the walls and end tribune and the carved ceiling are the work of Francesco Bello and Andrea da Faenza (it). The paintings in the ceiling were commissioned from Veronese, who completed them between 1575 and 1578 . This ceiling is one of the artist's masterpieces and celebrates the Good Government of the Republic, together with the Faith on which it rests and the Virtues that guide and strengthen it . Other paintings are by Tintoretto and show various Doges with the Christ, the Virgin and saints . </Li> <Li> The Senate Chamber was also known as the Sala dei Pregadi, because the Doge asked the members of the Senate to take part in the meetings held here . The Senate which met in this chamber was one of the oldest public institutions in Venice; it had first been founded in the 13th century and then gradually evolved over time, until by the 16th century it was the body mainly responsible for overseeing political and financial affairs in such areas as manufacturing industries, trade and foreign policy . In the works produced for this room by Tintoretto, Christ is clearly the predominant figure; perhaps a reference to the Senate' conclave' which elected the Doge, seen as being under the protection of the Son of God . The room also contains four paintings by Jacopo Palma il Giovane, which are linked with specific events of the Venetian history . </Li> <Li> The Chamber of the Council of Ten takes its name from the Council of Ten which was set up after a conspiracy in 1310, when Bajamonte Tiepolo and other noblemen tried to overthrow the institutions of the State . The ceiling decoration is a work by Gian Battista Ponchino, with the assistance of a young Veronese and Gian Battista Zelotti . Carved and gilded, the ceiling is divided into 25 compartments decorated with images of divinities and allegories intended to illustrate the power of the Council of Ten that was responsible for punishing the guilty and freeing the innocent . </Li>

What features of the doge’s palace reveal that venice did not fear invasion