ble is about. Now at the very END of this riot, within four feet of
the end of the picture, and full thirty-six feet from the beginning
of it, the Hair Trunk bursts with an electrifying suddenness upon the
spectator, in all its matchless perfection, and the great master's
triumph is sweeping and complete. From that moment no other thing in
those forty feet of canvas has any charm; one sees the Hair Trunk, and
the Hair Trunk only--and to see it is to worship it. Bassano even placed
objects in the immediate vicinity of the Supreme Feature whose pretended
purpose was to divert attention from it yet a little longer and thus
delay and augment the surprise; for instance, to the right of it he has
placed a stooping man with a cap so red that it is sure to hold the eye
for a moment--to the left of it, some six feet away, he has placed a
red-coated man on an inflated horse, and that coat plucks your eye
to that locality the next moment--then, between the Trunk and the red
horseman he has intruded a man, naked to his waist, who is carrying
a fancy flour-sack on the middle of his back instead of on his
shoulder--this admirable feat interests you, of course--keeps you at
bay a little longer, like a sock or a jacket thrown to the pursuing
wolf--but at last, in spite of all distractions and detentions, the eye
of even the most dull and heedless spectator is sure to fall upon the
World's Masterpiece, and in that moment he totters to his chair or leans
upon his guide for support.

Descriptions of such a work as this must necessarily be imperfect, yet
they are of value. The top of the Trunk is arched; the arch is a perfect
half-circle, in the Roman style of architecture, for in the then
rapid decadence of Greek art, the rising influence of Rome was already
beginning to be felt in the art of the Republic. The Trunk is bound or
bordered with leather all around where the lid joins the main body. Many
critics consider this leather too cold in tone; but I consider this its
highest merit, since it was evidently made so to emphasize by contrast
the impassioned fervor of the hasp. The highlights in this part of the
work are cleverly managed, the MOTIF is admirably subordinated to the
ground tints, and the technique is very fine. The brass nail-heads are
in the purest style of the early Renaissance. The strokes, here, are
very firm and bold--every nail-head is a portrait. The handle on the
end of the Trunk has evidently been retouched--I think,