rk is there with his pen uplifted;
he and the Lion are looking each other earnestly in the face,
disputing about the way to spell a word--the Lion
looks up in rapt admiration while St. Mark spells.
This is wonderfully interpreted by the artist.
It is the master-stroke of this imcomparable painting.
[Figure 10]

I visited the place daily, and never grew tired of
looking at that grand picture. As I have intimated,
the movement is almost unimaginable vigorous; the figures
are singing, hosannahing, and many are blowing trumpets.
So vividly is noise suggested, that spectators who become
absorbed in the picture almost always fall to shouting
comments in each other's ears, making ear-trumpets of their
curved hands, fearing they may not otherwise be heard.
One often sees a tourist, with the eloquent tears pouring
down his cheeks, funnel his hands at his wife's ear,
and hears him roar through them, "OH, TO BE THERE AND
AT REST!"

None but the supremely great in art can produce effects
like these with the silent brush.

Twelve years ago I could not have appreciated this picture.
One year ago I could not have appreciated it. My study
of Art in Heidelberg has been a noble education to me.
All that I am today in Art, I owe to that.

The other great work which fascinated me was Bassano's
immortal Hair Trunk. This is in the Chamber of the Council
of Ten. It is in one of the three forty-foot pictures
which decorate the walls of the room. The composition
of this picture is beyond praise. The Hair Trunk is not
hurled at the stranger's head--so to speak--as the chief
feature of an immortal work so often is; no, it is
carefully guarded from prominence, it is subordinated,
it is restrained, it is most deftly and cleverly held
in reserve, it is most cautiously and ingeniously led up to,
by the master, and consequently when the spectator reaches
it at last, he is taken unawares, he is unprepared,
and it bursts upon him with a stupefying surprise.

One is lost in wonder at all the thought and care which
this elaborate planning must have cost. A general glance
at the picture could never suggest that there was a hair
trunk in it; the Hair Trunk is not mentioned in the title
even--which is, "Pope Alexander III. and the Doge Ziani,
the Conqueror of the Emperor Frederick Barbarossa";
you see, the title is actually utilized to help
divert attention from the Trunk; thus, as I say,
nothing suggests the presence of the Trunk, by a