have been
in a half-waking sort of dream all the time. I do not know how else to
describe the feeling. A part of our being has remained still in the
nineteenth century, while another part of it has seemed in some
unaccountable way walking among the phantoms of the tenth.

We have seen famous pictures until our eyes are weary with looking at
them and refuse to find interest in them any longer. And what wonder,
when there are twelve hundred pictures by Palma the Younger in Venice and
fifteen hundred by Tintoretto? And behold there are Titians and the
works of other artists in proportion. We have seen Titian's celebrated
Cain and Abel, his David and Goliah, his Abraham's Sacrifice. We have
seen Tintoretto's monster picture, which is seventy-four feet long and I
do not know how many feet high, and thought it a very commodious picture.
We have seen pictures of martyrs enough, and saints enough, to regenerate
the world. I ought not to confess it, but still, since one has no
opportunity in America to acquire a critical judgment in art, and since I
could not hope to become educated in it in Europe in a few short weeks, I
may therefore as well acknowledge with such apologies as may be due, that
to me it seemed that when I had seen one of these martyrs I had seen them
all. They all have a marked family resemblance to each other, they dress
alike, in coarse monkish robes and sandals, they are all bald headed,
they all stand in about the same attitude, and without exception they are
gazing heavenward with countenances which the Ainsworths, the Mortons and
the Williamses, et fils, inform me are full of "expression." To me there
is nothing tangible about these imaginary portraits, nothing that I can
grasp and take a living interest in. If great Titian had only been
gifted with prophecy, and had skipped a martyr, and gone over to England
and painted a portrait of Shakspeare, even as a youth, which we could all
have confidence in now, the world down to the latest generations would
have forgiven him the lost martyr in the rescued seer. I think posterity
could have spared one more martyr for the sake of a great historical
picture of Titian's time and painted by his brush--such as Columbus
returning in chains from the discovery of a world, for instance. The old
masters did paint some Venetian historical pictures, and these we did not
tire of looking at, notwithstanding representations of the formal
introduction of defunct doges