nds for a small cuneiform
mark, I believe of contraction, and the small ^s for a zigzag mark
of the same kind. The dots or periods are similarly marked, on the
stone.

[158] Can they have mistaken the ISIPIONE of the fifth side for the
word Isidore?

[159] Compare the speech of the Doge Mocenigo, above,--"first justice,
and _then_ the interests of the state:" and see Vol. III. Chap. II.
Sec. LIX.

[160] Some further details respecting these portions, as well as
some necessary confirmations of my statements of dates, are,
however, given in Appendix 1, Vol. III. I feared wearying the
general reader by introducing them into the text.

[161] Many persons, capable of quickly sympathizing with any
excellence, when once pointed out to them, easily deceive themselves
into the supposition that they are judges of art. There is only one
real test of such power of judgment. Can they, at a glance, discover
a good picture obscured by the filth, and confused among the
rubbish, of the pawnbroker's or dealer's garret?

[162] This is easily explained. There are, of course, in every place
and at all periods, bad painters who conscientiously believe that
they can improve every picture they touch; and these men are
generally, in their presumption, the most influential over the
innocence, whether of monarchs or municipalities. The carpenter and
slater have little influence in recommending the repairs of the
roof; but the bad painter has great influence, as well as interest,
in recommending those of the picture.

APPENDIX.

1. THE GONDOLIER'S CRY.

Most persons are now well acquainted with the general aspect of the
Venetian gondola, but few have taken the pains to understand the cries
of warning uttered by its boatmen, although those cries are peculiarly
characteristic, and very impressive to a stranger, and have been even
very sweetly introduced in poetry by Mr. Monckton Milnes. It may perhaps
be interesting to the traveller in Venice to know the general method of
management of the boat to which he owes so many happy hours.

A gondola is in general rowed only by one man, _standing_ at the stern;
those of the upper classes having two or more boatmen, for greater speed
and magnificence. In order to raise the oar sufficiently, it rests, not
on the side of the boat, but on a piece of crooked timber like the
branch of a tree, rising a