limits; and to such an extent, that an hour's travel will hardly conduct
us through all its parts; yet we feel no weariness throughout this
journey, nay, we are quite unconscious of the time it has taken. It is
no disparagement of this remarkable picture, if we consider the subject,
not according to the title it bears, but as what the Artist has actually
made it,--that is, as a Venetian entertainment; and also the effect
intended, which was to delight by the exhibition of a gorgeous
_pageant_. And in this he has succeeded to a degree unexampled; for
literally the eye may be said to _dance_ through the picture, scarcely
lighting on one part before it is drawn to another, and another, and
another, as by a kind of witchery; while the subtile interlocking of
each successive novelty leaves it no choice, but, seducing it onward,
still keeps it in motion, till the giddy sense seems to call on the
imagination to join in the revel; and every poetic temperament answers
to the call, bringing visions of its own, that mingle with the painted
crowd, exchanging forms, and giving them voice, like the creatures of a
dream.

To those who have never seen this picture, our account of its effect
may perhaps appear incredible when they are told, that it not only
has no story, but not a single expression to which you can attach a
sentiment. It is nevertheless for this very reason that we here cite
it, as a triumphant verification of those immutable laws of the mind
to which the principles of Composition are supposed to appeal; where
the simple technic exhibition, or illustration of _Principles_,
without story, or thought, or a single definite expression, has
still the power to possess and to fill us with a thousand delightful
emotions.

And here we cannot refrain from a passing remark on certain