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 to the Virgin Mary in regions beyond the
clouds clashed rather harshly with the proprieties, it seemed to us.

But humble as we are, and unpretending, in the matter of art, our
researches among the painted monks and martyrs have not been wholly in
vain. We have striven hard to learn. We have had some success. We have
mastered some things, possibly of trifling import in the eyes of the
learned, but to us they give pleasure, and we take as much pride in our
little acquirements as do others who have learned far more, and we love
to display them full as well. When we see a monk going about with a lion
and looking tranquilly up to heaven, we know that that is St. Mark. When
we see a monk with a book and a pen, looking tranquilly up to heaven,
trying to think of a word, we know that that is St. Matthew. When we see
a monk sitting on a rock, looking tranquilly up to heaven, with a human
skull beside him, and without other baggage, we know that that is St.
Jerome. Because we know that he always went flying light in the matter
of baggage. When we see a party looking tranquilly up to heaven,
unconscious that his body is shot through and through with arrows, we
know that that is St. Sebastian. When we see other monks looking
tranquilly up to heaven, but having no trade-mark, we always ask who
those parties are. We do this because we humbly wish to learn. We have
seen thirteen thousand St. Jeromes, and twenty-two thousand St. Marks,
and sixteen thousand St. Matthews, and sixty thousand St. Sebastians, and
four millions of assorted monks, undesignated, and we feel encouraged to
believe that when we have seen some more of these various pictures, and