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,