by the master, and consequently when the spectator reaches
it at last, he is taken unawares, he is unprepared,
and it bursts upon him with a stupefying surprise.

One is lost in wonder at all the thought and care which
this elaborate planning must have cost. A general glance
at the picture could never suggest that there was a hair
trunk in it; the Hair Trunk is not mentioned in the title
even--which is, "Pope Alexander III. and the Doge Ziani,
the Conqueror of the Emperor Frederick Barbarossa";
you see, the title is actually utilized to help
divert attention from the Trunk; thus, as I say,
nothing suggests the presence of the Trunk, by any hint,
yet everything studiedly leads up to it, step by step.
Let us examine into this, and observe the exquisitely
artful artlessness of the plan.

At the extreme left end of the picture are a couple of women,
one of them with a child looking over her shoulder at
a wounded man sitting with bandaged head on the ground.
These people seem needless, but no, they are there
for a purpose; one cannot look at them without seeing
the gorgeous procession of grandees, bishops, halberdiers,
and banner-bearers which is passing along behind them;
one cannot see the procession without feeling the curiosity
to follow it and learn whither it is going; it leads him
to the Pope, in the center of the picture, who is talking
with the bonnetless Doge--talking tranquilly, too,
although within twelve feet of them a man is beating a drum,
and not far from the drummer two persons are blowing horns,