But her nearest friend might say, and say truly, "Your premises are right, your logic is faultless, but your conclusion is wrong, nevertheless; she is an Old Master—she is beautiful,
AN OLD MASTER.
but only to such as know her; it is a beauty which cannot be formulated, but it is there, just the same."
I found more pleasure in contemplating the Old Masters this time than I did when I was in Europe in former years, but still it was a calm pleasure; there was nothing over-heated about it. When I was in Venice before, I think I found no picture which stirred me much, but this time there were two which enticed me to the Doge's palace day after day, and kept me there hours at a time. One of these was Tintoretto's three-acre picture in the Great Council Chamber. When I saw it twelve years ago I was not strongly attracted to it—the guide told me it was an insurrection in heaven—but this was an error.
The movement of this great work is very fine. There are ten thousand figures, and they are all doing something. There is a wonderful "go" to the whole composition. Some
