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, 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, and many horsemen are plunging
and rioting about--indeed, twenty-two feet of this great work is all a
deep and happy holiday serenity and Sunday-school procession, and then
we come suddenly upon eleven and one-half feet of turmoil and racket and
insubordination. This latter state of things is not an accident, it has
its purpose. But for it, one would linger upon the Pope and the Doge,
thinking them to be the motive and supreme feature of the picture;
whereas one is drawn along, almost unconsciously, to see what the
trouble is about. Now at the very END of this riot, within four feet of
the end of the picture, and full thirty-six feet from the beginning
of it, the Hair Trunk bursts with an electrifying suddenness