rly meagre in
detail, and conventionally relieved from a mass of gloom. The
picture was placed where nothing but this tower could be seen.

[10] I have not given any examples in this place, because it is
difficult to explain such circumstances of effect without diagrams:
I purpose entering into fuller discussion of the subject with the
aid of illustration.

[11] The inscription is to the following effect,--a pleasant thing
to see upon the walls, were it but more innocently placed:--

CAMPO. DI. S. MAURIZIO
______

D I O
CONSERVI A NOI.
LUNGAMENTE
LO ZELANTIS. E. REVERENDIS
D. LUIGI. PICCINI.
NOSTRO
N O V E L L O P I E V A N O.
______

G L I E S U L T A N T.
PARROCCHIANI

[12] The quantity of gold with which the decorations of Venice were
once covered could not now be traced or credited without reference
to the authority of Gentile Bellini. The greater part of the marble
mouldings have been touched with it in lines and points, the
minarets of St. Mark's, and all the florid carving of the arches
entirely sheeted. The Casa d'Oro retained it on its lions until the
recent commencement of its Restoration.

[13] Indeed there should be no such difference at all. Every
architect ought to be an artist; every very great artist is
necessarily an architect.

[14] This passage seems at variance with what has been said of the
necessity of painting present times and objects. It is not so. A
great painter makes out of that which he finds before him something
which is independent of _all_ time. He can only do this out of the
materials ready to his hand, but that which he builds has the
dignity of dateless age. A little painter is annihilated by an
anachronism, and is conventionally antique, and involuntarily
modern.

[15] One point, however, it is incumbent upon me to notice, being no
question of art but of material. The reader will have observed that
I strictly limited the perfection of Turner's works to the time of
their first appearing on the walls of the Royal Academy. It bitterly