is an intellectual and accomplished man, but
he wants a painter's eye, and should rather have devoted his time and
talents to literature. He has, however, pursued the fine arts
professionally, and he is eloquent and resolute in the defence of his
opinions: but the nature which he has studied is destitute of life and
colouring; it exists only in marble and plaster, and he would rather
copy the single and motionless attitude of an antique statue, than
study the fine forms and eloquent features with which Italy abounds.
He is, in short, a sedentary idler, who will not take the trouble to
read the great book of nature, and would rather fire at a wooden eagle
on a pole, than pursue the kingly bird amidst the wild scenery of the
Apennines. He assumed the unwarrantable liberty of severely censuring
Paul Veronese's grand picture of the 'Nuptials of Cana,' in the
presence of that noble artist. He objected to the insignificant
appearance of Jesus and his disciples, and to their position at the
table in the middle-ground of the picture. The painter introduced them
into this great work because their presence was indispensable; but he
avoided giving them any prominent position, conceiving it impossible
for any human artist to convey an adequate personification of our
glorious Redeemer. Moreover, they were but accessary to his real
object, which was to represent the busy crowd of guests, the banquet,
and the architecture. In these respects the artist has been eminently
successful. The painting abounds with harmony, and the incidents are
told with all the life and spirit of a Spanish novel. The most
prominent figures are musicians at a table in the foreground,
performing a concert upon elegant instruments. Paul Veronese is
leading with grace and spirit on the violin; Titian, the great ruler
of harmony, is performing on the violoncello; Bassano and Tintorett,
upon other instruments. They are painted with wonderful truth of
character and expression; they are magnificently attired; and their
personal appearance is eminently noble and dignified. Around the
bride's table are assembled the most distinguished personages of the
present age; all admirable portraits, and abounding with dramatic
expression. The atmosphere in the background is clear and transparent,
and exhibits in sharp and brilliant relief the Palladian magnificence
of the architecture; while the busy foreground is enriched with a
gorgeous display of vases and other materials of