ng cheerfulness, distinguishes Longhi's pictures from
the works of Hogarth, at once so brutal and so full of presage of
change.

=XXV. Canaletto and Guardi.=--Venice herself had not grown less beautiful
in her decline. Indeed, the building which occupies the very centre of
the picture Venice leaves in the mind, the Salute, was not built until
the seventeenth century. This was the picture that the Venetian himself
loved to have painted for him, and that the stranger wanted to carry
away. Canale painted Venice with a feeling for space and atmosphere,
with a mastery over the delicate effects of mist peculiar to the city,
that make his views of the Salute, the Grand Canal, and the Piazzetta
still seem more like Venice than all the pictures of them that have been
painted since. Later in the century Canale was followed by Guardi, who
executed smaller views with more of an eye for the picturesque, and for
what may be called instantaneous effects, thus anticipating both the
Romantic and the Impressionist painters of our own century.

=XXVI. Tiepolo.=--But delightful as Longhi, Canale, and Guardi are, and
imbued as they are with the spirit of their own century, they lack the
quality of force, without which there can be no really impressive style.
This quality their contemporary Tiepolo possessed to the utmost. His
energy, his feeling for splendour, his mastery over his craft, place him
almost on a level with the great Venetians of the sixteenth century,
although he never allows one to forget what he owes to them,
particularly to Veronese. The grand scenes he paints differ from those
of his predecessor not so much in mere inferiority of workmanship, as in
a lack of that simplicity and candour which never failed Paolo, no
matter how proud the event he might be portraying. Tiepolo's people are
haughty, as if they felt that to keep a firm hold on their dignity they
could not for a moment relax their faces and figures from a monumental
look and bearing. They evidently feel themselves so superior that they
are not pleasant to live with, although they carry themselves so well,
and are dressed with such splendour, that once in a while it is a great
pleasure to look at them. It was Tiepolo's vision of the world that was
at fault, and his vision of the world was at fault only because the
world itself was at fault. Paolo saw a world touched only by the
fashions of the Spanish Court, while Tiepolo lived among people whose
very hearts h