y body I
can think of. They have a grand mausoleum in Florence, which they built
to bury our Lord and Saviour and the Medici family in. It sounds
blasphemous, but it is true, and here they act blasphemy. The dead and
damned Medicis who cruelly tyrannized over Florence and were her curse
for over two hundred years, are salted away in a circle of costly vaults,
and in their midst the Holy Sepulchre was to have been set up. The
expedition sent to Jerusalem to seize it got into trouble and could not
accomplish the burglary, and so the centre of the mausoleum is vacant
now. They say the entire mausoleum was intended for the Holy Sepulchre,
and was only turned into a family burying place after the Jerusalem
expedition failed--but you will excuse me. Some of those Medicis would
have smuggled themselves in sure.--What they had not the effrontery to
do, was not worth doing. Why, they had their trivial, forgotten exploits
on land and sea pictured out in grand frescoes (as did also the ancient
Doges of Venice) with the Saviour and the Virgin throwing bouquets to
them out of the clouds, and the Deity himself applauding from his throne
in Heaven! And who painted these things? Why, Titian, Tintoretto, Paul
Veronese, Raphael--none other than the world's idols, the "old masters."

Andrea del Sarto glorified his princes in pictures that must save them
for ever from the oblivion they merited, and they let him starve. Served
him right. Raphael pictured such infernal villains as Catherine and
Marie de Medicis seated in heaven and conversing familiarly with the
Virgin Mary and the angels, (to say nothing of higher personages,) and
yet my friends abuse me because I am a little prejudiced against the old
masters--because I fail sometimes to see the beauty that is in their
productions. I can not help but see it, now and then, but I keep on
protesting against the groveling spirit that could persuade those masters
to prostitute their noble talents to the adulation of such monsters as
the French, Venetian and Florentine Princes of two and three hundred
years ago, all the same.

I am told that the old masters had to do these shameful things for bread,
the princes and potentates being the only patrons of art. If a grandly
gifted man may drag his pride and his manhood in the dirt for bread
rather than starve with the nobility that is in him untainted, the excuse
is a valid one. It would excuse theft in Washingtons and Wellingtons,
and