[159] Compare the speech of the Doge Mocenigo, above,—“first justice, and then the interests of the state:” and see Vol. III. [Chap. II.] § LIX.
[160] Some further details respecting these portions, as well as some necessary confirmations of my statements of dates, are, however, given in [Appendix 1], Vol. III. I feared wearying the general reader by introducing them into the text.
[161] Many persons, capable of quickly sympathizing with any excellence, when once pointed out to them, easily deceive themselves into the supposition that they are judges of art. There is only one real test of such power of judgment. Can they, at a glance, discover a good picture obscured by the filth, and confused among the rubbish, of the pawnbroker’s or dealer’s garret?
[162] This is easily explained. There are, of course, in every place and at all periods, bad painters who conscientiously believe that they can improve every picture they touch; and these men are generally, in their presumption, the most influential over the innocence, whether of monarchs or municipalities. The carpenter and slater have little influence in recommending the repairs of the roof; but the bad painter has great influence, as well as interest, in recommending those of the picture.
APPENDIX.
Most persons are now well acquainted with the general aspect of the Venetian gondola, but few have taken the pains to understand the cries of warning uttered by its boatmen, although those cries are peculiarly characteristic, and very impressive to a stranger, and have been even very sweetly introduced in poetry by Mr. Monckton Milnes. It may perhaps be interesting to the traveller in Venice to know the general method of management of the boat to which he owes so many happy hours.