"I am by no means insensible to the charms of the Venetian school," I rejoined; "and I admit, in many respects, the force of your reasoning. It is, however, a question with me, whether the enthusiastic disciples of Titian are not in danger of pursuing the material and perishable, rather than the intellectual and permanent in painting. The glorious colouring of this great master will fade under the action of time and humidity, and betray his deficiencies in drawing; whereas the moral grandeur of Michael Angelo's frescos, which derive no aid from colour, will endure as long as the walls which they adorn. I would gladly hear you contest this point with the Roman artist who addressed Maestro Paul this evening at the tavern. I feel too much my own deficiency in technical phrase and knowledge to vindicate my opinions successfully."
"That Roman," said he, "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 the banquet, adorned with chasings of splendid and classical design. The light throughout the foreground and middle distance is wonderfully natural, and clearly develops the numerous groups and figures comprehended in this colossal work. What man of sense and feeling can behold this wondrous achievement of human art, and not long to feast his eyes upon it for ever?