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George Ticknor, Life, letters and journals of George Ticknor (ed. George Hillard), Chapter 7: (search)
and animation . . . . . Everything is strange, and everything seems uncertain; the very passage-ways are dark and narrow, and the massy architecture of the houses, ending in the water, seems to have no foundation . . . . October 16.—Over its [St. Mark's] pronaon stand the four famous bronze horses, which must always be numbered among the finest remains of antiquity. Their early history is uncertain, and has lately been disputed with much warmth, and with a waste of obscure learning, by Counrom Paris, . . . . and from churches where they have slept in forgetfulness, the great works of the Venetian school. Two commanded my admiration, and dimmed the splendor of the rest,—one is Tintoretto's masterpiece, the miraculous liberation, by St. Mark, of a slave condemned to death; . . . . all is as confused as his wild genius could have devised, and yet it all centres on the one object, and the whole piece is as living as if the fact were passing before you. The other picture is a magnifice