There are
ten thousand figures, and they are all doing something.
There is a wonderful "go" to the whole
Composition.
Some of the figures are driving headlong downward,
with clasped hands, others are swimming through the
cloud-shoals - some on their faces, some on their backs - great
processions of bishops, martyrs, and angels are pouring swiftly
centerward from various outlying directions - everywhere
is enthusiastic joy, there is rushing movement everywhere.
There are fifteen or twenty figures scattered here and there,
with books, but they cannot keep their attention on
their reading - they offer the books to others, but no
one wishes to read, now. The Lion of St. Mark is there
with his book; St. Mark is there with his pen uplifted;
he and the Lion are looking each other earnestly in the face,
disputing about the way to spell a word - the Lion
looks up in rapt admiration while St. Mark spells.
This is wonderfully interpreted by the artist.
It is the master-stroke of this imcomparable painting.
[Figure 10]
I visited the place daily, and never grew tired of
looking at that grand picture. As I have intimated,
the movement is almost unimaginable vigorous; the figures
are singing, hosannahing, and many are blowing trumpets.
So vividly is noise suggested, that spectators who become
absorbed in the picture almost always fall to shouting
comments in each other's ears, making ear-trumpets of their
curved hands, fearing they may not otherwise be heard.
One often sees a tourist, with the eloquent tears pouring
down his cheeks, funnel his hands at his wife's ear,
and hears him roar through them, "OH, TO BE THERE AND
AT REST!"
None but the supremely great in art can produce effects
like these with the silent brush.
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