flower-pots on the wall, or even to fling one jet of spray over the confining stone"[56] (_Modern Painters_, vol. i. pt. ii. sec. i. ch. vii. § 5). Claude's ships, too, and his conception of seaports generally, show a strange want of true imagination: "His ships, having hulls of a shape something between a cocoanut and a high-heeled shoe, balanced on their keels on the top of the water, with some scaffolding and cross-sticks above, and a flag at the top of every stick, form perhaps the _purest_ exhibition of human inanity and fatuity which the arts have yet produced. The harbours also, in which these model navies ride, are worthy of all observation for the intensity of the false taste which, endeavouring to unite in them the characters of pleasure-ground and port, destroys the veracity of both. There are many inlets of the Italian seas where sweet gardens and regular terraces descend to the water's edge; but these are not the spots where merchant vessels anchor, or where bales are disembarked. On the other hand, there are many busy quays and noisy arsenals upon the shores of Italy; but queens' palaces are not built upon the quays, nor are the docks in any wise adorned with conservatories or ruins. It was reserved for the genius of Claude to combine the luxurious with the lucrative, and rise to a commercial ideal, in which cables are fastened to temple pillars, and lighthouses adorned with rows of bean-pots" (_Harbours of England_, pp. 17, 18). Notice, lastly, the "atrocious error in ordinary perspective" in the quay on the left of which the figure is sitting with his hand at his eyes[57] (_Modern Painters_, vol. i. pt. i. sec. i. ch. v. § 5, pt. ii. sec. vi. ch. ii. § 1). 15. ECCE HOMO! _Correggio_ (Parmese: 1494-1534). _See under_ 10.