place, write of it as a miracle in the art, inasmuch as the construction of the place was so well repeated in the picture, and imitated with so much knowledge of perspective, as to make the apartment appear double its real size. Nor are these three works to which he affixed his name, as his favourite productions, the only ones worthy of his genius, Zanetti having enumerated many more, conducted with the most finished care; the whole exhibited to the Venetian public, without including those dispersed throughout the different cities of Europe. But diligence is rarely found long united to a rage for achieving much; the true source in this instance, as in numerous others, of false, or at least of inferior composition. Hence, Annibale Caracci observed, that in many pieces Tintoretto was inferior to Tintoretto; while Paul Veronese, so ardent an admirer of his talents, was in the habit of reproaching him with doing injustice to the professors of the art, by painting in every manner, a plan that went far to destroy the reputation of the profession (_Ridolfi_). Similar exceptions will be found to apply to such of his works as, conceived at a heat, executed by habit, and in great part left imperfect, betray certain errors both in point of judgment and design. Sometimes there appears a crowd of superfluous or badly grouped figures, and most generally all in the most energetic actions, without any spectators regarding them in quiet, as was practised by Titian and all the best composers. Neither in these figures are we to look for that senatorial dignity, which Reynolds discovers in Titian.