the next moment—then, between the Trunk and the red horseman he has intruded a man, naked to his waist, who is carrying a fancy flour sack on the middle of his back instead of on his shoulder—this admirable feat interests you, of course—keeps you at bay a little longer, like a sock or a jacket thrown to the pursuing wolf—but at last, in spite of all distractions and detentions, the eye of even the most dull and heedless spectator is sure to fall upon the World's Masterpiece, and in that moment he totters to his chair or leans upon his guide for support.
Descriptions of such a work as this must necessarily be imperfect, yet they are of value. The top of the Trunk is arched; the arch is a perfect half circle, in the Roman style of architecture, for in the then rapid decadence of Greek art, the rising influence of Rome was already beginning to be felt
THE WORLD'S MASTERPIECE.
in the art of the Republic. The Trunk is bound or bordered with leather all around where the lid joins the main body. Many critics consider this leather too cold in tone; but I consider this its highest merit, since it was evidently made so to emphasize by contrast the impassioned fervor of the hasp. The high lights in this part of the work are cleverly managed, the motif admirably subordinated to the ground tints, and the technique is very fine. The brass nail-heads are in the purest style of the early renaissance. The strokes, here, are very firm and bold—every nail-head is a portrait. The handle on the end of the Trunk has evidently been retouched—I think, with a piece of chalk—but one can still see the inspiration of the Old Master in the tranquil, almost too tranquil, hang of it. The hair of this Trunk is real hair—
