"I know," he says, "no other which unites every nameable quality of painter's art in so intense a degree--breadth with tenderness, brilliancy with quietness, decision with minuteness, colour with light and shade: all that is faithfullest in Holland, fancifullest in Venice, severest in Florence, naturalest in England.

Whatever de Hooghe could do in shade, Van Eyck in detail, Giorgione in mass, Titian in colour, Bewick and Landseer in animal life, is here at once; and I know no other picture in the world which can be compared with it." In the same room is a figure of Christ mourned by two little angels, ascribed to Giovanni Bellini, but bearing Durer's monogram.
On the stairs are historical Venetian scenes of fires, fights, and ceremonials which we shall find in more abundance at the Querini Stampalia.

The top floor is given to Canova, Canaletto, Guardi, and Tiepolo, and is very rich in their drawings and studies.

In Canova I find it impossible to be much interested, but the pencil work of the others is often exquisite.

From some of Canaletto's exact architectural drawings the Venice of his day could be reconstructed almost stone by stone.
Before leaving the Museo Civico let me warn the reader that it is by no means easy of access except in a gondola.