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112 has the disagreeable effect of mummery. In this picture the foreground is occupied by the body of the patient in that state of deadly rigidity and pallor so offensive to the sensual eye. The mind must reason the eye out of an instinctive aversion, and force it to its work,—always an undesirable circumstance.

In such a picture as that of the Massacre of the Innocents, painful as the subject is, the beauty of forms in childhood, and the sentiment of maternal love, so beautiful even in anguish, charm so much as to counterpoise the painful emotions. But here, not only is the main figure offensive to the sensual eye, thus violating one principal condition of art; it is incapable of any expression at such a time beyond that of physical anguish during the struggle of life suddenly found to re-demand its dominion. Neither can the assistants exhibit any emotions higher than those of surprise, terror, or, as in the case of the wife, an overwhelming anxiety of suspense.

The grouping and colouring of this picture are very good, and the individual figures managed with grace and discrimination, though without much force.

The subjects of the other three pictures are among the finest possible, grand no less than beautiful, and of the highest poetical interest. They present no impediment to the manifestation of genius. Let us look first at Jeremiah in prison dictating to Baruch.

The strength and dignity of the Jew physique, and the appropriateness of the dress, allowed fair play to the painter’s desire to portray inspiration manifesting itself by a suitable organ. As far as the accessories and grouping of the figures nothing can be better. The form of the prophet is brought out in such noble relief, is in such fine contrast to the pale and feminine sweetness of the scribe at his feet, that for a time you are satisfied. But by and by you begin to doubt, whether this picture is not rather imposing than majestic. The dignity of the prophet’s ap-