ssion and
feeling, constituting the subject of the picture. These principal
figures are Solomon Eagle and his attendant; they are placed judiciously
in the centre of the picture, in no part intercepted. Solomon Eagle
hurries into the picture with a book in one hand, the other raised, as
pointing to the heavens, from whence come the denunciations he
pronounces: on his head is a pan of burning charcoal. He is naked,
excepting his waist. His very attitude is insane--we need not look at
his face to see that; the fore-finger, starting off from the others, is
of mad action, and similar is the energy of the projected foot. The
attitude is of one with a fixed purpose, one under an imaginary divine
commission; it is of entire faith and firmness; and never was such
insanity more finely conceived in a countenance. The man is all crazed,
and grand, awfully grand, in his craziness. He throws around him an
infection of craziness, as does the atmosphere of plague. There is a
peculiar look in the eye, which shows the most consummate skill of the
painter. The finger starts up as with an electric power, as if it could
draw down the vengeance which it communicates. We mentioned the
attendant figure--not that he is conscious of her presence. She is
mysterious, veiled, a masked mystery--a walking tale of plague, woe, and
desolation--a wandering, lonely, decayed gentlewoman: we read her
history in her look, and in her walk. Her relations have all been
smitten, swept away by the pestilence; her mind is made callous by utter
misery; she wanders about careless, without any motive; a childish
curiosity may be her pleasure, any incident to divert thoughts that make
her sensible of her own bereavement. She stops to listen to the
denunciations of the crazed prophet, and herself partakes, though
callously, of his insanity--half believes, but scarcely feels. The sky
is lurid, pestilential; it touches with plague what it illuminates. Such
is the picture in its design. The colouring is quite in accordance with
the purpose, and completes the sentiment; there is much of a green tone,
yet under great variety. There is very great knowledge shown in it of
artistical design, and the art of disposing lines; the groups, kept
sufficiently distinct, yet have connecting links with each other; and
there are general lines that bring all within the compass of one
subject. Now, what, after all, is the impression on the mind of the
spectator? for it is not enough to pa