postulate with his master, but in a harsher and more It is a fine head; but has little

impatient manner.

of the delicacy and softness which distinguish "the beloved disciple." The beauty of the hair, though beautiful in all, is here especially remarkable.

The third is, next to the Saviour, the most majestic figure in this noble composition. He occupies the exact centre of the group of disciples, and presents an admirable contrast and support to the others. The words of Christ to Peter agitate him with the strongest emotions. In turning round to communicate his sentiments to his fellow-disciple nearest to him, he presents the front of his grand head to the spectator; and, by averting his face in consequence from the Saviour, would interrupt the unity of the subject, and suspend the continuity of the interest, but for the action of his hand, which is directed towards the object of the general attention, and at the same time supplies a relief to the subject, by breaking the line formed by the hair and drapery of St. John. Though both strongly contrasted with all around, the head and inferior parts of this figure are in entire conformity with each other.

Of the four remaining apostles, the first who comes

next behind the figure before noted for its peculiar elegance, is chiefly entitled to separate notice. He is a most curious and intent observer of the scene; but indicates, in his attitude and demeanour, rather a wish to indulge his own feelings unobserved, than to make himself conspicuous by stepping forward from his remote position. This person may represent Thomas; who, though no longer incredulous of his master's identity, eyes him with a scrutinizing if not suspicious look, which yet the remembrance of the rebuke he lately received for his want of faith prevents his wishing to have remarked. This figure shows the weakness and emaciation resulting from ill-health, or perhaps from habitual study: the book, half concealed beneath the folds of his mantle, seems to direct us to the latter as the true cause.

Two venerable heads, than which none more truly apostolic can be imagined, carry out the prevailing sentiment, by their animated but calm looks, to the extremity of the group. The last, whose face is hidden by his companion, is of no individual interest; but is valuable to the composition by adding extent and solidity of mass; and also as connecting in a manner agreeable to the eye, by means of the piece of drapery which he holds beneath his arm, the

nearly vertical outlines of the figures, with the horizontal form of the boat. A corresponding service is performed, at the opposite extremity of the picture, by the flock of sheep besides their importance, as regards the emblematical significancy already alluded to, the sheep are of advantage to the composition by pleasingly carrying off the chief mass of light, and at the same time presenting the necessary relief to the drapery on the shadow-side of our Saviour. The back-ground is also, in every part, adapted with finished skill to relieve or soften the outlines of the figures, as may be required; while its varied, extensive, and well-defined features, form by themselves a picture of no mean interest.

On rising from the contemplation of such a work as the Cartoon of "The Charge to Peter," it is impossible not to retain a strong impression on the affirmative side, respecting the question, whether pictures are, or are not, of any use in promoting morality and religion? It is true, that a sectarian error-the introduction of the keys-for which (such were the universal opinions of his age and country) the painter can scarcely be considered responsible,

somewhat mars the lesson designed; yet, notwithstanding, how pure and exalting assuredly are-how permanent and practical ought to be-the sentiments it leaves upon the mind! What a glorious palpable exposition have we here of a precious, an affecting passage of the word of God! What a volume is laid open, teaching the sad frailty of men of even the best intentions-the benignity and forgiving tenderness of God to the penitent-in a language intelligible to every being that has eyes and a human heart! What an eloquent sermon on his recent sufferings, his present care for his church, and the glory for which he is preparing, is preached in that serene majestic figure—in that countenance, of a most placid Godlike beauty, so lately "marred" by suffering 66 more than the sons of men

יי!

"That face, whose picture might have ransom'd kings,

Yet put up spittings, bafflings, buffetings!-
That head, which could a crown of stars have worn,
Yet spitefully was wrench'd with wreaths of thorn,—
Those hands and feet, where purest stamps were set,
Yet nail'd up like to pieces counterfeit,-
Those lips, which though they had command o'er all,
Being thirsty, vinegar had to drink, and gall,—
That body, scourg'd and torn with many a wound,
That his dear blood, like balm, might leave us sound ;-
Messias, great Jehovah, God on high,

Yet hail'd king of the Jews in mockery,—

The manger-cradled babe, the beggar born,
The poorest worm on earth, the height of scorn,—
The Lord, by his own subjects crucified !"*

If it be true-as true indeed it is-that books

66 are a substantial world both pure and good," +

in which, rapt away from all that fevers and degrades us in the world we have to strive with outwardly, we may inform, raise, and delight the wearied spirit; so are pictures, of the highest class, a world also, of a no less absorbing charm and sanctifying tendency. In the church of Rome they are regarded as the books of the unlearned; and that church in all things "wise as the serpent"-but not "harmless," has used them as such;-partly, it is to be lamented, for evil, partly for good; for she has made them the instruments of superstition as well as the teachers of truth. But why should the church of England disdain, in this as in other things, to secure the use while she discards the abuse? Why may we not hope that, among the real improvements for which the way is being prepared by mighty contention and many illusive shadows of such, we shall hereafter, on entering the multiplying fanes of her pure worship, instead of finding our eyes repulsed

* Dekker.

+ Wordsworth.