chilles is to die?" This cannot be painted, because no peculiarity of
attitude or disposition can so supply the place of language as to
impress the sentiment.

The event painted must be such as excites passion, and different
passions in the several actors, or a tumult of contending passions in
the chief.

Perhaps the discovery of Ulysses by his nurse is of this kind. The
surprise of the nurse mingled with joy; that of Ulysses checked by
prudence, and clouded by solicitude; and the distinctness of the action
by which the scar is found; all concur to complete the subject. But the
picture, having only two figures, will want variety.

A much nobler assemblage may be furnished by the death of Epaminondas.
The mixture of gladness and grief in the face of the messenger who
brings his dying general an account of the victory; the various passions
of the attendants; the sublimity of composure in the hero, while the
dart is by his own command drawn from his side, and the faint gleam of
satisfaction that diffuses itself over the languor of death; are worthy
of that pencil which yet I do not wish to see employed upon them.

If the design were not too multifarious and extensive, I should wish
that our painters would attempt the dissolution of the parliament by
Cromwell[3]. The point of time may be chosen when Cromwell, looking
round the Pandaemonium with contempt, ordered the bauble to be taken
away; and Harrison laid hands on the Speaker to drag him from the chair.

The various appearances which rage, and terrour, and astonishment, and
guilt, might exhibit in the faces of that hateful assembly, of whom the
principal persons may be faithfully drawn from portraits or prints; the
irresolute repugnance of some, the hypocritical submissions of others,
the ferocious insolence of Cromwell, the rugged brutality of Harrison,
and the general trepidation of fear and wickedness, would, if some
proper disposition could be contrived, make a picture of unexampled
variety, and irresistible instruction.

[1] Some judicious remarks on portrait painting may be found in
Chalmers' Preface to Idler, Brit. Ess. 33.

The difference between the French and English schools, in this
department of the Art, well proves that mind has scope for its
powers in portrait, and that genius alone can so generalize the
details "as to identify the individual man with the dignity of his
thinking powers."

[2] Has that picture, which is consi