ork justly.

29. _Elijah (?)._ A prophet holding down his face, which is covered
with his hand. God is talking with him, apparently in rebuke. The
clothes on his breast are rent, and the action of the figures might
suggest the idea of the scene between the Deity and Elijah at Horeb:
but there is no suggestion of the past magnificent scenery,--of the
wind, the earthquake, or the fire; so that the conjecture is good for
very little. The painting is of small interest; the faces are vulgar,
and the draperies have too much vapid historical dignity to be
delightful.

30. _Jonah._ The whale here occupies fully one-half of the canvas;
being correspondent in value with a landscape background. His mouth is
as large as a cavern, and yet, unless the mass of red color in the
foreground be a piece of drapery, his tongue is too large for it. He
seems to have lifted Jonah out upon it, and not yet drawn it back, so
that it forms a kind of crimson cushion for him to kneel upon in his
submission to the Deity. The head to which this vast tongue belongs is
sketched in somewhat loosely, and there is little remarkable about it
except its size, nor much in the figures, though the submissiveness of
Jonah is well given. The great thought of Michael Angelo renders one
little charitable to any less imaginative treatment of this subject.

31. _Joshua (?)._ This is a most interesting picture, and it is a
shame that its subject is not made out, for it is not a common one.
The figure has a sword in its hand, and looks up to a sky full of
fire, out of which the form of the Deity is stooping, represented as
white and colorless. On the other side of the picture there is seen
among the clouds a pillar apparently falling, and there is a crowd at
the feet of the principal figure, carrying spears. Unless this be
Joshua at the fall of Jericho, I cannot tell what it means; it is
painted with great vigor, and worthy of a better place.

32. _Sacrifice of Isaac._ In conception, it is one of the least worthy
of the master in the whole room, the three figures being thrown into
violent attitudes, as inexpressive as they are strained and
artificial. It appears to have been vigorously painted, but vulgarly;
that is to say, the light is concentrated upon the white beard and
upturned countenance of Abraham, as it would have been in one of the
dramatic effects o