366 Modern Piclures. [Ocr. 
productions of Art in an early stage of society are always found to be, as 
compared with those of a more cultivated and advanced stage. They 
differed from the best which have followed them, much in the same man- 
ner that the [liad differs from the Aineid ; and from much the same 
causes. But the fine production of which we are now to speak. if upon 
the whole inferior in general character, because inferior in intensity of 
moral effect, to many early efforts of Art that might be pointed out, is 
equally original and specific in its character with them, and, we venture 
to think, indicates as high and as rare a degree of mingled genius and 
acquirement as any one among them which could be named. Perhaps 
we shall best attain our end by at once proceeding to describe in detail 
“The Fall of Nineveh ;” and in doing this, we shall endeavour (as the 
artist has done) to attract and concentrate the interest upon the chief 
moral point of the subject, by referring to all the merely mechanical 
details first. ‘To make any previous reference to the traditional story on 
which the picture is constructed, seems unnecessary. 
In the upper portion of the extreme left of a space which is almost 
entirely covered with the buildings forming a vast and splendid city, is 
seen a mass of raging flames, devouring all before them, and casting a 
lurid light over all surrounding objects. Immediately beneath: this 
portion of the scene lies a great river, traversed by a superb bridge, and 
covered with a cloud of vessels, bearing myriads of the besieging army 
which has been for years lying before Nineveh without being able to 
make any impression on it. At the moment, however, which is chosen 
for the point of time represented in the picture, the hand of Omnipotence 
seems to have interposed for the destruction of the devoted city ; as the 
enormous walls, which have hitherto rendered the space within them 
impregnable, are now crumbling beneath the united power of lightnings 
from above, and the rising river from below ; and various breaches are 
visible in them, through which the living flood of the enemy is pouring. 
The whole space above alluded to, together with a considerable portion 
of space on this side the city walls—which is covered with myriads of 
the besieging and defending armies, engaging each other at all points—is 
to be considered as the distance of the picture ; and there is not a single 
point of that distance which is not peopled with a separate and distinct 
human interest, in addition to that which it includes as a grand and gene- 
ral whole. The other distances, on the right, are occupied by the 
remote buildings of the vast city ; and, beyond them, by a dark obscure, 
through which the mighty tomb of Ninus rises like a huge “ exhalation,” 
—which would be almost indistinguishable from the clouds into which it 
rises, but for the sacrificial fires that are seen glimmering upon its sides. 
We now reach the fore-ground, the extremities of which are occupied, 
that on the right by the massy towers, terraces, and hanging-gardens of 
the royal palace, and that on the left by the gorgeous funeral pile which 
has been prepared by order of the king, Sardanapalus, and on which has 
been heaped all the wealth of the palace, to be destroyed, in case of 
extremity, together with its proud owner, and his host of beautiful con- 
cubines. These latter, together with the queen herself, and all the chief 
persons of the court, are collected into a variety of distinct but united 
groups, on a terrace in front of the palace, overlooking the principal 
scene of the combat below, and including the point at which the specta- 
tor is supposed to be placed: and at this point it is that the chief human 
interest of the picture is sought to be concentrated. The time is con- 
siderably after sunset ; and the lights by. which the various objects are 
