1828. ] Modern Pictures. 367 
rendered visible consist‘of a lurid and stormy moon—the fires of the 
burning city—and, finally, a tremendous flash of lightning, which wraps 
the whole of the fore-ground and its figures in a blaze of brightness. 
In looking upon this splendid combination of imagery, our first and 
chief attention is attracted to where unquestionably it ought to be, in a 
work of this nature, but where it as unquestionably has not been always 
attracted in Mr. Martin’s previous works—namely, to the central groups 
forming the chief point of human interest, in virtue of the human passion 
and character which they are made instrumental in developing. We 
have no hesitation in asserting, that, whatever may have been the case in 
former instances, in this before us Mr. Martin has given the due atten- 
tion, and neither more nor less than was due, to this human portion of 
his subject ; and that, in fact, he has balanced this portion of it against 
the other, with consummate skill, and with perfect success. Farther, we 
will assert that all is attempted, in this department of the work, of which 
the subject was fairly susceptible ; and that in scarcely any of all the 
various points has the artist failed, or even fallen short of what may be 
_ supposed to have been his own conceptions of the matter in hand. In 
fact, as it must not be concealed that, in his previous productions, Mr. 
Martin had shewn very considerable deficiencies in the practical skill con- 
nected with this most important department of his art, so let it not now 
be denied that a most striking improvement is observable even on the 
very first glance at the work befcre us ; and that the more its details are 
examined, the more manifest this improvement becomes. We have, here, 
no deficient or contradictory expression—no awkward, extravagant, or 
theatrical attitudes—and very little, if any, defective drawing. And, on 
the other hand, we find a very considerable portion of real pathos and 
passion; much elegance, dignity, and spirit of design; great truth, 
united with extraordinary brilliance of colouring ; and a skill in compo- 
sition and arrangement in all respects corresponding with these. It gives 
us great and unqualified pleasure to be able to say this ; and Mr. Martin 
may be assured that those who, in noticing his work, neglect to say as 
much, have been accustomed to point out his real or supposed defects 
in this particular, less from a love of art and of justice, than from that 
feeling of envy which is incompatible with either a real love for art or a 
sound judgment concerning it. In truth, we can scarcely anticipate what 
fault even the class of persons in question will find, in Mr. Martin’s treat- 
ment of the human face and figure in this picture. 
The point of time supposed to be depicted is thatat which Sardanapalus, 
perceiving the inevitable fate of his city, and consequently of his throne 
and person, points to the funeral pile which he has ordered to be pre- 
pared for himself and his favourite concubines, and is proceeding to take 
possession of it ; while his queen and all his court are about him, each 
and all variously affected, according to their various characters and cir- 
cumstances. The principal group—that including Sardanapalus and his 
loying and beloved Azubah—is (as a group) at once grand, simple, and 
touching, in a very high degree ; and, in regard to the details of it, the 
unaffected majesty of the royal lover is in all things answerable to the 
surpassing loveliness of his self-devoting slave and mistress. 
The group second in importance is little, if at all, inferior in merit and 
interest to the one just described. It is that of the queen, who is led 
reluctantly away by her maidens from the horrors of the scene, which 
her lingering love for the king will scarcely allow her to quit. There is 
a modest and tender sweetness in the character of her beauty, which 
