368 Modern Pictures. [Ocr. 
greatly adds to her effect upon the scene of passion of which she forms 
so conspicuous a part. Many other of the female figures in this portion 
of the picture merit particular commendation, no less fer the passion 
and pathos that are educed from them, than for the manner in which 
they are made to balance and bear out the composition, so as to render it 
an effective and consistent whole. The female figures undoubtedly bear 
away the palm, both of merit and of interest, from those of the males ; but 
these latter are by no means deficient in either spirit or appropriateness ; 
though, in point of distinctiveness, as well as of variety, perhaps they are 
a little deficient. But, among all the figures forming this great central 
department of the work, the only one to which we decidedly object is 
that of the gigantic warrior a little to the left of the centre, who is lifting 
his sword to punish some slaves, who, in the confusion of the moment, 
are drinking and carousing to the health of the king. We conceive this 
figure to be at best out of place; and that, if it were not so, it would 
still be out of character, and out of drawing too. We point this out, 
however, simply because it is the only serious objection we have to make 
of this nature. 
Still continuing among the points of human interest, we must notice 
with entire commendation the figure, in the distance below, of Belesis; 
the rebel warrior and priest, at whose instigation the revolt against Sar- 
danapalus has been organized and chiefly supported, and who is leading 
the right wing of the besieging army. Farther, we must add, that the 
whole of this middle distance is managed with infinite practical skill, 
directed by a consummate knowledge of the principles of pictorial 
effect : for not only is an impression of vastness, as well as of distance, 
produced by means of inconceivably minute and elaborate distinct 
details ; but there is every where an appearance of order and arrange- 
ment, seeming to grow out of what, when examined closely, can only be 
looked upon as a sort of studied confusion. We do not know that we 
explain this point very satisfactorily ; but to ourselves it is one of great 
interest and curiosity in this picture. It is an artifice, however, which 
has been employed in most of Mr. Martin’s previous works of this class ; 
but in noné so successfully as in the present: and we may add, that it 
has never been employed with equal success by any other artist, living or 
dead. 
It only remains for us to speak of the architectural portion of this pic- 
ture—that portion on the effects of which Mr. Martin seems to have 
hitherto placed so much dependence, and which is, from its nature, cal- 
culated to excite so much attention in the merely superficial observer. 
For our own parts, we will frankly confess (because our motive in doing 
so cannot be mistaken) that we attach comparatively little value to this 
portion of Mr. Martin’s peculiar skill, and to the uses to which he applies 
it. On the contrary, we are of opinion, that if he had placed less depend- 
ance on this portion of his art, and used it less profusely than he has 
hitherto done, he would have deserved at least, if he had not gained, 
even more reputation than he at present possesses: and, in proof of the 
soundness of this opinion, we would adduce the present work, which is 
incomparably the best production of the artist’s pencil, and in which, if 
our memory serves us rightly, the knowledge and skill now in question 
have béen more sparingly used than in any of those previous productions 
of the same hand which can be brought into comparison with this ; such 
as “ The Fall of Babylon,” “The Feast of Belshazzar,” &c. The truth 
is, that the effect now referred to, if it cannot exactly be called a trick, 
