MOTION OF THE FEATURES OF A PORTRAIT. 193 



sideration than it merits, has been often skilfully em- 

 ployed by the novelist, in alarming the fears or exciting 

 the courage of his hero. On returning to the hall of his 

 ancestors, his attention is powerfully fixed on the grim 

 portraits which surround him. The parts which they 

 have respectively performed in the family history rise 

 to his mind : his own actions, whether good or evil, are 

 called up in contrast, and as the preserver or the destroyer 

 of his line, he stands as it were in judgment before them. 



Fig. 27. 



His imagination, thus excited by conflicting feelings, 

 transfers a sort of vitality to the canvas, and if the person- 

 ages do not " start from their frames," they will at least 

 bend upon him their frowns or their approbation. It is 

 in vain that he tries to evade their scrutiny. Wherever 

 he goes their eyes eagerly pursue him ; they will seem 

 even to look at him over their shoulders, and he will find 



