negative or positive reflections of emotion. Linear perspective there
is, and employed to much scenic advantage; but aerial perspective,
utilised towards expressing overlapping figures, there is not, save
in meagre degree. The canvas is too crowded, the sense of vision
and admiration is nowhere at all lulled by repose. We may point
to successful juxtaposition of individual figures, to masses of
harmonious tones, but not to masterly composition. The mind of the
artist is intent upon the bitterness of turmoil; it does not reach us
directly by imperishably revealing or extolling the divine nature of
"The Man," "Homo;" and is throughout the field of interest usually
recognised in overstrained partiality for attitude and outline.
Hence the title of the picture is almost sought for, expected in the
multitude on the left, which should have been isolated. "Ecce Homo,"
briefly and emphatically, is not so suitable a title as I would
suggest, with the utmost regard for reverence, might be described, as
the interval between the two cries: "Away with Him," "Crucify Him,"
such intensely dramatic particles of time finding expression and vent
throughout the work in coarse silhouetting.

The crowding of the lawless throng against the front of the tribune,
on which the chief characters of the scene are portrayed, though not
in a material sense wrong, must be open to much æsthetic dispute;
must mar the success and the action of reflex thought, the spiritual
contest waging and recoiling between the Divine, meek victim and the
surging rabble. At all events, it is sad to trace no direct or secret
hint at new or transcendental methods conspicuous or even dimly
apparent in the painter's art. Little there is in the effort to draw
our finer instincts to spiritual truths. The utmost mechanical skill
of the diligent artist is discernible, labouring incessantly without
extraordinary or transcendental light to the appointed end, the goal