time with their divine interpretation of the great, the majestic
omnipotence.

Any failure in Art cannot rouse us to this pitch; our sensitive,
appreciative spirits would assuredly flag unless some keynote of
resonant power were sounded.

The figure of Pontius Pilate is realistically depicted; it has not the
aristocratic air of a Roman Governor, yet the face, not caring to
meet the gaze of the people, is a work exhibiting some power. It
sardonically, satirically suggests the thought, "I find in Him no
fault at all," possessing a semblance of three meanings. The people,
deputy officers, and supernumeraries assembled upon this elevation
are somewhat stiffly grouped, and the architectonic embellishments--no
unimportant feature--well conceived, as they form the framework of the
drama, and must be considered well painted. Let it be observed that
the basket capital of the arch is out of perspective; a like error is
to be observed in the roof of certain of the houses on the left;
the blue of the distance, although luminous and atmospheric, is too
opaque. The arches forming the left-hand middle distance are finely
depicted; correct as far as local traditional art will inform us,
and of considerable value in such a work as ballast, substance, in
steadying the erratic fancies or emotions of the painter. Criticism
must justly deal with the figures of the Jewish rabble. The attitudes
are telling, but over angular and rather vulgar. The populace, I
may remark, are too excited; such sustained, extravagant attitudes,
whether in a picture of large or small scale, but particularly in the
former, are upon canvas rarely satisfactory; they mock with littleness
at a Providence that made Art, and become puppets in the hands of
artists. The heads of not a few of the spectators are too large,