Really, gentlemen, I beg pardon for so much philosophy at one time, and now let me apply it. When a murder is in the paulo-post-futurum tense, and a rumor of it comes to our ears, by all means let us treat it morally. But suppose it over and done, and that you can say of it, Τετέλεςαι, or (in that adamantine molossus of Medea) είρξαςαι; suppose the poor murdered man to be out of his pain, and the rascal that did it off like a shot, nobody knows whither; suppose, lastly, that we have done our best, by putting out our legs to trip up the fellow in his flight, but all to no purpose,--“abiit, evasit,” etc.,--why, then, I say, what’s the use of any more virtue? Enough has been given to morality; now comes the turn of Taste and the Fine Arts. A sad thing it was, no doubt, very sad; but _we_ can’t mend it. Therefore let us make the best of a bad matter; and as it is impossible to hammer anything out of it for moral purposes, let us treat it æsthetically, and see if it will turn to account in that way. Such is the logic of a sensible man, and what follows? We dry up our tears, and have the satisfaction, perhaps, to discover that a transaction which, morally considered, was shocking, and without a leg to stand upon, when tried by principles of Taste, turns out to be a very meritorious performance. Thus all the world is pleased; the old proverb is justified, that it is an ill wind which blows nobody good; the amateur, from looking bilious and sulky, by too close an attention to virtue, begins to pick up his crumbs, and general hilarity prevails. Virtue has had her day; and henceforward, _Vertu_ and Connoisseurship have leave to provide for themselves. Upon this principle, gentlemen, I propose to guide your studies, from Cain to Mr. Thurtell. Through this great gallery of murder, therefore, together let us wander hand in hand, in delighted admiration, while I endeavor to point your attention to the objects of profitable criticism. * * * * * The first murder is familiar to you all. As the inventor of murder, and the father of the art, Cain must have been a man of first-rate genius. All the Cains were men of genius. Tubal Cain invented tubes, I think, or some such thing. But, whatever were the originality and genius of the artist, every art was then in its infancy, and the works must be criticised with a recollection of that fact. Even Tubal’s work would probably be little approved at this day in Sheffield; and therefore of Cain (Cain senior, I mean) it is no disparagement to say, that his performance was but so so. Milton, however, is supposed to have thought differently. By his way of relating the case, it should seem to have been rather a pet murder with him, for he retouches it with an apparent anxiety for its picturesque effect:--