Little as I knew critically of Art, I could see that Miserrimus Dexter knew still less of the rules of drawing, color, and composition. His pictures were, in the strictest meaning of that expressive word, Daubs. The diseased and riotous delight of the painter in representing Horrors was (with certain exceptions to be hereafter mentioned) the one remarkable quality that I could discover in the series of his works. The first of the Passion pictures illustrated Revenge. A corpse, in fancy costume, lay on the bank of a foaming river, under the shade of a giant tree. An infuriated man, also in fancy costume, stood astride over the dead body, with his sword lifted to the lowering sky, and watched, with a horrid expression of delight, the blood of the man whom he had just killed dripping slowly in a procession of big red drops down the broad blade of his weapon. The next picture illustrated Cruelty, in many compartments. In one I saw a disemboweled horse savagely spurred on by his rider at a bull-fight. In another, an aged philosopher was dissecting a living cat, and gloating over his work. In a third, two pagans politely congratulated each other on the torture of two saints: one saint was roasting on a grid-iron; the other, hung up to a tree by his heels, had been just skinned, and was not quite dead yet. Feeling no great desire, after these specimens, to look at any more of the illustrated Passions, I turned to the opposite wall to be instructed in the career of the Wandering Jew. Here a second inscription informed me that the painter considered the Flying Dutchman to be no other than the Wandering Jew, pursuing his interminable Journey by sea. The marine adventures of this mysterious personage were the adventures chosen for representation by Dexter’s brush. The first picture showed me a harbor on a rocky coast. A vessel was at anchor, with the helmsman singing on the deck. The sea in the offing was black and rolling; thunder-clouds lay low on the horizon, split by broad flashes of lightning. In the glare of the lightning, heaving and pitching, appeared the misty form of the Phantom Ship approaching the shore. In this work, badly as it was painted, there were really signs of a powerful imagination, and even of a poetical feeling for the supernatural. The next picture showed the Phantom Ship, moored (to the horror and astonishment of the helmsman) behind the earthly vessel in the harbor. The Jew had stepped on shore. His boat was on the beach. His crew--little men with stony, white faces, dressed in funeral black--sat in silent rows on the seats of the boat, with their oars in their lean, long hands. The Jew, also a black, stood with his eyes and hands raised imploringly to the thunderous heaven. The wild creatures of land and sea--the tiger, the rhinoceros, the crocodile, the sea-serpent, the shark, and the devil-fish--surrounded the accursed Wanderer in a mystic circle, daunted and fascinated at the sight of him. The lightning was gone.