Judging a picture, then, by this standard of simplicity and truth, we look first of all for these qualities; we look to see if the artist is sincere in his representation of the scene he presents to us. If we find this to be so, then we receive the work as a contribution to the truth we are seeking. Some painters force us to recognise their skill as colourists, as draughtsmen, as archæologists--they have insisted upon their accuracy in these respects, but oftentimes at the sacrifice of all spirituality; their pictures are representations of costume, of architecture--what you will--but the true spirit of art is lacking; they are merely skilfully painted canvases. In no direction is this more apparent than in pictures dealing with religious subjects. In such works we especially want to feel immediately we look at them, "Here is an honest effort to realise the true spirit of the subject: here is something which is helpful, inspiring, _good_." We do not want to be forced to admire the accessories before we realise this; that should follow in due course, and will, if the picture has been designed and executed in the right spirit. As in a spoken sermon we fail to grasp the teaching as we should if we see the framework upon which the preacher has built up the fabric of his oration, so in a pictorial sermon we lose the good that is in it if we are impressed first of all with the details of technique or composition. The appeal to the heart should come first--that to the head should be secondary. [Illustration: (_By permission of the Artist. Copyright reserved._) "AND THERE WAS A GREAT CRY IN EGYPT." (_By Arthur Hacker, A.R.A._)] The helpfulness and interest of Biblical pictures to young and old is acknowledged by all. The pictorial Bible is a never-ending source of delight, and its influence is extraordinary in its extent and power. Our ideas of Scriptural scenes and incidents have often been formed more by the illustrations than by the Biblical narrative itself, and we have often been almost pained in after-life on seeing the attempts of other artists to depict scenes which differ materially from those for which we acquired a fondness in our early days, although we recognise the fact then that many of these favourite pictures are in no wise worthy of their subjects. After all, pictorial Bibles are, as a rule, unsatisfactory. More's the pity! The range of subjects is so vast, and the artists employed have seldom succeeded in impressing their representations with any degree of the dignity attaching to them. Even the versatile genius of Gustavo Doré could not respond successfully to the gigantic work, although of the few artists who have grappled with it, he creates the greatest amount of interest. [Illustration: (_From the Fresco in the House of Lords._) MOSES' DESCENT FROM SINAI. (_By J. R. Herbert, R.A._)]