the spectator, and making a barricade with his spear, which he holds horizontally, is a motley group of onlookers, not unlike that which we may still see any day in one of our criminal courts. Of these, one more furious than the rest is wildly gesticulating, and crying, as we may judge from his whole attitude, "Crucify Him! crucify Him!" and another, a little to the Savior's left, but in the second row behind Him, is leaning forward with mockery in his leering look, and making almost as if he would spit upon the saintly one. There is but one really compassionate face in the crowd, and that is a face of a woman who, with an infant in her arms, most fitly represents those gentle daughters of Jerusalem who followed Jesus to Calvary with tears. Then, over the heads of the on-lookers, and out of the upper part of the doorway into the court, we get a glimpse of the quiet light of the morning as it sleeps upon the walls and turrets of the adjacent buildings. All these figures are so distinctly seen that you feel you could recognize them again if you met them anywhere; and a strange sense of reality comes upon you as you look at them, so that you forget that they are only painted, and imagine that you are gazing on living and breathing men. But, as you sit awhile and look on, you gradually lose all consciousness of the presence of the mere on-lookers and find your interest concentrated on these two white-robed ones, as if they were the only figures before you. The pose of Christ is admirable. It is repose blended with dignity; self-possession rising into majesty. There is no agitation or confusion; no fear or misgiving; but, instead, the calm nobleness of Him who has just been saying, "Thou couldst have no power at all against me, except it were given thee from above; therefore he that delivered me unto thee hath the greater sin." The face alone disappoints. Perhaps that may be owing to the lofty ideal we have of the divine Man, so that no picture of our Lord would entirely please. But tho the painter has wisely abandoned the halo, and all similar conventionalisms of art, and has delineated a real man, for all which he is to be highly commended, yet the eyes which look so steadily at Pilate, as if they were looking him through, seem to me to be cold, keen, and condemnatory, rather than compassionate and sad. It is a conception of the Lord of the same sort as that of Doré, in his well-known picture of the leaving of the Prætorium, and the eyes have not in them that deep well of tenderness out of which came the tears which He shed over Jerusalem, and which we expect to see in them when He is looking at the hopeless struggle of a soul which will not accept His aid. It is said that the artist, dissatisfied with his first attempt, has painted the Christ face twice; but this, also, is a partial failure, and here, so at least it seemed to me as I looked upon it, is the one defect in his noble work. But if there is this defect, it is one