As it is impossible for a writer to give a just translation of a great poem unless he is not only master of the language in which he writes, but is also warmed by the glowing spirit of his original, so a painter would in vain attempt to embody a poetical story unless to his skill in embodying it with form, colour, light, and shade, he adds the diviner power of giving it the poetic soul. With such enthusiasm in the true sympathy of his art, has the Painter translated from Homer the description of this solemn incident.-Leaving the plebeian war in the back-ground, the chieftains, Diomede and Hector, are advancing towards each other in the consciousness of being able to settle the day's combat without wasting their strength on inferior objects: "Let thou and I the battle try;" It was, however, one of the days of Hector's glory, and Diomede was destined to advance in vain, though a great compliment is paid him by the very cause of his approaching flight; for the only thing which deters him from meeting Hector, and, as the Poet insinuates, from defeating him, is nothing less than a supernatural fire from Heaven repeatedly visiting his progress. This is the moment of the picture; and by the selection of such a moment, as well as by his prominent part in the fore-ground, Diomede is evidently made the hero of the piece, as he well might be on such an occasion, notwithstanding his ill success: so artful is Homer in maintaining the general glory of his countrymen without diminishing that importance in Hector, which is so necessary to the superior glory of his final vanquisher Achilles. The situation is desperate and the Painter has so described it, without making his hero partake of the despair.—It is thundering and lightning: the horses are rearing at the flames that dart in their faces: old Nestor, whom at the approach of Hector, Diomede had taken into his chariot, and who had undertaken to manage the reins, finds the task impossible, and is seized with a "sacred dread;" and in fine, Hector, by these awful signs, is coming up to sweep every thing before him, yet Diomede, for the moment, still remains unappalled, and lifting his shield over his head, as if to meet all the terrors that might assail him, grasps his javelin with a double energy for the combat. This elevation of the shield is a fine touch, not to be found in the original; and nothing can be contrasted more nobly than the two different modes in which the valour of the opponents manifests itself on account of the difference of situation-Diomede having all his faculties on the stretch of undaunted resolution, yet from the surprise of the moment, not absolutely bent up: while Hector drawn by his steeds in good order, and holding out his javelin with a cooler preparation, is coming on with a kind of regal confidence, sure of his glory, and already proud of his triumph. L. H. PYLADES AND ORESTES. To time well spent and talent well directed, this and the other numerous works of Mr. WEST bear ample and exemplary testimony. Extraordinary excellence in the Arts is mostly, if not always, the result of a wise and virtuous appropriation of the precious season of youth. By such honourable means was the Painter made competent to produce the beautiful original of this engraved outline at an early age, it being the first historical painting executed by Mr. WEST after his arrival in England from his youthful studies in Italy, many years before Republican France carried of the choicest remains of antique sculpture and the best works of the old masters. Exclusively of the original's uncommonly clear and powerful chiaro scuro and colour, this outline is sufficient, in the costume, and in the forms, actions, and composition of the figures, to show how richly his young mind was imbued with a classical knowledge of those renowned works. The subject is as follows: Orestes slew Pyrrhus, the son of Achilles, in the temple of Apollo, in revenge for his marrying Hermoine, who had been affianced to Orestes by her grandfather. For this sacrilege, Apollo ordered furies to haunt him, and compelled him to proceed to expiate the crime at the altar of Diana. His friend Pylades accompanying him to the altar, there presented himself to Thoas, King of Taurica, to be sacrificed, alledging that he was Orestes. At the awful instant when Orestes was to be sacrificed, Iphigenia, priestess of Diana, discovered him to be her brother, on which Thoas himself was sacrificed for his cruelties. R. H. |