330 REVIEWS AND PAMPHLETS ON ART
hand, is this light of conscience. Its fire is red and fierce; it falls only on the closed door, on the weeds which encumber it, and on an apple shaken from one of the trees of the orchard, thus marking that the entire awakening of the conscience is not merely to committed, but to hereditary guilt.
The light is suspended by a chain, wrapt about the wrist of the figure, showing that the light which reveals sin appears to the sinner also to chain the hand of Christ.
The light which proceeds from the head of the figure, on the contrary, is that of the hope of salvation; it springs from the crown of thorns, and, though itself sad, subdued, and full of softness, is yet so powerful that it entirely melts into the glow of it the forms of the leaves and boughs, which it crosses, showing that every earthly object must be hidden by this light, where its sphere extends.
I believe there are very few persons on whom the picture, thus justly understood, will not produce a deep impression. For my own part, I think it one of the very noblest works of sacred art ever produced in this or any other age.
It may, perhaps, be answered, that works of art ought not to stand in need of interpretation of this kind. Indeed, we have been so long accustomed to see pictures painted without any purpose or intention whatsoever, that the unexpected existence of meaning in a work of art may very naturally at first appear to us an unkind demand on the spectator’s understanding. But in a few years more I hope the English public may be convinced of the simple truth, that neither a great fact, nor a great man, nor a great poem, nor a great picture, nor any other great thing, can be fathomed to the very bottom in a moment of time; and that no high enjoyment, either in picture-seeing or any other occupation, is consistent with a total lethargy of the powers of the understanding.
As far as regards the technical qualities of Mr. Hunt’s painting, I would only ask the spectator to observe this
[Version 0.04: March 2008]