THE SEPULCHRE.
It has been frequently and truly remarked, that in either historical or serious subjects Hogarth did not excel; but to prove that even in this walk he was considerably above mediocrity, and that the reader may be enabled to judge for himself, I have selected the annexed print, which forms one compartment of the altar-piece to St. Mary Redcliffe's, Bristol, for the painting of which he received five hundred pounds.
The centre division, which is much the largest, represents the Ascension. The rays emanating from the ascending Deity, and beaming through the interstices of the surrounding clouds, are tenderly and brilliantly touched. In the foreground, St. Thomas on one knee, with his hands clasped together, is eagerly looking up with an expression of wonder and astonishment. On the other side is St. Peter, in a reclining posture. Near the centre, St. John, with a group made up of the other Apostles, attentively listening to the two men in white, who appeared on this occasion. The background is on one side closed with tremendous rocks; on the other, under the skirts of low-hung clouds in the distance, appears part of the magnificent city of Jerusalem, illuminated by a flash of lightning, which, darting from a darkened sky, casts a livid gloom over the whole.
The compartment on the right hand represents the rolling of the stone and sealing the sepulchre in the presence of the high priest; the exertion displayed in this is happily contrasted by the tenderness and elegant softness displayed in the companion picture here copied, where the Marys approach the empty sepulchre. The angel, speaking and pointing up to heaven with an expression which explains itself—to singular beauty, sweetness, and benevolence, unites great elevation of character, and the native dignity of a superior being.
The foregoing remarks, with some little variations, are extracted from an article in the Critical Review for June 1756, which, being written while the artist was living, were possibly seen and approved by himself.
The writer concludes by remarking, that the purchasing such a picture for their church does great honour to the opulent city for which it was painted, and is the likeliest means to raise a British School of Artists; though it would be a just subject of public regret if Mr. Hogarth should abandon a branch of painting in which he stands alone, unrivalled and inimitable, to pursue another in which so many have already excelled.
From the "Sealing the Sepulchre" and this print there are two large mezzotintos by J. Jenner. The centre compartment has not been engraved.