
 
        
         
		broil,  amidst  his  efforts,  has  the  blood  settled  in his  face.  The  
 following picture is truly horrible from its truth and accuracy: 
 But, see, his face is black, and full of blood; 
 His eyeballs further out than when he lived, 
 Staring full ghastly like a strangled man: 
 His hair uprear’d, his nostrils stretch’d with struggling; 
 His hands abroad display’d as one that grasp’d  
 And tugg’d for life, and was by strength subdued. 
 Look on the sheets;  his hair, you see, is sticking; 
 His well proportion’d beard made rough and rugged, 
 Like to the summer’s corn by tempest lodged. 
 It cannot be, but he was murder’d here; 
 The least of all these signs were probable. 
 K in g  H e n r y  VI. Part II. 
 The laws of inquest in this country require us to witness such  
 things in all their horrible circumstance,  since the body lies where  
 it falls, and no weapon or even disorder of dress is removed.  “ The  
 blood is black and stiff,  in strong contrast with the paleness of the  
 face.  Yet there is some colour in the face, it is pale yellow, stained  
 with light blue and purple on the temple, eyelids, and sides of the  
 nose.  The  eyes  are  closed, but why so  different  from  sleep ?  a  
 nearer  inspection  shows  that  in  the  agony the under eyelids are  
 drawn  under  the  upper  ones.  The  jaws  are  clenched,  and  the  
 tongue  caught  betwixt  the  teeth.”  This  young man had put a  
 pistol to his head. 
 Are such  scenes  to be  represented ?  Certainly not.  But they  
 are to be conceived by those, who consistently with good taste, are, 
 in  a  manner  less  obtrusive  and  circumstantial,  to convey  an  impression  
 to the spectator, to that mind which may be awakened to  
 sensation  without  all  the  disgusting  circumstances  of the  actual  
 scene.  We may have  it in words,  as  Shakspeare has represented  
 the body of the good Duke Humphry.  But  in painting,  the  material  
 makes the representation too true to admit the whole features  
 of horror. 
 I throw in this sketch to remind the painter that in convulsion,  
 although  there  may  appear  to  him  an  accidental  and  deranged  
 action of the muscular frame, there is no such thing in nature.  It  
 is a disease he is representing, which  has  definable symptoms, and  
 it will ever present itself with the same characters.