unworthy Ends.  Who is the better Man for beholding the most beautiful Venus, the best wrought Bacchanal, the Images of sleeping Cupids, languishing Nymphs, or any of the Representations of Gods, Goddesses, Demy-gods, Satyrs, Polyphemes, Sphinxes, or Fauns?  But if the Virtues and Vices, which are sometimes pretended to be represented under such Draughts, were given us by the Painter in the Characters of real Life, and the Persons of Men and Women whose Actions have rendered them laudable or infamous; we should not see a good History-Piece without receiving an instructive Lecture.  There needs no other Proof of this Truth, than the Testimony of every reasonable Creature who has seen the Cartons in Her Majesty’s Gallery at Hampton—­Court:  These are Representations of no less Actions than those of our Blessed Saviour and his Apostles.  As I now sit and recollect the warm Images which the admirable Raphael has raised, it is impossible even from the faint Traces in ones Memory of what one has not seen these two Years, to be unmoved at the Horror and Reverence which appear in the whole Assembly when the mercenary Man fell down dead; at the Amazement of the Man born blind, when he first receives Sight; or at the graceless Indignation of the Sorcerer, when he is struck blind.  The Lame, when they first find Strength in their Feet, stand doubtful of their new Vigour.  The heavenly Apostles appear acting these great Things, with a deep Sense of the Infirmities which they relieve, but no Value of themselves who administer to their Weakness.  They know themselves to be but Instruments; and the generous Distress they are painted in when divine Honours are offered to them, is a Representation in the most exquisite Degree of the Beauty of Holiness.  When St. Paul is preaching to the Athenians, with what wonderful Art are almost all the different Tempers of Mankind represented in that elegant Audience?  You see one credulous of all that is said, another wrapt up in deep Suspence, another saying there is some Reason in what he says, another angry that the Apostle destroys a favourite Opinion which he is unwilling to give up, another wholly convinced and holding out his Hands in Rapture; while the Generality attend, and wait for the Opinion of those who are of leading Characters in the Assembly.  I will not pretend so much as to mention that Chart on which is drawn the Appearance of our Blessed Lord after his Resurrection.  Present Authority, late Suffering, Humility and Majesty, Despotick Command, and [Divine] [3] Love, are at once seated in his celestial Aspect.  The Figures of the Eleven Apostles are all in the same Passion of Admiration, but discover it differently according to their Characters. Peter receives his Masters Orders on his Knees with an Admiration mixed with a more particular Attention:  The two next with a more open Ecstasy, though still constrained by the Awe of the Divine [4] Presence:  The beloved Disciple,