Classical style painting as a whole can be identified by numerous general qualities or themes ranging from idealized forms and figures to a focus on mythological or biblical subject matter. But one of the most striking qualities of many paintings of the classical school is the tendency to tell a story through a single image on the canvas. This is most often achieved through a system for the identification of characters, through the use of a carefully constructed background or setting, and most importantly through a vivid portrayal of action and emotion. Three paintings in the Snite Museum of Art stand as excellent examples of this characteristic, and they are discussed here.

The first example of this trait of storytelling is The Wrath of Achilles (1810. Abel de Pujol. French. 1787-1861. Oil on canvas). This painting of the Neo-Classical period portrays the scene of Achilles confronting Agamemnon as described in Homer's Iliad. The work contains a definite system of identification for the characters, which, as in all of these paintings, relies on a certain amount of knowledge already possessed by the observer. For instance, Agamemnon is identifiable by his royal scepter and the throne behind him. The goddess Athena can be recognized on account of her helmet and her spear. The fact that Athena is reaching for Achilles' hair identifies Achilles, for it is written in the Iliad that this is how he was restrained Nestor is identified by his positioning between Achilles and Agamemnon. With theses characters identified, the story being told is not a random representation but rather it carries the weight of a tale that is among the most well-known in western literature. As for the physical setting of the painting, it is not as important as the way the scene is situated in front of the Aechean army. The soldiers make up an active setting and they add significance to the action in the scene, for a king is being challenged for all of his men to see. The action in this painting is vivid indeed.

Agamemnon is shown with his back leg behind him, as if he has just risen from his throne to meet the challenge, wearing an inviting expression of pride and defiance. Athena is not quite touching Achilles' hair, so the observer knows that she is still moving. The waving quality of her gown suggests motion as well. Achilles' half-drawn sword implies further action, as well as his desire to fight. The soldiers look on in fear as Nestor attempts to keep the peace, holding back Achilles while he appeals to the better judgement of the king. In such a way, the painting is not just a picture of a fight, but rather a story involving characters with drives and emotions, and one that holds extra meaning if the audience has read The Illiad.

Another classical-type painting that has this storytelling characteristic is The Holy Family with Saints (Fra Paolo Paolini and Fra Bartolomeo. Italian. 1490-1547 and 1471-1517. Oil on panel). Painted in the sixteenth century, this work has a slightly simpler goal than The Wrath of Achilles in that it seeks chiefly to tell the simple story of a gathering of the family of Jesus with John the Baptist and his mother Elizabeth. Identification is extremely important here, for there are two babies, two women, and a man of questionable identity. First of all, the families are distinguished as holy by their halos, and thus the observer knows that this is not just an ordinary gathering. Then individual identification comes into play. John the Baptist is identified by the reed cross, one of his customary symbols, lying at his feet. Jesus is similarly identified by the cross in his halo, a characteristic customarily reserved for him. The identity of Joseph, the father of Christ, could be guessed at by the staff he is holding, and Mary might be recognized by the fact that she is holding Jesus, but more is really necessary. Accordingly, the setting in this painting, though only a simple room, is carefully designed to aid in identification. Each member of the holy family is raised up in some way, in contrast to John and his mother. This indicates which characters are of greater relative importance. Also, a story within a story is utilized in this work for additional aid in identification. The window of the room opens onto a scene in which a man and a woman on a mule are leaving a city. The audience is expected to recognize this common picture as Mary and Joseph fleeing to Egypt. By the color of their dress, they are matched with the same people in the room, thus ending any uncertainty. With all identities established, the simple actions now hold meaning and take the form of a story. In the image, all characters gaze with obvious expressions of love and satisfaction on the two children. Jesus and John the Baptist look at each other in a similar way with an idealized adult-like gaze. The two are engaged in an incomplete embrace, giving the audience a feeling that they are moving towards each other. The sum of these effects is the clear portrayal of a familiar scene that tells the story of the extended holy family in a peaceful, loving, but non-static gathering.

A final example of the classical trait of storytelling is the Resurrection of Christ (Noel Coypel. French. 1628-1707. Oil on canvas). In this painting, the identities of the characters are more obvious as long as the audience has some knowledge of the story. The angel is identified by his wings, Jesus by the cross he holds and the fact that he is ascending into heaven, the Roman soldiers by their dress, and the women by the audience's knowledge of who was present. The setting and background structure, as in The Holy Family with Saints, are mainly used for identification and glorification of those who are important. Jesus is placed highest in the scene, floating above a rock platform, highly illuminated and framed by the clouds in the background. The angel is just below him, perched on the rocks. Next are the mortal women, illuminated in honor of their goodness, but placed standing on the ground. Lowest are the soldiers, partially obscured in the dark of a shadow and cowering on the ground. What contributes most to the story in this painting is the vibrant array of action and emotion. In the scene, two soldiers are lying on the ground with weapons drawn, knocked down by fear and surprise. Another flees with the look of absolute horror on his face. The women look up at Christ in surprise, but they hold a pleasant posture and expression. The expression of one suggests awe, while the other's favors happiness. The angel's gaze, aimed at the women, is one of understanding, as he gestures reverently towards the ascending Jesus. And Jesus, positioned above the ground, looks upward, indicating his motion towards heaven, donning an expression of ecstasy. Together, these components create an extremely active scene and a very specific story of the ascension of Jesus and the effects it had on various people.

The three aforementioned paintings from the Snite Museum all display a trait common in works of the classical type. They show the importance of identification of characters, setting, crisp action, and vivid emotion. Together these traits have the effect of bringing a still image to life, almost literally. The observer sees a single image, but the storytelling qualities of these paintings allow it to be much more. It is no longer thought of as only the representation of a single instant, but rather as a starting point around which one constructs a series of events and witness interactions between characters. The observer can act out the conflict of Achilles and Agamemnon in his or her mind. He or she can see Achilles finish pulling out his sword, Athena finally grasping the warrior's hair, and Nestor continuing desperately to avert disaster. This trait found in these paintings works in conjunction with other characteristics for sure, but the ability of the classical style painting to tell a story greatly increases the painting's complexity and the potential effect it can have on its audience.