A detailed nineteenth-century steel engraving by Samuel Smith, reproducing Sir Charles Lock Eastlake's painting of the biblical Good Samaritan.

This steel engraving by Samuel Smith reproduces the original oil painting by Sir Charles Lock Eastlake. The composition depicts the biblical narrative of the Good Samaritan, focusing on the moment of care provided to the injured traveller. The Samaritan is shown supporting the wounded man, who sits upon a stone, while a horse stands nearby, tethered to the scene. In the background, two smaller figures are visible in the distance, adding depth to the setting.

Smith, a skilled engraver of the Victorian period, utilised precise line work to translate the tonal qualities of Eastlake's painting into a monochromatic medium. The engraving captures the soft modelling of the figures and the atmospheric quality of the surrounding trees and distant hills. The technique relies on varied cross-hatching and stippling to create the illusion of texture, from the fabric of the garments to the rough surface of the ground.

Such prints were common in the nineteenth century, allowing the public to own reproductions of works held in the Royal Collection. The publication by James S. Virtue reflects the era's interest in disseminating fine art through high-quality printmaking. The work maintains a balanced composition, with the central figures forming a stable triangular arrangement. The attention to anatomical detail and the dramatic lighting are characteristic of the academic style favoured by Eastlake, who served as President of the Royal Academy. This print offers a clear view of the technical proficiency required for nineteenth-century reproductive engraving, where the engraver acted as a bridge between the painter's vision and the wider audience.