. The table book of art; a history of art in all countries and ages . es Lamb. He says :— Here is plenty of poverty and low stuff to disgust upon a superficial view ;and, accordingly, a cold spectator feels himself immediately disgusted and have seen many turn away from it, not being able to bear it. The same personswould perhaps have looked with great complacency upon Poussins celebrated pictureof the Plague at Athens. Disease and death, and bewildering terror, in Atheniangarments, are endurable, and come, as the delicate critics express it, within thelimits of pleasurable sensatio
. The table book of art; a history of art in all countries and ages . es Lamb. He says :— Here is plenty of poverty and low stuff to disgust upon a superficial view ;and, accordingly, a cold spectator feels himself immediately disgusted and have seen many turn away from it, not being able to bear it. The same personswould perhaps have looked with great complacency upon Poussins celebrated pictureof the Plague at Athens. Disease and death, and bewildering terror, in Atheniangarments, are endurable, and come, as the delicate critics express it, within thelimits of pleasurable sensation. But the scenes of their own St. Giles, delineatedby their own countryman, are too shocking to think of. Yet if we could abstractour minds from the fascinating colours of the picture, and forget the coarse execu-tion (in some respects) of the print, intended as it was to be a cheap plate, accessibleto the poorer sort of people, for whose instruction it was done, I think we could haveno hesitation in conferring the palm of superior genius upon Hogarth, comparing. REYNOLDS. I2- this work of his with Poussins picture. There is more of imagination in it that power which draws all things to one, which makes things, animate and inanimate beingsattributes and their subjects, with their accessories, take one colour, and serve one in the print, to use a vulgar expression, tells. Every part is full of strangeimages of death. It is perfectly amazing and astounding to look at. Not only the twoprominent figures, the woman and the half-dead man, which are as terrible as anythingwhich Michael Angelo ever drew, but everything else in the print contributes tobewilder and stupefy;—the very houses, as I heard a friend of mine express it,tumbling all about in various directions, seem drunk—seem absolutely reelino- fromthe effect of that diabolical spirit of phrensy which goes forth over the whole com-position. To show the poetical and almost prophetical conception of the
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