I unreservedly confess, for myself, that I cannot leave my natural
perception of what is natural and true, at a palace-door, in Italy
or elsewhere, as I should leave my shoes if I were travelling in
the East. I cannot forget that there are certain expressions of
face, natural to certain passions, and as unchangeable in their
nature as the gait of a lion, or the flight of an eagle. I cannot
dismiss from my certain knowledge, such commonplace facts as the
ordinary proportion of men's arms, and legs, and heads; and when I
meet with performances that do violence to these experiences and
recollections, no matter where they may be, I cannot honestly
admire them, and think it best to say so; in spite of high critical
advice that we should sometimes feign an admiration, though we have
it not.
Therefore, I freely acknowledge that when I see a jolly young
Waterman representing a cherubim, or a Barclay and Perkins's
Drayman depicted as an Evangelist, I see nothing to commend or
admire in the performance, however great its reputed Painter.
Neither am I partial to libellous Angels, who play on fiddles and
bassoons, for the edification of sprawling monks apparently in
liquor.
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