.30-i 



just medium, between a strict adherence to 

 historical probability (which, in pictures, as 

 in theatrical representations, must often be 

 dispensed with) and a licentious abuse of 

 an acknoAvledged privilege of poets and 

 painters. In one of them, he has repre- 

 sented the same subject, which P.Veronese 

 has treated in a picture already mentioned, 

 thatof theMafrdalenanointino; the feetofour 

 Saviour. The character, and the expression of 

 the figures, are foreign to my present sub- 

 ject. The scene of" the action, is a spacious 

 joom enclosed on every side : the orna- 

 ments few and simple : in the centre, a re- 

 cess with Ionic columns before it, and two 

 niches on each side. In point of lightness 

 and effect, of air and brilliancy, there cans 

 be no comparison between this picture and 

 that of P. Veronese at Genoa; but the one 

 is addressed to the understanding through 

 the sight ; the other to the sight only : and 

 who can doubt which has attained the 

 noblest end ? 



Poussin is more senerallv known and ad- 

 mired tjj^ij any oi his countrymen ; bat 



