...Sir, you must consider how that penetration and that painting are employed. It is not his- 15 tory, it is imagination. He who describes what he never...countenance. You must look upon Robertson's work as romancs, and try it by that standard. History it is not. Besides, sir, 20 it is the great excellence...

...superiority of Eobertson, in whose history we find such penetration, such painting ? " Johnson. — " Sir, you must consider how that penetration and that...who describes what he never saw, draws from fancy. Eobertson paints minds as Sir Joshua paints faces, in a history-piece ; he imagines an heroic countenance....

...superiority of Robertson, in whose history we find such penetration, such painting ? " Johnson. • — " Sir, you must consider how that penetration and that painting are employed. It is not his- 15 tory, it is imagination. He who describes what he never saw, draws from fancy. Robertson paints...

...superiority of Robertson, in whose History we find such penetration — such painting ? " JOHNSON : " Sir, you must consider how that penetration and that...You must look upon Robertson's work as romance, and tryit by that standard. History it is not. Besides, Sir, it is the great excellence of a writer to...

...critical. State-papers replace witnesses. Johnson indicated one of the inconveniences of this change: "He who describes what he never saw, draws from fancy....Robertson paints minds, as Sir Joshua paints faces in a history* piece." History may be considered in three lights — a pleasurable, an educational, and a...

...of Robertson, in whose history we find such penetration — such painting?" JOHNSON: "Sir, you^must consider how that penetration and that painting are...Robertson paints minds as Sir Joshua paints faces in a history piece : he imagines an heroic countenance. You must look upon Robertson's work as romance,...

...such penetration ; such painting ? " Johnson : " Sir, you must consider how that penetration and how that painting are employed. It is not history ; it...Robertson paints minds as Sir Joshua paints faces in a history piece ; he imagines an heroic countenance. You must look on Robertson's work as a romance and...

...Johnson. — 0Sir, you must consider how that penetration and that painting are CHAPTER XXVI 163 aaployed. It is not history, it is imagination. He who describes...what he never saw, draws from fancy. Robertson paints midds as Sir Joshua paints faces, in a history-piece; he imagines an heroic countenance. You must look...