Note {141} — PREFACE TO THIS EDITION (continued 2)

I do not know or remember in the whole radiant range of Elizabethan drama more than one parallel tribute to that paid in this play by an English poet to the yet foreign art of painting, through the eloquent mouth of this enthusiastic villain of genius, whom we might regard as a more genuinely Titianic sort of Wainwright. The parallel passage is that most lovely and fervid of all imaginative panegyrics on this art, extracted by Lamb from the comedy of Doctor Dodipoll; which saw the light or twilight of publication just eight years later than Arden of Feversham.