In the eighteenth century Bernini and virtually all Baroque artists fell from favor in the neoclassical criticism of the Baroque, that criticism aimed above all on the latter's supposedly extravagant (and thus illegitimate) departures from the pristine, sober models of Greek and Roman antiquity. It is only from the late nineteenth century that art historical scholarship, in seeking a more objective understanding of artistic output within the specific cultural context in which it was produced, without the a priori prejudices of neoclassicism, began to recognize Bernini's achievements and slowly began restore his artistic reputation. However, the reaction against Bernini and the too-sensual (and therefore "decadent"), too emotionally charged Baroque in the larger culture (especially in non-Catholic countries of northern Europe, and particularly in Victorian England) remained in effect until well into the twentieth century (most notable are the public disparagement of Bernini by Francesco Milizia, Joshua Reynolds, and Jacob Burkhardt). Most of the popular eighteenth- and nineteenth-century tourist's guides to Rome all but ignore Bernini and his work, or treat it with disdain, as in the case of the best-selling "Walks in Rome" (22 editions between 1871 and 1925) by Augustus J.C. Hare, who describes the angels on the Ponte Sant'Angelo as 'Bernini's Breezy Maniacs.'