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Annotations to The Works of Sir Joshua Reynolds, t1473
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edited by Edmond Malone. London, 1798
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TITLE PAGE
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This Man was Hired to Depress Art This is the opinion of
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Will Blake my Proofs of this Opinion are given in the following
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Notes
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<Advice of the Popes who succeeded the Age of Rafael>
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Degrade first the Arts if you'd Mankind degrade,
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Hire Idiots to Paint with cold light & hot shade:
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Give high Price for the worst, leave the best in disgrace,
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And with Labours of Ignorance fill every place.
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[BACK OF TITLE PAGE]
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Having spent the Vigour of my Youth & Genius under the
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Opression of Sr Joshua & his Gang of Cunning Hired Knaves
Without
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Employment & as much as could possibly be Without Bread, The
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Reader must Expect to Read in all my Remarks on these Books
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Nothing but Indignation & Resentment While Sr Joshua was
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rolling in Riches Barry was Poor & [independent]
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<Unemployd except by his own Energy> Mortimer was [despised &
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Mocked] <calld a Madman> [I now despise & Mock in turn
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although Suffring Neglect] <& only Portrait Painting
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applauded & rewarded by the Rich & Great.> Reynolds &
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Gainsborough Blotted & Blurred one against the other & Divided
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all the English World between them Fuseli Indignant <almost>
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hid himself--I [was] <am> hid t1474
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[CONTENTS PAGES]
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The Arts & Sciences are the Destruction of Tyrannies or Bad
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Governments Why should A Good Government endeavour to Depress
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What is its Chief & only Support
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The advantages proceeding from the Institution of a Royal
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Academy.
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The Foundation of Empire is Art & Science Remove them or
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Degrade them & the Empire is No More--Empire follows Art & Not
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Vice Versa as Englishmen suppose
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On peut dire que la Pape Leon Xme en encourageant les Etudes
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donna les armes contre lui-meme. J'ai oui dire a un Seigneur
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Anglais qu'il avait vu une Lettre du Seigneur Polus, ou de La
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Pole, depuis Cardinal, a ce Pape; dans laquelle, en le felicitant
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sur ce qu'il etendait le progres de Science en Europe, il
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l'avertissait qu'il etait dangereux de rendre les hommes trop Savans--
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VOLTAIRE Moeurs de[s] Nation[s], Tome 4
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O Englishmen! why are you still of this foolish Cardinals
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opinion?
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Much copying discountenanced
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To learn the Language of Art Copy for Ever. is My Rule
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[BLANK PAGE FACING DEDICATION]
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Who will Dare to Say that [Fine] <Polite> Art is
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Encouraged, or Either Wished or Tolerated in a Nation where The
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Society for the Encouragement of Art. Sufferd Barry to Give them,
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his Labour for Nothing A Society Composed of the Flower of the
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English Nobility & Gentry--[A Society] Suffering an
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Artist to Starve while he Supported Really what They under
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pretence of Encouraging were Endeavouring to Depress--Barry told
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me that while he Did that Work--he Lived on Bread & Apples
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[P i]
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O Society for Encouragement of Art--O King & Nobility of
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England! Where have you hid Fuseli's Milton Is Satan troubled
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at his Exposure
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TO THE KING.
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The regular progress of cultivated life is from necessaries to
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accommodations, from accommodations to ornaments.
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The Bible says That Cultivated Life. Existed First--
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Uncultivated Life. comes afterwards from Satans Hirelings[.]
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Necessaries Accomodations & Ornaments [are Lifes Wants]
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<are the whole of Life> [First were Created Wine & Happiness
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?Good ?Looks & Fortune] Satan took away Ornament First.
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<Next he took away Accomodations & Then he became Lord & Master
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of> Necessaries [last]
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[P ii] To give advice to those who are contending for royal
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liberality, . .
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Liberality! We want not Liberality We want a Fair Price
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& Proportionate Value <& a General Demand for Art>
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<Let not that Nation where Less than Nobility is the Reward.
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Pretend that Art is Encouraged by that Nation: Art is the First
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in Intellectuals &Ought to be First in Nations>
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[P iii]
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<Invention depends Altogether upon Execution or
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Organization. as that is right or wrong so is the Invention
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perfect or imperfect. Whoever is set to Undermine the Execution
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of Art is set to Destroy Art Michael Angelos Art Depends on
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Michael Angelos Execution Altogether>
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[P viii, Malone on Reynolds' boyhood:] . . . Richardson's
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Treatise on Painting; the perusal of which so delighted and
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inflamed his mind, that Raffaelle appeared to him superior to the
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most illustrious . . .
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Why <then> did he not follow Rafaels Track
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[P ix, note 7, quoting Walpole on Thomas Hudson, Reynolds'
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first master] The better taste introduced by Sir Joshua Reynolds,
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put an end to Hudson's reign, . . .
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Hudson Drew Correctly
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[P xiv: the keeper of the Vatican informed Reynolds that
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"the works of Raffaelle" frequently made "little impression" on
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visitors.]
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Men who have been Educated with Works of Venetian Artists.
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under their Eyes Cannot see Rafael unless they are born with
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Determinate Organs
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[Reynolds quoted:] . . . I remember very well my own
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disappointment, when I first visited the Vatican; . . .
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I am happy I cannot say that Rafael Ever was from my
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Earliest Childhood hidden from Me. I saw & I Knew immediately
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the difference between Rafael & Rubens
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[p xv]
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<Some look. to see the sweet Outlines
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And beauteous Forms that Love does wear
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Some look. to find out Patches. Paint.
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Bracelets & Stays & Powderd Hair>
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[Reynolds:] . . . though disappointed and mortified at not
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finding myself enraptured with the works of this great master, I
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did not for a moment conceive or suppose that the name of
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Raffaelle,
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and those admirable paintings in particular, owed their
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reputation to the ignorance and prejudice of mankind; . . .
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Here are Mocks on those who Saw Rafael [But not Sir
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Joshua]
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. . . I felt my ignorance, and stood abashed.
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A Liar he never was Abashed in his Life & never felt his
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Ignorance
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[P xvi] . . . I was convinced that I had originally formed a
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false opinion of the perfection of art, . . .
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All this Concession is to prove that Genius is Acquired as
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follows in the Next page
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[P xvii] . . . I am now clearly of opinion, that a relish
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for the higher excellencies of art is an acquired taste, which no
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man ever possessed without long cultivation, and great labour . .
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.
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[Fool]
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. . . as if . . . our minds, like tinder, should instantly
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catch fire from the divine spark of Raffaelle's genius.
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A Mock
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. . . the excellence of his style . . . lies deep; and at
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the first view is seen but mistily.
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A Mock
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It is the florid style, which strikes at once, and
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captivates the eye for a time, . . .
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A Lie The Florid Style such as the Venetian & the Flemish.
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Never Struck Me at Once nor At-All.
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[P xviii] [to good Artists] The Style that Strikes the
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Eye is the True Style But A Fools Eye is Not to be. a Criterion
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I consider general copying (he adds)as a
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delusive kind of industry:. . .
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Here he Condemns Generalizing which he almost always
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Approves & Recommends
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[P xix] How incapable of producing any thing of their own,
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those are, who have spent most of their time in making finished
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copies, . . .
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Finishd. What does he Mean Niggling Without the Correct
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<& Definite> Outline If he means That Copying Correctly is a
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hindrance he is a Liar. for that is the only School to the
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Language of Art
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[P xxix] It is the thoughts expressed in the works of
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Michael Angelo, Correggio, Raffaelle, Parmegiano, and perhaps
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some of the old Gothick masters, . . . which we seek after with
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avidity.
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Here is an Acknowledgment of all that I could wish But if
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it is True. Why are we to be told that Masters who Could Think had
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not the judgment to Perform the Inferior Parts of Art as Reynolds
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artfully calls them. But that we are to Learn to Think from
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Great Masters & to Learn to Perform from Underlings? Learn to
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Design from Rafael & to Execute from Rubens [line cut away]?
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[P xxxi] Thus Bacon became a great thinker, by first
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entering into and making himself master of the thoughts of other
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men.
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[This is the Character of a Knave]
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[Pp xxxiii-xxxiv, Burke on Reynolds] . . . He . . . owed his
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first disposition to generalize . . . to old Mr. Mudge . . . a
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learned and venerable old man . . . much conversant in the
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Platonick Philosophy,. . . originally a dissenting minister; . .
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.
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Slang Villainy
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[To call generalizing "the Platonick Philosophy" was Slang;
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for a dissenting minister to preach it was Villainy.--D.V.E.]
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[P xxxviii footnotes 24 and 25] [On the painters' having obtained
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a royal charter; Reynolds is not named among the eight "principal
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artists" active in "this scheme"; William Chambers is credited
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with helpful "access" to the King.]
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[Reynolds . . . thought . . . but Painters ?attention
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without xxx Reynolds Sir Wm Chambers . . . ?through]
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[Pp xli-xlv, note 28: Malone scotching rumors that the
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Discourses were written by Johnson or Burke.]
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The Contradictions in Reynolds's Discourses are Strong
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Presumptions that they are the Work of Several Hands But this
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is no Proof that Reynolds did not Write them The Man Either
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Painter or Philosopher who Learns or Acquires all he Knows from
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Others. Must be full of Contradictions
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[P xlvii, Reynolds' eulogy of George Moser as "the FATHER of
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the present race of Artists".]
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I was once looking over the Prints from Rafael & Michael
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Angelo. in the Library of the Royal Academy Moser came to me &
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said You should not Study these old Hard Stiff & Dry Unfinishd
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Works of Art, Stay a little & I will shew you what you should
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Study. He then went & took down Le Bruns & Rubens's Galleries
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How I did secretly Rage. I also spoke my Mind [line cut away]
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I said to Moser, These things that you call Finishd are not
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Even Begun how can they then, be Finishd? The Man who does not
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know The Beginning, never can know the End of Art
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[P xlix, Reynolds on his own "merits and defects" ] I
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consoled myself..... by remarking that these ready inventors, are
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extremely apt to acquiesce in imperfection; . . .
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Villainy a Lie
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[P l] . . . Metastasio . . . complained of the great
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difficulty he found in attaining correctness, in consequence of
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having been in his youth an IMPROVVISATORE.
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I do not believe this Anecdote
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[P liii, from Reynolds' 11th Discourse] . . . the general
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effect of the whole. . . . requires the painter's entire mind;
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whereas the PARTS may be finishing by nice touches, while his
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mind is engaged on other matters: . . . indolence. . . .
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A Lie Working up Effect is more an operation of Indolence
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than the Making out of the Parts: as far as Greatest is more than
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Least I speak here of Rembrandts & Rubenss & Reynolds's
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Effect.--For Real Effect. is Making out the Parts & it is Nothing
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Else but That
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[P lvii, note 34, Malone on Reynolds' efforts to recover the
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secrets of the Venetian colourists] Our great painter . . . had
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undoubtedly attained a part of the ancient process used in the
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Venetian School; and by various methods of his own invention
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produced a similar, though perhaps not quite so brilliant an
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effect of colour.
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Oil Colours will not Do--
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Why are we told that Reynolds is a Great Colourist & yet
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inferior to the Venetians t1475
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[P lx, note 36] A notion prevails . . . that in the
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MAJORITY of his works the colours have entirely faded . . . ; but
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[most] have preserved their original hue. . . .
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I do not think that the Change is so much in the Pictures as
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in the Opinions of the Public
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[P lxx, note 38, quoting Dr Johnson in 1761] Reynolds is
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without a rival, and continues to add thousands to
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thousands.
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How much did Barry Get
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[P lxxii, Malone, on the French plundering] . . . of the
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most celebrated works of the Flemish School in the Netherlands
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(for I will not gratify our English republicans by calling it
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BELGIUM). . . .
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[why then gratify Flemish, Knaves & Fools]
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[P lxxii] . . . he . . . devoted several days to
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contemplating the productions of that great painter
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[Rubens].
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If Reynolds had Really admired Mich Angelo he never would
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have followd Rubens
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[P lxxxiii, note 48 on the Literary Club] The original
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members were, Sir Joshua Reynolds, Dr. Johnson, Mr. Burke, Dr.
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Nugent, Mr. Langton, Mr. Antony Chamier, Sir John Hawkins, the
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Hon. Topham Beauclerk, and Dr. Goldsmith.
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[Oliver Goldsmith ?never should have known such
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knaves]
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[P lxxxvi, Malone on Reynolds' sincerity] His ardent love of
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truth. . . . his strong antipathy to all false pretensions. . .
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.
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[O Shame False]
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[P lxxxvii, note 49] He had painted, as he once observed to
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me, TWO GENERATIONS of the beauties of England.
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[God blasts Them As Though ?he ?were lost
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?Eurydice]
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[P lxxxix, note 51, on Reynolds' deafness] When in company
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with only one person, he heard very well, . . .
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A Sly Dog So can Every body; but bring Two People & the
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Hearing is Stopped
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[P xc, note 53 quoting Goldsmith's epitaph on
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Reynolds]
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Such Men as Goldsmith ought not to have been Acquainted with
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such Men as Reynolds
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s[P xci; Malone comparing Reynolds to Laelius]
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[Why should Laelius be considered Sir Joshuas
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Counterpart]
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[Who dares ?worship ?a ?man Whod have Driven you long
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Ago Insane]
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[P xcvi, summing up: If Reynolds had been an orator, he
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would have resembled Laelius rather than Galba]
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He certainly would have been more like a Fool Than a Wise
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Man
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[PP xcvii-xcviii, note 54, Burke on Reynolds] But this
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disposition to abstractions, to generalizing and classification,
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is the great glory of the human mind, . . .
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To Generalize is to be an Idiot To Particularize is the
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Alone Distinction of Merit--General Knowledges are those
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Knowledges that Idiots possess [As do Fools that adore Things
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& ?ideas x x x of General Knowledge]
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[PP xcviii-xcix] . . . during the greater part of his life,
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laboured as hard with his pencil, as any mechanick . . . .
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The Man who does not Labour more than the Hireling must be a
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poor Devil.
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[P ciii] [Malone, praising Reynolds' endorsement of Burke's
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anti-revolutionary sagacity, applies Dryden--"They led their wild
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desires to woods and caves, / And thought that all but SAVAGES
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were slaves"--to those who would assimilate England "to the model
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of the FEROCIOUS and ENSLAVED Republick of France!"]
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When France got free Europe 'twixt Fools & Knaves
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Were Savage first to France, & after; Slaves
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[P civ, Malone on Reynolds' good fortune to have escaped
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the present era of sedition] . . . England is at present in an
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unparalleled state of wealth and prosperity. . . . These FACTS
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ought to be sounded from one end of England to the other, . . . a
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complete answer to all the SEDITIOUS DECLAMATIONS. . . .
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This Whole Book was Written to Serve Political Purposes
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[?First to Serve Nobility & Fashionable Taste & Sr.
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Joshua]
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[P cix, on Reynolds' death Feb 23 1792, from "the inordinate
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growth"of his liver]
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When Sr Joshua Reynolds died
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All Nature was degraded;
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The King dropd a tear into the Queens Ear;
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And all his Pictures Faded.
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[P cxi, the Dukes, Marquisses, and other noblemen at
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Reynolds' funeral]
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A Mock
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[P cxv] To each of the gentlemen who attended . . . was
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presented a print engraved by Bartolozzi. . . .
AnnReyn-cxv; E641|
[Funeral granted to Sir Joshua for having destroyd Art
AnnReyn-cxv; E641|
However the (?gentlemen were rewarded) for standing Near]
TXTReyn-cxvi; E641|
[P cxvi, note 65: Reynolds' wish to have St Paul's decorated
TXTReyn-cxvi; E641|
by paintings prevented by the Bishop of London]
AnnReyn-cxvi; E641|
[The Rascals who ?See Painting want to Destroy Art &
AnnReyn-cxvi; E641|
Learning]
TXTReyn-cxx; E641|
[P cxx, Burke on Reynolds] . . . one of the most memorable
TXTReyn-cxx; E641|
men of this time. <dag>
AnnReyn-cxx; E641|
<dag>Is not this a Manifest Lie
AnnReyn-cxx; E641|
Barry Painted a Picture for Burke equal to Rafael or Mich
AnnReyn-cxx; E641|
Ang or any of the Italians Burke used to shew this Picture to his
AnnReyn-cxx; E641|
friends & to say I gave Twenty Guineas for this horrible Dawb
AnnReyn-cxx; E641|
& if any one would give [line cut away] Such was Burkes Patronage
AnnReyn-cxx; E641|
of Art & Science
TXTReyn2; E642|
DISCOURSE I
AnnReyn2; E642|
[P 2, back of title]
AnnReyn2; E642|
I consider Reynolds's Discourses to the Royal Academy as the
AnnReyn2; E642|
Simulations of the Hypocrite who Smiles particularly where he
AnnReyn2; E642|
means to Betray. His Praise of Rafael is like the Hysteric Smile
AnnReyn2; E642|
of Revenge His Softness & Candour. the hidden trap. & the
AnnReyn2; E642|
poisoned feast, He praises Michael Angelo for Qualities which
AnnReyn2; E642|
Michael Angelo Abhorrd; & He blames Rafael for the only Qualities
AnnReyn2; E642|
which Rafael Valued, Whether Reynolds. knew what he was doing.
AnnReyn2; E642|
is nothing to me; the Mischief is just the same, whether a Man
AnnReyn2; E642|
does it Ignorantly or Knowingly: I always consider'd True Art &
AnnReyn2; E642|
True Artists to be particularly Insulted & Degraded by the
AnnReyn2; E642|
Reputation of these Discourses As much as they were Degraded by
AnnReyn2; E642|
the Reputation of Reynolds's Paintings. & that Such Artists as
AnnReyn2; E642|
Reynolds, are at all times Hired by the Satan's. for the
AnnReyn2; E642|
Depression of Art A Pretence of Art: To Destroy Art [3 or 4
AnnReyn2; E642|
erased lines follow]
TXTReyn3; E642|
[P 3, beginning Reynolds' foreword "To The Members of The
TXTReyn3; E642|
Royal Academy"]
AnnReyn3; E642|
The Neglect of Fuselis Milton in a Country pretending to the
AnnReyn3; E642|
Encouragement of Art is a Sufficient Apology for My Vigorous
AnnReyn3; E642|
Indignation if indeed the Neglect of My own Powers had not been
AnnReyn3; E642|
Ought not the <?Patrons &> Employers [Imbecility] of
AnnReyn3; E642|
Fools to be Execrated in future Ages. They Will &Shall
AnnReyn3; E642|
Foolish Men Your own real Greatness depends on your
AnnReyn3; E642|
Encouragement of the Arts & your Fall will depend on
AnnReyn3; E642|
[your] <their> Neglect & Depression
AnnReyn3; E642|
What you Fear is your true Interest Leo X was advised not
AnnReyn3; E642|
to Encourage the Arts he was too Wise to take this Advice
EDAnnReyn4; E642|
[P 4, misnumbered "[iv]", at end of foreword]
AnnReyn4; E642|
The Rich Men of England form themselves into a Society. to
AnnReyn4; E642|
Sell & Not to Buy Pictures The Artist who does not throw his
AnnReyn4; E642|
Contempt on such Trading Exhibitions. does not know either his
AnnReyn4; E642|
own Interest or his Duty. [Are there Artists who live upon
AnnReyn4; E642|
Assasinations of other Men] t1476
AnnReyn4; E642|
<When Nations grow Old. The Arts grow Cold
AnnReyn4; E642|
And Commerce settles on every Tree
AnnReyn4; E642|
And the Poor & the Old can live upon Gold
AnnReyn4; E642|
For all are Born Poor. Aged Sixty three>
EDAnnReyn5; E642|
[P 5]
AnnReyn5; E642|
Reynoldss Opinion was that Genius May be Taught & that all
AnnReyn5; E642|
Pretence to Inspiration is a Lie & a Deceit to say the least of
AnnReyn5; E642|
it [If the Inspiration is Great why Call it Madness]
AnnReyn5; E642|
<For if it is a Deceit the Whole Bible is Madness> This Opinion
AnnReyn5; E642|
originates in the Greeks Caling the Muses Daughters of Memory
TXTReyn5; E642|
An Academy, in which the Polite Arts may be regularly
TXTReyn5; E642|
cultivated, . . .
AnnReyn5; E642|
<The Enquiry in England is not whether a Man has Talents.
AnnReyn5; E642|
&Genius? But whether he is Passive & Polite & a Virtuous Ass:
AnnReyn5; E642|
&obedient to Noblemens Opinions in Art & Science. If he is; he
AnnReyn5; E642|
is a Good Man: If Not he must be Starved>
TXTReyn7; E643|
[P 7] There are, at this time, a greater number of excellent
TXTReyn7; E643|
artists than were ever known before at one period in this nation.
TXTReyn7; E643|
. . .
AnnReyn7; E643|
[Artists . . . ?Heavens ?Fool the hxxx Pxxxx as
AnnReyn7; E643|
xxxxm] t1477
TXTReyn7; E643|
[P 7] . . . the wisdom and generosity of the Institution: .
TXTReyn7; E643|
. .
AnnReyn7; E643|
3 Farthings [xxxxx] t1478
TXTReyn9; E643|
[P 9] Raffaelle . . . had not the advantage of studying in
TXTReyn9; E643|
an Academy; but all Rome, and the works of Michael Angelo in
TXTReyn9; E643|
particular, were to him, an Academy.
AnnReyn9; E643|
I do not believe that Rafael taught Mich. Angelo or that
AnnReyn9; E643|
Mich. Ang: taught Rafael., any more than I believe that the Rose
AnnReyn9; E643|
teaches the Lilly how to grow or the Apple tree teaches the
AnnReyn9; E643|
[Pine tree to bear Fruit] <Pear tree how to bear Fruit.>
AnnReyn9; E643|
I do not believe the tales of Anecdote writers when they militate
AnnReyn9; E643|
against Individual Character
TXTReyn9; E643|
. . . the minute accidental discriminations of particular .
TXTReyn9; E643|
. .objects, . . .
AnnReyn9; E643|
Minute Discrimination is Not Accidental All Sublimity is
AnnReyn9; E643|
founded on Minute Discrimination
TXTReyn11; E643|
[P 11] . . . models . . . for their imitation, not their
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criticism.
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<Imitation is Criticism>
TXTReyn13; E643|
[P 13] A facility in composing,--a lively, and what is
TXTReyn13; E643|
called a masterly, handling of the chalk or pencil, are, it must
TXTReyn13; E643|
be confessed, captivating qualities to young minds, and become of
TXTReyn13; E643|
course the objects of their ambition.
AnnReyn13; E643|
<I consider> The Following sentence is Supremely Insolent
AnnReyn13; E643|
<for the following Reasons Why this Sentence should be begun
AnnReyn13; E643|
by the Words A Facility in Composing I cannot tell unless it was
AnnReyn13; E643|
to cast [an Eye]<a stigma> upon Real facility in
AnnReyn13; E643|
Composition by Assimilating it with a Pretence to & Imitation of
AnnReyn13; E643|
Facility in Execution or are we to understand him to mean that
AnnReyn13; E643|
Facility in Composing. is a Frivolous pursuit. A Facility in
AnnReyn13; E643|
Composing is the Greatest Power of Art &Belongs to None but the
AnnReyn13; E643|
Greatest Artists i.e. the Most Minutely Discriminating &
AnnReyn13; E643|
Determinate> t1479
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[P 14] Whilst boys . . . they have taken the shadow for the
TXTReyn14; E643|
substance; and make the mechanical felicity the chief excellence
TXTReyn14; E643|
of the art, . . . t1480
AnnReyn14; E643|
<Mechanical Excellence is the Only Vehicle of Genius>
TXTReyn14; E643|
. . . pleased with this premature dexterity in their pupils,
TXTReyn14; E643|
. . . praised their dispatch at the expence of their
TXTReyn14; E643|
correctness.
AnnReyn14; E643|
<This is all False & Self-Contradictory
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. . . frivolous ambition of being thought masters of
TXTReyn14; E643|
execution, . . .
AnnReyn14; E643|
<Execution is the Chariot of Genius>
TXTReyn15; E643|
[P 15] . . . youth . . . disgusted at the slow approaches. .
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. .labour is the only price of solid fame, . . . whatever their
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force of genius may be, . . .
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<This is All Self-Contradictory! Truth & Falshood jumbled
AnnReyn15; E643|
Together>
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When we read the lives of the most eminent Painters, every
TXTReyn15; E643|
page informs us, that no part of their time was spent in
TXTReyn15; E643|
dissipation.
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The Lives of Painters say that Rafael died of Dissipation
AnnReyn15; E643|
Idleness is one Thing & Dissipation Another He who has Nothing
AnnReyn15; E643|
to Dissipate Cannot Dissipate
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the Weak Man may be Virtuous Enough but will Never be an Artist
AnnReyn15; E644|
[?What painters have only been dissipated without
AnnReyn15; E644|
wildness] <Painters are noted for being Dissipated &Wild.>
TXTReyn16; E644|
[P 16] . . . they then painted the picture,and after
TXTReyn16; E644|
all re-touched it from the life
AnnReyn16; E644|
<This is False>
TXTReyn16; E644|
The Students, instead of vying with each other which shall
TXTReyn16; E644|
have the readiest hand, should be taught to contend who shall
TXTReyn16; E644|
have the purest and most correct out-line; . . .
AnnReyn16; E644|
<Excellent>
TXTReyn17; E644|
[P 17] . . . a habit of drawing correctly what we see, will
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. . .give a proportionable power of drawing correctly what we
TXTReyn17; E644|
imagine.
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<This is Admirably Said. Why does he not always allow as
AnnReyn17; E644|
much>
TXTReyn18; E644|
[P 18] [Nice copying teaches] exactness and precision, . .
TXTReyn18; E644|
.
AnnReyn18; E644|
<Excellent>
TXTReyn; E644|
DISCOURSE II
EDAnnReyn; E644|
[P 22, back of title]
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<The Labourd Works of Journeymen employed by Correggio.
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Titian Veronese & all the Venetians ought not to be shewn to the
AnnReyn22; E644|
Young Artist as the Works of original Conception any more than
AnnReyn22; E644|
the Engravings of Strange Bartollozzi or Woollett. They are
AnnReyn22; E644|
Works of Manual Labour>
TXTReyn23; E644|
[P 23] MUCH COPYING DISCOUNTENANCED . . . ARTISTS . .
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.SHOULD BE EMPLOYD IN LAYING UP MATERIALS. . . .
AnnReyn23; E644|
<What is Laying up materials but Copying>
TXTReyn25; E644|
[P 25] . . . once enabled to express himself . . . he must .
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. . amass a stock of ideas . . . . he is now to consider the Art
TXTReyn25; E644|
itself as his master.
AnnReyn25; E644|
After having been a Fool a Student is to amass a Stock of
AnnReyn25; E644|
Ideas & [then to be insolent in his Foolery] <knowing
AnnReyn25; E644|
himself to be a Fool he is to assume the Right to put other Mens
AnnReyn25; E644|
Ideas into his Foolery>
TXTReyn26; E644|
[P 26]. . . he must still be afraid of trusting his own
TXTReyn26; E644|
judgment, and of deviating into any track where he cannot find
TXTReyn26; E644|
the footsteps of some former master.
AnnReyn26; E644|
Instead of Following One Great Master he is to follow a
AnnReyn26; E644|
Great Many Fools
TXTReyn28; E644|
[P 28] A Student unacquainted with the attempts [P 29] of
TXTReyn28; E644|
former adventurers, is always apt to over-rate his own
TXTReyn28; E644|
abilities; to mistake . . . every coast new to him, for a
TXTReyn28; E644|
new-found country.
AnnReyn28; E644|
<Contemptible Mocks>
TXTReyn29; E644|
[P 29] The productions of such minds . . . . differ . . .
TXTReyn29; E644|
from their predecessors . . . only in irregular sallies, and
TXTReyn29; E644|
trifling conceits.
AnnReyn29; E644|
<Thus Reynolds Depreciates the Efforts of Inventive Genius
AnnReyn29; E644|
Trifling Conceits are better than Colouring without any meaning
AnnReyn29; E644|
at all>
TXTReyn30; E644|
[P 30] On whom then can [the student] rely . . . ? . . .
TXTReyn30; E644|
those great masters who have travelled the same road with
TXTReyn30; E644|
success. . . .
AnnReyn30; E644|
[This is Encouragement for Artists . . . (about 4
AnnReyn30; E644|
illegible words) . . . to those who are born for it]
TXTReyn32; E645|
[P 32] How incapable those . . . who have spent much of
TXTReyn32; E645|
their time in making finished copies. . . .
AnnReyn32; E645|
This is most False <for no one can ever Design till he has learnd
AnnReyn32; E645|
the Language of Art by making many Finishd Copies both of Nature
AnnReyn32; E645|
& Art & of whatever comes in his way from Earliest Childhood>
AnnReyn32; E645|
<The difference between a bad Artist & a Good One Is the Bad
AnnReyn32; E645|
Artist Seems to Copy a Great Deal: The Good one Really Does Copy
AnnReyn32; E645|
a Great Deal>
TXTReyn33; E645|
[P 33] The great use in copying, if it be at all useful,
TXTReyn33; E645|
should seem to be in learning to colour; . . .
AnnReyn33; E645|
<Contemptible>
TXTReyn33; E645|
. . . yet even colouring will never be perfectly attained by
TXTReyn33; E645|
servilely copying the model before you.
AnnReyn33; E645|
<Servile Copying is the Great Merit of Copying>
TXTReyn34; E645|
[P 34] . . . you cannot do better than have recourse to
TXTReyn34; E645|
nature herself, who is always at hand . . . .
TXTReyn34; E645|
<Nonsense--Every Eye Sees differently As the Eye--Such the
TXTReyn34; E645|
Object>
TXTReyn35; E645|
[P 35] Labour to invent on their general principles. . . .
TXTReyn35; E645|
how a Michael Angelo or a Raffaelle would have treated this
TXTReyn35; E645|
subject: . . .
AnnReyn35; E645|
<General Principle[s] Again! Unless. You Consult.
AnnReyn35; E645|
Particulars. You Cannot. even Know or See Mich: Ang. or Rafael or
AnnReyn35; E645|
any Thing Else>
TXTReyn35; E645|
But as mere enthusiasm will carry you but a little way. . .
TXTReyn35; E645|
.
AnnReyn35; E645|
[Damn The Fool]
AnnReyn35; E645|
Meer Enthusiasm is the All in All!-- Bacons Philosophy has
AnnReyn35; E645|
Ruind England <Bacon is only Epicurus over again>
TXTReyn36; E645|
[P 36] . . . enter into a kind of competition, by . . .
TXTReyn36; E645|
making a companion to any picture that you consider as a model. .
TXTReyn36; E645|
. . and compare them . . . .
AnnReyn36; E645|
[What but a Puppy will dare to do this]
TXTReyn36; E645|
. . . a severe and mortifying task, . . .
AnnReyn36; E645|
[?Why, should ?comparing [or ?copying]
AnnReyn36; E645|
Great Masters [be done] Painfully]
TXTReyn37; E645|
[P 37] [To compare one's work with a Great Master's]
TXTReyn37; E645|
requires not only great resolution, but great humility.
AnnReyn37; E645|
[Who will or Can ?endure ?such Humiliation (?either ?he
AnnReyn37; E645|
?is) dishonest ?or he is ?Insane]
TXTReyn37; E645|
Few have been taught to any purpose, who have not been their
TXTReyn37; E645|
own teachers.
AnnReyn37; E645|
True!
TXTReyn38; E645|
[P 38] . . . to choose . . . models, . . . take the world's
TXTReyn38; E645|
opinion rather than your own.
AnnReyn38; E645|
[Fools opinions & Endeavours destroy Invention!]
TXTReyn40; E645|
[P 40] A facility of drawing . . . cannot be acquired but
TXTReyn40; E645|
by an infinite number of acts.
AnnReyn40; E645|
True
TXTReyn41; E645|
[P 41] . . . endeavour to draw the figure by memory. [And
TXTReyn41; E645|
persevere] in this custom, . . . .
AnnReyn41; E645|
Good Advice
TXTReyn41; E646|
. . . remember, that the pencil [i.e. paint brush] is the
TXTReyn41; E646|
instrument by which . . . to obtain eminence
AnnReyn41; E646|
<Nonsense>
TXTReyn42; E646|
[P 42 ] The Venetian and Flemish schools, which owe much of
TXTReyn42; E646|
their fame to colouring, . . .
AnnReyn42; E646|
<because they could not Draw>
TXTReyn43; E646|
[P 43] [Titian, Paul Veronese, Tintoret, the Bassans] Their
TXTReyn43; E646|
sketches on paper are as rude as their pictures are excellent in
TXTReyn43; E646|
. . .harmony of colouring.
AnnReyn43; E646|
<All the Pictures said to be by these Men are the Laboured
AnnReyn43; E646|
fabrication of journey-work>
TXTReyn43; E646|
. . . finished drawings . . . sold under [their] names . . .
TXTReyn43; E646|
are [copies]
AnnReyn43; E646|
<They could not Draw>
TXTReyn47; E646|
[P 47] . . . he who would have you believe that he is
TXTReyn47; E646|
waiting for the inspirations of Genius, is in reality at a loss
TXTReyn47; E646|
how to begin; and is at last delivered of his monsters, with
TXTReyn47; E646|
difficulty and pain.
AnnReyn47; E646|
A Stroke at Mortimer
TXTReyn48; E646|
[P 48] [The well-grounded painter] is contented that all
TXTReyn48; E646|
shall be as great as himself, who have undergone the same
TXTReyn48; E646|
fatigue; . . .
AnnReyn48; E646|
The Man who asserts that there is no Such Thing as Softness
AnnReyn48; E646|
in Art & that every thing in Art is Definite & Determinate has
AnnReyn48; E646|
not been told this by Practise but by Inspiration & Vision
AnnReyn48; E646|
because Vision is Determinate & Perfect & he Copies That without
AnnReyn48; E646|
Fatigue Every thing being Definite & determinate Softness is
AnnReyn48; E646|
Produced Alone by Comparative Strength & Weakness in the Marking
AnnReyn48; E646|
out of the Forms
AnnReyn48; E646|
I say These Principles could never be found out by the Study
AnnReyn48; E646|
of Nature without Con or Innate Science
TXTReyn49; E646|
DISCOURSE III
EDAnnReyn50; E646|
[P 50, back of title]
AnnReyn50; E646|
<A Work of Genius is a Work "Not to be obtaind by the
AnnReyn50; E646|
Invocation of Memory & her Syren Daughters. but by Devout prayer
AnnReyn50; E646|
to that Eternal Spirit. who can enrich with all utterance &
AnnReyn50; E646|
knowledge & sends out his Seraphim with the hallowed fire of his
AnnReyn50; E646|
Altar to touch & purify the lips of whom he pleases." Milton
AnnReyn50; E646|
<The following [Lecture] <Discourse> is
AnnReyn50; E646|
particularly Interesting to Blockheads. as it Endeavours to prove
AnnReyn50; E646|
That there is No such thing as Inspiration & that any Man of a
AnnReyn50; E646|
plain Understanding may by Thieving from Others. become a Mich
AnnReyn50; E646|
Angelo>
TXTReyn52; E646|
[P 52] . . . the genuine painter . . . instead of
TXTReyn52; E646|
endeavouring to amuse mankind with the minute neatness of his
TXTReyn52; E646|
imitations, must endeavour to improve [P 53] them by the grandeur
TXTReyn52; E646|
of his ideas; . . .
AnnReyn52; E646|
Without Minute Neatness of Execution. The. Sublime cannot
AnnReyn52; E646|
Exist! Grandeur of Ideas is founded on Precision of Ideas
TXTReyn54; E646|
[P 54] The Moderns are not less convinced than the Ancients
TXTReyn54; E646|
of this superior power [i.e. something beyond mere imitation]
TXTReyn54; E646|
existing in the art; nor less sensible of its effects.
TXTReyn54; E646|
<I wish that this was True>
TXTReyn55; E647|
[P 55, an introductory remark by Blake:]
AnnReyn55; E647|
Now he begins to Degrade [&] to Deny [destroy] & <to> Mock
TXTReyn55; E647|
Such is the warmth with which both the Ancients and Moderns
TXTReyn55; E647|
speak of this divine principle of the art; . . .
AnnReyn55; E647|
And such is the Coldness with which Reynolds speaks! And
AnnReyn55; E647|
such is his Enmity
TXTReyn55; E647|
. . . enthusiastick admiration seldom promotes
TXTReyn55; E647|
knowledge.
AnnReyn55; E647|
Enthusiastic Admiration is the first Principle of Knowledge
AnnReyn55; E647|
& its last
TXTReyn55; E647|
He examines his own mind, and perceives there
TXTReyn55; E647|
nothing of . . .divine inspiration, . . .
AnnReyn55; E647|
The Man who on Examining his own Mind finds nothing of
AnnReyn55; E647|
Inspiration ought not to dare to be an Artist he is a Fool. & a
AnnReyn55; E647|
Cunning Knave suited to the Purposes of Evil Demons
TXTReyn56; E647|
[P 56] [He never] travelled to heaven to gather new ideas; . . .
AnnReyn56; E647|
The Man who never in his Mind & Thoughts traveld to Heaven
AnnReyn56; E647|
Is No Artist
TXTReyn56; E647|
. . . no other qualifications than what . . . a plain
TXTReyn56; E647|
understanding can confer.
AnnReyn56; E647|
Artists who are above a plain Understanding are Mockd
AnnReyn56; E647|
& Destroyd by this President of Fools
TXTReyn56; E647|
. . . figurative declamation [makes art seem] out of the
TXTReyn56; E647|
reach of human industry. But . . . we ought to distinguish how
TXTReyn56; E647|
much is to be given to enthusiasm, and how much to reason . . .
TXTReyn56; E647|
not . . . vague admiration, . . .
AnnReyn56; E647|
It is Evident that Reynolds Wishd none but Fools to be in
AnnReyn56; E647|
the Arts & in order to this, he calls all others Vague
AnnReyn56; E647|
Enthusiasts or Madmen
AnnReyn56; E647|
<What has Reasoning to do with the Art of Painting?>
TXTReyn57; E647|
[P 57] Could we teach taste or genius by rules, they would
TXTReyn57; E647|
be no longer taste and genius.
AnnReyn57; E647|
[This must be how Liars Reason]
TXTReyn57; E647|
. . . most people err . . . from not knowing what object to
TXTReyn57; E647|
pursue.
AnnReyn57; E647|
The Man who does not know what Object to Pursue is an Idiot
TXTReyn57; E647|
This great ideal perfection and beauty are not to be sought
TXTReyn57; E647|
in the heavens, but upon the earth.
AnnReyn57; E647|
A Lie
TXTReyn57; E647|
They are about us, and upon every side of us.
AnnReyn57; E647|
A Lie
TXTReyn57; E647|
But the power of discovering . . . can be acquired only by
TXTReyn57; E647|
experience; . . .
AnnReyn57; E647|
A Lie
TXTReyn58; E647|
[P 58] . . . art [must] get above all singular forms, local
TXTReyn58; E647|
customs, particularities, and details of every kind.
AnnReyn58; E647|
A Folly
AnnReyn58; E647|
Singular & Particular Detail is the Foundation of the
AnnReyn58; E647|
Sublime
TXTReyn58; E647|
The most beautiful forms have something about them like
TXTReyn58; E647|
weakness, minuteness, or imperfection.
AnnReyn58; E647|
Minuteness is their whole Beauty
TXTReyn59; E648|
[P 59] This idea [acquired by habit of observing] . . .
TXTReyn59; E648|
which the Artist calls the Ideal Beauty, is the great leading
TXTReyn59; E648|
principle. . . .
AnnReyn59; E648|
Knowledge of Ideal Beauty. is Not to be Acquired It is Born
AnnReyn59; E648|
with us Innate Ideas. are in Every Man Born with him. they are
AnnReyn59; E648|
<truly> Himself. The Man who says that we have No Innate Ideas
AnnReyn59; E648|
must be a Fool & Knave. Having No Con-Science <or Innate
AnnReyn59; E648|
Science>
TXTReyn60; E648|
[P 60] . . . an artist becomes possessed of the idea of that
TXTReyn60; E648|
central form . . . from which every deviation is deformity.
AnnReyn60; E648|
One Central Form Composed of all other Forms being Granted
AnnReyn60; E648|
it does not therefore follow that all other Forms are Deformity
TXTReyn60; E648|
. . . the ancient sculptors . . . being indefatigable in
TXTReyn60; E648|
the school of nature, have left models of that perfect form. . .
TXTReyn60; E648|
.
AnnReyn60; E648|
All Forms are Perfect in the Poets Mind. but these are not
AnnReyn60; E648|
Abstracted nor Compounded from Nature <but are from Imagination>
TXTReyn61; E648|
[P 61] [Even the] great Bacon treats with ridicule the idea
TXTReyn61; E648|
of confining proportion to rules, or of producing beauty by
TXTReyn61; E648|
selection.
AnnReyn61; E648|
The Great Bacon he is Calld I call him the Little Bacon t1481
AnnReyn61; E648|
says that Every Thing must be done by Experiment his first
AnnReyn61; E648|
princip[le] is Unbelief And Yet here he says that Art must be
AnnReyn61; E648|
producd Without such Method. He is Like Sr Joshu[a] full of
AnnReyn61; E648|
Self-Contradiction & Knavery
TXTReyn61; E648|
There is a rule, obtained out of general nature. . . .
AnnReyn61; E648|
What is General Nature is there Such a Thing
AnnReyn61; E648|
what is General Knowledge is there such a Thing
AnnReyn61; E648|
[Strictly Speaking] All Knowledge is Particular
TXTReyn62; E648|
[P 62] . . . it may be objected, that in every particular
TXTReyn62; E648|
species there are various central forms . . . .
AnnReyn62; E648|
Here he loses sight of A Central Form. & Gets into Many
AnnReyn62; E648|
Central Forms
TXTReyn63; E648|
[P 63] . . . still none of them is the representation of an
TXTReyn63; E648|
individual, but of a class.
AnnReyn63; E648|
Every Class is Individual
TXTReyn63; E648|
. . . . in each of these classes. . . . childhood and age.
TXTReyn63; E648|
. . there is a common form. . . .
AnnReyn63; E648|
There is no End to the Follies of this Man Childhood &
AnnReyn63; E648|
Age are Equally, belonging to Every Class
TXTReyn63; E648|
. . . that form which is taken from them all, and which
TXTReyn63; E648|
partakes equally of the activity of the Gladiator, of the
TXTReyn63; E648|
delicacy of the Apollo, and. . . .
AnnReyn63; E648|
Here he comes again to his Central Form
TXTReyn64; E648|
[P 64] There is . . . a kind of symmetry, or proportion,
TXTReyn64; E648|
which may properly be said to belong to deformity. A figure lean
TXTReyn64; E648|
or corpulent . . . though deviating from beauty. . . .
AnnReyn64; E648|
The Symmetry of Deformity is a Pretty Foolery
AnnReyn64; E648|
Can any Man who Thinks. [argue] <Talk> so? Leanness
AnnReyn64; E648|
or Fatness is not Deformity. but Reynolds thought Character
AnnReyn64; E648|
Itself Extravagance & Deformity
AnnReyn64; E648|
Age & Youth are not Classes but [Accidents]
AnnReyn64; E648|
[<Situations>] <Properties> of Each Class so are
AnnReyn64; E648|
Leanness & Fatness
TXTReyn65; E649|
[P 65] . . . when [the Artist] has reduced the variety of
TXTReyn65; E649|
nature to the abstract idea;
AnnReyn65; E649|
What Folly
TXTReyn65; E649|
his next task will be to become acquainted with the genuine
TXTReyn65; E649|
habits of nature, as distinguished from those of fashion.
AnnReyn65; E649|
[Is Fashion the concern of Artists The Knave Calls any
AnnReyn65; E649|
thing found in Nature t1482
fit for Art]
TXTReyn67; E649|
[P 67] . . . [the painter] must divest himself of all
TXTReyn67; E649|
prejudices . . . disregard all local and temporary ornaments, and
TXTReyn67; E649|
look only on those general habits. . . .
AnnReyn67; E649|
Generalizing in Every thing the Man would soon be a Fool but
AnnReyn67; E649|
a Cunning Fool
TXTReyn71; E649|
[P 71] . . . a wrong direction . . . without ever knowing
TXTReyn71; E649|
there was a nobler to pursue. Albert Durer, as Vasari has
TXTReyn71; E649|
justly remarked,
AnnReyn71; E649|
[Albert Durer would never have got his Manners from the
AnnReyn71; E649|
Nobility] t1483
TXTReyn71; E649|
would, probably, have been one of the first painters of his
TXTReyn71; E649|
age, (and he lived in all era of great artists,) had he been
TXTReyn71; E649|
initiated into those great principles. . . .
AnnReyn71; E649|
What does this mean "Would have been" one of thefirst
AnnReyn71; E649|
Painters of his Age? Albert Durer IsNot would
AnnReyn71; E649|
have been! Besides. let them look at Gothic Figures & Gothic
AnnReyn71; E649|
Buildings, & not talk of Dark Ages or of Any Age! Ages are All
AnnReyn71; E649|
Equal. But Genius is Always Above The Age
TXTReyn74; E649|
[P 74] I [do not mean] to countenance a careless or
TXTReyn74; E649|
indetermined manner of painting. For though the painter is to
TXTReyn74; E649|
overlook the accidental discriminations of nature,
AnnReyn74; E649|
Here he is for Determinate & yet for Indeterminate
TXTReyn74; E649|
he is to exhibit [general forms] distinctly, and with
TXTReyn74; E649|
precision, . . .
AnnReyn74; E649|
Distinct General Form Cannot Exist Distinctness is
AnnReyn74; E649|
Particular Not General
TXTReyn75; E649|
[P 75] A firm and determined outline is one of the
TXTReyn75; E649|
characteristics of the great style in painting; and . . . he who
TXTReyn75; E649|
possesses the knowledge of the exact form which every part of
TXTReyn75; E649|
nature ought to have, will be fond of expressing that knowledge
TXTReyn75; E649|
with correctness and precision in all his works.
AnnReyn75; E649|
A Noble Sentence
AnnReyn75; E649|
Here is a Sentence Which overthrows all his Book
TXTReyn75; E649|
. . . I have endeavoured to reduce the idea of beauty to
TXTReyn75; E649|
general principles: . . . the only means of advancing science; of
TXTReyn75; E649|
clearing the mind . . .
AnnReyn75; E649|
[Sir Joshua Proves that] Bacons Philosophy makes
AnnReyn75; E649|
both Statesmen & Artists Fools & Knaves
TXTReyn77; E649|
DISCOURSE IV
EDAnnReyn78; E649|
[P 78, back of title]
AnnReyn78; E649|
The <Two> Following Discourse<s> [is] <are>
AnnReyn78; E649|
Particularly Calculated for the Setting Ignorant & Vulgar Artists
AnnReyn78; E649|
as Models of Execution in Art. Let him who will, follow such
AnnReyn78; E649|
advice I will not. I know that The Mans Execution is as his
AnnReyn78; E649|
Conception & No better
TXTReyn79; E649|
[P 79] The value and rank of every art is in proportion to
TXTReyn79; E649|
the mental labour employed in it, or the mental pleasure produced
TXTReyn79; E649|
by it.
AnnReyn79; E649|
Why does he not always allow This
TXTReyn80; E650|
[P 80] [The principle of] leaving out particularities, and
TXTReyn80; E650|
retaining only general ideas . . . extends itself to every part
TXTReyn80; E650|
of the Art. . . .
AnnReyn80; E650|
General Ideas <again>
TXTReyn80; E650|
Invention in Painting does not imply the invention of the
TXTReyn80; E650|
subject; for that is commonly supplied by the Poet or
TXTReyn80; E650|
Historian.
AnnReyn80; E650|
All but Names of Persons & Places is Invention both in
AnnReyn80; E650|
Poetry & Painting
TXTReyn82; E650|
[P 82] . . . the . . . most dangerous error is on the side
TXTReyn82; E650|
of minuteness; . . .
AnnReyn82; E650|
<Here is Nonsense!>
TXTReyn83; E650|
[P 83] All smaller things, however perfect in their way, are
TXTReyn83; E650|
to be sacrificed without mercy to the greater.
AnnReyn83; E650|
<Sacrifice the Parts. What becomes of the Whole>
TXTReyn83; E650|
Even in portraits, the grace, and . . . the likeness,
TXTReyn83; E650|
consists more in taking the general air, than in observing the
TXTReyn83; E650|
exact similitude of every feature.
AnnReyn83; E650|
How Ignorant
TXTReyn86; E650|
[P 86] A painter of portraits retains the individual
TXTReyn86; E650|
likeness; a painter of history shews the man by shewing his
TXTReyn86; E650|
actions.
AnnReyn86; E650|
<If he does not shew the Man as well as the Action he is a
AnnReyn86; E650|
poor Artist>
TXTReyn87; E650|
[P 87] . . . be well studied in the analysis of those
TXTReyn87; E650|
circumstances, which constitute dignity of appearance in real
TXTReyn87; E650|
life.
AnnReyn87; E650|
<Here he allows an Analysis of Circumstances>
TXTReyn87; E650|
Those expressions alone should be given to the figures which
TXTReyn87; E650|
their respective situations generally produce.
AnnReyn87; E650|
[Nonsense]
TXTReyn89; E650|
[P 89] . . . the distinct blue, red, and yellow . . . in the
TXTReyn89; E650|
draperies of the Roman and Florentine schools . . . effect of
TXTReyn89; E650|
grandeur. . . . Perhaps these distinct colours strike the mind
TXTReyn89; E650|
more forcibly, from there not being any great union between them;
TXTReyn89; E650|
. . .
AnnReyn89; E650|
These are Fine & just Notions Why does he not always allow
AnnReyn89; E650|
as much
TXTReyn90; E650|
[P 90] . . . the historical Painter never enters into the
TXTReyn90; E650|
detail of colours [nor] does he debase his conceptions with
TXTReyn90; E650|
minute attention to the discriminations of Drapery.
AnnReyn90; E650|
Excellent Remarks
TXTReyn90; E650|
Carlo Maratti [thought] that the disposition of drapery was
TXTReyn90; E650|
a more difficult art than even that of drawing the human figure;
TXTReyn90; E650|
. . .
AnnReyn90; E650|
I do not believe that Carlo Maratti thought so or that any
AnnReyn90; E650|
body can think so. the Drapery is formed alone by the Shape of
AnnReyn90; E650|
the Naked
EDAnnReyn90; E650|
[next word cut away in binding]
TXTReyn92; E650|
[P 92] . . . the Venetians . . . accomplished perfectly tile
TXTReyn92; E650|
thing they attempted. But as mere elegance is their principal
TXTReyn92; E650|
object, . . .
AnnReyn92; E650|
They accomplishd Nothing <As to Elegance they have not a
AnnReyn92; E650|
Spark>
TXTReyn93; E650|
[P 93] To this question [why Veronese had put his principal
TXTReyn93; E650|
figure in shade-Reynolds answers that he was] an ornamental
TXTReyn93; E650|
Painter [whose] intention was solely to produce an effect of
TXTReyn93; E650|
light and shadow; . . .
AnnReyn93; E650|
This is not a Satisfactory Answer
AnnReyn93; E650|
To produce an Effect of True Light & Shadow [Nothing
AnnReyn93; E650|
must be sacrificd
AnnReyn93; E651|
Light & Shadow depends on Distinctness of Form] <is
AnnReyn93; E651|
Necessary to the Ornamental Style-- which altogether depends on
AnnReyn93; E651|
Distinctness of Form. The Venetian ought not to be calld the
AnnReyn93; E651|
Ornamental Style>
TXTReyn94; E651|
[P 94] The language of Painting must indeed be allowed these
TXTReyn94; E651|
masters [the Venetians]; . . .
AnnReyn94; E651|
The Language of Painters cannot be allowd them if Reynolds
AnnReyn94; E651|
says right at p. 97 he there says that the Venetian Will Not
AnnReyn94; E651|
Correspond with the Great Style
AnnReyn94; E651|
<The Greek Gems are in the Same Style as the Greek Statues>
TXTReyn95; E651|
[P 95] Such as suppose that the great style might happily be
TXTReyn95; E651|
blended with the ornamental, that the simple, grave and majestick
TXTReyn95; E651|
dignity of Raffaelle could unite with the glow and bustle of a
TXTReyn95; E651|
Paolo, or Tintoret, are totally mistaken.
AnnReyn95; E651|
What can be better Said, on this Subject? but Reynolds
AnnReyn95; E651|
contradicts what he says Continually He makes little
AnnReyn95; E651|
Concessions, that he may take Great Advantages
TXTReyn97; E651|
[P 97] And though in [colouring] the Venetians must be
TXTReyn97; E651|
allowed extraordinary skill, yet even that skill, as they have
TXTReyn97; E651|
employed it, will but ill correspond with the great style.
AnnReyn97; E651|
<Somebody Else wrote this page for Reynolds I think that
AnnReyn97; E651|
Barry or Fuseli wrote it or [said] <dictated> it>
TXTReyn98; E651|
[P 98] . . . Michael Angelo [thought] that the principal
TXTReyn98; E651|
attention of the Venetian painters [was to] the study of
TXTReyn98; E651|
colours, to the neglect of the IDEAL BEAUTY OF FORM,. . . .
AnnReyn98; E651|
Venetian Attention is to a Contempt & Neglect of Form Itself
AnnReyn98; E651|
& to the Destruction of all Form or Outline <Purposely &
AnnReyn98; E651|
Intentionally>
TXTReyn98; E651|
But if general censure was given to that school from the
TXTReyn98; E651|
sight of a picture of Titian. . . .
AnnReyn98; E651|
As if Mich. Ang. had seen but One Picture of Titians
AnnReyn98; E651|
Mich. Ang. Knew & Despised all that Titian could do
AnnReyn98; E651|
<On the Venetian Painter
AnnReyn98; E651|
He makes the Lame to walk we all agree
AnnReyn98; E651|
But then he strives to blind those who can see. >
TXTReyn99; E651|
[P 99]
AnnReyn99; E651|
<If the Venetians Outline was Right his Shadows would
AnnReyn99; E651|
destroy it & deform its appearance
AnnReyn99; E651|
A Pair of Stays to mend the Shape
AnnReyn99; E651|
Of crooked Humpy Woman:
AnnReyn99; E651|
Put on O Venus! now thou art,
AnnReyn99; E651|
Quite a Venetian Roman.>
TXTReyn100; E651|
[P 100] . . . there is a sort of senatorial dignity about
TXTReyn100; E651|
[Titian] . . .
AnnReyn100; E651|
<Titian as well as the other Venetians so far from
AnnReyn100; E651|
Senatorial Dignity appears to me to give always the Characters of
AnnReyn100; E651|
Vulgar Stupidity>
AnnReyn100; E651|
Why should Titian & The Venetians be Named in a discourse on
AnnReyn100; E651|
Art
AnnReyn100; E651|
Such Idiots are not Artists
AnnReyn100; E651|
<Venetian; all thy Colouring is no more
AnnReyn100; E651|
Than Boulsterd Plasters on a Crooked Whore.>
TXTReyn101; E652|
[P 101] The Venetian is indeed the most splendid of the
TXTReyn101; E652|
schools of elegance; . . .
AnnReyn101; E652|
<Vulgarity & not Elegance--The Word Elegance ought to be
AnnReyn101; E652|
applied to Forms. not to Colours>
TXTReyn102; E652|
[P 102] . . . elaborate harmony Of colouring, a brilliancy
TXTReyn102; E652|
of tints, a soft and gradual transition from one to another, . .
TXTReyn102; E652|
.
AnnReyn102; E652|
<Broken Colours & Broken Lines & Broken Masses are Equally
AnnReyn102; E652|
Subversive of the Sublime>
TXTReyn102; E652|
Such excellence . . . is weak . . . when the work aspires to
TXTReyn102; E652|
grandeur and sublimity.
AnnReyn102; E652|
Well Said <Enough>
TXTReyn103; E652|
[P 103] But it must be allowed in favour of the Venetians,
TXTReyn103; E652|
that [Rubens] was more gross than they. . . .
AnnReyn103; E652|
<How can that be calld the Ornamental Style of which Gross
AnnReyn103; E652|
Vulgarity forms the Principal Excellence>
TXTReyn104; E652|
[P 104] Some inferior dexterity, some extraordinary
TXTReyn104; E652|
mechanical power is apparently that from which [the Dutch school]
TXTReyn104; E652|
seek distinction.
AnnReyn104; E652|
<The Words Mechanical Power should not be thus Prostituted>
TXTReyn106; E652|
[P 106] An History-painter paints mall in general; a
TXTReyn106; E652|
Portrait- painter, a particular man,
AnnReyn106; E652|
A History Painter Paints The Hero, & not Man in General.
AnnReyn106; E652|
but most minutely in Particular
TXTReyn109; E652|
[P 109] Thus . . . a portrait-painter leaves out all the
TXTReyn109; E652|
minute breaks and peculiarities in the face. . . .
AnnReyn109; E652|
Folly! Of what consequence is it to the Arts what a
AnnReyn109; E652|
Portrait Painter does
TXTReyn110; E652|
[P 110] . . . the composite style, . . . Correggio. . . .
TXTReyn110; E652|
modern grace and elegance, . .
AnnReyn110; E652|
There is No Such <a> Thing as A Composite Style
TXTReyn111; E652|
[P 111] The errors of genius, however, are pardonable. . .
TXTReyn111; E652|
.
AnnReyn111; E652|
<Genius has no Error it is Ignorance that is Error>
TXTReyn112; E652|
[P 112] On the whole . . . one presiding principle. . . .
TXTReyn112; E652|
The works . . . built upon general nature, live for ever; . .
TXTReyn112; E652|
AnnReyn112; E652|
<All Equivocation & Self-Contradiction>
TXTReyn114; E652|
DISCOURSE V
TXTReyn114; E652|
[114, back of title]
AnnReyn114; E652|
Gainsborough told a Gentleman of Rank & Fortune that the
AnnReyn114; E652|
Worst Painters always chose the Grandest Subjects. I desired the
AnnReyn114; E652|
Gentleman to Set Gainsborough about one of Rafaels Grandest
AnnReyn114; E652|
Subjects Namely Christ delivering the Keys to St Peter. &
he
AnnReyn114; E652|
would find that in Gainsboroughs hands it would be a Vulgar
AnnReyn114; E652|
Subject of Poor Fishermen & a Journeyman Carpenter
AnnReyn114; E652|
The following Discourse is written with the same End in
AnnReyn114; E652|
View. that Gainsborough had in making the Above assertion Namely
AnnReyn114; E652|
To Represent Vulgar Artists as the Models of Executive Merit
TXTReyn116; E652|
[P 116] That which is most worthy of esteem in its allotted
TXTReyn116; E652|
sphere, becomes an object . . . of derision, when it is forced
TXTReyn116; E652|
into a higher, to which it is not suited; . . .
AnnReyn116; E652|
Concessions to Truth for the sake of Oversetting Truth
TXTReyn116; E653|
. . . keep your principal attention fixed upon the higher
TXTReyn116; E653|
excellencies. . . . you may be very imperfect; but still, you are
TXTReyn116; E653|
an imperfect artist of the highest order.
AnnReyn116; E653|
[Caesar said hed rather be the (first in) a Village
AnnReyn116; E653|
(than) second in Rome was not Caesar(a) Dutch Painter]
t1484
TXTReyn117; E653|
[P 117-118] . . . to preserve the most perfect beauty IN ITS
TXTReyn117; E653|
MOST PERFECT STATE, you cannot express the passions, all of which
TXTReyn117; E653|
produce distortion and deformity, more or less, in the most
TXTReyn117; E653|
beautiful faces.
AnnReyn117; E653|
What Nonsense
AnnReyn117; E653|
Passion & Expression is Beauty Itself--The Face that is
AnnReyn117; E653|
Incapable of Passion & Expression is Deformity Itself Let it be
AnnReyn117; E653|
Painted <& Patchd> & Praised & Advertised for Ever <it
will only
AnnReyn117; E653|
be admired by Fools>
TXTReyn119; E653|
[P 119] . . . pictures of Raffaelle, where the Criticks have
TXTReyn119; E653|
described their own imaginations;
AnnReyn119; E653|
If Reynolds could not see. variety of Character in Rafael
AnnReyn119; E653|
Others Can
TXTReyn119; E653|
We can easily . . . suppose a Jupiter to be possessed of all
TXTReyn119; E653|
. . . powers and perfections. Yet [in art the ancients] confined
TXTReyn119; E653|
his character to majesty alone.
AnnReyn119; E653|
False
AnnReyn119; E653|
The Ancients were chiefly attentive to Complicated & Minute
AnnReyn119; E653|
Discrimination of Character it is the Whole of Art
TXTReyn119; E653|
Pliny . . . wrong when he speaks of . . . [P 120] three
TXTReyn119; E653|
different characters [in one statue].
AnnReyn119; E653|
Reynolds cannot bear Expression
TXTReyn119; E653|
A statue in which you endeavour to unite . . . dignity . . .
TXTReyn119; E653|
elegance . . . valour, must surely possess none of these. . .
TXTReyn119; E653|
.
AnnReyn119; E653|
Why not? <O Poverty!>
TXTReyn119; E653|
The summit of excellence seems to be an assemblage of
TXTReyn119; E653|
contrary qualities, . . . such . . . that no one part is found to
TXTReyn119; E653|
counteract the other.
AnnReyn119; E653|
A Fine Jumble
TXTReyn121; E653|
[P 121] If any man shall be master of . . . highest . . .
TXTReyn121; E653|
lowest, flights of art, . . . he is fitter to give example than
TXTReyn121; E653|
to receive instruction.
AnnReyn121; E653|
<Mocks>
TXTReyn123; E653|
[P 123] . . . FRESCO, a mode of painting which excludes
TXTReyn123; E653|
attention to minute elegancies: . . .
AnnReyn123; E653|
This is False
AnnReyn123; E653|
Fresco Painting is the Most Minute
AnnReyn123; E653|
<Fresco Painting is Like Miniature Painting; a Wall is a
AnnReyn123; E653|
Large Ivory>
TXTReyn124; E653|
[P 124] Raffaelle . . . foremost [for] his excellence in the
TXTReyn124; E653|
higher parts. . . . His easel-works . . . lower . . . never
TXTReyn124; E653|
arrived at . . . perfection. . . .
AnnReyn124; E653|
Folly & Falshood. The Man who can say that Rafael knew not
AnnReyn124; E653|
the smaller beauties of the Art ought to be Contemnd & I
AnnReyn124; E653|
accordingly hold Reynolds in Contempt for this Sentence in
AnnReyn124; E653|
particular
TXTReyn125; E653|
[P 125] When he painted in oil, his hand seemed to be so
TXTReyn125; E653|
cramped and confined, . . .
AnnReyn125; E653|
Rafael did as he Pleased. He who does not admire Rafaels
AnnReyn125; E653|
Execution does not Even See Rafael
TXTReyn125; E654|
I have no desire to degrade Raffaelle from the high rank. . .
AnnReyn125; E654|
A Lie
TXTReyn126; E654|
[P 126] . . . Michael Angelo . . . did not possess so many
TXTReyn126; E654|
excellencies as Raffaelle, but. . . .
AnnReyn126; E654|
According to Reynolds Mich Angelo was worse still & Knew
AnnReyn126; E654|
Nothing at all about Art as an object of Imitation
AnnReyn126; E654|
Can any Man be such a fool as to believe that Rafael &
AnnReyn126; E654|
Michael Angelo were Incapable of the meer Language of Art & That
AnnReyn126; E654|
Such Idiots as Rubens. Correggio & Titian Knew how to Execute
AnnReyn126; E654|
what they could not Think or Invent
TXTReyn126; E654|
He never attempted those lesser elegancies and graces in the
TXTReyn126; E654|
art. Vasari says, he never painted but one picture in oil, and
TXTReyn126; E654|
resolved never to paint another.
AnnReyn126; E654|
Damnd Fool t1485
TXTReyn126; E654|
If any man had a right to look down . . . it was certainly
TXTReyn126; E654|
Michael Angelo; . . .
AnnReyn126; E654|
O. Yes!
TXTReyn127; E654|
[P 127] . . . together with these [graces and
TXTReyn127; E654|
embellishments], which we wish he had more attended to, he has
TXTReyn127; E654|
rejected all the false . . . ornaments, . . .
AnnReyn127; E654|
Here is another Contradiction If. Mich Ang. Neglected any
AnnReyn127; E654|
thing. that <Titian or> Veronese did: He Rejected it. for Good
AnnReyn127; E654|
Reasons. Sr Joshua in other Places owns that the Venetian Cannot
AnnReyn127; E654|
Mix with the Roman or Florentine What then does he Mean when he
AnnReyn127; E654|
says that Mich. Ang. & Rafael were not worthy of Imitation in the
AnnReyn127; E654|
Lower parts of Art
TXTReyn128; E654|
[P 128] . . . Raffaelle had more Taste and Fancy, Michael
TXTReyn128; E654|
Angelo more Genius and imagination.
AnnReyn128; E654|
<What Nonsense>
TXTReyn129; E654|
[P 129] [Michael Angelo] never needed . . . help. [Raffaelle
TXTReyn129; E654|
had] propriety, beauty, and majesty . . . judicious contrivance .
TXTReyn129; E654|
. . correctness of Drawing, purity of Taste, . . .
AnnReyn129; E654|
If all this is True Why does not Reynolds recommend The
AnnReyn129; E654|
Study of Rafael & Mich: Angelos Execution at page 97 he allows
AnnReyn129; E654|
that the Venetian Style will Ill correspond with the Great Style
TXTReyn131; E654|
[P 131] Such is the great style, . . . [in it] search after
TXTReyn131; E654|
novelty . . . has no place.
AnnReyn131; E654|
<The Great Style is always Novel or New in all its
AnnReyn131; E654|
Operations>
TXTReyn131; E654|
But there is another style . . . inferior. . . . the
TXTReyn131; E654|
original or characteristical style, . . .
AnnReyn131; E654|
<Original & Characteristical are the Two Grand Merits of the
AnnReyn131; E654|
Great Style Why should these words be applied to such a Wretch
AnnReyn131; E654|
as Salvator Rosa>
TXTReyn132; E654|
[P 132] . . . Salvator Rosa. . . . a peculiar cast of nature
TXTReyn132; E654|
. . . though void of all grace, . . .
AnnReyn132; E654|
Salvator Rosa was precisely what he Pretended Not to be.
AnnReyn132; E654|
His Pictures. are high Labourd pretensions to Expeditious
AnnReyn132; E654|
Workmanship. He was the Quack Doctor of Painting His Roughnesses
AnnReyn132; E654|
& Smoothnesses. are the Production of Labour & Trick. As to
AnnReyn132; E654|
Imagination he was totally without Any.
TXTReyn133; E654|
[P 133] . . . yet . . . that sort of dignity which belongs
TXTReyn133; E654|
to savage and uncultivated nature: . . .
AnnReyn133; E654|
Savages are [Fribbles & Fops] <Fops & Fribbles>
AnnReyn133; E654|
more than any other Men
TXTReyn133; E655|
Every thing is of a piece: his Rocks, Trees, Sky, even to
TXTReyn133; E655|
his handling, . . .
AnnReyn133; E655|
Handling is All that he has. & we all know this
AnnReyn133; E655|
Handling is Labour & Trick <Salvator Rosa employd
AnnReyn133; E655|
Journeymen>
TXTReyn134; E655|
[P 134] . . . Rubens . . . a remarkable instance of the same
TXTReyn134; E655|
mind being seen in all the various parts of the art. The whole
TXTReyn134; E655|
is so much of a piece, . . .
AnnReyn134; E655|
All Rubens's Pictures are Painted by journeymen & so far
AnnReyn134; E655|
from being all of a Piece. are The most wretched Bungles
TXTReyn135; E655|
[P 135] His Colouring, in which he is eminently skilled, is
TXTReyn135; E655|
. . . too much . . . tinted.
AnnReyn135; E655|
<To My Eye Rubens's Colouring is most Contemptible His
AnnReyn135; E655|
Shadows are of a Filthy Brown somewhat of the Colour of Excrement
AnnReyn135; E655|
these are filld with tints & messes of yellow & red His lights
AnnReyn135; E655|
are all the Colours of the Rainbow laid on Indiscriminately &
AnnReyn135; E655|
broken one into another. Altogether his Colouring is Contrary
AnnReyn135; E655|
to The Colouring. of Real Art & Science>
TXTReyn135; E655|
Opposed to this . . . [is the] correct style of Poussin. . .
TXTReyn135; E655|
.
AnnReyn135; E655|
<Opposed to Rubenss Colouring Sr Joshua has placd Poussin
AnnReyn135; E655|
but he ought to put All Men of Genius who ever Painted. Rubens &
AnnReyn135; E655|
the Venetians are Opposite in every thing to True Art & they
AnnReyn135; E655|
Meant to be so they were hired for this Purpose>
TXTReyn137; E655|
[P 137] [Poussin's later pictures] softer and richer, . . .
TXTReyn137; E655|
[but not] at all comparable to many in his [early] dry manner
TXTReyn137; E655|
which we have in England.
AnnReyn137; E655|
<True>
TXTReyn137; E655|
The favourite subjects of Poussin were Ancient Fables; and
TXTReyn137; E655|
no painter was ever better qualified
AnnReyn137; E655|
<True>
TXTReyn138; E655|
[P 138] Poussin seemed to think that the style and the
TXTReyn138; E655|
language [should preserve] some relish of the old way of
TXTReyn138; E655|
painting, . . .
AnnReyn138; E655|
<True>
TXTReyn139; E655|
[P 139] . . . if the Figures . . . had a modern air . . .
TXTReyn139; E655|
how ridiculous would Apollo appear instead of the Sun; . .
TXTReyn139; E655|
.
AnnReyn139; E655|
<These remarks on Poussin are Excellent>
TXTReyn141; E655|
[P 141] . . . the lowest style will be the most popular . . .
TXTReyn141; E655|
ignorance . . .
AnnReyn141; E655|
<Well said>
TXTReyn142; E655|
[P 142] . . . our Exhibitions . . . a mischievous tendency,
TXTReyn142; E655|
. . . seducing the Painter to an ambition of pleasing
TXTReyn142; E655|
indiscriminately the mixed multitude. . . .
AnnReyn142; E655|
<Why then does he talk in other places of pleasing Every
AnnReyn142; E655|
body>
TXTReyn143; E655|
DISCOURSE VI
EDAnnReyn144TEXT; E655|
[P 144, back of title]
AnnReyn144; E655|
When a Man talks of Acquiring Invention & of learning how to
AnnReyn144; E655|
produce Original Conception he must expect to be calld a Fool <by
AnnReyn144; E655|
Men of Understanding but such a Hired Knave cares not for the
AnnReyn144; E655|
Few. His Eye is on the Many. or rather on the Money>
TXTReyn147; E656|
[P 147] Those who have [written of art as inspiration are
TXTReyn147; E656|
better receive] than he who attempts to examine, coldly, whether
TXTReyn147; E656|
there are any means by which this art may be acquired. . . .
TXTReyn147; E656|
AnnReyn147; E656|
<Bacons Philosophy has Destroyd all Art & Science> The Man
AnnReyn147; E656|
who that the Genius is not Born. but Taught.--Is a Knave
TXTReyn147; E656|
It is very natural for those. . . . who have never observed
TXTReyn147; E656|
the gradation by which art is acquired . . . to conclude . . .
TXTReyn147; E656|
that it is not only inaccessible to themselves.
AnnReyn147; E656|
<O Reader behold the Philosophers Grave.
AnnReyn147; E656|
He was born quite a Fool: but he died quite a Knave>
TXTReyn149; E656|
[P 149] It would be no wonder if a student . . . should . .
TXTReyn149; E656|
. consider it as hopeless, to set about acquiring by the
TXTReyn149; E656|
imitation of any human master, what he is taught to suppose is
TXTReyn149; E656|
matter of inspiration from heaven.
AnnReyn149; E656|
<How ridiculous it would be to see the Sheep Endeavouring to
AnnReyn149; E656|
walk like the Dog, or the Ox striving to trot like the Horse just
AnnReyn149; E656|
as Ridiculous it is see One Man Striving to Imitate Another
AnnReyn149; E656|
Man varies from Man more than Animal from Animal of Different
AnnReyn149; E656|
Species>
TXTReyn152; E656|
[P 152] . . . DEGREE Of excellence [of] GENIUS is different,
TXTReyn152; E656|
in different times and different places
AnnReyn152; E656|
<Never!>
TXTReyn152; E656|
and what shews it to be so is, that mankind have often
TXTReyn152; E656|
changed their opinion upon this matter.
AnnReyn152; E656|
Never!
TXTReyn153; E656|
[P 153] . . . if genius is not taken for inspiration, but as
TXTReyn153; E656|
the effect of close observation experience.
AnnReyn153; E656|
<Damnd Fool>
TXTReyn154; E656|
[P 154] . . . as . . . art shall advance, its powers will
TXTReyn154; E656|
be still more and more fixed by rules.
AnnReyn154; E656|
<If Art was Progressive We should have had Mich Angelo's &
AnnReyn154; E656|
Rafaels to Succeed & to Improve upon each other But it is not so.
AnnReyn154; E656|
Genius dies Possessor & comes not again till Another is Born with
AnnReyn154; E656|
It>
TXTReyn155; E656|
[155] . . . even works of Genius, like every other effect, .
TXTReyn155; E656|
. . must have their cause, . . .
AnnReyn155; E656|
<Identities or Things are Neither Cause nor Effect They
AnnReyn155; E656|
are Eternal>
TXTReyn157; E656|
[P 157] . . . our minds should . . . continue a settled
TXTReyn157; E656|
intercourse with all the true examples of grandeur.
AnnReyn157; E656|
<Reynolds Thinks that Man Learns all that he Knows I say on
AnnReyn157; E656|
the Contrary That Man Brings All that he has or Can have Into the
AnnReyn157; E656|
World with him. Man is Born Like a Garden ready Planted & Sown
AnnReyn157; E656|
This World is too poor to produce one Seed>
TXTReyn157; E656|
The mind is but a barren soil; a soil which is soon
TXTReyn157; E656|
exhausted, and will produce no crop, . . .
AnnReyn157; E656|
<The Mind that could have produced this Sentence must have
AnnReyn157; E656|
been Pitiful a Pitiable Imbecillity. I always thought that the
AnnReyn157; E656|
Human Mind was the most Prolific of All Things & Inexhaustible <I
AnnReyn157; E656|
certainly do Thank God that I am not like Reynolds>>
TXTReyn158; E656|
[P 158] . . . or only one, unless it be continually
TXTReyn158; E656|
fertilized and enriched with foreign matter.
AnnReyn158; E656|
Nonsense
TXTReyn159; E657|
[P 159] Nothing can come of nothing.
AnnReyn159; E657|
<Is the Mind Nothing?>
TXTReyn159; E657|
. . . Michael Angelo, and Raffaelle, were . . . possessed
TXTReyn159; E657|
of all the knowledge in the art . . . of their
TXTReyn159; E657|
predecessors.
AnnReyn159; E657|
If so. they knew all that Titian & Correggio knew Correggio
AnnReyn159; E657|
was two Years older than Mich. Angelo
AnnReyn159; E657|
Correggio born <1472> Mich Angelo [on] <born 1474>
TXTReyn161; E657|
[P 161] . . . any endeavour to copy the exact peculiar
TXTReyn161; E657|
colour . . . of another man's mind . . . must always be . . .
TXTReyn161; E657|
ridiculous. . . .
AnnReyn161; E657|
<Why then Imitate at all?>
TXTReyn163; E657|
[P 163] Art in its perfection is not ostentatious; it lies
TXTReyn163; E657|
hid, and works its effect, itself unseen.
AnnReyn163; E657|
<This is a Very Clever Sentence who wrote it God knows>
TXTReyn165; E657|
[P 165] Peculiar marks . . . generally . . . defects; . .
TXTReyn165; E657|
.
AnnReyn165; E657|
Peculiar Marks. are the Only Merit
TXTReyn165; E657|
Peculiarities . . . so many blemishes; which, however, both
TXTReyn165; E657|
in real life, and in painting, cease to appear deformities, . . .
AnnReyn165; E657|
Infernal Falshood
TXTReyn166; E657|
[P 166] Even the great name of Michael Angelo may be used,
TXTReyn166; E657|
to keep in countenance a deficiency . . . of colouring, and every
TXTReyn166; E657|
[other ornamental part]
AnnReyn166; E657|
No Man who can see Michael Angelo. can say that he wants
AnnReyn166; E657|
either Colouring or Ornamental parts of Art. in the highest
AnnReyn166; E657|
degree. for he has Every [perquisite] <Thing> of Both
AnnReyn166; E657|
[O what Wisdom & Learning ?adorn his Superiority--]
TXTReyn167; E657|
[P 167] . . . these defects . . . have a right to our
TXTReyn167; E657|
pardon, but not to our admiration.
AnnReyn167; E657|
He who Admires Rafael Must admire Rafaels Execution
AnnReyn167; E657|
He who does not admire Rafaels Execution Cannot Admire
AnnReyn167; E657|
Rafael
TXTReyn172; E657|
[P 172] . . . a want which cannot be completely supplied;
TXTReyn172; E657|
that is, want of strength of parts.
AnnReyn172; E657|
A Confession
TXTReyn176; E657|
[P 176] . . . very finished artists in the inferior
TXTReyn176; E657|
branches. . . .
AnnReyn176; E657|
This Sentence is to Introduce another in Condemnation &
AnnReyn176; E657|
Contempt of Alb. Durer
TXTReyn176; E657|
The works of Albert Durer . . . afford a rich mass of
TXTReyn176; E657|
genuine materials, which wrought up and polished, . . .
AnnReyn176; E657|
A Polishd Villain <who Robs & Murders>
TXTReyn177; E657|
[P 177] Though Coypel wanted a simplicity of taste, . . .
TXTReyn177; E657|
[O Yes Coypel indeed]
TXTReyn178; E657|
[P 178] The greatest style . . . would receive "an
TXTReyn178; E657|
additional grace by . . . precision of pencil. . . .
AnnReyn178; E657|
What does Precision of Pencil mean? If it does not mean
AnnReyn178; E657|
Outline it means Nothing
TXTReyn179; E658|
[P 179] [Jan Steen if taught by Michael Angelo and
TXTReyn179; E658|
Raffaelle] would have ranged with the great. . . .
AnnReyn179; E658|
Jan Stein was a Boor & neither Rafael nor Mich Ang. could
AnnReyn179; E658|
have made him any better
TXTReyn180; E658|
[P 180] Men who although . . . bound down by . . . early
TXTReyn180; E658|
habits, have still exerted. . . .
AnnReyn180; E658|
He who Can be bound down is No Genius Genius cannot be Bound
AnnReyn180; E658|
it may be Renderd Indignant & Outrageous t1486
AnnReyn180; E658|
"Opression makes the Wise Man Mad"
AnnReyn180; E658|
Solomon
TXTReyn187; E658|
DISCOURSE VII
EDAnnReyn188; E658|
[P 188, back of title]
AnnReyn188; E658|
<The Purpose of the following Discourse is to Prove That
AnnReyn188; E658|
Taste & Genius are not of Heavenly Origin & that all who have
AnnReyn188; E658|
Supposed that they Are so. Are to be Considerd as Weak headed
AnnReyn188; E658|
Fanatics
AnnReyn188; E658|
The obligations Reynolds has laid on Bad Artists of all
AnnReyn188; E658|
Classes will at all times make them his Admirers but most
AnnReyn188; E658|
especially for this Discourse in which it is proved that the
AnnReyn188; E658|
Stupid are born with Faculties Equal to other Men Only they have
AnnReyn188; E658|
not Cultivated them because they thought it not worth the
AnnReyn188; E658|
trouble>
TXTReyn194; E658|
[P 194] . . . obscurity . . . is one source of the sublime.
AnnReyn194; E658|
<Obscurity is Neither the Source of the Sublime nor of Any
AnnReyn194; E658|
Thing Else>
TXTReyn194; E658|
[That] liberty of imagination is cramped by . . . rules; . . .
TXTReyn194; E658|
smothered . . . by too much judgment; . . . [are] notions not
TXTReyn194; E658|
only groundless, but pernicious.
AnnReyn194; E658|
<The Ancients & the wisest of the Moderns were of the
AnnReyn194; E658|
opinion that Reynolds Condemns & laughs at>
TXTReyn195; E658|
[P 195] . . . scarce a poet is to be found, . . . whose
TXTReyn195; E658|
latter works are not as replete with . . . imagination, as those
TXTReyn195; E658|
[of] his more youthful days.
AnnReyn195; E658|
<As Replete but Not More Replete>
TXTReyn195; E658|
To understand literally these metaphors . . . seems . . .
TXTReyn195; E658|
absurd. . . .
AnnReyn195; E658|
<The Ancients did not mean to Impose when they affirmd
AnnReyn195; E658|
their belief in Vision & Revelation Plato was in Earnest.
AnnReyn195; E658|
Milton was in Earnest. They believd that God did Visit Man
AnnReyn195; E658|
Really & Truly & not as Reynolds pretends
TXTReyn196; E658|
[P 196] [idea absurd that a winged genius] did really inform
TXTReyn196; E658|
him in a whisper what he was to write; . . .
AnnReyn196; E658|
How very Anxious Reynolds is to Disprove & Contemn Spiritual
AnnReyn196; E658|
Perception
TXTReyn197; E658|
[P 197] It is supposed that . . . under the name of genius
TXTReyn197; E658|
great works are produced. . . . without our being under the least
TXTReyn197; E658|
obligation to reason, precept, or experience.
AnnReyn197; E658|
<Who Ever said this>
TXTReyn197; E658|
. . . scarce state these opinions without exposing their
TXTReyn197; E658|
absurdity; yet . . . constantly in the mouths of . . .
TXTReyn197; E658|
artists.
AnnReyn197; E658|
<He states Absurdities in Company with Truths & calls both
AnnReyn197; E658|
Absurd>
TXTReyn198; E659|
[P 198] . . . prevalent opinion . . . considers the
TXTReyn198; E659|
principles of taste . . . as having less solid foundations, than
TXTReyn198; E659|
. . . they really have. . . . [and imagines taste of too high
TXTReyn198; E659|
origin] to submit to the authority of all earthly tribunal.
AnnReyn198; E659|
<The Artifice of the Epicurean Philosophers is to Call all
AnnReyn198; E659|
other Opinions Unsolid & Unsubstantial than those which are
AnnReyn198; E659|
Derived from Earth>
TXTReyn198; E659|
We often appear to differ in sentiments . . . merely from
TXTReyn198; E659|
the inaccuracy of terms, . . .
AnnReyn198; E659|
It is not in Terms that Reynolds & I disagree Two Contrary
AnnReyn198; E659|
Opinions can never by any Language be made alike. I say Taste &
AnnReyn198; E659|
Genius are Not Teachable or Acquirable but are born with us
AnnReyn198; E659|
Reynolds says the Contrary
TXTReyn199; E659|
[P 199] . . . take words as we find them; . . . distinguish
TXTReyn199; E659|
the THINGS to which they are applied.
AnnReyn199; E659|
<This is False the Fault is not in Words. but in Things
AnnReyn199; E659|
Lockes Opinions of Words & their Fallaciousness are Artful
AnnReyn199; E659|
Opinions & Fallacious also>
TXTReyn200; E659|
[P 200] It is the very same taste which relishes a
TXTReyn200; E659|
demonstration in geometry, that is pleased with the resemblance
TXTReyn200; E659|
of a picture to an original, and touched with the harmony of
TXTReyn200; E659|
musick.
AnnReyn200; E659|
<Demonstration Similitude & Harmony are Objects of Reasoning
AnnReyn200; E659|
Invention Identity & Melody are Objects of Intuition>
TXTReyn201; E659|
[P 201] . . . as true as mathematical demonstration; . .
TXTReyn201; E659|
.
AnnReyn201; E659|
<God forbid that Truth should be Confined to Mathematical
AnnReyn201; E659|
Demonstration >
TXTReyn201; E659|
But beside real, there is also apparent truth, . . .
AnnReyn201; E659|
<He who does not Know Truth at Sight is unworthy of Her
AnnReyn201; E659|
Notice>
TXTReyn201; E659|
. . . taste . . . approaches . . . a sort of resemblance to
TXTReyn201; E659|
real science, even where opinions are . . . no better than
TXTReyn201; E659|
prejudices.
AnnReyn201; E659|
<Here is a great deal to do to Prove that All Truth is
AnnReyn201; E659|
Prejudice for All that is Valuable in Knowledge[s] is
AnnReyn201; E659|
Superior to Demonstrative Science such as is Weighed or Measured>
TXTReyn202; E659|
[P 202] As these prejudices become more narrow, . . . this
TXTReyn202; E659|
secondary taste becomes more and more fantastical; . . .
AnnReyn202; E659|
<And so he thinks he has proved that Genius & Inspiration
AnnReyn202; E659|
are All a Hum>
TXTReyn202; E659|
. . . I shall [now] proceed with less method, . . .
AnnReyn202; E659|
<He calls the Above proceeding with Method>
TXTReyn202; E659|
We will take it for granted, that reason is something
TXTReyn202; E659|
invariable . . .
AnnReyn202; E659|
<Reason or A Ratio of All We have Known is not the Same it
AnnReyn202; E659|
shall be when we know More. t1487
be therefore takes a Falshood for
AnnReyn202; E659|
granted to set out with>
TXTReyn203; E659|
[P 203] [Whatever of taste we can] fairly bring under the
TXTReyn203; E659|
dominion of reason, must be considered as equally exempt from
TXTReyn203; E659|
change.
AnnReyn203; E659|
<Now this is Supreme Fooling>
TXTReyn203; E659|
The arts would lie open for ever to caprice . . . if those
TXTReyn203; E659|
who . . . judge had no settled principles. . . .
AnnReyn203; E659|
<He may as well say that if Man does not. lay down settled
AnnReyn203; E659|
Principles. The Sun will not rise in a Morning>
TXTReyn204; E660|
[P 204] My notion of nature comprehends . . . also the . . .
TXTReyn204; E660|
human mind and imagination.
AnnReyn204; E660|
<Here is a Plain Confession that he Thinks Mind &
AnnReyn204; E660|
Imagination not to be above the Mortal & Perishing Nature. Such
AnnReyn204; E660|
is the End of Epicurean or Newtonian Philosophy it is Atheism>
TXTReyn208; E660|
[P 208] [Poussin's Perseus and Medusa's head] . . . I
TXTReyn208; E660|
remember turning from it with disgust, . . .
AnnReyn208; E660|
<Reynolds's Eye. could not bear Characteristic Colouring or
AnnReyn208; E660|
Light & Shade>
TXTReyn208; E660|
A picture should please at first sight, . . .
AnnReyn208; E660|
Please! Whom? Some Men Cannot See a Picture except in a Dark
AnnReyn208; E660|
Corner
TXTReyn209; E660|
[P 209] No one can deny, that violent passions will
TXTReyn209; E660|
naturally emit harsh and disagreeable tones: . . .
AnnReyn209; E660|
Violent Passions Emit the Real Good & Perfect Tones
TXTReyn214; E660|
[P 214] . . . Rubens . . . thinking it necessary to make his
TXTReyn214; E660|
work so very ornamental, . . .
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<Here it is calld Ornamental that the Roman & Bolognian
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Schools may be Insinuated not to be Ornamental>
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[P 215] Nobody will dispute but some of the best of the
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Roman or Bolognian schools would have produced a more learned and
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more noble work [than that of Rubens].
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<Learned & Noble is Ornamental>
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. . . weighing the value of the different classes of the
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art, . . .
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<A Fools Balance is no Criterion because tho it goes down on
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the heaviest side we ought to look what he puts into it. >
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[P 228] Thus it is the ornaments, rather than the
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proportions of architecture, which at the first glance
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distinguish the different orders from each other; the Dorick is
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known by its triglyphs, the Ionick by its volutes, and the
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Corinthian by its acanthus.
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[He could not tell Ionick from the Corinthian or Dorick
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or one column from another].
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[P 232] [European meeting Cherokee Indian . . . which ever
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first feels himself provoked to laugh, is the barbarian.
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<Excellent>
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[P 242] [In the highest] flights of . . . imagination,
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reason ought to preside from first to last, . . .
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<If this is True it is a Devilish Foolish Thing to be An
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Artist>
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DISCOURSE VIII
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[P 244, back of title]
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<Burke's Treatise on the Sublime & Beautiful is founded on
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the Opinions of Newton & Locke on this Treatise Reynolds has
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grounded many of his assertions. in all his Discourses I read
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Burkes Treatise when very Young at the same time I read Locke on
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Human Understanding & Bacons Advancement of Learning on Every
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one of these Books I wrote my Opinions & on looking them over
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find that my Notes on Reynolds in this Book are exactly Similar.
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I felt the Same Contempt & Abhorrence then; that I do now. They
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mock Inspiration & Vision Inspiration & Vision was then & now
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is & I hope will
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always Remain my Element my Eternal Dwelling place. how can I
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then hear it Contemnd without returning Scorn for Scorn-->
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[P 245] THE PRINCIPLES OF ART . . . IN THEIR EXCESS BECOME
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DEFECTS. . . .
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<Principles according to Sr Joshua become Defects>
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. . . form an idea of perfection from the . . . various
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schools. . . .
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In another Discourse he says that we cannot Mix the
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Florentine & Venetian
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[P 251] [Rembrandt] often . . . exhibits little more than
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one spot of light in the midst of a large quantity of shadow: . .
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. Poussin . . . has scarce any principal mass of light. . .
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.
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Rembrandt was a Generalizer Poussin was a Particularizer
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Poussin knew better tha[n] to make all his Pictures have the
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same light & shadow any fool may concentrate a light in the
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Middle
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[P 256] . . . Titian, where dignity . . . has the appearance
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of an unalienable adjunct; . . .
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Dignity an Adjunct
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[P 260] [Young artist made vain by] certain animating words,
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of Spirit, Dignity, Energy, Grace, greatness of Style, and
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brilliancy of Tints, . . .
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Mocks
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[P 262] But this kind of barbarous simplicity, would be
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better named Penury, . . .
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Mocks
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[The ancients'] simplicity was the offspring, not of choice,
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but necessity.
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A Lie
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[Painters who] ran into the contrary extreme [should] deal
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out their abundance with a more sparing hand, . . .
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Abundance of Stupidity
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[P 264] . . . the painter must add grace to strength, if he
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desires to secure the first impression in his favour.
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If you Endeavour to Please the Worst you will never Please
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the Best To please All Is Impossible
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[P 266] [Raffaelle's St Paul preaching at Athens] . . . add
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contrast, and the whole energy and unaffected grace of the figure
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is destroyed.
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Well Said
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[P 267] It is given as a rule by Fresnoy, That the principle
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figure . . . must appear . . . under the principal light, . . .
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What a Devil of a Rule
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[P 272] . . . bad pictures will instruct as well as
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good.
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Bad Pictures are always Sr Joshuas Friends
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[Rules of colouring of the] Venetian painters, . . .
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Colouring formed upon these Principles is destructive of All
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Art because it takes away the possibility of Variety & only
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promotes Harmony or Blending of Colours one into another
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[P 274] . . . harmony of colouring was not [attended to by
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Poussin]
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Such Harmony of Colouring is destructive of Art One
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Species of General Hue over all is the Cursed Thing calld Harmony
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it is like the Smile of a Fool
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[P 275] The illuminated parts of objects are in nature of a
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warmer tint than those that are in the shade: . . .
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Shade is always Cold & never as in Rubens & the Colourists
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Hot & Yellowy Brown
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[P 277] . . . fulness of manner . . . Correggio . . .
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Rembrandt. . . . by melting and losing the shadows in a ground
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still darker. . . .
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All This is Destructive of Art
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[P 279] . . . must depart from nature for a greater
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advantage. [Cannot paint moon as relatively bright as in
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nature.]
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<These are Excellent Remarks on Proportional Colour>
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[P 281] [Rembrandt made head too dark to preserve contrast
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with bright armour, but] it is necessary that the work should be
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seen, not only without difficulty . . . but with pleasure. . .
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.
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If the Picture ought to be seen with Ease surely The Nobler
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parts of the Picture such as the Heads ought to be Principal but
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this Never is the Case except in the Roman & Florentine Schools
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Note I Include the Germans in the Florentine School
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[P 284] From a slight undetermined drawing . . . the
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imagination supplies more than the painter himself, probably,
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could produce; . . .
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What Falshood
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[P 285] . . . indispensable rule . . . that everything shall
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be carefully and distinctly expressed. . . . This is what with
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us is called Science, and Learning; . . .
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Excellent & Contrary to his usual Opinions
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[P 286] Falconet . . . thinks meanly of this trick of
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concealing, . . .
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<I am of Falconets opinion>