Annotations to The Works of Sir Joshua Reynolds, t1473
TXTReynTitle; E635| edited by Edmond Malone. London, 1798
TXTReyn; E635| TITLE PAGE
AnnReynTitlep; E635| This Man was Hired to Depress Art This is the opinion of
AnnReynTitlep; E635| Will Blake my Proofs of this Opinion are given in the following
AnnReynTitlep; E635| Notes
AnnReynTitlep; E635| <Advice of the Popes who succeeded the Age of Rafael>
AnnReynTitlep; E635| Degrade first the Arts if you'd Mankind degrade,
AnnReynTitlep; E635| Hire Idiots to Paint with cold light & hot shade:
AnnReynTitlep; E635| Give high Price for the worst, leave the best in disgrace,
AnnReynTitlep; E635| And with Labours of Ignorance fill every place.
EDAnnReynTEXT; E636| [BACK OF TITLE PAGE]
AnnReynBackTP; E636| Having spent the Vigour of my Youth & Genius under the
AnnReynBackTP; E636| Opression of Sr Joshua & his Gang of Cunning Hired Knaves Without
AnnReynBackTP; E636| Employment & as much as could possibly be Without Bread, The
AnnReynBackTP; E636| Reader must Expect to Read in all my Remarks on these Books
AnnReynBackTP; E636| Nothing but Indignation & Resentment While Sr Joshua was
AnnReynBackTP; E636| rolling in Riches Barry was Poor & [independent]
AnnReynBackTP; E636| <Unemployd except by his own Energy> Mortimer was [despised &
AnnReynBackTP; E636| Mocked] <calld a Madman> [I now despise & Mock in turn
AnnReynBackTP; E636| although Suffring Neglect] <& only Portrait Painting
AnnReynBackTP; E636| applauded & rewarded by the Rich & Great.> Reynolds &
AnnReynBackTP; E636| Gainsborough Blotted & Blurred one against the other & Divided
AnnReynBackTP; E636| all the English World between them Fuseli Indignant <almost>
AnnReynBackTP; E636| hid himself--I [was] <am> hid t1474
EDAnnReynTEXT; E636| [CONTENTS PAGES]
AnnReynContents; E636| The Arts & Sciences are the Destruction of Tyrannies or Bad
AnnReynContents; E636| Governments Why should A Good Government endeavour to Depress
AnnReynContents; E636| What is its Chief & only Support
TXTReynContents; E636| The advantages proceeding from the Institution of a Royal
TXTReynContents; E636| Academy.
AnnReynContents; E636| The Foundation of Empire is Art & Science Remove them or
AnnReynContents; E636| Degrade them & the Empire is No More--Empire follows Art & Not
AnnReynContents; E636| Vice Versa as Englishmen suppose
AnnReynContentsQUOTE; E636| On peut dire que la Pape Leon Xme en encourageant les Etudes
AnnReynContentsQUOTE; E636| donna les armes contre lui-meme. J'ai oui dire a un Seigneur
AnnReynContentsQUOTE; E636| Anglais qu'il avait vu une Lettre du Seigneur Polus, ou de La
AnnReynContentsQUOTE; E636| Pole, depuis Cardinal, a ce Pape; dans laquelle, en le felicitant
AnnReynContentsQUOTE; E636| sur ce qu'il etendait le progres de Science en Europe, il
AnnReynContentsQUOTE; E636| l'avertissait qu'il etait dangereux de rendre les hommes trop Savans--
AnnReynContentsQUOTE; E636| VOLTAIRE Moeurs de[s] Nation[s], Tome 4
AnnReynContents; E636| O Englishmen! why are you still of this foolish Cardinals
AnnReynContents; E636| opinion?
TXTReynContents; E636| Much copying discountenanced
AnnReynContents; E636| To learn the Language of Art Copy for Ever. is My Rule
EDAnnReynTEXT; E636| [BLANK PAGE FACING DEDICATION]
AnnReynDed; E636| Who will Dare to Say that [Fine] <Polite> Art is
AnnReynDed; E636| Encouraged, or Either Wished or Tolerated in a Nation where The
AnnReynDed; E636| Society for the Encouragement of Art. Sufferd Barry to Give them,
AnnReynDed; E636| his Labour for Nothing A Society Composed of the Flower of the
AnnReynDed; E636| English Nobility & Gentry--[A Society] Suffering an
AnnReynDed; E636| Artist to Starve while he Supported Really what They under
AnnReynDed; E636| pretence of Encouraging were Endeavouring to Depress--Barry told
AnnReynDed; E636| me that while he Did that Work--he Lived on Bread & Apples
EDAnnReynTEXT; E636| [P i]
AnnReyn-i; E636| O Society for Encouragement of Art--O King & Nobility of
AnnReyn-i; E636| England! Where have you hid Fuseli's Milton Is Satan troubled
AnnReyn-i; E636| at his Exposure
TXTReyn-i; E637| TO THE KING.
TXTReyn-i; E637| The regular progress of cultivated life is from necessaries to
TXTReyn-i; E637| accommodations, from accommodations to ornaments.
AnnReyn-i; E637| The Bible says That Cultivated Life. Existed First--
AnnReyn-i; E637| Uncultivated Life. comes afterwards from Satans Hirelings[.]
AnnReyn-i; E637| Necessaries Accomodations & Ornaments [are Lifes Wants]
AnnReyn-i; E637| <are the whole of Life> [First were Created Wine & Happiness
AnnReyn-i; E637| ?Good ?Looks & Fortune] Satan took away Ornament First.
AnnReyn-i; E637| <Next he took away Accomodations & Then he became Lord & Master
AnnReyn-i; E637| of> Necessaries [last]
TXTReyn-ii; E637| [P ii] To give advice to those who are contending for royal
TXTReyn-ii; E637| liberality, . .
AnnReyn-ii; E637| Liberality! We want not Liberality We want a Fair Price
AnnReyn-ii; E637| & Proportionate Value <& a General Demand for Art>
AnnReyn-ii; E637| <Let not that Nation where Less than Nobility is the Reward.
AnnReyn-ii; E637| Pretend that Art is Encouraged by that Nation: Art is the First
AnnReyn-ii; E637| in Intellectuals &Ought to be First in Nations>
EDAnnReynTEXT; E637| [P iii]
AnnReyn-iii; E637| <Invention depends Altogether upon Execution or
AnnReyn-iii; E637| Organization. as that is right or wrong so is the Invention
AnnReyn-iii; E637| perfect or imperfect. Whoever is set to Undermine the Execution
AnnReyn-iii; E637| of Art is set to Destroy Art Michael Angelos Art Depends on
AnnReyn-iii; E637| Michael Angelos Execution Altogether>
TXTReyn-viii; E637| [P viii, Malone on Reynolds' boyhood:] . . . Richardson's
TXTReyn-viii; E637| Treatise on Painting; the perusal of which so delighted and
TXTReyn-viii; E637| inflamed his mind, that Raffaelle appeared to him superior to the
TXTReyn-viii; E637| most illustrious . . .
AnnReyn-viii; E637| Why <then> did he not follow Rafaels Track
TXTReyn-ix; E637| [P ix, note 7, quoting Walpole on Thomas Hudson, Reynolds'
TXTReyn-ix; E637| first master] The better taste introduced by Sir Joshua Reynolds,
TXTReyn-ix; E637| put an end to Hudson's reign, . . .
AnnReyn-ix; E637| Hudson Drew Correctly
TXTReyn-xiv; E637| [P xiv: the keeper of the Vatican informed Reynolds that
TXTReyn-xiv; E637| "the works of Raffaelle" frequently made "little impression" on
TXTReyn-xiv; E637| visitors.]
AnnReyn-xiv; E637| Men who have been Educated with Works of Venetian Artists.
AnnReyn-xiv; E637| under their Eyes Cannot see Rafael unless they are born with
AnnReyn-xiv; E637| Determinate Organs
TXTReyn-xiv; E637| [Reynolds quoted:] . . . I remember very well my own
TXTReyn-xiv; E637| disappointment, when I first visited the Vatican; . . .
AnnReyn-xiv; E637| I am happy I cannot say that Rafael Ever was from my
AnnReyn-xiv; E637| Earliest Childhood hidden from Me. I saw & I Knew immediately
AnnReyn-xiv; E637| the difference between Rafael & Rubens
EDAnnReynTEXT; E637| [p xv]
AnnReyn-xiv; E637| <Some look. to see the sweet Outlines
AnnReyn-xiv; E637| And beauteous Forms that Love does wear
AnnReyn-xiv; E637| Some look. to find out Patches. Paint.
AnnReyn-xiv; E637| Bracelets & Stays & Powderd Hair>
TXTReyn-xv; E637| [Reynolds:] . . . though disappointed and mortified at not
TXTReyn-xv; E637| finding myself enraptured with the works of this great master, I
TXTReyn-xv; E637| did not for a moment conceive or suppose that the name of
TXTReyn-xv; E637| Raffaelle,
TXTReyn-xv; E638| and those admirable paintings in particular, owed their
TXTReyn-xv; E638| reputation to the ignorance and prejudice of mankind; . . .
AnnReyn-xv; E638| Here are Mocks on those who Saw Rafael [But not Sir
AnnReyn-xv; E638| Joshua]
TXTReyn-xv; E638| . . . I felt my ignorance, and stood abashed.
AnnReyn-xv; E638| A Liar he never was Abashed in his Life & never felt his
AnnReyn-xv; E638| Ignorance
TXTReyn-xvi; E638| [P xvi] . . . I was convinced that I had originally formed a
TXTReyn-xvi; E638| false opinion of the perfection of art, . . .
AnnReyn-xvi; E638| All this Concession is to prove that Genius is Acquired as
AnnReyn-xvi; E638| follows in the Next page
TXTReyn-xvii; E638| [P xvii] . . . I am now clearly of opinion, that a relish
TXTReyn-xvii; E638| for the higher excellencies of art is an acquired taste, which no
TXTReyn-xvii; E638| man ever possessed without long cultivation, and great labour . .
TXTReyn-xvii; E638| .
AnnReyn-xvii; E638| [Fool]
TXTReyn-xvii; E638| . . . as if . . . our minds, like tinder, should instantly
TXTReyn-xvii; E638| catch fire from the divine spark of Raffaelle's genius.
AnnReyn-xvii; E638| A Mock
TXTReyn-xvii; E638| . . . the excellence of his style . . . lies deep; and at
TXTReyn-xvii; E638| the first view is seen but mistily.
AnnReyn-xvii; E638| A Mock
TXTReyn-xvii; E638| It is the florid style, which strikes at once, and
TXTReyn-xvii; E638| captivates the eye for a time, . . .
AnnReyn-xvii; E638| A Lie The Florid Style such as the Venetian & the Flemish.
AnnReyn-xvii; E638| Never Struck Me at Once nor At-All.
AnnReyn-xviii; E638| [P xviii] [to good Artists] The Style that Strikes the
AnnReyn-xviii; E638| Eye is the True Style But A Fools Eye is Not to be. a Criterion
TXTReyn-xviii; E638| I consider general copying (he adds)as a
TXTReyn-xviii; E638| delusive kind of industry:. . .
AnnReyn-xviii; E638| Here he Condemns Generalizing which he almost always
AnnReyn-xviii; E638| Approves & Recommends
TXTReyn-xix; E638| [P xix] How incapable of producing any thing of their own,
TXTReyn-xix; E638| those are, who have spent most of their time in making finished
TXTReyn-xix; E638| copies, . . .
AnnReyn-xix; E638| Finishd. What does he Mean Niggling Without the Correct
AnnReyn-xix; E638| <& Definite> Outline If he means That Copying Correctly is a
AnnReyn-xix; E638| hindrance he is a Liar. for that is the only School to the
AnnReyn-xix; E638| Language of Art
TXTReyn-xxix; E638| [P xxix] It is the thoughts expressed in the works of
TXTReyn-xxix; E638| Michael Angelo, Correggio, Raffaelle, Parmegiano, and perhaps
TXTReyn-xxix; E638| some of the old Gothick masters, . . . which we seek after with
TXTReyn-xxix; E638| avidity.
AnnReyn-xxix; E638| Here is an Acknowledgment of all that I could wish But if
AnnReyn-xxix; E638| it is True. Why are we to be told that Masters who Could Think had
AnnReyn-xxix; E638| not the judgment to Perform the Inferior Parts of Art as Reynolds
AnnReyn-xxix; E638| artfully calls them. But that we are to Learn to Think from
AnnReyn-xxix; E638| Great Masters & to Learn to Perform from Underlings? Learn to
AnnReyn-xxix; E638| Design from Rafael & to Execute from Rubens [line cut away]?
TXTReyn-xxxi; E638| [P xxxi] Thus Bacon became a great thinker, by first
TXTReyn-xxxi; E638| entering into and making himself master of the thoughts of other
TXTReyn-xxxi; E638| men.
AnnReyn-xxxi; E638| [This is the Character of a Knave]
TXTReyn-xxxiii; E639| [Pp xxxiii-xxxiv, Burke on Reynolds] . . . He . . . owed his
TXTReyn-xxxiii; E639| first disposition to generalize . . . to old Mr. Mudge . . . a
TXTReyn-xxxiii; E639| learned and venerable old man . . . much conversant in the
TXTReyn-xxxiii; E639| Platonick Philosophy,. . . originally a dissenting minister; . .
TXTReyn-xxxiii; E639| .
AnnReyn-xxxiii; E639| Slang Villainy
EDAnnReyn-xxxiiiTEXT; E639| [To call generalizing "the Platonick Philosophy" was Slang;
EDAnnReyn-xxxiiiTEXT; E639| for a dissenting minister to preach it was Villainy.--D.V.E.]
TXTReyn-xxxviii; E639| [P xxxviii footnotes 24 and 25] [On the painters' having obtained
TXTReyn-xxxviii; E639| a royal charter; Reynolds is not named among the eight "principal
TXTReyn-xxxviii; E639| artists" active in "this scheme"; William Chambers is credited
TXTReyn-xxxviii; E639| with helpful "access" to the King.]
AnnReyn-xxxviii; E639| [Reynolds . . . thought . . . but Painters ?attention
AnnReyn-xxxviii; E639| without xxx Reynolds Sir Wm Chambers . . . ?through]
EDAnnReyn-xli; E639| [Pp xli-xlv, note 28: Malone scotching rumors that the
EDAnnReyn-xli; E639| Discourses were written by Johnson or Burke.]
AnnReyn-xli; E639| The Contradictions in Reynolds's Discourses are Strong
AnnReyn-xli; E639| Presumptions that they are the Work of Several Hands But this
AnnReyn-xli; E639| is no Proof that Reynolds did not Write them The Man Either
AnnReyn-xli; E639| Painter or Philosopher who Learns or Acquires all he Knows from
AnnReyn-xli; E639| Others. Must be full of Contradictions
TXTReyn-xlvii; E639| [P xlvii, Reynolds' eulogy of George Moser as "the FATHER of
TXTReyn-xlvii; E639| the present race of Artists".]
AnnReyn-xlvii; E639| I was once looking over the Prints from Rafael & Michael
AnnReyn-xlvii; E639| Angelo. in the Library of the Royal Academy Moser came to me &
AnnReyn-xlvii; E639| said You should not Study these old Hard Stiff & Dry Unfinishd
AnnReyn-xlvii; E639| Works of Art, Stay a little & I will shew you what you should
AnnReyn-xlvii; E639| Study. He then went & took down Le Bruns & Rubens's Galleries
AnnReyn-xlvii; E639| How I did secretly Rage. I also spoke my Mind [line cut away]
AnnReyn-xlvii; E639| I said to Moser, These things that you call Finishd are not
AnnReyn-xlvii; E639| Even Begun how can they then, be Finishd? The Man who does not
AnnReyn-xlvii; E639| know The Beginning, never can know the End of Art
TXTReyn-xlix; E639| [P xlix, Reynolds on his own "merits and defects" ] I
TXTReyn-xlix; E639| consoled myself..... by remarking that these ready inventors, are
TXTReyn-xlix; E639| extremely apt to acquiesce in imperfection; . . .
AnnReyn-xlix; E639| Villainy a Lie
TXTReyn-l; E639| [P l] . . . Metastasio . . . complained of the great
TXTReyn-l; E639| difficulty he found in attaining correctness, in consequence of
TXTReyn-l; E639| having been in his youth an IMPROVVISATORE.
AnnReyn-l; E639| I do not believe this Anecdote
TXTReyn-liii; E639| [P liii, from Reynolds' 11th Discourse] . . . the general
TXTReyn-liii; E639| effect of the whole. . . . requires the painter's entire mind;
TXTReyn-liii; E639| whereas the PARTS may be finishing by nice touches, while his
TXTReyn-liii; E639| mind is engaged on other matters: . . . indolence. . . .
AnnReyn-liii; E639| A Lie Working up Effect is more an operation of Indolence
AnnReyn-liii; E639| than the Making out of the Parts: as far as Greatest is more than
AnnReyn-liii; E639| Least I speak here of Rembrandts & Rubenss & Reynolds's
AnnReyn-liii; E639| Effect.--For Real Effect. is Making out the Parts & it is Nothing
AnnReyn-liii; E639| Else but That
TXTReyn-lvii; E639| [P lvii, note 34, Malone on Reynolds' efforts to recover the
TXTReyn-lvii; E639| secrets of the Venetian colourists] Our great painter . . . had
TXTReyn-lvii; E639| undoubtedly attained a part of the ancient process used in the
TXTReyn-lvii; E640| Venetian School; and by various methods of his own invention
TXTReyn-lvii; E640| produced a similar, though perhaps not quite so brilliant an
TXTReyn-lvii; E640| effect of colour.
AnnReyn-lvii; E640| Oil Colours will not Do--
AnnReyn-lvii; E640| Why are we told that Reynolds is a Great Colourist & yet
AnnReyn-lvii; E640| inferior to the Venetians t1475
TXTReyn-lx; E640| [P lx, note 36] A notion prevails . . . that in the
TXTReyn-lx; E640| MAJORITY of his works the colours have entirely faded . . . ; but
TXTReyn-lx; E640| [most] have preserved their original hue. . . .
AnnReyn-lx; E640| I do not think that the Change is so much in the Pictures as
AnnReyn-lx; E640| in the Opinions of the Public
TXTReyn-lxx; E640| [P lxx, note 38, quoting Dr Johnson in 1761] Reynolds is
TXTReyn-lxx; E640| without a rival, and continues to add thousands to
TXTReyn-lxx; E640| thousands.
AnnReyn-lxx; E640| How much did Barry Get
TXTReyn-lxxii; E640| [P lxxii, Malone, on the French plundering] . . . of the
TXTReyn-lxxii; E640| most celebrated works of the Flemish School in the Netherlands
TXTReyn-lxxii; E640| (for I will not gratify our English republicans by calling it
TXTReyn-lxxii; E640| BELGIUM). . . .
AnnReyn-lxxii; E640| [why then gratify Flemish, Knaves & Fools]
TXTReyn-lxxii; E640| [P lxxii] . . . he . . . devoted several days to
TXTReyn-lxxii; E640| contemplating the productions of that great painter
TXTReyn-lxxii; E640| [Rubens].
AnnReyn-lxxii; E640| If Reynolds had Really admired Mich Angelo he never would
AnnReyn-lxxii; E640| have followd Rubens
TXTReyn-lxxxiii; E640| [P lxxxiii, note 48 on the Literary Club] The original
TXTReyn-lxxxiii; E640| members were, Sir Joshua Reynolds, Dr. Johnson, Mr. Burke, Dr.
TXTReyn-lxxxiii; E640| Nugent, Mr. Langton, Mr. Antony Chamier, Sir John Hawkins, the
TXTReyn-lxxxiii; E640| Hon. Topham Beauclerk, and Dr. Goldsmith.
AnnReyn-lxxxiii; E640| [Oliver Goldsmith ?never should have known such
AnnReyn-lxxxiii; E640| knaves]
TXTReyn-lxxxiv; E640| [P lxxxvi, Malone on Reynolds' sincerity] His ardent love of
TXTReyn-lxxxiv; E640| truth. . . . his strong antipathy to all false pretensions. . .
TXTReyn-lxxxiv; E640| .
AnnReyn-lxxxiv; E640| [O Shame False]
TXTReyn-lxxxvii; E640| [P lxxxvii, note 49] He had painted, as he once observed to
TXTReyn-lxxxvii; E640| me, TWO GENERATIONS of the beauties of England.
AnnReyn-lxxxvii; E640| [God blasts Them As Though ?he ?were lost
AnnReyn-lxxxvii; E640| ?Eurydice]
TXTReyn-lxxxix; E640| [P lxxxix, note 51, on Reynolds' deafness] When in company
TXTReyn-lxxxix; E640| with only one person, he heard very well, . . .
AnnReyn-lxxxix; E640| A Sly Dog So can Every body; but bring Two People & the
AnnReyn-lxxxix; E640| Hearing is Stopped
TXTReyn-xc; E640| [P xc, note 53 quoting Goldsmith's epitaph on
TXTReyn-xc; E640| Reynolds]
AnnReyn-xc; E640| Such Men as Goldsmith ought not to have been Acquainted with
AnnReyn-xc; E640| such Men as Reynolds
TXTReyn-xci; E640| s[P xci; Malone comparing Reynolds to Laelius]
AnnReyn-xci; E640| [Why should Laelius be considered Sir Joshuas
AnnReyn-xci; E640| Counterpart]
AnnReyn-xci; E640| [Who dares ?worship ?a ?man Whod have Driven you long
AnnReyn-xci; E640| Ago Insane]
TXTReyn-xcvi; E640| [P xcvi, summing up: If Reynolds had been an orator, he
TXTReyn-xcvi; E640| would have resembled Laelius rather than Galba]
AnnReyn-xcvi; E640| He certainly would have been more like a Fool Than a Wise
AnnReyn-xcvi; E640| Man
TXTReyn-xcvii; E641| [PP xcvii-xcviii, note 54, Burke on Reynolds] But this
TXTReyn-xcvii; E641| disposition to abstractions, to generalizing and classification,
TXTReyn-xcvii; E641| is the great glory of the human mind, . . .
AnnReyn-xcvii; E641| To Generalize is to be an Idiot To Particularize is the
AnnReyn-xcvii; E641| Alone Distinction of Merit--General Knowledges are those
AnnReyn-xcvii; E641| Knowledges that Idiots possess [As do Fools that adore Things
AnnReyn-xcvii; E641| & ?ideas x x x of General Knowledge]
TXTReyn-xcviii; E641| [PP xcviii-xcix] . . . during the greater part of his life,
TXTReyn-xcviii; E641| laboured as hard with his pencil, as any mechanick . . . .
AnnReyn-xcviii; E641| The Man who does not Labour more than the Hireling must be a
AnnReyn-xcviii; E641| poor Devil.
TXTReyn-ciii; E641| [P ciii] [Malone, praising Reynolds' endorsement of Burke's
TXTReyn-ciii; E641| anti-revolutionary sagacity, applies Dryden--"They led their wild
TXTReyn-ciii; E641| desires to woods and caves, / And thought that all but SAVAGES
TXTReyn-ciii; E641| were slaves"--to those who would assimilate England "to the model
TXTReyn-ciii; E641| of the FEROCIOUS and ENSLAVED Republick of France!"]
AnnReyn-ciii; E641| When France got free Europe 'twixt Fools & Knaves
AnnReyn-ciii; E641| Were Savage first to France, & after; Slaves
TXTReyn-civ; E641| [P civ, Malone on Reynolds' good fortune to have escaped
TXTReyn-civ; E641| the present era of sedition] . . . England is at present in an
TXTReyn-civ; E641| unparalleled state of wealth and prosperity. . . . These FACTS
TXTReyn-civ; E641| ought to be sounded from one end of England to the other, . . . a
TXTReyn-civ; E641| complete answer to all the SEDITIOUS DECLAMATIONS. . . .
TXTReyn-civ; E641| This Whole Book was Written to Serve Political Purposes
AnnReyn-civ; E641| [?First to Serve Nobility & Fashionable Taste & Sr.
AnnReyn-civ; E641| Joshua]
TXTReyn-cix; E641| [P cix, on Reynolds' death Feb 23 1792, from "the inordinate
TXTReyn-cix; E641| growth"of his liver]
AnnReyn-cix; E641| When Sr Joshua Reynolds died
AnnReyn-cix; E641| All Nature was degraded;
AnnReyn-cix; E641| The King dropd a tear into the Queens Ear;
AnnReyn-cix; E641| And all his Pictures Faded.
TXTReyn-cxi; E641| [P cxi, the Dukes, Marquisses, and other noblemen at
TXTReyn-cxi; E641| Reynolds' funeral]
AnnReyn-cxi; E641| A Mock
TXTReyn-cxv; E641| [P cxv] To each of the gentlemen who attended . . . was
TXTReyn-cxv; E641| 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
TXTReyn11; E643| criticism.
AnnReyn11; E643| <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
TXTReyn14; E643| [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
TXTReyn14; E643| . . . 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. .
TXTReyn15; E643| . .labour is the only price of solid fame, . . . whatever their
TXTReyn15; E643| force of genius may be, . . .
AnnReyn15; E643| <This is All Self-Contradictory! Truth & Falshood jumbled
AnnReyn15; E643| Together>
TXTReyn15; E643| 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.
AnnReyn15; E643| 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
TXTReyn15; E644| 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
TXTReyn17; E644| . . .give a proportionable power of drawing correctly what we
TXTReyn17; E644| imagine.
AnnReyn17; E644| <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]
AnnReyn22; E644| <The Labourd Works of Journeymen employed by Correggio.
AnnReyn22; E644| 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 . .
TXTReyn23; E644| .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 .
TXTReyn25; E644| . . 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
[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>
[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
[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
[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]
[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
[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
[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
[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
[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
[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>
[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>
Those expressions alone should be given to the figures which
TXTReyn87; E650| their respective situations generally produce.
AnnReyn87; E650| [Nonsense]
[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
[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
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>
[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>
[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
[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>
[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>
[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>
[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
[P 110] . . . the composite style, . . . Correggio. . . .
TXTReyn110; E652| modern grace and elegance, . .
AnnReyn110; E652| There is No Such <a> Thing as A Composite Style
[P 111] The errors of genius, however, are pardonable. . .
TXTReyn111; E652| .
AnnReyn111; E652| <Genius has no Error it is Ignorance that is Error>
[P 112] On the whole . . . one presiding principle. . . .
TXTReyn112; E652| The works . . . built upon general nature, live for ever; . .
AnnReyn112; E652| <All Equivocation & Self-Contradiction>
TXTReyn114; E652| DISCOURSE V
[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>
[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
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!>
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
[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>
[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
[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
[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!
[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
[P 128] . . . Raffaelle had more Taste and Fancy, Michael
TXTReyn128; E654| Angelo more Genius and imagination.
AnnReyn128; E654| <What Nonsense>
[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>
[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.
[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>
[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
[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>
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>
[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>
[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>
[P 141] . . . the lowest style will be the most popular . . .
TXTReyn141; E655| ignorance . . .
AnnReyn141; E655| <Well said>
[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
[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. . . .
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>
[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>
[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>
 . . . 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>
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>>
[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>
[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?>
[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>
[P 165] Peculiar marks . . . generally . . . defects; . .
TXTReyn165; E657| .
AnnReyn165; E657| Peculiar Marks. are the Only Merit
Peculiarities . . . so many blemishes; which, however, both
TXTReyn165; E657| in real life, and in painting, cease to appear deformities, . . .
AnnReyn165; E657| Infernal Falshood
[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
[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]
[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
[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>
[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>
[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>
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
[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>
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
[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
[P 214] . . . Rubens . . . thinking it necessary to make his
TXTReyn214; E660| work so very ornamental, . . .
AnnReyn214; E660| <Here it is calld Ornamental that the Roman & Bolognian
AnnReyn214; E660| Schools may be Insinuated not to be Ornamental>
[P 215] Nobody will dispute but some of the best of the
TXTReyn215; E660| Roman or Bolognian schools would have produced a more learned and
TXTReyn215; E660| more noble work [than that of Rubens].
AnnReyn215; E660| <Learned & Noble is Ornamental>
TXTReyn215; E660| . . . weighing the value of the different classes of the
TXTReyn215; E660| art, . . .
AnnReyn215; E660| <A Fools Balance is no Criterion because tho it goes down on
AnnReyn215; E660| the heaviest side we ought to look what he puts into it. >
TXTReyn228; E660| [P 228] Thus it is the ornaments, rather than the
TXTReyn228; E660| proportions of architecture, which at the first glance
TXTReyn228; E660| distinguish the different orders from each other; the Dorick is
TXTReyn228; E660| known by its triglyphs, the Ionick by its volutes, and the
TXTReyn228; E660| Corinthian by its acanthus.
AnnReyn228; E660| [He could not tell Ionick from the Corinthian or Dorick
AnnReyn228; E660| or one column from another].
TXTReyn232; E660| [P 232] [European meeting Cherokee Indian . . . which ever
TXTReyn232; E660| first feels himself provoked to laugh, is the barbarian.
AnnReyn232; E660| <Excellent>
[P 242] [In the highest] flights of . . . imagination,
TXTReyn242; E660| reason ought to preside from first to last, . . .
AnnReyn242; E660| <If this is True it is a Devilish Foolish Thing to be An
AnnReyn242; E660| Artist>
TXTReyn243; E660| DISCOURSE VIII
[P 244, back of title]
AnnReyn244; E660| <Burke's Treatise on the Sublime & Beautiful is founded on
AnnReyn244; E660| the Opinions of Newton & Locke on this Treatise Reynolds has
AnnReyn244; E660| grounded many of his assertions. in all his Discourses I read
AnnReyn244; E660| Burkes Treatise when very Young at the same time I read Locke on
AnnReyn244; E660| Human Understanding & Bacons Advancement of Learning on Every
AnnReyn244; E660| one of these Books I wrote my Opinions & on looking them over
AnnReyn244; E660| find that my Notes on Reynolds in this Book are exactly Similar.
AnnReyn244; E660| I felt the Same Contempt & Abhorrence then; that I do now. They
AnnReyn244; E660| mock Inspiration & Vision Inspiration & Vision was then & now
AnnReyn244; E660| is & I hope will
AnnReyn244; E661| always Remain my Element my Eternal Dwelling place. how can I
AnnReyn244; E661| then hear it Contemnd without returning Scorn for Scorn-->
[P 245] THE PRINCIPLES OF ART . . . IN THEIR EXCESS BECOME
TXTReyn245; E661| DEFECTS. . . .
AnnReyn245; E661| <Principles according to Sr Joshua become Defects>
TXTReyn245; E661| . . . form an idea of perfection from the . . . various
TXTReyn245; E661| schools. . . .
AnnReyn245; E661| In another Discourse he says that we cannot Mix the
AnnReyn245; E661| Florentine & Venetian
[P 251] [Rembrandt] often . . . exhibits little more than
TXTReyn251; E661| one spot of light in the midst of a large quantity of shadow: . .
TXTReyn251; E661| . Poussin . . . has scarce any principal mass of light. . .
TXTReyn251; E661| .
AnnReyn251; E661| Rembrandt was a Generalizer Poussin was a Particularizer
AnnReyn251; E661| Poussin knew better tha[n] to make all his Pictures have the
AnnReyn251; E661| same light & shadow any fool may concentrate a light in the
AnnReyn251; E661| Middle
TXTReyn256; E661| [P 256] . . . Titian, where dignity . . . has the appearance
TXTReyn256; E661| of an unalienable adjunct; . . .
AnnReyn256; E661| Dignity an Adjunct
[P 260] [Young artist made vain by] certain animating words,
TXTReyn260; E661| of Spirit, Dignity, Energy, Grace, greatness of Style, and
TXTReyn260; E661| brilliancy of Tints, . . .
AnnReyn260; E661| Mocks
TXTReyn262; E661| [P 262] But this kind of barbarous simplicity, would be
TXTReyn262; E661| better named Penury, . . .
AnnReyn262; E661| Mocks
TXTReyn262; E661| [The ancients'] simplicity was the offspring, not of choice,
TXTReyn262; E661| but necessity.
AnnReyn262; E661| A Lie
TXTReyn262; E661| [Painters who] ran into the contrary extreme [should] deal
TXTReyn262; E661| out their abundance with a more sparing hand, . . .
AnnReyn262; E661| Abundance of Stupidity
TXTReyn264; E661| [P 264] . . . the painter must add grace to strength, if he
TXTReyn264; E661| desires to secure the first impression in his favour.
AnnReyn264; E661| If you Endeavour to Please the Worst you will never Please
AnnReyn264; E661| the Best To please All Is Impossible
[P 266] [Raffaelle's St Paul preaching at Athens] . . . add
TXTReyn266; E661| contrast, and the whole energy and unaffected grace of the figure
TXTReyn266; E661| is destroyed.
AnnReyn266; E661| Well Said
[P 267] It is given as a rule by Fresnoy, That the principle
TXTReyn267; E661| figure . . . must appear . . . under the principal light, . . .
AnnReyn267; E661| What a Devil of a Rule
[P 272] . . . bad pictures will instruct as well as
TXTReyn272; E661| good.
AnnReyn272; E661| Bad Pictures are always Sr Joshuas Friends
TXTReyn272; E661| [Rules of colouring of the] Venetian painters, . . .
AnnReyn272; E661| Colouring formed upon these Principles is destructive of All
AnnReyn272; E661| Art because it takes away the possibility of Variety & only
AnnReyn272; E661| promotes Harmony or Blending of Colours one into another
TXTReyn274; E662| [P 274] . . . harmony of colouring was not [attended to by
TXTReyn274; E662| Poussin]
AnnReyn274; E662| Such Harmony of Colouring is destructive of Art One
AnnReyn274; E662| Species of General Hue over all is the Cursed Thing calld Harmony
AnnReyn274; E662| it is like the Smile of a Fool
TXTReyn275; E662| [P 275] The illuminated parts of objects are in nature of a
TXTReyn275; E662| warmer tint than those that are in the shade: . . .
AnnReyn275; E662| Shade is always Cold & never as in Rubens & the Colourists
AnnReyn275; E662| Hot & Yellowy Brown
TXTReyn277; E662| [P 277] . . . fulness of manner . . . Correggio . . .
TXTReyn277; E662| Rembrandt. . . . by melting and losing the shadows in a ground
TXTReyn277; E662| still darker. . . .
AnnReyn277; E662| All This is Destructive of Art
TXTReyn279; E662| [P 279] . . . must depart from nature for a greater
TXTReyn279; E662| advantage. [Cannot paint moon as relatively bright as in
TXTReyn279; E662| nature.]
AnnReyn279; E662| <These are Excellent Remarks on Proportional Colour>
TXTReyn281; E662| [P 281] [Rembrandt made head too dark to preserve contrast
TXTReyn281; E662| with bright armour, but] it is necessary that the work should be
TXTReyn281; E662| seen, not only without difficulty . . . but with pleasure. . .
TXTReyn281; E662| .
AnnReyn281; E662| If the Picture ought to be seen with Ease surely The Nobler
AnnReyn281; E662| parts of the Picture such as the Heads ought to be Principal but
AnnReyn281; E662| this Never is the Case except in the Roman & Florentine Schools
AnnReyn281; E662| Note I Include the Germans in the Florentine School
[P 284] From a slight undetermined drawing . . . the
TXTReyn284; E662| imagination supplies more than the painter himself, probably,
TXTReyn284; E662| could produce; . . .
AnnReyn284; E662| What Falshood
TXTReyn285; E662| [P 285] . . . indispensable rule . . . that everything shall
TXTReyn285; E662| be carefully and distinctly expressed. . . . This is what with
TXTReyn285; E662| us is called Science, and Learning; . . .
AnnReyn285; E662| Excellent & Contrary to his usual Opinions
[P 286] Falconet . . . thinks meanly of this trick of
TXTReyn286; E662| concealing, . . .
AnnReyn286; E662| <I am of Falconets opinion>