CONTENTS
 
 

TXTReynTitle; E635|        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
 

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, . . .
AnnReyn214; E660|        <Here it is calld Ornamental that the Roman & Bolognian
AnnReyn214; E660|        Schools may be Insinuated not to be Ornamental>
 

TXTReyn215; E660|        [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>
 

TXTReyn242; E660|        [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
 

EDAnnReyn244; E660|        [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-->
 

TXTReyn245; E661|        [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
 

TXTReyn251; E661|        [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
 

TXTReyn260; E661|        [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
 

TXTReyn266; E661|        [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
 

TXTReyn267; E661|        [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
 

TXTReyn272; E661|        [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
 

TXTReyn284; E662|        [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
 

TXTReyn286; E662|        [P 286] Falconet . . . thinks meanly of this trick of
TXTReyn286; E662|        concealing, . . .
AnnReyn286; E662|        <I am of Falconets opinion>

 
CONTENTS