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fol. 18v  	'Of Ideas of Truth … Beauty and Relation'  (Pt II, Sn I, Ch I)    (3.133/680)
      
      
      
     [the activity. industry. and life . which <as> we before noticed as one of the
     … text of The Poetry of Architecture … ]
      
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15   [… fine detached specimens of the picturesque blue country .    P of A text ends (1.140)]
     #1#While the painters of beauty  . assisting the natural attractions of their
     subject by all the expedients of art .  verge gradually in aim upon
     the painters of emotion   .  (Yet distinct far *	
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fol. 19r		'Of Ideas of Truth … Beauty and Relation' (Pt II, Sn I, Ch I)  (3.133/680)
      
      
      
     #3#The ends of all landscape painting are properly speaking two.
     The first.    to set before the spectator a true and accurate representation
     of objects  .         The second .   to convey into the mind of the spectator
     the peculiar impression those objects made on the {mind of the} painter himself .
 5   <Some artists>           Artists   .  as they aim at one or other of these ends
     may be divided into the painters of facts.  and the painters of
     Emotion . [sic]         two great classes . to one or other of which all landscape
     painters may be referred  .   <Not>    <The two aims are usually indeed
     in some degree united -  and because a painter of imp>
10   The painters of facts have again two distinct ends.  The one, to
     delight by accuracy of imitation .    the other . to delight by the
     <pu[?]> beauty of the represented objects. 		Both these ends are usually
     in some degree ,  aimed at in the same picture .   but those artists
     who excel most in imitation are apt to select only such subjects
15   as may best display their power.      and gradually to <forget> lose
     all sense {& desire} of intrinsic beauty . or any other desirable attribute , in the
     subject itself.  ^ *      *( The painters of emotion are al{so}<most in an> {some}
     <equal> degree . independent of subject.  <often taking pleasure in
     whatever they consider or feel <illustrative> {to be the source} of particular thoughts
20   and impressions .  rather>    painting rather what they feel to be
     illustrative of particular trains of thought. than what is in itself
     intrinsically beautiful .  )
      

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MW