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fol. 22r    [fol. 21v, NG letter]       'Of Ideas of Truth … Beauty and Relation' (Pt II, Sn I, Ch I)  (3.133)
      
      
      
     		#8#Chap .  1.  Of Imitative art  .
     It is not easy among landscape painters  .  to fix on any example of
     pure imitative art -  for the very simple reason that - though it is possible
     to imitate a flower or a stone - it<s> is beyond the power of man to imitate a
 5   landscape in all its parts   -  <Landscape> .  <p>Painters who have dedicated themselves
     wholly to landscape have always been driven to find some other means
     of expressing themselves than direct imitation . though many of them
     never abandon the principle when it is possible to carry it into practice
     #9#<Nor - even in these cases - is it always imitation for the sake of imitation .
10   In t>The architectural paintings of the old Flemish school, (  names                 )
     <though much time is devoted to the development of bricks . and laying in
     #10#of mortar>.    are perhaps the most consistent . as well as the most successful
     examples of imitative art existing .  for their <subjects> painters were <not>
     capable of much more than imitation.  though
15   			    ----------------------
     The first conception of art . in the mind either of nations . or of men .
     is that of direct and absolute imitation .  such imitation as shall
     deceive the spectator into the belief that he beholds the ^ {actual} object represented .
     and not a representation of it .  ^ {this belief being} accompanied however . with just so much
20   sense of the means - as shall make him feel - while under the influence
     of the deception . that it is a deception.  *( Without this sense of means .
     we lose the feeling of art .  as in the case {<fir[?]>} of scenepainting - panorama's -
     									                 note#12#
      

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