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fol. 24r    [fol. 23v, NG letter]       'Of Ideas of Truth … Beauty and Relation' (Pt II, Sn I, Ch I)  (3.133)
      
      
      
     <The ends of>   <Landscape>
     #14#<  The art of Landscape painting has two distinct <aims> {ends} . of which
     some painters aim {altogether.} <more> at one . and some at {the} <an>other - but
     most in a certain degree.  propose to themselves  both .       The first
 5   of these ends is to set before the spectator a faithful representation
     of any natural object . or objects  .      The second is to inform the
     mind of the spectator . of the thoughts and feelings ^ {with} which those
     objects were regarded by the artist .  and to <compel> {enable} him to share
     in them . >         In attaining the first end. the artist {painter} only places the
10   spectator where he stands himself , <and In [sic] the second. there he leaves
     him - to follow out his own thoughts - or not to think atall [sic] .
     as it may happen to please him> .  he sets him before the landscape -
     and leaves him -  The spectator is alone -  He may follow out
     his own thoughts - <he> as he would in the natural solitude -
15   or he may remain untouched - unreflecting - and regardless.
     as his disposition may incline him .  But he has nothing of thought
     given to him - <whatever> no new ideas - no <sh[?]> unknown feelings -
     forced on his attention or his heart .  The artist is his conveyance - not
     his companion - his horse - not his friend.    A railroad - or
20   a stage coach. would have done as much , and more  . in as little longer
     time - they would have set him down before the true landscape - &
     left him to his own thoughts.                But in attaining the second end.
      

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