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fol. 44v 'Truth not easily Discerned' (Pt II, Sn I, Ch II) (3. )
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<Now> . <w>We enter therefore on the investigation . with the first principle .
That is the most important truth . which is most characteristic of the
object represented .
20
fol. 45r 'Truth not easily Discerned' (Pt II, Sn I, Ch II) (3.147)
'Particular and General Truths' (Pt II, Sn I, Ch III) (3.149)
'Truths of Colour' (Pt II, Sn I, Ch V) (3.158)
22 .
manifestation - & this shall be like , to those who have not watched for
its moments of power . It is possible to represent the spirit in
its <most> secret & high operation . and this shall be like only
to those to whose ardent gaze it has been revealed . All these
5 are Truth . but according to the dignity of the truths he can
represent or feel - is the power of the painter - & the justice of
the judge .
Chap. III .
Of the relative importance of truths .
10 It is evident , <from what has been advanced in the last chapter>
that in comparing the claims of painters to the praise of truthfulness .
we shall have to consider . not {only} the mere accuracy with which
individual truths are given . ^ {*<nor> {<is>} the number given .} but the
relative importance of ^ {the} truths .
themselves . for as it constantly happens that the powers of art
15 are unable to render all truths . that artist must be considered
the most truthful. who has p<ict>erceived[?] the most important at the
expence [sic] of the most trifling .
<Now> according to Locke . and I cannot use better or more accurate
expression . there are th<o>ree sorts of qualities in bodies . Page 79. Down to
20 Hence he proceeds to prove . that those which he calls primary qualities
are indeed part of the essence of the body . & characteristic of it . but
that what <are> {he} call<ed>s sensible qualities are only powers . of producing
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