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fol. 48v	 'Truths of Colour' (Pt II, Sn I, Ch V)   (3.161)
      
      
      
     Note.   It is an ordinary mode of speaking among
     painters  . to confine the ^ {term} <word "form"> to the
     outline  . & <spec> whereas it necessarily implies
     light & shade  . & though these ^ {the outline - that is to say - & the chiaroscuro} must
     be separate
 5   <branches of study> {subjects of investigation} with the student. I speak of
     them both in comparing the importance of
     form with colour .   For though form exists.  *   And though both ^ {should} see
     differently
     independently of light & shade . it cannot be      neither can be said to see
     represented without it . and its light & shade       falsely - because the colour is
10   are as essential and independent of sight or         not inherent in the thing -
     powers ^ {<of>} of other objects as the 	      but in the thing & them together.
     form itself.  The
     presence of light being a positive existence          But if they see forms differently
     whether we are aware of it or not .  <* <But yet>   One must see falsely - for
     the ^ { <{apparently} positive> degree & 	             the form is positive in the object .
     brilliancy of this light depends
15   on our organs  .  and is a secondary quality , though
     its relative degree is a primary one.   That is to say
     the degree<s> of <distance> {<intensity> difference}
     between the darkest and
     lightest part of an object is an essential truth .
     <whether we> {but the} represent^{ation of} the
     high{er} light as grey, or
20   white , is a secondary truth -    For the relative
     quantity of <things> light is calculable. & known . but
     its positive quantity is unknown . as a thermometer
     tells us the difference between the quantities of calorie[?] in two bodies , but cannot >
     					
      
fol. 49r  	 'Truths of Colour' (Pt II, Sn I, Ch V)   (3.160)
      
      
     										26
     And so great is the uncertainty with respect to these qualities or powers
     which <nature> depend<s> as much on the nature of the recipient as on
     their own - that it is totally impossible to prove that one man sees <or>
     in the same things the same colour that another does .  though he
 5   uses the same name for it  .   One man may see yellow - where
     another sees blue. -  but as the effect is constant - they agree in the
     term to be used for it -  and both call it blue - or both yellow . .
     though they mean very different things by the term .   <Much more
     may this be the case with other animals .   Boars may see
10   each other ^ {or us} of the colour we call blue - for anything we know - &
     wasps may see pea>   	      My friend may see boars blue , for
     anything I know ^ {& see as truly as I do .} - but <he> it is impossible he should see
     them with
     paws instead of hoofs .  unless his eyes or brain are diseased.     Locke . P.280 .
     These considerations are sufficient to show that {truth of} colour is of hardly
15   any importance whatsoever . compared to truth of form .    The painter
     who <p> represented cows <blas> blue - sky black - & trees pink . though
     the picture would be passed as insanity .  <might> {would} yet - if his forms
     were perfect - be far nearer truth - & have far more essential
     veracity on his canvass than one who with deceptive <fidelity> {accuracy} of
20   tint - had violated one principle of general form .
      
      
     < tell us the positive quantity in either . >
      

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