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fol. 54v 	 'Of Truth of Chiaroscuro'  (Pt II, Sn II, Ch III)    (3.317)
      
      
     matter & were above playing tricks .   M Angelo is <almost a> {genuine & perfect}
     									         model
     of <the> chiaroscuro in every respect.  Raffaelles early works are nearly
     right - the Transfiguration totally wrong .  (I ^ {always} mean by wrong . false -)
     I am not talking of what is desirable . though I think nature knows best  )
 5   But Rubens in <the consummate> his finest works . is the only example
     in ancient art of perfect chiaroscuro joined with perfect colour .  <His>
     We have never lantern lights in him - all is kept chaste - and evidently
     proceeding from the sky - <and> not radiating from the object and we
     have in<b[?]>variably . some <bright> {energetic} bit of black or intense point of
     gloom
10   commonly opposed to yellow to make it more conspicuous, as far below
     all the rest of the picture as the most brilliant lights are above it .
     <In the la>   Among the landscape painters - Cuyp is very often right - Claude
     now & then by accident,  as in the sea piece - 14. national<ly> gallery - where
     the blue stooping fig is a very clever and true - key note of gloom.
15   <Pou> Both the Poussins - Salvator - & our own Wilson - always - and
     in the utmost degree wrong .   I do not <critic> name particular works
     because  if <what> {the principles} I have above <asserted> {explained} be once
     		believed , as proved as
     they may be, by the least observation - their application is easy & the
     error or truth of works self evident.
20   <Now> {And therefore} I need scarcely do more than tell you to <take up> look at
     Turners -
     and you will perceive in a moment <his> {the} exquisite observation of all these principles in every one of his works - <especially> {that is to say} the sharpness -
     decision. {conspicuousness}& excessively
      
fol. 55r	'Of Truth of Tone' (Pt II, Sn II, Ch  I)    (3.271?)
      
      
     											32
     This colour is scarcely ever seen except on mountains & clouds . for the sun
     is too low before the tint is taken to permit its falling clear upon
     objects on a level with it .  but sometimes . with a sea horizon - and
     a perfectly clear sky . it may be seen low .   I adduce it as the most
 5   positive and overpowering tint of light I know.  for no colour stands
     before it - green or blue - or whatever it may be - all are turned nearly
     pure rose by it -    It is of course seen in its greatest purity on the Alps.
     but often occurs very pure on the highest clouds .   not the cumuli , but
     the streaky uppermost bars . at sunset -  <&>  I have seen it once at
10   Venice , of extraordinary intensity - {so} totally overwhelming every local
     tint within its reach - as to admit of nothing like a guess at their
     actual colour .  the rose appearing inherent and positive in them .
     The trees in the botanic gardens , especially. which were of a pure pale
     green - (it was May ) become not merely russet, but pure red .
15   And though seldom to degrees anything like this - light is usually
     coloured in some degree by the media through which is passes. and in
     in [sic] the management of such coloured light. much of the difficulty and
     excellence of fine toned pictures consists .
     The second quality of light to be considered is its power, when
20   white or neutral. ^ {and of no colour - or rather of all colours . in itself} of
     	bringing out the real colours in the objects it
     touches .   This power is strangely variable .    The morning light, of
     about 10 or 11 . <P>A.M. is usually very pure <& white>.   but the difference
      

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