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fol. 62v	'Of Truth of Space … Focus of the Eye' (Pt II, Sn II, Ch IV)    (3.320-21)
      
      
      
      
      
      
      
 5   
      
      
      
10   #66#they gave all that the eye can perceive in the distance - when it<s> is fully
     & entirely devoted to it .
      
      
15   
      
      
      
20   
     And so <often in> {still more excellent are frequently} the bits of landscape thrown in
     by great masters as the back
     ground to large historical pictures <which are> usually a thousand times better
     than the laboured efforts of real landscape painters
      
      
fol. 63r	'Of Truth of Space … Focus of the Eye' (Pt II, Sn II, Ch IV)    (3.320-22)
      
     										40
     each other {only} by the {air} tone & indistinctness dependent on positive distance
     we have violated one of the most essential principles of nature.  we have
     represented that as seen at once - which can only be seen by two separate
     acts of seeing .  and told a falsehood as gross , as if we had represented
 5   a <man with three> {five} sides of a square {cubic} object <a<s>t the same> visible
     										together .
     Now . to this fact & principle - no landscape painter of antiquity as far
     as I know . except Rubens . ever paid the slightest attention  .  Finishing
     their foregrounds clearly & sharply & impressively on the eye - giving {even}
     the
     leaves of their bushes with perfect edge & shape - they proceeded into the
10   distance with equal decision of form - ^* and therefore - though masters of
     aerial
     tone - though employing every expedient that art could supply to conceal
     the intersection of lines - though caricaturing the force & shadow of near
     objects to throw them <back> ^ {<near> close} upon the eye - they never -
     			        					and I say this
     confidently & certain of my proof, - they never truly represented <the>
15   space . <between their foreground & distance -> .  And that they did not
     must be felt  . &c .  page <41> 38 . down to "falsehood "
     	Some exceptions <to this> occur<s> when the back ground has been considered
     										   of
     small importance -  and has been laid in {merely] to set off near objects.   Some
     of the landscapes of <Wouvermans> {Berghem & Wouvermans} are very
     perfect in this respect - the exquisite
20   indistinctness of outline & blending of colour {in <his> {their}distance}being
     {as} perfect<ly> ^ {in itself as it is} & nobly contrasted
     with the decision of <his> {their} near figures .   But {it is} in Rubens . that I
     first
     discover the evidence of real knowledge of this principle of truth.  The
      

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MW