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fol. 64r   [fol. 63v is blank]	'Of Truth of Space … Focus of the Eye' (Pt II, Sn II, Ch IV)    (3.320-22)
      
      
      
     back ground of his picture of his own villa - in our National gallery .
     is no small - nor unimportant part of the composition . the chief light
     and colour of the picture are dedicated to it -  But Rubens knew
     that having <repres>ented the leafage - & even the ornithology - of his
 5   foreground - he could not truthfully give one sharp outline in any
     part of his distance - nor is there one - all is indistinct & confused
     and mingling - though everything is told - and if any person will
     take the trouble to keep his eye on this distance for ten minutes - &
     then turn to any landscape in the room , <not Poussin's>,  he will feel
10   them flat - cutting - ^ {crude} and destitute of space <or> {&} light .   *Titian -
     										Claude
     & Salvator - it matters not, however exquisitely mellowed and
     removed in tone - however scientifically opposed in colour - however
     <simple in design> & vigorously relieved - ^ {with shade} all will look flat
     				   					   canvass -
     <and> beside this melting - truthful - illimitable distance of Rubens .
15   But it was reserved for modern art<ists> to take ^ {even} a bolder & more
     										decisive
     step<s> in the pursuit of truth .  <in this respect>.   To sink the distance for
     the foreground was comparatively easy - but it implied the {partial} destruction
     											of
     exactly that part of a landscape which is most interesting - most dignified
     & most varied - of all indeed - except the mere leafage & stone under
20   the spectators feet.   <England>  Turner introduced a new aera in landscape art .	by showing that the foreground might be sunk for the distance.  &
     that it was possible to express immediate proximity to the spectator .
      

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MW