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fol. 64v   		'Of Truth of Space … Focus of the Eye' (Pt II, Sn II, Ch IV)    (3.3     )
      
      
      
     This is not done by <shadowy> slurred or melting lines observe - (always the
     sign of vice in art {<Ä
     >*})  but by a decisive imperfection - a firm - but
     partial assertion , of form .  which the eye feels indeed to be close
 5   home to it . and yet cannot rest upon <it> nor cling to <it> nor {entirely
     understand} <make
     out what it is - but> {& from which it} is ^ driven away <from it> of necessity
     						- to those <other>
     parts of the <picture> {distance} - where it is intended to repose -    And this principle of execution - <though> originated by Turner - & fully carried
     out by him alone   has been yet   ---  *
10   #71#Note.   That is to say, if they are systematically and constantly used .
     Soft and melting lines are necessary in some places, as for instance {in the
     outline} <where
     a round object>    of <some> {anything} which turns very gradually - so
     that<'s> ^ {there is} <so *..*>
     a great deal of surface under the eye in every part of the outline - <and>
     but in general - lines ought to be made tender by graduation and change ^
     					{as they proceed.}	
15   not by slurring .   The hardest line in the world will not be painful if it
     is managed as nature manages it - that is - by pronouncing one part
     								disguising
     <and being> another - & keeping the whole line in perpetual change .  The lines
     of Rubens are about as near perfection (allowing for want of refinement) as
     lines can be - separated on the one hand . from the hardness of Perugino
20   or the early Italian school - {but more} on the other .  from the far more
     									dangerous
     and vicious <manner> {slurring and} melting of Murillo.  A hard line is only
     								an imperfection
     A slurred one is a falsehood .  The artist whose fault is hardness may be on the
     road to excellence - he whose fault is softness mustbe on the road to ruin
      
fol. 65r	'Of Truth of Space … Focus of the Eye' (Pt II, Sn II, Ch IV)    (3.322-24) *
      
      
      
     without giving a ^ {ny thing like completeness to} the forms of the near
     									objects   .
     #72#< And thus arose a new <manner> {principle} in art - which hitherto Turner
     										only
     has carried to full perfection - of indicating the part of the picture
     to which attention was especially directed by veiling the rest - not with
 5   artificial & caricatured obscurity - as in the old masters - but by the
     indistinctness and vagueness of {the} luminous outline - which suggests
     everything while it attracts to nothing - a principle which we shall
     see hereafter is as productive of beauty as it is <agreeable to> {preservative of}
     										truth . >
     <But though Turner only has fully carried it out,> it has been acted on
10   with judgment & success by <many> ^ {several} less powerful artists of the
     modern English school - *< in whose works it is more distinctly recognizable
     as a principle of truth - because it is not so ^ {far} affected and influenced
     by those of imagination >    Some six years ago -  the brown moorland foregrounds of Copley Fielding were most <impressively> instructive in this
15   respect.    Not a line in them was made out -  not a single object
     ^ {clearly} distinguishable -   wet, broad sweeps of the brush -  always truthful in
     their
     character & texture - sparkling - careless . and accidental as nature herself
     <but never with an edge .>  suggested every thing - while they represented
     nothing -   The focus of the eye was not <intended to> {supposed to be adapted
     to} receive the near forms  .
20   But - far off into the mountain distance - came the sharp edge & the clear
     air -- the whole intention & execution of the picture <centreing> guided
     and exerted where the impression of space & size was to be given - the
      
      

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