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fol. 75r   [fol. 74v is blank] 	'Of Truth of Space … Power of the Eye' (Pt II, Sn II, Ch V)    (3.335-36)  *
      
      
      
      
     so much - as <if> perceived by a spectator of long experience & knowledge
     would enable him to trace out almost every minute fragment of
     separate detail - but which to the unpractised & careless eye - is - what
     a distance of natures own would be - an unintelligible mass -  There
 5   is not a touch of the millions there that has not its meaning - yet
     not one which is not disguised by the dazzle & indecision of a
     true distance  .   No form is made out -  and yet no form is unknown .
     And this constant following out of the truth of Nature - is what
     has been stigmati<e[?]>sed by many .  as "painting for effect."  It is {indeed}<not
10   from>  giving the effect of Nature by the very means which she uses.
     and by the only means by which it ever has - or will be given.
     Go to the top of Highgate hill on a clear ^ {summer} morning at 5 oclock
     and look at <St Pauls> Westminster abbey.     You have an impression
     or effect - of a building enriched with multitudinous vertical lines -
15   Try <if you can> {to} distinguish one of those lines from its neighbour .   You
     cannot -    Try to count them -  You cannot  -   Try to make out the
     beginning or end of any one of them -   You cannot -    <Yet there is>
     You look at it generally - and it is all symmetry & arrangement &
     clearness -  Look at it in its parts - & it is inextricable confusion  .
20   Nature then paints for effect like Turner -  & Turner like her - and
     no other painter ever did paint like her in this respect .   For if any
     <other> {of the old} painters had had to represent such a building as Westminster at
      

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MW