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fol. 7v		Chapter VII of Part II, Section I: 'The Foregoing Principles' (3.255-56)
		(1843, pp.93-  )
      
      
     #28#What more there is in Venice <f> {than} brick and stone - what there is of
     mystery - & death - & memory - & beauty - what there is to be learned
     or lamented - to be wooed - or wept - you look for to Canaletti in 	
     vain.				
 5   Let us pass to Prout - Then . note . <I would not>
     Of course nothing of mere mechanical difficulty in art is here
     taken into consideration;  <and there[?] rank assigned to Prout has
     <We>   I am fully aware of all the mannerism and error of systems
     which put Prout - as an artist, into an exceedingly low rank.  But
10   there is behind all this - something in his feeling, which <had it
     been rightly cultivated, {&} and or if fortune had given him> {had he had} strength
     and opportunity for legitimate study - would have raised him to no
     mean position among the landscape painters of England.  There is
     an appreciation and realization of continental character in his works,
15   a locality & life, <as distinguished from the which in spit<r>[?]e of>
     ^ the <{*……..*}> such <outline and> are the signs of deeper & finer truth than
     {whose} distinct{ness} & vivid{ness}, | <and>  could be imagined to be couched under
     the such outline and unregarded treatment.   There is something
     in his drawings which will bring us back to them again and
20   again in spite of every conviction that they are unartistical & wrong  .
     The eye will be more & more offended every time we turn to them -
fol. 8r		Chapter II in Part I, Section I: 'Definition of Greatness in Art' (3.87)
      
      
     17
     In the --- Lecture of Sir J. Reynolds . incidental notice is taken of a
     distinction between those excellencies which are peculiarly excellencies of the
     painter, as such . and those which are common to <him, and to> all <modes
 5   of developing the intellect. and which are the same powers in all men> {arts} .
     though differently expressed by {<their>} {each} <different art>.  But the distinction is
     not
     <lar[?]> there made out . nor dwelt upon as it deserves.       <For it is owing
     to forgetfulness of th>     Those qualities which <cause> ^ {constitute real}
     greatness in <a painter> {painting}
     are precisely the same as those which <cause> {constitute} greatness in any other
     department
10   of art or science.  <the> Memory .  <the> Judgment.  <Sur>Aesbility[?] {& -}
     Imagination .
     He who possesses these . ^ {. in a high degree} whatever may be the mode in which
     they are
     manifested . is a great man.  If he expresses his imagination & sensibility
     by words -  he is a great poet .  if by <his> symbols . a great painter .
     But the qualities which <cause> {constitute} greatness, <are the same .> and which we
15   admire as in themselves greatness . are the same in both.
     In the mode of expression & communication. lie those excellencies
     which are not common . as handling or drawing in the painter , and
     melody or precision of language in the poet.   He who has learned
     {what is commonly considered} the whole art of painting - that is - the art of
     representing any natural object
20   faithfully - has ^ {as yet} only learned the language by which his thoughts are to be

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