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fol. 9v Chapter II in Part I, Section I: 'Definition of Greatness in Art' (3.89)
But the <loneliness> {quietness} & gloom of the Chamber - the spectacles marking the
place
where the Bible was last closed - indicating how lonely the life - how
<a>unwatched
5 the departure - of Him who is now laid solitary in his sleep - but for One -
10
15
20
fol. 10r Chapter II in Part I, Section I: 'Definition of Greatness in Art' (3.88-90)
19
#32#clever#33# painting <& perspective> of the wood of the Coffin. & the folds of the
blanket
a<t[?]>re language - language clear & expressive in the highest degree - .
<But> the close pressure of the Dogs breast against the wood - the c<lin>onvulsive
<l[?]>cling of the paws with which it has dragged the blanket off the coffin -
5 the <utter> {total} powerlessness & weight of <the> {its} head <which is> laid close
and
motionless upon the lid - the fixed & tearful fall of the eye in its utter
hopelessness - the rigidity of repose which mark<e>ss* that there has been
no<r> motion nor change in the trance of agony since the <body was left there> {last
<screw w> blow was struck on}
& that there will be none until it is torn away - these are all <t>Thoughts.
10 By these the picture is separated from <thousands> hundreds of equal
merit as far as painting goes - by these it ranks. as a work of the highest
art, and stamps its author - not as the neat imitator of ^ {the texture of a} skin<s> or
<spectacles> {the bend}
^ {of a leaf} but as the Man of Mind.
It is not however . always easy , either in painting or literature . to determine
15 &c . *Vol 2. Page 1. down <to Bestow> "varnishing of it"
This caution in distinguishing between what is decorative and what is
expressive. is peculiarly necessary <from> in painting . For in the language
of words . it is <nearly> impossible for that which is not expressive to be beautiful
except by the low & slight qualit<y>ies of mere rhythm or melody . any sacrifice
20 to which is immediately stigmatised as error. But the beauty of the language in
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MW