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fol. 12r     [fol. 11v is blank] 	        Chapter II in Part I, Section I: 'Definition of Greatness in Art' (3.92)
      
      
      
     that which conveys to the mind of the spectator . the greatest number of
     the greatest ideas in the clearest language.
     And he is the greatest artist. who has given evidence in {the sense of his} <its> works .
     of
     possessing the greatest number of the greatest ideas .  whether those ideas
 5   be clearly or <f> feebly developed.   For the development of the idea - though
     it affects the excellence of the work - does not affect the rank of the mind
     of the <man> {author} . <as> <s>Stuttering or <palsy - or> imperfect knowledge of a
     language
     m<ight>{ay} prevent a man from <beco> delivering a{n}<fine> oration or writing
     a poem . but do not diminish or take away from the rank {order}of his mind.
10   In order then to arrive at a true estimate of the relative rank of artists .
     we shall endeavour . first to separate their language from their thoughts .
     and to judge & compare them, as far as possible - by the latter. giving to the
     former just so much of attention and praise as may be compelled & justified
     by its <calm> propriety and energy in conveying the thoughts with which alone
15   we have to do.      just so much as in a writer we should bestow our perspicuity
     {& grace} of style <in which are necessary to only as they>        It will be necessary
     therefore .
     - before entering on any particular application of our principles . both
     clearly to <develope> {explain} what is decorative & what is expressive in language .
     and <to prove what we have just affirmed of their>   and the difference
20   between both of these - & pictorial thought.
      

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MW