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fol. 20v	Chapter IV in Part I, Section I: 'Of Ideas of Imitation' (3.102)
      
[Slip inserted:  Mod: Painters / -------- / Vol. I. / Pt. 1. Sec.1. Chap IV / ------- / P. 16 / ----- / Ideas of Imitation]
      
      
      
     <from the contemptible ideas of imitation> -
      
      
 5   
      
      
      
10   These remarks apply only to that species of imitation which <takes> is
     <place in> accompanied with the sensation of its being so - for where
     there is no means of discovering the deception - as in the Diorama or
     Panorama - the pleasure is divided between that which we should receive
     from nature itself - and ideas of power in the artist.    This <is> compara<tively>ed
15   a <noble pleasure - and it may be received from>   with pure pleasure<s> of
     		imitation . is a noble pleasure.  but we shall see in the course of our
     investigation both that it is inferior to that which we receive when there
     		is no <such> deception at all .  and  why. it is so  .
     <Ideas>   Whenever then - in <the course of> future .   I speak of Ideas of Imitation
20   I wish to be understood to mean the <sensation> {immediate & present} perception
     <and sensation>
     that <the> {some}thing produced by art is not what it seems to be .        F.*
fol. 21r    	Chapter IV in Part I, Section I: 'Of Ideas of Imitation' (3.102-3, 99)
      
      
     Thirdly.   These ideas are contemptible. Because no ideas of power are
     		associated with them .    To the ignorant. imitation indeed seems
     difficult. and its success praiseworthy . but even these can by no possibility
     		perceive more in the artist than they do in a juggler . who arrives
 5   at a strange end by means with which they are unacquainted .
     		<The juggler is>    To the instructed - the juggler is by far the more
     respectable artist of the two - for ^ {they know} sleight of hand <is> {to be} an act of
     		immeasurably more difficult acquirement. and {to} imply<ies> more ingenuity .
     than a power of deceptive imitation in painting . a power requiring
10   nothing more for its attainment than a true eye.  a steady hand . and
     		some industry .  qualities which in no degree <rise> separate the imitation
     artist from a watchmaker - a pin maker - <an upholsterers upper workman ->
     		or any other artificer  .
     #52#< Burke says in his treatise that if the subject of a painting be such
15   as we should not run to see in reality - then the pleasure is
     		from imitation .  He would have expressed himself more clearly
     had he said - in the art.   Many high powers of art may be
     		employed on an ignoble or uninteresting subject - composition - colour
     & execution - may all be exhibited in their noblest forms - united
20   with truth - it is from these that we receive our pleasure - and not >

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MW