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fol. 44v	'General Principles respecting Ideas of Power' (Pt I, Sn II, Ch I)  (3.120n)
      
[Slip inserted: Mod: Painters  Vol. I. / ------------ / Pt. 1.  Sec . 2.  Chap. I / ------ / Page 33 /
------- / Ideas of Power / ------]
      
      
      
     #73#But yet it is far easier to sketch than to finish - for his power is in#74#
 5   reality indicated by the brilliant imperfection , than by the majestic
     completion of a work -     I do not say that there may not be refinements
     in the sketch of a master which invariably set it above that of
     other men - but yet not so far <above> as his completion is above
     their completion.    <We have>    People learn to sketch by finishing,
10   they never learn to finish by sketching.     We have numbers of
     watercolour amateurs -  who can blot & dash - and produce ^ {masterly} effects
     according
     to their own notion:-  but set them to complete anything - and they are
     children instantly.       Hence the admirable advice so frequently and
     energetically given by Burke to Barry -   Whatever you do . finish it.
15   Note  <*.*> this .  <I hope I shall be misunderstood    ->
     I must not be supposed here to speak favourably of what drawing
     masters & young ladies consider " finished " drawings .  Whenever I speak
     of finish -  I mean, not number of touches  . but quantity of truth.
     The sketchers and dashers are perfectly right in preferring the {good} sketch
20   <or the dash> - to the faulty completion - but they are wrong in not aiming
     {through it}
     at <the> {a good}completion - <& studying for it, and by it.>
      
fol. 45r	'General Principles respecting Ideas of Power' (Pt I, Sn II, Ch I)     (3.118-19)
      
      
      
     the life dashed out along the Friezes of the Parthenon. than from the 	
     polished limbs of the Apollo.   greater from the ink sketch of the head
     of the St Catherine than from the perfection of its realization .
     Another reason ^* {must    of the inconsistency  . more immediately connected with
     what is termed Execution} is that the sensation of power is <in>of course in
     proportion
 5   to the apparent inadequacy of the means to the end .  so that the
     impression is <just> much greater from a partial <perfection> {success} attained
     with slight effort - than from perfect success attained with greater {proportional}
     										effort.
     Now in all art - every touch or effort does ^ {individually} less.  in proportion as the
     work approaches perfection .    The first five chalk touches bring <the> a
10   head into existence out of nithing -  No fine touches in the whole
     course of the work will ever do so much as these .   and the difference
     made by each touch , ^ {<that is - its work and object, are>} is more and more
     							imperceptible - in proportion
     as the work approaches completion .   Consequently the ratio between the
     means employed and the effect produced is constantly decreasing - and
15   therefore the least sensation of power is received from the most perfect
     work .
     It is ^ {thus} evident <then> . that there are sensations of power about imperfect art -
     so that it be right art as far as it goes - which must always be wanting
     in its perfection - and that then are sources of pleasure <opened>  in the {hasty}
     sketch -
20   & the rough hewn block - which are partially <closed> {wanting} in the tinted canvass
     - & the

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