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fol. 45v 'General Principles respecting Ideas of Power' (Pt I, Sn II, Ch I) (3.119)
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10 Carlo Dolci will commonly be his standard of excellence .
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fol. 46r 'General Principles respecting Ideas of Power' (Pt I, Sn II, Ch I) (3.119)
polished marble. But it is neverthless wrong to prefer the sensation of power
to the intellectual per<f>ception of it. There . is in reality - greater power
in the completion than in the commencement - and though it be not
so manifest<ed> to the sense - it ought to have higher influence on
5 the mind . * < It is {only} from preferring the sensual to the mental perception
of power that <we> so many prefer the handling of Rubens to that of
Raphael - This however is not the sign of a vitiated - but only of an imperfect
taste - A person totally ignorant of art - or of taste entirely corrupted
and false - looks only for "finish" -"softness" - &c - and has no idea whatsoever
10 of the perception of power - or of the pleasure resulting from it. A person
partially initiated in art - on the right road - but not very far advanced .
- perceives the manifestation of power - but sensually - not intellectually -
He goes to Salvator - not to Poussin - to Rubens, not to M. Agnolo -
to Rembrandt - not to Correggio . Gradually - as his knowledge increases
15 he perceives the hidden power of <a>higher art - prefers accuracy to <b[?]*.* energy>
{velocity} {<rapidity>} {force} -
truth to brilliancy - & knowledge to display - and owns in the end -
a higher and nobler power in Pietro Perugino . than in Rubens. >
<It is evident> & therefore <that> in praising pictures for the ideas of power they
convey - we must not look to the ^ <keenest> sensation - but to the highest estimation
20 accompanied with as much of the sensation as is compatible with it. and -
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