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fol. 47v		 'Of Ideas of Power' (Pt I, Sn I, Ch III)     (3.94?)
      
      
      
      
      
      
     
      
      
 5   
      
     But there is still further ground for the inconsistency - in connection with
     Execution . (  by Execution . I understand the {right} mechanical use of <the> means
10   in <our power> .  to produce a <determined> {given}end.)  which we shall better
     understand by briefly reviewing the various excellencies which ^ {may} belong
     to execution & give pleasure in it .
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     #77#< But not only this must be the case - but wherever anything has been
     done which it is difficult to do - whether it be agreeable or not there
15   must be an accompanying idea of power -   and a source of legitimate
     pleasure to those who can appreciate this difficulty.  And this is
     a ground of legitimate praise - and we shall often use it as such . being
     as we have above explained - the <real> quality properly called Excellence
     in painting .  Our argument will constantly be - it is difficult to do
20   this - therefore it is excellent .  But in arguing thus - we must be most >
     									P. 92 #78#
fol. 48r	'General Principles respecting Ideas of Power' (Pt I, Sn II, Ch I)     (3.119-21)
      
      
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     touch - out of the thousands employed - has been thrown away - that not one
     dot or dash could be spared without loss of effect - and that the execution
     has been as swift as it has been prolonged - as bold as it has been
     persevering .    The power involved in such a picture - and the idea
 5   and pleasure following on the estimate of it - are <tenfold greater> {unquestionably
     									far higher}
     <than from one of Taylors>  .  than ^ {can legitimately be traced {in} or received
     	from} <in> the works of any ^ {^{stern} watercolour}master now living
     <of whatever school of country.>	
     Keeping these principles in view , we shall endeavour to discover how much
     of the pleasure received from each <*.*>high quality of painting is dependent
10   on the perception of the power employed in producing it .  For it is evident -
     that wherever there is beauty or rightness of any kind  - there must
     be an accompanying idea of a power in the artist of attaining it . adding
     to the pleasure we receive from the Good itself .  We shall thus refer
     to the Ideas of Power . while we investigate those of Truth & beauty  .
15   <But> <t>The<re> only species of pleasure dependent on ideas of Power only is
     that which we receive from what is technically called Execution.  and
     the determination of the merits of painters in this point. {therefore} falls naturally
     under this head .   We therefore placed the ideas of Power in an order[?]
     preaching those of Truth - that we might first determine & dismiss
20   the question of the respective merit of artists in their language or execution.

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