[P 116] That which is most worthy of esteem in its allotted sphere, becomes an object. . . of

derision, when it is forced into a higher, to which it is not suited; . . .

Concessions to Truth for the sake of Oversetting Truth

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. . . keep your principal attention fixed upon the higher excellencies. . . . you may be very

imperfect; but still, you are an imperfect artist of the highest order.

[Caesar said hed rather be the(first in) a Village(than) second in Rome was not

Caesar(a) Dutch Painter]!

[P 117-118] . . . to preserve the most perfect beauty IN ITS MOST PERFECT STATE, you

cannot express the passions, all of which produce distortion and deformity, more or less, in the

most beautiful faces.

What Nonsense

Passion & Expression is Beauty Itself--The Face that is Incapable of Passion &

Expression is Deformity Itself Let it be Painted <& Patchd>& Praised & Advertised

for Ever

[P 119] . . . pictures ofRaffaelle, where the Criticks have described their own imaginations;

If Reynolds could not see. variety of Character in Rafael Others Can

We can easily. . . suppose a Jupiter to be possessed of all. . . powers and perfections. Yet [in art

the ancients] confined his character to majesty alone.

False

The Ancients were chiefly attentive to Complicated & Minute Discrimination of

Character it is the Whole of Art

Pliny. . . wrong when he speaks of. . . [P 120] three different characters [in one statue].

Reynolds cannot bear Expression

A statue in which you endeavour to unite. . . dignity. . . elegance. . . valour, must surely possess

none of these. . . .

Why not? <0 Poverty!>