The summit of excellence seems to be an assemblage of contrary qualities, . . . such. . . that no

one part is found to counteract the other.

A Fine Jumble

[P 121] If any man shall be master of. . . highest. . . lowest, flights of art, . . . he is fitter to give

example than to receive instruction.

[P 123] . . . FRESCO, a mode of painting which excludes attention to minute elegancies: . . .

This is False

Fresco Painting is the Most Minute

[P 124] Raffaelle . . . foremost [for] his excellence in the higher parts. . . . His easel-works. . .

lower. . . never arrived at . . . perfection. . . .

Folly & Falshood. The Man who can say that Rafael knew not the smaller beauties of

the Art ought to be Contemnd & I accordingly hold Reynolds in Contempt for this

Sentence in particular

[P 125] When he painted in oil, his hand seemed to be so cramped and confined, . . .

Rafael did as he Pleased. He who does not admire Rafaels Execution does not Even

See Rafael

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I have no desire to degrade Raffaelle from the high rank. . .

A Lie

[P 126] . . . Michael Angelo. . . did not possess so many excellencies as Raffaelle, but. . . .

According to Reynolds Mich Angelo was worse still & Knew Nothing at all about Art

as an object of Imitation

Can any Man be such a fool as to believe that Rafael & Michael Angelo were

Incapable of the meer Language of Art & That Such Idiots as Rubens. Correggio &

Titian Knew how to Execute what they could not Think or Invent