[P 159] Nothing can come of nothing.

. . . Michael Angelo, and Raffaelle, were. . . possessed of all the knowledge in the art. . . of their

predecessors.

If so. they knew all that Titian & Correggio knew Correggio was two Years older than

Mich. Angelo

Correggio born <1472>Mich Angelo [on]

[P 161] . . . any endeavour to copy the exact peculiar colour. . . of another man's mind. . . must

always be . . . ridiculous. . . .

[P 163] Art in its perfection is not ostentatious; it lies hid, and works its effect, itself unseen.

[P 165] Peculiar marks. . . generally. . . defects; . . .

Peculiar Marks. are the Only Merit

Peculiarities. . . so many blemishes; which, however, both in real life, and in painting, cease to

appear deformities, . . .

Infernal Falshood

[P 166] Even the great name of Michael Angelo may be used, to keep in countenance a

deficiency. . . of colouring, and every [other ornamental part]

No Man who can see Michael Angelo. can say that he wants either Colouring or

Ornamental parts of Art. in the highest degree. for he has Every

[perquisite ]of Both [0 what Wisdom & Learning? adorn his Superiority--]

[P 167] . . . these defects. . . have a right to our pardon, but not to our admiration.

He who Admires Rafael Must admire Rafaels Execution

He who does not admire Rafaels Execution Cannot Admire Rafael

[P 172] . . . a want which cannot be completely supplied; that is, want of strength of parts.