Study. He then went& took down Le Bruns & Rubens's Galleries How I did secretly

Rage. I also spoke my Mind [line cut away]

I said to Moser, These things that you call Finishd are not Even Begun how can they

then, be Finishd? The Man who does not know The Beginning, never can know the

End of Art

[P xlix, Reynolds on his own "merits and defects" ] I consoled myself

by remarking that these

ready inventors, are extremely apt to acquiesce in imperfection; . . .

Villainy a Lie

[P I] . . . Metastasio . . . complained of the great difficulty he found in attaining correctness, in

consequence of having been in his youth an IMPROVVISATORE.

I do not believe this Anecdote

[P liii, from Reynolds' II th Discourse] . . . the general effect of the whole. . . . requires the

painter's entire mind; whereas the PARTS may be finishing by nice touches, while his mind is

engaged on other matters: . . . indolence. . . .

A Lie Working up Effect is more an operation of Indolence than the Making out of the

Parts: as far as Greatest is more than Least I speak here of Rembrandts & Rubenss &

Reynolds's Effect.--For Real Effect. is Making out the Parts & it is Nothing Else but

That

[P lvii, note 34, Malone on Reynolds' efforts to recover the secrets of the Venetian colourists]

Our great painter. . . had undoubtedly attained a part of the ancient process used in the

Begin Page 640

Venetian School; and by various methods of his own invention produced a similar, though

perhaps not quite so brilliant an effect of colour.

Oil Colours will not Do--

Why are we told that Reynolds is a Great Colourist & yet inferior to the Venetians!

[P lx, note 36] A notion prevails. . . that in the MAJORITY of his works the colours have

entirely faded. . . ; but [most] have preserved their original hue. . . .

I do not think that the Change is so much in the Pictures as in the Opinions of the

Public