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{\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033\level1 heading 1;}
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\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs24 Barry McGee, b. 1966, San Francisco, current show:  University Art Museum, Berkeley\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\loch\af1\hich\f1 \'93}{\hich\af1\loch\f1 McGee rose out of the }{\field{\*\fldinst HYPERLINK "http://en.wikipedia.org/wiki/Mission_School" \\o "Mission School"}{\fldrslt\cf2\ul{\hich\af1\loch\f1 Mission School}}}{\hich\af1\loch\f1  art movement and }{\field{\*\fldinst HYPERLINK "http://en.wikipedia.org/wiki/Graffiti" \\o "Graffiti"}{\fldrslt\cf2\ul{\hich\af1\loch\f1 graffiti}}}{\hich\af1\loch\f1  boom in the }{\field{\*\fldinst HYPERLINK "http://en.wikipedia.org/wiki/San_Francisco_Bay_Area" \\o "San Francisco Bay Area"}{\fldrslt\cf2\ul{\hich\af1\loch\f1 San Francisco Bay Area}}}{\hich\af1\loch\f1  during the early nineties. His work draws heavily from a pessimistic view of the }{\field{\*\fldinst HYPERLINK "http://en.wikipedia.org/wiki/Urban_culture" \\o "Urban culture"}{\fldrslt\cf2\ul{\hich\af1\loch\f1 urban}}}{\hich\af1\loch\f1  experience, which he describes as, "urban ills, }{\hich\af1\loch\f1 overstimulations}{\hich\af1\loch\f1 , frustrations, addictions & trying to maintain a level head under the constant bombardment of advertising".}{\loch\af1\hich\f1 \'94}{\hich\af1\loch\f1  Wikipedia }{\loch\af1\hich\f1 \'93}{\hich\af1\loch\f1 Barry McGee}{\loch\af1\hich\f1 \'94}{\hich\af1\loch\f1  \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs32 Immanuel Kant, German, 1704-1804\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs28 Kant     }{\loch\af1\hich\f1\fs28 \'93}{\hich\af1\loch\f1\fs28 Judgments About the Beautiful}{\loch\af1\hich\f1\fs28 \'94}{\hich\af1\loch\f1\fs28   from }{\i\hich\af1\loch\f1\fs28 The Critique of Judgment  1790}{\hich\af1\loch\f1\fs28 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 [the first part is from the }{\loch\af1\hich\f1 \'93}{\hich\af1\loch\f1 Analytic of the Beautiful,}{\loch\af1\hich\f1 \'94}{\hich\af1\loch\f1  the second is from the }{\loch\af1\hich\f1 \'93}{\hich\af1\loch\f1 Analytic of the Sublime}{\loch\af1\hich\f1 \'94}{\hich\af1\loch\f1 ]\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Most Famous Writings\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 (1764) Observations on the Feeling of the Beautiful and Sublime  \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 (1781) First edition of the Critique of Pure Reason \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 (1783) Prolegomena to any Future Metaphysics  \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 (1785) Groundwork of the Metaphysics of Morals  \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 (1788) Critique of Practical Reason \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 (1790) Critique of Judgment \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1\fs28 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs18 Kant portraits\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs20 Bust of Immanuel Kant by Emanuel }{\hich\af1\loch\f1\fs20 Bardou}{\hich\af1\loch\f1\fs20  (1798).}{\hich\af1\loch\f1  \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs18 Prussia 18}{\hich\af1\loch\f1\fs18\super th}{\hich\af1\loch\f1\fs18  century\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs20 Konigsberg in the 18}{\hich\af1\loch\f1\fs20\super th}{\hich\af1\loch\f1\fs20  century, it became the capital of the province of East Prussia in 1773}{\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs20 Frederick William II King of Prussia 1786 - 1797}{\hich\af1\loch\f1  \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs18 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs18\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs18 War was at once declared on what later times would have called the "modernists"}{\loch\af1\hich\f1\fs18 \'85}{\hich\af1\loch\f1\fs18 . On 9 July 1788 was issued the famous religious edict, which forbade Evangelical  ministers to teach anything not contained in the letter of their official books, proclaimed the necessity of protecting the Christian religion against the "enlighteners" (}{\i\hich\af1\loch\f1\fs18 Aufkl}{\i\loch\af1\hich\f1\fs18 \'e4}{\i\hich\af1\loch\f1\fs18 rer}{\hich\af1\loch\f1\fs18 ), and placed educational establishments under the supervision of the orthodox clergy.   On 18 December 1788 a new censorship law was issued, to secure the orthodoxy of all published books; \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 1790 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 George Washington gives the first State of the Union Address. \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 Citizens of Paris celebrate the constitutional monarchy and national reconciliation in a great festival.  \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 Source  Wikipedia }{\loch\af1\hich\f1\fs28 \'93}{\hich\af1\loch\f1\fs28 1790}{\loch\af1\hich\f1\fs28 \'94}{\hich\af1\loch\f1\fs28  http://en.wikipedia.org/wiki/1790\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs18 House of Kant}{\hich\af1\loch\f1  \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs20 University in }{\hich\af1\loch\f1\fs20 K}{\loch\af1\hich\f1\fs20 \'f6}{\hich\af1\loch\f1\fs20 nigsberg}{\hich\af1\loch\f1\fs20   }{\hich\af1\loch\f1  \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs18 Koenigsberg}{\hich\af1\loch\f1\fs18  early 18}{\hich\af1\loch\f1\fs18\super th}{\hich\af1\loch\f1\fs18  century?\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\loch\af1\hich\f1\fs18 \'93}{\hich\af1\loch\f1\fs18 Kant and Friends at Table,}{\loch\af1\hich\f1\fs18 \'94}{\hich\af1\loch\f1\fs18  by Emil }{\hich\af1\loch\f1\fs18 Doerstling}{\hich\af1\loch\f1\fs18 , c. 1900\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs18 Same work, different angle:  Portrait of Kant enjoying a dinner with his}{\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs18 Immanuel Kant, lecturing to Russian officers }{\loch\af1\hich\f1\fs18 \'97}{\hich\af1\loch\f1\fs18  by I. }{\hich\af1\loch\f1\fs18 Soyockina}{\hich\af1\loch\f1\fs18  / V. }{\hich\af1\loch\f1\fs18 Gracov}{\hich\af1\loch\f1\fs18 , the Kant Museum, Kaliningrad.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Taste:  apart from interest\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Taste is the faculty of estimating an object or image by means of delight or aversion apart from any interest, the object being called beautiful.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 When we consider something beautiful we are not concerned with its real existence but with how it is when we merely contemplate it.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs28 I might say, in response to a question about a palace}{\loch\af1\hich\f1\fs28 \'92}{\hich\af1\loch\f1\fs28 s beauty, that I do not care for things that are just made for display [image of palace at Versailles, Paris]}{\hich\af1\loch\f1 .}{\hich\af1\loch\f1\fs40 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs24 Louis Le }{\hich\af1\loch\f1\fs24 Vau}{\hich\af1\loch\f1\fs24  }{\i\hich\af1\loch\f1\fs24 The Palace of Versailles }{\hich\af1\loch\f1\fs24 17}{\hich\af1\loch\f1\fs24\super th}{\hich\af1\loch\f1\fs24  century\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs24 Andre le Notre }{\i\hich\af1\loch\f1\fs24 The Palace of Versailles gardens}{\hich\af1\loch\f1\fs24  17}{\hich\af1\loch\f1\fs24\super th}{\hich\af1\loch\f1\fs24  century}{\i\hich\af1\loch\f1\fs24 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li920\fi-560 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 Or I might reply like an Iroquois sachem that the most pleasing thing in Paris was the restaurants [not the palaces].\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs18 Oldest restaurant in Paris  the }{\hich\af1\loch\f1\fs18 Procope}{\hich\af1\loch\f1\fs18   18th century  }{\loch\af1\hich\f1\fs18 \'93}{\hich\af1\loch\f1\fs18 eating-houses}{\loch\af1\hich\f1\fs18 \'94}{\hich\af1\loch\f1\fs18  454\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1\fs16 THE CAF}{\loch\af1\hich\f1\fs16 \'c9}{\hich\af1\loch\f1\fs16  FOY IN THE PALAIS ROYAL, 1789, From an engraving by }{\hich\af1\loch\f1\fs16 Bosredon}{\hich\af1\loch\f1\fs16 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1\fs16 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\b\hich\af1\loch\f1\fs20 Jean-Jacques Rousseau, 1712-1788.\line  }{\b\loch\af1\hich\f1\fs20 \'93}{\b\hich\af1\loch\f1\fs20 inveigh with the }{\b\hich\af1\loch\f1\fs20 vigour}{\b\hich\af1\loch\f1\fs20  of Rousseau}{\b\loch\af1\hich\f1\fs20 \'94}{\b\hich\af1\loch\f1\fs20  454\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs24 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs24\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1\fs24 Or, like Rousseau, I might say that palaces are the results of the vanity of powerful men who oppress the poor.  \par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs24 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs24\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1\fs24 I might even say that I wouldn}{\loch\af1\hich\f1\fs24 \'92}{\hich\af1\loch\f1\fs24 t even bother to imagine a palace [say if a genie in a bottle allowed me to] if I had a good hut to live in.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1\fs28 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033\ql {\hich\af1\loch\f1\fs20 Koenigsberg}{\hich\af1\loch\f1\fs20  Castle [no longer existent]}{\hich\af1\loch\f1  }{\hich\af1\loch\f1\fs18 (left:  color photo lithograph made between 1890 and 1905) \line }{\hich\af1\loch\f1  \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs18 Koenigsberg}{\hich\af1\loch\f1\fs18  Castle 1900\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs18 Koenigsberg}{\hich\af1\loch\f1\fs18  Castle another angle\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs18 Interior courtyard }{\hich\af1\loch\f1\fs18 Koenigsberg}{\hich\af1\loch\f1\fs18  Castle 1900\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Mere Representation\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\loch\af1\hich\f1\fs32 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1\fs32 But the point is whether the mere representation or image of the object in my mind is to my liking.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\loch\af1\hich\f1\fs32 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1\fs32 To say the object is beautiful everything turns on the meaning which I give its representation in my mind.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\loch\af1\hich\f1\fs32 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1\fs32 If it is tinged with interest [i.e. what helps me practically] it is not a pure judgment}{\hich\af1\loch\f1 .\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Beautiful vs. Agreeable\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li640\fi-640 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 The beautiful pleases universally: and this is not based on analysis of a concept.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li640\fi-640 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Everyone agrees that judgments of the agreeable are based on private feeling and are restricted to the individual personally. \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 The Agreeable\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 It would be foolish to condemn another}{\loch\af1\hich\f1 \'92}{\hich\af1\loch\f1 s judgment in these matters. Here, everyone has his own taste.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 The beautiful.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li640\fi-640 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 The beautiful is different. To say a building, dress, concert, or poem is beautiful }{\i\hich\af1\loch\f1 for me}{\hich\af1\loch\f1  would be ridiculous.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li640\fi-640 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 To put a thing on a pedestal and call it beautiful is to }{\b\hich\af1\loch\f1 demand }{\hich\af1\loch\f1 the same delight in others.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li640\fi-640 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 [We may condemn another}{\loch\af1\hich\f1 \'92}{\hich\af1\loch\f1 s judgment as incorrect.]\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Form of Finality\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Beauty is the form of finality [end or purpose] in an object, but without any [picture in my mind] of the purpose.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 That is, just the form of purpose is there:  it looks purposeful or as though designed for some purpose.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\b\hich\af1\loch\f1\fs40 Free beauty}{\hich\af1\loch\f1\fs40  presupposes no concept: it is self-subsisting.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li920\fi-560 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li920\fi-560 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 Flowers are free beauties of nature.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li920\fi-560 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 Even the botanist pays no attention to the natural purpose of the flower when he judges its beauty.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li920\fi-560 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 The idea of perfection does not underlie his judgment.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li920\fi-560 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 Many birds and crustaceans [crabs and lobsters, for example] are beautiful because they please freely on their own.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs24 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs24\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs24 Pierre-Joseph }{\hich\af1\loch\f1\fs24 Redout}{\loch\af1\hich\f1\fs24 \'e9}{\hich\af1\loch\f1\fs24 .\line }{\i\hich\af1\loch\f1\fs24 Les Roses}{\hich\af1\loch\f1\fs24 . Paris: C. L. F. }{\hich\af1\loch\f1\fs24 Panckoucke}{\hich\af1\loch\f1\fs24 , 1824. \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs18 Crustacean  land crab 1754  }{\loch\af1\hich\f1\fs18 \'93}{\hich\af1\loch\f1\fs18 number of }{\hich\af1\loch\f1\fs18 crustacea}{\loch\af1\hich\f1\fs18 \'94}{\hich\af1\loch\f1\fs18  455\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 More examples of free beauty.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li640\fi-640 {\pntext\pard\loch\af1\hich\f1\fs24 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs24\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs24 Designs a la }{\hich\af1\loch\f1\fs24 grecque}{\hich\af1\loch\f1\fs24  and foliage on wallpapers have no intrinsic meaning but are free beauties.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li640\fi-640 {\pntext\pard\loch\af1\hich\f1\fs24 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs24\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs24 [A lady's robe 'a la }{\hich\af1\loch\f1\fs24 Grecque}{\hich\af1\loch\f1\fs24 ', from a design by }{\hich\af1\loch\f1\fs24 Defreice}{\hich\af1\loch\f1\fs24 . 1788] \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li640\fi-640 {\pntext\pard\loch\af1\hich\f1\fs24 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs24\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs24 Fantasias in music, and all music not set to words are free beauties.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li640\fi-640 {\hich\af1\loch\f1\fs24 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li640\fi-640 {\hich\af1\loch\f1\fs24 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\loch\af1\hich\f1\fs20 \'93}{\hich\af1\loch\f1\fs20 This Grecian trend was spearheaded by Parisian woman-about-town Josephine de Beauharnais (future wife of Napoleon)}{\loch\af1\hich\f1\fs20 \'94}{\hich\af1\loch\f1\fs20 \line \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\loch\af1\hich\f1\fs18 \'93}{\hich\af1\loch\f1\fs18 foliage for framework or on wall-papers}{\loch\af1\hich\f1\fs18 \'94}{\hich\af1\loch\f1\fs18   \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\loch\af1\hich\f1\fs14 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs14\pnscheme-1{\pntxtb \'95}}{\b\hich\af1\loch\f1\fs14 IN BEGINNING TAUPE WOODLAND BIRD TOILE }{\hich\af1\loch\f1\fs14 \line \line Christophe-Philippe }{\hich\af1\loch\f1\fs14 Oberkampf}{\hich\af1\loch\f1\fs14 , his }{\hich\af1\loch\f1\fs14 Jouy-en-Josas}{\hich\af1\loch\f1\fs14  fabric factory, around 1783.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\b\hich\af1\loch\f1\fs28 Wolfgang Amadeus Mozart 1756-1791\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\loch\af1\hich\f1\fs28 \'93}{\hich\af1\loch\f1\fs28 Mozart}{\loch\af1\hich\f1\fs28 \'94}{\hich\af1\loch\f1\fs28  circa 1780, by Johann }{\hich\af1\loch\f1\fs28 Nepomuk}{\hich\af1\loch\f1\fs28  }{\hich\af1\loch\f1\fs28 della}{\hich\af1\loch\f1\fs28  Croce \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 When we judge a free beauty we are making a pure judgment of taste.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 If the concept of a purpose determined beauty this would restrict freedom of imagination in contemplating the form of the object.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs18 THE HISTORY OF COSTUME\line By Braun & Schneider - c.1861-1880\line Plate #74a - German Middle Class (1770-1790) \line \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs18 France 1790 in Max von }{\hich\af1\loch\f1\fs18 Boehn's}{\hich\af1\loch\f1\fs18  }{\ul\hich\af1\loch\f1\fs18 Modes and Manners of the 19th Century}{\hich\af1\loch\f1\fs18 \line \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs18 France c.1790 Tara }{\hich\af1\loch\f1\fs18 Maginnis}{\hich\af1\loch\f1\fs18 ' collection\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\b\hich\af1\loch\f1\fs32 Dependent (or }{\b\hich\af1\loch\f1\fs32 appendant}{\b\hich\af1\loch\f1\fs32 ) beauty}{\hich\af1\loch\f1\fs32  presupposes a concept and a perfection of the object: it is conditioned beauty.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li920\fi-560 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li640\fi-640 {\pntext\pard\plain\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 The beauty of a man, woman, child, horse, or building (e.g. a church) presupposes a concept of the purpose that defines that thing, and a concept what would make it perfect.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li640\fi-640 {\pntext\pard\plain\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 To combine the good with beauty mars its purity.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs24 Kant}{\loch\af1\hich\f1\fs24 \'92}{\hich\af1\loch\f1\fs24 s church:  }{\hich\af1\loch\f1\fs24 Koenigsberg}{\hich\af1\loch\f1\fs24  Cathedral 14}{\hich\af1\loch\f1\fs24\super th}{\hich\af1\loch\f1\fs24  to 16}{\hich\af1\loch\f1\fs24\super th}{\hich\af1\loch\f1\fs24  century\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs40 Kant on Tattoos [not included in our selection]\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\loch\af1\hich\f1 \'93}{\hich\af1\loch\f1 A figure could be embellished with all sorts of curlicues and light but regular lines, as the New Zealanders do with their tattoos, if only it were not the figure of a human being. And this human being might have had much more delicate features and a facial structure with a softer and more likable outline, if only he were not [meant] to represent a man, let alone a warlike one}{\loch\af1\hich\f1 \'94}{\hich\af1\loch\f1  \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\loch\af1\hich\f1\fs28 \'93}{\hich\af1\loch\f1\fs28 Maori facial tattooing (}{\hich\af1\loch\f1\fs28 moko}{\hich\af1\loch\f1\fs28 ). This 1774 Sidney Parkinson engraving may be the very picture that prompted Kant}{\loch\af1\hich\f1\fs28 \'92}{\hich\af1\loch\f1\fs28 s remark about the New Zealanders.}{\loch\af1\hich\f1\fs28 \'94}{\hich\af1\loch\f1\fs28   Denis Dutton\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Necessary pleasure.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 The beautiful is that which is known and understood as object of a }{\i\hich\af1\loch\f1 necessary }{\hich\af1\loch\f1 pleasure (with no reference to the concept).\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\plain\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 Judgments of taste are not like judgments of knowledge:  they do not follow an objective principle.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\plain\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 If they followed such a principle you would have no trouble saying that the conclusion was necessary.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Subjective necessity.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 Judgments of mere sense [as in judging ice cream to be good] }{\b\hich\af1\loch\f1 have no principle}{\hich\af1\loch\f1  and no necessity. \par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 However judgments of taste have a }{\b\hich\af1\loch\f1 subjective}{\hich\af1\loch\f1  principle which determines what pleases or displeases by way of feeling.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 Although such judgments do not use concepts, they are valid for everyone.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Common Sense\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li920\fi-560 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 This principle is called }{\loch\af1\hich\f1 \'93}{\hich\af1\loch\f1 common sense}{\loch\af1\hich\f1 \'94}{\hich\af1\loch\f1  but not in the ordinary sense of that term (i.e. it is not a form of common understanding based vaguely on concepts.).\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li920\fi-560 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 The judgment of taste requires common sense in the feeling-oriented sense of that term.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li920\fi-560 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 The effect of common sense arises from the free play of our mental powers that allow us to know things [i.e. of the imagination and the understanding].\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Genius and Talent\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Fine art is the art of genius, which is the talent that gives art its rules.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\plain\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 Talent belongs to the nature of the artist.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\plain\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 So genius is the innate mental ability by which nature gives art its rules.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\plain\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 Every art presupposes rules for making.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\plain\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 The concept of }{\loch\af1\hich\f1 \'93}{\hich\af1\loch\f1 fine art}{\loch\af1\hich\f1 \'94}{\hich\af1\loch\f1  does not allow us to derive the beauty of its objects from any rules based on the thing}{\loch\af1\hich\f1 \'92}{\hich\af1\loch\f1 s concept.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Nature gives the rule to art.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 Fine art cannot think through carefully how it brings about its product. [This is like Plato}{\loch\af1\hich\f1 \'92}{\hich\af1\loch\f1 s idea of inspiration in }{\i\hich\af1\loch\f1 Ion}{\hich\af1\loch\f1 .]\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 But something cannot be called an art unless it involves some rules of production.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 That is why nature in the artist must give the rule to art.  \par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 It does this by why of the harmony of the artist}{\loch\af1\hich\f1 \'92}{\hich\af1\loch\f1 s imagination and understanding.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs40 Therefore genius is the following: \line \par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 It is the talent for producing things for which there is no definite rule.  It is not just cleverness about what can be learned by following rules.  \par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 Thus its primary property is originality. \par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 Original nonsense, however, is not a product of genius.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 Products of genius must then be models.  They must be examples that should be followed by others.}{\hich\af1\loch\f1\fs32  \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs18 Vincent van Gogh, }{\i\hich\af1\loch\f1\fs18 The Starry Night}{\hich\af1\loch\f1\fs18 , 1889\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs40 These products must provide standards for judgment.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Genius cannot show how to make its product scientifically.  \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 A genius does not know how these ideas came to him: he could not come up with them whenever he wants, or by following a method.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs36 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs36\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs36 Nor could he give others rules by which they could produce them.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs36 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs36\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs36 This is why we speak such a person as having a guiding spirit that inspires his original ideas.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs36 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs36\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs36 Nature gives the rule, through genius, to fine art.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs28 Sir Isaac Newton, (1643 }{\loch\af1\hich\f1\fs28 \'96}{\hich\af1\loch\f1\fs28  1727)  not a genius.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 Even though Newton had a great mind, his scientific theories may be learned: the steps he took to his discoveries can be made clear to everyone. \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs18 Isaac Newton. }{\field{\*\fldinst HYPERLINK "http://www.loc.gov/exhibits/world/images/wt0123_1s.jpg"}{\fldrslt\cf2\ul{\i\hich\af1\loch\f1\fs18 Philosophiae}{\i\hich\af1\loch\f1\fs18  }{\i\hich\af1\loch\f1\fs18 naturalis}{\i\hich\af1\loch\f1\fs18  principia }{\i\hich\af1\loch\f1\fs18 mathematica}}}{\hich\af1\loch\f1\fs18  (Mathematical principles of Natural Philosophy) left 1687, right 3rd ed. London: Royal Society, 1726}{\hich\af1\loch\f1\fs40 . \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Homer Cannot Teach\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 We cannot learn, however, to write poetry:  no Homer can show how his ideas, rich in fancy and thought, were assembled in his brain.  \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 He does not know himself, and so he cannot teach others.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Science and Art\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 The greatest inventor in science differs only in degree from the imitator or the beginner.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 I do not intend to disparage such great men to which humanity is indebted. \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 Those who have a talent for fine art however are the elect of nature.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 Talent for science is there for perfecting knowledge, which has practical advantages, and for passing it on to others.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Scientists are superior.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li920\fi-560 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 Actually scientists are superior to [artistic] geniuses since genius reaches a point at which art must stop.  \par 
}\pard\plain\ltrpar\s4\li900\fi-180\loch\af1\hich\af1\fs24\ppscheme-1\lang1033\li1200\fi-480 {\pntext\pard\loch\af1\hich\f1\fs24 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs24\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 There is a limit to art beyond which it cannot go.\par 
}\pard\plain\ltrpar\s4\li900\fi-180\loch\af1\hich\af1\fs24\ppscheme-1\lang1033\li1200\fi-480 {\pntext\pard\loch\af1\hich\f1\fs24 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs24\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 And this limit has probably been reached a long time ago.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li920\fi-560 {\pntext\pard\plain\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 Also, since genius is given by nature to each individual, it dies with the person.\par 
}\pard\plain\ltrpar\s4\li900\fi-180\loch\af1\hich\af1\fs24\ppscheme-1\lang1033\li1200\fi-480 {\pntext\pard\plain\loch\af1\hich\f1\fs24 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs24\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Nature, however, can again endow another person in the same way.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 The performance as a model.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 The rule of fine art cannot be a formula.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 It must be gathered from the performance or the product.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 Others may use this performance to test their own talent.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 It must be a model, not for imitation, but for following.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 This can be done by the artist}{\loch\af1\hich\f1 \'92}{\hich\af1\loch\f1 s ideas bringing out similar ideas in the student, as long as the student has similar ability. \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Models of fine art.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 The models of fine art are the only means by which it may be handed down.  \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 It cannot be done by description. \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Models can only be classical if the dead languages (for example Latin and Greek) are the medium.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs28 Mechanical art merely depends on hard work and learning, whereas fine art depends on genius.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 Fine arts still require something mechanical which can be understood and followed by obeying rules.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 So there must be something academic in such arts.  \par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 There has to be something thought of as the purpose of the art.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 To bring about an end you need definite rules.}{\hich\af1\loch\f1\fs32  \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\i\hich\af1\loch\f1\fs24 Encyclopedia}{\hich\af1\loch\f1\fs24  of Diderot and }{\hich\af1\loch\f1\fs24 D}{\loch\af1\hich\f1\fs24 \'92}{\hich\af1\loch\f1\fs24 Alembert}{\hich\af1\loch\f1\fs24   Design for a Camera }{\hich\af1\loch\f1\fs24 Obscura}{\hich\af1\loch\f1\fs24 , 1751.[example of mechanical art]}{\hich\af1\loch\f1\fs48 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Shallow Romantics?\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 People who are shallow often think that they can show themselves to be geniuses by freeing themselves from rules.  (They would be like someone who thinks he looks best when riding a wild horse.)\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 Genius can only provide material for fine art.  \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Academic Training\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 To elaborate fine art you need talent to be trained academically.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 Only then could it stand the test of judgment.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 People who try to act like a genius in matters that require reason are ridiculous.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 Such people promote their imaginations at the expense of their reasoning ability.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs18 French Academy, de Piles, }{\i\hich\af1\loch\f1\fs18 Cours}{\i\hich\af1\loch\f1\fs18  de }{\i\hich\af1\loch\f1\fs18 Peinture}{\i\hich\af1\loch\f1\fs18  par Principles}{\hich\af1\loch\f1\fs18 , 1708, Academy of painting and sculpture, Paris}{\hich\af1\loch\f1  \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs24 Perspective View of the Salon of the Royal Academy of Painting and Sculpture at the Louvre, Paris}{\hich\af1\loch\f1  \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs24 Self-portrait of Italian painter }{\hich\af1\loch\f1\fs24 Rosalba}{\hich\af1\loch\f1\fs24  }{\hich\af1\loch\f1\fs24 Carriera}{\hich\af1\loch\f1\fs24  holding a portrait of her sister. Pastel on paper 1715 Member of the Royal Academy (Paris) 1721\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs18 Ad}{\loch\af1\hich\f1\fs18 \'e9}{\hich\af1\loch\f1\fs18 la}{\loch\af1\hich\f1\fs18 \'ef}{\hich\af1\loch\f1\fs18 de}{\hich\af1\loch\f1\fs18  }{\hich\af1\loch\f1\fs18 Labille-Guiard}{\hich\af1\loch\f1\fs18  (1749-1803)\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs20 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs20\pnscheme-1{\pntxtb \'95}}{\loch\af1\hich\f1\fs20 \'93}{\hich\af1\loch\f1\fs20 a remarkable portraitist, was among the small number of women ever granted membership in the French Royal Academy of Painting and Sculpture. Her work was sought out by such diverse figures as the aunts of Louis XVI and the future American president Thomas Jefferson.}{\loch\af1\hich\f1\fs20 \'94}{\hich\af1\loch\f1\fs20  J. Paul Getty Museum }{\field{\*\fldinst HYPERLINK "http://www.getty.edu/bookstore/titles/adelaide.html"}{\fldrslt\cf2\ul{\hich\af1\loch\f1\fs20 http://}{\hich\af1\loch\f1\fs20 www.getty.edu/bookstore/titles/adelaide.html}}}{\i\hich\af1\loch\f1\fs20  Self-portrait with two pupils}{\hich\af1\loch\f1\fs20 , 1785\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\b\loch\af1\hich\f1\fs24 \'c9}{\b\hich\af1\loch\f1\fs24 lisabeth}{\hich\af1\loch\f1\fs24  }{\b\hich\af1\loch\f1\fs24 Vig}{\b\loch\af1\hich\f1\fs24 \'e9}{\b\hich\af1\loch\f1\fs24 e}{\b\hich\af1\loch\f1\fs24  Le }{\b\hich\af1\loch\f1\fs24 Brun}{\b\hich\af1\loch\f1\fs24 ,}{\hich\af1\loch\f1\fs24  }{\i\hich\af1\loch\f1\fs24 Melanie de }{\i\hich\af1\loch\f1\fs24 Rochechoart}{\i\hich\af1\loch\f1\fs24 , Marquise }{\i\hich\af1\loch\f1\fs24 d}{\i\loch\af1\hich\f1\fs24 \'92}{\i\hich\af1\loch\f1\fs24 Aumant}{\i\hich\af1\loch\f1\fs24 , Las duchesse de }{\i\hich\af1\loch\f1\fs24 Piennes}{\hich\af1\loch\f1\fs24  1789\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\b\hich\af1\loch\f1\fs20 Fran}{\b\loch\af1\hich\f1\fs20 \'e7}{\b\hich\af1\loch\f1\fs20 ois-Andr}{\b\loch\af1\hich\f1\fs20 \'e9}{\b\hich\af1\loch\f1\fs20  Vincent}{\hich\af1\loch\f1\fs20  (1746-1816) was a founder of the }{\hich\af1\loch\f1\fs20 Academie}{\hich\af1\loch\f1\fs20  des beaux-}{\hich\af1\loch\f1\fs20 artes}{\hich\af1\loch\f1\fs20  }{\loch\af1\hich\f1\fs20 \'97}{\hich\af1\loch\f1\fs20  part of the }{\hich\af1\loch\f1\fs20 Institut}{\hich\af1\loch\f1\fs20  de France and the successor to the }{\hich\af1\loch\f1\fs20 Acad}{\loch\af1\hich\f1\fs20 \'e9}{\hich\af1\loch\f1\fs20 mie}{\hich\af1\loch\f1\fs20  }{\hich\af1\loch\f1\fs20 royale}{\hich\af1\loch\f1\fs20  }{\loch\af1\hich\f1\fs20 \'97}{\hich\af1\loch\f1\fs20  in 1795. }{\hich\af1\loch\f1\fs20\lang1036 \line Left, his Belisarius 1776, right }{\i\hich\af1\loch\f1\fs20 Portrait of Fran}{\i\loch\af1\hich\f1\fs20 \'e7}{\i\hich\af1\loch\f1\fs20 ois Andr}{\i\loch\af1\hich\f1\fs20 \'e9}{\i\hich\af1\loch\f1\fs20  Vincent }{\hich\af1\loch\f1\fs20 by }{\hich\af1\loch\f1\fs20 Ad}{\loch\af1\hich\f1\fs20 \'e9}{\hich\af1\loch\f1\fs20 la}{\loch\af1\hich\f1\fs20 \'ef}{\hich\af1\loch\f1\fs20 de}{\hich\af1\loch\f1\fs20  }{\hich\af1\loch\f1\fs20 Labille-Guiard}{\hich\af1\loch\f1\fs20 , 1795}{\hich\af1\loch\f1\fs14  }{\hich\af1\loch\f1\fs20 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs24 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs24\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs24 William Blake, }{\i\hich\af1\loch\f1\fs24 The Great Red Dragon and the Woman Clothed with the Sun}{\hich\af1\loch\f1\fs24 , 1805-1810. \line Watercolor, 15 3/4" x 12 3/4",}{\hich\af1\loch\f1\fs20  \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\b\hich\af1\loch\f1\fs18 John Henry Fuseli\line  (b. 1741, Z}{\b\loch\af1\hich\f1\fs18 \'fc}{\b\hich\af1\loch\f1\fs18 rich, d. 1825, London)\line }{\b\i\hich\af1\loch\f1\fs18 The Nightmare}{\hich\af1\loch\f1\fs18 \line 1781\line \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\b\hich\af1\loch\f1\fs18 Fuseli, The Artist Moved by the Grandeur of Antique Fragments}{\hich\af1\loch\f1\fs18 \line 1778-79\line Red chalk on sepia wash, 415 x 355 mm\line }{\hich\af1\loch\f1\fs18 Kunsthaus}{\hich\af1\loch\f1\fs18 , Z}{\loch\af1\hich\f1\fs18 \'fc}{\hich\af1\loch\f1\fs18 rich\line \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs20 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs20\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs20 Henri Fuseli }{\i\hich\af1\loch\f1\fs20 Horseman attacked by giant snake,}{\hich\af1\loch\f1\fs20  c. 1800.}{\hich\af1\loch\f1\fs28  \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs40 Beauty of nature vs. Beauty of art\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 In estimating fine art one needs not taste but genius.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 However, the beauty of nature only requires taste to judge. [vs. Carlson]\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 Beauty of nature is a beautiful thing, but beauty of art is a beautiful representation of a thing [leaves out abstract art]\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 In estimating the beauty of nature the mere form pleases on its own account.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Estimating art\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 But in art, since it always presupposes that the artist had a purpose, a concept of what it is intended to be must be its basis. \par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 Since the thing is perfect if the look of it [the manifold] agrees with its inner character [its purpose] the perfection of the thing represented must be taken into account in judging the artwork.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 However in estimating living natural objects, for example a man or a horse, the purpose is also commonly considered, although the judgment then no longer is purely aesthetic.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\b\loch\af1\hich\f1\fs20 \'93}{\b\hich\af1\loch\f1\fs20 Mares and foals in a landscape}{\b\loch\af1\hich\f1\fs20 \'94}{\b\hich\af1\loch\f1\fs20  by George Stubbs, 1763-68.}{\hich\af1\loch\f1\fs40  \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 Here, nature is no longer judged as it appears like art [this is where Carlson would really disapprove] but judged as an artwork made by God.  \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\b\hich\af1\loch\f1\fs18 Portrait Of O K }{\b\hich\af1\loch\f1\fs18 Filippova}{\b\hich\af1\loch\f1\fs18  1790\line }{\hich\af1\loch\f1\fs18 Vladimir }{\hich\af1\loch\f1\fs18 Borovikovsky}{\hich\af1\loch\f1\fs18 \par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 To say that }{\loch\af1\hich\f1 \'93}{\hich\af1\loch\f1 this is a beautiful woman}{\loch\af1\hich\f1 \'94}{\hich\af1\loch\f1  means that her form excellently expresses the purposes of the female body. \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1\fs28 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1\fs28 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\loch\af1\hich\f1\fs24 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs24\pnscheme-1{\pntxtb \'95}}{\b\hich\af1\loch\f1\fs24 Fran}{\b\loch\af1\hich\f1\fs24 \'e7}{\b\hich\af1\loch\f1\fs24 ois Boucher}{\hich\af1\loch\f1\fs24 \line }{\i\hich\af1\loch\f1\fs24 Venus Consoling Love}{\hich\af1\loch\f1\fs24 , 1751\line \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\b\hich\af1\loch\f1\fs18 The Death of Socrates}{\hich\af1\loch\f1\fs18 , 1787\line Jacques-Louis David (French, 1748}{\loch\af1\hich\f1\fs18 \'96}{\hich\af1\loch\f1\fs18 1825)}{\hich\af1\loch\f1  \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs20 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs20\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs20 Charles Louis }{\hich\af1\loch\f1\fs20 L'Heritier}{\hich\af1\loch\f1\fs20  de }{\hich\af1\loch\f1\fs20 Brutelle}{\hich\af1\loch\f1\fs20 , 1746-1800.\line }{\i\hich\af1\loch\f1\fs20 Stirpes}{\i\hich\af1\loch\f1\fs20 , novae, }{\i\hich\af1\loch\f1\fs20 aut}{\i\hich\af1\loch\f1\fs20  minus }{\i\hich\af1\loch\f1\fs20 cognitae}{\i\hich\af1\loch\f1\fs20 , }{\i\hich\af1\loch\f1\fs20 quas}{\i\hich\af1\loch\f1\fs20  }{\i\hich\af1\loch\f1\fs20 descriptionbus}{\i\hich\af1\loch\f1\fs20  et }{\i\hich\af1\loch\f1\fs20 iconibus}{\i\hich\af1\loch\f1\fs20 . }{\hich\af1\loch\f1\fs20 Parisiis}{\hich\af1\loch\f1\fs20 , ex }{\hich\af1\loch\f1\fs20 typographia}{\hich\af1\loch\f1\fs20  Philippi-}{\hich\af1\loch\f1\fs20 Dionysii}{\hich\af1\loch\f1\fs20  }{\hich\af1\loch\f1\fs20 Pierres}{\hich\af1\loch\f1\fs20 , 1784-85.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs20 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs20\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs20 This is the first major book to which }{\hich\af1\loch\f1\fs20 Redout}{\loch\af1\hich\f1\fs20 \'e9}{\hich\af1\loch\f1\fs20  contributed illustrations. }{\hich\af1\loch\f1\fs20 L'Heritier}{\hich\af1\loch\f1\fs20 , a wealthy amateur botanist, gave the twenty-five year old artist his first commission and taught him the techniques of dissection and the details of plant anatomy. \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs20 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs20\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs20 George }{\hich\af1\loch\f1\fs20 Brookshaw}{\hich\af1\loch\f1\fs20 .\line }{\i\hich\af1\loch\f1\fs20 Pomona Britannica; or, A collection of the most esteemed fruits at present cultivated in Great Britain}{\hich\af1\loch\f1\fs20 . London: Printed by }{\hich\af1\loch\f1\fs20 Bensley}{\hich\af1\loch\f1\fs20  and son for Longman, Hurst, Rees, }{\hich\af1\loch\f1\fs20 Orme}{\hich\af1\loch\f1\fs20 , and Brown, 1817.}{\i\hich\af1\loch\f1\fs20 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\loch\af1\hich\f1\fs20 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs20\pnscheme-1{\pntxtb \'95}}{\i\hich\af1\loch\f1\fs20 Pomona Britannica}{\hich\af1\loch\f1\fs20  is considered to be the finest work of its kind, containing two hundred and fifty-six kinds of fruit. The work, which took ten years to complete, originally cost almost six pounds, a huge sum in 1817.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\loch\af1\hich\f1\fs24 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs24\pnscheme-1{\pntxtb \'95}}{\b\hich\af1\loch\f1\fs24 Green Flock Wallpaper}{\hich\af1\loch\f1\fs24 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs24 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs24\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs24 This paper was printed in 1995 and 1996 as a facsimile reproduction (by Allyson McDermott Conservation) of the sumptuous wallpaper used in the great Picture Gallery which was finished in 1745. \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs16 Portion of wallpaper with matching border\line England\line About 1755-60\line From a house in the high Street, }{\hich\af1\loch\f1\fs16 Brentford}{\hich\af1\loch\f1\fs16 , Middlesex\line }{\hich\af1\loch\f1\fs16 Colour}{\hich\af1\loch\f1\fs16  print from woodblocks, and }{\hich\af1\loch\f1\fs16 stencilling}{\hich\af1\loch\f1\fs16 \line \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs18 Philip James De }{\hich\af1\loch\f1\fs18 Loutherbourg}{\hich\af1\loch\f1\fs18 \line }{\i\hich\af1\loch\f1\fs18 Visitor to a Moonlit Churchyard}{\hich\af1\loch\f1\fs18  1790\line \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033\ql {\hich\af1\loch\f1\fs18 John }{\hich\af1\loch\f1\fs18 Downman}{\hich\af1\loch\f1\fs18  }{\i\hich\af1\loch\f1\fs18 The Ghost of Clytemnestra Awakening the Furies}{\hich\af1\loch\f1\fs18  1781 [}{\loch\af1\hich\f1\fs18 \'93}{\hich\af1\loch\f1\fs18 The Furies}{\loch\af1\hich\f1\fs18 \'85}{\hich\af1\loch\f1\fs18 can (as evils) be beautifully described.}{\loch\af1\hich\f1\fs18 \'94}{\hich\af1\loch\f1\fs18  186]  \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs18 Sculpture of Mars, U.S. Capitol, 1790? [#48 p. 186]\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\b\hich\af1\loch\f1\fs16 Christoph}{\b\hich\af1\loch\f1\fs16  Martin Wieland (1733-1813)}{\hich\af1\loch\f1\fs16 , was a German poet and writer. Ferdinand Carl Christian }{\hich\af1\loch\f1\fs16 Jagemann}{\hich\af1\loch\f1\fs16  1805, right Ludwig }{\hich\af1\loch\f1\fs16 Bechstein}{\hich\af1\loch\f1\fs16 , Leipzig 1854}{\hich\af1\loch\f1  \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\i\hich\af1\loch\f1\fs16 Marketplace at }{\i\hich\af1\loch\f1\fs16 Pirna}{\hich\af1\loch\f1\fs16  by Bernardo }{\hich\af1\loch\f1\fs16 Bellotto}{\hich\af1\loch\f1\fs16  (nephew of Canaletto) painted from 1753-1754\line }{\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs18 Johan }{\hich\af1\loch\f1\fs18 Tobia}{\hich\af1\loch\f1\fs18  }{\hich\af1\loch\f1\fs18 Sergel}{\b\hich\af1\loch\f1\fs18  }{\hich\af1\loch\f1\fs18 \line }{\i\hich\af1\loch\f1\fs18 Mars and Venus}{\hich\af1\loch\f1\fs18 , 1770, Marble, }{\hich\af1\loch\f1\fs18 Nationalmuseum}{\hich\af1\loch\f1\fs18 , Stockholm}{\hich\af1\loch\f1  \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs18 Jupiter and Ganymede 1817\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs18 Junias}{\hich\af1\loch\f1\fs18 , }{\hich\af1\loch\f1\fs18 Hadrianus}{\hich\af1\loch\f1\fs18  }{\hich\af1\loch\f1\fs18 Emblemata}{\hich\af1\loch\f1\fs18  1565, Figure of Jupiter riding on the back of an eagle.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs18 Zeus and eagle, }{\hich\af1\loch\f1\fs18 Laconian}{\hich\af1\loch\f1\fs18  cup\line by }{\hich\af1\loch\f1\fs18 Naukratis}{\hich\af1\loch\f1\fs18  560 - 550 BC.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs16 Jupiter (Zeus) and Thetis, with }{\hich\af1\loch\f1\fs16 Aetos}{\hich\af1\loch\f1\fs16  Dios (the eagle of Zeus) to the bottom right (at Zeus' feet). Painting by Jean }{\hich\af1\loch\f1\fs16 Auguste}{\hich\af1\loch\f1\fs16  Dominique Ingres, 1811}{\hich\af1\loch\f1  \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033\ql {\hich\af1\loch\f1\fs16 Christoph}{\hich\af1\loch\f1\fs16  }{\hich\af1\loch\f1\fs16 Nathe}{\hich\af1\loch\f1\fs16 , German painter (b. 1753, }{\hich\af1\loch\f1\fs16 G}{\loch\af1\hich\f1\fs16 \'f6}{\hich\af1\loch\f1\fs16 rlitz}{\hich\af1\loch\f1\fs16 , d. 1806, }{\hich\af1\loch\f1\fs16 Schadewald}{\hich\af1\loch\f1\fs16 ), Village Street with Houses\line 1791\line \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\b\hich\af1\loch\f1\fs18 Sir Joshua Reynolds\line English, 1723}{\b\loch\af1\hich\f1\fs18 \'96}{\b\hich\af1\loch\f1\fs18 1792}{\i\hich\af1\loch\f1\fs18 \line Lady Sarah }{\i\hich\af1\loch\f1\fs18 Bunbury}{\i\hich\af1\loch\f1\fs18  Sacrificing to the Graces}{\hich\af1\loch\f1\fs18 , 1763}{\loch\af1\hich\f1\fs18 \'96}{\hich\af1\loch\f1\fs18 1765\par 
}
}