On some of the more technical points respecting art, Blake observes: 'No one can ever design till he has learned the language of Art by making many finished copies both of Nature and Art, and of whatever comes in his way, from earliest childhood. The difference between a bad artist and a good is, that the bad artist seems to copy a great deal, the good one does copy a great deal.'
'To generalize is to be an idiot. To particularize is the great distinction of merit.'
'Servile copying is the great merit of copying.
'Execution is the Chariot of Genius.'
'Invention depends altogether upon execution or organization. As that is right or wrong, so is the invention perfect or imperfect. Michael Angelo's art depends on Michael Angelo's execution altogether.'
'Grandeur of ideas is founded on precision of ideas.'
'Passion and expression are beauty itself. The face that is incapable of passion and expression is deformity itself, let it be painted and patched and praised and advertised for ever. It will be admired only by fools.'
With strong reprobation our annotator breaks forth when Sir Joshua quotes Vasari to the effect that Albert Dürer 'would have been one of the finest painters of his age, if,' &c. 'Albert Dürer is not "would have been!" Besides, 'let them look at Gothic figures and Gothic buildings, and not talk of "Dark Ages," or of any "Ages!" Ages are all equal, but genius is always above its Age.'
'A sly dog!' 'He makes little concessions that he may take great advantages,' says Blake, apropos of the remark that the Venetians, notwithstanding their surpassing excellence as colourists, did not attain to the 'great style,' but, with 'splendour' of manner, concealed poverty of meaning. ' If the Venetian's outline were right, his shadows would destroy it,' persists Blake. And finally, unable to give vent to the full measure of his contempt in plain prose, he breaks out into an epigram:—
