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Notes on Painting in Relation to Poetry

ca. 1809

Source: Tate Gallery

[D07448] The Painter thoughts are inseperable while the Poets are imaginary as they relate to personification only that is attributable to imagination only. he seeks for attributes or sentiments to illustrate what he has seen in nature, and if he hints at the effect it is composed from. – As like the sun just risen shines thro misty air shorn of his beams to elevate falen dignity.

But the Painter must adhere to the truth of nature and has to give that dignity with the means of dignity or must produce it by other means and the mind is allowed him it must be deliberate while the queenly force [?into] obscurity to evince that the luminary must have lost his beam must be conveyd.

[D07446] Tho different the allurements but yet in the sentiment produce the Painter receives only the reward of having colored the Poet while the power of the Painter over other words the difficulty he has surmounted <...> is lost to his merit for having given it to the eyes of every one, that he allowed to be Poetic and seeking the acceptation of the utmost of his power having to be if he succeeds as to be poetical, while he attends to the difficulties of his art and should omitt, what in many instances when is from tantamount [?or 'testament'] to the beauty of the poet what in his language of Painting is ever distant and Paradoxical [?it is say he] [?then ...] the author to blend known hues he is considered answerable to the

[D07444] Poets thought tho his means are different he [?bears] the censure with the power of redemption while he is confined to the local contra[...] of his art and if he is happy he is considerd only secondarily as endeavouring to give to the most vulgar age what has been admitted to be beautiful in the Poet, by very different means when failure he meets disgrace either as <[?the]> defficient in the mechanical excellencies or not feeling his author or not conveying his sentiment either has made a sorry choice but has his sentiments of the Poets sentiments are his own and has he must embody them by known effects of nature he should be allowd to consider'd equal in sintiments and

[D07442] having conquered his difficulties or made the contrad[...]tion – should be considerd to have produced what is exclusively his own

One word is sufficient to establish what is the greatest difficulty to the painters Art to produce wavy air as some call

The Wind

while at one frown the sun declining [?like] never has the Painter to give that wind but difficulty. he must give the cause as well as the effect, and without whch he would be nothing. but should he produce, that which every one must feel the declining ray. he must know that the Poet by giving that which is allowable only but by the greatest

[D07440] difficulty and therefore master of such [?truth] continued with mechanicall Hints of truth of nature perpetualy trammled with mechanical shackles

[D07439] but cannot [?atract] quality of motion: the great Poet of nature Thomson in his Summer a line beyond delineation and yet most truly drawn When from the bladed field the Hare limps awkward and the wild deer gaze at early passengers Rous'd by the cock the soon clad shepherd leaves His peacefull cottage

[D07438] Motion is conveyed by word and values or impetuosity is given to the most sluggish of perception parts of the mind when the reader must feel the importance of the [...] and is borne impertuble tho [i.e. 'through'] the rank or in Dryden line he recognize the seabeat shore and wave impelld on wave harsh breakingon the shore

another line of Pope

but as the eye has by observation atraction and certain quality and forms which approach or at first glance [?accommodate] the idea of motion as we admire the friezes of Polide to be procession or that the Horse curveting is in motion is all that the Painter can succeed while the Poet gives its [?concomitant]