![Transcription Center logo](/themes/custom/tc_theme/assets/image/logo.png)
This transcription has been completed. Contact us with corrections.
14 [[left margin]] 15 [[/left margin]] Outlines of Objects. Every Artist should be aware of the difference of the outlines whether they be seen with one eye or two. With one Eye we see with optical precision, as from one perspective point of distance; but as we have tow Eyes, the pupils or sight of which are nearly three inches distant, one from the other, each eye really sees a different outline of the sides of rounded objects. The impression on our sight is therefore, a compound of those two outlines, varying in breadth according to our distance from, or proximity to, the object seen, but varying least at the greatest distance. This fact, rightly considered, is sufficient to show that in painting, no outlines of rounded objects should be sharply defined. [[left margin]] 16 [[/left margin]] Quickness of execution. Nothing is more common then for the Amateurs of Painting to commend quickness of execution as an evidence of genius. This has the injurious tendency to induce young Artists to affect expedition rather than perfection which can only be the result of careful accuracy and deliberate study. The rapid execution of Julio Romano, which he acquired under the tyranical exactions of his avaricious father, afterwards influenced him to pride himself upon the possession of that facility, which was most grossly displayed in two altar-pieces, with numerous figures, which are now in the National Gallery at Naples. One executed in fifteen, the other in eighteen days - by the course execution of which his reputation as a Painter was almost fatally impaired, until he afterwards re-established it by the highly finished and Masterly Scripture piece which he painted in Venice, as a Companion to, and in rivalry of, the larger Master piece by Guido Reni in the same church. The British Painter Harlowe was doubtless a Man of Genius, and possessed of great facility, founded on correct knowledge; but the praise bestowed on him for having painted a Copy of Raphael's Transfiguration in eighteen days, was not just. It is true that he had only that