IV. That all attempts to overstep the limits insisted upon by such proportion, are inartistic thoroughly, and tend to reveal the paucity of the means used, instead of concealing the same, as required by Art in its refinement.
V. That the huge plate, therefore, is an offence—its undertaking an unbecoming display of determination and ignorance—its accomplishment a triumph of unthinking earnestness and uncontrolled energy—endowments of the "duffer."
VI. That the custom of "Remarque" emanates from the amateur, and reflects his foolish facility beyond the border of his picture, thus testifying to his unscientific sense of its dignity.
VII. That it is odious.
VIII. That, indeed, there should be no margin on the proof to receive such "Remarque."
IX. That the habit of margin, again, dates from the outsider, and continues with the collector in his unreasoning connoisseurship—taking curious pleasure in the quantity of paper.
X. That the picture ending where the frame begins, and, in the case of the etching, the white mount, being inevitably, because of its colour, the frame, the picture thus extends itself irrelevantly through the margin to the mount.
XI. That wit of this kind would leave six inches of raw canvas between the painting and its gold frame, to delight the purchaser with the quality of the cloth.
