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 1 II  |              or the mention of some detail of costume, was the sex
 2 III |           and their multiplicity of detail, but because this delicacy
 3 III |          describe the procession in detail would needlessly tire the
 4 V   |                the subordination of detail to the expression of a sensation
 5 V(1)|            accustomed to elaborated detail.
 6 V   |         personality to humanity, of detail to feeling, which the miscomprehended
 7 V   |           glance, not as studied in detail. We never see all the details
 8 V   |           alone. To reproduce every detail would be to subordinate
 9 V   |          peculiarity. A very minute detail is rarely brought out except
10 V   |           by the recognition of the detail; as, for example, when a
11 V   |        character, not the wearisome detail of masses; and yet the detail
12 V   |       detail of masses; and yet the detail is admirably suggested by
13 V   |            because of minuteness of detail. Detail in itself is not
14 V   |            of minuteness of detail. Detail in itself is not condemned
15 V   |        highest art is that in which detail is most exquisitely elaborated.
16 V   |     sharpest possible perfection of detail. And in the higher Japanese
17 V   |            in the Greek, the use of detail aids rather than opposes
18 V   | illustration is not multiplicity of detail, but, as we shall presently
19 V   |     presently see, signification of detail.~   The queerest fact about
20 V   |              p. 115}~physiognomical detail in Japanese art is that
21 IX  |            all, even to the tiniest detail of tone or line, have been