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+The Project Gutenberg EBook of Lectures on Landscape, by John Ruskin
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Lectures on Landscape
+       Delivered at Oxford in Lent Term, 1871
+
+Author: John Ruskin
+
+Release Date: December 4, 2006 [EBook #20019]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK LECTURES ON LANDSCAPE ***
+
+
+
+
+Produced by Juliet Sutherland, Linda Cantoni, and the
+Online Distributed Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+
+
+
+LECTURES ON LANDSCAPE
+
+DELIVERED AT OXFORD
+
+IN LENT TERM, 1871.
+
+
+Library Edition
+
+
+THE COMPLETE WORKS
+
+OF
+
+JOHN RUSKIN
+
+
+CROWN OF WILD OLIVE
+TIME AND TIDE
+QUEEN OF THE AIR
+LECTURES ON ART AND LANDSCAPE
+ARATRA PENTELICI
+
+NATIONAL LIBRARY ASSOCIATION
+NEW YORK             CHICAGO
+
+
+[Illustration: BRANTWOOD
+
+FROM A PHOTOGRAPH]
+
+
+
+
+PREFATORY NOTE.
+
+
+_These Lectures on Landscape were given at Oxford on January 20,
+February 9, and February 23, 1871. They were not public Lectures, like
+Professor Ruskin's other courses, but addressed only to undergraduates
+who had joined his class. They were illustrated by pictures from his
+collection, of which several are here reproduced, and by others which
+may be seen in the Oxford University Galleries or in the Ruskin
+Drawing School._
+
+_W.G.C._
+
+
+
+
+CONTENTS.
+
+
+                                                        PAGE
+
+LECTURE I.
+
+OUTLINE                                                    1
+
+
+LECTURE II.
+
+LIGHT AND SHADE                                           16
+
+
+LECTURE III.
+
+COLOR                                                     32
+
+
+
+
+LIST OF PLATES
+
+
+                                                        Page
+
+Vesuvius in Eruption, by J.M.W. Turner                     2
+
+Near Blair Athol, by J.M.W. Turner                        19
+
+Dumblane Abbey, by J.M.W. Turner                          20
+
+Madonna and Child, by Filippo Lippi                       33
+
+The Lady with the Brooch, by Sir Joshua Reynolds          35
+
+Æsacus and Hesperie, by J.M.W. Turner                     45
+
+Mill near Grande Chartreuse, by J.M.W. Turner             47
+
+L'Aiguillette; Valley of Cluses, by J.M.W. Turner         48
+
+
+
+
+LECTURES ON LANDSCAPE.
+
+
+
+
+I.
+
+OUTLINE.
+
+
+1. In my inaugural lecture,[1] I stated that while holding this
+professorship I should direct you, in your practical exercises,
+chiefly to natural history and landscape. And having in the course of
+the past year laid the foundational elements of art sufficiently
+before you, I will invite you, now, to enter on real work with me; and
+accordingly I propose during this and the following term to give you
+what practical leading I can in elementary study of landscape, and of
+a branch of natural history which will form a kind of center for all
+the rest--Ichthyology.
+
+[Footnote 1: "Lectures on Art, 1870," § 23.]
+
+In the outset I must shortly state to you the position which landscape
+painting and animal painting hold towards the higher branches of art.
+
+2. Landscape painting is the thoughtful and passionate representation
+of the physical conditions appointed for human existence. It imitates
+the aspects, and records the phenomena, of the visible things which
+are dangerous or beneficial to men; and displays the human methods of
+dealing with these, and of enjoying them or suffering from them, which
+are either exemplary or deserving of sympathetic contemplation. Animal
+painting investigates the laws of greater and less nobility of
+character in organic form, as comparative anatomy examines those of
+greater and less development in organic structure; and the function
+of animal painting is to bring into notice the minor and unthought of
+conditions of power or beauty, as that of physiology is to ascertain
+the minor conditions of adaptation.
+
+3. Questions as to the purpose of arrangements or the use of the
+organs of an animal are, however, no less within the province of the
+painter than of the physiologist, and are indeed more likely to
+commend themselves to you through drawing than dissection. For as you
+dissect an animal you generally assume its form to be necessary and
+only examine how it is constructed; but in drawing the outer form
+itself attentively you are led necessarily to consider the mode of
+life for which it is disposed, and therefore to be struck by any
+awkwardness or apparent uselessness in its parts. After sketching one
+day several heads of birds it became a vital matter of interest to me
+to know the use of the bony process on the head of the hornbill; but
+on asking a great physiologist, I found that it appeared to him an
+absurd question, and was certainly an unanswerable one.
+
+4. I have limited, you have just heard, landscape painting to the
+representation of phenomena relating to human life. You will scarcely
+be disposed to admit the propriety of such a limitation; and you will
+still less be likely to conceive its necessary strictness and
+severity, unless I convince you of it by somewhat detailed examples.
+
+Here are two landscapes by Turner in his greatest time--Vesuvius in
+repose, Vesuvius in eruption.
+
+One is a beautiful harmony of cool color; and the other of hot, and
+they are both exquisitely designed in ornamental lines. But they are
+not painted for those qualities. They are painted because the state of
+the scene in one case is full of delight to men; and in the other of
+pain and danger. And it is not Turner's object at all to exhibit or
+illustrate natural phenomena, however interesting in themselves.
+
+[Illustration: VESUVIUS IN ERUPTION.
+
+From the painting by Turner.]
+
+He does not want to paint blue mist in order to teach you the nature
+of evaporation; nor this lava stream, to explain to you the operation
+of gravity on ponderous and viscous materials. He paints the blue
+mist, because it brings life and joy to men, and the lava stream
+because it is death to them.
+
+5. Again here are two sea-pieces by Turner of the same
+period--photographs from them at least. One is a calm on the shore at
+Scarborough; the other the wreck of an Indiaman.
+
+These also are each painted with exquisitely artistic purpose: the
+first in opposition of local black to diffused sunshine; the second in
+the decorative grouping of white spots on a dark ground. That
+decorative purpose of dappling, or [Greek: poikilia], is as studiously
+and deliciously carried out by Turner with the Dædalus side of him, in
+the inlaying of these white spots on the Indiaman's deck, as if he
+were working a precious toy in ebony and ivory. But Turner did not
+paint either of the sea-pieces for the sake of these decorous
+arrangements; neither did he paint the Scarborough as a professor of
+physical science, to show you the level of low tide on the Yorkshire
+coast; nor the Indiaman to show you the force of impact in a liquid
+mass of sea-water of given momentum. He painted this to show you the
+daily course of quiet human work and happiness, and that, to enable
+you to conceive something of uttermost human misery--both ordered by
+the power of the great deep.
+
+6. You may easily--you must, perhaps, for a little time--suspect me of
+exaggeration in this statement. It is so natural to suppose that the
+main interest of landscape is essentially in rocks and water and sky;
+and that figures are to be put, like the salt and mustard to a dish,
+only to give it a flavor.
+
+Put all that out of your heads at once. The interest of a landscape
+consists wholly in its relation either to figures present--or to
+figures past--or to human powers conceived. The most splendid drawing
+of the chain of the Alps, irrespective of their relation to humanity,
+is no more a true landscape than a painting of this bit of stone. For,
+as natural philosophers, there is no bigness or littleness to you.
+This stone is just as interesting to you, or ought to be--as if it was
+a million times as big. There is no more sublimity--_per se_--in
+ground sloped at an angle of forty-five, than in ground level; nor in
+a perpendicular fracture of a rock, than in a horizontal one. The only
+thing that makes the one more interesting to you in a landscape than
+the other, is that you could tumble over the perpendicular
+fracture--and couldn't tumble over the other. A cloud, looked at as a
+cloud only, is no more a subject for painting than so much feculence
+in dirty water. It is merely dirty air, or at best a chemical solution
+ill made. That it is worthy of being painted at all depends upon its
+being the means of nourishment and chastisement to men, or the
+dwelling place of imaginary gods. There's a bit of blue sky and cloud
+by Turner--one of the loveliest ever painted by human hand. But, as a
+mere pattern of blue and white, he had better have painted a jay's
+wing: this was only painted by him--and is, in reality, only pleasant
+to you--because it signifies the coming of a gleam of sweet sunshine
+in windy weather; and the wind is worth thinking of only because it
+fills the sails of ships, and the sun because it warms the sailors.
+
+7. Now, it is most important that you should convince yourselves of
+and fully enter into this truth, because all the difficulty in
+choosing subject arises from mistakes about it. I daresay some of you
+who are fond of sketching have gone out often in the most beautiful
+country, and yet with the feeling that there was no good subject to be
+found in it. That always arises from your not having sympathy enough
+with its vital character, and looking for physical picturesqueness
+instead. On the contrary, there are crude efforts at landscape-painting,
+made continually upon the most splendid physical phenomena, in
+America, and other countries without any history. It is not of the
+slightest use. Niagara, or the North Pole and the Aurora Borealis,
+won't make a landscape; but a ditch at Iffley will, if you have
+humanity in you--enough in you to interpret the feelings of hedgers
+and ditchers, and frogs.
+
+8. Next, here is one of the most beautiful landscapes ever painted,
+the best I have next to the Greta and Tees.
+
+The subject physically is a mere bank of grass above a stream with
+some wych-elms and willows. A level-topped bank; the water has cut its
+way down through the soft alluvion of an elevated plain to the
+limestone rock at the bottom.
+
+Had this scene been in America, no mortal could have made a landscape
+of it. It is nothing but a grass bank with some not very pretty trees
+scattered over it, wholly without grouping. The stream at the bottom
+is rocky indeed, but its rocks are mean, flat, and of a dull yellow
+color. The sky is gray and shapeless. There's absolutely nothing to
+paint anywhere of essential landscape subject, as commonly understood.
+
+Now see what the landscape consists in, which I have told you is one
+of the most beautiful ever painted by man. There's first a little bit
+of it left nearly wild, not quite wild; there's a cart and rider's
+track through it among the copse; and then, standing simply on the
+wild moss-troopers' ground, the scattered ruins of a great abbey, seen
+so dimly, that they seem to be fading out of sight, in color as in
+time.
+
+These two things together, the wild copse wood and the ruin, take you
+back into the life of the fourteenth century. The one is the
+border-riders' kingdom; the other that of peace which has striven
+against border-riding--how vainly! Both these are remains of the past.
+But the outhouses and refectory of the abbey have been turned into a
+farmhouse, and that is inhabited, and in front of it the Mistress is
+feeding her chickens. You see the country is perfectly quiet and
+innocent, for there is no trace of a fence anywhere; the cattle have
+strayed down to the riverside, it being a hot day; and some rest in
+the shade and two in the water.
+
+They could not have done so at their ease had the river not been
+humanized. Only a little bit of its stony bed is left; a mill weir,
+thrown across, stays the water in a perfectly clear and delicious
+pool; to show how clear it is, Turner has put the only piece of
+playing color in all the picture into the reflections in this. One cow
+is white, another white and red, evidently as clean as morning dew
+can wash their sides. They could not have been so in a country where
+there was the least coal smoke; so Turner has put a wreath of
+perfectly white smoke through the trees; and lest that should not be
+enough to show you they burnt wood, he has made his foreground of a
+piece of copse just lopped, with the new fagots standing up against
+it; and this still not being enough to give you the idea of perfect
+cleanliness, he has covered the stones of the river-bed with white
+clothes laid out to dry; and that not being enough yet, for the
+river-bed might be clean though nothing else was, he has put a
+quantity more hanging over the abbey walls.
+
+9. _Only natural phenomena in their direct relation to
+humanity_--these are to be your subjects in landscape. Rocks and water
+and air may no more be painted for their own sakes, than the armor
+carved without the warrior.
+
+But, secondly. I said landscape is to be a _passionate representation_
+of these things. It must be done, that is to say, with strength and
+depth of soul. This is indeed to some extent merely the particular
+application of a principle that has no exception. If you are without
+strong passions, you cannot be a painter at all. The laying of paint
+by an insensitive person, whatever it endeavors to represent, is not
+painting, but daubing or plastering; and that, observe, irrespective
+of the boldness or minuteness of the work. An insensitive person will
+daub with a camel's hair-brush and ultramarine; and a passionate one
+will paint with mortar and a trowel.
+
+10. But far more than common passion is necessary to paint landscape.
+The physical conditions there are so numerous, and the spiritual ones
+so occult, that you are sure to be overpowered by the materialism,
+unless your sentiment is strong. No man is naturally likely to think
+first of anatomy in painting a pretty woman; but he is very apt to do
+so in painting a mountain. No man of ordinary sense will take pleasure
+in features that have no meaning, but he may easily take it in heath,
+woods or waterfalls, that have no expression. So that it needs much
+greater strength of heart and intellect to paint landscape than
+figure: many commonplace persons, bred in good schools, have painted
+the figure pleasantly or even well; but none but the strongest--John
+Bellini, Titian, Velasquez, Tintoret, Mantegna, Sandro Botticelli,
+Carpaccio and Turner--have ever painted a fragment of good landscape.
+In missal painting exquisite figure-drawing is frequent, and landscape
+backgrounds in late works are elaborate; but I only know thoroughly
+good landscape in one book; and I have examined--I speak
+deliberately--thousands.
+
+11. For one thing, the passion is necessary for the mere quantity of
+design. In good art, whether painting or sculpture, I have again and
+again told you every touch is necessary and beautifully intended. Now
+it falls within the compass of ordinary application to place rightly
+all the folds of drapery or gleams of light on a chain, or ornaments
+in a pattern; but when it comes to placing every leaf in a tree, the
+painter gets tired. Here, for instance, is a little bit of Sandro
+Botticelli background; I have purposefully sketched it in the
+slightest way, that you might see how the entire value of it depends
+on thoughtful placing. There is no texture aimed at, no completion,
+scarcely any variety of light and shade; but by mere care in the
+placing the thing is beautiful. Well, every leaf, every cloud, every
+touch is placed with the same care in great work; and when this is
+done as by John Bellini in the picture of Peter Martyr,[2] or as it
+was by Titian in the great Peter Martyr, with every leaf in a wood he
+gets tired. I know no other such landscape in the world as that is, or
+as that was.
+
+[Footnote 2: National Gallery, No. 812.]
+
+12. Perhaps you think on such conditions you never can paint landscape
+at all. Well, great landscape certainly not; but pleasant and useful
+landscape, yes; provided only the passion you bring to it be true and
+pure. The degree of it you cannot command; the genuineness of it you
+can--yes, and the depth of source also. Tintoret's passion may be like
+the Reichenbach, and yours only like a little dripping Holywell, but
+both equally from deep springs.
+
+13. But though the virtue of all painting (and similarly of sculpture
+and every other art) is in passion, I must not have you begin by
+working passionately. The discipline of youth, in all its work, is in
+cooling and curbing itself, as the discipline of age is in warming and
+urging itself; you know the Bacchic chorus of old men in Plato's
+_Laws_. To the end of life, indeed, the strength of a man's finest
+nature is shown in due continence; but that is because the finest
+natures remain young to the death: and for you the first thing you
+have to do in art (as in life) is to be quiet and firm--quiet, above
+everything; and modest, with this most essential modesty, that you
+must like the landscape you are going to draw better than you expect
+to like your drawing of it, however well it may succeed. If you would
+not rather have the real thing than your sketch of it, you are not in
+a right state of mind for sketching at all. If you only think of the
+scene, "what a nice sketch this will make!" be assured you will never
+make a nice sketch of it. You may think you have produced a beautiful
+work; nay, perhaps the public and many fair judges will agree with
+you; but I tell you positively, there will be no enduring value in
+what you have thus done. Whereas if you think of the scene, "Ah, if I
+could only get some shadow or scrawl of this to carry away with me,
+how glad I should be!"--then whatever you do will be, according to
+your strength, good and progressive: it may be feeble, or much
+faultful, but it will be vital and essentially precious.
+
+14. Now, it is not possible for you to command this state of mind, or
+anything like it, in yourselves at once. Nay, in all probability your
+eyes are so satiated by the false popular art surrounding us now on
+all sides, that you cannot see the delicate reality though you try;
+but even though you may not care for the truth, you can act as if you
+did, and tell it.
+
+Now, therefore, observe this following quite plain direction. Whenever
+you set yourself to draw anything, consider only how best you may give
+a person who has not seen the place, a true idea of it. Use any means
+in your power to do that, and don't think of the person for whom you
+are drawing as a connoisseur, but as a person of ordinary sense and
+feeling. Don't get artist-like qualities for him: but first give him
+the pleasant sensation of being at the place, then show him how the
+land lies, how the water runs, how the wind blows, and so on. Always
+think of the public as Molière of his old woman; you have done nothing
+really great or good if you can't please her.
+
+15. Now beginning wisely, so as to lose no time or labor, you will
+learn to paint all the conditions of quiet light and sky, before you
+attempt those of variable light and cloud. Do not trouble yourselves
+with or allow yourselves to be tempted by any effects that are
+brilliant or tremendous; except only that from the beginning I
+recommend you to watch always for sunrise; to keep a little diary of
+the manner of it, and to have beside your window a small sketch-book,
+with pencil cut over night, and colors moist. The one indulgence which
+I would have you allow yourselves in fast coloring, for some time, is
+the endeavor to secure some record at the instant of the colors of
+morning clouds; while, if they are merely white or gray or blue, you
+must get an outline of them with pencil. You will soon feel by this
+means what are the real difficulties to be encountered in all
+landscape coloring, and your eyes will be educated to quantity and
+harmonious action of forms.
+
+But for the rest--learn to paint everything in the quietest and
+simplest light. First outline your whole subject completely, with
+delicate sharp pencil line. If you don't get more than that, let your
+outline be a finished and lovely diagram of the whole.
+
+16. All the objects are then to be painted of their proper colors,
+matching them as nearly as you can, in the manner that a missal is
+painted, filling the outlined shapes neatly up to their junctions;
+reënforcing afterwards when necessary, but as little as possible; but,
+above all, knowing precisely what the light is, and where it is.[3]
+
+[Footnote 3: Make a note of these points:
+
+1. Date, time of day, temperature, direction and force of wind.
+
+2. Roughly, by compass, the direction in which you are looking; and
+angle of the light with respect to it.
+
+3. Angle subtended by picture, and distance of nearest object in it.]
+
+17. I have brought two old-fashioned colored engravings,[4] which are
+a precise type of the style I want you to begin with. Finished from
+corner to corner, as well as the painter easily could; everything done
+to good purpose, nothing for vain glory; nothing in haste or
+affectation, nothing in feverish or morbid excitement. The observation
+is accurate; the sentiment, though childish, deep and pure; and the
+effect of light, for common work, quite curiously harmonious and
+deceptive.
+
+[Footnote 4: From a "Picturesque Tour from Geneva to Milan" ...
+engraved from designs by J. Lory of Neufchâtel. London: Published by
+R. Ackermann, at his Repository of Arts, 1820.]
+
+They are, in spite of their weaknesses, absolutely the only landscapes
+I could show you which give you a real idea of the places, or which
+put your minds into the tone which, if you were happy and at ease,
+they would take in the air and light of Italy.
+
+I dwell on the necessity of completion especially, because I have lost
+much time myself from my sympathy with the feverish intensity of the
+minds of the great engravers; and from always fastening on one or two
+points of my subject and neglecting the rest.
+
+18. We have seen, then, that every subject is to be taken up first in
+its terminal lines, then in its light and shade, then in its color.
+
+First of the terminal lines of landscape, or of drawing in outline.
+
+I think the examples of shell outline in your copying series must
+already have made you feel the exact nature of a pure outline, the
+difficulty of it, and the value.
+
+But we have now to deal with limits of a more subtle kind.
+
+The outline of any simple solid form, even though it may have complex
+parts, represents an actual limit, accurately to be followed. The
+outline of a cup, of a shell, or of an animal's limb, has a
+determinable course, which your pen or pencil line either coincides
+with or does not. You can say of that line, either it is wrong or
+right; if right, it is in a measure suggestive, and nobly suggestive
+of the character of the object. But the greater number of objects in a
+landscape either have outlines so complex that no pencil could follow
+them (as trees in middle distance), or they have no actual outline at
+all, but a gradated and softened edge; as, for the most part, clouds,
+foam, and the like. And even in things which have determinate form,
+the outline of that form is usually quite incapable of expressing
+their real character.
+
+[Illustration]
+
+19. Here is the most ordinary component of a foreground for instance,
+a pleasantly colored stone. Any of its pure outlines are not only
+without beauty, but absolutely powerless to give you any notion of its
+character, although that character is in itself so interesting, that
+here Turner has made a picture of little more than a heap of such
+stones, with blue water to oppose their color. In consequence of these
+difficulties and insufficiencies, most landscape-painters have been
+tempted to neglect outline altogether, and think only of effects of
+light or color on masses more or less obscurely defined. They have
+thus gradually lost their sense of organic form, their precision of
+hand, and their respect for limiting law; in a word, for all the
+safeguards and severe dignities of their art. And landscape-painting
+has, therefore, more in consequence of this one error than of any
+other, become weak, frivolous, and justly despised.
+
+20. Now, if any of you have chanced to notice at the end of my "Queen
+of the Air," my saying that in landscape Turner must be your only
+guide, you perhaps have thought I said so because of his great power
+in melting colors or in massing light and shade. Not so. I have always
+said he is the only great landscape-painter, and to be your only
+guide, because he is the only landscape-painter who can draw an
+outline.
+
+His finished works perhaps appear to you more vague than any other
+master's: no man loses his outlines more constantly. You will be
+surprised to know that his frankness in losing depends on his
+certainty of finding if he chooses; and that, while all other
+landscape-painters study from Nature in shade or in color, Turner
+always sketched with the point.
+
+"Always," of course, is a wide word. In your copying series I have put
+a sketch by Turner in color from Nature; some few others of the kind
+exist, in the National Gallery and elsewhere. But, as a rule, from his
+boyhood to the last day of his life, he sketched only with the fine
+pencil point, and always the outline, more if he had time, but at
+least the outline, of every scene that interested him; and in general,
+outline so subtle and elaborate as to be inexhaustible in examination
+and uncopiable for delicacy.
+
+Here is a sketch of an English park scene which represents the average
+character of a study from Nature by Turner; and here the sketch from
+Nature of Dumblane Abbey for the _Liber Studiorum_, which shows you
+what he took from Nature, when he had time only to get what was most
+precious to him.
+
+21. The first thing, therefore, you have to learn in landscape, is to
+outline; and therefore we must now know precisely what an outline is,
+how it ought to be represented; and this it will be right to define
+in quite general terms applicable to all subjects.
+
+We saw in the fifth Lecture[5] that every visible thing consisted of
+spaces of color, terminated either by sharp or gradated limits.
+Whenever they are sharp, the line of separation, followed by the point
+of your drawing instrument, is the proper outline of your subject,
+whether it represents the limits of flat spaces or of solid forms.
+
+[Footnote 5: "Lectures on Art, 1870," § 130.]
+
+22. For instance, here is a drawing by Holbein of a lady in a dark
+dress, with bars of black velvet round her arm. Her form is seen
+everywhere defined against the light by a perfectly sharp linear limit
+which Holbein can accurately draw with his pen; the patches of velvet
+are also distinguished from the rest of her dress by a linear limit,
+which he follows with his pen just as decisively. Here, therefore, is
+your first great law. Wherever you see one space of color
+distinguished from another by a sharp limit, you are to draw that
+limit firmly; and that is your outline.
+
+23. Also, observe that as your representing this limit by a dark line
+is a conventionalism, and just as much a conventionalism when the line
+is subtle as when it is thick, the great masters accept and declare
+that conventionalism with perfect frankness, and use bold and decisive
+outline, if any.
+
+Also, observe, that though, when you are master of your art, you may
+modify your outline by making it dark in some parts, light in others,
+and even sometimes thick and sometimes slender, a scientifically
+accurate outline is perfectly equal throughout; and in your first
+practice I wish you to use always a pen with a blunt point, which will
+make no hair stroke under any conditions. So that using black ink and
+only one movement of the pen, not returning to thicken your line, you
+shall either have your line there, or not there; and that you may not
+be able to gradate or change it, in any way or degree whatsoever.
+
+24. Now the first question respecting it is: what place is your thick
+line to have with respect to the limit which it represents--outside
+of it, or inside, or over it? Theoretically, it is to be over it; the
+true limit falling all the way along the center of your thick line.
+The contest of Apelles with Protogenes consisted in striking this true
+limit within each other's lines, more and more finely. And you may
+always consider your pen line as representing the first incision for
+sculpture, the true limit being the sharp center of the incision.
+
+But, practically, when you are outlining a light object defined
+against a dark one, the line must go outside of it; and when a dark
+object against a light one, inside of it.
+
+In this drawing of Holbein's, the hand being seen against the light,
+the outline goes inside the contour of the fingers.
+
+25. Secondly. And this is of great importance. It will happen
+constantly that forms are entirely distinct from each other and
+separated by true limits, which are yet invisible, or nearly so, to
+the eye. I place, for instance, one of these eggs in front of the
+other, and probably to most of you the separation in the light is
+indiscernible. Is it then to be outlined? In practically combining
+outline with accomplished light and shade there are cases of this kind
+in which the outline may with advantage, or even must for truth of
+effect, be omitted. But the facts of the solid form are of so vital
+importance, and the perfect command of them so necessary to the
+dignity and intelligibility of the work, that the greatest artists,
+even for their finished drawings, like to limit every solid form by a
+fine line, whether its contour be visible to the eye or not.
+
+26. An outline thus perfectly made with absolute decision, and with a
+wash of one color above it, is the most masterly of all methods of
+light and shade study, with limited time, when the forms of the
+objects to be drawn are clear and unaffected by mist. But without any
+wash of color, such an outline is the most valuable of all means for
+obtaining such memoranda of any scene as may explain to another
+person, or record for yourself, what is most important in its
+features.
+
+27. Choose, then, a subject that interests you; and so far as failure
+of time or materials compels you to finish one part, or express one
+character, rather than another, of course dwell on the features that
+interest you most. But beyond this, forget, or even somewhat repress
+yourself, and make it your first object to give a true idea of the
+place to other people. You are not to endeavor to express your own
+feelings about it; if anything, err on the side of concealing them.
+What is best is not to think of yourself at all, but to state as
+plainly and simply as you can the whole truth of the thing. What you
+think unimportant in it may to another person be the most touching
+part of it: what you think beautiful may be in truth commonplace and
+of small value. Quietly complete each part to the best of your power,
+endeavoring to maintain a steady and dutiful energy, and the tranquil
+pleasure of a workman.
+
+
+
+
+II.
+
+LIGHT AND SHADE.
+
+
+28. In my last Lecture I laid before you evidence that the greatness
+of the master whom I wished you to follow as your only guide in
+landscape depended primarily on his studying from Nature always with
+the point; that is to say, in pencil or pen outline. To-day I wish to
+show you that his preëminence depends secondarily on his perfect
+rendering of form and distance by light and shade, before he admits a
+thought of color.
+
+I say "before" however--observe carefully--only with reference to the
+construction of any given picture, not with reference to the order in
+which he learnt his mechanical processes. From the beginning, he
+worked out of doors with the point, but indoors with the brush; and
+attains perfect skill in washing flat color long before he attains
+anything like skill in delineation of form.
+
+29. Here, for instance, is a drawing, when he was twelve or thirteen
+years old, of Dover Castle and the Dover Coach; in which the future
+love of mystery is exhibited by his studiously showing the way in
+which the dust rises about the wheels; and an interest in drunken
+sailors, which materially affected his marine studies, shown not less
+in the occupants of the hind seat. But what I want you to observe is
+that, though the trees, coach, horses, and sailors are drawn as any
+schoolboy would draw them, the sky is washed in so smoothly that few
+water-color painters of our day would lightly accept a challenge to
+match it.
+
+And, therefore, it is, among many other reasons, that I put the brush
+into your hands from the first, and try you with a wash in lampblack,
+before you enter my working class. But, as regards the composition of
+his picture, the drawing is always first with Turner, the color
+second.
+
+30. Drawing: that is to say, the expression by gradation of light,
+either of form or space. Again I thus give you a statement wholly
+adverse to the vulgar opinion of him. You will find that statement
+early in the first volume of "Modern Painters," and repeated now
+through all my works these twenty-five years, in vain. Nobody will
+believe that the main virtue of Turner is in his drawing. I say "the
+main virtue of Turner." Splendid though he be as a colorist, he is not
+unrivaled in color; nay, in some qualities of color he has been far
+surpassed by the Venetians. But no one has ever touched him in
+exquisiteness of gradation; and no one in landscape in perfect
+rendering of organic form.
+
+31. I showed you in this drawing, at last Lecture, how truly he had
+matched the color of the iron-stained rocks in the bed of the Ticino;
+and any of you who care for color at all cannot but take more or less
+pleasure in the black and greens and warm browns opposed throughout.
+But the essential value of the work is not in these. It is, first, in
+the expression of enormous scale of mountain and space of air, by
+gradations of shade in these colors, whatever they may be; and,
+secondly, in the perfect rounding and cleaving of the masses alike of
+mountain and stone. I showed you one of the stones themselves, as an
+example of uninteresting outline. If I were to ask you to paint it,
+though its color is pleasant enough, you would still find it
+uninteresting and coarse compared to that of a flower, or a bird. But
+if I can engage you in an endeavor to draw its true forms in light and
+shade, you will most assuredly find it not only interesting, but in
+some points quite beyond the most subtle skill you can give to it.
+
+32. You have heard me state to you, several times, that all the
+masters who valued accurate form and modeling found the readiest way
+of obtaining the facts they required to be firm pen outline, completed
+by a wash of neutral tint. This method is indeed rarely used by
+Raphael or Michael Angelo in the drawings they have left us, because
+their studies are nearly all tentative--experiments in composition, in
+which the imperfect or careless pen outline suggested all they
+required, and was capable of easy change without confusing the eye.
+But the masters who knew precisely before they laid touch on paper
+what they were going to do--and this may be, observe, either because
+they are less or greater than the men who change; less, in merely
+drawing some natural object without attempt at composition, or greater
+in knowing absolutely beforehand the composition they intend; it may
+be, even so, that what they intend, though better known, is not so
+good:--but at all events, in this anticipating power Tintoret, Holbein
+and Turner stand, I think, alone as draughtsmen; Tintoret rarely
+sketching at all, but painting straight at the first blow, while
+Holbein and Turner sketch indeed, but it is as with a pen of iron and
+a point of diamond.
+
+33. You will find in your educational series[6] many drawings
+illustrative of the method; but I have enlarged here the part that is
+executed with the pen, out of this smaller drawing, that you may see
+with what fearless strength Holbein delineates even the most delicate
+folds of the veil on the head, and of the light muslin on the
+shoulders, giving them delicacy, not by the thinness of his line, but
+by its exquisite veracity.
+
+[Footnote 6: At the Ruskin Drawing School, Oxford.]
+
+The eye will endure with patience, or even linger with pleasure, on
+any line that is right, however coarse; while the faintest or finest
+that is wrong will be forcibly destructive. And again and again I have
+to recommend you to draw always as if you were engraving, and as if
+the line could not be changed.
+
+34. The method used by Turner in the _Liber Studiorum_ is precisely
+analogous to that of Holbein. The lines of these etchings are to
+trees, rocks, or buildings, absolutely what these of Holbein are; not
+suggestions of contingent grace, but determinations of the limits of
+future form. You will see the explanatory office of such lines by
+placing this outline over my drawing of the stone, until the lines
+coincide with the limits of the shadow. You will find that it
+intensifies and explains the forms which otherwise would have escaped
+notice, and that a perfectly gradated wash of neutral tint with an
+outline of this kind is all that is necessary for grammatical
+statement of forms. It is all that the great colorists need for their
+studies; they would think it wasted time to go farther; but, if you
+have no eye for color, you may go farther in another manner, with
+enjoyment.
+
+35. Now to go back to Turner.
+
+The _first_ great object of the _Liber Studiorum_, for which I
+requested you in my sixth Lecture[7] to make constant use of it, is
+the delineation of solid form by outline and shadow. But a yet more
+important purpose in each of the designs in that book is the
+expression of such landscape powers and character as have especial
+relation to the pleasures and pain of human life--but especially the
+pain. And it is in this respect that I desired you (Sect. 172) to be
+assured, not merely of their superiority, but of their absolute
+difference in kind from photography, as works of disciplined design.
+
+[Footnote 7: "Lectures on Art, 1870," § 170.]
+
+[Illustration: NEAR BLAIR ATHOL.
+
+From the painting by Turner.]
+
+36. I do not know whether any of you were interested enough in the
+little note in my catalogue on this view near Blair Athol, to look for
+the scene itself during your summer rambles. If any did, and found it,
+I am nearly certain their impression would be only that of an extreme
+wonder how Turner could have made so little of so beautiful a spot.
+The projecting rock, when I saw it last in 1857, and I am certain,
+when Turner saw it, was covered with lichens having as many colors as
+a painted window. The stream--or rather powerful and deep Highland
+river, the Tilt--foamed and eddied magnificently through the narrowed
+channel; and the wild vegetation in the rock crannies was a finished
+arabesque of living sculpture, of which this study of mine, made on
+another stream, in Glenfinlas, only a few miles away, will give you a
+fair idea. Turner has absolutely stripped the rock of its beautiful
+lichens to bare slate, with one quartz vein running up through it; he
+has quieted the river into a commonplace stream; he has given, of all
+the rich vegetation, only one cluster of quite uninteresting leaves
+and a clump of birches with ragged trunks. Yet, observe, I have told
+you of it, he has put into one scene the spirit of Scotland.
+
+[Illustration: DUMBLANE ABBEY.
+
+From the painting by Turner.]
+
+37. Similarly, those of you who in your long vacations have ever
+stayed near Dumblane will be, I think, disappointed in no small degree
+by this study of the abbey, for which I showed you the sketch at last
+Lecture. You probably know that the oval window in its west end is one
+of the prettiest pieces of rough thirteenth-century carving in the
+kingdom; I used it for a chief example in my lectures at Edinburgh;
+and you know that the lancet windows, in their fine proportion and
+rugged masonry, would alone form a study of ruined Gothic masonry of
+exquisite interest.
+
+Yet you find Turner representing the lancet window by a few bare oval
+lines like the hoop of a barrel; and indicating the rest of the
+structure by a monotonous and thin piece of outline, of which I was
+asked by one of yourselves last term, and quite naturally and rightly,
+how Turner came to draw it so slightly--or, we may even say, so badly.
+
+38. Whenever you find Turner stopping short, or apparently failing in
+this way, especially when he does the contrary of what any of us would
+have been nearly sure to do, then is the time to look for your main
+lesson from him. You recollect those quiet words of the strongest of
+all Shakespeare's heroes, when any one else would have had his sword
+out in an instant:
+
+     "Keep up your bright swords, for the dew will rust them ...
+     Were it my cue to fight, I should have known it
+     Without a prompter."[8]
+
+[Footnote 8: "Othello," I. 2.]
+
+Now you must always watch keenly what Turner's _cue_ is. You will see
+his hand go to his hilt fast enough, when it comes. Dumblane Abbey is
+a pretty piece of building enough, it is true; but the virtue of the
+whole scene, and meaning, is not in the masonry of it. There is
+much better masonry and much more wonderful ruin of it elsewhere;
+Dumblane Abbey--tower and aisles and all--would go under one of the
+arches of buildings such as there are in the world. Look at what
+Turner will do when his cue is masonry,--in the Coliseum. What the
+execution of that drawing is you may judge by looking with a
+magnifying glass at the ivy and battlements in this, when, also, his
+cue is masonry. What then can he mean by not so much as indicating one
+pebble or joint in the walls of Dumblane?
+
+[Illustration]
+
+39. I was sending out the other day, to a friend in America, a chosen
+group of the _Liber Studiorum_ to form a nucleus for an art
+collection at Boston. And I warned my friend at once to guard his
+public against the sore disappointment their first sight of these so
+much celebrated works would be to them. "You will have to make them
+understand," I wrote to him, "that their first lesson will be in
+observing not what Turner has done, but what he has not done. These
+are not finished pictures, but studies; endeavors, that is to say, to
+get the utmost result possible with the simplest means; they are
+essentially thoughtful, and have each their fixed purpose, to which
+everything else is sacrificed; and that purpose is always
+imaginative--to get at the heart of the thing, not at its outside."
+
+40. Now, it is true, there are beautiful lichens at Blair Athol, and
+good building at Dumblane; but there are lovely lichens all over the
+cold regions of the world, and there is far more interesting
+architecture in other countries than in Scotland. The essential
+character of Scotland is that of a wild and thinly inhabited rocky
+country, not sublimely mountainous, but beautiful in low rock and
+light streamlet everywhere; with sweet copsewood and rudely growing
+trees. This wild land possesses a subdued and imperfect school of
+architecture, and has an infinitely tragic feudal, pastoral, and civic
+history. And in the events of that history a deep tenderness of
+sentiment is mingled with a cruel and barren rigidity of habitual
+character, accurately corresponding to the conditions of climate and
+earth.
+
+41. Now I want you especially to notice, with respect to these things,
+Turner's introduction of the ugly square tower high up on the left.
+Your first instinct would be to exclaim, "How unlucky that was there
+at all! Why, at least, could not Turner have kept it out of sight?" He
+has quite gratuitously brought it into sight; gratuitously drawn
+firmly the three lines of stiff drip-stone which mark its squareness
+and blankness. It is precisely that blank vacancy of decoration, and
+setting of the meager angles against wind and war, which he wants to
+force on your notice, that he may take you thoroughly out of Italy and
+Greece, and put you wholly into a barbarous and frost-hardened land;
+that once having its gloom defined he may show you all the more
+intensely what pastoral purity and innocence of life, and loveliness
+of nature, are underneath the banks and braes of Doune, and by every
+brooklet that feeds the Forth and Clyde.
+
+That is the main purpose of these two studies. How it is obtained by
+various incidents in the drawing of stones, and trees, and figures, I
+will show you another time. The chief element in both is the sadness
+and depth of their effect of subdued though clear light in sky and
+stream.
+
+42. The sadness of their effect, I repeat. If you remember anything of
+the Lectures I gave you through last year, you must be gradually
+getting accustomed to my definition of the Greek school in art, as one
+essentially Chiaroscurist, as opposed to Gothic color; Realist, as
+opposed to Gothic imagination; and Despairing, as opposed to Gothic
+hope. And you are prepared to recognize it by any one of these three
+conditions. Only, observe, the chiaroscuro is simply the technical
+result of the two others: a Greek painter likes light and shade,
+first, because they enable him to realize form solidly, while color is
+flat; and secondly, because light and shade are melancholy, while
+color is gay.
+
+So that the defect of color, and substitution of more or less gray or
+gloomy effects of rounded gradation, constantly express the two
+characters: first, Academic or Greek fleshliness and solidity as
+opposed to Gothic imagination; and secondly, of Greek tragic horror
+and gloom as opposed to Gothic gladness.
+
+43. In the great French room in the Louvre, if you at all remember the
+general character of the historical pictures, you will instantly
+recognize, in thinking generally of them, the rounded fleshly and
+solid character in the drawing, the gray or greenish and brownish
+color, or defect of color, lurid and moonlight-like, and the gloomy
+choice of subjects, as the Deluge, the Field of Eylau, the Starvation
+on the Raft, and the Death of Endymion; always melancholy, and usually
+horrible.
+
+The more recent pictures of the painter Gérôme unite all these
+attributes in a singular degree; above all, the fleshliness and
+materialism which make his studies of the nude, in my judgment,
+altogether inadmissible into the rank of the fine arts.
+
+44. Now you observe that I never speak of this Greek school but with a
+certain dread. And yet I have told you that Turner belongs to it, that
+all the strongest men in times of developed art belong to it; but
+then, remember, so do all the basest. The learning of the Academy is
+indeed a splendid accessory to original power, in Velasquez, in
+Titian, or in Reynolds; but the whole world of art is full of a base
+learning of the Academy, which, when fools possess, they become a
+tenfold plague of fools.
+
+And again, a stern and more or less hopeless melancholy necessarily is
+under-current in the minds of the greatest men of all ages,--of Homer,
+Aeschylus, Pindar, or Shakespeare. But an earthy, sensual, and weak
+despondency is the attribute of the lowest mental and bodily disease;
+and the imbecilities and lassitudes which follow crime, both in
+nations and individuals, can only find a last stimulus to their own
+dying sensation in the fascinated contemplation of completer death.
+
+45. Between these--the highest, and these--the basest, you have every
+variety and combination of strength and of mistake: the mass of
+foolish persons dividing themselves always between the two oppositely
+and equally erroneous faiths, that genius may dispense with law, or
+that law can create genius. Of the two, there is more excuse for, and
+less danger in the first than in the second mistake. Genius has
+sometimes done lovely things without knowledge and without discipline.
+But all the learning of the Academies has never yet drawn so much as
+one fair face, or ever set two pleasant colors side by side.
+
+46. Now there is one great Northern painter, of whom I have not spoken
+till now, probably to your surprise, Rubens; whose power is composed
+of so many elements, and whose character may be illustrated so
+completely, and with it the various operation of the counter schools,
+by one of his pictures now open to your study, that I would press you
+to set aside one of your brightest Easter afternoons for the study of
+that one picture in the Exhibition of Old Masters, the so-called "Juno
+and Argus," No. 387.
+
+So-called, I say; for it is not a picture either of Argus or of Juno,
+but the portrait of a Flemish lady "as Juno" (just as Rubens painted
+his family picture with his wife "as the Virgin" and himself "as St.
+George"): and a good anatomical study of a human body as Argus. In the
+days of Rubens, you must remember, mythology was thought of as a mere
+empty form of compliment or fable, and the original meaning of it
+wholly forgotten. Rubens never dreamed that Argus is the night, or
+that his eyes are stars; but with the absolutely literal and brutal
+part of his Dutch nature supposes the head of Argus full of real eyes
+all over, and represents Hebe cutting them out with a bloody knife and
+putting one into the hand of the goddess, like an unseemly oyster.
+
+That conception of the action, and the loathsome sprawling of the
+trunk of Argus under the chariot, are the essential contributions of
+Rubens' own Netherland personality. Then the rest of the treatment he
+learned from other schools, but adopted with splendid power.
+
+47. First, I think, you ought to be struck by having two large
+peacocks painted with scarcely any color in them! They are nearly
+black, or black-green, peacocks. Now you know that Rubens is always
+spoken of as a great colorist, _par excellence_ a colorist; and would
+you not have expected that--before all things--the first thing he
+would have seen in a peacock would have been gold and blue? He sees
+nothing of the kind. A peacock, to him, is essentially a dark bird;
+serpent-like in the writhing of the neck, cloud-like in the toss and
+wave of its plumes. He has dashed out the filaments of every feather
+with magnificent drawing; he has not given you one bright gleam of
+green or purple in all the two birds.
+
+Well, the reason of that is that Rubens is not _par excellence_ a
+colorist; nay, is not even a good colorist. He is a very second-rate
+and coarse colorist; and therefore his color catches the lower public,
+and gets talked about. But he is _par excellence_ a splendid
+draughtsman of the Greek school; and no one else, except Tintoret,
+could have drawn with the same ease either the muscles of the dead
+body or the plumes of the birds.
+
+48. Farther, that he never became a great colorist does not mean that
+he could not, had he chosen. He was warped from color by his lower
+Greek instincts, by his animal delight in coarse and violent forms and
+scenes--in fighting, in hunting, and in torments of martyrdom and of
+hell: but he had the higher gift in him, if the flesh had not subdued
+it. There is one part of this picture which he learned how to do at
+Venice, the Iris, with the golden hair, in the chariot behind Juno. In
+her he has put out his full power, under the teaching of Veronese and
+Titian; and he has all the splendid Northern-Gothic, Reynolds or
+Gainsborough play of feature with Venetian color. Scarcely anything
+more beautiful than that head, or more masterly than the composition
+of it, with the inlaid pattern of Juno's robe below, exists in the art
+of any country. _Si sic omnia!_--but I know nothing else equal to it
+throughout the entire works of Rubens.
+
+49. See, then, how the picture divides itself. In the fleshly
+baseness, brutality and stupidity of its main conception, is the Dutch
+part of it; that is Rubens' own. In the noble drawing of the dead body
+and of the birds you have the Phidias-Greek part of it, brought down
+to Rubens through Michael Angelo. In the embroidery of Juno's robe you
+have the Dædalus-Greek part of it, brought down to Rubens through
+Veronese. In the head of Iris you have the pure Northern-Gothic part
+of it, brought down to Rubens through Giorgione and Titian.
+
+50. Now, though--even if we had given ten minutes of digression--the
+lessons in this picture would have been well worth it, I have not, in
+taking you to it, gone out of my own way. There is a special point for
+us to observe in those dark peacocks. If you look at the notes on the
+Venetian pictures in the end of my "Stones of Venice," you will find
+it especially dwelt upon as singular that Tintoret, in his picture of
+"The Nativity," has a peacock without any color in it. And the reason
+of it is also that Tintoret belongs, with the full half of his mind,
+as Rubens does, to the Greek school. But the two men reach the same
+point by opposite paths. Tintoret begins with what Venice taught him,
+and adopted what Athens could teach: but Rubens begins with Athens,
+and adopts from Venice. Now if you will look back to my fifth
+Lecture[9] you will find it said that the colorists can always adopt
+as much chiaroscuro as suits them, and so become perfect; but the
+chiaroscurists cannot, on their part, adopt color, except partially.
+And accordingly, whenever Tintoret chooses, he can laugh Rubens to
+scorn in management of light and shade; but Rubens only here and
+there--as far as I know myself, only this once--touches Tintoret or
+Giorgione in color.
+
+[Footnote 9: "Lectures on Art" (the Inaugural Course, 1870), § 138.]
+
+51. But now observe farther. The Greek chiaroscuro, I have just told
+you, is by one body of men pursued academically, as a means of
+expressing form; by another, tragically, as a mystery of light and
+shade, corresponding to--and forming part of--the joy and sorrow of
+life. You may, of course, find the two purposes mingled: but pure
+formal chiaroscuro--Marc Antonio's and Leonardo's--is inconsistent
+with color, and though it is thoroughly necessary as an exercise, it
+is only as a correcting and guarding one, never as a basis of art.
+
+52. Let me be sure, now, that you thoroughly understand the relation
+of formal shade to color. Here is an egg; here, a green cluster of
+leaves; here, a bunch of black grapes. In formal chiaroscuro, all
+these are to be considered as white, and drawn as if they were carved
+in marble. In the engraving of "Melancholy," what I meant by telling
+you it was in formal chiaroscuro was that the ball is white, the
+leaves are white, the dress is white; you can't tell what color any of
+these stand for. On the contrary, to a colorist the first question
+about everything is its color. Is this a white thing, a green thing,
+or a blue thing? down must go my touch of white, green, or dark blue
+first of all; if afterwards I can make them look round, or like fruit
+and leaves, it's all very well; but if I can't, blue or green they at
+least shall be.
+
+53. Now here you have exactly the thing done by the two masters we are
+speaking of. Here is a copy of Turner's vignette of "Martigny." This
+is wholly a design of the colored school. Here is a bit of vine in the
+foreground with purple grapes; the grapes, so far from being drawn as
+round, are struck in with angular flat spots; but they are vividly
+purple spots, their whole vitality and use in the design is in their
+Tyrian nature. Here, on the contrary, is Dürer's "Flight into Egypt,"
+with grapes and palm fruit above. Both are white; but both engraved so
+as to look thoroughly round.
+
+54. All the other great chiaroscurists whom I named to you--Reynolds,
+Velasquez, and Titian--approached their shadow also on the safe
+side--from Venice: they always think of color first. But Turner had to
+work his way out of the dark Greek school up to Venice; he always
+thinks of his shadow first; and it held him in some degree fatally to
+the end. Those pictures which you all laughed at were not what you
+fancied, mad endeavors for color; they were agonizing Greek efforts to
+get light. He could have got color easily enough if he had rested in
+that; which I will show you in next Lecture. Still, he so nearly made
+himself a Venetian that, as opposed to the Dutch academical
+chiaroscurists, he is to be considered a Venetian altogether. And now
+I will show you, in a very simple subject, the exact opposition of the
+two schools.
+
+55. Here is a study of swans, from a Dutch book of academical
+instruction in Rubens' time. It is a good and valuable book in many
+ways, and you are going to have some copies set you from it. But as a
+type of academical chiaroscuro it will give you most valuable lessons
+on the other side--of warning.
+
+Here, then, is the academical Dutchman's notion of a swan. He has
+laboriously engraved every feather, and has rounded the bird into a
+ball; and has thought to himself that never swan has been so engraved
+before. But he has never with his Dutch eyes perceived two points in a
+swan which are vital to it: first, that it is white; and, secondly,
+that it is graceful. He has above all things missed the proportion,
+and necessarily therefore the bend of its neck.
+
+56. Now take the colorist's view of the matter. To him the first main
+facts about the swan are that it is a white thing with black spots.
+Turner takes one brush in his right hand, with a little white in it;
+another in his left hand, with a little lampblack. He takes a piece of
+brown paper, works for about two minutes with his white brush, passes
+the black to his right hand, and works half a minute with that, and,
+there you are!
+
+You would like to be able to draw two swans in two minutes and a half
+yourselves. Perhaps so, and I can show you how; but it will need
+twenty years' work all day long. First, in the meantime, you must draw
+them rightly, if it takes two hours instead of two minutes; and, above
+all, remember that they are black and white.
+
+57. But farther: you see how intensely Turner felt precisely what the
+Fleming did not feel--the bend of the neck. Now this is not because
+Turner is a colorist, as opposed to the Fleming; but because he is a
+pure and highly trained Greek, as opposed to the Fleming's low Greek.
+Both, so far as they are aiming at form, are now working in the Greek
+school of Phidias; but Turner is true Greek, for he is thinking only
+of the truth about the swan; and De Wit is pseudo-Greek, for he is
+thinking not of the swan at all, but of his own Dutch self. And so he
+has ended in making, with his essentially piggish nature, this
+sleeping swan's neck as nearly as possible like a leg of pork.
+
+That is the result of academical work, in the hands of a vulgar
+person.
+
+58. And now I will ask you to look carefully at three more pictures in
+the London Exhibition.
+
+The first, "The Nativity," by Sandro Botticelli.[10] It is an early
+work by him; but a quite perfect example of what the masters of the
+pure Greek school did in Florence.
+
+[Footnote 10: Now in the National Gallery, No. 1034.]
+
+One of the Greek main characters, you know, is to be [Greek:
+aprosôpos], faceless. If you look first at the faces in this picture
+you will find them ugly--often without expression, always ill or
+carelessly drawn. The entire purpose of the picture is a mystic
+symbolism by motion and chiaroscuro. By motion, first. There is a dome
+of burning clouds in the upper heaven. Twelve angels half float, half
+dance, in a circle, round the lower vault of it. All their drapery is
+drifted so as to make you feel the whirlwind of their motion. They are
+seen by gleams of silvery or fiery light, relieved against an equally
+lighted blue of inimitable depth and loveliness.
+
+It is impossible for you ever to see a more noble work of passionate
+Greek chiaroscuro--rejoicing in light. From this I should like you to
+go instantly to Rembrandt's "Portrait of a Burgomaster" (No. 77 in the
+Exhibition of Old Masters).
+
+59. That is ignobly passionate chiaroscuro, rejoicing in darkness
+rather than light.
+
+You cannot see a finer work by Rembrandt. It has all his power of
+rendering character, and the portrait is celebrated through the world.
+But it is entirely second-rate work. The character in the face is only
+striking to persons who like candle-light effects better than
+sunshine; any head by Titian has twice the character, and seen by
+daylight instead of gas. The rest of the picture is as false in light
+and shade as it is pretentious, made up chiefly of gleaming buttons in
+places where no light could possibly reach them; and of an embossed
+belt on the shoulder, which people think finely painted because it is
+all over lumps of color, not one of which was necessary. That embossed
+execution of Rembrandt's is just as much ignorant work as the embossed
+projecting jewels of Carlo Crivelli; a real painter never loads (see
+the Velasquez, No. 415 in the same exhibition).
+
+60. Finally, from the Rembrandt go to the little Cima (No. 93), "St.
+Mark." Thus you have the Sandro Botticelli, of the noble Greek school
+in Florence; the Rembrandt, of the debased Greek school in Holland;
+and the Cima, of the pure color school of Venice.
+
+The Cima differs from the Rembrandt, by being lovely; from the
+Botticelli, by being simple and calm. The painter does not desire the
+excitement of rapid movement, nor even the passion of beautiful light.
+But he hates darkness as he does death; and falsehood more than
+either. He has painted a noble human creature simply in clear
+daylight; not in rapture, nor yet in agony. He is dressed neither in a
+rainbow, nor bedraggled with blood. You are neither to be alarmed nor
+entertained by anything that is likely to happen to him. You are not
+to be improved by the piety of his expression, nor disgusted by its
+truculence. But there is more true mastery of light and shade, if your
+eye is subtle enough to see it, in the hollows and angles of the
+architecture and folds of the dress, than in all the etchings of
+Rembrandt put together. The unexciting color will not at first delight
+you; but its charm will never fail; and from all the works of
+variously strained and obtrusive power with which it is surrounded,
+you will find that you never return to it but with a sense of relief
+and of peace, which can only be given you by the tender skill which is
+wholly without pretense, without pride, and without error.
+
+
+
+
+III.
+
+COLOR.
+
+
+61. The distinctions between schools of art which I have so often
+asked you to observe are, you must be aware, founded only on the
+excess of certain qualities in one group of painters over another, or
+the difference in their tendencies; and not in the absolute possession
+by one group, and absence in the rest, of any given skill. But this
+impossibility of drawing trenchant lines of parting need never
+interfere with the distinctness of our conception of the opponent
+principles which balance each other in great minds, or paralyze each
+other in weak ones; and I cannot too often urge you to keep clearly
+separate in your thoughts the school which I have called[11] "of
+Crystal," because its distinctive virtue is seen unaided in the sharp
+separations and prismatic harmonies of painted glass, and the other,
+the "School of Clay," because its distinctive virtue is seen in the
+qualities of any fine work in uncolored terra cotta, and in every
+drawing which represents them.
+
+[Footnote 11: "Lectures on Art, 1870," § 185.]
+
+62. You know I sometimes speak of these generally as the Gothic and
+Greek schools, sometimes as the colorist and chiaroscurist. All these
+oppositions are liable to infinite qualification and gradation, as
+between species of animals; and you must not be troubled, therefore,
+if sometimes momentary contradictions seem to arise in examining
+special points. Nay, the modes of opposition in the greatest men are
+inlaid and complex; difficult to explain, though in themselves clear.
+Thus you know in your study of sculpture we saw that the essential aim
+of the Greek art was tranquil action; the chief aim of Gothic art
+was passionate rest, a peace, an eternity of intense sentiment. As I
+go into detail, I shall continually therefore have to oppose Gothic
+passion to Greek temperance; yet Gothic rigidity, [Greek: stasis] of
+[Greek: ekstasis], to Greek action and [Greek: eleutheria]. You see
+how doubly, how intimately, opposed the ideas are; yet how difficult
+to explain without apparent contradiction.
+
+63. Now, to-day, I must guard you carefully against a misapprehension
+of this kind. I have told you that the Greeks as Greeks made real and
+material what was before indefinite; they turned the clouds and the
+lightning of Mount Ithome into the human flesh and eagle upon the
+extended arm of the Messenian Zeus. And yet, being in all things set
+upon absolute veracity and realization, they perceive as they work and
+think forward that to see in all things truly is to see in all things
+dimly and through hiding of cloud and fire.
+
+So that the schools of Crystal, visionary, passionate, and fantastic
+in purpose, are, in method, trenchantly formal and clear; and the
+schools of Clay, absolutely realistic, temperate, and simple in
+purpose, are, in method, mysterious and soft; sometimes licentious,
+sometimes terrific, and always obscure.
+
+[Illustration: MADONNA AND CHILD.
+
+From the painting by Filippo Lippi.]
+
+64. Look once more at this Greek dancing-girl, which is from a terra
+cotta, and therefore intensely of the school of Clay; look at her
+beside this Madonna of Filippo Lippi's: Greek motion against Gothic
+absolute quietness; Greek indifference--dancing careless--against
+Gothic passion, the mother's--what word can I use except frenzy of
+love; Greek fleshliness against hungry wasting of the self-forgetful
+body; Greek softness of diffused shadow and ductile curve, against
+Gothic lucidity of color and acuteness of angle; and Greek simplicity
+and cold veracity against Gothic rapture of trusted vision.
+
+65. And now I may safely, I think, go into our work of to-day without
+confusing you, except only in this. You will find me continually
+speaking of four men--Titian, Holbein, Turner, and Tintoret--in
+almost the same terms. They unite every quality; and sometimes you
+will find me referring to them as colorists, sometimes as
+chiaroscurists. Only remember this, that Holbein and Turner are Greek
+chiaroscurists, nearly perfect by adopted color; Titian and Tintoret
+are essentially Gothic colorists, quite perfect by adopted
+chiaroscuro.
+
+66. I used the word "prismatic" just now of the schools of Crystal, as
+being iridescent. By being studious of color they are studious of
+division; and while the chiaroscurist devotes himself to the
+representation of degrees of force in one thing--unseparated light,
+the colorists have for their function the attainment of beauty by
+arrangement of the divisions of light. And therefore, primarily, they
+must be able to divide; so that elementary exercises in color must be
+directed, like first exercises in music, to the clear separation of
+notes; and the final perfections of color are those in which, of
+innumerable notes or hues, every one has a distinct office, and can be
+fastened on by the eye, and approved, as fulfilling it.
+
+67. I do not doubt that it has often been matter of wonder among any
+of you who had faith in my judgment, why I gave to the University, as
+characteristic of Turner's work, the simple and at first unattractive
+drawings of the Loire series. My first and principal reason was that
+they enforced beyond all resistance, on any student who might attempt
+to copy them, this method of laying portions of distinct hue side by
+side. Some of the touches, indeed, when the tint has been mixed with
+much water, have been laid in little drops or ponds, so that the
+pigment might crystallize hard at the edge. And one of the chief
+delights which any one who really enjoys painting finds in that art as
+distinct from sculpture is in this exquisite inlaying or joiner's work
+of it, the fitting of edge to edge with a manual skill precisely
+correspondent to the close application of crowded notes without the
+least slur, in fine harp or piano playing.
+
+68. In many of the finest works of color on a large scale there is
+even some admission of the quality given to a painted window by the
+dark lead bars between the pieces of glass. Both Tintoret and
+Veronese, when they paint on dark grounds, continually stop short with
+their tints just before they touch others, leaving the dark ground
+showing between in a narrow bar. In the Paul Veronese in the National
+Gallery, you will every here and there find pieces of outline, like
+this of Holbein's; which you would suppose were drawn, as that is,
+with a brown pencil. But no! Look close, and you will find they are
+the dark ground, _left_ between two tints brought close to each other
+without touching.
+
+[Illustration: THE LADY WITH THE BROOCH.
+
+From the painting by Reynolds.]
+
+69. It follows also from this law of construction that any master who
+can color can always do any pane of his window that he likes,
+separately from the rest. Thus, you see, here is one of Sir Joshua's
+first sittings: the head is very nearly done with the first color; a
+piece of background is put in round it: his sitter has had a pretty
+silver brooch on, which Reynolds, having done as much as he chose to
+the face for that time, paints quietly in its place below, leaving the
+dress between to be fitted in afterwards; and he puts a little patch
+of the yellow gown that is to be, at the side. And it follows also
+from this law of construction that there must never be any hesitation
+or repentance in the direction of your lines of limit. So that not
+only in the beautiful dexterity of the joiner's work, but in the
+necessity of cutting out each piece of color at once and forever (for,
+though you can correct an erroneous junction of black and white
+because the gray between has the nature of either, you cannot correct
+an erroneous junction of red and green which make a neutral between
+them, if they overlap, that is neither red nor green): thus the
+practice of color educates at once in neatness of hand and
+distinctness of will; so that, as I wrote long ago in the third volume
+of "Modern Painters," you are always safe if you hold the hand of a
+colorist.
+
+70. I have brought you a little sketch to-day from the foreground of a
+Venetian picture, in which there is a bit that will show you this
+precision of method. It is the head of a parrot with a little flower
+in his beak from a picture of Carpaccio's, one of his series of the
+Life of St. George. I could not get the curves of the leaves, and they
+are patched and spoiled; but the parrot's head, however badly done, is
+put down with no more touches than the Venetian gave it, and it will
+show you exactly his method. First, a thin, warm ground had been laid
+over the whole canvas, which Carpaccio wanted as an under-current
+through all the color, just as there is an under-current of gray in
+the Loire drawings. Then on this he strikes his parrot in vermilion,
+almost flat color; rounding a little only with a glaze of lake; but
+attending mainly to get the character of the bird by the pure outline
+of its form, as if it were cut out of a piece of ruby glass.
+
+Then he comes to the beak of it. The brown ground beneath is left, for
+the most part; one touch of black is put for the hollow; two delicate
+lines of dark gray define the outer curve; and one little quivering
+touch of white draws the inner edge of the mandible. There are just
+four touches--fine as the finest penmanship--to do that beak; and yet
+you will find that in the peculiar paroquettish mumbling and nibbling
+action of it, and all the character in which this nibbling beak
+differs from the tearing beak of the eagle, it is impossible to go
+farther or be more precise. And this is only an incident, remember, in
+a large picture.
+
+71. Let me notice, in passing, the infinite absurdity of ever hanging
+Venetian pictures above the line of sight. There are very few persons
+in the room who will be able to see the drawing of this bird's beak
+without a magnifying-glass; yet it is ten to one that in any modern
+gallery such a picture would be hung thirty feet from the ground.
+
+Here, again, is a little bit to show Carpaccio's execution. It is his
+signature: only a little wall-lizard, holding the paper in its mouth,
+perfect; yet so small that you can scarcely see its feet, and that I
+could not, with my finest-pointed brush, copy their stealthy action.
+
+72. And now, I think, the members of my class will more readily
+pardon the intensely irksome work I put them to, with the compasses
+and the ruler. Measurement and precision are, with me, before all
+things; just because, though myself trained wholly in the chiaroscuro
+schools, I know the value of color; and I want you to begin with color
+in the very outset, and to see everything as children would see it.
+For, believe me, the final philosophy of art can only ratify their
+opinion that the beauty of a cock robin is to be red, and of a
+grass-plot to be green; and the best skill of art is in instantly
+seizing on the manifold deliciousness of light, which you can only
+seize by precision of instantaneous touch. Of course, I cannot do so
+myself; yet in these sketches of mine, made for the sake of color,
+there is enough to show you the nature and the value of the method.
+They are two pieces of study of the color of marble architecture, the
+tints literally "edified," and laid edge to edge as simply on the
+paper as the stones are on the walls.
+
+73. But please note in them one thing especially. The testing rule I
+gave for good color in the "Elements of Drawing," is that you make the
+white precious and the black conspicuous. Now you will see in these
+studies that the moment the white is inclosed properly, and harmonized
+with the other hues, it becomes somehow more precious and pearly than
+the white paper; and that I am not afraid to leave a whole field of
+untreated white paper all round it, being sure that even the little
+diamonds in the round window will tell as jewels, if they are gradated
+justly.
+
+Again, there is not a touch of black in any shadow, however deep, of
+these two studies; so that, if I chose to put a piece of black near
+them, it would be conspicuous with a vengeance.
+
+But in this vignette, copied from Turner, you have the two principles
+brought out perfectly. You have the white of foaming water, of
+buildings and clouds, brought out brilliantly from a white ground; and
+though part of the subject is in deep shadow the eye at once catches
+the one black point admitted in front.
+
+74. Well, the first reason that I gave you these Loire drawings was
+this of their infallible decision; the second was their extreme
+modesty in color. They are, beyond all other works that I know
+existing, dependent for their effect on low, subdued tones; their
+favorite choice in time of day being either dawn or twilight, and even
+their brightest sunsets produced chiefly out of gray paper. This last,
+the loveliest of all, gives the warmth of a summer twilight with a
+tinge of color on the gray paper so slight that it may be a question
+with some of you whether any is there. And I must beg you to observe,
+and receive as a rule without any exception, that whether color be gay
+or sad the value of it depends never on violence, but always on
+subtlety. It may be that a great colorist will use his utmost force of
+color, as a singer his full power of voice; but, loud or low, the
+virtue is in both cases always in refinement, never in loudness. The
+west window of Chartres is bedropped with crimson deeper than blood;
+but it is as soft as it is deep, and as quiet as the light of dawn.
+
+75. I say, "whether color be gay or sad." It must, remember, be one or
+the other. You know I told you that the pure Gothic school of color
+was entirety cheerful; that, as applied to landscape, it assumes that
+all nature is lovely, and may be clearly seen; that destruction and
+decay are accidents of our present state, never to be thought of
+seriously, and, above all things, never to be painted; but that
+whatever is orderly, healthy, radiant, fruitful and beautiful, is to
+be loved with all our hearts and painted with all our skill.
+
+76. I told you also that no complete system of art for either natural
+history or landscape could be formed on this system; that the wrath of
+a wild beast, and the tossing of a mountain torrent are equally
+impossible to a painter of the purist school; that in higher fields of
+thought increasing knowledge means increasing sorrow, and every art
+which has complete sympathy with humanity must be chastened by the
+sight and oppressed by the memory of pain. But there is no reason why
+your system of study should be a complete one, if it be right and
+profitable though incomplete. If you can find it in your hearts to
+follow out only the Gothic thoughts of landscape, I deeply wish you
+would, and for many reasons.
+
+77. First, it has never yet received due development; for at the
+moment when artistic skill and knowledge of effect became sufficient
+to complete its purposes, the Reformation destroyed the faith in which
+they might have been accomplished; for to the whole body of powerful
+draughtsmen the Reformation meant the Greek school and the shadow of
+death. So that of exquisitely developed Gothic landscape you may count
+the examples on the fingers of your hand: Van Eyck's "Adoration of the
+Lamb" at Bruges; another little Van Eyck in the Louvre; the John
+Bellini lately presented to the National Gallery;[12] another John
+Bellini in Rome: and the "St. George" of Carpaccio at Venice, are all
+that I can name myself of great works. But there exist some exquisite,
+though feebler, designs in missal painting; of which, in England, the
+landscape and flowers in the Psalter of Henry the Sixth will serve you
+for a sufficient type; the landscape in the Grimani missal at Venice
+being monumentally typical and perfect.
+
+[Footnote 12: No. 812. "Landscape, with the Death of St. Peter
+Martyr."]
+
+78. Now for your own practice in this, having first acquired the skill
+of exquisite delineation and laying of pure color, day by day you must
+draw some lovely natural form or flower or animal without
+obscurity--as in missal painting; choosing for study, in natural
+scenes, only what is beautiful and strong in life.
+
+79. I fully anticipated, at the beginning of the Pre-Raphaelite
+movement, that they would have carried forward this method of work;
+but they broke themselves to pieces by pursuing dramatic sensation
+instead of beauty. So that to this day all the loveliest things in the
+world remain unpainted; and although we have occasionally spasmodic
+efforts and fits of enthusiasm, and green meadows and apple-blossom to
+spare, it yet remains a fact that not in all this England, and still
+less in France, have you a painter who has been able nobly to paint
+so much as a hedge of wild roses or a forest glade full of anemones or
+wood-sorrel.
+
+80. One reason of this has been the idea that such work was easy, on
+the part of the young men who attempted it, and the total vulgarity
+and want of education in the great body of abler artists, rendering
+them insensitive to qualities of fine delineation; the universal law
+for them being that they can draw a pig, but not a Venus. For
+instance, two landscape-painters of much reputation in England, and
+one of them in France also--David Cox and John Constable, represent a
+form of blunt and untrained faculty which in being very frank and
+simple, apparently powerful, and needing no thought, intelligence or
+trouble whatever to observe, and being wholly disorderly, slovenly and
+licentious, and therein meeting with instant sympathy from the
+disorderly public mind now resentful of every trammel and ignorant of
+every law--these two men, I say, represent in their intensity the
+qualities adverse to all accurate science or skill in landscape art;
+their work being the mere blundering of clever peasants, and deserving
+no name whatever in any school of true practice, but consummately
+mischievous--first, in its easy satisfaction of the painter's own
+self-complacencies, and then in the pretense of ability which blinds
+the public to all the virtue of patience and to all the difficulty of
+precision. There is more real relation to the great schools of art,
+more fellowship with Bellini and Titian, in the humblest painter of
+letters on village signboards than in men like these.
+
+Do not, therefore, think that the Gothic school is an easy one. You
+might more easily fill a house with pictures like Constable's from
+garret to cellar, than imitate one cluster of leaves by Van Eyck or
+Giotto; and among all the efforts that have been made to paint our
+common wild-flowers, I have only once--and that in this very year,
+just in time to show it to you--seen the thing done rightly.
+
+81. But now observe: These flowers, beautiful as they are, are not of
+the Gothic school. The law of that school is that everything shall be
+seen clearly, or at least, only in such mist or faintness as shall be
+delightful; and I have no doubt that the best introduction to it would
+be the elementary practice of painting every study on a golden ground.
+This at once compels you to understand that the work is to be
+imaginative and decorative; that it represents beautiful things in the
+clearest way, but not under existing conditions; and that, in fact,
+you are producing jeweler's work, rather than pictures. Then the
+qualities of grace in design become paramount to every other; and you
+may afterwards substitute clear sky for the golden background without
+danger of loss or sacrifice of system: clear sky of golden light, or
+deep and full blue, for the full blue of Titian is just as much a
+piece of conventional enameled background as if it were a plate of
+gold; that depth of blue in relation to foreground objects being
+wholly impossible.
+
+82. There is another immense advantage in this Byzantine and Gothic
+abstraction of decisive form, when it is joined with a faithful desire
+of whatever truth can be expressed on narrow conditions. It makes us
+observe the vital points in which character consists, and educates the
+eye and mind in the habit of fastening and limiting themselves to
+essentials. In complete drawing, one is continually liable to be led
+aside from the main points by picturesque accidents of light and
+shade; in Gothic drawing you must get the character, if at all, by a
+keenness of analysis which must be in constant exercise.
+
+83. And here I must beg of you very earnestly, once for all, to clear
+your minds of any misapprehension of the nature of Gothic art, as if
+it implied error and weakness, instead of severity. That a style is
+restrained or severe does not mean that it is also erroneous. Much
+mischief has been done--endless misapprehension induced in this
+matter--by the blundering religious painters of Germany, who have
+become examples of the opposite error from our English painters of the
+Constable group. Our uneducated men work too bluntly to be ever in the
+right; but the Germans draw finely and resolutely wrong. Here is a
+"Riposo" of Overbeck's for instance, which the painter imagined to be
+elevated in style because he had drawn it without light and shade, and
+with absolute decision: and so far, indeed, it is Gothic enough; but
+it is separated everlastingly from Gothic and from all other living
+work, because the painter was too vain to look at anything he had to
+paint, and drew every mass of his drapery in lines that were as
+impossible as they were stiff, and stretched out the limbs of his
+Madonna in actions as unlikely as they are uncomfortable.
+
+In all early Gothic art, indeed, you will find failure of this kind,
+especially distortion and rigidity, which are in many respects
+painfully to be compared with the splendid repose of classic art. But
+the distortion is not Gothic; the intensity, the abstraction, the
+force of character are, and the beauty of color.
+
+84. Here is a very imperfect, but illustrative border of flowers and
+animals on a golden ground. The large letter contains, indeed,
+entirely feeble and ill-drawn figures: that is merely childish and
+failing work of an inferior hand; it is not characteristic of Gothic,
+or any other school. But this peacock, being drawn with intense
+delight in blue, on gold, and getting character of peacock in the
+general sharp outline, instead of--as Rubens' peacocks--in black
+shadow, is distinctively Gothic of fine style.
+
+85. I wish you therefore to begin your study of natural history and
+landscape by discerning the simple outlines and the pleasant colors of
+things; and to rest in them as long as you can. But, observe, you can
+only do this on one condition--that of striving also to create, in
+reality, the beauty which you seek in imagination. It will be wholly
+impossible for you to retain the tranquillity of temper and felicity
+of faith necessary for noble purist painting, unless you are actively
+engaged in promoting the felicity and peace of practical life. None of
+this bright Gothic art was ever done but either by faith in the
+attainableness of felicity in heaven, or under conditions of real
+order and delicate loveliness on the earth.
+
+86. As long as I can possibly keep you among them, there you shall
+stay--among the almond and apple blossom. But if you go on into the
+veracities of the school of Clay, you will find there is something at
+the roots of almond and apple trees, which is--This. You must look at
+him in the face--fight him--conquer him with what scathe you may: you
+need not think to keep out of the way of him. There is Turner's
+Dragon; there is Michael Angelo's; there, a very little one of
+Carpaccio's. Every soul of them had to understand the creature, and
+very earnestly.
+
+87. Not that Michael Angelo understands his dragon as the others do.
+He was not enough a colorist either to catch the points of the
+creature's aspect, or to feel the same hatred of them; but I confess
+myself always amazed in looking at Michael Angelo's work here or
+elsewhere, at his total carelessness of anatomical character except
+only in the human body. It is very easy to round a dragon's neck, if
+the only idea you have of it is that it is virtually no more than a
+coiled sausage; and, besides, anybody can round anything if you have
+full scale from white high light to black shadow.
+
+88. But look here at Carpaccio, even in my copy. The colorist says,
+"First of all, as my delicious paroquet was ruby, so this nasty viper
+shall be black"; and then is the question, "Can I round him off, even
+though he is black, and make him slimy, and yet springy, and close
+down--clotted like a pool of black blood on the earth--all the same?"
+Look at him beside Michael Angelo's, and then tell me the Venetians
+can't draw! And also, Carpaccio does it with a touch, with one sweep
+of his brush; three minutes at the most allowed for all the beast;
+while Michael Angelo has been haggling at this dragon's neck for an
+hour.
+
+89. Then note also in Turner's that clinging to the earth--the
+specialty of him--_il gran nemico_, "the great enemy," Plutus. His
+claws are like the Clefts of the Rock; his shoulders like its
+pinnacles; his belly deep into its every fissure--glued down--loaded
+down; his bat's wings cannot lift him, they are rudimentary wings
+only.
+
+90. Before I tell you what he means himself, you must know what all
+this smoke about him means.
+
+Nothing will be more precious to you, I think, in the practical study
+of art, than the conviction, which will force itself on you more and
+more every hour, of the way all things are bound together, little and
+great, in spirit and in matter. So that if you get once the right clue
+to any group of them, it will grasp the simplest, yet reach to the
+highest truths. You know I have just been telling you how this school
+of materialism and clay involved itself at last in cloud and fire.
+Now, down to the least detail of method and subject, that will hold.
+
+91. Here is a perfect type, though not a complex one, of Gothic
+landscape; the background gold, the trees drawn leaf by leaf, and full
+green in color--no effect of light. Here is an equally typical
+Greek-school landscape, by Wilson--lost wholly in golden mist; the
+trees so slightly drawn that you don't know if they are trees or
+towers, and no care for color whatever; perfectly deceptive and
+marvelous effect of sunshine through the mist--"Apollo and the
+Python." Now here is Raphael, exactly between the two--trees still
+drawn leaf by leaf, wholly formal; but beautiful mist coming gradually
+into the distance. Well, then, last, here is Turner's; Greek-school of
+the highest class; and you define his art, absolutely, as first the
+displaying intensely, and with the sternest intellect, of natural form
+as it is, and then the envelopment of it with cloud and fire. Only,
+there are two sorts of cloud and fire. He knows them both. There's
+one, and there's another--the "Dudley" and the "Flint." That's what
+the cloud and flame of the dragon mean: now, let me show you what the
+dragon means himself.
+
+92. I go back to another perfect landscape of the living Gothic
+school. It is only a pencil outline, by Edward Burne-Jones, in
+illustration of the story of Psyche; it is the introduction of Psyche,
+after all her troubles, into heaven.
+
+Now in this of Burne-Jones, the landscape is clearly full of light
+everywhere, color or glass light: that is, the outline is prepared
+for modification of color only. Every plant in the grass is set
+formally, grows perfectly, and may be realized completely. Exquisite
+order, and universal, with eternal life and light, this is the faith
+and effort of the schools of Crystal; and you may describe and
+complete their work quite literally by taking any verses of Chaucer in
+his tender mood, and observing how he insists on the clearness and
+brightness first, and then on the order. Thus, in Chaucer's "Dream":
+
+     "Within an yle me thought I was,
+     Where wall and yate was all of glasse,
+     And so was closed round about
+     That leavelesse none come in ne out,
+     Uncouth and straunge to beholde,
+     For every yate of fine golde
+     A thousand fanes, aie turning,
+     Entuned had, and briddes singing
+     Divers, and on each fane a paire
+     With open mouth again here;
+     And of a sute were all the toures
+     Subtily corven after floures,
+     Of uncouth colors during aye
+     That never been none seene in May."
+
+93. Next to this drawing of Psyche I place two of Turner's most
+beautiful classical landscapes. At once you are out of the open
+daylight, either in sunshine admitted partially through trembling
+leaves, or in the last rays of its setting, scarcely any more warm on
+the darkness of the ilex wood. In both, the vegetation, though
+beautiful, is absolutely wild and uncared for, as it seems, either by
+human or by higher powers, which, having appointed for it the laws of
+its being, leave it to spring into such beauty as is consistent with
+disease and alternate with decay.
+
+[Illustration: ÆSACUS AND HESPERIE.
+
+From the painting by Turner.]
+
+In the purest landscape, the _human_ subject is the immortality of the
+soul by the faithfulness of love: in both the Turner landscapes it is
+the death of the body by the impatience and error of love. The one is
+the first glimpse of Hesperia to Æsacus:[13]
+
+     "Aspicit Hesperien patria Cebrenida ripa,
+     Injectos humeris siccantem sole capillos:"
+
+in a few moments to lose her forever. The other is a mythological
+subject of deeper meaning, the death of Procris.
+
+[Footnote 13: Ovid, "Metamorphoses," XI. 769.]
+
+94. I just now referred to the landscape by John Bellini in the
+National Gallery as one of the six best existing of the purist school,
+being wholly felicitous and enjoyable. In the foreground of it indeed
+is the martyrdom of Peter Martyr; but John Bellini looks upon that as
+an entirely cheerful and pleasing incident; it does not disturb or
+even surprise him, much less displease in the slightest degree.
+
+Now, the next best landscape[14] to this, in the National Gallery, is
+a Florentine one on the edge of transition to the Greek feeling; and
+in that the distance is still beautiful, but misty, not clear; the
+flowers are still beautiful, but--intentionally--of the color of
+blood; and in the foreground lies the dead body of Procris, which
+disturbs the poor painter greatly; and he has expressed his disturbed
+mind about it in the figure of a poor little brown--nearly
+black--Faun, or perhaps the god Faunus himself, who is much puzzled by
+the death of Procris, and stoops over her, thinking it a woeful thing
+to find her pretty body lying there breathless, and all spotted with
+blood on the breast.
+
+[Footnote 14: (Of the Purist school.)]
+
+95. You remember I told you how the earthly power that is necessary in
+art was shown by the flight of Dædalus to the [Greek: herpeton] Minos.
+Look for yourselves at the story of Procris as related to Minos in the
+fifteenth chapter of the third book of Apollodorus; and you will see
+why it is a Faun who is put to wonder at her, she having escaped by
+artifice from the Bestial power of Minos. Yet she is wholly an
+earth-nymph, and the son of Aurora must not only leave her, but
+himself slay her; the myth of Semele desiring to see Zeus, and of
+Apollo and Coronis, and this having all the same main interest. Once
+understand that, and you will see why Turner has put her death under
+this deep shade of trees, the sun withdrawing his last ray; and why he
+has put beside her the low type of an animal's pain, a dog licking its
+wounded paw.
+
+96. But now, I want you to understand Turner's depth of sympathy
+farther still. In both these high mythical subjects the surrounding
+nature, though suffering, is still dignified and beautiful. Every line
+in which the master traces it, even where seemingly negligent, is
+lovely, and set down with a meditative calmness which makes these two
+etchings capable of being placed beside the most tranquil work of
+Holbein or Dürer. In this "Cephalus" especially, note the extreme
+equality and serenity of every outline. But now here is a subject of
+which you will wonder at first why Turner drew it at all. It has no
+beauty whatsoever, no specialty of picturesqueness; and all its lines
+are cramped and poor.
+
+The crampness and the poverty are all intended. This is no longer to
+make us think of the death of happy souls, but of the labor of unhappy
+ones; at least, of the more or less limited, dullest, and--I must not
+say homely, but--unhomely life of the neglected agricultural poor.
+
+It is a gleaner bringing down her one sheaf of corn to an old
+watermill, itself mossy and rent, scarcely able to get its stones to
+turn. An ill-bred dog stands, joyless, by the unfenced stream; two
+country boys lean, joyless, against a wall that is half broken down;
+and all about the steps down which the girl is bringing her sheaf, the
+bank of earth, flowerless and rugged, testifies only of its malignity;
+and in the black and sternly rugged etching--no longer graceful, but
+hard, and broken in every touch--the master insists upon the ancient
+curse of the earth--"Thorns also and Thistles shall it bring forth to
+thee."
+
+97. And now you will see at once with what feeling Turner completes,
+in a more tender mood, this lovely subject of his Yorkshire stream, by
+giving it the conditions of pastoral and agricultural life; the cattle
+by the pool, the milkmaid crossing the bridge with her pail on her
+head, the mill with the old millstones, and its gleaming weir as his
+chief light led across behind the wild trees.
+
+[Illustration: MILL NEAR GRANDE CHARTREUSE.
+
+From the painting by Turner.]
+
+98. And not among our soft-flowing rivers only; but here among the
+torrents of the Great Chartreuse, where another man would assuredly
+have drawn the monastery, Turner only draws their working mill. And
+here I am able to show you, fortunately, one of his works painted at
+this time of his most earnest thought; when his imagination was still
+freshly filled with the Greek mythology, and he saw for the first time
+with his own eyes the clouds come down upon the actual earth.
+
+[Illustration: L'AIGUILLETTE, VALLEY OF CLUSES.
+
+From the painting by Turner.]
+
+99. The scene is one which, in old times of Swiss traveling, you would
+all have known well; a little cascade which descends to the road from
+Geneva to Chamouni, near the village of Maglans, from under a
+subordinate ridge of the Aiguille de Varens, known as the Aiguillette.
+You, none of you, probably, know the scene now; for your only object
+is to get to Chamouni and up Mont Blanc and down again; but the Valley
+of Cluse, if you knew it, is worth many Chamounis; and it impressed
+Turner profoundly. The facts of the spot are here given in mere and
+pure simplicity; a quite unpicturesque bridge, a few trees partly
+stunted and blasted by the violence of the torrent in storm at their
+roots, a cottage with its mill-wheel--this has lately been pulled down
+to widen the road--and the brook shed from the rocks and finding its
+way to join the Arve. The scene is absolutely Arcadian. All the
+traditions of the Greek Hills, in their purity, were founded on such
+rocks and shadows as these; and Turner has given you the birth of the
+Shepherd Hermes on Cyllene, in its visible and solemn presence, the
+white cloud, Hermes Eriophoros forming out of heaven upon the Hills;
+the brook, distilled from it, as the type of human life, born of the
+cloud and vanishing into the cloud, led down by the haunting Hermes
+among the ravines; and then, like the reflection of the cloud itself,
+the white sheep, with the dog of Argus guarding them, drinking from
+the stream.
+
+100. And now, do you see why I gave you, for the beginning of your
+types of landscape thought, that "Junction of Tees and Greta" in their
+misty ravines; and this glen of the Greta above, in which Turner has
+indeed done his best to paint the trees that live again after their
+autumn--the twilight that will rise again with twilight of dawn--the
+stream that flows always, and the resting on the cliffs of the
+clouds that return if they vanish; but of human life, he says, a boy
+climbing among the trees for his entangled kite, and these white
+stones in the mountain churchyard, show forth all the strength and all
+the end.
+
+101. You think that saying of the Greek school--Pindar's summary of
+it, "[Greek: ti de tis; ti d'ou tis];"[15]--a sorrowful and degrading
+lesson. See at least, then, that you reach the level of such
+degradation. See that your lives be in nothing worse than a boy's
+climbing for his entangled kite. It will be well for you if you join
+not with those who instead of kites fly falcons; who instead of
+obeying the last words of the great Cloud-Shepherd--to feed his sheep,
+live the lives--how much less than vanity!--of the war-wolf and the
+gier-eagle. Or, do you think it a dishonor to man to say to him that
+Death is but only Rest? See that when it draws near to you, you may
+look to it, at least for sweetness of Rest; and that you recognize the
+Lord of Death coming to you as a Shepherd gathering you into his Fold
+for the night.
+
+[Footnote 15: Pyth. viii. 95. (135.)]
+
+
+
+
+
+
+
+
+End of the Project Gutenberg EBook of Lectures on Landscape, by John Ruskin
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+      The Project Gutenberg eBook of Lectures on Landscape, by John Ruskin.
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+
+The Project Gutenberg EBook of Lectures on Landscape, by John Ruskin
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Lectures on Landscape
+       Delivered at Oxford in Lent Term, 1871
+
+Author: John Ruskin
+
+Release Date: December 4, 2006 [EBook #20019]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK LECTURES ON LANDSCAPE ***
+
+
+
+
+Produced by Juliet Sutherland, Linda Cantoni, and the
+Online Distributed Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+</pre>
+
+
+
+
+
+<h1>LECTURES ON LANDSCAPE</h1>
+
+<h2>DELIVERED AT OXFORD</h2>
+
+<h3>IN LENT TERM, 1871.</h3>
+
+<hr style="width: 15%;" />
+
+<h3>Library Edition</h3>
+
+<hr style="width: 15%;" />
+
+<h2>THE COMPLETE WORKS</h2>
+
+<h3>OF</h3>
+
+<h2>JOHN RUSKIN</h2>
+
+<p>&#160;</p>
+
+<h3>
+CROWN OF WILD OLIVE<br />
+TIME AND TIDE<br />
+QUEEN OF THE AIR<br />
+LECTURES ON ART AND LANDSCAPE<br />
+ARATRA PENTELICI<br />
+</h3>
+
+<hr style="width: 15%;" />
+
+<p style="text-align: center">
+NATIONAL LIBRARY ASSOCIATION<br />
+NEW YORK <span style="margin-left: 6em">CHICAGO</span><br />
+</p>
+
+<hr style="width: 15%;" />
+
+<p class="notes"><i>Transcriber's Note:</i> This e-text contains words and phrases in ancient Greek. In the original text, some of the
+Greek characters have diacritical marks which do not display properly in
+some browsers. In order to make this e-text as accessible as possible, the
+diacritical marks have been omitted, except that the rough-breathing mark
+is here represented by an apostrophe at the beginning of the word. All text
+in Greek has a mouse-hover pop-up transliteration, e.g., <span lang="el" title="Greek: kalos">&#954;&#945;&#955;&#959;&#962;</span>.
+</p>
+
+
+<p>&#160;</p>
+
+
+<p style="text-align: center">
+<img src="images/image01.jpg" width="500" height="300" alt="Brantwood" title="Brantwood" /></p>
+
+
+<p style="text-align: center"><b>BRANTWOOD</b></p>
+
+<p style="text-align: center"><b>FROM A PHOTOGRAPH</b></p>
+
+
+
+<hr style="width: 65%;" />
+<h2>PREFATORY NOTE.</h2>
+
+
+<p><i>THESE Lectures on Landscape were given at Oxford on January 20,
+February 9, and February 23, 1871. They were not public Lectures, like
+Professor Ruskin's other courses, but addressed only to undergraduates
+who had joined his class. They were illustrated by pictures from his
+collection, of which several are here reproduced, and by others which
+may be seen in the Oxford University Galleries or in the Ruskin
+Drawing School.</i></p>
+
+<p style="text-align: right"><i>W.G.C.</i></p>
+
+
+
+<hr style="width: 65%;" />
+<h2>CONTENTS.</h2>
+
+
+
+
+<table style="width: 50%" border="0" cellpadding="4" cellspacing="0" summary="contents">
+  <tbody>
+  <tr>
+    <td>&#160;</td>
+    <td style="text-align: right">PAGE</td>
+  </tr>
+  <tr>
+    <td style="text-align: center" colspan="2"><b><a href="#I">LECTURE I.</a></b></td>
+  </tr>
+  <tr>
+    <td><span class="smcap">Outline</span></td>
+    <td style="text-align: right"><a href="#Page_1">1</a></td>
+  </tr>
+  <tr>
+    <td style="text-align: center" colspan="2"><b><a href="#II">LECTURE II.</a></b></td>
+  </tr>
+  <tr>
+    <td><span class="smcap">Light and Shade</span></td>
+    <td style="text-align: right"><a href="#Page_16">16</a></td>
+  </tr>
+  <tr>
+    <td style="text-align: center" colspan="2"><b><a href="#III">LECTURE III.</a></b></td>
+  </tr>
+  <tr>
+    <td><span class="smcap">Color</span></td>
+    <td style="text-align: right"><a href="#Page_32">32</a></td>
+  </tr>
+</tbody>
+</table>
+
+
+
+<hr style="width: 65%;" />
+<h2>LIST OF PLATES</h2>
+
+
+
+<table style="width: 50%" border="0" cellpadding="4" cellspacing="0" summary="">
+<tbody>
+<tr><td>&#160;</td><td style="text-align: right">Page</td></tr>
+<tr><td><a href="#vesuvius">Vesuvius in Eruption</a>, by J.M.W. Turner</td><td style="text-align: right">
+  <a href="#Page_2">2</a></td></tr>
+<tr><td><a href="#blair">Near Blair Athol</a>, by J.M.W. Turner</td><td style="text-align: right">
+  <a href="#Page_19">19</a></td></tr>
+<tr><td><a href="#dumblane">Dumblane Abbey</a>, by J.M.W. Turner</td><td style="text-align: right">
+  <a href="#Page_20">20</a></td></tr>
+<tr><td><a href="#lippi">Madonna and Child</a>, by Filippo Lippi</td><td style="text-align: right">
+  <a href="#Page_33">33</a></td></tr>
+<tr><td><a href="#brooch">The Lady with the Brooch</a>, by Sir Joshua Reynolds</td><td style="text-align: right">
+  <a href="#Page_35">35</a></td></tr>
+<tr><td><a href="#aesacus">&#198;sacus and Hesperie</a>, by J.M.W. Turner</td><td style="text-align: right">
+  <a href="#Page_45">45</a></td></tr>
+<tr><td><a href="#mill">Mill near Grande Chartreuse</a>, by J.M.W. Turner</td><td style="text-align: right">
+  <a href="#Page_47">47</a></td></tr>
+<tr><td><a href="#aiguillette">L'Aiguillette; Valley of Cluses</a>, by J.M.W. Turner</td><td style="text-align: right">
+  <a href="#Page_48">48</a></td></tr>
+</tbody>
+</table>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_1" id="Page_1">[Pg 1]</a></span></p>
+<h2>LECTURES ON LANDSCAPE.</h2>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="I" id="I"></a>I.</h2>
+
+<h3>OUTLINE.</h3>
+
+
+<p>1. <span class="smcap">In</span> my inaugural lecture,<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a> I stated that while holding this
+professorship I should direct you, in your practical exercises,
+chiefly to natural history and landscape. And having in the course of
+the past year laid the foundational elements of art sufficiently
+before you, I will invite you, now, to enter on real work with me; and
+accordingly I propose during this and the following term to give you
+what practical leading I can in elementary study of landscape, and of
+a branch of natural history which will form a kind of center for all
+the rest&#8212;Ichthyology.</p>
+
+<p>In the outset I must shortly state to you the position which landscape
+painting and animal painting hold towards the higher branches of art.</p>
+
+<p>2. Landscape painting is the thoughtful and passionate representation
+of the physical conditions appointed for human existence. It imitates
+the aspects, and records the phenomena, of the visible things which
+are dangerous or beneficial to men; and displays the human methods of
+dealing with these, and of enjoying them or suffering from them, which
+are either exemplary or deserving of sympathetic contemplation. Animal
+painting investigates the laws of greater and less nobility of
+character in organic form, as comparative anatomy examines those of
+greater and less development in organic<span class="pagenum"><a name="Page_2" id="Page_2">[Pg 2]</a></span> structure; and the function
+of animal painting is to bring into notice the minor and unthought of
+conditions of power or beauty, as that of physiology is to ascertain
+the minor conditions of adaptation.</p>
+
+<p>3. Questions as to the purpose of arrangements or the use of the
+organs of an animal are, however, no less within the province of the
+painter than of the physiologist, and are indeed more likely to
+commend themselves to you through drawing than dissection. For as you
+dissect an animal you generally assume its form to be necessary and
+only examine how it is constructed; but in drawing the outer form
+itself attentively you are led necessarily to consider the mode of
+life for which it is disposed, and therefore to be struck by any
+awkwardness or apparent uselessness in its parts. After sketching one
+day several heads of birds it became a vital matter of interest to me
+to know the use of the bony process on the head of the hornbill; but
+on asking a great physiologist, I found that it appeared to him an
+absurd question, and was certainly an unanswerable one.</p>
+
+<p>4. I have limited, you have just heard, landscape painting to the
+representation of phenomena relating to human life. You will scarcely
+be disposed to admit the propriety of such a limitation; and you will
+still less be likely to conceive its necessary strictness and
+severity, unless I convince you of it by somewhat detailed examples.</p>
+
+<p>Here are two landscapes by Turner in his greatest time&#8212;Vesuvius in
+repose, <a href="#vesuvius">Vesuvius in eruption</a>.</p>
+
+<p>One is a beautiful harmony of cool color; and the other of hot, and
+they are both exquisitely designed in ornamental lines. But they are
+not painted for those qualities. They are painted because the state of
+the scene in one case is full of delight to men; and in the other of
+pain and danger. And it is not Turner's object at all to exhibit or
+illustrate natural phenomena, however interesting in themselves.</p>
+
+<p>&#160;</p>
+
+<p style="text-align: center">
+<a name="vesuvius">
+<img src="images/image02.jpg" width="500" height="305" alt="Vesuvius in Eruption" title="Vesuvius in Eruption" /></a></p>
+
+<p style="text-align: center"><b>VESUVIUS IN ERUPTION.</b></p>
+
+<p style="text-align: center"><b>From the painting by Turner.</b></p>
+
+<p style="text-align: center"><a href="images/image02a.jpg">[View color version]</a></p>
+
+<p>&#160;</p>
+
+<p>He does not want to paint blue mist in order to teach you the nature
+of evaporation; nor this lava stream, to explain to you the operation
+of gravity on ponderous and viscous<span class="pagenum"><a name="Page_3" id="Page_3">[Pg 3]</a></span> materials. He paints the blue
+mist, because it brings life and joy to men, and the lava stream
+because it is death to them.</p>
+
+<p>5. Again here are two sea-pieces by Turner of the same
+period&#8212;photographs from them at least. One is a calm on the shore at
+Scarborough; the other the wreck of an Indiaman.</p>
+
+<p>These also are each painted with exquisitely artistic purpose: the
+first in opposition of local black to diffused sunshine; the second in
+the decorative grouping of white spots on a dark ground. That
+decorative purpose of dappling, or <span title="Greek: poikilia">&#960;&#959;&#953;&#954;&#953;&#955;&#953;&#945;</span>, is as studiously
+and deliciously carried out by Turner with the D&#230;dalus side of him, in
+the inlaying of these white spots on the Indiaman's deck, as if he
+were working a precious toy in ebony and ivory. But Turner did not
+paint either of the sea-pieces for the sake of these decorous
+arrangements; neither did he paint the Scarborough as a professor of
+physical science, to show you the level of low tide on the Yorkshire
+coast; nor the Indiaman to show you the force of impact in a liquid
+mass of sea-water of given momentum. He painted this to show you the
+daily course of quiet human work and happiness, and that, to enable
+you to conceive something of uttermost human misery&#8212;both ordered by
+the power of the great deep.</p>
+
+<p>6. You may easily&#8212;you must, perhaps, for a little time&#8212;suspect me of
+exaggeration in this statement. It is so natural to suppose that the
+main interest of landscape is essentially in rocks and water and sky;
+and that figures are to be put, like the salt and mustard to a dish,
+only to give it a flavor.</p>
+
+<p>Put all that out of your heads at once. The interest of a landscape
+consists wholly in its relation either to figures present&#8212;or to
+figures past&#8212;or to human powers conceived. The most splendid drawing
+of the chain of the Alps, irrespective of their relation to humanity,
+is no more a true landscape than a painting of this bit of stone. For,
+as natural philosophers, there is no bigness or littleness to you.
+This stone is just as interesting to you, or ought to be&#8212;as if it was
+a million times as big. There is no more sublimity<span class="pagenum"><a name="Page_4" id="Page_4">[Pg 4]</a></span>&#8212;<i>per se</i>&#8212;in
+ground sloped at an angle of forty-five, than in ground level; nor in
+a perpendicular fracture of a rock, than in a horizontal one. The only
+thing that makes the one more interesting to you in a landscape than
+the other, is that you could tumble over the perpendicular
+fracture&#8212;and couldn't tumble over the other. A cloud, looked at as a
+cloud only, is no more a subject for painting than so much feculence
+in dirty water. It is merely dirty air, or at best a chemical solution
+ill made. That it is worthy of being painted at all depends upon its
+being the means of nourishment and chastisement to men, or the
+dwelling place of imaginary gods. There's a bit of blue sky and cloud
+by Turner&#8212;one of the loveliest ever painted by human hand. But, as a
+mere pattern of blue and white, he had better have painted a jay's
+wing: this was only painted by him&#8212;and is, in reality, only pleasant
+to you&#8212;because it signifies the coming of a gleam of sweet sunshine
+in windy weather; and the wind is worth thinking of only because it
+fills the sails of ships, and the sun because it warms the sailors.</p>
+
+<p>7. Now, it is most important that you should convince yourselves of
+and fully enter into this truth, because all the difficulty in
+choosing subject arises from mistakes about it. I daresay some of you
+who are fond of sketching have gone out often in the most beautiful
+country, and yet with the feeling that there was no good subject to be
+found in it. That always arises from your not having sympathy enough
+with its vital character, and looking for physical picturesqueness
+instead. On the contrary, there are crude efforts at landscape-painting,
+made continually upon the most splendid physical phenomena, in
+America, and other countries without any history. It is not of the
+slightest use. Niagara, or the North Pole and the Aurora Borealis,
+won't make a landscape; but a ditch at Iffley will, if you have
+humanity in you&#8212;enough in you to interpret the feelings of hedgers
+and ditchers, and frogs.</p>
+
+<p>8. Next, here is one of the most beautiful landscapes ever painted,
+the best I have next to the Greta and Tees.<span class="pagenum"><a name="Page_5" id="Page_5">[Pg 5]</a></span></p>
+
+<p>The subject physically is a mere bank of grass above a stream with
+some wych-elms and willows. A level-topped bank; the water has cut its
+way down through the soft alluvion of an elevated plain to the
+limestone rock at the bottom.</p>
+
+<p>Had this scene been in America, no mortal could have made a landscape
+of it. It is nothing but a grass bank with some not very pretty trees
+scattered over it, wholly without grouping. The stream at the bottom
+is rocky indeed, but its rocks are mean, flat, and of a dull yellow
+color. The sky is gray and shapeless. There's absolutely nothing to
+paint anywhere of essential landscape subject, as commonly understood.</p>
+
+<p>Now see what the landscape consists in, which I have told you is one
+of the most beautiful ever painted by man. There's first a little bit
+of it left nearly wild, not quite wild; there's a cart and rider's
+track through it among the copse; and then, standing simply on the
+wild moss-troopers' ground, the scattered ruins of a great abbey, seen
+so dimly, that they seem to be fading out of sight, in color as in
+time.</p>
+
+<p>These two things together, the wild copse wood and the ruin, take you
+back into the life of the fourteenth century. The one is the
+border-riders' kingdom; the other that of peace which has striven
+against border-riding&#8212;how vainly! Both these are remains of the past.
+But the outhouses and refectory of the abbey have been turned into a
+farmhouse, and that is inhabited, and in front of it the Mistress is
+feeding her chickens. You see the country is perfectly quiet and
+innocent, for there is no trace of a fence anywhere; the cattle have
+strayed down to the riverside, it being a hot day; and some rest in
+the shade and two in the water.</p>
+
+<p>They could not have done so at their ease had the river not been
+humanized. Only a little bit of its stony bed is left; a mill weir,
+thrown across, stays the water in a perfectly clear and delicious
+pool; to show how clear it is, Turner has put the only piece of
+playing color in all the picture into the reflections in this. One cow
+is white, another white and red,<span class="pagenum"><a name="Page_6" id="Page_6">[Pg 6]</a></span> evidently as clean as morning dew
+can wash their sides. They could not have been so in a country where
+there was the least coal smoke; so Turner has put a wreath of
+perfectly white smoke through the trees; and lest that should not be
+enough to show you they burnt wood, he has made his foreground of a
+piece of copse just lopped, with the new fagots standing up against
+it; and this still not being enough to give you the idea of perfect
+cleanliness, he has covered the stones of the river-bed with white
+clothes laid out to dry; and that not being enough yet, for the
+river-bed might be clean though nothing else was, he has put a
+quantity more hanging over the abbey walls.</p>
+
+<p>9. <i>Only natural phenomena in their direct relation to
+humanity</i>&#8212;these are to be your subjects in landscape. Rocks and water
+and air may no more be painted for their own sakes, than the armor
+carved without the warrior.</p>
+
+<p>But, secondly. I said landscape is to be a <i>passionate representation</i>
+of these things. It must be done, that is to say, with strength and
+depth of soul. This is indeed to some extent merely the particular
+application of a principle that has no exception. If you are without
+strong passions, you cannot be a painter at all. The laying of paint
+by an insensitive person, whatever it endeavors to represent, is not
+painting, but daubing or plastering; and that, observe, irrespective
+of the boldness or minuteness of the work. An insensitive person will
+daub with a camel's hair-brush and ultramarine; and a passionate one
+will paint with mortar and a trowel.</p>
+
+<p>10. But far more than common passion is necessary to paint landscape.
+The physical conditions there are so numerous, and the spiritual ones
+so occult, that you are sure to be overpowered by the materialism,
+unless your sentiment is strong. No man is naturally likely to think
+first of anatomy in painting a pretty woman; but he is very apt to do
+so in painting a mountain. No man of ordinary sense will take pleasure
+in features that have no meaning, but he may easily take it in heath,
+woods or waterfalls, that have no expression. So that it needs much
+greater strength of heart and<span class="pagenum"><a name="Page_7" id="Page_7">[Pg 7]</a></span> intellect to paint landscape than
+figure: many commonplace persons, bred in good schools, have painted
+the figure pleasantly or even well; but none but the strongest&#8212;John
+Bellini, Titian, Velasquez, Tintoret, Mantegna, Sandro Botticelli,
+Carpaccio and Turner&#8212;have ever painted a fragment of good landscape.
+In missal painting exquisite figure-drawing is frequent, and landscape
+backgrounds in late works are elaborate; but I only know thoroughly
+good landscape in one book; and I have examined&#8212;I speak
+deliberately&#8212;thousands.</p>
+
+<p>11. For one thing, the passion is necessary for the mere quantity of
+design. In good art, whether painting or sculpture, I have again and
+again told you every touch is necessary and beautifully intended. Now
+it falls within the compass of ordinary application to place rightly
+all the folds of drapery or gleams of light on a chain, or ornaments
+in a pattern; but when it comes to placing every leaf in a tree, the
+painter gets tired. Here, for instance, is a little bit of Sandro
+Botticelli background; I have purposefully sketched it in the
+slightest way, that you might see how the entire value of it depends
+on thoughtful placing. There is no texture aimed at, no completion,
+scarcely any variety of light and shade; but by mere care in the
+placing the thing is beautiful. Well, every leaf, every cloud, every
+touch is placed with the same care in great work; and when this is
+done as by John Bellini in the picture of Peter Martyr,<a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a> or as it
+was by Titian in the great Peter Martyr, with every leaf in a wood he
+gets tired. I know no other such landscape in the world as that is, or
+as that was.</p>
+
+<p>12. Perhaps you think on such conditions you never can paint landscape
+at all. Well, great landscape certainly not; but pleasant and useful
+landscape, yes; provided only the passion you bring to it be true and
+pure. The degree of it you cannot command; the genuineness of it you
+can&#8212;yes, and the depth of source also. Tintoret's passion may be like
+the Reichenbach, and yours only like a little dripping Holywell, but
+both equally from deep springs.<span class="pagenum"><a name="Page_8" id="Page_8">[Pg 8]</a></span></p>
+
+<p>13. But though the virtue of all painting (and similarly of sculpture
+and every other art) is in passion, I must not have you begin by
+working passionately. The discipline of youth, in all its work, is in
+cooling and curbing itself, as the discipline of age is in warming and
+urging itself; you know the Bacchic chorus of old men in Plato's
+<i>Laws</i>. To the end of life, indeed, the strength of a man's finest
+nature is shown in due continence; but that is because the finest
+natures remain young to the death: and for you the first thing you
+have to do in art (as in life) is to be quiet and firm&#8212;quiet, above
+everything; and modest, with this most essential modesty, that you
+must like the landscape you are going to draw better than you expect
+to like your drawing of it, however well it may succeed. If you would
+not rather have the real thing than your sketch of it, you are not in
+a right state of mind for sketching at all. If you only think of the
+scene, &quot;what a nice sketch this will make!&quot; be assured you will never
+make a nice sketch of it. You may think you have produced a beautiful
+work; nay, perhaps the public and many fair judges will agree with
+you; but I tell you positively, there will be no enduring value in
+what you have thus done. Whereas if you think of the scene, &quot;Ah, if I
+could only get some shadow or scrawl of this to carry away with me,
+how glad I should be!&quot;&#8212;then whatever you do will be, according to
+your strength, good and progressive: it may be feeble, or much
+faultful, but it will be vital and essentially precious.</p>
+
+<p>14. Now, it is not possible for you to command this state of mind, or
+anything like it, in yourselves at once. Nay, in all probability your
+eyes are so satiated by the false popular art surrounding us now on
+all sides, that you cannot see the delicate reality though you try;
+but even though you may not care for the truth, you can act as if you
+did, and tell it.</p>
+
+<p>Now, therefore, observe this following quite plain direction. Whenever
+you set yourself to draw anything, consider only how best you may give
+a person who has not seen the place, a true idea of it. Use any means
+in your power to do that, and don't think of the person for whom you
+are drawing<span class="pagenum"><a name="Page_9" id="Page_9">[Pg 9]</a></span> as a connoisseur, but as a person of ordinary sense and
+feeling. Don't get artist-like qualities for him: but first give him
+the pleasant sensation of being at the place, then show him how the
+land lies, how the water runs, how the wind blows, and so on. Always
+think of the public as Moli&#232;re of his old woman; you have done nothing
+really great or good if you can't please her.</p>
+
+<p>15. Now beginning wisely, so as to lose no time or labor, you will
+learn to paint all the conditions of quiet light and sky, before you
+attempt those of variable light and cloud. Do not trouble yourselves
+with or allow yourselves to be tempted by any effects that are
+brilliant or tremendous; except only that from the beginning I
+recommend you to watch always for sunrise; to keep a little diary of
+the manner of it, and to have beside your window a small sketch-book,
+with pencil cut over night, and colors moist. The one indulgence which
+I would have you allow yourselves in fast coloring, for some time, is
+the endeavor to secure some record at the instant of the colors of
+morning clouds; while, if they are merely white or gray or blue, you
+must get an outline of them with pencil. You will soon feel by this
+means what are the real difficulties to be encountered in all
+landscape coloring, and your eyes will be educated to quantity and
+harmonious action of forms.</p>
+
+<p>But for the rest&#8212;learn to paint everything in the quietest and
+simplest light. First outline your whole subject completely, with
+delicate sharp pencil line. If you don't get more than that, let your
+outline be a finished and lovely diagram of the whole.</p>
+
+<p>16. All the objects are then to be painted of their proper colors,
+matching them as nearly as you can, in the manner that a missal is
+painted, filling the outlined shapes neatly up to their junctions;
+re&#235;nforcing afterwards when necessary, but as little as possible; but,
+above all, knowing precisely what the light is, and where it is.<a name="FNanchor_3_3" id="FNanchor_3_3"></a><a href="#Footnote_3_3" class="fnanchor">[3]</a></p>
+<p><span class="pagenum"><a name="Page_10" id="Page_10">[Pg 10]</a></span></p>
+<p>17. I have brought two old-fashioned colored engravings,<a name="FNanchor_4_4" id="FNanchor_4_4"></a><a href="#Footnote_4_4" class="fnanchor">[4]</a> which are
+a precise type of the style I want you to begin with. Finished from
+corner to corner, as well as the painter easily could; everything done
+to good purpose, nothing for vain glory; nothing in haste or
+affectation, nothing in feverish or morbid excitement. The observation
+is accurate; the sentiment, though childish, deep and pure; and the
+effect of light, for common work, quite curiously harmonious and
+deceptive.</p>
+
+<p>They are, in spite of their weaknesses, absolutely the only landscapes
+I could show you which give you a real idea of the places, or which
+put your minds into the tone which, if you were happy and at ease,
+they would take in the air and light of Italy.</p>
+
+<p>I dwell on the necessity of completion especially, because I have lost
+much time myself from my sympathy with the feverish intensity of the
+minds of the great engravers; and from always fastening on one or two
+points of my subject and neglecting the rest.</p>
+
+<p>18. We have seen, then, that every subject is to be taken up first in
+its terminal lines, then in its light and shade, then in its color.</p>
+
+<p>First of the terminal lines of landscape, or of drawing in outline.</p>
+
+<p>I think the examples of shell outline in your copying series must
+already have made you feel the exact nature of a pure outline, the
+difficulty of it, and the value.</p>
+
+<p>But we have now to deal with limits of a more subtle kind.</p>
+
+<p>The outline of any simple solid form, even though it may have complex
+parts, represents an actual limit, accurately to be followed. The
+outline of a cup, of a <a href="#shell">shell</a>, or of an animal's limb, has a
+determinable course, which your pen or<span class="pagenum"><a name="Page_11" id="Page_11">[Pg 11]</a></span> pencil line either coincides
+with or does not. You can say of that line, either it is wrong or
+right; if right, it is in a measure suggestive, and nobly suggestive
+of the character of the object. But the greater number of objects in a
+landscape either have outlines so complex that no pencil could follow
+them (as trees in middle distance), or they have no actual outline at
+all, but a gradated and softened edge; as, for the most part, clouds,
+foam, and the like. And even in things which have determinate form,
+the outline of that form is usually quite incapable of expressing
+their real character.</p>
+
+<p>&#160;</p>
+
+<p style="text-align: center">
+<a name="shell">
+<img src="images/image03.png" width="400" height="338" alt="shell" title="shell" /></a></p>
+
+<p>&#160;</p>
+
+<p>19. Here is the most ordinary component of a foreground for instance,
+a pleasantly colored stone. Any of its pure outlines are not only
+without beauty, but absolutely powerless to give you any notion of its
+character, although that character is in itself so interesting, that
+here Turner has made a picture of little more than a heap of such
+stones, with blue water to oppose their color. In consequence of these
+difficulties and insufficiencies, most landscape-painters have been
+tempted to neglect outline altogether, and think only of effects of
+light or color on masses more or less obscurely<span class="pagenum"><a name="Page_12" id="Page_12">[Pg 12]</a></span> defined. They have
+thus gradually lost their sense of organic form, their precision of
+hand, and their respect for limiting law; in a word, for all the
+safeguards and severe dignities of their art. And landscape-painting
+has, therefore, more in consequence of this one error than of any
+other, become weak, frivolous, and justly despised.</p>
+
+<p>20. Now, if any of you have chanced to notice at the end of my &quot;Queen
+of the Air,&quot; my saying that in landscape Turner must be your only
+guide, you perhaps have thought I said so because of his great power
+in melting colors or in massing light and shade. Not so. I have always
+said he is the only great landscape-painter, and to be your only
+guide, because he is the only landscape-painter who can draw an
+outline.</p>
+
+<p>His finished works perhaps appear to you more vague than any other
+master's: no man loses his outlines more constantly. You will be
+surprised to know that his frankness in losing depends on his
+certainty of finding if he chooses; and that, while all other
+landscape-painters study from Nature in shade or in color, Turner
+always sketched with the point.</p>
+
+<p>&quot;Always,&quot; of course, is a wide word. In your copying series I have put
+a sketch by Turner in color from Nature; some few others of the kind
+exist, in the National Gallery and elsewhere. But, as a rule, from his
+boyhood to the last day of his life, he sketched only with the fine
+pencil point, and always the outline, more if he had time, but at
+least the outline, of every scene that interested him; and in general,
+outline so subtle and elaborate as to be inexhaustible in examination
+and uncopiable for delicacy.</p>
+
+<p>Here is a sketch of an English park scene which represents the average
+character of a study from Nature by Turner; and here the sketch from
+Nature of Dumblane Abbey for the <i>Liber Studiorum</i>, which shows you
+what he took from Nature, when he had time only to get what was most
+precious to him.</p>
+
+<p>21. The first thing, therefore, you have to learn in landscape, is to
+outline; and therefore we must now know precisely what an outline is,
+how it ought to be represented; and this it<span class="pagenum"><a name="Page_13" id="Page_13">[Pg 13]</a></span> will be right to define
+in quite general terms applicable to all subjects.</p>
+
+<p>We saw in the fifth Lecture<a name="FNanchor_5_5" id="FNanchor_5_5"></a><a href="#Footnote_5_5" class="fnanchor">[5]</a> that every visible thing consisted of
+spaces of color, terminated either by sharp or gradated limits.
+Whenever they are sharp, the line of separation, followed by the point
+of your drawing instrument, is the proper outline of your subject,
+whether it represents the limits of flat spaces or of solid forms.</p>
+
+<p>22. For instance, here is a drawing by Holbein of a lady in a dark
+dress, with bars of black velvet round her arm. Her form is seen
+everywhere defined against the light by a perfectly sharp linear limit
+which Holbein can accurately draw with his pen; the patches of velvet
+are also distinguished from the rest of her dress by a linear limit,
+which he follows with his pen just as decisively. Here, therefore, is
+your first great law. Wherever you see one space of color
+distinguished from another by a sharp limit, you are to draw that
+limit firmly; and that is your outline.</p>
+
+<p>23. Also, observe that as your representing this limit by a dark line
+is a conventionalism, and just as much a conventionalism when the line
+is subtle as when it is thick, the great masters accept and declare
+that conventionalism with perfect frankness, and use bold and decisive
+outline, if any.</p>
+
+<p>Also, observe, that though, when you are master of your art, you may
+modify your outline by making it dark in some parts, light in others,
+and even sometimes thick and sometimes slender, a scientifically
+accurate outline is perfectly equal throughout; and in your first
+practice I wish you to use always a pen with a blunt point, which will
+make no hair stroke under any conditions. So that using black ink and
+only one movement of the pen, not returning to thicken your line, you
+shall either have your line there, or not there; and that you may not
+be able to gradate or change it, in any way or degree whatsoever.</p>
+
+<p>24. Now the first question respecting it is: what place is your thick
+line to have with respect to the limit which it rep<span class="pagenum"><a name="Page_14" id="Page_14">[Pg 14]</a></span>resents&#8212;outside
+of it, or inside, or over it? Theoretically, it is to be over it; the
+true limit falling all the way along the center of your thick line.
+The contest of Apelles with Protogenes consisted in striking this true
+limit within each other's lines, more and more finely. And you may
+always consider your pen line as representing the first incision for
+sculpture, the true limit being the sharp center of the incision.</p>
+
+<p>But, practically, when you are outlining a light object defined
+against a dark one, the line must go outside of it; and when a dark
+object against a light one, inside of it.</p>
+
+<p>In this drawing of Holbein's, the hand being seen against the light,
+the outline goes inside the contour of the fingers.</p>
+
+<p>25. Secondly. And this is of great importance. It will happen
+constantly that forms are entirely distinct from each other and
+separated by true limits, which are yet invisible, or nearly so, to
+the eye. I place, for instance, one of these eggs in front of the
+other, and probably to most of you the separation in the light is
+indiscernible. Is it then to be outlined? In practically combining
+outline with accomplished light and shade there are cases of this kind
+in which the outline may with advantage, or even must for truth of
+effect, be omitted. But the facts of the solid form are of so vital
+importance, and the perfect command of them so necessary to the
+dignity and intelligibility of the work, that the greatest artists,
+even for their finished drawings, like to limit every solid form by a
+fine line, whether its contour be visible to the eye or not.</p>
+
+<p>26. An outline thus perfectly made with absolute decision, and with a
+wash of one color above it, is the most masterly of all methods of
+light and shade study, with limited time, when the forms of the
+objects to be drawn are clear and unaffected by mist. But without any
+wash of color, such an outline is the most valuable of all means for
+obtaining such memoranda of any scene as may explain to another
+person, or record for yourself, what is most important in its
+features.</p>
+
+<p>27. Choose, then, a subject that interests you; and so far as failure
+of time or materials compels you to finish one part, or express one
+character, rather than another, of course dwell on<span class="pagenum"><a name="Page_15" id="Page_15">[Pg 15]</a></span> the features that
+interest you most. But beyond this, forget, or even somewhat repress
+yourself, and make it your first object to give a true idea of the
+place to other people. You are not to endeavor to express your own
+feelings about it; if anything, err on the side of concealing them.
+What is best is not to think of yourself at all, but to state as
+plainly and simply as you can the whole truth of the thing. What you
+think unimportant in it may to another person be the most touching
+part of it: what you think beautiful may be in truth commonplace and
+of small value. Quietly complete each part to the best of your power,
+endeavoring to maintain a steady and dutiful energy, and the tranquil
+pleasure of a workman.</p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_16" id="Page_16">[Pg 16]</a></span></p>
+<h2><a name="II" id="II"></a>II.</h2>
+
+<h3>LIGHT AND SHADE.</h3>
+
+
+<p>28. <span class="smcap">In</span> my last Lecture I laid before you evidence that the greatness
+of the master whom I wished you to follow as your only guide in
+landscape depended primarily on his studying from Nature always with
+the point; that is to say, in pencil or pen outline. To-day I wish to
+show you that his pre&#235;minence depends secondarily on his perfect
+rendering of form and distance by light and shade, before he admits a
+thought of color.</p>
+
+<p>I say &quot;before&quot; however&#8212;observe carefully&#8212;only with reference to the
+construction of any given picture, not with reference to the order in
+which he learnt his mechanical processes. From the beginning, he
+worked out of doors with the point, but indoors with the brush; and
+attains perfect skill in washing flat color long before he attains
+anything like skill in delineation of form.</p>
+
+<p>29. Here, for instance, is a drawing, when he was twelve or thirteen
+years old, of Dover Castle and the Dover Coach; in which the future
+love of mystery is exhibited by his studiously showing the way in
+which the dust rises about the wheels; and an interest in drunken
+sailors, which materially affected his marine studies, shown not less
+in the occupants of the hind seat. But what I want you to observe is
+that, though the trees, coach, horses, and sailors are drawn as any
+schoolboy would draw them, the sky is washed in so smoothly that few
+water-color painters of our day would lightly accept a challenge to
+match it.</p>
+
+<p>And, therefore, it is, among many other reasons, that I put the brush
+into your hands from the first, and try you with a<span class="pagenum"><a name="Page_17" id="Page_17">[Pg 17]</a></span> wash in lampblack,
+before you enter my working class. But, as regards the composition of
+his picture, the drawing is always first with Turner, the color
+second.</p>
+
+<p>30. Drawing: that is to say, the expression by gradation of light,
+either of form or space. Again I thus give you a statement wholly
+adverse to the vulgar opinion of him. You will find that statement
+early in the first volume of &quot;Modern Painters,&quot; and repeated now
+through all my works these twenty-five years, in vain. Nobody will
+believe that the main virtue of Turner is in his drawing. I say &quot;the
+main virtue of Turner.&quot; Splendid though he be as a colorist, he is not
+unrivaled in color; nay, in some qualities of color he has been far
+surpassed by the Venetians. But no one has ever touched him in
+exquisiteness of gradation; and no one in landscape in perfect
+rendering of organic form.</p>
+
+<p>31. I showed you in this drawing, at last Lecture, how truly he had
+matched the color of the iron-stained rocks in the bed of the Ticino;
+and any of you who care for color at all cannot but take more or less
+pleasure in the black and greens and warm browns opposed throughout.
+But the essential value of the work is not in these. It is, first, in
+the expression of enormous scale of mountain and space of air, by
+gradations of shade in these colors, whatever they may be; and,
+secondly, in the perfect rounding and cleaving of the masses alike of
+mountain and stone. I showed you one of the stones themselves, as an
+example of uninteresting outline. If I were to ask you to paint it,
+though its color is pleasant enough, you would still find it
+uninteresting and coarse compared to that of a flower, or a bird. But
+if I can engage you in an endeavor to draw its true forms in light and
+shade, you will most assuredly find it not only interesting, but in
+some points quite beyond the most subtle skill you can give to it.</p>
+
+<p>32. You have heard me state to you, several times, that all the
+masters who valued accurate form and modeling found the readiest way
+of obtaining the facts they required to be firm pen outline, completed
+by a wash of neutral tint. This<span class="pagenum"><a name="Page_18" id="Page_18">[Pg 18]</a></span> method is indeed rarely used by
+Raphael or Michael Angelo in the drawings they have left us, because
+their studies are nearly all tentative&#8212;experiments in composition, in
+which the imperfect or careless pen outline suggested all they
+required, and was capable of easy change without confusing the eye.
+But the masters who knew precisely before they laid touch on paper
+what they were going to do&#8212;and this may be, observe, either because
+they are less or greater than the men who change; less, in merely
+drawing some natural object without attempt at composition, or greater
+in knowing absolutely beforehand the composition they intend; it may
+be, even so, that what they intend, though better known, is not so
+good:&#8212;but at all events, in this anticipating power Tintoret, Holbein
+and Turner stand, I think, alone as draughtsmen; Tintoret rarely
+sketching at all, but painting straight at the first blow, while
+Holbein and Turner sketch indeed, but it is as with a pen of iron and
+a point of diamond.</p>
+
+<p>33. You will find in your educational series<a name="FNanchor_6_6" id="FNanchor_6_6"></a><a href="#Footnote_6_6" class="fnanchor">[6]</a> many drawings
+illustrative of the method; but I have enlarged here the part that is
+executed with the pen, out of this smaller drawing, that you may see
+with what fearless strength Holbein delineates even the most delicate
+folds of the veil on the head, and of the light muslin on the
+shoulders, giving them delicacy, not by the thinness of his line, but
+by its exquisite veracity.</p>
+
+<p>The eye will endure with patience, or even linger with pleasure, on
+any line that is right, however coarse; while the faintest or finest
+that is wrong will be forcibly destructive. And again and again I have
+to recommend you to draw always as if you were engraving, and as if
+the line could not be changed.</p>
+
+<p>34. The method used by Turner in the <i>Liber Studiorum</i> is precisely
+analogous to that of Holbein. The lines of these etchings are to
+trees, rocks, or buildings, absolutely what these of Holbein are; not
+suggestions of contingent grace, but determinations of the limits of
+future form. You will see the explanatory office of such lines by
+placing this outline over<span class="pagenum"><a name="Page_19" id="Page_19">[Pg 19]</a></span> my drawing of the stone, until the lines
+coincide with the limits of the shadow. You will find that it
+intensifies and explains the forms which otherwise would have escaped
+notice, and that a perfectly gradated wash of neutral tint with an
+outline of this kind is all that is necessary for grammatical
+statement of forms. It is all that the great colorists need for their
+studies; they would think it wasted time to go farther; but, if you
+have no eye for color, you may go farther in another manner, with
+enjoyment.</p>
+
+<p>35. Now to go back to Turner.</p>
+
+<p>The <i>first</i> great object of the <i>Liber Studiorum</i>, for which I
+requested you in my sixth Lecture<a name="FNanchor_7_7" id="FNanchor_7_7"></a><a href="#Footnote_7_7" class="fnanchor">[7]</a> to make constant use of it, is
+the delineation of solid form by outline and shadow. But a yet more
+important purpose in each of the designs in that book is the
+expression of such landscape powers and character as have especial
+relation to the pleasures and pain of human life&#8212;but especially the
+pain. And it is in this respect that I desired you (Sect. 172) to be
+assured, not merely of their superiority, but of their absolute
+difference in kind from photography, as works of disciplined design.</p>
+
+<p>&#160;</p>
+
+<p style="text-align: center">
+<a name="blair">
+<img src="images/image04.jpg" width="500" height="330" alt="Near Blair Athol" title="Near Blair Athol" /></a></p>
+
+<p style="text-align: center"><b>NEAR BLAIR ATHOL.</b></p>
+
+<p style="text-align: center"><b>From the painting by Turner.</b></p>
+
+<p style="text-align: center"><a href="images/image04a.jpg">[View mezzotint version]</a></p>
+
+<p>&#160;</p>
+
+<p>36. I do not know whether any of you were interested enough in the
+little note in my catalogue on this view near <a href="#blair">Blair Athol</a>, to look for
+the scene itself during your summer rambles. If any did, and found it,
+I am nearly certain their impression would be only that of an extreme
+wonder how Turner could have made so little of so beautiful a spot.
+The projecting rock, when I saw it last in 1857, and I am certain,
+when Turner saw it, was covered with lichens having as many colors as
+a painted window. The stream&#8212;or rather powerful and deep Highland
+river, the Tilt&#8212;foamed and eddied magnificently through the narrowed
+channel; and the wild vegetation in the rock crannies was a finished
+arabesque of living sculpture, of which this study of mine, made on
+another stream, in Glenfinlas, only a few miles away, will give you a
+fair idea. Turner has absolutely stripped the rock of its beautiful
+lichens to bare slate, with one quartz<span class="pagenum"><a name="Page_20" id="Page_20">[Pg 20]</a></span> vein running up through it; he
+has quieted the river into a commonplace stream; he has given, of all
+the rich vegetation, only one cluster of quite uninteresting leaves
+and a clump of birches with ragged trunks. Yet, observe, I have told
+you of it, he has put into one scene the spirit of Scotland.</p>
+
+<p>&#160;</p>
+
+<p style="text-align: center"><a name="dumblane">
+<img src="images/image05.jpg" width="500" height="346" alt="Dumblane Abbey" title="Dumblane Abbey" /></a></p>
+
+<p style="text-align: center"><b>DUMBLANE ABBEY.</b></p>
+
+<p style="text-align: center"><b>From the painting by Turner.</b></p>
+
+<p style="text-align: center"><a href="images/image05a.jpg">[View mezzotint version]</a></p>
+
+<p>&#160;</p>
+
+<p>37. Similarly, those of you who in your long vacations have ever
+stayed near <a href="#dumblane">Dumblane</a> will be, I think, disappointed in no small degree
+by this study of the abbey, for which I showed you the sketch at last
+Lecture. You probably know that the oval window in its west end is one
+of the prettiest pieces of rough thirteenth-century carving in the
+kingdom; I used it for a chief example in my lectures at Edinburgh;
+and you know that the lancet windows, in their fine proportion and
+rugged masonry, would alone form a study of ruined Gothic masonry of
+exquisite interest.</p>
+
+<p>Yet you find Turner representing the lancet <a href="#window">window</a> by a few bare oval
+lines like the hoop of a barrel; and indicating the rest of the
+structure by a monotonous and thin piece of outline, of which I was
+asked by one of yourselves last term, and quite naturally and rightly,
+how Turner came to draw it so slightly&#8212;or, we may even say, so badly.</p>
+
+<p>38. Whenever you find Turner stopping short, or apparently failing in
+this way, especially when he does the contrary of what any of us would
+have been nearly sure to do, then is the time to look for your main
+lesson from him. You recollect those quiet words of the strongest of
+all Shakespeare's heroes, when any one else would have had his sword
+out in an instant:</p>
+
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tbody>
+<tr>
+<td>
+&quot;Keep up your bright swords, for the dew will rust them ...<br />
+Were it my cue to fight, I should have known it<br />
+Without a prompter.&quot;<a name="FNanchor_8_8" id="FNanchor_8_8"></a><a href="#Footnote_8_8" class="fnanchor">[8]</a><br />
+</td>
+</tr>
+</tbody>
+</table>
+
+<p>Now you must always watch keenly what Turner's <i>cue</i> is. You will see
+his hand go to his hilt fast enough, when it comes. Dumblane Abbey is
+a pretty piece of building enough, it is true; but the virtue of the
+whole scene, and<span class="pagenum"><a name="Page_21" id="Page_21">[Pg 21]</a></span> meaning, is not in the masonry of it. There is
+much better masonry and much more wonderful ruin of it elsewhere;
+Dumblane Abbey&#8212;tower and aisles and all&#8212;would go under one of the
+arches of buildings such as there are in the world. Look at what
+Turner will do when his cue is masonry,&#8212;in the Coliseum. What the
+execution of that drawing is you may judge by looking with a
+magnifying glass at the ivy and battlements in this, when, also, his
+cue is masonry. What then can he mean by not so much as indicating one
+pebble or joint in the walls of Dumblane?</p>
+
+<p>&#160;</p>
+
+<p style="text-align: center">
+<a name="window">
+<img src="images/image06.jpg" width="309" height="400" alt="window" title="window" /></a></p>
+
+<p>&#160;</p>
+
+<p>39. I was sending out the other day, to a friend in America, a chosen
+group of the <i>Liber Studiorum</i> to form a nucleus for<span class="pagenum"><a name="Page_22" id="Page_22">[Pg 22]</a></span> an art
+collection at Boston. And I warned my friend at once to guard his
+public against the sore disappointment their first sight of these so
+much celebrated works would be to them. &quot;You will have to make them
+understand,&quot; I wrote to him, &quot;that their first lesson will be in
+observing not what Turner has done, but what he has not done. These
+are not finished pictures, but studies; endeavors, that is to say, to
+get the utmost result possible with the simplest means; they are
+essentially thoughtful, and have each their fixed purpose, to which
+everything else is sacrificed; and that purpose is always
+imaginative&#8212;to get at the heart of the thing, not at its outside.&quot;</p>
+
+<p>40. Now, it is true, there are beautiful lichens at Blair Athol, and
+good building at Dumblane; but there are lovely lichens all over the
+cold regions of the world, and there is far more interesting
+architecture in other countries than in Scotland. The essential
+character of Scotland is that of a wild and thinly inhabited rocky
+country, not sublimely mountainous, but beautiful in low rock and
+light streamlet everywhere; with sweet copsewood and rudely growing
+trees. This wild land possesses a subdued and imperfect school of
+architecture, and has an infinitely tragic feudal, pastoral, and civic
+history. And in the events of that history a deep tenderness of
+sentiment is mingled with a cruel and barren rigidity of habitual
+character, accurately corresponding to the conditions of climate and
+earth.</p>
+
+<p>41. Now I want you especially to notice, with respect to these things,
+Turner's introduction of the ugly square tower high up on the left.
+Your first instinct would be to exclaim, &quot;How unlucky that was there
+at all! Why, at least, could not Turner have kept it out of sight?&quot; He
+has quite gratuitously brought it into sight; gratuitously drawn
+firmly the three lines of stiff drip-stone which mark its squareness
+and blankness. It is precisely that blank vacancy of decoration, and
+setting of the meager angles against wind and war, which he wants to
+force on your notice, that he may take you thoroughly out of Italy and
+Greece, and put you wholly into a<span class="pagenum"><a name="Page_23" id="Page_23">[Pg 23]</a></span> barbarous and frost-hardened land;
+that once having its gloom defined he may show you all the more
+intensely what pastoral purity and innocence of life, and loveliness
+of nature, are underneath the banks and braes of Doune, and by every
+brooklet that feeds the Forth and Clyde.</p>
+
+<p>That is the main purpose of these two studies. How it is obtained by
+various incidents in the drawing of stones, and trees, and figures, I
+will show you another time. The chief element in both is the sadness
+and depth of their effect of subdued though clear light in sky and
+stream.</p>
+
+<p>42. The sadness of their effect, I repeat. If you remember anything of
+the Lectures I gave you through last year, you must be gradually
+getting accustomed to my definition of the Greek school in art, as one
+essentially Chiaroscurist, as opposed to Gothic color; Realist, as
+opposed to Gothic imagination; and Despairing, as opposed to Gothic
+hope. And you are prepared to recognize it by any one of these three
+conditions. Only, observe, the chiaroscuro is simply the technical
+result of the two others: a Greek painter likes light and shade,
+first, because they enable him to realize form solidly, while color is
+flat; and secondly, because light and shade are melancholy, while
+color is gay.</p>
+
+<p>So that the defect of color, and substitution of more or less gray or
+gloomy effects of rounded gradation, constantly express the two
+characters: first, Academic or Greek fleshliness and solidity as
+opposed to Gothic imagination; and secondly, of Greek tragic horror
+and gloom as opposed to Gothic gladness.</p>
+
+<p>43. In the great French room in the Louvre, if you at all remember the
+general character of the historical pictures, you will instantly
+recognize, in thinking generally of them, the rounded fleshly and
+solid character in the drawing, the gray or greenish and brownish
+color, or defect of color, lurid and moonlight-like, and the gloomy
+choice of subjects, as the Deluge, the Field of Eylau, the Starvation
+on the Raft, and the Death of Endymion; always melancholy, and usually
+horrible.<span class="pagenum"><a name="Page_24" id="Page_24">[Pg 24]</a></span></p>
+
+<p>The more recent pictures of the painter G&#233;r&#244;me unite all these
+attributes in a singular degree; above all, the fleshliness and
+materialism which make his studies of the nude, in my judgment,
+altogether inadmissible into the rank of the fine arts.</p>
+
+<p>44. Now you observe that I never speak of this Greek school but with a
+certain dread. And yet I have told you that Turner belongs to it, that
+all the strongest men in times of developed art belong to it; but
+then, remember, so do all the basest. The learning of the Academy is
+indeed a splendid accessory to original power, in Velasquez, in
+Titian, or in Reynolds; but the whole world of art is full of a base
+learning of the Academy, which, when fools possess, they become a
+tenfold plague of fools.</p>
+
+<p>And again, a stern and more or less hopeless melancholy necessarily is
+under-current in the minds of the greatest men of all ages,&#8212;of Homer,
+Aeschylus, Pindar, or Shakespeare. But an earthy, sensual, and weak
+despondency is the attribute of the lowest mental and bodily disease;
+and the imbecilities and lassitudes which follow crime, both in
+nations and individuals, can only find a last stimulus to their own
+dying sensation in the fascinated contemplation of completer death.</p>
+
+<p>45. Between these&#8212;the highest, and these&#8212;the basest, you have every
+variety and combination of strength and of mistake: the mass of
+foolish persons dividing themselves always between the two oppositely
+and equally erroneous faiths, that genius may dispense with law, or
+that law can create genius. Of the two, there is more excuse for, and
+less danger in the first than in the second mistake. Genius has
+sometimes done lovely things without knowledge and without discipline.
+But all the learning of the Academies has never yet drawn so much as
+one fair face, or ever set two pleasant colors side by side.</p>
+
+<p>46. Now there is one great Northern painter, of whom I have not spoken
+till now, probably to your surprise, Rubens; whose power is composed
+of so many elements, and whose character may be illustrated so
+completely, and with it the<span class="pagenum"><a name="Page_25" id="Page_25">[Pg 25]</a></span> various operation of the counter schools,
+by one of his pictures now open to your study, that I would press you
+to set aside one of your brightest Easter afternoons for the study of
+that one picture in the Exhibition of Old Masters, the so-called &quot;Juno
+and Argus,&quot; No. 387.</p>
+
+<p>So-called, I say; for it is not a picture either of Argus or of Juno,
+but the portrait of a Flemish lady &quot;as Juno&quot; (just as Rubens painted
+his family picture with his wife &quot;as the Virgin&quot; and himself &quot;as St.
+George&quot;): and a good anatomical study of a human body as Argus. In the
+days of Rubens, you must remember, mythology was thought of as a mere
+empty form of compliment or fable, and the original meaning of it
+wholly forgotten. Rubens never dreamed that Argus is the night, or
+that his eyes are stars; but with the absolutely literal and brutal
+part of his Dutch nature supposes the head of Argus full of real eyes
+all over, and represents Hebe cutting them out with a bloody knife and
+putting one into the hand of the goddess, like an unseemly oyster.</p>
+
+<p>That conception of the action, and the loathsome sprawling of the
+trunk of Argus under the chariot, are the essential contributions of
+Rubens' own Netherland personality. Then the rest of the treatment he
+learned from other schools, but adopted with splendid power.</p>
+
+<p>47. First, I think, you ought to be struck by having two large
+peacocks painted with scarcely any color in them! They are nearly
+black, or black-green, peacocks. Now you know that Rubens is always
+spoken of as a great colorist, <i>par excellence</i> a colorist; and would
+you not have expected that&#8212;before all things&#8212;the first thing he
+would have seen in a peacock would have been gold and blue? He sees
+nothing of the kind. A peacock, to him, is essentially a dark bird;
+serpent-like in the writhing of the neck, cloud-like in the toss and
+wave of its plumes. He has dashed out the filaments of every feather
+with magnificent drawing; he has not given you one bright gleam of
+green or purple in all the two birds.</p>
+
+<p>Well, the reason of that is that Rubens is not <i>par excellence</i> a
+colorist; nay, is not even a good colorist. He is a very<span class="pagenum"><a name="Page_26" id="Page_26">[Pg 26]</a></span> second-rate
+and coarse colorist; and therefore his color catches the lower public,
+and gets talked about. But he is <i>par excellence</i> a splendid
+draughtsman of the Greek school; and no one else, except Tintoret,
+could have drawn with the same ease either the muscles of the dead
+body or the plumes of the birds.</p>
+
+<p>48. Farther, that he never became a great colorist does not mean that
+he could not, had he chosen. He was warped from color by his lower
+Greek instincts, by his animal delight in coarse and violent forms and
+scenes&#8212;in fighting, in hunting, and in torments of martyrdom and of
+hell: but he had the higher gift in him, if the flesh had not subdued
+it. There is one part of this picture which he learned how to do at
+Venice, the Iris, with the golden hair, in the chariot behind Juno. In
+her he has put out his full power, under the teaching of Veronese and
+Titian; and he has all the splendid Northern-Gothic, Reynolds or
+Gainsborough play of feature with Venetian color. Scarcely anything
+more beautiful than that head, or more masterly than the composition
+of it, with the inlaid pattern of Juno's robe below, exists in the art
+of any country. <i>Si sic omnia!</i>&#8212;but I know nothing else equal to it
+throughout the entire works of Rubens.</p>
+
+<p>49. See, then, how the picture divides itself. In the fleshly
+baseness, brutality and stupidity of its main conception, is the Dutch
+part of it; that is Rubens' own. In the noble drawing of the dead body
+and of the birds you have the Phidias-Greek part of it, brought down
+to Rubens through Michael Angelo. In the embroidery of Juno's robe you
+have the D&#230;dalus-Greek part of it, brought down to Rubens through
+Veronese. In the head of Iris you have the pure Northern-Gothic part
+of it, brought down to Rubens through Giorgione and Titian.</p>
+
+<p>50. Now, though&#8212;even if we had given ten minutes of digression&#8212;the
+lessons in this picture would have been well worth it, I have not, in
+taking you to it, gone out of my own way. There is a special point for
+us to observe in those dark peacocks. If you look at the notes on the
+Venetian pictures in the end of my &quot;Stones of Venice,&quot; you will find
+it espe<span class="pagenum"><a name="Page_27" id="Page_27">[Pg 27]</a></span>cially dwelt upon as singular that Tintoret, in his picture of
+&quot;The Nativity,&quot; has a peacock without any color in it. And the reason
+of it is also that Tintoret belongs, with the full half of his mind,
+as Rubens does, to the Greek school. But the two men reach the same
+point by opposite paths. Tintoret begins with what Venice taught him,
+and adopted what Athens could teach: but Rubens begins with Athens,
+and adopts from Venice. Now if you will look back to my fifth
+Lecture<a name="FNanchor_9_9" id="FNanchor_9_9"></a><a href="#Footnote_9_9" class="fnanchor">[9]</a> you will find it said that the colorists can always adopt
+as much chiaroscuro as suits them, and so become perfect; but the
+chiaroscurists cannot, on their part, adopt color, except partially.
+And accordingly, whenever Tintoret chooses, he can laugh Rubens to
+scorn in management of light and shade; but Rubens only here and
+there&#8212;as far as I know myself, only this once&#8212;touches Tintoret or
+Giorgione in color.</p>
+
+<p>51. But now observe farther. The Greek chiaroscuro, I have just told
+you, is by one body of men pursued academically, as a means of
+expressing form; by another, tragically, as a mystery of light and
+shade, corresponding to&#8212;and forming part of&#8212;the joy and sorrow of
+life. You may, of course, find the two purposes mingled: but pure
+formal chiaroscuro&#8212;Marc Antonio's and Leonardo's&#8212;is inconsistent
+with color, and though it is thoroughly necessary as an exercise, it
+is only as a correcting and guarding one, never as a basis of art.</p>
+
+<p>52. Let me be sure, now, that you thoroughly understand the relation
+of formal shade to color. Here is an egg; here, a green cluster of
+leaves; here, a bunch of black grapes. In formal chiaroscuro, all
+these are to be considered as white, and drawn as if they were carved
+in marble. In the engraving of &quot;Melancholy,&quot; what I meant by telling
+you it was in formal chiaroscuro was that the ball is white, the
+leaves are white, the dress is white; you can't tell what color any of
+these stand for. On the contrary, to a colorist the first question
+about everything is its color. Is this a white thing, a green thing,
+or a blue thing? down must go my<span class="pagenum"><a name="Page_28" id="Page_28">[Pg 28]</a></span> touch of white, green, or dark blue
+first of all; if afterwards I can make them look round, or like fruit
+and leaves, it's all very well; but if I can't, blue or green they at
+least shall be.</p>
+
+<p>53. Now here you have exactly the thing done by the two masters we are
+speaking of. Here is a copy of Turner's vignette of &quot;Martigny.&quot; This
+is wholly a design of the colored school. Here is a bit of vine in the
+foreground with purple grapes; the grapes, so far from being drawn as
+round, are struck in with angular flat spots; but they are vividly
+purple spots, their whole vitality and use in the design is in their
+Tyrian nature. Here, on the contrary, is D&#252;rer's &quot;Flight into Egypt,&quot;
+with grapes and palm fruit above. Both are white; but both engraved so
+as to look thoroughly round.</p>
+
+<p>54. All the other great chiaroscurists whom I named to you&#8212;Reynolds,
+Velasquez, and Titian&#8212;approached their shadow also on the safe
+side&#8212;from Venice: they always think of color first. But Turner had to
+work his way out of the dark Greek school up to Venice; he always
+thinks of his shadow first; and it held him in some degree fatally to
+the end. Those pictures which you all laughed at were not what you
+fancied, mad endeavors for color; they were agonizing Greek efforts to
+get light. He could have got color easily enough if he had rested in
+that; which I will show you in next Lecture. Still, he so nearly made
+himself a Venetian that, as opposed to the Dutch academical
+chiaroscurists, he is to be considered a Venetian altogether. And now
+I will show you, in a very simple subject, the exact opposition of the
+two schools.</p>
+
+<p>55. Here is a study of swans, from a Dutch book of academical
+instruction in Rubens' time. It is a good and valuable book in many
+ways, and you are going to have some copies set you from it. But as a
+type of academical chiaroscuro it will give you most valuable lessons
+on the other side&#8212;of warning.</p>
+
+<p>Here, then, is the academical Dutchman's notion of a swan.<span class="pagenum"><a name="Page_29" id="Page_29">[Pg 29]</a></span> He has
+laboriously engraved every feather, and has rounded the bird into a
+ball; and has thought to himself that never swan has been so engraved
+before. But he has never with his Dutch eyes perceived two points in a
+swan which are vital to it: first, that it is white; and, secondly,
+that it is graceful. He has above all things missed the proportion,
+and necessarily therefore the bend of its neck.</p>
+
+<p>56. Now take the colorist's view of the matter. To him the first main
+facts about the swan are that it is a white thing with black spots.
+Turner takes one brush in his right hand, with a little white in it;
+another in his left hand, with a little lampblack. He takes a piece of
+brown paper, works for about two minutes with his white brush, passes
+the black to his right hand, and works half a minute with that, and,
+there you are!</p>
+
+<p>You would like to be able to draw two swans in two minutes and a half
+yourselves. Perhaps so, and I can show you how; but it will need
+twenty years' work all day long. First, in the meantime, you must draw
+them rightly, if it takes two hours instead of two minutes; and, above
+all, remember that they are black and white.</p>
+
+<p>57. But farther: you see how intensely Turner felt precisely what the
+Fleming did not feel&#8212;the bend of the neck. Now this is not because
+Turner is a colorist, as opposed to the Fleming; but because he is a
+pure and highly trained Greek, as opposed to the Fleming's low Greek.
+Both, so far as they are aiming at form, are now working in the Greek
+school of Phidias; but Turner is true Greek, for he is thinking only
+of the truth about the swan; and De Wit is pseudo-Greek, for he is
+thinking not of the swan at all, but of his own Dutch self. And so he
+has ended in making, with his essentially piggish nature, this
+sleeping swan's neck as nearly as possible like a leg of pork.</p>
+
+<p>That is the result of academical work, in the hands of a vulgar
+person.</p>
+
+<p>58. And now I will ask you to look carefully at three more pictures in
+the London Exhibition.<span class="pagenum"><a name="Page_30" id="Page_30">[Pg 30]</a></span></p>
+
+<p>The first, &quot;The Nativity,&quot; by Sandro Botticelli.<a name="FNanchor_10_10" id="FNanchor_10_10"></a><a href="#Footnote_10_10" class="fnanchor">[10]</a> It is an early
+work by him; but a quite perfect example of what the masters of the
+pure Greek school did in Florence.</p>
+
+<p>One of the Greek main characters, you know, is to be <span title="Greek: aprosôpos">&#945;&#960;&#961;&#959;&#963;&#969;&#960;&#959;&#962;</span>, faceless. If you look first at the faces in this picture
+you will find them ugly&#8212;often without expression, always ill or
+carelessly drawn. The entire purpose of the picture is a mystic
+symbolism by motion and chiaroscuro. By motion, first. There is a dome
+of burning clouds in the upper heaven. Twelve angels half float, half
+dance, in a circle, round the lower vault of it. All their drapery is
+drifted so as to make you feel the whirlwind of their motion. They are
+seen by gleams of silvery or fiery light, relieved against an equally
+lighted blue of inimitable depth and loveliness.</p>
+
+<p>It is impossible for you ever to see a more noble work of passionate
+Greek chiaroscuro&#8212;rejoicing in light. From this I should like you to
+go instantly to Rembrandt's &quot;Portrait of a Burgomaster&quot; (No. 77 in the
+Exhibition of Old Masters).</p>
+
+<p>59. That is ignobly passionate chiaroscuro, rejoicing in darkness
+rather than light.</p>
+
+<p>You cannot see a finer work by Rembrandt. It has all his power of
+rendering character, and the portrait is celebrated through the world.
+But it is entirely second-rate work. The character in the face is only
+striking to persons who like candle-light effects better than
+sunshine; any head by Titian has twice the character, and seen by
+daylight instead of gas. The rest of the picture is as false in light
+and shade as it is pretentious, made up chiefly of gleaming buttons in
+places where no light could possibly reach them; and of an embossed
+belt on the shoulder, which people think finely painted because it is
+all over lumps of color, not one of which was necessary. That embossed
+execution of Rembrandt's is just as much ignorant work as the embossed
+projecting jewels of<span class="pagenum"><a name="Page_31" id="Page_31">[Pg 31]</a></span> Carlo Crivelli; a real painter never loads (see
+the Velasquez, No. 415 in the same exhibition).</p>
+
+<p>60. Finally, from the Rembrandt go to the little Cima (No. 93), &quot;St.
+Mark.&quot; Thus you have the Sandro Botticelli, of the noble Greek school
+in Florence; the Rembrandt, of the debased Greek school in Holland;
+and the Cima, of the pure color school of Venice.</p>
+
+<p>The Cima differs from the Rembrandt, by being lovely; from the
+Botticelli, by being simple and calm. The painter does not desire the
+excitement of rapid movement, nor even the passion of beautiful light.
+But he hates darkness as he does death; and falsehood more than
+either. He has painted a noble human creature simply in clear
+daylight; not in rapture, nor yet in agony. He is dressed neither in a
+rainbow, nor bedraggled with blood. You are neither to be alarmed nor
+entertained by anything that is likely to happen to him. You are not
+to be improved by the piety of his expression, nor disgusted by its
+truculence. But there is more true mastery of light and shade, if your
+eye is subtle enough to see it, in the hollows and angles of the
+architecture and folds of the dress, than in all the etchings of
+Rembrandt put together. The unexciting color will not at first delight
+you; but its charm will never fail; and from all the works of
+variously strained and obtrusive power with which it is surrounded,
+you will find that you never return to it but with a sense of relief
+and of peace, which can only be given you by the tender skill which is
+wholly without pretense, without pride, and without error.</p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_32" id="Page_32">[Pg 32]</a></span></p>
+<h2><a name="III" id="III"></a>III.</h2>
+
+<h3>COLOR.</h3>
+
+
+<p>61. <span class="smcap">The</span> distinctions between schools of art which I have so often
+asked you to observe are, you must be aware, founded only on the
+excess of certain qualities in one group of painters over another, or
+the difference in their tendencies; and not in the absolute possession
+by one group, and absence in the rest, of any given skill. But this
+impossibility of drawing trenchant lines of parting need never
+interfere with the distinctness of our conception of the opponent
+principles which balance each other in great minds, or paralyze each
+other in weak ones; and I cannot too often urge you to keep clearly
+separate in your thoughts the school which I have called<a name="FNanchor_11_11" id="FNanchor_11_11"></a><a href="#Footnote_11_11" class="fnanchor">[11]</a> &quot;of
+Crystal,&quot; because its distinctive virtue is seen unaided in the sharp
+separations and prismatic harmonies of painted glass, and the other,
+the &quot;School of Clay,&quot; because its distinctive virtue is seen in the
+qualities of any fine work in uncolored terra cotta, and in every
+drawing which represents them.</p>
+
+<p>62. You know I sometimes speak of these generally as the Gothic and
+Greek schools, sometimes as the colorist and chiaroscurist. All these
+oppositions are liable to infinite qualification and gradation, as
+between species of animals; and you must not be troubled, therefore,
+if sometimes momentary contradictions seem to arise in examining
+special points. Nay, the modes of opposition in the greatest men are
+inlaid and complex; difficult to explain, though in themselves clear.
+Thus you know in your study of sculpture we saw that the essential aim
+of the Greek art was tranquil action; the chief<span class="pagenum"><a name="Page_33" id="Page_33">[Pg 33]</a></span> aim of Gothic art
+was passionate rest, a peace, an eternity of intense sentiment. As I
+go into detail, I shall continually therefore have to oppose Gothic
+passion to Greek temperance; yet Gothic rigidity, <span title="Greek: stasis">&#963;&#964;&#945;&#963;&#953;&#962;</span> of
+<span title="Greek: ekstasis">&#949;&#954;&#963;&#964;&#945;&#963;&#953;&#962;</span>, to Greek action and <span title="Greek: eleutheria">&#949;&#955;&#949;&#965;&#952;&#949;&#961;&#953;&#945;</span>. You see
+how doubly, how intimately, opposed the ideas are; yet how difficult
+to explain without apparent contradiction.</p>
+
+<p>63. Now, to-day, I must guard you carefully against a misapprehension
+of this kind. I have told you that the Greeks as Greeks made real and
+material what was before indefinite; they turned the clouds and the
+lightning of Mount Ithome into the human flesh and eagle upon the
+extended arm of the Messenian Zeus. And yet, being in all things set
+upon absolute veracity and realization, they perceive as they work and
+think forward that to see in all things truly is to see in all things
+dimly and through hiding of cloud and fire.</p>
+
+<p>So that the schools of Crystal, visionary, passionate, and fantastic
+in purpose, are, in method, trenchantly formal and clear; and the
+schools of Clay, absolutely realistic, temperate, and simple in
+purpose, are, in method, mysterious and soft; sometimes licentious,
+sometimes terrific, and always obscure.</p>
+
+<p>&#160;</p>
+
+<p style="text-align: center"><a name="lippi">
+<img src="images/image07.jpg" width="348" height="500" alt="Madonna and Child" title="Madonna and Child" /></a></p>
+
+<p style="text-align: center"><b>MADONNA AND CHILD.</b></p>
+
+<p style="text-align: center"><b>From the painting by Filippo Lippi.</b></p>
+
+<p style="text-align: center"><a href="images/image07a.jpg">[View color version]</a></p>
+
+<p>&#160;</p>
+
+<p>64. Look once more at this Greek dancing-girl, which is from a terra
+cotta, and therefore intensely of the school of Clay; look at her
+beside this <a href="#lippi">Madonna</a> of Filippo Lippi's: Greek motion against Gothic
+absolute quietness; Greek indifference&#8212;dancing careless&#8212;against
+Gothic passion, the mother's&#8212;what word can I use except frenzy of
+love; Greek fleshliness against hungry wasting of the self-forgetful
+body; Greek softness of diffused shadow and ductile curve, against
+Gothic lucidity of color and acuteness of angle; and Greek simplicity
+and cold veracity against Gothic rapture of trusted vision.</p>
+
+<p>65. And now I may safely, I think, go into our work of to-day without
+confusing you, except only in this. You will find me continually
+speaking of four men&#8212;Titian, Holbein,<span class="pagenum"><a name="Page_34" id="Page_34">[Pg 34]</a></span> Turner, and Tintoret&#8212;in
+almost the same terms. They unite every quality; and sometimes you
+will find me referring to them as colorists, sometimes as
+chiaroscurists. Only remember this, that Holbein and Turner are Greek
+chiaroscurists, nearly perfect by adopted color; Titian and Tintoret
+are essentially Gothic colorists, quite perfect by adopted
+chiaroscuro.</p>
+
+<p>66. I used the word &quot;prismatic&quot; just now of the schools of Crystal, as
+being iridescent. By being studious of color they are studious of
+division; and while the chiaroscurist devotes himself to the
+representation of degrees of force in one thing&#8212;unseparated light,
+the colorists have for their function the attainment of beauty by
+arrangement of the divisions of light. And therefore, primarily, they
+must be able to divide; so that elementary exercises in color must be
+directed, like first exercises in music, to the clear separation of
+notes; and the final perfections of color are those in which, of
+innumerable notes or hues, every one has a distinct office, and can be
+fastened on by the eye, and approved, as fulfilling it.</p>
+
+<p>67. I do not doubt that it has often been matter of wonder among any
+of you who had faith in my judgment, why I gave to the University, as
+characteristic of Turner's work, the simple and at first unattractive
+drawings of the Loire series. My first and principal reason was that
+they enforced beyond all resistance, on any student who might attempt
+to copy them, this method of laying portions of distinct hue side by
+side. Some of the touches, indeed, when the tint has been mixed with
+much water, have been laid in little drops or ponds, so that the
+pigment might crystallize hard at the edge. And one of the chief
+delights which any one who really enjoys painting finds in that art as
+distinct from sculpture is in this exquisite inlaying or joiner's work
+of it, the fitting of edge to edge with a manual skill precisely
+correspondent to the close application of crowded notes without the
+least slur, in fine harp or piano playing.</p>
+
+<p>68. In many of the finest works of color on a large scale<span class="pagenum"><a name="Page_35" id="Page_35">[Pg 35]</a></span> there is
+even some admission of the quality given to a painted window by the
+dark lead bars between the pieces of glass. Both Tintoret and
+Veronese, when they paint on dark grounds, continually stop short with
+their tints just before they touch others, leaving the dark ground
+showing between in a narrow bar. In the Paul Veronese in the National
+Gallery, you will every here and there find pieces of outline, like
+this of Holbein's; which you would suppose were drawn, as that is,
+with a brown pencil. But no! Look close, and you will find they are
+the dark ground, <i>left</i> between two tints brought close to each other
+without touching.</p>
+
+<p>&#160;</p>
+
+<p style="text-align: center"><a name="brooch">
+<img src="images/image08.jpg" width="385" height="500" alt="The Lady with the Brooch" title="The Lady with the Brooch" /></a></p>
+
+<p style="text-align: center"><b>THE LADY WITH THE BROOCH.</b></p>
+
+<p style="text-align: center"><b>From the painting by Reynolds.</b></p>
+
+<p>&#160;</p>
+
+<p>69. It follows also from this law of construction that any master who
+can color can always do any pane of his window that he likes,
+separately from the rest. Thus, you see, here is one of <a href="#brooch">Sir Joshua's
+first sittings</a>: the head is very nearly done with the first color; a
+piece of background is put in round it: his sitter has had a pretty
+silver brooch on, which Reynolds, having done as much as he chose to
+the face for that time, paints quietly in its place below, leaving the
+dress between to be fitted in afterwards; and he puts a little patch
+of the yellow gown that is to be, at the side. And it follows also
+from this law of construction that there must never be any hesitation
+or repentance in the direction of your lines of limit. So that not
+only in the beautiful dexterity of the joiner's work, but in the
+necessity of cutting out each piece of color at once and forever (for,
+though you can correct an erroneous junction of black and white
+because the gray between has the nature of either, you cannot correct
+an erroneous junction of red and green which make a neutral between
+them, if they overlap, that is neither red nor green): thus the
+practice of color educates at once in neatness of hand and
+distinctness of will; so that, as I wrote long ago in the third volume
+of &quot;Modern Painters,&quot; you are always safe if you hold the hand of a
+colorist.</p>
+
+<p>70. I have brought you a little sketch to-day from the foreground of a
+Venetian picture, in which there is a bit that will show you this
+precision of method. It is the head of a<span class="pagenum"><a name="Page_36" id="Page_36">[Pg 36]</a></span> parrot with a little flower
+in his beak from a picture of Carpaccio's, one of his series of the
+Life of St. George. I could not get the curves of the leaves, and they
+are patched and spoiled; but the parrot's head, however badly done, is
+put down with no more touches than the Venetian gave it, and it will
+show you exactly his method. First, a thin, warm ground had been laid
+over the whole canvas, which Carpaccio wanted as an under-current
+through all the color, just as there is an under-current of gray in
+the Loire drawings. Then on this he strikes his parrot in vermilion,
+almost flat color; rounding a little only with a glaze of lake; but
+attending mainly to get the character of the bird by the pure outline
+of its form, as if it were cut out of a piece of ruby glass.</p>
+
+<p>Then he comes to the beak of it. The brown ground beneath is left, for
+the most part; one touch of black is put for the hollow; two delicate
+lines of dark gray define the outer curve; and one little quivering
+touch of white draws the inner edge of the mandible. There are just
+four touches&#8212;fine as the finest penmanship&#8212;to do that beak; and yet
+you will find that in the peculiar paroquettish mumbling and nibbling
+action of it, and all the character in which this nibbling beak
+differs from the tearing beak of the eagle, it is impossible to go
+farther or be more precise. And this is only an incident, remember, in
+a large picture.</p>
+
+<p>71. Let me notice, in passing, the infinite absurdity of ever hanging
+Venetian pictures above the line of sight. There are very few persons
+in the room who will be able to see the drawing of this bird's beak
+without a magnifying-glass; yet it is ten to one that in any modern
+gallery such a picture would be hung thirty feet from the ground.</p>
+
+<p>Here, again, is a little bit to show Carpaccio's execution. It is his
+signature: only a little wall-lizard, holding the paper in its mouth,
+perfect; yet so small that you can scarcely see its feet, and that I
+could not, with my finest-pointed brush, copy their stealthy action.</p>
+
+<p>72. And now, I think, the members of my class will more<span class="pagenum"><a name="Page_37" id="Page_37">[Pg 37]</a></span> readily
+pardon the intensely irksome work I put them to, with the compasses
+and the ruler. Measurement and precision are, with me, before all
+things; just because, though myself trained wholly in the chiaroscuro
+schools, I know the value of color; and I want you to begin with color
+in the very outset, and to see everything as children would see it.
+For, believe me, the final philosophy of art can only ratify their
+opinion that the beauty of a cock robin is to be red, and of a
+grass-plot to be green; and the best skill of art is in instantly
+seizing on the manifold deliciousness of light, which you can only
+seize by precision of instantaneous touch. Of course, I cannot do so
+myself; yet in these sketches of mine, made for the sake of color,
+there is enough to show you the nature and the value of the method.
+They are two pieces of study of the color of marble architecture, the
+tints literally &quot;edified,&quot; and laid edge to edge as simply on the
+paper as the stones are on the walls.</p>
+
+<p>73. But please note in them one thing especially. The testing rule I
+gave for good color in the &quot;Elements of Drawing,&quot; is that you make the
+white precious and the black conspicuous. Now you will see in these
+studies that the moment the white is inclosed properly, and harmonized
+with the other hues, it becomes somehow more precious and pearly than
+the white paper; and that I am not afraid to leave a whole field of
+untreated white paper all round it, being sure that even the little
+diamonds in the round window will tell as jewels, if they are gradated
+justly.</p>
+
+<p>Again, there is not a touch of black in any shadow, however deep, of
+these two studies; so that, if I chose to put a piece of black near
+them, it would be conspicuous with a vengeance.</p>
+
+<p>But in this vignette, copied from Turner, you have the two principles
+brought out perfectly. You have the white of foaming water, of
+buildings and clouds, brought out brilliantly from a white ground; and
+though part of the subject is in deep shadow the eye at once catches
+the one black point admitted in front.</p>
+
+<p>74. Well, the first reason that I gave you these Loire draw<span class="pagenum"><a name="Page_38" id="Page_38">[Pg 38]</a></span>ings was
+this of their infallible decision; the second was their extreme
+modesty in color. They are, beyond all other works that I know
+existing, dependent for their effect on low, subdued tones; their
+favorite choice in time of day being either dawn or twilight, and even
+their brightest sunsets produced chiefly out of gray paper. This last,
+the loveliest of all, gives the warmth of a summer twilight with a
+tinge of color on the gray paper so slight that it may be a question
+with some of you whether any is there. And I must beg you to observe,
+and receive as a rule without any exception, that whether color be gay
+or sad the value of it depends never on violence, but always on
+subtlety. It may be that a great colorist will use his utmost force of
+color, as a singer his full power of voice; but, loud or low, the
+virtue is in both cases always in refinement, never in loudness. The
+west window of Chartres is bedropped with crimson deeper than blood;
+but it is as soft as it is deep, and as quiet as the light of dawn.</p>
+
+<p>75. I say, &quot;whether color be gay or sad.&quot; It must, remember, be one or
+the other. You know I told you that the pure Gothic school of color
+was entirety cheerful; that, as applied to landscape, it assumes that
+all nature is lovely, and may be clearly seen; that destruction and
+decay are accidents of our present state, never to be thought of
+seriously, and, above all things, never to be painted; but that
+whatever is orderly, healthy, radiant, fruitful and beautiful, is to
+be loved with all our hearts and painted with all our skill.</p>
+
+<p>76. I told you also that no complete system of art for either natural
+history or landscape could be formed on this system; that the wrath of
+a wild beast, and the tossing of a mountain torrent are equally
+impossible to a painter of the purist school; that in higher fields of
+thought increasing knowledge means increasing sorrow, and every art
+which has complete sympathy with humanity must be chastened by the
+sight and oppressed by the memory of pain. But there is no reason why
+your system of study should be a complete one, if it be right and
+profitable though incomplete. If you can find it in your hearts to
+follow out only the Gothic thoughts<span class="pagenum"><a name="Page_39" id="Page_39">[Pg 39]</a></span> of landscape, I deeply wish you
+would, and for many reasons.</p>
+
+<p>77. First, it has never yet received due development; for at the
+moment when artistic skill and knowledge of effect became sufficient
+to complete its purposes, the Reformation destroyed the faith in which
+they might have been accomplished; for to the whole body of powerful
+draughtsmen the Reformation meant the Greek school and the shadow of
+death. So that of exquisitely developed Gothic landscape you may count
+the examples on the fingers of your hand: Van Eyck's &quot;Adoration of the
+Lamb&quot; at Bruges; another little Van Eyck in the Louvre; the John
+Bellini lately presented to the National Gallery;<a name="FNanchor_12_12" id="FNanchor_12_12"></a><a href="#Footnote_12_12" class="fnanchor">[12]</a> another John
+Bellini in Rome: and the &quot;St. George&quot; of Carpaccio at Venice, are all
+that I can name myself of great works. But there exist some exquisite,
+though feebler, designs in missal painting; of which, in England, the
+landscape and flowers in the Psalter of Henry the Sixth will serve you
+for a sufficient type; the landscape in the Grimani missal at Venice
+being monumentally typical and perfect.</p>
+
+<p>78. Now for your own practice in this, having first acquired the skill
+of exquisite delineation and laying of pure color, day by day you must
+draw some lovely natural form or flower or animal without
+obscurity&#8212;as in missal painting; choosing for study, in natural
+scenes, only what is beautiful and strong in life.</p>
+
+<p>79. I fully anticipated, at the beginning of the Pre-Raphaelite
+movement, that they would have carried forward this method of work;
+but they broke themselves to pieces by pursuing dramatic sensation
+instead of beauty. So that to this day all the loveliest things in the
+world remain unpainted; and although we have occasionally spasmodic
+efforts and fits of enthusiasm, and green meadows and apple-blossom to
+spare, it yet remains a fact that not in all this England, and still
+less in France, have you a painter who has been able<span class="pagenum"><a name="Page_40" id="Page_40">[Pg 40]</a></span> nobly to paint
+so much as a hedge of wild roses or a forest glade full of anemones or
+wood-sorrel.</p>
+
+<p>80. One reason of this has been the idea that such work was easy, on
+the part of the young men who attempted it, and the total vulgarity
+and want of education in the great body of abler artists, rendering
+them insensitive to qualities of fine delineation; the universal law
+for them being that they can draw a pig, but not a Venus. For
+instance, two landscape-painters of much reputation in England, and
+one of them in France also&#8212;David Cox and John Constable, represent a
+form of blunt and untrained faculty which in being very frank and
+simple, apparently powerful, and needing no thought, intelligence or
+trouble whatever to observe, and being wholly disorderly, slovenly and
+licentious, and therein meeting with instant sympathy from the
+disorderly public mind now resentful of every trammel and ignorant of
+every law&#8212;these two men, I say, represent in their intensity the
+qualities adverse to all accurate science or skill in landscape art;
+their work being the mere blundering of clever peasants, and deserving
+no name whatever in any school of true practice, but consummately
+mischievous&#8212;first, in its easy satisfaction of the painter's own
+self-complacencies, and then in the pretense of ability which blinds
+the public to all the virtue of patience and to all the difficulty of
+precision. There is more real relation to the great schools of art,
+more fellowship with Bellini and Titian, in the humblest painter of
+letters on village signboards than in men like these.</p>
+
+<p>Do not, therefore, think that the Gothic school is an easy one. You
+might more easily fill a house with pictures like Constable's from
+garret to cellar, than imitate one cluster of leaves by Van Eyck or
+Giotto; and among all the efforts that have been made to paint our
+common wild-flowers, I have only once&#8212;and that in this very year,
+just in time to show it to you&#8212;seen the thing done rightly.</p>
+
+<p>81. But now observe: These flowers, beautiful as they are, are not of
+the Gothic school. The law of that school is that everything shall be
+seen clearly, or at least, only in such<span class="pagenum"><a name="Page_41" id="Page_41">[Pg 41]</a></span> mist or faintness as shall be
+delightful; and I have no doubt that the best introduction to it would
+be the elementary practice of painting every study on a golden ground.
+This at once compels you to understand that the work is to be
+imaginative and decorative; that it represents beautiful things in the
+clearest way, but not under existing conditions; and that, in fact,
+you are producing jeweler's work, rather than pictures. Then the
+qualities of grace in design become paramount to every other; and you
+may afterwards substitute clear sky for the golden background without
+danger of loss or sacrifice of system: clear sky of golden light, or
+deep and full blue, for the full blue of Titian is just as much a
+piece of conventional enameled background as if it were a plate of
+gold; that depth of blue in relation to foreground objects being
+wholly impossible.</p>
+
+<p>82. There is another immense advantage in this Byzantine and Gothic
+abstraction of decisive form, when it is joined with a faithful desire
+of whatever truth can be expressed on narrow conditions. It makes us
+observe the vital points in which character consists, and educates the
+eye and mind in the habit of fastening and limiting themselves to
+essentials. In complete drawing, one is continually liable to be led
+aside from the main points by picturesque accidents of light and
+shade; in Gothic drawing you must get the character, if at all, by a
+keenness of analysis which must be in constant exercise.</p>
+
+<p>83. And here I must beg of you very earnestly, once for all, to clear
+your minds of any misapprehension of the nature of Gothic art, as if
+it implied error and weakness, instead of severity. That a style is
+restrained or severe does not mean that it is also erroneous. Much
+mischief has been done&#8212;endless misapprehension induced in this
+matter&#8212;by the blundering religious painters of Germany, who have
+become examples of the opposite error from our English painters of the
+Constable group. Our uneducated men work too bluntly to be ever in the
+right; but the Germans draw finely and resolutely wrong. Here is a
+&quot;Riposo&quot; of Overbeck's for<span class="pagenum"><a name="Page_42" id="Page_42">[Pg 42]</a></span> instance, which the painter imagined to be
+elevated in style because he had drawn it without light and shade, and
+with absolute decision: and so far, indeed, it is Gothic enough; but
+it is separated everlastingly from Gothic and from all other living
+work, because the painter was too vain to look at anything he had to
+paint, and drew every mass of his drapery in lines that were as
+impossible as they were stiff, and stretched out the limbs of his
+Madonna in actions as unlikely as they are uncomfortable.</p>
+
+<p>In all early Gothic art, indeed, you will find failure of this kind,
+especially distortion and rigidity, which are in many respects
+painfully to be compared with the splendid repose of classic art. But
+the distortion is not Gothic; the intensity, the abstraction, the
+force of character are, and the beauty of color.</p>
+
+<p>84. Here is a very imperfect, but illustrative border of flowers and
+animals on a golden ground. The large letter contains, indeed,
+entirely feeble and ill-drawn figures: that is merely childish and
+failing work of an inferior hand; it is not characteristic of Gothic,
+or any other school. But this peacock, being drawn with intense
+delight in blue, on gold, and getting character of peacock in the
+general sharp outline, instead of&#8212;as Rubens' peacocks&#8212;in black
+shadow, is distinctively Gothic of fine style.</p>
+
+<p>85. I wish you therefore to begin your study of natural history and
+landscape by discerning the simple outlines and the pleasant colors of
+things; and to rest in them as long as you can. But, observe, you can
+only do this on one condition&#8212;that of striving also to create, in
+reality, the beauty which you seek in imagination. It will be wholly
+impossible for you to retain the tranquillity of temper and felicity
+of faith necessary for noble purist painting, unless you are actively
+engaged in promoting the felicity and peace of practical life. None of
+this bright Gothic art was ever done but either by faith in the
+attainableness of felicity in heaven, or under conditions of real
+order and delicate loveliness on the earth.</p>
+
+<p>86. As long as I can possibly keep you among them, there<span class="pagenum"><a name="Page_43" id="Page_43">[Pg 43]</a></span> you shall
+stay&#8212;among the almond and apple blossom. But if you go on into the
+veracities of the school of Clay, you will find there is something at
+the roots of almond and apple trees, which is&#8212;This. You must look at
+him in the face&#8212;fight him&#8212;conquer him with what scathe you may: you
+need not think to keep out of the way of him. There is Turner's
+Dragon; there is Michael Angelo's; there, a very little one of
+Carpaccio's. Every soul of them had to understand the creature, and
+very earnestly.</p>
+
+<p>87. Not that Michael Angelo understands his dragon as the others do.
+He was not enough a colorist either to catch the points of the
+creature's aspect, or to feel the same hatred of them; but I confess
+myself always amazed in looking at Michael Angelo's work here or
+elsewhere, at his total carelessness of anatomical character except
+only in the human body. It is very easy to round a dragon's neck, if
+the only idea you have of it is that it is virtually no more than a
+coiled sausage; and, besides, anybody can round anything if you have
+full scale from white high light to black shadow.</p>
+
+<p>88. But look here at Carpaccio, even in my copy. The colorist says,
+&quot;First of all, as my delicious paroquet was ruby, so this nasty viper
+shall be black&quot;; and then is the question, &quot;Can I round him off, even
+though he is black, and make him slimy, and yet springy, and close
+down&#8212;clotted like a pool of black blood on the earth&#8212;all the same?&quot;
+Look at him beside Michael Angelo's, and then tell me the Venetians
+can't draw! And also, Carpaccio does it with a touch, with one sweep
+of his brush; three minutes at the most allowed for all the beast;
+while Michael Angelo has been haggling at this dragon's neck for an
+hour.</p>
+
+<p>89. Then note also in Turner's that clinging to the earth&#8212;the
+specialty of him&#8212;<i>il gran nemico</i>, &quot;the great enemy,&quot; Plutus. His
+claws are like the Clefts of the Rock; his shoulders like its
+pinnacles; his belly deep into its every fissure&#8212;glued down&#8212;loaded
+down; his bat's wings cannot lift him, they are rudimentary wings
+only.<span class="pagenum"><a name="Page_44" id="Page_44">[Pg 44]</a></span></p>
+
+<p>90. Before I tell you what he means himself, you must know what all
+this smoke about him means.</p>
+
+<p>Nothing will be more precious to you, I think, in the practical study
+of art, than the conviction, which will force itself on you more and
+more every hour, of the way all things are bound together, little and
+great, in spirit and in matter. So that if you get once the right clue
+to any group of them, it will grasp the simplest, yet reach to the
+highest truths. You know I have just been telling you how this school
+of materialism and clay involved itself at last in cloud and fire.
+Now, down to the least detail of method and subject, that will hold.</p>
+
+<p>91. Here is a perfect type, though not a complex one, of Gothic
+landscape; the background gold, the trees drawn leaf by leaf, and full
+green in color&#8212;no effect of light. Here is an equally typical
+Greek-school landscape, by Wilson&#8212;lost wholly in golden mist; the
+trees so slightly drawn that you don't know if they are trees or
+towers, and no care for color whatever; perfectly deceptive and
+marvelous effect of sunshine through the mist&#8212;&quot;Apollo and the
+Python.&quot; Now here is Raphael, exactly between the two&#8212;trees still
+drawn leaf by leaf, wholly formal; but beautiful mist coming gradually
+into the distance. Well, then, last, here is Turner's; Greek-school of
+the highest class; and you define his art, absolutely, as first the
+displaying intensely, and with the sternest intellect, of natural form
+as it is, and then the envelopment of it with cloud and fire. Only,
+there are two sorts of cloud and fire. He knows them both. There's
+one, and there's another&#8212;the &quot;Dudley&quot; and the &quot;Flint.&quot; That's what
+the cloud and flame of the dragon mean: now, let me show you what the
+dragon means himself.</p>
+
+<p>92. I go back to another perfect landscape of the living Gothic
+school. It is only a pencil outline, by Edward Burne-Jones, in
+illustration of the story of Psyche; it is the introduction of Psyche,
+after all her troubles, into heaven.</p>
+
+<p>Now in this of Burne-Jones, the landscape is clearly full of light
+everywhere, color or glass light: that is, the outline is<span class="pagenum"><a name="Page_45" id="Page_45">[Pg 45]</a></span> prepared
+for modification of color only. Every plant in the grass is set
+formally, grows perfectly, and may be realized completely. Exquisite
+order, and universal, with eternal life and light, this is the faith
+and effort of the schools of Crystal; and you may describe and
+complete their work quite literally by taking any verses of Chaucer in
+his tender mood, and observing how he insists on the clearness and
+brightness first, and then on the order. Thus, in Chaucer's &quot;Dream&quot;:</p>
+
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tbody>
+<tr>
+<td>
+&quot;Within an yle me thought I was,<br />
+Where wall and yate was all of glasse,<br />
+And so was closed round about<br />
+That leavelesse none come in ne out,<br />
+Uncouth and straunge to beholde,<br />
+For every yate of fine golde<br />
+A thousand fanes, aie turning,<br />
+Entuned had, and briddes singing<br />
+Divers, and on each fane a paire<br />
+With open mouth again here;<br />
+And of a sute were all the toures<br />
+Subtily corven after floures,<br />
+Of uncouth colors during aye<br />
+That never been none seene in May.&quot;<br />
+</td>
+</tr>
+</tbody>
+</table>
+
+<p>93. Next to this drawing of Psyche I place two of Turner's most
+beautiful classical landscapes. At once you are out of the open
+daylight, either in sunshine admitted partially through trembling
+leaves, or in the last rays of its setting, scarcely any more warm on
+the darkness of the ilex wood. In both, the vegetation, though
+beautiful, is absolutely wild and uncared for, as it seems, either by
+human or by higher powers, which, having appointed for it the laws of
+its being, leave it to spring into such beauty as is consistent with
+disease and alternate with decay.</p>
+
+<p>&#160;</p>
+
+<p style="text-align: center"><a name="aesacus">
+<img src="images/image09.jpg" width="500" height="340" alt="Æsacus and Hesperie" title="Æsacus and Hesperie" /></a></p>
+
+<p style="text-align: center"><b>&#198;SACUS AND HESPERIE.</b></p>
+
+<p style="text-align: center"><b>From the painting by Turner.</b></p>
+
+<p style="text-align: center"><a href="images/image09a.jpg">[View mezzotint version]</a></p>
+
+<p>&#160;</p>
+
+<p>In the purest landscape, the <i>human</i> subject is the immortality of the
+soul by the faithfulness of love: in both the Turner landscapes it is
+the death of the body by the impatience and error of love. The one is
+the first glimpse of Hesperia to <a href="#aesacus">&#198;sacus</a>:<a name="FNanchor_13_13" id="FNanchor_13_13"></a><a href="#Footnote_13_13" class="fnanchor">[13]</a></p>
+
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tbody>
+<tr>
+<td>
+&quot;Aspicit Hesperien patria Cebrenida ripa,<br />
+Injectos humeris siccantem sole capillos:&quot;<br />
+</td>
+</tr>
+</tbody>
+</table>
+
+<p><span class="pagenum"><a name="Page_46" id="Page_46">[Pg 46]</a></span></p>
+
+<p>in a few moments to lose her forever. The other is a mythological
+subject of deeper meaning, the death of Procris.</p>
+
+<p>94. I just now referred to the landscape by John Bellini in the
+National Gallery as one of the six best existing of the purist school,
+being wholly felicitous and enjoyable. In the foreground of it indeed
+is the martyrdom of Peter Martyr; but John Bellini looks upon that as
+an entirely cheerful and pleasing incident; it does not disturb or
+even surprise him, much less displease in the slightest degree.</p>
+
+<p>Now, the next best landscape<a name="FNanchor_14_14" id="FNanchor_14_14"></a><a href="#Footnote_14_14" class="fnanchor">[14]</a> to this, in the National Gallery, is
+a Florentine one on the edge of transition to the Greek feeling; and
+in that the distance is still beautiful, but misty, not clear; the
+flowers are still beautiful, but&#8212;intentionally&#8212;of the color of
+blood; and in the foreground lies the dead body of Procris, which
+disturbs the poor painter greatly; and he has expressed his disturbed
+mind about it in the figure of a poor little brown&#8212;nearly
+black&#8212;Faun, or perhaps the god Faunus himself, who is much puzzled by
+the death of Procris, and stoops over her, thinking it a woeful thing
+to find her pretty body lying there breathless, and all spotted with
+blood on the breast.</p>
+
+<p>95. You remember I told you how the earthly power that is necessary in
+art was shown by the flight of D&#230;dalus to the <span title="Greek: herpeton">'&#949;&#961;&#960;&#949;&#964;&#959;&#957;</span> Minos.
+Look for yourselves at the story of Procris as related to Minos in the
+fifteenth chapter of the third book of Apollodorus; and you will see
+why it is a Faun who is put to wonder at her, she having escaped by
+artifice from the Bestial power of Minos. Yet she is wholly an
+earth-nymph, and the son of Aurora must not only leave her, but
+himself slay her; the myth of Semele desiring to see Zeus, and of
+Apollo and Coronis, and this having all the same main interest. Once
+understand that, and you will see why Turner has put her death under
+this deep shade of trees, the sun withdrawing his last ray; and why he
+has put beside her the low type of an animal's pain, a dog licking its
+wounded paw.</p>
+
+<p>96. But now, I want you to understand Turner's depth<span class="pagenum"><a name="Page_47" id="Page_47">[Pg 47]</a></span> of sympathy
+farther still. In both these high mythical subjects the surrounding
+nature, though suffering, is still dignified and beautiful. Every line
+in which the master traces it, even where seemingly negligent, is
+lovely, and set down with a meditative calmness which makes these two
+etchings capable of being placed beside the most tranquil work of
+Holbein or D&#252;rer. In this &quot;Cephalus&quot; especially, note the extreme
+equality and serenity of every outline. But now here is a subject of
+which you will wonder at first why Turner drew it at all. It has no
+beauty whatsoever, no specialty of picturesqueness; and all its lines
+are cramped and poor.</p>
+
+<p>The crampness and the poverty are all intended. This is no longer to
+make us think of the death of happy souls, but of the labor of unhappy
+ones; at least, of the more or less limited, dullest, and&#8212;I must not
+say homely, but&#8212;unhomely life of the neglected agricultural poor.</p>
+
+<p>It is a gleaner bringing down her one sheaf of corn to an old
+watermill, itself mossy and rent, scarcely able to get its stones to
+turn. An ill-bred dog stands, joyless, by the unfenced stream; two
+country boys lean, joyless, against a wall that is half broken down;
+and all about the steps down which the girl is bringing her sheaf, the
+bank of earth, flowerless and rugged, testifies only of its malignity;
+and in the black and sternly rugged etching&#8212;no longer graceful, but
+hard, and broken in every touch&#8212;the master insists upon the ancient
+curse of the earth&#8212;&quot;Thorns also and Thistles shall it bring forth to
+thee.&quot;</p>
+
+<p>97. And now you will see at once with what feeling Turner completes,
+in a more tender mood, this lovely subject of his Yorkshire stream, by
+giving it the conditions of pastoral and agricultural life; the cattle
+by the pool, the milkmaid crossing the bridge with her pail on her
+head, the mill with the old millstones, and its gleaming weir as his
+chief light led across behind the wild trees.</p>
+
+<p>&#160;</p>
+
+<p style="text-align: center"><a name="mill">
+<img src="images/image10.jpg" width="500" height="357" alt="Mill near Grande Chartreuse" title="Mill near Grande Chartreuse" /></a></p>
+
+<p style="text-align: center"><b>MILL NEAR GRANDE CHARTREUSE.</b></p>
+
+<p style="text-align: center"><b>From the painting by Turner.</b></p>
+
+<p style="text-align: center"><a href="images/image10a.jpg">[View mezzotint version]</a></p>
+
+<p>&#160;</p>
+
+<p>98. And not among our soft-flowing rivers only; but here among the
+torrents of the <a href="#mill">Great Chartreuse</a>, where another man would assuredly
+have drawn the monastery, Turner<span class="pagenum"><a name="Page_48" id="Page_48">[Pg 48]</a></span> only draws their working mill. And
+here I am able to show you, fortunately, one of his works painted at
+this time of his most earnest thought; when his imagination was still
+freshly filled with the Greek mythology, and he saw for the first time
+with his own eyes the clouds come down upon the actual earth.</p>
+
+<p>&#160;</p>
+
+<p style="text-align: center"><a name="aiguillette">
+<img src="images/image11.jpg" width="345" height="500" alt="L'Aiguillette" title="L'Aiguillette" /></a></p>
+
+<p style="text-align: center"><b>L'AIGUILLETTE, VALLEY OF CLUSES.</b></p>
+
+<p style="text-align: center"><b>From the painting by Turner.</b></p>
+
+<p style="text-align: center"><a href="images/image11a.jpg">[View color version]</a></p>
+
+<p>&#160;</p>
+
+<p>99. The scene is one which, in old times of Swiss traveling, you would
+all have known well; a little cascade which descends to the road from
+Geneva to Chamouni, near the village of Maglans, from under a
+subordinate ridge of the Aiguille de Varens, known as the <a href="#aiguillette">Aiguillette</a>.
+You, none of you, probably, know the scene now; for your only object
+is to get to Chamouni and up Mont Blanc and down again; but the Valley
+of Cluse, if you knew it, is worth many Chamounis; and it impressed
+Turner profoundly. The facts of the spot are here given in mere and
+pure simplicity; a quite unpicturesque bridge, a few trees partly
+stunted and blasted by the violence of the torrent in storm at their
+roots, a cottage with its mill-wheel&#8212;this has lately been pulled down
+to widen the road&#8212;and the brook shed from the rocks and finding its
+way to join the Arve. The scene is absolutely Arcadian. All the
+traditions of the Greek Hills, in their purity, were founded on such
+rocks and shadows as these; and Turner has given you the birth of the
+Shepherd Hermes on Cyllene, in its visible and solemn presence, the
+white cloud, Hermes Eriophoros forming out of heaven upon the Hills;
+the brook, distilled from it, as the type of human life, born of the
+cloud and vanishing into the cloud, led down by the haunting Hermes
+among the ravines; and then, like the reflection of the cloud itself,
+the white sheep, with the dog of Argus guarding them, drinking from
+the stream.</p>
+
+<p>100. And now, do you see why I gave you, for the beginning of your
+types of landscape thought, that &quot;Junction of Tees and Greta&quot; in their
+misty ravines; and this glen of the Greta above, in which Turner has
+indeed done his best to paint the trees that live again after their
+autumn&#8212;the twilight that will rise again with twilight of dawn&#8212;the
+stream<span class="pagenum"><a name="Page_49" id="Page_49">[Pg 49]</a></span> that flows always, and the resting on the cliffs of the
+clouds that return if they vanish; but of human life, he says, a boy
+climbing among the trees for his entangled kite, and these white
+stones in the mountain churchyard, show forth all the strength and all
+the end.</p>
+
+<p>101. You think that saying of the Greek school&#8212;Pindar's summary of
+it, &quot;<span title="Greek: ti de tis; ti d'ou tis">&#964;&#953; &#948;&#949; &#964;&#953;&#962;; &#964;&#953; &#948;'&#959;&#965; &#964;&#953;&#962;</span>;&quot;<a name="FNanchor_15_15" id="FNanchor_15_15"></a><a href="#Footnote_15_15" class="fnanchor">[15]</a>&#8212;a sorrowful and degrading
+lesson. See at least, then, that you reach the level of such
+degradation. See that your lives be in nothing worse than a boy's
+climbing for his entangled kite. It will be well for you if you join
+not with those who instead of kites fly falcons; who instead of
+obeying the last words of the great Cloud-Shepherd&#8212;to feed his sheep,
+live the lives&#8212;how much less than vanity!&#8212;of the war-wolf and the
+gier-eagle. Or, do you think it a dishonor to man to say to him that
+Death is but only Rest? See that when it draws near to you, you may
+look to it, at least for sweetness of Rest; and that you recognize the
+Lord of Death coming to you as a Shepherd gathering you into his Fold
+for the night.</p>
+
+
+
+<hr style="width: 65%;" />
+<h2>FOOTNOTES</h2>
+
+<div class="footnote"><p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> &quot;Lectures on Art, 1870,&quot; &#167; 23.</p></div>
+
+<div class="footnote"><p><a name="Footnote_2_2" id="Footnote_2_2"></a><a href="#FNanchor_2_2"><span class="label">[2]</span></a> National Gallery, No. 812.</p></div>
+
+<div class="footnote"><p><a name="Footnote_3_3" id="Footnote_3_3"></a><a href="#FNanchor_3_3"><span class="label">[3]</span></a> Make a note of these points:
+</p><p>
+1. Date, time of day, temperature, direction and force of wind.
+</p><p>
+2. Roughly, by compass, the direction in which you are looking; and
+angle of the light with respect to it.
+</p><p>
+3. Angle subtended by picture, and distance of nearest object in it.</p></div>
+
+<div class="footnote"><p><a name="Footnote_4_4" id="Footnote_4_4"></a><a href="#FNanchor_4_4"><span class="label">[4]</span></a> From a &quot;Picturesque Tour from Geneva to Milan&quot; ...
+engraved from designs by J. Lory of Neufch&#226;tel. London: Published by
+R. Ackermann, at his Repository of Arts, 1820.</p></div>
+
+<div class="footnote"><p><a name="Footnote_5_5" id="Footnote_5_5"></a><a href="#FNanchor_5_5"><span class="label">[5]</span></a> &quot;Lectures on Art, 1870,&quot; &#167; 130.</p></div>
+
+<div class="footnote"><p><a name="Footnote_6_6" id="Footnote_6_6"></a><a href="#FNanchor_6_6"><span class="label">[6]</span></a> At the Ruskin Drawing School, Oxford.</p></div>
+
+<div class="footnote"><p><a name="Footnote_7_7" id="Footnote_7_7"></a><a href="#FNanchor_7_7"><span class="label">[7]</span></a> &quot;Lectures on Art, 1870,&quot; &#167; 170.</p></div>
+
+<div class="footnote"><p><a name="Footnote_8_8" id="Footnote_8_8"></a><a href="#FNanchor_8_8"><span class="label">[8]</span></a> &quot;Othello,&quot; I. 2.</p></div>
+
+<div class="footnote"><p><a name="Footnote_9_9" id="Footnote_9_9"></a><a href="#FNanchor_9_9"><span class="label">[9]</span></a> &quot;Lectures on Art&quot; (the Inaugural Course, 1870), &#167; 138.</p></div>
+
+<div class="footnote"><p><a name="Footnote_10_10" id="Footnote_10_10"></a><a href="#FNanchor_10_10"><span class="label">[10]</span></a> Now in the National Gallery, No. 1034.</p></div>
+
+<div class="footnote"><p><a name="Footnote_11_11" id="Footnote_11_11"></a><a href="#FNanchor_11_11"><span class="label">[11]</span></a> &quot;Lectures on Art, 1870,&quot; &#167; 185.</p></div>
+
+<div class="footnote"><p><a name="Footnote_12_12" id="Footnote_12_12"></a><a href="#FNanchor_12_12"><span class="label">[12]</span></a> No. 812. &quot;Landscape, with the Death of St. Peter
+Martyr.&quot;</p></div>
+
+<div class="footnote"><p><a name="Footnote_13_13" id="Footnote_13_13"></a><a href="#FNanchor_13_13"><span class="label">[13]</span></a> Ovid, &quot;Metamorphoses,&quot; XI. 769.</p></div>
+
+<div class="footnote"><p><a name="Footnote_14_14" id="Footnote_14_14"></a><a href="#FNanchor_14_14"><span class="label">[14]</span></a> (Of the Purist school.)</p></div>
+
+<div class="footnote"><p><a name="Footnote_15_15" id="Footnote_15_15"></a><a href="#FNanchor_15_15"><span class="label">[15]</span></a> Pyth. viii. 95. (135.)</p></div>
+
+
+
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of Lectures on Landscape, by John Ruskin
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+The Project Gutenberg EBook of Lectures on Landscape, by John Ruskin
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Lectures on Landscape
+       Delivered at Oxford in Lent Term, 1871
+
+Author: John Ruskin
+
+Release Date: December 4, 2006 [EBook #20019]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK LECTURES ON LANDSCAPE ***
+
+
+
+
+Produced by Juliet Sutherland, Linda Cantoni, and the
+Online Distributed Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+
+
+
+LECTURES ON LANDSCAPE
+
+DELIVERED AT OXFORD
+
+IN LENT TERM, 1871.
+
+
+Library Edition
+
+
+THE COMPLETE WORKS
+
+OF
+
+JOHN RUSKIN
+
+
+CROWN OF WILD OLIVE
+TIME AND TIDE
+QUEEN OF THE AIR
+LECTURES ON ART AND LANDSCAPE
+ARATRA PENTELICI
+
+NATIONAL LIBRARY ASSOCIATION
+NEW YORK             CHICAGO
+
+
+[Illustration: BRANTWOOD
+
+FROM A PHOTOGRAPH]
+
+
+
+
+PREFATORY NOTE.
+
+
+_These Lectures on Landscape were given at Oxford on January 20,
+February 9, and February 23, 1871. They were not public Lectures, like
+Professor Ruskin's other courses, but addressed only to undergraduates
+who had joined his class. They were illustrated by pictures from his
+collection, of which several are here reproduced, and by others which
+may be seen in the Oxford University Galleries or in the Ruskin
+Drawing School._
+
+_W.G.C._
+
+
+
+
+CONTENTS.
+
+
+                                                        PAGE
+
+LECTURE I.
+
+OUTLINE                                                    1
+
+
+LECTURE II.
+
+LIGHT AND SHADE                                           16
+
+
+LECTURE III.
+
+COLOR                                                     32
+
+
+
+
+LIST OF PLATES
+
+
+                                                        Page
+
+Vesuvius in Eruption, by J.M.W. Turner                     2
+
+Near Blair Athol, by J.M.W. Turner                        19
+
+Dumblane Abbey, by J.M.W. Turner                          20
+
+Madonna and Child, by Filippo Lippi                       33
+
+The Lady with the Brooch, by Sir Joshua Reynolds          35
+
+AEsacus and Hesperie, by J.M.W. Turner                     45
+
+Mill near Grande Chartreuse, by J.M.W. Turner             47
+
+L'Aiguillette; Valley of Cluses, by J.M.W. Turner         48
+
+
+
+
+LECTURES ON LANDSCAPE.
+
+
+
+
+I.
+
+OUTLINE.
+
+
+1. In my inaugural lecture,[1] I stated that while holding this
+professorship I should direct you, in your practical exercises,
+chiefly to natural history and landscape. And having in the course of
+the past year laid the foundational elements of art sufficiently
+before you, I will invite you, now, to enter on real work with me; and
+accordingly I propose during this and the following term to give you
+what practical leading I can in elementary study of landscape, and of
+a branch of natural history which will form a kind of center for all
+the rest--Ichthyology.
+
+[Footnote 1: "Lectures on Art, 1870," Sec. 23.]
+
+In the outset I must shortly state to you the position which landscape
+painting and animal painting hold towards the higher branches of art.
+
+2. Landscape painting is the thoughtful and passionate representation
+of the physical conditions appointed for human existence. It imitates
+the aspects, and records the phenomena, of the visible things which
+are dangerous or beneficial to men; and displays the human methods of
+dealing with these, and of enjoying them or suffering from them, which
+are either exemplary or deserving of sympathetic contemplation. Animal
+painting investigates the laws of greater and less nobility of
+character in organic form, as comparative anatomy examines those of
+greater and less development in organic structure; and the function
+of animal painting is to bring into notice the minor and unthought of
+conditions of power or beauty, as that of physiology is to ascertain
+the minor conditions of adaptation.
+
+3. Questions as to the purpose of arrangements or the use of the
+organs of an animal are, however, no less within the province of the
+painter than of the physiologist, and are indeed more likely to
+commend themselves to you through drawing than dissection. For as you
+dissect an animal you generally assume its form to be necessary and
+only examine how it is constructed; but in drawing the outer form
+itself attentively you are led necessarily to consider the mode of
+life for which it is disposed, and therefore to be struck by any
+awkwardness or apparent uselessness in its parts. After sketching one
+day several heads of birds it became a vital matter of interest to me
+to know the use of the bony process on the head of the hornbill; but
+on asking a great physiologist, I found that it appeared to him an
+absurd question, and was certainly an unanswerable one.
+
+4. I have limited, you have just heard, landscape painting to the
+representation of phenomena relating to human life. You will scarcely
+be disposed to admit the propriety of such a limitation; and you will
+still less be likely to conceive its necessary strictness and
+severity, unless I convince you of it by somewhat detailed examples.
+
+Here are two landscapes by Turner in his greatest time--Vesuvius in
+repose, Vesuvius in eruption.
+
+One is a beautiful harmony of cool color; and the other of hot, and
+they are both exquisitely designed in ornamental lines. But they are
+not painted for those qualities. They are painted because the state of
+the scene in one case is full of delight to men; and in the other of
+pain and danger. And it is not Turner's object at all to exhibit or
+illustrate natural phenomena, however interesting in themselves.
+
+[Illustration: VESUVIUS IN ERUPTION.
+
+From the painting by Turner.]
+
+He does not want to paint blue mist in order to teach you the nature
+of evaporation; nor this lava stream, to explain to you the operation
+of gravity on ponderous and viscous materials. He paints the blue
+mist, because it brings life and joy to men, and the lava stream
+because it is death to them.
+
+5. Again here are two sea-pieces by Turner of the same
+period--photographs from them at least. One is a calm on the shore at
+Scarborough; the other the wreck of an Indiaman.
+
+These also are each painted with exquisitely artistic purpose: the
+first in opposition of local black to diffused sunshine; the second in
+the decorative grouping of white spots on a dark ground. That
+decorative purpose of dappling, or [Greek: poikilia], is as studiously
+and deliciously carried out by Turner with the Daedalus side of him, in
+the inlaying of these white spots on the Indiaman's deck, as if he
+were working a precious toy in ebony and ivory. But Turner did not
+paint either of the sea-pieces for the sake of these decorous
+arrangements; neither did he paint the Scarborough as a professor of
+physical science, to show you the level of low tide on the Yorkshire
+coast; nor the Indiaman to show you the force of impact in a liquid
+mass of sea-water of given momentum. He painted this to show you the
+daily course of quiet human work and happiness, and that, to enable
+you to conceive something of uttermost human misery--both ordered by
+the power of the great deep.
+
+6. You may easily--you must, perhaps, for a little time--suspect me of
+exaggeration in this statement. It is so natural to suppose that the
+main interest of landscape is essentially in rocks and water and sky;
+and that figures are to be put, like the salt and mustard to a dish,
+only to give it a flavor.
+
+Put all that out of your heads at once. The interest of a landscape
+consists wholly in its relation either to figures present--or to
+figures past--or to human powers conceived. The most splendid drawing
+of the chain of the Alps, irrespective of their relation to humanity,
+is no more a true landscape than a painting of this bit of stone. For,
+as natural philosophers, there is no bigness or littleness to you.
+This stone is just as interesting to you, or ought to be--as if it was
+a million times as big. There is no more sublimity--_per se_--in
+ground sloped at an angle of forty-five, than in ground level; nor in
+a perpendicular fracture of a rock, than in a horizontal one. The only
+thing that makes the one more interesting to you in a landscape than
+the other, is that you could tumble over the perpendicular
+fracture--and couldn't tumble over the other. A cloud, looked at as a
+cloud only, is no more a subject for painting than so much feculence
+in dirty water. It is merely dirty air, or at best a chemical solution
+ill made. That it is worthy of being painted at all depends upon its
+being the means of nourishment and chastisement to men, or the
+dwelling place of imaginary gods. There's a bit of blue sky and cloud
+by Turner--one of the loveliest ever painted by human hand. But, as a
+mere pattern of blue and white, he had better have painted a jay's
+wing: this was only painted by him--and is, in reality, only pleasant
+to you--because it signifies the coming of a gleam of sweet sunshine
+in windy weather; and the wind is worth thinking of only because it
+fills the sails of ships, and the sun because it warms the sailors.
+
+7. Now, it is most important that you should convince yourselves of
+and fully enter into this truth, because all the difficulty in
+choosing subject arises from mistakes about it. I daresay some of you
+who are fond of sketching have gone out often in the most beautiful
+country, and yet with the feeling that there was no good subject to be
+found in it. That always arises from your not having sympathy enough
+with its vital character, and looking for physical picturesqueness
+instead. On the contrary, there are crude efforts at landscape-painting,
+made continually upon the most splendid physical phenomena, in
+America, and other countries without any history. It is not of the
+slightest use. Niagara, or the North Pole and the Aurora Borealis,
+won't make a landscape; but a ditch at Iffley will, if you have
+humanity in you--enough in you to interpret the feelings of hedgers
+and ditchers, and frogs.
+
+8. Next, here is one of the most beautiful landscapes ever painted,
+the best I have next to the Greta and Tees.
+
+The subject physically is a mere bank of grass above a stream with
+some wych-elms and willows. A level-topped bank; the water has cut its
+way down through the soft alluvion of an elevated plain to the
+limestone rock at the bottom.
+
+Had this scene been in America, no mortal could have made a landscape
+of it. It is nothing but a grass bank with some not very pretty trees
+scattered over it, wholly without grouping. The stream at the bottom
+is rocky indeed, but its rocks are mean, flat, and of a dull yellow
+color. The sky is gray and shapeless. There's absolutely nothing to
+paint anywhere of essential landscape subject, as commonly understood.
+
+Now see what the landscape consists in, which I have told you is one
+of the most beautiful ever painted by man. There's first a little bit
+of it left nearly wild, not quite wild; there's a cart and rider's
+track through it among the copse; and then, standing simply on the
+wild moss-troopers' ground, the scattered ruins of a great abbey, seen
+so dimly, that they seem to be fading out of sight, in color as in
+time.
+
+These two things together, the wild copse wood and the ruin, take you
+back into the life of the fourteenth century. The one is the
+border-riders' kingdom; the other that of peace which has striven
+against border-riding--how vainly! Both these are remains of the past.
+But the outhouses and refectory of the abbey have been turned into a
+farmhouse, and that is inhabited, and in front of it the Mistress is
+feeding her chickens. You see the country is perfectly quiet and
+innocent, for there is no trace of a fence anywhere; the cattle have
+strayed down to the riverside, it being a hot day; and some rest in
+the shade and two in the water.
+
+They could not have done so at their ease had the river not been
+humanized. Only a little bit of its stony bed is left; a mill weir,
+thrown across, stays the water in a perfectly clear and delicious
+pool; to show how clear it is, Turner has put the only piece of
+playing color in all the picture into the reflections in this. One cow
+is white, another white and red, evidently as clean as morning dew
+can wash their sides. They could not have been so in a country where
+there was the least coal smoke; so Turner has put a wreath of
+perfectly white smoke through the trees; and lest that should not be
+enough to show you they burnt wood, he has made his foreground of a
+piece of copse just lopped, with the new fagots standing up against
+it; and this still not being enough to give you the idea of perfect
+cleanliness, he has covered the stones of the river-bed with white
+clothes laid out to dry; and that not being enough yet, for the
+river-bed might be clean though nothing else was, he has put a
+quantity more hanging over the abbey walls.
+
+9. _Only natural phenomena in their direct relation to
+humanity_--these are to be your subjects in landscape. Rocks and water
+and air may no more be painted for their own sakes, than the armor
+carved without the warrior.
+
+But, secondly. I said landscape is to be a _passionate representation_
+of these things. It must be done, that is to say, with strength and
+depth of soul. This is indeed to some extent merely the particular
+application of a principle that has no exception. If you are without
+strong passions, you cannot be a painter at all. The laying of paint
+by an insensitive person, whatever it endeavors to represent, is not
+painting, but daubing or plastering; and that, observe, irrespective
+of the boldness or minuteness of the work. An insensitive person will
+daub with a camel's hair-brush and ultramarine; and a passionate one
+will paint with mortar and a trowel.
+
+10. But far more than common passion is necessary to paint landscape.
+The physical conditions there are so numerous, and the spiritual ones
+so occult, that you are sure to be overpowered by the materialism,
+unless your sentiment is strong. No man is naturally likely to think
+first of anatomy in painting a pretty woman; but he is very apt to do
+so in painting a mountain. No man of ordinary sense will take pleasure
+in features that have no meaning, but he may easily take it in heath,
+woods or waterfalls, that have no expression. So that it needs much
+greater strength of heart and intellect to paint landscape than
+figure: many commonplace persons, bred in good schools, have painted
+the figure pleasantly or even well; but none but the strongest--John
+Bellini, Titian, Velasquez, Tintoret, Mantegna, Sandro Botticelli,
+Carpaccio and Turner--have ever painted a fragment of good landscape.
+In missal painting exquisite figure-drawing is frequent, and landscape
+backgrounds in late works are elaborate; but I only know thoroughly
+good landscape in one book; and I have examined--I speak
+deliberately--thousands.
+
+11. For one thing, the passion is necessary for the mere quantity of
+design. In good art, whether painting or sculpture, I have again and
+again told you every touch is necessary and beautifully intended. Now
+it falls within the compass of ordinary application to place rightly
+all the folds of drapery or gleams of light on a chain, or ornaments
+in a pattern; but when it comes to placing every leaf in a tree, the
+painter gets tired. Here, for instance, is a little bit of Sandro
+Botticelli background; I have purposefully sketched it in the
+slightest way, that you might see how the entire value of it depends
+on thoughtful placing. There is no texture aimed at, no completion,
+scarcely any variety of light and shade; but by mere care in the
+placing the thing is beautiful. Well, every leaf, every cloud, every
+touch is placed with the same care in great work; and when this is
+done as by John Bellini in the picture of Peter Martyr,[2] or as it
+was by Titian in the great Peter Martyr, with every leaf in a wood he
+gets tired. I know no other such landscape in the world as that is, or
+as that was.
+
+[Footnote 2: National Gallery, No. 812.]
+
+12. Perhaps you think on such conditions you never can paint landscape
+at all. Well, great landscape certainly not; but pleasant and useful
+landscape, yes; provided only the passion you bring to it be true and
+pure. The degree of it you cannot command; the genuineness of it you
+can--yes, and the depth of source also. Tintoret's passion may be like
+the Reichenbach, and yours only like a little dripping Holywell, but
+both equally from deep springs.
+
+13. But though the virtue of all painting (and similarly of sculpture
+and every other art) is in passion, I must not have you begin by
+working passionately. The discipline of youth, in all its work, is in
+cooling and curbing itself, as the discipline of age is in warming and
+urging itself; you know the Bacchic chorus of old men in Plato's
+_Laws_. To the end of life, indeed, the strength of a man's finest
+nature is shown in due continence; but that is because the finest
+natures remain young to the death: and for you the first thing you
+have to do in art (as in life) is to be quiet and firm--quiet, above
+everything; and modest, with this most essential modesty, that you
+must like the landscape you are going to draw better than you expect
+to like your drawing of it, however well it may succeed. If you would
+not rather have the real thing than your sketch of it, you are not in
+a right state of mind for sketching at all. If you only think of the
+scene, "what a nice sketch this will make!" be assured you will never
+make a nice sketch of it. You may think you have produced a beautiful
+work; nay, perhaps the public and many fair judges will agree with
+you; but I tell you positively, there will be no enduring value in
+what you have thus done. Whereas if you think of the scene, "Ah, if I
+could only get some shadow or scrawl of this to carry away with me,
+how glad I should be!"--then whatever you do will be, according to
+your strength, good and progressive: it may be feeble, or much
+faultful, but it will be vital and essentially precious.
+
+14. Now, it is not possible for you to command this state of mind, or
+anything like it, in yourselves at once. Nay, in all probability your
+eyes are so satiated by the false popular art surrounding us now on
+all sides, that you cannot see the delicate reality though you try;
+but even though you may not care for the truth, you can act as if you
+did, and tell it.
+
+Now, therefore, observe this following quite plain direction. Whenever
+you set yourself to draw anything, consider only how best you may give
+a person who has not seen the place, a true idea of it. Use any means
+in your power to do that, and don't think of the person for whom you
+are drawing as a connoisseur, but as a person of ordinary sense and
+feeling. Don't get artist-like qualities for him: but first give him
+the pleasant sensation of being at the place, then show him how the
+land lies, how the water runs, how the wind blows, and so on. Always
+think of the public as Moliere of his old woman; you have done nothing
+really great or good if you can't please her.
+
+15. Now beginning wisely, so as to lose no time or labor, you will
+learn to paint all the conditions of quiet light and sky, before you
+attempt those of variable light and cloud. Do not trouble yourselves
+with or allow yourselves to be tempted by any effects that are
+brilliant or tremendous; except only that from the beginning I
+recommend you to watch always for sunrise; to keep a little diary of
+the manner of it, and to have beside your window a small sketch-book,
+with pencil cut over night, and colors moist. The one indulgence which
+I would have you allow yourselves in fast coloring, for some time, is
+the endeavor to secure some record at the instant of the colors of
+morning clouds; while, if they are merely white or gray or blue, you
+must get an outline of them with pencil. You will soon feel by this
+means what are the real difficulties to be encountered in all
+landscape coloring, and your eyes will be educated to quantity and
+harmonious action of forms.
+
+But for the rest--learn to paint everything in the quietest and
+simplest light. First outline your whole subject completely, with
+delicate sharp pencil line. If you don't get more than that, let your
+outline be a finished and lovely diagram of the whole.
+
+16. All the objects are then to be painted of their proper colors,
+matching them as nearly as you can, in the manner that a missal is
+painted, filling the outlined shapes neatly up to their junctions;
+reenforcing afterwards when necessary, but as little as possible; but,
+above all, knowing precisely what the light is, and where it is.[3]
+
+[Footnote 3: Make a note of these points:
+
+1. Date, time of day, temperature, direction and force of wind.
+
+2. Roughly, by compass, the direction in which you are looking; and
+angle of the light with respect to it.
+
+3. Angle subtended by picture, and distance of nearest object in it.]
+
+17. I have brought two old-fashioned colored engravings,[4] which are
+a precise type of the style I want you to begin with. Finished from
+corner to corner, as well as the painter easily could; everything done
+to good purpose, nothing for vain glory; nothing in haste or
+affectation, nothing in feverish or morbid excitement. The observation
+is accurate; the sentiment, though childish, deep and pure; and the
+effect of light, for common work, quite curiously harmonious and
+deceptive.
+
+[Footnote 4: From a "Picturesque Tour from Geneva to Milan" ...
+engraved from designs by J. Lory of Neufchatel. London: Published by
+R. Ackermann, at his Repository of Arts, 1820.]
+
+They are, in spite of their weaknesses, absolutely the only landscapes
+I could show you which give you a real idea of the places, or which
+put your minds into the tone which, if you were happy and at ease,
+they would take in the air and light of Italy.
+
+I dwell on the necessity of completion especially, because I have lost
+much time myself from my sympathy with the feverish intensity of the
+minds of the great engravers; and from always fastening on one or two
+points of my subject and neglecting the rest.
+
+18. We have seen, then, that every subject is to be taken up first in
+its terminal lines, then in its light and shade, then in its color.
+
+First of the terminal lines of landscape, or of drawing in outline.
+
+I think the examples of shell outline in your copying series must
+already have made you feel the exact nature of a pure outline, the
+difficulty of it, and the value.
+
+But we have now to deal with limits of a more subtle kind.
+
+The outline of any simple solid form, even though it may have complex
+parts, represents an actual limit, accurately to be followed. The
+outline of a cup, of a shell, or of an animal's limb, has a
+determinable course, which your pen or pencil line either coincides
+with or does not. You can say of that line, either it is wrong or
+right; if right, it is in a measure suggestive, and nobly suggestive
+of the character of the object. But the greater number of objects in a
+landscape either have outlines so complex that no pencil could follow
+them (as trees in middle distance), or they have no actual outline at
+all, but a gradated and softened edge; as, for the most part, clouds,
+foam, and the like. And even in things which have determinate form,
+the outline of that form is usually quite incapable of expressing
+their real character.
+
+[Illustration]
+
+19. Here is the most ordinary component of a foreground for instance,
+a pleasantly colored stone. Any of its pure outlines are not only
+without beauty, but absolutely powerless to give you any notion of its
+character, although that character is in itself so interesting, that
+here Turner has made a picture of little more than a heap of such
+stones, with blue water to oppose their color. In consequence of these
+difficulties and insufficiencies, most landscape-painters have been
+tempted to neglect outline altogether, and think only of effects of
+light or color on masses more or less obscurely defined. They have
+thus gradually lost their sense of organic form, their precision of
+hand, and their respect for limiting law; in a word, for all the
+safeguards and severe dignities of their art. And landscape-painting
+has, therefore, more in consequence of this one error than of any
+other, become weak, frivolous, and justly despised.
+
+20. Now, if any of you have chanced to notice at the end of my "Queen
+of the Air," my saying that in landscape Turner must be your only
+guide, you perhaps have thought I said so because of his great power
+in melting colors or in massing light and shade. Not so. I have always
+said he is the only great landscape-painter, and to be your only
+guide, because he is the only landscape-painter who can draw an
+outline.
+
+His finished works perhaps appear to you more vague than any other
+master's: no man loses his outlines more constantly. You will be
+surprised to know that his frankness in losing depends on his
+certainty of finding if he chooses; and that, while all other
+landscape-painters study from Nature in shade or in color, Turner
+always sketched with the point.
+
+"Always," of course, is a wide word. In your copying series I have put
+a sketch by Turner in color from Nature; some few others of the kind
+exist, in the National Gallery and elsewhere. But, as a rule, from his
+boyhood to the last day of his life, he sketched only with the fine
+pencil point, and always the outline, more if he had time, but at
+least the outline, of every scene that interested him; and in general,
+outline so subtle and elaborate as to be inexhaustible in examination
+and uncopiable for delicacy.
+
+Here is a sketch of an English park scene which represents the average
+character of a study from Nature by Turner; and here the sketch from
+Nature of Dumblane Abbey for the _Liber Studiorum_, which shows you
+what he took from Nature, when he had time only to get what was most
+precious to him.
+
+21. The first thing, therefore, you have to learn in landscape, is to
+outline; and therefore we must now know precisely what an outline is,
+how it ought to be represented; and this it will be right to define
+in quite general terms applicable to all subjects.
+
+We saw in the fifth Lecture[5] that every visible thing consisted of
+spaces of color, terminated either by sharp or gradated limits.
+Whenever they are sharp, the line of separation, followed by the point
+of your drawing instrument, is the proper outline of your subject,
+whether it represents the limits of flat spaces or of solid forms.
+
+[Footnote 5: "Lectures on Art, 1870," Sec. 130.]
+
+22. For instance, here is a drawing by Holbein of a lady in a dark
+dress, with bars of black velvet round her arm. Her form is seen
+everywhere defined against the light by a perfectly sharp linear limit
+which Holbein can accurately draw with his pen; the patches of velvet
+are also distinguished from the rest of her dress by a linear limit,
+which he follows with his pen just as decisively. Here, therefore, is
+your first great law. Wherever you see one space of color
+distinguished from another by a sharp limit, you are to draw that
+limit firmly; and that is your outline.
+
+23. Also, observe that as your representing this limit by a dark line
+is a conventionalism, and just as much a conventionalism when the line
+is subtle as when it is thick, the great masters accept and declare
+that conventionalism with perfect frankness, and use bold and decisive
+outline, if any.
+
+Also, observe, that though, when you are master of your art, you may
+modify your outline by making it dark in some parts, light in others,
+and even sometimes thick and sometimes slender, a scientifically
+accurate outline is perfectly equal throughout; and in your first
+practice I wish you to use always a pen with a blunt point, which will
+make no hair stroke under any conditions. So that using black ink and
+only one movement of the pen, not returning to thicken your line, you
+shall either have your line there, or not there; and that you may not
+be able to gradate or change it, in any way or degree whatsoever.
+
+24. Now the first question respecting it is: what place is your thick
+line to have with respect to the limit which it represents--outside
+of it, or inside, or over it? Theoretically, it is to be over it; the
+true limit falling all the way along the center of your thick line.
+The contest of Apelles with Protogenes consisted in striking this true
+limit within each other's lines, more and more finely. And you may
+always consider your pen line as representing the first incision for
+sculpture, the true limit being the sharp center of the incision.
+
+But, practically, when you are outlining a light object defined
+against a dark one, the line must go outside of it; and when a dark
+object against a light one, inside of it.
+
+In this drawing of Holbein's, the hand being seen against the light,
+the outline goes inside the contour of the fingers.
+
+25. Secondly. And this is of great importance. It will happen
+constantly that forms are entirely distinct from each other and
+separated by true limits, which are yet invisible, or nearly so, to
+the eye. I place, for instance, one of these eggs in front of the
+other, and probably to most of you the separation in the light is
+indiscernible. Is it then to be outlined? In practically combining
+outline with accomplished light and shade there are cases of this kind
+in which the outline may with advantage, or even must for truth of
+effect, be omitted. But the facts of the solid form are of so vital
+importance, and the perfect command of them so necessary to the
+dignity and intelligibility of the work, that the greatest artists,
+even for their finished drawings, like to limit every solid form by a
+fine line, whether its contour be visible to the eye or not.
+
+26. An outline thus perfectly made with absolute decision, and with a
+wash of one color above it, is the most masterly of all methods of
+light and shade study, with limited time, when the forms of the
+objects to be drawn are clear and unaffected by mist. But without any
+wash of color, such an outline is the most valuable of all means for
+obtaining such memoranda of any scene as may explain to another
+person, or record for yourself, what is most important in its
+features.
+
+27. Choose, then, a subject that interests you; and so far as failure
+of time or materials compels you to finish one part, or express one
+character, rather than another, of course dwell on the features that
+interest you most. But beyond this, forget, or even somewhat repress
+yourself, and make it your first object to give a true idea of the
+place to other people. You are not to endeavor to express your own
+feelings about it; if anything, err on the side of concealing them.
+What is best is not to think of yourself at all, but to state as
+plainly and simply as you can the whole truth of the thing. What you
+think unimportant in it may to another person be the most touching
+part of it: what you think beautiful may be in truth commonplace and
+of small value. Quietly complete each part to the best of your power,
+endeavoring to maintain a steady and dutiful energy, and the tranquil
+pleasure of a workman.
+
+
+
+
+II.
+
+LIGHT AND SHADE.
+
+
+28. In my last Lecture I laid before you evidence that the greatness
+of the master whom I wished you to follow as your only guide in
+landscape depended primarily on his studying from Nature always with
+the point; that is to say, in pencil or pen outline. To-day I wish to
+show you that his preeminence depends secondarily on his perfect
+rendering of form and distance by light and shade, before he admits a
+thought of color.
+
+I say "before" however--observe carefully--only with reference to the
+construction of any given picture, not with reference to the order in
+which he learnt his mechanical processes. From the beginning, he
+worked out of doors with the point, but indoors with the brush; and
+attains perfect skill in washing flat color long before he attains
+anything like skill in delineation of form.
+
+29. Here, for instance, is a drawing, when he was twelve or thirteen
+years old, of Dover Castle and the Dover Coach; in which the future
+love of mystery is exhibited by his studiously showing the way in
+which the dust rises about the wheels; and an interest in drunken
+sailors, which materially affected his marine studies, shown not less
+in the occupants of the hind seat. But what I want you to observe is
+that, though the trees, coach, horses, and sailors are drawn as any
+schoolboy would draw them, the sky is washed in so smoothly that few
+water-color painters of our day would lightly accept a challenge to
+match it.
+
+And, therefore, it is, among many other reasons, that I put the brush
+into your hands from the first, and try you with a wash in lampblack,
+before you enter my working class. But, as regards the composition of
+his picture, the drawing is always first with Turner, the color
+second.
+
+30. Drawing: that is to say, the expression by gradation of light,
+either of form or space. Again I thus give you a statement wholly
+adverse to the vulgar opinion of him. You will find that statement
+early in the first volume of "Modern Painters," and repeated now
+through all my works these twenty-five years, in vain. Nobody will
+believe that the main virtue of Turner is in his drawing. I say "the
+main virtue of Turner." Splendid though he be as a colorist, he is not
+unrivaled in color; nay, in some qualities of color he has been far
+surpassed by the Venetians. But no one has ever touched him in
+exquisiteness of gradation; and no one in landscape in perfect
+rendering of organic form.
+
+31. I showed you in this drawing, at last Lecture, how truly he had
+matched the color of the iron-stained rocks in the bed of the Ticino;
+and any of you who care for color at all cannot but take more or less
+pleasure in the black and greens and warm browns opposed throughout.
+But the essential value of the work is not in these. It is, first, in
+the expression of enormous scale of mountain and space of air, by
+gradations of shade in these colors, whatever they may be; and,
+secondly, in the perfect rounding and cleaving of the masses alike of
+mountain and stone. I showed you one of the stones themselves, as an
+example of uninteresting outline. If I were to ask you to paint it,
+though its color is pleasant enough, you would still find it
+uninteresting and coarse compared to that of a flower, or a bird. But
+if I can engage you in an endeavor to draw its true forms in light and
+shade, you will most assuredly find it not only interesting, but in
+some points quite beyond the most subtle skill you can give to it.
+
+32. You have heard me state to you, several times, that all the
+masters who valued accurate form and modeling found the readiest way
+of obtaining the facts they required to be firm pen outline, completed
+by a wash of neutral tint. This method is indeed rarely used by
+Raphael or Michael Angelo in the drawings they have left us, because
+their studies are nearly all tentative--experiments in composition, in
+which the imperfect or careless pen outline suggested all they
+required, and was capable of easy change without confusing the eye.
+But the masters who knew precisely before they laid touch on paper
+what they were going to do--and this may be, observe, either because
+they are less or greater than the men who change; less, in merely
+drawing some natural object without attempt at composition, or greater
+in knowing absolutely beforehand the composition they intend; it may
+be, even so, that what they intend, though better known, is not so
+good:--but at all events, in this anticipating power Tintoret, Holbein
+and Turner stand, I think, alone as draughtsmen; Tintoret rarely
+sketching at all, but painting straight at the first blow, while
+Holbein and Turner sketch indeed, but it is as with a pen of iron and
+a point of diamond.
+
+33. You will find in your educational series[6] many drawings
+illustrative of the method; but I have enlarged here the part that is
+executed with the pen, out of this smaller drawing, that you may see
+with what fearless strength Holbein delineates even the most delicate
+folds of the veil on the head, and of the light muslin on the
+shoulders, giving them delicacy, not by the thinness of his line, but
+by its exquisite veracity.
+
+[Footnote 6: At the Ruskin Drawing School, Oxford.]
+
+The eye will endure with patience, or even linger with pleasure, on
+any line that is right, however coarse; while the faintest or finest
+that is wrong will be forcibly destructive. And again and again I have
+to recommend you to draw always as if you were engraving, and as if
+the line could not be changed.
+
+34. The method used by Turner in the _Liber Studiorum_ is precisely
+analogous to that of Holbein. The lines of these etchings are to
+trees, rocks, or buildings, absolutely what these of Holbein are; not
+suggestions of contingent grace, but determinations of the limits of
+future form. You will see the explanatory office of such lines by
+placing this outline over my drawing of the stone, until the lines
+coincide with the limits of the shadow. You will find that it
+intensifies and explains the forms which otherwise would have escaped
+notice, and that a perfectly gradated wash of neutral tint with an
+outline of this kind is all that is necessary for grammatical
+statement of forms. It is all that the great colorists need for their
+studies; they would think it wasted time to go farther; but, if you
+have no eye for color, you may go farther in another manner, with
+enjoyment.
+
+35. Now to go back to Turner.
+
+The _first_ great object of the _Liber Studiorum_, for which I
+requested you in my sixth Lecture[7] to make constant use of it, is
+the delineation of solid form by outline and shadow. But a yet more
+important purpose in each of the designs in that book is the
+expression of such landscape powers and character as have especial
+relation to the pleasures and pain of human life--but especially the
+pain. And it is in this respect that I desired you (Sect. 172) to be
+assured, not merely of their superiority, but of their absolute
+difference in kind from photography, as works of disciplined design.
+
+[Footnote 7: "Lectures on Art, 1870," Sec. 170.]
+
+[Illustration: NEAR BLAIR ATHOL.
+
+From the painting by Turner.]
+
+36. I do not know whether any of you were interested enough in the
+little note in my catalogue on this view near Blair Athol, to look for
+the scene itself during your summer rambles. If any did, and found it,
+I am nearly certain their impression would be only that of an extreme
+wonder how Turner could have made so little of so beautiful a spot.
+The projecting rock, when I saw it last in 1857, and I am certain,
+when Turner saw it, was covered with lichens having as many colors as
+a painted window. The stream--or rather powerful and deep Highland
+river, the Tilt--foamed and eddied magnificently through the narrowed
+channel; and the wild vegetation in the rock crannies was a finished
+arabesque of living sculpture, of which this study of mine, made on
+another stream, in Glenfinlas, only a few miles away, will give you a
+fair idea. Turner has absolutely stripped the rock of its beautiful
+lichens to bare slate, with one quartz vein running up through it; he
+has quieted the river into a commonplace stream; he has given, of all
+the rich vegetation, only one cluster of quite uninteresting leaves
+and a clump of birches with ragged trunks. Yet, observe, I have told
+you of it, he has put into one scene the spirit of Scotland.
+
+[Illustration: DUMBLANE ABBEY.
+
+From the painting by Turner.]
+
+37. Similarly, those of you who in your long vacations have ever
+stayed near Dumblane will be, I think, disappointed in no small degree
+by this study of the abbey, for which I showed you the sketch at last
+Lecture. You probably know that the oval window in its west end is one
+of the prettiest pieces of rough thirteenth-century carving in the
+kingdom; I used it for a chief example in my lectures at Edinburgh;
+and you know that the lancet windows, in their fine proportion and
+rugged masonry, would alone form a study of ruined Gothic masonry of
+exquisite interest.
+
+Yet you find Turner representing the lancet window by a few bare oval
+lines like the hoop of a barrel; and indicating the rest of the
+structure by a monotonous and thin piece of outline, of which I was
+asked by one of yourselves last term, and quite naturally and rightly,
+how Turner came to draw it so slightly--or, we may even say, so badly.
+
+38. Whenever you find Turner stopping short, or apparently failing in
+this way, especially when he does the contrary of what any of us would
+have been nearly sure to do, then is the time to look for your main
+lesson from him. You recollect those quiet words of the strongest of
+all Shakespeare's heroes, when any one else would have had his sword
+out in an instant:
+
+     "Keep up your bright swords, for the dew will rust them ...
+     Were it my cue to fight, I should have known it
+     Without a prompter."[8]
+
+[Footnote 8: "Othello," I. 2.]
+
+Now you must always watch keenly what Turner's _cue_ is. You will see
+his hand go to his hilt fast enough, when it comes. Dumblane Abbey is
+a pretty piece of building enough, it is true; but the virtue of the
+whole scene, and meaning, is not in the masonry of it. There is
+much better masonry and much more wonderful ruin of it elsewhere;
+Dumblane Abbey--tower and aisles and all--would go under one of the
+arches of buildings such as there are in the world. Look at what
+Turner will do when his cue is masonry,--in the Coliseum. What the
+execution of that drawing is you may judge by looking with a
+magnifying glass at the ivy and battlements in this, when, also, his
+cue is masonry. What then can he mean by not so much as indicating one
+pebble or joint in the walls of Dumblane?
+
+[Illustration]
+
+39. I was sending out the other day, to a friend in America, a chosen
+group of the _Liber Studiorum_ to form a nucleus for an art
+collection at Boston. And I warned my friend at once to guard his
+public against the sore disappointment their first sight of these so
+much celebrated works would be to them. "You will have to make them
+understand," I wrote to him, "that their first lesson will be in
+observing not what Turner has done, but what he has not done. These
+are not finished pictures, but studies; endeavors, that is to say, to
+get the utmost result possible with the simplest means; they are
+essentially thoughtful, and have each their fixed purpose, to which
+everything else is sacrificed; and that purpose is always
+imaginative--to get at the heart of the thing, not at its outside."
+
+40. Now, it is true, there are beautiful lichens at Blair Athol, and
+good building at Dumblane; but there are lovely lichens all over the
+cold regions of the world, and there is far more interesting
+architecture in other countries than in Scotland. The essential
+character of Scotland is that of a wild and thinly inhabited rocky
+country, not sublimely mountainous, but beautiful in low rock and
+light streamlet everywhere; with sweet copsewood and rudely growing
+trees. This wild land possesses a subdued and imperfect school of
+architecture, and has an infinitely tragic feudal, pastoral, and civic
+history. And in the events of that history a deep tenderness of
+sentiment is mingled with a cruel and barren rigidity of habitual
+character, accurately corresponding to the conditions of climate and
+earth.
+
+41. Now I want you especially to notice, with respect to these things,
+Turner's introduction of the ugly square tower high up on the left.
+Your first instinct would be to exclaim, "How unlucky that was there
+at all! Why, at least, could not Turner have kept it out of sight?" He
+has quite gratuitously brought it into sight; gratuitously drawn
+firmly the three lines of stiff drip-stone which mark its squareness
+and blankness. It is precisely that blank vacancy of decoration, and
+setting of the meager angles against wind and war, which he wants to
+force on your notice, that he may take you thoroughly out of Italy and
+Greece, and put you wholly into a barbarous and frost-hardened land;
+that once having its gloom defined he may show you all the more
+intensely what pastoral purity and innocence of life, and loveliness
+of nature, are underneath the banks and braes of Doune, and by every
+brooklet that feeds the Forth and Clyde.
+
+That is the main purpose of these two studies. How it is obtained by
+various incidents in the drawing of stones, and trees, and figures, I
+will show you another time. The chief element in both is the sadness
+and depth of their effect of subdued though clear light in sky and
+stream.
+
+42. The sadness of their effect, I repeat. If you remember anything of
+the Lectures I gave you through last year, you must be gradually
+getting accustomed to my definition of the Greek school in art, as one
+essentially Chiaroscurist, as opposed to Gothic color; Realist, as
+opposed to Gothic imagination; and Despairing, as opposed to Gothic
+hope. And you are prepared to recognize it by any one of these three
+conditions. Only, observe, the chiaroscuro is simply the technical
+result of the two others: a Greek painter likes light and shade,
+first, because they enable him to realize form solidly, while color is
+flat; and secondly, because light and shade are melancholy, while
+color is gay.
+
+So that the defect of color, and substitution of more or less gray or
+gloomy effects of rounded gradation, constantly express the two
+characters: first, Academic or Greek fleshliness and solidity as
+opposed to Gothic imagination; and secondly, of Greek tragic horror
+and gloom as opposed to Gothic gladness.
+
+43. In the great French room in the Louvre, if you at all remember the
+general character of the historical pictures, you will instantly
+recognize, in thinking generally of them, the rounded fleshly and
+solid character in the drawing, the gray or greenish and brownish
+color, or defect of color, lurid and moonlight-like, and the gloomy
+choice of subjects, as the Deluge, the Field of Eylau, the Starvation
+on the Raft, and the Death of Endymion; always melancholy, and usually
+horrible.
+
+The more recent pictures of the painter Gerome unite all these
+attributes in a singular degree; above all, the fleshliness and
+materialism which make his studies of the nude, in my judgment,
+altogether inadmissible into the rank of the fine arts.
+
+44. Now you observe that I never speak of this Greek school but with a
+certain dread. And yet I have told you that Turner belongs to it, that
+all the strongest men in times of developed art belong to it; but
+then, remember, so do all the basest. The learning of the Academy is
+indeed a splendid accessory to original power, in Velasquez, in
+Titian, or in Reynolds; but the whole world of art is full of a base
+learning of the Academy, which, when fools possess, they become a
+tenfold plague of fools.
+
+And again, a stern and more or less hopeless melancholy necessarily is
+under-current in the minds of the greatest men of all ages,--of Homer,
+Aeschylus, Pindar, or Shakespeare. But an earthy, sensual, and weak
+despondency is the attribute of the lowest mental and bodily disease;
+and the imbecilities and lassitudes which follow crime, both in
+nations and individuals, can only find a last stimulus to their own
+dying sensation in the fascinated contemplation of completer death.
+
+45. Between these--the highest, and these--the basest, you have every
+variety and combination of strength and of mistake: the mass of
+foolish persons dividing themselves always between the two oppositely
+and equally erroneous faiths, that genius may dispense with law, or
+that law can create genius. Of the two, there is more excuse for, and
+less danger in the first than in the second mistake. Genius has
+sometimes done lovely things without knowledge and without discipline.
+But all the learning of the Academies has never yet drawn so much as
+one fair face, or ever set two pleasant colors side by side.
+
+46. Now there is one great Northern painter, of whom I have not spoken
+till now, probably to your surprise, Rubens; whose power is composed
+of so many elements, and whose character may be illustrated so
+completely, and with it the various operation of the counter schools,
+by one of his pictures now open to your study, that I would press you
+to set aside one of your brightest Easter afternoons for the study of
+that one picture in the Exhibition of Old Masters, the so-called "Juno
+and Argus," No. 387.
+
+So-called, I say; for it is not a picture either of Argus or of Juno,
+but the portrait of a Flemish lady "as Juno" (just as Rubens painted
+his family picture with his wife "as the Virgin" and himself "as St.
+George"): and a good anatomical study of a human body as Argus. In the
+days of Rubens, you must remember, mythology was thought of as a mere
+empty form of compliment or fable, and the original meaning of it
+wholly forgotten. Rubens never dreamed that Argus is the night, or
+that his eyes are stars; but with the absolutely literal and brutal
+part of his Dutch nature supposes the head of Argus full of real eyes
+all over, and represents Hebe cutting them out with a bloody knife and
+putting one into the hand of the goddess, like an unseemly oyster.
+
+That conception of the action, and the loathsome sprawling of the
+trunk of Argus under the chariot, are the essential contributions of
+Rubens' own Netherland personality. Then the rest of the treatment he
+learned from other schools, but adopted with splendid power.
+
+47. First, I think, you ought to be struck by having two large
+peacocks painted with scarcely any color in them! They are nearly
+black, or black-green, peacocks. Now you know that Rubens is always
+spoken of as a great colorist, _par excellence_ a colorist; and would
+you not have expected that--before all things--the first thing he
+would have seen in a peacock would have been gold and blue? He sees
+nothing of the kind. A peacock, to him, is essentially a dark bird;
+serpent-like in the writhing of the neck, cloud-like in the toss and
+wave of its plumes. He has dashed out the filaments of every feather
+with magnificent drawing; he has not given you one bright gleam of
+green or purple in all the two birds.
+
+Well, the reason of that is that Rubens is not _par excellence_ a
+colorist; nay, is not even a good colorist. He is a very second-rate
+and coarse colorist; and therefore his color catches the lower public,
+and gets talked about. But he is _par excellence_ a splendid
+draughtsman of the Greek school; and no one else, except Tintoret,
+could have drawn with the same ease either the muscles of the dead
+body or the plumes of the birds.
+
+48. Farther, that he never became a great colorist does not mean that
+he could not, had he chosen. He was warped from color by his lower
+Greek instincts, by his animal delight in coarse and violent forms and
+scenes--in fighting, in hunting, and in torments of martyrdom and of
+hell: but he had the higher gift in him, if the flesh had not subdued
+it. There is one part of this picture which he learned how to do at
+Venice, the Iris, with the golden hair, in the chariot behind Juno. In
+her he has put out his full power, under the teaching of Veronese and
+Titian; and he has all the splendid Northern-Gothic, Reynolds or
+Gainsborough play of feature with Venetian color. Scarcely anything
+more beautiful than that head, or more masterly than the composition
+of it, with the inlaid pattern of Juno's robe below, exists in the art
+of any country. _Si sic omnia!_--but I know nothing else equal to it
+throughout the entire works of Rubens.
+
+49. See, then, how the picture divides itself. In the fleshly
+baseness, brutality and stupidity of its main conception, is the Dutch
+part of it; that is Rubens' own. In the noble drawing of the dead body
+and of the birds you have the Phidias-Greek part of it, brought down
+to Rubens through Michael Angelo. In the embroidery of Juno's robe you
+have the Daedalus-Greek part of it, brought down to Rubens through
+Veronese. In the head of Iris you have the pure Northern-Gothic part
+of it, brought down to Rubens through Giorgione and Titian.
+
+50. Now, though--even if we had given ten minutes of digression--the
+lessons in this picture would have been well worth it, I have not, in
+taking you to it, gone out of my own way. There is a special point for
+us to observe in those dark peacocks. If you look at the notes on the
+Venetian pictures in the end of my "Stones of Venice," you will find
+it especially dwelt upon as singular that Tintoret, in his picture of
+"The Nativity," has a peacock without any color in it. And the reason
+of it is also that Tintoret belongs, with the full half of his mind,
+as Rubens does, to the Greek school. But the two men reach the same
+point by opposite paths. Tintoret begins with what Venice taught him,
+and adopted what Athens could teach: but Rubens begins with Athens,
+and adopts from Venice. Now if you will look back to my fifth
+Lecture[9] you will find it said that the colorists can always adopt
+as much chiaroscuro as suits them, and so become perfect; but the
+chiaroscurists cannot, on their part, adopt color, except partially.
+And accordingly, whenever Tintoret chooses, he can laugh Rubens to
+scorn in management of light and shade; but Rubens only here and
+there--as far as I know myself, only this once--touches Tintoret or
+Giorgione in color.
+
+[Footnote 9: "Lectures on Art" (the Inaugural Course, 1870), Sec. 138.]
+
+51. But now observe farther. The Greek chiaroscuro, I have just told
+you, is by one body of men pursued academically, as a means of
+expressing form; by another, tragically, as a mystery of light and
+shade, corresponding to--and forming part of--the joy and sorrow of
+life. You may, of course, find the two purposes mingled: but pure
+formal chiaroscuro--Marc Antonio's and Leonardo's--is inconsistent
+with color, and though it is thoroughly necessary as an exercise, it
+is only as a correcting and guarding one, never as a basis of art.
+
+52. Let me be sure, now, that you thoroughly understand the relation
+of formal shade to color. Here is an egg; here, a green cluster of
+leaves; here, a bunch of black grapes. In formal chiaroscuro, all
+these are to be considered as white, and drawn as if they were carved
+in marble. In the engraving of "Melancholy," what I meant by telling
+you it was in formal chiaroscuro was that the ball is white, the
+leaves are white, the dress is white; you can't tell what color any of
+these stand for. On the contrary, to a colorist the first question
+about everything is its color. Is this a white thing, a green thing,
+or a blue thing? down must go my touch of white, green, or dark blue
+first of all; if afterwards I can make them look round, or like fruit
+and leaves, it's all very well; but if I can't, blue or green they at
+least shall be.
+
+53. Now here you have exactly the thing done by the two masters we are
+speaking of. Here is a copy of Turner's vignette of "Martigny." This
+is wholly a design of the colored school. Here is a bit of vine in the
+foreground with purple grapes; the grapes, so far from being drawn as
+round, are struck in with angular flat spots; but they are vividly
+purple spots, their whole vitality and use in the design is in their
+Tyrian nature. Here, on the contrary, is Duerer's "Flight into Egypt,"
+with grapes and palm fruit above. Both are white; but both engraved so
+as to look thoroughly round.
+
+54. All the other great chiaroscurists whom I named to you--Reynolds,
+Velasquez, and Titian--approached their shadow also on the safe
+side--from Venice: they always think of color first. But Turner had to
+work his way out of the dark Greek school up to Venice; he always
+thinks of his shadow first; and it held him in some degree fatally to
+the end. Those pictures which you all laughed at were not what you
+fancied, mad endeavors for color; they were agonizing Greek efforts to
+get light. He could have got color easily enough if he had rested in
+that; which I will show you in next Lecture. Still, he so nearly made
+himself a Venetian that, as opposed to the Dutch academical
+chiaroscurists, he is to be considered a Venetian altogether. And now
+I will show you, in a very simple subject, the exact opposition of the
+two schools.
+
+55. Here is a study of swans, from a Dutch book of academical
+instruction in Rubens' time. It is a good and valuable book in many
+ways, and you are going to have some copies set you from it. But as a
+type of academical chiaroscuro it will give you most valuable lessons
+on the other side--of warning.
+
+Here, then, is the academical Dutchman's notion of a swan. He has
+laboriously engraved every feather, and has rounded the bird into a
+ball; and has thought to himself that never swan has been so engraved
+before. But he has never with his Dutch eyes perceived two points in a
+swan which are vital to it: first, that it is white; and, secondly,
+that it is graceful. He has above all things missed the proportion,
+and necessarily therefore the bend of its neck.
+
+56. Now take the colorist's view of the matter. To him the first main
+facts about the swan are that it is a white thing with black spots.
+Turner takes one brush in his right hand, with a little white in it;
+another in his left hand, with a little lampblack. He takes a piece of
+brown paper, works for about two minutes with his white brush, passes
+the black to his right hand, and works half a minute with that, and,
+there you are!
+
+You would like to be able to draw two swans in two minutes and a half
+yourselves. Perhaps so, and I can show you how; but it will need
+twenty years' work all day long. First, in the meantime, you must draw
+them rightly, if it takes two hours instead of two minutes; and, above
+all, remember that they are black and white.
+
+57. But farther: you see how intensely Turner felt precisely what the
+Fleming did not feel--the bend of the neck. Now this is not because
+Turner is a colorist, as opposed to the Fleming; but because he is a
+pure and highly trained Greek, as opposed to the Fleming's low Greek.
+Both, so far as they are aiming at form, are now working in the Greek
+school of Phidias; but Turner is true Greek, for he is thinking only
+of the truth about the swan; and De Wit is pseudo-Greek, for he is
+thinking not of the swan at all, but of his own Dutch self. And so he
+has ended in making, with his essentially piggish nature, this
+sleeping swan's neck as nearly as possible like a leg of pork.
+
+That is the result of academical work, in the hands of a vulgar
+person.
+
+58. And now I will ask you to look carefully at three more pictures in
+the London Exhibition.
+
+The first, "The Nativity," by Sandro Botticelli.[10] It is an early
+work by him; but a quite perfect example of what the masters of the
+pure Greek school did in Florence.
+
+[Footnote 10: Now in the National Gallery, No. 1034.]
+
+One of the Greek main characters, you know, is to be [Greek:
+aprosopos], faceless. If you look first at the faces in this picture
+you will find them ugly--often without expression, always ill or
+carelessly drawn. The entire purpose of the picture is a mystic
+symbolism by motion and chiaroscuro. By motion, first. There is a dome
+of burning clouds in the upper heaven. Twelve angels half float, half
+dance, in a circle, round the lower vault of it. All their drapery is
+drifted so as to make you feel the whirlwind of their motion. They are
+seen by gleams of silvery or fiery light, relieved against an equally
+lighted blue of inimitable depth and loveliness.
+
+It is impossible for you ever to see a more noble work of passionate
+Greek chiaroscuro--rejoicing in light. From this I should like you to
+go instantly to Rembrandt's "Portrait of a Burgomaster" (No. 77 in the
+Exhibition of Old Masters).
+
+59. That is ignobly passionate chiaroscuro, rejoicing in darkness
+rather than light.
+
+You cannot see a finer work by Rembrandt. It has all his power of
+rendering character, and the portrait is celebrated through the world.
+But it is entirely second-rate work. The character in the face is only
+striking to persons who like candle-light effects better than
+sunshine; any head by Titian has twice the character, and seen by
+daylight instead of gas. The rest of the picture is as false in light
+and shade as it is pretentious, made up chiefly of gleaming buttons in
+places where no light could possibly reach them; and of an embossed
+belt on the shoulder, which people think finely painted because it is
+all over lumps of color, not one of which was necessary. That embossed
+execution of Rembrandt's is just as much ignorant work as the embossed
+projecting jewels of Carlo Crivelli; a real painter never loads (see
+the Velasquez, No. 415 in the same exhibition).
+
+60. Finally, from the Rembrandt go to the little Cima (No. 93), "St.
+Mark." Thus you have the Sandro Botticelli, of the noble Greek school
+in Florence; the Rembrandt, of the debased Greek school in Holland;
+and the Cima, of the pure color school of Venice.
+
+The Cima differs from the Rembrandt, by being lovely; from the
+Botticelli, by being simple and calm. The painter does not desire the
+excitement of rapid movement, nor even the passion of beautiful light.
+But he hates darkness as he does death; and falsehood more than
+either. He has painted a noble human creature simply in clear
+daylight; not in rapture, nor yet in agony. He is dressed neither in a
+rainbow, nor bedraggled with blood. You are neither to be alarmed nor
+entertained by anything that is likely to happen to him. You are not
+to be improved by the piety of his expression, nor disgusted by its
+truculence. But there is more true mastery of light and shade, if your
+eye is subtle enough to see it, in the hollows and angles of the
+architecture and folds of the dress, than in all the etchings of
+Rembrandt put together. The unexciting color will not at first delight
+you; but its charm will never fail; and from all the works of
+variously strained and obtrusive power with which it is surrounded,
+you will find that you never return to it but with a sense of relief
+and of peace, which can only be given you by the tender skill which is
+wholly without pretense, without pride, and without error.
+
+
+
+
+III.
+
+COLOR.
+
+
+61. The distinctions between schools of art which I have so often
+asked you to observe are, you must be aware, founded only on the
+excess of certain qualities in one group of painters over another, or
+the difference in their tendencies; and not in the absolute possession
+by one group, and absence in the rest, of any given skill. But this
+impossibility of drawing trenchant lines of parting need never
+interfere with the distinctness of our conception of the opponent
+principles which balance each other in great minds, or paralyze each
+other in weak ones; and I cannot too often urge you to keep clearly
+separate in your thoughts the school which I have called[11] "of
+Crystal," because its distinctive virtue is seen unaided in the sharp
+separations and prismatic harmonies of painted glass, and the other,
+the "School of Clay," because its distinctive virtue is seen in the
+qualities of any fine work in uncolored terra cotta, and in every
+drawing which represents them.
+
+[Footnote 11: "Lectures on Art, 1870," Sec. 185.]
+
+62. You know I sometimes speak of these generally as the Gothic and
+Greek schools, sometimes as the colorist and chiaroscurist. All these
+oppositions are liable to infinite qualification and gradation, as
+between species of animals; and you must not be troubled, therefore,
+if sometimes momentary contradictions seem to arise in examining
+special points. Nay, the modes of opposition in the greatest men are
+inlaid and complex; difficult to explain, though in themselves clear.
+Thus you know in your study of sculpture we saw that the essential aim
+of the Greek art was tranquil action; the chief aim of Gothic art
+was passionate rest, a peace, an eternity of intense sentiment. As I
+go into detail, I shall continually therefore have to oppose Gothic
+passion to Greek temperance; yet Gothic rigidity, [Greek: stasis] of
+[Greek: ekstasis], to Greek action and [Greek: eleutheria]. You see
+how doubly, how intimately, opposed the ideas are; yet how difficult
+to explain without apparent contradiction.
+
+63. Now, to-day, I must guard you carefully against a misapprehension
+of this kind. I have told you that the Greeks as Greeks made real and
+material what was before indefinite; they turned the clouds and the
+lightning of Mount Ithome into the human flesh and eagle upon the
+extended arm of the Messenian Zeus. And yet, being in all things set
+upon absolute veracity and realization, they perceive as they work and
+think forward that to see in all things truly is to see in all things
+dimly and through hiding of cloud and fire.
+
+So that the schools of Crystal, visionary, passionate, and fantastic
+in purpose, are, in method, trenchantly formal and clear; and the
+schools of Clay, absolutely realistic, temperate, and simple in
+purpose, are, in method, mysterious and soft; sometimes licentious,
+sometimes terrific, and always obscure.
+
+[Illustration: MADONNA AND CHILD.
+
+From the painting by Filippo Lippi.]
+
+64. Look once more at this Greek dancing-girl, which is from a terra
+cotta, and therefore intensely of the school of Clay; look at her
+beside this Madonna of Filippo Lippi's: Greek motion against Gothic
+absolute quietness; Greek indifference--dancing careless--against
+Gothic passion, the mother's--what word can I use except frenzy of
+love; Greek fleshliness against hungry wasting of the self-forgetful
+body; Greek softness of diffused shadow and ductile curve, against
+Gothic lucidity of color and acuteness of angle; and Greek simplicity
+and cold veracity against Gothic rapture of trusted vision.
+
+65. And now I may safely, I think, go into our work of to-day without
+confusing you, except only in this. You will find me continually
+speaking of four men--Titian, Holbein, Turner, and Tintoret--in
+almost the same terms. They unite every quality; and sometimes you
+will find me referring to them as colorists, sometimes as
+chiaroscurists. Only remember this, that Holbein and Turner are Greek
+chiaroscurists, nearly perfect by adopted color; Titian and Tintoret
+are essentially Gothic colorists, quite perfect by adopted
+chiaroscuro.
+
+66. I used the word "prismatic" just now of the schools of Crystal, as
+being iridescent. By being studious of color they are studious of
+division; and while the chiaroscurist devotes himself to the
+representation of degrees of force in one thing--unseparated light,
+the colorists have for their function the attainment of beauty by
+arrangement of the divisions of light. And therefore, primarily, they
+must be able to divide; so that elementary exercises in color must be
+directed, like first exercises in music, to the clear separation of
+notes; and the final perfections of color are those in which, of
+innumerable notes or hues, every one has a distinct office, and can be
+fastened on by the eye, and approved, as fulfilling it.
+
+67. I do not doubt that it has often been matter of wonder among any
+of you who had faith in my judgment, why I gave to the University, as
+characteristic of Turner's work, the simple and at first unattractive
+drawings of the Loire series. My first and principal reason was that
+they enforced beyond all resistance, on any student who might attempt
+to copy them, this method of laying portions of distinct hue side by
+side. Some of the touches, indeed, when the tint has been mixed with
+much water, have been laid in little drops or ponds, so that the
+pigment might crystallize hard at the edge. And one of the chief
+delights which any one who really enjoys painting finds in that art as
+distinct from sculpture is in this exquisite inlaying or joiner's work
+of it, the fitting of edge to edge with a manual skill precisely
+correspondent to the close application of crowded notes without the
+least slur, in fine harp or piano playing.
+
+68. In many of the finest works of color on a large scale there is
+even some admission of the quality given to a painted window by the
+dark lead bars between the pieces of glass. Both Tintoret and
+Veronese, when they paint on dark grounds, continually stop short with
+their tints just before they touch others, leaving the dark ground
+showing between in a narrow bar. In the Paul Veronese in the National
+Gallery, you will every here and there find pieces of outline, like
+this of Holbein's; which you would suppose were drawn, as that is,
+with a brown pencil. But no! Look close, and you will find they are
+the dark ground, _left_ between two tints brought close to each other
+without touching.
+
+[Illustration: THE LADY WITH THE BROOCH.
+
+From the painting by Reynolds.]
+
+69. It follows also from this law of construction that any master who
+can color can always do any pane of his window that he likes,
+separately from the rest. Thus, you see, here is one of Sir Joshua's
+first sittings: the head is very nearly done with the first color; a
+piece of background is put in round it: his sitter has had a pretty
+silver brooch on, which Reynolds, having done as much as he chose to
+the face for that time, paints quietly in its place below, leaving the
+dress between to be fitted in afterwards; and he puts a little patch
+of the yellow gown that is to be, at the side. And it follows also
+from this law of construction that there must never be any hesitation
+or repentance in the direction of your lines of limit. So that not
+only in the beautiful dexterity of the joiner's work, but in the
+necessity of cutting out each piece of color at once and forever (for,
+though you can correct an erroneous junction of black and white
+because the gray between has the nature of either, you cannot correct
+an erroneous junction of red and green which make a neutral between
+them, if they overlap, that is neither red nor green): thus the
+practice of color educates at once in neatness of hand and
+distinctness of will; so that, as I wrote long ago in the third volume
+of "Modern Painters," you are always safe if you hold the hand of a
+colorist.
+
+70. I have brought you a little sketch to-day from the foreground of a
+Venetian picture, in which there is a bit that will show you this
+precision of method. It is the head of a parrot with a little flower
+in his beak from a picture of Carpaccio's, one of his series of the
+Life of St. George. I could not get the curves of the leaves, and they
+are patched and spoiled; but the parrot's head, however badly done, is
+put down with no more touches than the Venetian gave it, and it will
+show you exactly his method. First, a thin, warm ground had been laid
+over the whole canvas, which Carpaccio wanted as an under-current
+through all the color, just as there is an under-current of gray in
+the Loire drawings. Then on this he strikes his parrot in vermilion,
+almost flat color; rounding a little only with a glaze of lake; but
+attending mainly to get the character of the bird by the pure outline
+of its form, as if it were cut out of a piece of ruby glass.
+
+Then he comes to the beak of it. The brown ground beneath is left, for
+the most part; one touch of black is put for the hollow; two delicate
+lines of dark gray define the outer curve; and one little quivering
+touch of white draws the inner edge of the mandible. There are just
+four touches--fine as the finest penmanship--to do that beak; and yet
+you will find that in the peculiar paroquettish mumbling and nibbling
+action of it, and all the character in which this nibbling beak
+differs from the tearing beak of the eagle, it is impossible to go
+farther or be more precise. And this is only an incident, remember, in
+a large picture.
+
+71. Let me notice, in passing, the infinite absurdity of ever hanging
+Venetian pictures above the line of sight. There are very few persons
+in the room who will be able to see the drawing of this bird's beak
+without a magnifying-glass; yet it is ten to one that in any modern
+gallery such a picture would be hung thirty feet from the ground.
+
+Here, again, is a little bit to show Carpaccio's execution. It is his
+signature: only a little wall-lizard, holding the paper in its mouth,
+perfect; yet so small that you can scarcely see its feet, and that I
+could not, with my finest-pointed brush, copy their stealthy action.
+
+72. And now, I think, the members of my class will more readily
+pardon the intensely irksome work I put them to, with the compasses
+and the ruler. Measurement and precision are, with me, before all
+things; just because, though myself trained wholly in the chiaroscuro
+schools, I know the value of color; and I want you to begin with color
+in the very outset, and to see everything as children would see it.
+For, believe me, the final philosophy of art can only ratify their
+opinion that the beauty of a cock robin is to be red, and of a
+grass-plot to be green; and the best skill of art is in instantly
+seizing on the manifold deliciousness of light, which you can only
+seize by precision of instantaneous touch. Of course, I cannot do so
+myself; yet in these sketches of mine, made for the sake of color,
+there is enough to show you the nature and the value of the method.
+They are two pieces of study of the color of marble architecture, the
+tints literally "edified," and laid edge to edge as simply on the
+paper as the stones are on the walls.
+
+73. But please note in them one thing especially. The testing rule I
+gave for good color in the "Elements of Drawing," is that you make the
+white precious and the black conspicuous. Now you will see in these
+studies that the moment the white is inclosed properly, and harmonized
+with the other hues, it becomes somehow more precious and pearly than
+the white paper; and that I am not afraid to leave a whole field of
+untreated white paper all round it, being sure that even the little
+diamonds in the round window will tell as jewels, if they are gradated
+justly.
+
+Again, there is not a touch of black in any shadow, however deep, of
+these two studies; so that, if I chose to put a piece of black near
+them, it would be conspicuous with a vengeance.
+
+But in this vignette, copied from Turner, you have the two principles
+brought out perfectly. You have the white of foaming water, of
+buildings and clouds, brought out brilliantly from a white ground; and
+though part of the subject is in deep shadow the eye at once catches
+the one black point admitted in front.
+
+74. Well, the first reason that I gave you these Loire drawings was
+this of their infallible decision; the second was their extreme
+modesty in color. They are, beyond all other works that I know
+existing, dependent for their effect on low, subdued tones; their
+favorite choice in time of day being either dawn or twilight, and even
+their brightest sunsets produced chiefly out of gray paper. This last,
+the loveliest of all, gives the warmth of a summer twilight with a
+tinge of color on the gray paper so slight that it may be a question
+with some of you whether any is there. And I must beg you to observe,
+and receive as a rule without any exception, that whether color be gay
+or sad the value of it depends never on violence, but always on
+subtlety. It may be that a great colorist will use his utmost force of
+color, as a singer his full power of voice; but, loud or low, the
+virtue is in both cases always in refinement, never in loudness. The
+west window of Chartres is bedropped with crimson deeper than blood;
+but it is as soft as it is deep, and as quiet as the light of dawn.
+
+75. I say, "whether color be gay or sad." It must, remember, be one or
+the other. You know I told you that the pure Gothic school of color
+was entirety cheerful; that, as applied to landscape, it assumes that
+all nature is lovely, and may be clearly seen; that destruction and
+decay are accidents of our present state, never to be thought of
+seriously, and, above all things, never to be painted; but that
+whatever is orderly, healthy, radiant, fruitful and beautiful, is to
+be loved with all our hearts and painted with all our skill.
+
+76. I told you also that no complete system of art for either natural
+history or landscape could be formed on this system; that the wrath of
+a wild beast, and the tossing of a mountain torrent are equally
+impossible to a painter of the purist school; that in higher fields of
+thought increasing knowledge means increasing sorrow, and every art
+which has complete sympathy with humanity must be chastened by the
+sight and oppressed by the memory of pain. But there is no reason why
+your system of study should be a complete one, if it be right and
+profitable though incomplete. If you can find it in your hearts to
+follow out only the Gothic thoughts of landscape, I deeply wish you
+would, and for many reasons.
+
+77. First, it has never yet received due development; for at the
+moment when artistic skill and knowledge of effect became sufficient
+to complete its purposes, the Reformation destroyed the faith in which
+they might have been accomplished; for to the whole body of powerful
+draughtsmen the Reformation meant the Greek school and the shadow of
+death. So that of exquisitely developed Gothic landscape you may count
+the examples on the fingers of your hand: Van Eyck's "Adoration of the
+Lamb" at Bruges; another little Van Eyck in the Louvre; the John
+Bellini lately presented to the National Gallery;[12] another John
+Bellini in Rome: and the "St. George" of Carpaccio at Venice, are all
+that I can name myself of great works. But there exist some exquisite,
+though feebler, designs in missal painting; of which, in England, the
+landscape and flowers in the Psalter of Henry the Sixth will serve you
+for a sufficient type; the landscape in the Grimani missal at Venice
+being monumentally typical and perfect.
+
+[Footnote 12: No. 812. "Landscape, with the Death of St. Peter
+Martyr."]
+
+78. Now for your own practice in this, having first acquired the skill
+of exquisite delineation and laying of pure color, day by day you must
+draw some lovely natural form or flower or animal without
+obscurity--as in missal painting; choosing for study, in natural
+scenes, only what is beautiful and strong in life.
+
+79. I fully anticipated, at the beginning of the Pre-Raphaelite
+movement, that they would have carried forward this method of work;
+but they broke themselves to pieces by pursuing dramatic sensation
+instead of beauty. So that to this day all the loveliest things in the
+world remain unpainted; and although we have occasionally spasmodic
+efforts and fits of enthusiasm, and green meadows and apple-blossom to
+spare, it yet remains a fact that not in all this England, and still
+less in France, have you a painter who has been able nobly to paint
+so much as a hedge of wild roses or a forest glade full of anemones or
+wood-sorrel.
+
+80. One reason of this has been the idea that such work was easy, on
+the part of the young men who attempted it, and the total vulgarity
+and want of education in the great body of abler artists, rendering
+them insensitive to qualities of fine delineation; the universal law
+for them being that they can draw a pig, but not a Venus. For
+instance, two landscape-painters of much reputation in England, and
+one of them in France also--David Cox and John Constable, represent a
+form of blunt and untrained faculty which in being very frank and
+simple, apparently powerful, and needing no thought, intelligence or
+trouble whatever to observe, and being wholly disorderly, slovenly and
+licentious, and therein meeting with instant sympathy from the
+disorderly public mind now resentful of every trammel and ignorant of
+every law--these two men, I say, represent in their intensity the
+qualities adverse to all accurate science or skill in landscape art;
+their work being the mere blundering of clever peasants, and deserving
+no name whatever in any school of true practice, but consummately
+mischievous--first, in its easy satisfaction of the painter's own
+self-complacencies, and then in the pretense of ability which blinds
+the public to all the virtue of patience and to all the difficulty of
+precision. There is more real relation to the great schools of art,
+more fellowship with Bellini and Titian, in the humblest painter of
+letters on village signboards than in men like these.
+
+Do not, therefore, think that the Gothic school is an easy one. You
+might more easily fill a house with pictures like Constable's from
+garret to cellar, than imitate one cluster of leaves by Van Eyck or
+Giotto; and among all the efforts that have been made to paint our
+common wild-flowers, I have only once--and that in this very year,
+just in time to show it to you--seen the thing done rightly.
+
+81. But now observe: These flowers, beautiful as they are, are not of
+the Gothic school. The law of that school is that everything shall be
+seen clearly, or at least, only in such mist or faintness as shall be
+delightful; and I have no doubt that the best introduction to it would
+be the elementary practice of painting every study on a golden ground.
+This at once compels you to understand that the work is to be
+imaginative and decorative; that it represents beautiful things in the
+clearest way, but not under existing conditions; and that, in fact,
+you are producing jeweler's work, rather than pictures. Then the
+qualities of grace in design become paramount to every other; and you
+may afterwards substitute clear sky for the golden background without
+danger of loss or sacrifice of system: clear sky of golden light, or
+deep and full blue, for the full blue of Titian is just as much a
+piece of conventional enameled background as if it were a plate of
+gold; that depth of blue in relation to foreground objects being
+wholly impossible.
+
+82. There is another immense advantage in this Byzantine and Gothic
+abstraction of decisive form, when it is joined with a faithful desire
+of whatever truth can be expressed on narrow conditions. It makes us
+observe the vital points in which character consists, and educates the
+eye and mind in the habit of fastening and limiting themselves to
+essentials. In complete drawing, one is continually liable to be led
+aside from the main points by picturesque accidents of light and
+shade; in Gothic drawing you must get the character, if at all, by a
+keenness of analysis which must be in constant exercise.
+
+83. And here I must beg of you very earnestly, once for all, to clear
+your minds of any misapprehension of the nature of Gothic art, as if
+it implied error and weakness, instead of severity. That a style is
+restrained or severe does not mean that it is also erroneous. Much
+mischief has been done--endless misapprehension induced in this
+matter--by the blundering religious painters of Germany, who have
+become examples of the opposite error from our English painters of the
+Constable group. Our uneducated men work too bluntly to be ever in the
+right; but the Germans draw finely and resolutely wrong. Here is a
+"Riposo" of Overbeck's for instance, which the painter imagined to be
+elevated in style because he had drawn it without light and shade, and
+with absolute decision: and so far, indeed, it is Gothic enough; but
+it is separated everlastingly from Gothic and from all other living
+work, because the painter was too vain to look at anything he had to
+paint, and drew every mass of his drapery in lines that were as
+impossible as they were stiff, and stretched out the limbs of his
+Madonna in actions as unlikely as they are uncomfortable.
+
+In all early Gothic art, indeed, you will find failure of this kind,
+especially distortion and rigidity, which are in many respects
+painfully to be compared with the splendid repose of classic art. But
+the distortion is not Gothic; the intensity, the abstraction, the
+force of character are, and the beauty of color.
+
+84. Here is a very imperfect, but illustrative border of flowers and
+animals on a golden ground. The large letter contains, indeed,
+entirely feeble and ill-drawn figures: that is merely childish and
+failing work of an inferior hand; it is not characteristic of Gothic,
+or any other school. But this peacock, being drawn with intense
+delight in blue, on gold, and getting character of peacock in the
+general sharp outline, instead of--as Rubens' peacocks--in black
+shadow, is distinctively Gothic of fine style.
+
+85. I wish you therefore to begin your study of natural history and
+landscape by discerning the simple outlines and the pleasant colors of
+things; and to rest in them as long as you can. But, observe, you can
+only do this on one condition--that of striving also to create, in
+reality, the beauty which you seek in imagination. It will be wholly
+impossible for you to retain the tranquillity of temper and felicity
+of faith necessary for noble purist painting, unless you are actively
+engaged in promoting the felicity and peace of practical life. None of
+this bright Gothic art was ever done but either by faith in the
+attainableness of felicity in heaven, or under conditions of real
+order and delicate loveliness on the earth.
+
+86. As long as I can possibly keep you among them, there you shall
+stay--among the almond and apple blossom. But if you go on into the
+veracities of the school of Clay, you will find there is something at
+the roots of almond and apple trees, which is--This. You must look at
+him in the face--fight him--conquer him with what scathe you may: you
+need not think to keep out of the way of him. There is Turner's
+Dragon; there is Michael Angelo's; there, a very little one of
+Carpaccio's. Every soul of them had to understand the creature, and
+very earnestly.
+
+87. Not that Michael Angelo understands his dragon as the others do.
+He was not enough a colorist either to catch the points of the
+creature's aspect, or to feel the same hatred of them; but I confess
+myself always amazed in looking at Michael Angelo's work here or
+elsewhere, at his total carelessness of anatomical character except
+only in the human body. It is very easy to round a dragon's neck, if
+the only idea you have of it is that it is virtually no more than a
+coiled sausage; and, besides, anybody can round anything if you have
+full scale from white high light to black shadow.
+
+88. But look here at Carpaccio, even in my copy. The colorist says,
+"First of all, as my delicious paroquet was ruby, so this nasty viper
+shall be black"; and then is the question, "Can I round him off, even
+though he is black, and make him slimy, and yet springy, and close
+down--clotted like a pool of black blood on the earth--all the same?"
+Look at him beside Michael Angelo's, and then tell me the Venetians
+can't draw! And also, Carpaccio does it with a touch, with one sweep
+of his brush; three minutes at the most allowed for all the beast;
+while Michael Angelo has been haggling at this dragon's neck for an
+hour.
+
+89. Then note also in Turner's that clinging to the earth--the
+specialty of him--_il gran nemico_, "the great enemy," Plutus. His
+claws are like the Clefts of the Rock; his shoulders like its
+pinnacles; his belly deep into its every fissure--glued down--loaded
+down; his bat's wings cannot lift him, they are rudimentary wings
+only.
+
+90. Before I tell you what he means himself, you must know what all
+this smoke about him means.
+
+Nothing will be more precious to you, I think, in the practical study
+of art, than the conviction, which will force itself on you more and
+more every hour, of the way all things are bound together, little and
+great, in spirit and in matter. So that if you get once the right clue
+to any group of them, it will grasp the simplest, yet reach to the
+highest truths. You know I have just been telling you how this school
+of materialism and clay involved itself at last in cloud and fire.
+Now, down to the least detail of method and subject, that will hold.
+
+91. Here is a perfect type, though not a complex one, of Gothic
+landscape; the background gold, the trees drawn leaf by leaf, and full
+green in color--no effect of light. Here is an equally typical
+Greek-school landscape, by Wilson--lost wholly in golden mist; the
+trees so slightly drawn that you don't know if they are trees or
+towers, and no care for color whatever; perfectly deceptive and
+marvelous effect of sunshine through the mist--"Apollo and the
+Python." Now here is Raphael, exactly between the two--trees still
+drawn leaf by leaf, wholly formal; but beautiful mist coming gradually
+into the distance. Well, then, last, here is Turner's; Greek-school of
+the highest class; and you define his art, absolutely, as first the
+displaying intensely, and with the sternest intellect, of natural form
+as it is, and then the envelopment of it with cloud and fire. Only,
+there are two sorts of cloud and fire. He knows them both. There's
+one, and there's another--the "Dudley" and the "Flint." That's what
+the cloud and flame of the dragon mean: now, let me show you what the
+dragon means himself.
+
+92. I go back to another perfect landscape of the living Gothic
+school. It is only a pencil outline, by Edward Burne-Jones, in
+illustration of the story of Psyche; it is the introduction of Psyche,
+after all her troubles, into heaven.
+
+Now in this of Burne-Jones, the landscape is clearly full of light
+everywhere, color or glass light: that is, the outline is prepared
+for modification of color only. Every plant in the grass is set
+formally, grows perfectly, and may be realized completely. Exquisite
+order, and universal, with eternal life and light, this is the faith
+and effort of the schools of Crystal; and you may describe and
+complete their work quite literally by taking any verses of Chaucer in
+his tender mood, and observing how he insists on the clearness and
+brightness first, and then on the order. Thus, in Chaucer's "Dream":
+
+     "Within an yle me thought I was,
+     Where wall and yate was all of glasse,
+     And so was closed round about
+     That leavelesse none come in ne out,
+     Uncouth and straunge to beholde,
+     For every yate of fine golde
+     A thousand fanes, aie turning,
+     Entuned had, and briddes singing
+     Divers, and on each fane a paire
+     With open mouth again here;
+     And of a sute were all the toures
+     Subtily corven after floures,
+     Of uncouth colors during aye
+     That never been none seene in May."
+
+93. Next to this drawing of Psyche I place two of Turner's most
+beautiful classical landscapes. At once you are out of the open
+daylight, either in sunshine admitted partially through trembling
+leaves, or in the last rays of its setting, scarcely any more warm on
+the darkness of the ilex wood. In both, the vegetation, though
+beautiful, is absolutely wild and uncared for, as it seems, either by
+human or by higher powers, which, having appointed for it the laws of
+its being, leave it to spring into such beauty as is consistent with
+disease and alternate with decay.
+
+[Illustration: AESACUS AND HESPERIE.
+
+From the painting by Turner.]
+
+In the purest landscape, the _human_ subject is the immortality of the
+soul by the faithfulness of love: in both the Turner landscapes it is
+the death of the body by the impatience and error of love. The one is
+the first glimpse of Hesperia to AEsacus:[13]
+
+     "Aspicit Hesperien patria Cebrenida ripa,
+     Injectos humeris siccantem sole capillos:"
+
+in a few moments to lose her forever. The other is a mythological
+subject of deeper meaning, the death of Procris.
+
+[Footnote 13: Ovid, "Metamorphoses," XI. 769.]
+
+94. I just now referred to the landscape by John Bellini in the
+National Gallery as one of the six best existing of the purist school,
+being wholly felicitous and enjoyable. In the foreground of it indeed
+is the martyrdom of Peter Martyr; but John Bellini looks upon that as
+an entirely cheerful and pleasing incident; it does not disturb or
+even surprise him, much less displease in the slightest degree.
+
+Now, the next best landscape[14] to this, in the National Gallery, is
+a Florentine one on the edge of transition to the Greek feeling; and
+in that the distance is still beautiful, but misty, not clear; the
+flowers are still beautiful, but--intentionally--of the color of
+blood; and in the foreground lies the dead body of Procris, which
+disturbs the poor painter greatly; and he has expressed his disturbed
+mind about it in the figure of a poor little brown--nearly
+black--Faun, or perhaps the god Faunus himself, who is much puzzled by
+the death of Procris, and stoops over her, thinking it a woeful thing
+to find her pretty body lying there breathless, and all spotted with
+blood on the breast.
+
+[Footnote 14: (Of the Purist school.)]
+
+95. You remember I told you how the earthly power that is necessary in
+art was shown by the flight of Daedalus to the [Greek: herpeton] Minos.
+Look for yourselves at the story of Procris as related to Minos in the
+fifteenth chapter of the third book of Apollodorus; and you will see
+why it is a Faun who is put to wonder at her, she having escaped by
+artifice from the Bestial power of Minos. Yet she is wholly an
+earth-nymph, and the son of Aurora must not only leave her, but
+himself slay her; the myth of Semele desiring to see Zeus, and of
+Apollo and Coronis, and this having all the same main interest. Once
+understand that, and you will see why Turner has put her death under
+this deep shade of trees, the sun withdrawing his last ray; and why he
+has put beside her the low type of an animal's pain, a dog licking its
+wounded paw.
+
+96. But now, I want you to understand Turner's depth of sympathy
+farther still. In both these high mythical subjects the surrounding
+nature, though suffering, is still dignified and beautiful. Every line
+in which the master traces it, even where seemingly negligent, is
+lovely, and set down with a meditative calmness which makes these two
+etchings capable of being placed beside the most tranquil work of
+Holbein or Duerer. In this "Cephalus" especially, note the extreme
+equality and serenity of every outline. But now here is a subject of
+which you will wonder at first why Turner drew it at all. It has no
+beauty whatsoever, no specialty of picturesqueness; and all its lines
+are cramped and poor.
+
+The crampness and the poverty are all intended. This is no longer to
+make us think of the death of happy souls, but of the labor of unhappy
+ones; at least, of the more or less limited, dullest, and--I must not
+say homely, but--unhomely life of the neglected agricultural poor.
+
+It is a gleaner bringing down her one sheaf of corn to an old
+watermill, itself mossy and rent, scarcely able to get its stones to
+turn. An ill-bred dog stands, joyless, by the unfenced stream; two
+country boys lean, joyless, against a wall that is half broken down;
+and all about the steps down which the girl is bringing her sheaf, the
+bank of earth, flowerless and rugged, testifies only of its malignity;
+and in the black and sternly rugged etching--no longer graceful, but
+hard, and broken in every touch--the master insists upon the ancient
+curse of the earth--"Thorns also and Thistles shall it bring forth to
+thee."
+
+97. And now you will see at once with what feeling Turner completes,
+in a more tender mood, this lovely subject of his Yorkshire stream, by
+giving it the conditions of pastoral and agricultural life; the cattle
+by the pool, the milkmaid crossing the bridge with her pail on her
+head, the mill with the old millstones, and its gleaming weir as his
+chief light led across behind the wild trees.
+
+[Illustration: MILL NEAR GRANDE CHARTREUSE.
+
+From the painting by Turner.]
+
+98. And not among our soft-flowing rivers only; but here among the
+torrents of the Great Chartreuse, where another man would assuredly
+have drawn the monastery, Turner only draws their working mill. And
+here I am able to show you, fortunately, one of his works painted at
+this time of his most earnest thought; when his imagination was still
+freshly filled with the Greek mythology, and he saw for the first time
+with his own eyes the clouds come down upon the actual earth.
+
+[Illustration: L'AIGUILLETTE, VALLEY OF CLUSES.
+
+From the painting by Turner.]
+
+99. The scene is one which, in old times of Swiss traveling, you would
+all have known well; a little cascade which descends to the road from
+Geneva to Chamouni, near the village of Maglans, from under a
+subordinate ridge of the Aiguille de Varens, known as the Aiguillette.
+You, none of you, probably, know the scene now; for your only object
+is to get to Chamouni and up Mont Blanc and down again; but the Valley
+of Cluse, if you knew it, is worth many Chamounis; and it impressed
+Turner profoundly. The facts of the spot are here given in mere and
+pure simplicity; a quite unpicturesque bridge, a few trees partly
+stunted and blasted by the violence of the torrent in storm at their
+roots, a cottage with its mill-wheel--this has lately been pulled down
+to widen the road--and the brook shed from the rocks and finding its
+way to join the Arve. The scene is absolutely Arcadian. All the
+traditions of the Greek Hills, in their purity, were founded on such
+rocks and shadows as these; and Turner has given you the birth of the
+Shepherd Hermes on Cyllene, in its visible and solemn presence, the
+white cloud, Hermes Eriophoros forming out of heaven upon the Hills;
+the brook, distilled from it, as the type of human life, born of the
+cloud and vanishing into the cloud, led down by the haunting Hermes
+among the ravines; and then, like the reflection of the cloud itself,
+the white sheep, with the dog of Argus guarding them, drinking from
+the stream.
+
+100. And now, do you see why I gave you, for the beginning of your
+types of landscape thought, that "Junction of Tees and Greta" in their
+misty ravines; and this glen of the Greta above, in which Turner has
+indeed done his best to paint the trees that live again after their
+autumn--the twilight that will rise again with twilight of dawn--the
+stream that flows always, and the resting on the cliffs of the
+clouds that return if they vanish; but of human life, he says, a boy
+climbing among the trees for his entangled kite, and these white
+stones in the mountain churchyard, show forth all the strength and all
+the end.
+
+101. You think that saying of the Greek school--Pindar's summary of
+it, "[Greek: ti de tis; ti d'ou tis];"[15]--a sorrowful and degrading
+lesson. See at least, then, that you reach the level of such
+degradation. See that your lives be in nothing worse than a boy's
+climbing for his entangled kite. It will be well for you if you join
+not with those who instead of kites fly falcons; who instead of
+obeying the last words of the great Cloud-Shepherd--to feed his sheep,
+live the lives--how much less than vanity!--of the war-wolf and the
+gier-eagle. Or, do you think it a dishonor to man to say to him that
+Death is but only Rest? See that when it draws near to you, you may
+look to it, at least for sweetness of Rest; and that you recognize the
+Lord of Death coming to you as a Shepherd gathering you into his Fold
+for the night.
+
+[Footnote 15: Pyth. viii. 95. (135.)]
+
+
+
+
+
+
+
+
+End of the Project Gutenberg EBook of Lectures on Landscape, by John Ruskin
+
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