diff options
| author | nfenwick <nfenwick@pglaf.org> | 2025-03-03 19:58:37 -0800 |
|---|---|---|
| committer | nfenwick <nfenwick@pglaf.org> | 2025-03-03 19:58:37 -0800 |
| commit | 7bb8b3e2845fc996a39d1c04c657f5aaa9baeef3 (patch) | |
| tree | 5b26a33184efde6fff68726d6b672722a5ebed92 /44329-h | |
| parent | 63672644f0ae2d4aef8f5a6c30d279fd8e1acc2c (diff) | |
Diffstat (limited to '44329-h')
| -rw-r--r-- | 44329-h/44329-h.htm | 1907 |
1 files changed, 748 insertions, 1159 deletions
diff --git a/44329-h/44329-h.htm b/44329-h/44329-h.htm index 6001d76..97a4bf0 100644 --- a/44329-h/44329-h.htm +++ b/44329-h/44329-h.htm @@ -3,7 +3,7 @@ <head> <meta http-equiv="Content-Type" content= - "text/html; charset=iso-8859-1" /> + "text/html; charset=UTF-8" /> <title> The Project Gutenberg eBook of Modern Painters Volume 5 by John Ruskin. @@ -157,44 +157,7 @@ </style> </head> <body> - - -<pre> - -Project Gutenberg's Modern Painters, Volume V (of 5), 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: Modern Painters, Volume V (of 5) - -Author: John Ruskin - -Release Date: December 1, 2013 [EBook #44329] -Last Updated: March 14, 2015 - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK MODERN PAINTERS, VOLUME V (OF 5) *** - - - - -Produced by Marius Masi, Juliet Sutherland and the Online -Distributed Proofreading Team at http://www.pgdp.net - - - - - - -</pre> - +<div>*** START OF THE PROJECT GUTENBERG EBOOK 44329 ***</div> <p class="pt2 verd f120 center">Library Edition</p> @@ -464,7 +427,7 @@ to refuse it without reviling.</p> <hr class="foot" /> <div class="note"> <p><a name="ft1a" id="ft1a" href="#fa1a"><span class="fn">1</span></a> The best book of studies for his great shipwrecks contained about a -quarter of a pound of chalk débris, black and white, broken off the crayons +quarter of a pound of chalk débris, black and white, broken off the crayons with which Turner had drawn furiously on both sides of the leaves; every leaf, with peculiar foresight and consideration of difficulties to be met by future mounters, containing half of one subject on the front of it, and half @@ -574,7 +537,7 @@ this volume, many others have been most serviceable, both to it and to me.</p> <tr><td class="tcc">”</td> <td class="tcr">X.</td> <td class="tcl">—The Nereid’s Guard</td> <td class="tcr"><a href="#page298">298</a></td></tr> -<tr><td class="tcc">”</td> <td class="tcr">XI.</td> <td class="tcl">—The Hesperid Æglé</td> <td class="tcr"><a href="#page314">314</a></td></tr> +<tr><td class="tcc">”</td> <td class="tcr">XI.</td> <td class="tcl">—The Hesperid Æglé</td> <td class="tcr"><a href="#page314">314</a></td></tr> <tr><td class="tcc">”</td> <td class="tcr">XII.</td> <td class="tcl">—Peace</td> <td class="tcr"><a href="#page339">339</a></td></tr> @@ -637,7 +600,7 @@ this volume, many others have been most serviceable, both to it and to me.</p> <tr><td class="tcl">69. Aiguilles and their Friends</td> <td class="tcl"><i>J. Ruskin</i></td> <td class="tcl"><span class="sc">J. C. Armytage</span></td> <td class="tcr"><a href="#page125">125</a></td></tr> -<tr><td class="tcl">70. The Graiæ</td> <td class="tcl"><i>J. Ruskin</i></td> <td class="tcl"><span class="sc">J. C. Armytage</span></td> <td class="tcr"><a href="#page127">127</a></td></tr> +<tr><td class="tcl">70. The Graiæ</td> <td class="tcl"><i>J. Ruskin</i></td> <td class="tcl"><span class="sc">J. C. Armytage</span></td> <td class="tcr"><a href="#page127">127</a></td></tr> <tr><td class="tcl">71. “Venga Medusa”</td> <td class="tcl"><i>J. Ruskin</i></td> <td class="tcl"><span class="sc">J. C. Armytage</span></td> <td class="tcr"><a href="#page127">127</a></td></tr> @@ -653,7 +616,7 @@ this volume, many others have been most serviceable, both to it and to me.</p> <tr><td class="tcl">78. Quivi Trovammo</td> <td class="tcl"><i>J. M. W. Turner</i></td> <td class="tcl"><span class="sc">J. Ruskin</span></td> <td class="tcr"><a href="#page298">298</a></td></tr> -<tr><td class="tcl">79. Hesperid Æglé</td> <td class="tcl"><i>Giorgione</i></td> <td class="tcl"><span class="sc">Wm. Hall</span></td> <td class="tcr"><a href="#page314">314</a></td></tr> +<tr><td class="tcl">79. Hesperid Æglé</td> <td class="tcl"><i>Giorgione</i></td> <td class="tcl"><span class="sc">Wm. Hall</span></td> <td class="tcr"><a href="#page314">314</a></td></tr> <tr><td class="tcl">80. Rocks at Rest</td> <td class="tcl"><i>J. Ruskin, from J. M. W. Turner</i></td> <td class="tcl"><span class="sc">J. C. Armytage</span></td> <td class="tcr"><a href="#page319">319</a></td></tr> @@ -705,7 +668,7 @@ this volume, many others have been most serviceable, both to it and to me.</p> <p class="center chap2">THE EARTH-VEIL.</p> -<p class="noind pt1"><span class="chap1 sc">§ 1. “To</span> dress it and to keep it.”</p> +<p class="noind pt1"><span class="chap1 sc">§ 1. “To</span> dress it and to keep it.”</p> <p>That, then, was to be our work. Alas! what work have we set ourselves upon instead! How have we ravaged the garden @@ -746,7 +709,7 @@ of Eden remain barred close enough, till we have sheathed the sharper flame of our own passions, and broken down the closer gates of our own hearts.</p> -<p>§ 2. I have been led to see and feel this more and more, as I +<p>§ 2. I have been led to see and feel this more and more, as I considered the service which the flowers and trees, which man was at first appointed to keep, were intended to render to him in return for his care; and the services they still render to him, as @@ -768,7 +731,7 @@ without consciousness, to death without bitterness; wears the beauty of youth, without its passion; and declines to the weakness of age, without its regret.</p> -<p>§ 3. And in this mystery of intermediate being, entirely subordinate +<p>§ 3. And in this mystery of intermediate being, entirely subordinate to us, with which we can deal as we choose, having just the greater power as we have the less responsibility for our treatment of the unsuffering creature, most of the pleasures which we @@ -807,7 +770,7 @@ variegated, everlasting films, the peaks of the trackless mountains, or ministering at cottage doors to every gentlest passion and simplest joy of humanity.</p> -<p>§ 4. Being thus prepared for us in all ways, and made beautiful, +<p>§ 4. Being thus prepared for us in all ways, and made beautiful, and good for food, and for building, and for instruments of our hands, this race of plants, deserving boundless affection and admiration from us, become, in proportion to their obtaining it, @@ -837,7 +800,7 @@ us by a new aspect of facts, so that we may find ourselves saying: rustic; and such and such another person is very rude and ill-taught—he is quite urbane.”</p> -<p>§ 5. At all events, cities have hitherto gained the better part +<p>§ 5. At all events, cities have hitherto gained the better part of their good report through our evil ways of going on in the world generally;—chiefly and eminently through our bad habit of fighting with each other. No field, in the middle ages, being @@ -858,7 +821,7 @@ exercise of horses, or for growth of food.</p> <p><span class="pagenum"><a name="page5" id="page5"></a>5</span></p> -<p>§ 6. There is a beautiful type of this neglect of the perfectness +<p>§ 6. There is a beautiful type of this neglect of the perfectness of the Earth’s beauty, by reason of the passions of men, in that picture of Paul Uccello’s of the battle of Sant’ Egidio,<a name="fa1b" id="fa1b" href="#ft1b"><span class="sp">1</span></a> in which the armies meet on a country road beside a hedge of wild @@ -878,7 +841,7 @@ the twisted olive-trunks hid the ambushes of treachery; and on their valley meadows, day by day, the lilies which were white at the dawn were washed with crimson at sunset.</p> -<p>§ 7. And indeed I had once purposed, in this work, to show +<p>§ 7. And indeed I had once purposed, in this work, to show what kind of evidence existed respecting the possible influence of country life on men; it seeming to me, then, likely that here and there a reader would perceive this to be a grave question, @@ -910,7 +873,7 @@ interest.</p> <p class="center chap2">THE LEAF ORDERS.</p> -<p class="noind pt1"><span class="chap1 sc">§ 1. As</span> in our sketch of the structure of mountains it +<p class="noind pt1"><span class="chap1 sc">§ 1. As</span> in our sketch of the structure of mountains it seemed advisable to adopt a classification of their forms, which, though inconsistent with absolute scientific precision, was convenient for order of successive inquiry, and gave useful largeness @@ -927,7 +890,7 @@ enough for all working purposes, and sure to remain thus serviceable, in its rough generality, whatever views may hereafter be developed among botanists.</p> -<p>§ 2. A child’s division of plants is into “trees and flowers.” +<p>§ 2. A child’s division of plants is into “trees and flowers.” If, however, we were to take him in spring, after he had gathered his lapful of daisies, from the lawn into the orchard, and ask him how he would call those wreaths of richer floret, whose @@ -959,7 +922,7 @@ they pass as the tented Arab passes; they leave <i>no memorials of themselves</i>, except the seed, or bulb, or root which is to perpetuate the race.</p> -<p>§ 3. The other great class of plants we may perhaps best call +<p>§ 3. The other great class of plants we may perhaps best call <span class="scs">BUILDING PLANTS</span>. These will not live on the ground, but eagerly raise edifices above it. Each works hard with solemn forethought all its life. Perishing, it leaves its work in the form @@ -982,7 +945,7 @@ perish like a man; or will it spread its boughs to the sea and branches to the river, and enlarge its circle of shade in heaven for a thousand years?”</p> -<p>§ 4. This, I repeat, is the <i>first</i> question I ask the plant. +<p>§ 4. This, I repeat, is the <i>first</i> question I ask the plant. And as it answers, I range it on one side or the other, among <span class="pagenum"><a name="page8" id="page8"></a>8</span> those that rest or those that toil: tent-dwellers, who toil not, @@ -999,7 +962,7 @@ trees.<a name="fa1c" id="fa1c" href="#ft1c"><span class="sp">1</span></a></p> <p>These two classes we might call earth-plants, and pillar-plants.</p> -<p>§ 5. Again, in questioning the true builders as to their modes +<p>§ 5. Again, in questioning the true builders as to their modes of work, I find that they also are divisible into two great classes. Without in the least wishing the reader to accept the fanciful nomenclature, I think he may yet most conveniently remember @@ -1023,7 +986,7 @@ imperfect shelter. Their mode of building is ruder than that of the shield-builders, and they in many ways resemble the pillar-plants of the opposite order. We call them generally “Pines.”</p> -<p>§ 6. Our work, in this section, will lie only among the shield-builders, +<p>§ 6. Our work, in this section, will lie only among the shield-builders, sword-builders, and plants of rest. The Pillar-plants belong, for the most part, to other climates. I could not analyze them rightly; and the labor given to them would be @@ -1050,7 +1013,7 @@ hope from it.</p> <p class="center chap2">THE BUD.</p> -<p class="noind pt1"><span class="chap1 sc">§ 1. If</span> you gather in summer time an outer spray of any +<p class="noind pt1"><span class="chap1 sc">§ 1. If</span> you gather in summer time an outer spray of any shield-leaved tree, you will find it consists of a slender rod, throwing out leaves, perhaps on every side, perhaps on two sides only, with usually a cluster of closer leaves at the end. In order @@ -1067,7 +1030,7 @@ casting them aside one by one.</p> <tr><td class="figright1"><img style="width:341px; height:328px" src="images/img026.jpg" alt="" /></td></tr> <tr><td class="caption"><span class="sc">Fig. 1.</span></td></tr></table> -<p>§ 2. Let the tree spray be represented under one of these two +<p>§ 2. Let the tree spray be represented under one of these two types, <span class="scs">A</span> or <span class="scs">B</span>, Fig. 1, the cluster at the end being in each case supposed to consist of three leaves @@ -1103,7 +1066,7 @@ go no farther down than the knot.</p> <p>The alternate form <span class="scs">A</span> is more frequent than <span class="scs">B</span>, and some botanists think includes <span class="scs">B</span>. We will, therefore, begin with it.</p> -<p>§ 3. If you look close at the figure, you will see small projecting +<p>§ 3. If you look close at the figure, you will see small projecting points at the roots of the leaves. These represent buds, which you may find, most probably, in the shoot you have in your hand. Whether you find them or not, they are there—visible, @@ -1132,7 +1095,7 @@ which has taken a year to fashion; innumerable other pinnacles having been built at the same time on other branches.</p> -<p>§ 4. Now, every one of these buds, <i>a</i>, <i>b</i>, and <i>c</i>, as well as +<p>§ 4. Now, every one of these buds, <i>a</i>, <i>b</i>, and <i>c</i>, as well as every terminal bud, has the power and disposition to raise himself in the spring, into just such another pinnacle as <span class="scs">A B</span> is.</p> @@ -1181,7 +1144,7 @@ go into closer detail.</p> <tr><td class="figcenter"><img style="width:692px; height:1238px" src="images/img029.jpg" alt="" /></td></tr> <tr><td class="caption">51. The Dryad’s Toil.</td></tr></table> -<p>§ 5. Let us return to the type in Fig. 2, +<p>§ 5. Let us return to the type in Fig. 2, of the fully accomplished summer’s work: the rod with its bare buds. Plate 51, opposite, represents, of about half its real size, @@ -1204,7 +1167,7 @@ somewhat blank-looking flat space, which you may study at your ease on a horse-chestnut stem, where these spaces are very large.</p> -<p>§ 6. Now if you cut your oak spray neatly through, just +<p>§ 6. Now if you cut your oak spray neatly through, just above a bud, as at <span class="scs">A</span>, Fig. 4, and look at it with a not very powerful magnifier, you will find it present the pretty section, Fig. 5.</p> @@ -1249,7 +1212,7 @@ bud.</p> <tr><td class="figright1"><img style="width:192px; height:193px" src="images/img032b.jpg" alt="" /></td></tr> <tr><td class="caption"><span class="sc">Fig. 8.</span></td></tr></table> -<p>§ 7. But farther, observe in what succession those buds are +<p>§ 7. But farther, observe in what succession those buds are put round the bearing stem. Let the section of the stem be represented by the small central circle in Fig. 8; and suppose it surrounded by a <i>nearly</i> regular @@ -1265,7 +1228,7 @@ Fig. 5, expands into its bud, not successively, but by leaps, always to the <i>next but one;</i> the buds being thus placed in a nearly regular spiral order.</p> -<p>§ 8. I say nearly regular—for there are subtleties of variation +<p>§ 8. I say nearly regular—for there are subtleties of variation in plan which it would be merely tiresome to enter into. All that we need care about is the general law, of which the oak spray furnishes a striking example,—that the buds of the first great @@ -1285,7 +1248,7 @@ between 1 and 2, or 2 and 3, in Fig. 8.<a name="fa2d" id="fa2d" href="#ft2d"><sp <tr><td class="figright1"><img style="width:166px; height:358px" src="images/img033.jpg" alt="" /></td></tr> <tr><td class="caption"><span class="sc">Fig. 9.</span></td></tr></table> -<p>§ 9. Should the interval be consistently a little <i>less</i> than +<p>§ 9. Should the interval be consistently a little <i>less</i> than that which brings out the pentagonal structure, the plant seems to get at first into much difficulty. For, in such case, there is a probability of the buds falling into @@ -1311,7 +1274,7 @@ seem to sustain. Without troubling ourselves about this yet, let us fix in our minds broadly the effective aspect of the matter, which is all we want, by a simple practical illustration.</p> -<p>§ 10. Take a piece of stick half-an-inch thick, and a yard or +<p>§ 10. Take a piece of stick half-an-inch thick, and a yard or two long, and tie large knots, at any <i>equal</i> distances you choose, on a piece of pack-thread. Then wind the pack-thread round the stick, with any number of equidistant turns you choose, from @@ -1343,7 +1306,7 @@ tendency of the buds to follow in pairs, in these longer shoots.</p> <tr><td class="caption"><span class="sc">Fig. 11.</span></td> <td class="caption"><span class="sc">Fig. 12.</span></td></tr></table> -<p>§ 11. Lastly: If the spiral be constructed so as to bring the +<p>§ 11. Lastly: If the spiral be constructed so as to bring the buds nearly on opposite sides of the stem, though alternate in succession, the stem, most probably, will shoot a little away from @@ -1352,7 +1315,7 @@ the oscillatory form <i>b</i>, Fig. 11, which, when the buds are placed, as in this case, at diminishing intervals, is very beautiful.<a name="fa3d" id="fa3d" href="#ft3d"><span class="sp">3</span></a></p> -<p>§ 12. I fear this has been a tiresome +<p>§ 12. I fear this has been a tiresome chapter; but it is necessary to master the elementary structure, if we are to understand anything of trees; and the reader will @@ -1434,7 +1397,7 @@ their fan-shaped feebleness, safe in a white cloud of miniature woollen blanket.</p> -<p>§ 13. The elementary +<p>§ 13. The elementary structure of all important trees may, I think, thus be resolved into three principal forms: three-leaved, Fig. 9; four-leaved, Figs. 13 to 16; and five-leaved, @@ -1453,7 +1416,7 @@ called difoil; but the important classes are three:—</p> <tr><td class="tcl">Cinqfoil,</td> <td class="tcl">Fig.  5: Type, Oak.</td></tr> </table> -<p>§ 14. The coincidences between beautiful architecture and +<p>§ 14. The coincidences between beautiful architecture and the construction of trees must more and more have become marked in the reader’s mind as we advanced; and if he will now look at what I have said in other places of the use and meaning @@ -1518,7 +1481,7 @@ we choose to pursue it.</p> <p class="center chap2">THE LEAF.</p> -<p class="noind pt1"><span class="chap1 sc">§ 1. Having</span> now some clear idea of the position of the bud, +<p class="noind pt1"><span class="chap1 sc">§ 1. Having</span> now some clear idea of the position of the bud, we have next to examine the forms and structure of its shield—the leaf which guards it. You will form the best general idea of the flattened leaf of shield-builders by thinking of it as you @@ -1537,7 +1500,7 @@ also, ribs branching from the innermost one; only the yards of the leaf will not run up and down, which is one essential function of a sailyard.</p> -<p>§ 2. The analogy will, however, serve one step more. As the +<p>§ 2. The analogy will, however, serve one step more. As the sail must be on one side of the mast, so the expansion of a leaf is on one side of its central rib, or of its system of ribs. It is laid over them as if it were stretched over a frame, so that on @@ -1549,7 +1512,7 @@ is the principal work we have to do in this chapter.</p> <tr><td class="figright1"><img style="width:391px; height:231px" src="images/img040a.jpg" alt="" /></td></tr> <tr><td class="caption"><span class="sc">Fig. 17.</span></td></tr></table> -<p>§ 3. First, then, you may roughly assume that the section of +<p>§ 3. First, then, you may roughly assume that the section of any leaf-mast will be a crescent, as at <i>a</i>, Fig. 17 (compare Fig. 7 above). The flat side is the uppermost, the round side underneath, and the flat or upper side caries the leaf. You can at @@ -1577,7 +1540,7 @@ round it: but we must not go too fast.</p> <tr><td class="figright1"><img style="width:203px; height:190px" src="images/img040c.jpg" alt="" /></td></tr> <tr><td class="caption"><span class="sc">Fig. 19.</span></td></tr></table> -<p>§ 4. Now, <i>a</i>, Fig. 17, being the general type of a leaf-stalk, +<p>§ 4. Now, <i>a</i>, Fig. 17, being the general type of a leaf-stalk, Fig. 18 is the general type of the way it expands into and carries its leaf;<a name="fa1e" id="fa1e" href="#ft1e"><span class="sp">1</span></a> this figure being the enlargement of a typical section right across any leaf, the dotted lines show the under surface @@ -1605,7 +1568,7 @@ point.</p> <tr><td class="figleft1"><img style="width:172px; height:160px" src="images/img041a.jpg" alt="" /></td></tr> <tr><td class="caption"><span class="sc">Fig. 20.</span></td></tr></table> -<p>§ 5. I have represented the two wings of the leaf as slightly +<p>§ 5. I have represented the two wings of the leaf as slightly convex on the upper surface. This is also on the whole a typical character. I use the expression “wings of the leaf,” because supposing we @@ -1624,7 +1587,7 @@ boat with a keel.</p> <tr><td class="figright1"><img style="width:414px; height:744px" src="images/img042.jpg" alt="" /></td></tr> <tr><td class="caption"><span class="sc">Fig. 22</span></td></tr></table> -<p>§ 6. If now you take this oblique form of sail, and cut it into +<p>§ 6. If now you take this oblique form of sail, and cut it into any number of required pieces down to its mast, as in Fig. 21, <span class="scs">A</span>, and then suppose each of the pieces to contract into studding-sails at the side, you will have whatever type of divided leaf you choose @@ -1663,7 +1626,7 @@ in the ash leaflet, of which I have outlined one separately, <span class="scs">B 22, this is clearly seen; but it is much more distinct in more finely divided leaves.<a name="fa2e" id="fa2e" href="#ft2e"><span class="sp">2</span></a></p> -<p>§ 7. Observe, then, that leaves are broadly divisible into mainsails +<p>§ 7. Observe, then, that leaves are broadly divisible into mainsails and studding-sails; but that the word <i>leaf</i> is properly to be used only of the mainsail; leaflet is the best word for minor divisions; and whether these minor members are only separated @@ -1688,7 +1651,7 @@ note that I speak only of true <i>leaves</i>, not of <i>leaflets</i>.</p> <tr><td class="figleft1"><img style="width:221px; height:186px" src="images/img043a.jpg" alt="" /></td></tr> <tr><td class="caption"><span class="sc">Fig. 23.</span></td></tr></table> -<p>§ 8. LAW I. <span class="sc">The Law of Deflection.</span>—The first law, +<p>§ 8. LAW I. <span class="sc">The Law of Deflection.</span>—The first law, then, respecting position in true leaves, is that they fall gradually back from the uppermost one, or uppermost group. They @@ -1738,7 +1701,7 @@ and we must go back over our ground a little to get at it.</p> <tr><td class="figcenter"><img style="width:518px; height:810px" src="images/img045.jpg" alt="" /></td></tr> <tr><td class="caption">52. Spirals of Thorn.</td></tr></table> -<p>§ 9. LAW II. <span class="sc">The Law of Succession.</span>—From what we +<p>§ 9. LAW II. <span class="sc">The Law of Succession.</span>—From what we saw of the position of buds, it follows that in every tree the leaves at the end of the spray, taking the direction given them by the uppermost cycle or spiral of the buds, will fall naturally @@ -1760,7 +1723,7 @@ the chestnut, one couple is above the other couple.</p> <tr><td class="figcenter"><img style="width:662px; height:273px" src="images/img047a.jpg" alt="" /></td></tr> <tr><td class="caption"><span class="sc">Fig. 25.</span></td></tr></table> -<p>§ 10. Now so surely as one bud is above another, it must be +<p>§ 10. Now so surely as one bud is above another, it must be stronger or weaker than that other. The shoot may either be increasing in strength as it advances, or declining; in either case, the buds must vary in power, and the leaves in size. At the top @@ -1778,7 +1741,7 @@ The oak becomes as <i>a</i>, Fig. 26, the chestnut shoot as <i>b</i>, the rhodod to tell the reader, are true normal forms;—respecting which one or two points must be noticed in detail.</p> -<p>§ 11. The magnitude of the leaves in the oak star diminishes, +<p>§ 11. The magnitude of the leaves in the oak star diminishes, of course, in alternate order. The largest leaf is the lowest, 1 in Figure 8, p. 14. While the largest leaf forms the bottom, next it, opposite each other, come the third and fourth, in order and @@ -1815,7 +1778,7 @@ of a young one in the maple.</p> <tr><td class="caption"><span class="sc">Fig. 29.</span></td> <td class="caption"><span class="sc">Fig. 30.</span></td></tr></table> -<p>§ 12. The third form is more complex, and we must take the +<p>§ 12. The third form is more complex, and we must take the pains to follow out what we left unobserved in last chapter respecting the way a triplicate plant gets out of its difficulties.</p> @@ -1865,7 +1828,7 @@ and therefore continually approach the centre; roughly, as in Fig. 32.</p> -<p>§ 13. I dread entering into +<p>§ 13. I dread entering into the finer properties of this construction, but the reader cannot now fail to feel their beautiful @@ -1898,7 +1861,7 @@ too short, forward.</p> <tr><td class="figright1"><img style="width:351px; height:204px" src="images/img051.jpg" alt="" /></td></tr> <tr><td class="caption"><span class="sc">Fig. 35.</span></td></tr></table> -<p>§ 14. LAW III. <span class="sc">The Law of Resilience.</span>—If you have +<p>§ 14. LAW III. <span class="sc">The Law of Resilience.</span>—If you have <span class="pagenum"><a name="page31" id="page31"></a>31</span> been gathering any branches from the trees I have named among quatrefoils (the box is the best for exemplification), you have perhaps @@ -1931,7 +1894,7 @@ observed with varying accuracy and gentle equity, according not only to the strength and fellowship of foliage on the spray itself, but according to the place and circumstances of its growth.</p> -<p>§ 15. For the leaves, as we shall see immediately, are the +<p>§ 15. For the leaves, as we shall see immediately, are the feeders of the plant. Their own orderly habits of succession must not interfere with their main business of finding food. Where the sun and air are, the leaf must go, whether it be out of @@ -1952,7 +1915,7 @@ various shifts, concessions, and infringements of the family rules, in order not to invade the privileges of other people in their neighborhood.</p> -<p>§ 16. And in the arrangement of these concessions there is an +<p>§ 16. And in the arrangement of these concessions there is an exquisite sensibility among the leaves. They do not grow each to his own liking, till they run against one another, and then turn back sulkily; but by a watchful instinct, far apart, they @@ -1966,7 +1929,7 @@ receives from the next, aid or arrest the development of their advancing form, and direct, as will be safest and best, the curve of every fold and the current of every vein.</p> -<p>§ 17. And this peculiar character exists in all the structures +<p>§ 17. And this peculiar character exists in all the structures thus developed, that they are always visibly the result of a volition on the part of the leaf, meeting an external force or fate, to which it is never passively subjected. Upon it, as on a mineral @@ -1990,7 +1953,7 @@ dragged, but won to its advance; not bent aside, as by a bridle, into new courses of growth: but persuaded and converted through tender continuance of voluntary change.</p> -<p>§ 18. The mineral and it differing thus widely in separate +<p>§ 18. The mineral and it differing thus widely in separate being, they differ no less in modes of companionship. The mineral crystals group themselves neither in succession, nor in sympathy; but great and small recklessly strive for place, and deface @@ -2025,7 +1988,7 @@ Botany</i> (1848), vol. i. p. 253.</p> <p class="center chap2">LEAF ASPECTS.</p> -<p class="noind pt1"><span class="chap1 sc">§ 1. Before</span> following farther our inquiry into tree structure, +<p class="noind pt1"><span class="chap1 sc">§ 1. Before</span> following farther our inquiry into tree structure, it will rest us, and perhaps forward our work a little, to make some use of what we know already.</p> @@ -2052,7 +2015,7 @@ started from.</p> <p>If you can do that, you can draw a rose-leaf. Not otherwise.</p> -<p>§ 2. When, some few years ago, the pre-Raphaelites began +<p>§ 2. When, some few years ago, the pre-Raphaelites began to lead our wandering artists back into the eternal paths of all great Art, and showed that whatever men drew at all, ought to be drawn accurately and knowingly; not blunderingly nor by @@ -2076,7 +2039,7 @@ hard. Holbein, three or four times, in precious pieces, highest wrought. Raphael, it may be, in one or two crowns of Muse or Sibyl. If any one else, in later times, we have to consider.</p> -<p>§ 3. At least until recently, the perception of organic leaf +<p>§ 3. At least until recently, the perception of organic leaf form was absolutely, in all painters whatsoever, proportionate to their power of drawing the human figure. All the great Italian designers drew leaves thoroughly well, though none quite so @@ -2086,7 +2049,7 @@ the leaf-painting degenerates in proportion to the diminishing power in figure. Cuyp, Wouvermans, and Paul Potter, paint better foliage than either Hobbima or Ruysdael.</p> -<p>§ 4. In like manner the power of treating vegetation in sculpture +<p>§ 4. In like manner the power of treating vegetation in sculpture is absolutely commensurate with nobleness of figure design. The quantity, richness, or deceptive finish may be greater in third-rate work; but in true understanding and force of arrangement @@ -2095,7 +2058,7 @@ skill. The leaf-mouldings of Lorenzo Ghiberti are unrivalled, as his bas-reliefs are, and the severe foliage of the Cathedral of Chartres is as grand as its queen-statues.</p> -<p>§ 5. The greatest draughtsmen draw leaves, like everything +<p>§ 5. The greatest draughtsmen draw leaves, like everything else, of their full-life size in the nearest part of the picture. They cannot be rightly drawn on any other terms. It is impossible to reduce a group so treated without losing much of its @@ -2129,7 +2092,7 @@ pre-Raphaelites with reverence and hope.</p> <tr><td class="figcenter"><img style="width:562px; height:899px" src="images/img060.jpg" alt="" /></td></tr> <tr><td class="caption">54. Dutch Leafage.</td></tr></table> -<p>§ 6. No word has been more harmfully misused than that +<p>§ 6. No word has been more harmfully misused than that ugly one of “niggling.” I should be glad if it were entirely banished from service and record. The only essential question about drawing is whether it be right or wrong; that it be small @@ -2153,7 +2116,7 @@ hand by thick black lines.</p> <p><span class="pagenum"><a name="page37" id="page37"></a>37</span></p> -<p>§ 7. Niggling, therefore, essentially means disorganized and +<p>§ 7. Niggling, therefore, essentially means disorganized and mechanical work, applied on a scale which may deceive a vulgar or ignorant person into the idea of its being true:—a definition applicable to the whole of the leaf-painting of the Dutch landscapists @@ -2187,7 +2150,7 @@ nor possible diminution of touch can represent their mist of foliage, and the Dutch work becomes doubly base, by reason of false form, and lost infinity.</p> -<p>§ 8. Hence what I said in our first inquiry about foliage, “A +<p>§ 8. Hence what I said in our first inquiry about foliage, “A single dusty roll of Turner’s brush is more truly expressive of the infinitude of foliage than the niggling of Hobbima could have rendered his canvas, if he had worked on it till doomsday.” @@ -2213,7 +2176,7 @@ very lovely, however.</p> <tr><td class="figcenter"><img style="width:490px; height:834px" src="images/img063.jpg" alt="" /></td></tr> <tr><td class="caption">55. By the Way-side.</td></tr></table> -<p>§ 9. But this peculiar execution of Turner’s is entirely uncopiable; +<p>§ 9. But this peculiar execution of Turner’s is entirely uncopiable; least of all to be copied in engraving. It is at once so dexterous and so keenly cunning, swiftest play of hand being applied with concentrated attention on every movement, that no @@ -2252,7 +2215,7 @@ understood.</p> <p class="center chap2">THE BRANCH.</p> -<p class="noind pt1"><span class="chap1 sc">§ 1. We</span> have hitherto spoken of each shoot as either straight +<p class="noind pt1"><span class="chap1 sc">§ 1. We</span> have hitherto spoken of each shoot as either straight or only warped by its spiral tendency; but no shoot of any length, except those of the sapling, ever can be straight; for, as the family of leaves which it bears are forced unanimously to @@ -2279,7 +2242,7 @@ can it be seen as a straight line. Similarly, no perspective will usually bring a shoot of a free-growing tree to appear a straight line.</p> -<p>§ 2. It is evident that the more leaves the stalk has to sustain, +<p>§ 2. It is evident that the more leaves the stalk has to sustain, the more strength it requires. It might appear, therefore, <span class="pagenum"><a name="page40" id="page40"></a>40</span> not unadvisable, that every leaf should, as it grew, pay a small @@ -2291,7 +2254,7 @@ that is to say, collects for it a certain quantity of wood, or materials for wood, and sends this wood, or what ultimately will become wood, <i>down</i> the stalk to add to its thickness.</p> -<p>§ 3. “Down the stalk?” yes, and down a great way farther. +<p>§ 3. “Down the stalk?” yes, and down a great way farther. For, as the leaves, if they did not thus contribute to their own support, would soon be too heavy for the spray, so if the spray, with its family of leaves, contributed nothing to the thickness of @@ -2312,7 +2275,7 @@ energy, until, mining through the darkness, it has taken hold in cleft of rock or depth of earth, as extended as the sweep of its green crest in the free air.</p> -<p>§ 4. Such, at least, is the mechanical aspect of the tree. The +<p>§ 4. Such, at least, is the mechanical aspect of the tree. The work of its construction, considered as a branch tower, partly <span class="pagenum"><a name="page41" id="page41"></a>41</span> propped by buttresses, partly lashed by cables, is thus shared in @@ -2351,7 +2314,7 @@ than the fatness of the earth. The results of this nourishment of the bough by the leaf in external aspect, are the object of our immediate inquiry.</p> -<p>§ 5. Hitherto we have considered the shoot as an ascending +<p>§ 5. Hitherto we have considered the shoot as an ascending body, throwing off buds at intervals. This it is indeed; but the <span class="pagenum"><a name="page42" id="page42"></a>42</span> part of it which ascends is not seen externally. Look back to @@ -2391,7 +2354,7 @@ them nearly of their full size, the principal courses of curvature in even this least graceful of trees.</p> -<p>§ 6. According to the structure thus ascertained, +<p>§ 6. According to the structure thus ascertained, the body of the shoot may at any point be considered as formed by a central rod, represented by the shaded inner circle, <i>a</i>, Fig. 36, surrounded by as many rods of @@ -2407,7 +2370,7 @@ I must be content to let the reader peruse this part of the subject for himself, if it amuses him, and lead to larger questions.</p> -<p>§ 7. Broadly and practically, we may consider the whole +<p>§ 7. Broadly and practically, we may consider the whole cluster of woody material in Fig. 36 as one circle of fibrous substance formed round a small central rod. The real appearance in most trees is approximately as in <i>b</i>, Fig. 36, the radiating @@ -2434,7 +2397,7 @@ Evidently, the quantity of wood surrounding the vertical wire at <i>e</i> must be twice as great as that surrounding the wires <i>b</i> and <i>c</i>.</p> -<p>§ 8. The reader will, perhaps, be good enough to take it on +<p>§ 8. The reader will, perhaps, be good enough to take it on my word (if he does not know enough of geometry to ascertain), that the large circle, in Fig. 38, contains twice as much area as either of the two smaller circles. Putting these circles in position, @@ -2468,7 +2431,7 @@ close, until the whole is reconciled into one larger single circle.</p> <tr><td class="figright1"><img style="width:219px; height:247px" src="images/img071a.jpg" alt="" /></td></tr> <tr><td class="caption"><span class="sc">Fig. 40.</span></td></tr></table> -<p>§ 9. I fear the reader would have no patience with me, if I +<p>§ 9. I fear the reader would have no patience with me, if I asked him to examine, in longitudinal section, the lines of the descending currents of wood as they eddy into the increased single river. Of course, it is just what would take place if two @@ -2501,7 +2464,7 @@ stem). But I cannot, of course, enter into such detail here.</p> <tr><td class="figcenter"><img style="width:499px; height:523px" src="images/img071b.jpg" alt="" /></td></tr> <tr><td class="caption"><span class="sc">Fig. 41.</span></td></tr></table> -<p>§ 10. The little ringed accumulation, repelled from the wood +<p>§ 10. The little ringed accumulation, repelled from the wood of the larger trunk at the base of small boughs, may be seen at a glance in any tree, and needs no illustration; but I give one from Salvator, Fig. 41 (from his own etching, <i>Democritus omnium @@ -2518,7 +2481,7 @@ etching, Vol. III., Plate 4, Fig. 8.</p> <tr><td class="figcenter"><img style="width:566px; height:373px" src="images/img072.jpg" alt="" /></td></tr> <tr><td class="caption"><span class="sc">Fig. 42.</span></td></tr></table> -<p>§ 11. I do not give any more examples from Claude. We +<p>§ 11. I do not give any more examples from Claude. We have had enough already in Plate 4, Vol. III., which the reader should examine carefully. If he will then look forward to Fig. 61 here, he will see how Turner inserts branches, and with what @@ -2536,7 +2499,7 @@ and fearlessly.</p> <tr><td class="figcenter"><img style="width:543px; height:1021px" src="images/img073.jpg" alt="" /></td></tr> <tr><td class="caption"><span class="sc">Fig. 43.</span></td></tr></table> -<p>§ 12. It may, perhaps, be interesting to compare, with the +<p>§ 12. It may, perhaps, be interesting to compare, with the rude fallacies of Claude and Salvator, a little piece of earliest art, wrought by men who could see and feel. The scroll, Fig. 42, is a portion of that which surrounds the arch in San Zeno of @@ -2571,7 +2534,7 @@ admits, may consult Lindley’s <i>Introduction to Botany</i>, and an intere little book by Dr. Alexander Harvey on <i>Trees and their Nature</i> (Nisbet & Co., 1856), to which I owe much help.</p> -<p><a name="ft3g" id="ft3g" href="#fa3g"><span class="fn">3</span></a> In the true sense a “mediator,” (<span class="grk" title="mesitês">μεσίτης</span>).</p> +<p><a name="ft3g" id="ft3g" href="#fa3g"><span class="fn">3</span></a> In the true sense a “mediator,” (<span class="grk" title="mesitês">μεσίτης</span>).</p> <p><a name="ft4g" id="ft4g" href="#fa4g"><span class="fn">4</span></a> The gradual development of this radiating structure, which is organic and essential, composed of what are called by botanists medullary rays, is @@ -2585,7 +2548,7 @@ still a great mystery and wonder to me.</p> <p class="center chap2">THE STEM.</p> -<p class="noind pt1"><span class="chap1 sc">§ 1. We</span> must be content, in this most complex subject, to +<p class="noind pt1"><span class="chap1 sc">§ 1. We</span> must be content, in this most complex subject, to advance very slowly: and our easiest, if not our only way, will be to examine, first, the conditions under which boughs would form, supposing them all to divide in one plane, as your hand @@ -2612,7 +2575,7 @@ built, like a house.</p> <tr><td class="figright1"><img style="width:238px; height:359px" src="images/img076a.jpg" alt="" /></td></tr> <tr><td class="caption"><span class="sc">Fig. 44.</span></td></tr></table> -<p>§ 2. I am not sure with what absolute stringency this law is +<p>§ 2. I am not sure with what absolute stringency this law is observed, or what slight lengthening of substance may be traceable by close measurement among inferior branches. For practical purposes, we may assume that the law is final, and that if @@ -2654,7 +2617,7 @@ four feet over, and touches the ground already at its extremity. It would enlarge if it went on growing, but never rise from the ground.</p> -<p>§ 3. This is an interesting question: one, also, which, I fear, +<p>§ 3. This is an interesting question: one, also, which, I fear, we must solve, so far as yet it can be solved, with little help. Perhaps nothing is more curious in the history of human mind than the way in which the science of botany has become oppressed @@ -2687,7 +2650,7 @@ and go forking and flashing about, more like cracklings of spitefullest lightning than decent branches of trees that dip green leaves in dew?</p> -<p>§ 4. We have probably, many of us, missed the point of such +<p>§ 4. We have probably, many of us, missed the point of such questions as these, because we too readily associated the structure of trees with that of flowers. The flowering part of a plant shoots out or up, in some given direction, until, at a stated period, @@ -2703,7 +2666,7 @@ as the height of the stalk of straw, or hemlock pipe, and the fashion of its branching just as fixed as the shape of petals in a pansy or cowslip.</p> -<p>§ 5. But that is not so; not so in anywise. So far as you can +<p>§ 5. But that is not so; not so in anywise. So far as you can <span class="pagenum"><a name="page52" id="page52"></a>52</span> watch a tree, it is produced throughout by repetitions of the same process, which repetitions, however, are arbitrarily directed so as @@ -2738,7 +2701,7 @@ and sends out branch colonies, which enforce forms of law and life entirely different from those of the parent state. That is the history of the state. It is also the history of a tree.</p> -<p>§ 6. Of these hidden histories, I know and can tell you as little +<p>§ 6. Of these hidden histories, I know and can tell you as little as I did of the making of rocks. It will be enough for me if I can put the difficulty fairly before you, show you clearly such facts as are necessary to the understanding of great Art, and so @@ -2760,7 +2723,7 @@ our elementary type of tree plant will be as in Fig. 46.</p> <tr><td class="figright1"><img style="width:84px; height:135px" src="images/img079.jpg" alt="" /></td></tr> <tr><td class="caption"><span class="sc">Fig. 46.</span></td></tr></table> -<p>§ 7. Now these three buds, though differently +<p>§ 7. Now these three buds, though differently placed, have all one mind. No bud has an oblique mind. Every one would like, if he could, to grow upright, and it is because the midmost one has entirely his own @@ -2805,7 +2768,7 @@ companionship with the rest of nature or with man.</p> <tr><td class="caption"><span class="sc">Fig. 47.</span></td> <td class="caption"><span class="sc">Fig. 48.</span></td></tr></table> -<p>§ 8. Let us see how this must be. We return to our poor +<p>§ 8. Let us see how this must be. We return to our poor little threefold type, Fig. 46, above. Next year he will become as in Fig. 47. The two lateral buds keeping as much as may be out of their brother’s @@ -2823,7 +2786,7 @@ under any circumstances.</p> <p>What are we to do?</p> -<p>§ 9. The best we can. Give up our straightness, and some +<p>§ 9. The best we can. Give up our straightness, and some of our length, and consent to grow short, and crooked. But <i>b</i> shall be ordered to stoop forward and keep his head out of the great bough’s way, as in Fig. 48, and grow as he best may, with @@ -2872,7 +2835,7 @@ having concealed the stump, and effaced the memory of poor lost a tiny spray to make the most of the vacant space near the main stem, we shall find the bough in some such shape as Fig. 49.</p> -<p>§ 10. Wherein we already see the germ of our irregularly +<p>§ 10. Wherein we already see the germ of our irregularly bending branch, which might ultimately be much the prettier for the loss of <i>b</i>. Alas! the Fates have forbidden even this. While the low bough is making all these exertions, the boughs of <span class="scs">A</span>, @@ -2905,7 +2868,7 @@ but the collective group of boughs, or workmen, who have got up so far, and will get up higher next year, still losing one or two of their number underneath.</p> -<p>§ 11. So far well. But this only accounts for the formation +<p>§ 11. So far well. But this only accounts for the formation of a vertical trunk. How is it that at a certain height this vertical trunk ceases to be built; and irregular branches spread in all directions?</p> @@ -2936,7 +2899,7 @@ where it has free room, and air, and light for its growth.</p> <tr><td class="caption"><span class="sc">Fig. 50.</span></td> <td class="caption"><span class="sc">Fig. 51.</span></td></tr></table> -<p>§ 12. I find there is quite an infinite interest in watching the +<p>§ 12. I find there is quite an infinite interest in watching the different ways in which trees part their sprays at this resting-place, and the sometimes abrupt, sometimes gentle and undiscoverable, <span class="pagenum"><a name="page57" id="page57"></a>57</span> @@ -2955,7 +2918,7 @@ by almost imperceptible curves, a continually gradated emphasis of curvature being carried to the branch extremities.</p> -<p>§ 13. Hitherto we have confined ourselves entirely to examination +<p>§ 13. Hitherto we have confined ourselves entirely to examination of stems in one plane. We must glance—though only to ascertain how impossible it is to do more than glance—at the conditions of form which result from the throwing out of @@ -2988,7 +2951,7 @@ above, and we have the result, Fig. 52, <span class="scs">B</span>—rather <tr><td class="figcenter"><img style="width:697px; height:543px" src="images/img084.jpg" alt="" /></td></tr> <tr><td class="caption"><span class="sc">Fig. 52.</span></td></tr></table> -<p>§ 14. By considering the various aspects which the five rods +<p>§ 14. By considering the various aspects which the five rods would take in Fig. 52, as the entire group was seen from below or above, and at different angles and distances, the reader may find out for himself what changes of aspect are possible in even @@ -3017,7 +2980,7 @@ flattened as at <span class="scs">B</span>.</p> <tr><td class="figcenter"><img style="width:625px; height:363px" src="images/img085.jpg" alt="" /></td></tr> <tr><td class="caption"><span class="sc">Fig. 53.</span></td></tr></table> -<p>§ 15. You may thus regard the whole tree as composed of a +<p>§ 15. You may thus regard the whole tree as composed of a series of such thick, flat, branch-leaves; only incomparably more varied and enriched in framework as they spread; and arranged more or less in spirals round the trunk. Gather a cone of a @@ -3040,7 +3003,7 @@ for both of us, if we were to try to follow the complexities of branch order in trees of irregular growth, such as the rhododendron. I tried to do it, at least, for the pine, in section, but saw <span class="pagenum"><a name="page60" id="page60"></a>60</span> -I was getting into a perfect maelström of spirals, from which no +I was getting into a perfect maelström of spirals, from which no efforts would have freed me, in any imaginable time, and the only safe way was to keep wholly out of the stream.</p> @@ -3048,7 +3011,7 @@ only safe way was to keep wholly out of the stream.</p> <tr><td class="figcenter"><img style="width:661px; height:189px" src="images/img086a.jpg" alt="" /></td></tr> <tr><td class="caption"><span class="sc">Fig. 54.</span></td></tr></table> -<p>§ 16. The alternate system, leading especially to the formation +<p>§ 16. The alternate system, leading especially to the formation of forked trees, is more manageable; and if the reader is master of perspective, he may proceed some distance in the examination of that for himself. But I do not care to frighten @@ -3067,7 +3030,7 @@ importance.</p> <td class="tcr f80">J. Emslie</td></tr> <tr><td class="caption" colspan="2">56. Sketch by a Clerk of the Works.</td></tr></table> -<p>§ 17. Let X, Fig. 54, represent a shoot of any opposite-leaved +<p>§ 17. Let X, Fig. 54, represent a shoot of any opposite-leaved tree. The mode in which it will grow into a tree depends, mainly, on its disposition to lose the leader or a lateral shoot. If it keeps the leader, but drops the lateral, it takes the form A, @@ -3080,7 +3043,7 @@ its own direct course, and the other leaves it softly; they do not separate as if one was repelled from the other. Thus in Fig. 55, a perfect and nearly symmetrical piece of ramification, by Turner <span class="pagenum"><a name="page61" id="page61"></a>61</span> -(lowest bough but one in the tree on the left in the “Château +(lowest bough but one in the tree on the left in the “Château of La belle Gabrielle”), the leading bough, going on in its own curve, throws off, first, a bough to the right, then one to the left, then two small ones to the right, and proceeds itself, hidden @@ -3095,7 +3058,7 @@ graceful structure. But if the tree loses the leader, as at <span class="scs">C< 54 (and many opposite trees have a trick of doing so), a very curious result is arrived at, which I will give in a geometrical form.</p> -<p>§ 18. The number of branches which die, so as to leave the +<p>§ 18. The number of branches which die, so as to leave the main stem bare, is always greatest low down, or near the interior of the tree. It follows that the lengths of stem which do not fork diminish gradually to the extremities, in a fixed proportion. @@ -3120,7 +3083,7 @@ and erect the other into a principal mass.<a name="fa1h" id="fa1h" href="#ft1h"> <p><span class="pagenum"><a name="page62" id="page62"></a>62</span></p> -<p>§ 19. But the form in a perfect tree is dependent on the revolution +<p>§ 19. But the form in a perfect tree is dependent on the revolution of this sectional profile, so as to produce a mushroom-shaped or cauliflower-shaped mass, of which I leave the reader to enjoy the perspective drawing by himself, adding, after he has @@ -3130,7 +3093,7 @@ from the ground, the open spaces underneath are partly filled by subsequent branchings, so that a real tree has not so much the shape of a mushroom, as of an apple, or, if elongated, a pear.</p> -<p>§ 20. And now you may just begin to understand a little of +<p>§ 20. And now you may just begin to understand a little of Turner’s meaning in those odd pear-shaped trees of his, in the “Mercury and Argus,” and other such compositions: which, however, before we can do completely, we must gather our evidence @@ -3156,7 +3119,7 @@ them.</p> <p class="center chap2">THE LEAF MONUMENTS.</p> -<p class="noind pt1"><span class="chap1 sc">§ 1. And</span> now, having ascertained in its main points the system +<p class="noind pt1"><span class="chap1 sc">§ 1. And</span> now, having ascertained in its main points the system on which the leaf-workers build, let us see, finally, what results in aspect, and appeal to human mind, their building must present. In some sort it resembles that of the coral animal, @@ -3172,7 +3135,7 @@ clumsily, by a fused and encumbering aggregation, as a stalactite increases;—not by threads proceeding from the extremities to the root.</p> -<p>§ 2. The leaf, as we have seen, builds in both respects under +<p>§ 2. The leaf, as we have seen, builds in both respects under opposite conditions. It leads a life of endurance, effort, and various success, issuing in various beauty; and it connects itself with the whole previous edifice by one sustaining thread, @@ -3181,7 +3144,7 @@ root. Whence result three great conditions in branch aspect, for which I cannot find good names, but must use the imperfect ones of “Spring,” “Caprice,” “Fellowship.”</p> -<p>§ 3. I. <span class="sc">Spring</span>: or the appearance of elastic and progressive +<p>§ 3. I. <span class="sc">Spring</span>: or the appearance of elastic and progressive power, as opposed to that look of a bent piece of cord.—This follows partly on the poise of the bough, partly on its action in seeking or shunning. Every branch-line expresses both these. @@ -3213,7 +3176,7 @@ by stern laws of nervous life, and material attraction, which regulate eternally every pulse of the strength of man, and every sweep of the stars of heaven.</p> -<p>§ 4. Observe, also, the balance of the bough of a tree is quite +<p>§ 4. Observe, also, the balance of the bough of a tree is quite as subtle as that of a figure in motion. It is a balance between the elasticity of the bough and the weight of leaves, affected in curvature, literally, by the growth of <i>every</i> leaf; and besides @@ -3232,7 +3195,7 @@ wave, which penetrates in liquid threads through all their sprays.</p> <tr><td class="tcr f80"><i>To face page 65.</i></td></tr> <tr><td class="caption"><span class="sc">Fig. 56.</span></td></tr></table> -<p>§ 5. I am not sure how far, by any illustration, I can exemplify +<p>§ 5. I am not sure how far, by any illustration, I can exemplify these subtle conditions of form. All my plans have been shortened, and I have learned to content myself with yet more contracted issues of them after the shortening, because I know @@ -3247,7 +3210,7 @@ looking. However, in some degree, even our ordinary instinctive perception of grace and balance may serve us, if we choose to pay any accurate attention to the matter.</p> -<p>§ 6. Look back to Fig. 55. That bough of Turner’s is exactly +<p>§ 6. Look back to Fig. 55. That bough of Turner’s is exactly and exquisitely poised, leaves and all, for its present horizontal position. Turn the book so as to put the spray upright, with the leaves at the top. You ought to see they would then @@ -3268,7 +3231,7 @@ because gravity would have bent them more downwards; if to your left, wrong, because the law of resilience would have raised them more at the extremities.</p> -<p>§ 7. Now take two branches of Salvator’s, Figs. 57 and 58.<a name="fa2i" id="fa2i" href="#ft2i"><span class="sp">2</span></a> +<p>§ 7. Now take two branches of Salvator’s, Figs. 57 and 58.<a name="fa2i" id="fa2i" href="#ft2i"><span class="sp">2</span></a> You ought to feel that these have neither poise nor spring: their leaves are incoherent, ragged, hanging together in decay.</p> @@ -3304,7 +3267,7 @@ the girl holds herself in dancing; those on Salvator’s as an old man, partially palsied, totters along with broken motion, and loose deflection of limb.</p> -<p>§ 8. Next, let us take a spray by Paul Veronese<a name="fa4i" id="fa4i" href="#ft4i"><span class="sp">4</span></a>—the lower +<p>§ 8. Next, let us take a spray by Paul Veronese<a name="fa4i" id="fa4i" href="#ft4i"><span class="sp">4</span></a>—the lower figure in Plate 57. It is just as if we had gathered one out of the garden. Though every line and leaf in the quadruple group is necessary to join with other parts of the composition of the @@ -3314,7 +3277,7 @@ individual, yet none separate, in tender poise of pliant strength and fair order of accomplished grace, each, by due force of the indulgent bough, set and sustained.</p> -<p>§ 9. Observe, however, that in all these instances from earlier +<p>§ 9. Observe, however, that in all these instances from earlier masters, the expression of the universal botanical law of poise is independent of accuracy in rendering of species. As before noticed, the neglect of specific distinction long restrained the advance of @@ -3337,7 +3300,7 @@ is a faithful rendering of the Scotch fir.</p> <tr><td class="tcr f80"><i>To face page 69.</i></td></tr> <tr><td class="caption"><span class="sc">Fig. 61</span></td></tr></table> -<p>§ 10. To show how the principle of balance is carried out by +<p>§ 10. To show how the principle of balance is carried out by Nature herself, here is a little terminal upright spray of willow, the most graceful of English trees (Fig. 59). I have drawn it carefully; and if the reader will study its curves, or, better, @@ -3383,9 +3346,9 @@ lost in the mere thickness of the lines. Nevertheless, if the reader will compare it carefully with the Dutch work, it will teach him something about trees.</p> -<p>§ 11. II. <span class="sc">Caprice.</span>—The next character we had to note of +<p>§ 11. II. <span class="sc">Caprice.</span>—The next character we had to note of the leaf-builders was their capriciousness, noted, partly, in Vol. -III. chap. ix. § 14. It is a character connected with the ruggedness +III. chap. ix. § 14. It is a character connected with the ruggedness and ill-temperedness just spoken of, and an essential source of branch beauty: being in reality the written story of all the branch’s life,—of the theories it formed, the accidents it suffered, @@ -3427,7 +3390,7 @@ piece of lilac stem (Plate 58).</p> <tr><td class="figright1"><img style="width:288px; height:699px" src="images/img109.jpg" alt="" /></td></tr> <tr><td class="caption"><span class="sc">Fig. 64.</span></td></tr></table> -<p>§ 12. Again: As it seldom struck the old painters that boughs +<p>§ 12. Again: As it seldom struck the old painters that boughs must cross each other, so it never seems to have occurred to them that they must be sometimes foreshortened. I chose this bit from “Aske Hall,” that you might see at once, both how @@ -3467,7 +3430,7 @@ of Dutch foreshortening for you to compare with it, Fig. 64.<a name="fa7i" id="fa7i" href="#ft7i"><span class="sp">7</span></a></p> -<p>§ 13. In this final perfection +<p>§ 13. In this final perfection of bough-drawing, Turner stands <i>wholly alone</i>. Even Titian does not foreshorten his boughs rightly. Of course he could, if he had cared to do so; for if you @@ -3476,7 +3439,7 @@ either he had never looked at a tree carefully enough to feel that <span class="pagenum"><a name="page72" id="page72"></a>72</span> it was necessary, or, which is more likely, he disliked to introduce in a background elements of vigorous projection. Be the reason -what it may, if you take Lefèvre’s plates of the Peter Martyr and +what it may, if you take Lefèvre’s plates of the Peter Martyr and St. Jerome—the only ones I know which give any idea of Titian’s tree-drawing, you will observe at once that the boughs lie in flakes, artificially set to the right and left, and are not intricate @@ -3484,7 +3447,7 @@ or varied, even where the foliage indicates some foreshortening;—completin thus the evidence for my statement long ago given, that no man but Turner had ever drawn the stem of a tree.</p> -<p>§ 14. It may be well also to note, for the advantage of the +<p>§ 14. It may be well also to note, for the advantage of the general student of design, that, in foliage and bough drawing, all the final grace and general utility of the study depend on its being well foreshortened; and that, till the power of doing so @@ -3509,7 +3472,7 @@ the fine relations of shade.</p> <p><span class="pagenum"><a name="page73" id="page73"></a>73</span></p> -<p>§ 15. III. <span class="sc">Fellowship.</span>—The compactness of mass presented +<p>§ 15. III. <span class="sc">Fellowship.</span>—The compactness of mass presented by this little sheaf of pine-swords may lead us to the consideration of the last character I have to note of boughs; namely, the mode of their association in masses. It follows, of course, from @@ -3526,7 +3489,7 @@ common types, in section, which will enough explain what I mean.</p> <tr><td class="figcenter"><img style="width:509px; height:608px" src="images/img111.jpg" alt="" /></td></tr> <tr><td class="caption"><span class="sc">Fig. 67.</span></td></tr></table> -<p>§ 16. If a tree branches with a concave tendency, it is apt to +<p>§ 16. If a tree branches with a concave tendency, it is apt to carry its boughs to the outer curve of limitation, as at <span class="scs">A</span>, Fig. 67, and if with a convex tendency, as at <span class="scs">B</span>. In either case the vertical section, or profile, of a bough will give a triangular mass, @@ -3538,7 +3501,7 @@ mathematically reduced to the four types <i>a</i>, <i>b</i>, <i>c</i>, and <i>d< but are capable of endless variety of expression in action, and in the adjustment of their weights to the bearing stem.</p> -<p>§ 17. To conclude, then, we find that the beauty of these +<p>§ 17. To conclude, then, we find that the beauty of these buildings of the leaves consists, from the first step of it to the last, in its showing their perfect fellowship; and a single aim uniting them under circumstances of various distress, trial, and @@ -3553,7 +3516,7 @@ consistent with the universal good, no beauty.</p> <tr><td class="caption"><span class="sc">Fig. 68.</span></td> <td class="caption"><span class="sc">Fig. 69.</span></td></tr></table> -<p>§ 18. Tree-loveliness might be thus lost or killed in many +<p>§ 18. Tree-loveliness might be thus lost or killed in many ways. Discordance would kill it—of one leaf with another; disobedience would kill it—of any leaf to the ruling law; indulgence would kill it, and the doing away with pain; or slavish @@ -3588,7 +3551,7 @@ luxury, equality, the sources of all evil.</p> <tr><td class="figcenter"><img style="width:642px; height:759px" src="images/img113.jpg" alt="" /></td></tr> <tr><td class="caption"><span class="sc">Fig. 70.</span></td></tr></table> -<p>§ 19. There is yet another and a deeply laid lesson to be +<p>§ 19. There is yet another and a deeply laid lesson to be received from the leaf-builders, which I hope the reader has already perceived. Every leaf, we have seen, connects its work with the entire and accumulated result of the work of its predecessors. @@ -3624,7 +3587,7 @@ shall long enjoy the work of their hands; they shall not labor in vain, nor bring forth for trouble; for they are the seed of the blessed of the Lord, and their offspring with them.”</p> -<p>§ 20. This lesson we have to take from the leaf’s life. One +<p>§ 20. This lesson we have to take from the leaf’s life. One more we may receive from its death. If ever in autumn a pensiveness falls upon us as the leaves drift by in their fading, may we not wisely look up in hope to their mighty monuments? Behold @@ -3695,7 +3658,7 @@ practice without too much difficulty.</p> <tr><td class="figright1"><img style="width:489px; height:467px" src="images/img115.jpg" alt="" /></td></tr> <tr><td class="caption"><span class="sc">Fig. 71.</span></td></tr></table> -<p class="noind pt1"><span class="chap1 sc">§ 1. It</span> may be judged, by the time which it has taken to arrive +<p class="noind pt1"><span class="chap1 sc">§ 1. It</span> may be judged, by the time which it has taken to arrive at any clear idea of the structure of shield-builders, what a task would open to us if we endeavored to trace the more wonderful forms of the wild builders with the sword. Not that they @@ -3731,12 +3694,12 @@ As the minor stems join in boughs, the scars left by the leaves are gradually effaced, and a thick but broken and scaly bark forms instead.</p> -<p>§ 2. A sword-builder may therefore be generally considered +<p>§ 2. A sword-builder may therefore be generally considered as a shield-builder put under the severest military restraint. The graceful and thin leaf is concentrated into a strong, narrow, pointed rod; and the insertion of these rods on them is in a close and perfectly timed order. In some ambiguous trees connected -with the tribe (as the arbor vitæ) there is no proper stem +with the tribe (as the arbor vitæ) there is no proper stem to the outer leaves, but all the extremities form a kind of coralline leaf, flat and fern-like, but articulated like a crustacean animal, which gradually concentrates and embrowns itself into the @@ -3746,7 +3709,7 @@ an irregular branch, and then adapts itself to the symmetrical cone of the whole tree, is one of the most interesting processes of form which I know in vegetation.</p> -<p>§ 3. Neither this, however, nor any other of the pine formations, +<p>§ 3. Neither this, however, nor any other of the pine formations, have we space here to examine in detail; while without detail, all discussion of them is in vain. I shall only permit myself to note a few points respecting my favorite tree, the black @@ -3758,7 +3721,7 @@ tree has not been rightly understood by travellers in Switzerland, and that, with a little watching of it, they might easily obtain a juster feeling.</p> -<p>§ 4. Of the many marked adaptations of nature to the mind +<p>§ 4. Of the many marked adaptations of nature to the mind of man, it seems one of the most singular, that trees intended especially for the adornment of the wildest mountains should be in broad outline the most formal of trees. The vine, which is @@ -3778,7 +3741,7 @@ nevertheless grow straight. Thrust a rod from its last shoot down the stem;—it shall point to the centre of the earth as long as the tree lives.</p> -<p>§ 5. Also it may be well for lowland branches to reach hither +<p>§ 5. Also it may be well for lowland branches to reach hither and thither for what they need, and to take all kinds of irregular shape and extension. But the pine is trained to need nothing, and to endure everything. It is resolvedly whole, self-contained, @@ -3813,7 +3776,7 @@ sword perish boldly; our dying shall be perfect and solemn, as our warring: we give up our lives without reluctance, and for ever.<a name="fa1j" id="fa1j" href="#ft1j"><span class="sp">1</span></a></p> -<p>§ 6. I wish the reader to fix his attention for a moment on +<p>§ 6. I wish the reader to fix his attention for a moment on these two great characters of the pine, its straightness and rounded perfectness; both wonderful, and in their issue lovely, though they have hitherto prevented the tree from being drawn. I say, @@ -3840,7 +3803,7 @@ the blast of a perpetual storm. He made the rocks of his foreground loose—rolling and tottering down together; the pines, smitten aside by them, their tops dead, bared by the ice wind.</p> -<p>§ 7. Nevertheless, this is not the truest or universal expression +<p>§ 7. Nevertheless, this is not the truest or universal expression of the pine’s character. I said long ago, even of Turner: “Into the spirit of the pine he cannot enter.” He understood the glacier at once; he had seen the force of sea on shore too @@ -3867,7 +3830,7 @@ itself looks bent and shattered beside them—fragile, weak, inconsistent, compared to their dark energy of delicate life, and monotony of enchanted pride:—unnumbered, unconquerable.</p> -<p>§ 8. Then note, farther, their perfectness. The impression +<p>§ 8. Then note, farther, their perfectness. The impression on most people’s minds must have been received more from pictures than reality, so far as I can judge;—so ragged they think the pine; whereas its chief character in health is green and full @@ -3905,7 +3868,7 @@ grow through it without minding. Underneath, there is only the mossy silence, and above, for ever, the snow of the nameless Aiguille.</p> -<p>§ 9. And then the third character which I want you to notice +<p>§ 9. And then the third character which I want you to notice in the pine is its exquisite fineness. Other trees rise against the sky in dots and knots, but this in fringes.<a name="fa2j" id="fa2j" href="#ft2j"><span class="sp">2</span></a> You never see the <span class="pagenum"><a name="page83" id="page83"></a>83</span> @@ -3923,7 +3886,7 @@ seems as if these trees, living always among the clouds, had caught part of their glory from them; and themselves the darkest of vegetation, could yet add splendor to the sun itself.</p> -<p>§ 10. Yet I have been more struck by their character of finished +<p>§ 10. Yet I have been more struck by their character of finished delicacy at a distance from the central Alps, among the pastoral hills of the Emmenthal, or lowland districts of Berne, where they are set in groups between the cottages, whose shingle @@ -3941,7 +3904,7 @@ and their arabesques of dark leaf pierced through and through by the pale radiance of clear sky, opal blue, where they follow each other along the soft hill-ridges, up and down.</p> -<p>§ 11. I have watched them in such scenes with the deeper +<p>§ 11. I have watched them in such scenes with the deeper interest, because of all trees they have hitherto had most influence on human character. The effect of other vegetation, however great, has been divided by mingled species; elm and oak in @@ -3962,7 +3925,7 @@ Goth against the dissoluteness or degradation of the South of Europe, were taught them under the green roofs and wild penetralia of the pine.</p> -<p>§ 12. I do not attempt, delightful as the task would be, to +<p>§ 12. I do not attempt, delightful as the task would be, to trace this influence (mixed with superstition) in Scandinavia, or North Germany; but let us at least note it in the instance which we speak of so frequently, yet so seldom take to heart. There @@ -3986,7 +3949,7 @@ rendering to their neighbor his due; dull, but clear-sighted to all the principles of justice; and patient, without ever allowing delay to be prolonged by sloth, or forbearance by fear.</p> -<p>§ 13. This temper of Swiss mind, while it animated the whole +<p>§ 13. This temper of Swiss mind, while it animated the whole confederacy, was rooted chiefly in one small district which formed <span class="pagenum"><a name="page85" id="page85"></a>85</span> the heart of their country, yet lay not among its highest mountains. @@ -4016,7 +3979,7 @@ the cause of loyalty and life—loyalty in its highest sense, to the laws of God’s helpful justice, and of man’s faithful and brotherly fortitude.</p> -<p>§ 14. You will find among them, as I said, no subtle wit nor +<p>§ 14. You will find among them, as I said, no subtle wit nor high enthusiasm, only an undeceivable common sense, and an obstinate rectitude. They cannot be persuaded into their duties, but they feel them; they use no phrases of friendship, but do @@ -4032,11 +3995,11 @@ the remission of taxes, but not of sins; and while the sale <span class="pagenum"><a name="page86" id="page86"></a>86</span> of indulgences was arrested in the church of Ensiedlen as boldly as at the gates of Wittenberg, the inhabitants of the valley of -Frütigen<a name="fa4j" id="fa4j" href="#ft4j"><span class="sp">4</span></a> ate no meat for seven years, in order peacefully to free +Frütigen<a name="fa4j" id="fa4j" href="#ft4j"><span class="sp">4</span></a> ate no meat for seven years, in order peacefully to free themselves and their descendants from the seigniorial claims of the Baron of Thurm.</p> -<p>§ 15. What praise may be justly due to this modest and rational +<p>§ 15. What praise may be justly due to this modest and rational virtue, we have perhaps no sufficient grounds for defining. It must long remain questionable how far the vices of superior civilization may be atoned for by its achievements, and the errors @@ -4067,7 +4030,7 @@ in the name of the convent of the “Hill of Angels,” has, for its own, none but the sweet childish name of “Under the Woods.”</p> -<p>§ 16. And indeed you may pass under them if, leaving the +<p>§ 16. And indeed you may pass under them if, leaving the most sacred spot in Swiss history, the Meadow of the Three <span class="pagenum"><a name="page87" id="page87"></a>87</span> Fountains, you bid the boatman row southward a little way by @@ -4111,7 +4074,7 @@ that marvellous ode to Psyche. Here is the piece about pines:—</p> <table class="reg" summary="poem"><tr><td> <div class="poemr"> <p>“Yes, I will be thy priest, and build a fane</p> <p class="i05">In some untrodden region of my mind,</p> -<p class="i05">Where branchéd thoughts, new grown with pleasant pain,</p> +<p class="i05">Where branchéd thoughts, new grown with pleasant pain,</p> <p class="i05">Instead of pines, shall murmur in the wind:</p> <p class="i05">Far, far around shall those dark-clustered trees</p> <p class="i05"><i>Fledge the wild-ridged mountains</i>, steep by steep;</p> @@ -4149,7 +4112,7 @@ precipitous.</p> <p class="center chap2">LEAVES MOTIONLESS.</p> -<p class="noind pt1"><span class="chap1 sc">§ 1. It</span> will be remembered that our final inquiry was to be +<p class="noind pt1"><span class="chap1 sc">§ 1. It</span> will be remembered that our final inquiry was to be into the sources of beauty in the tented plants, or flowers of the field; which the reader may perhaps suppose one of no great difficulty, the beauty of flowers being somewhat generally admitted @@ -4171,7 +4134,7 @@ such knowledge the road lies not up brick streets. And howsoever that flower-painting may be done, one thing is certain, it is not by machinery.</p> -<p>§ 2. Perhaps, it may be thought, if we understood flowers +<p>§ 2. Perhaps, it may be thought, if we understood flowers better, we might love them less.</p> <p>We do not love them much, as it is. Few people care about @@ -4189,7 +4152,7 @@ being kept for wild beasts. And the blossoming time of the year being principally spring, I perceive it to be the mind of most people, during that period, to stay in towns.</p> -<p>§ 3. A year or two ago, a keen-sighted and eccentrically-minded +<p>§ 3. A year or two ago, a keen-sighted and eccentrically-minded friend of mine, having taken it into his head to violate this national custom, and go to the Tyrol in spring, was passing through a valley near Landech, with several similarly headstrong @@ -4209,7 +4172,7 @@ things may verily be seen among the Alps in spring, and in spring only. Which being so, I observe most people prefer going in autumn.</p> -<p>§ 4. Nevertheless, without any special affection for them, +<p>§ 4. Nevertheless, without any special affection for them, most of us, at least, languidly consent to the beauty of flowers, and occasionally gather them, and prefer them from among other forms of vegetation. This, strange to say, is precisely what great @@ -4237,7 +4200,7 @@ chased golden balls, on every stud of which Titian has concentrated his strength, and I verily believe forgot the face a little, so much has his mind been set on them.</p> -<p>§ 5. In Paul Veronese’s Europa, at Dresden, the entire foreground +<p>§ 5. In Paul Veronese’s Europa, at Dresden, the entire foreground is covered with flowers, but they are executed with sharp and crude touches like those of a decorative painter. In Correggio’s paintings, at Dresden, and in the Antiope of the Louvre, @@ -4255,7 +4218,7 @@ rose-thicket, in which the roses seem to be enchanted the wrong way, for their leaves are all gray, and the flowers dull brick-red. Yet it is right.</p> -<p>§ 6. One reason for this is that all great men like their inferior +<p>§ 6. One reason for this is that all great men like their inferior forms to follow and obey contours of large surfaces, or group themselves in connected masses. Patterns do the first, leaves the last; but flowers stand separately.</p> @@ -4283,7 +4246,7 @@ of foreground included implies such a distance of the spectator from the nearest object as must entirely prevent his seeing flower detail.</p> -<p>§ 7. There is, however, a deeper reason than all these; namely, +<p>§ 7. There is, however, a deeper reason than all these; namely, that flowers have no sublimity. We shall have to examine the nature of sublimity in our following and last section, among other ideas of relation. Here I only note the fact briefly, that impressions @@ -4310,7 +4273,7 @@ own sake. They fall forgotten from the great workmen’s and soldiers’ hands. Such men will take, in thankfulness, crowns of leaves, or crowns of thorns—not crowns of flowers.</p> -<p>§ 8. Some beautiful things have been done lately, and more +<p>§ 8. Some beautiful things have been done lately, and more beautiful are likely to be done, by our younger painters, in representing blossoms of the orchard and the field in mass and extent. I have had something to do with the encouragement of @@ -4328,7 +4291,7 @@ to an unsatisfying mockery, in the cold imagery of what Nature has given to be breathed with the profuse winds of spring, and touched by the happy footsteps of youth.</p> -<p>§ 9. Among the greater masters, as I have said, there is little +<p>§ 9. Among the greater masters, as I have said, there is little laborious or affectionate flower-painting. The utmost that Turner ever allows in his foregrounds is a water-lily or two, a cluster of heath or foxglove, a thistle sometimes, a violet or daisy, @@ -4337,7 +4300,7 @@ of the rich mystery of his more distant leafage. Rich mystery, indeed, respecting which these following facts about the foliage of tented plants must be noted carefully.</p> -<p>§ 10. Two characters seem especially aimed at by Nature in +<p>§ 10. Two characters seem especially aimed at by Nature in the earth-plants: first, that they should be characteristic and interesting; secondly, that they should not be very visibly injured by crushing.</p> @@ -4353,7 +4316,7 @@ fantastic, never the same from footstalk to blossom; they seem perpetually to tempt our watchfulness, and take delight in outstripping our wonder.</p> -<p>§ 11. Secondly, observe, their forms are such as will not be +<p>§ 11. Secondly, observe, their forms are such as will not be visibly injured by crushing. Their complexity is already disordered: jags and rents are their laws of being; rent by the footstep <span class="pagenum"><a name="page93" id="page93"></a>93</span> @@ -4370,7 +4333,7 @@ of loveliness.</p> <tr><td class="figcenter"><img style="width:703px; height:742px" src="images/img131.jpg" alt="" /></td></tr> <tr><td class="caption"><span class="sc">Fig. 72.</span></td></tr></table> -<p>§ 12. One class, however, of these torn leaves, peculiar to +<p>§ 12. One class, however, of these torn leaves, peculiar to the tented plants, has, it seems to me, a strange expressional function. I mean the group of leaves rent into <i>alternate</i> gaps, typically represented by the thistle. The alternation of the rent, @@ -4395,7 +4358,7 @@ vegetation which we feel and call “ragged.”</p> <tr><td class="figcenter"><img style="width:899px; height:551px" src="images/img133.jpg" alt="" /></td></tr> <tr><td class="caption">60. The Rending of Leaves.</td></tr></table> -<p>§ 13. It is strange that the mere alternation of the rent +<p>§ 13. It is strange that the mere alternation of the rent should give this effect; the more so, because alternate leaves, completely separate from each other, produce one of the most graceful types of building plants. Yet the fact is indeed so, that @@ -4408,7 +4371,7 @@ richness, unless the jags are alternate, and the leaf-tissue continuous at the stem; and the moment these conditions appear, so does the raggedness.</p> -<p>§ 14. It is yet more worthy of note that the proper duty of +<p>§ 14. It is yet more worthy of note that the proper duty of these leaves, which catch the eye so clearly and powerfully, would appear to be to draw the attention of man to spots where his work is needed, for they nearly all habitually grow on ruins @@ -4423,7 +4386,7 @@ its broad covering leaf is much jagged, but only irregular, not alternate in the rent; but the weeds that mark habitual neglect, such as the thistle, give clear alternation.</p> -<p>§ 15. The aspects of complexity and carelessness of injury are +<p>§ 15. The aspects of complexity and carelessness of injury are farther increased in the herb of the field, because it is “herb yielding seed;” that is to say, a seed different in character from that which trees form in their fruit.</p> @@ -4450,7 +4413,7 @@ birth of the plant, a fruit is such seed enclosed or sustained by some extraneous substance, which is soft and juicy, and beautifully colored, pleasing and useful to animals and men.</p> -<p>§ 16. I find it convenient in this volume, and wish I had +<p>§ 16. I find it convenient in this volume, and wish I had thought of the expedient before, whenever I get into a difficulty, to leave the reader to work it out. He will perhaps, therefore, be so good as to define fruit for himself. Having defined it, he @@ -4461,7 +4424,7 @@ of rock and wood, however dwarfed in stature, are true builders. The strawberry-plant is the only important exception—a tender Bedouin.</p> -<p>§ 17. Of course the principal reason for this is the plain, +<p>§ 17. Of course the principal reason for this is the plain, practical one, that fruit should not be trampled on, and had better perhaps be put a little out of easy reach than too near the hand, so that it may not be gathered wantonly or without some @@ -4497,7 +4460,7 @@ account of them.</p> <tr><td class="tcr f90"><i>To face page 97.</i></td></tr> <tr><td class="caption"><span class="sc">Fig. 78.</span></td></tr></table> -<p>§ 18. This being so, we find another element of very complex +<p>§ 18. This being so, we find another element of very complex effect added to the others which exist in tented plants, <span class="pagenum"><a name="page97" id="page97"></a>97</span> namely, that of minute, granular, feathery, or downy seed-vessels, @@ -4508,7 +4471,7 @@ surfaces far away; mysterious evermore, not only with dew in the morning or mirage at noon, but with the shaking threads of fine arborescence, each a little belfry of grain-bells, all a-chime.</p> -<p>§ 19. I feel sorely tempted to draw one of these same spires +<p>§ 19. I feel sorely tempted to draw one of these same spires of the fine grasses, with its sweet changing proportions of pendent grain, but it would be a useless piece of finesse, as such form of course never enters into general foreground effect.<a name="fa3k" id="fa3k" href="#ft3k"><span class="sp">3</span></a> I have, @@ -4551,7 +4514,7 @@ take note in his great pictures of the almost inconceivable labor with which he has sought to express the redundance and delicacy of ground leafage.</p> -<p>§ 20. By comparing the etching in Plate 61 with the published +<p>§ 20. By comparing the etching in Plate 61 with the published engraving, it will be seen how much yet remains to be done before any approximately just representation of Turner foreground can be put within the reach of the public. This @@ -4563,7 +4526,7 @@ the richness of mossy and ferny leafage included in the real design. And if this be so on one of the ordinary England drawings of a barren Yorkshire moor, it may be imagined what the task would be of engraving truly such a foreground as that of -the “Bay of Baiæ” or “Daphne and Leucippus,” in which +the “Bay of Baiæ” or “Daphne and Leucippus,” in which Turner’s aim has been luxuriance.</p> <table class="nobctr" style="clear: both;" summary="Illustration"> @@ -4574,7 +4537,7 @@ Turner’s aim has been luxuriance.</p> <tr><td class="figcenter"><img style="width:916px; height:546px" src="images/img143.jpg" alt="" /></td></tr> <tr><td class="caption">62. By the Brookside.</td></tr></table> -<p>§ 21. His mind recurred, in all these classical foregrounds, +<p>§ 21. His mind recurred, in all these classical foregrounds, to strong impressions made upon him during his studies at Rome, by the masses of vegetation which enrich its heaps of ruin with their embroidery and bloom. I have always partly @@ -4586,7 +4549,7 @@ the more solemn and more sacred infinity with which, among the mightier ruins of the Alpine Rome, glow the pure and motionless splendors of the gentian and the rose.</p> -<p>§ 22. Leaves motionless. The strong pines wave above them, +<p>§ 22. Leaves motionless. The strong pines wave above them, and the weak grasses tremble beside them; but the blue stars rest upon the earth with a peace as of heaven; and far along the ridges of iron rock, moveless as they, the rubied crests of @@ -4596,7 +4559,7 @@ the mute slaves of the earth, to whom we owe, perhaps, thanks, and tenderness, the most profound of all we have to render for the leaf ministries.</p> -<p>§ 23. It is strange to think of the gradually diminished +<p>§ 23. It is strange to think of the gradually diminished power and withdrawn freedom among the orders of leaves—from the sweep of the chestnut and gadding of the vine, down to the close shrinking trefoil, and contented daisy, pressed on earth; @@ -4607,7 +4570,7 @@ We have found beauty in the tree yielding fruit, and in the herb yielding seed. How of the herb yielding <i>no</i> seed,<a name="fa4k" id="fa4k" href="#ft4k"><span class="sp">4</span></a> the fruitless, flowerless lichen of the rock?</p> -<p>§ 24. Lichen, and mosses (though these last in their luxuriance +<p>§ 24. Lichen, and mosses (though these last in their luxuriance are deep and rich as herbage, yet both for the most part humblest of the green things that live),—how of these? Meek creatures! the first mercy of the earth, veiling with hushed @@ -4636,7 +4599,7 @@ their parts for a time, but these do service for ever. Trees for the builder’s yard, flowers for the bride’s chamber, corn for the granary, moss for the grave.</p> -<p>§ 25. Yet as in one sense the humblest, in another they are +<p>§ 25. Yet as in one sense the humblest, in another they are the most honored of the earth-children. Unfading, as motionless, the worm frets them not, and the autumn wastes not. Strong in lowliness, they neither blanch in heat nor pine in frost. @@ -4698,7 +4661,7 @@ have, but not effectually or visibly for man.</p> <p class="center chap2">THE CLOUD-BALANCINGS.</p> -<p class="noind pt1"><span class="chap1 sc">§ 1. We</span> have seen that when the earth had to be prepared +<p class="noind pt1"><span class="chap1 sc">§ 1. We</span> have seen that when the earth had to be prepared for the habitation of man, a veil, as it were, of intermediate being was spread between him and its darkness, in which were joined, in a subdued measure, the stability and insensibility of @@ -4717,7 +4680,7 @@ vicissitude.</p> and man came the cloud. His life being partly as the falling leaf, and partly as the flying vapor.</p> -<p>§ 2. Has the reader any distinct idea of what clouds are? +<p>§ 2. Has the reader any distinct idea of what clouds are? We had some talk about them long ago, and perhaps thought their nature, though at that time not clear to us, would be easily enough understandable when we put ourselves seriously to make @@ -4767,7 +4730,7 @@ each other from morning until evening—what rebuke is this which has awed them into peace? what hand has reined them back by the way by which they came?</p> -<p>§ 3. I know not if the reader will think at first that questions +<p>§ 3. I know not if the reader will think at first that questions like these are easily answered. So far from it, I rather <span class="pagenum"><a name="page103" id="page103"></a>103</span> believe that some of the mysteries of the clouds never will be @@ -4788,7 +4751,7 @@ subject in a clear form for him. All men accustomed to investigation will confirm me in saying that it is a great step when we are personally quite certain what we do <i>not</i> know.</p> -<p>§ 4. First, then, I believe we do not know what makes clouds +<p>§ 4. First, then, I believe we do not know what makes clouds float. Clouds are water, in some fine form or another; but water is heavier than air, and the finest form you can give a heavy thing will not make it float in a light thing. <i>On</i> it, yes; @@ -4835,7 +4798,7 @@ this way of mixing something and nothing is the very thing I want to explain or have explained, and cannot do it, nor get it done.</p> -<p>§ 5. Except thus far. It is conceivable that minute hollow +<p>§ 5. Except thus far. It is conceivable that minute hollow spherical globules might be formed of water, in which the enclosed vacuity just balanced the weight of the enclosing water, and that the arched sphere formed by the watery film was strong @@ -4852,7 +4815,7 @@ I state it as a possibility, to be taken into account in examining the question—a possibility confirmed by the scriptural words which I have taken for the title of this chapter.</p> -<p>§ 6. Nevertheless, I state it as a possibility only, not seeing +<p>§ 6. Nevertheless, I state it as a possibility only, not seeing how any known operation of physical law could explain the formation of such molecules. This, however, is not the only difficulty. Whatever shape the water is thrown into, it seems at @@ -4872,7 +4835,7 @@ molecules are held together by an attraction which prevents their adhering to any foreign body, or perhaps ceases only under some peculiar electric conditions.</p> -<p>§ 7. The question remains, even supposing their production +<p>§ 7. The question remains, even supposing their production accounted for,—What intermediate states of water may exist between these spherical hollow molecules and pure vapor?</p> @@ -4905,7 +4868,7 @@ atmosphere, which is itself opaque, when there is promise of fine weather, becomes exquisitely transparent; and (questionably) blue, when it is going to rain.</p> -<p>§ 8. Questionably blue: for besides knowing very little about +<p>§ 8. Questionably blue: for besides knowing very little about water, we know what, except by courtesy, must, I think, be called Nothing—about air. Is it the watery vapor, or the air itself, which is blue? Are neither blue, but only white, producing @@ -4925,7 +4888,7 @@ shallow,—red when deep. Perhaps some day, as the motion of the heavenly bodies by help of an apple, their light by help of a nettle, may be explained to mankind.</p> -<p>§ 9. But farther: these questions of volatility, and visibility, +<p>§ 9. But farther: these questions of volatility, and visibility, and hue, are all complicated with those of shape. How is a cloud outlined? Granted whatever you choose to ask, concerning its material, or its aspect, its loftiness and luminousness,—how of its @@ -5004,7 +4967,7 @@ two nearly all that is to be said about clouds.</p> <p class="center chap2">THE CLOUD-FLOCKS.</p> -<p class="noind pt1"><span class="chap1 sc">§ 1. From</span> the tenor of the foregoing chapter, the reader will, +<p class="noind pt1"><span class="chap1 sc">§ 1. From</span> the tenor of the foregoing chapter, the reader will, I hope, be prepared to find me, though dogmatic (it is said) upon some occasions, anything rather than dogmatic respecting clouds. I will assume nothing concerning them, beyond the simple fact, @@ -5015,7 +4978,7 @@ wind (as, if you throw any thick coloring matter into a river, it floats with the stream), and that it is not blown before a denser volume of the wind, as a fleece of wool would be.</p> -<p>§ 2. At whatever height they form, clouds may be broadly +<p>§ 2. At whatever height they form, clouds may be broadly considered as of two species only, massive and striated. I cannot find a better word than massive, though it is not a good one, for I mean it only to signify a fleecy arrangement in which no <i>lines</i> @@ -5045,7 +5008,7 @@ not produced by storm.</p> <p><span class="pagenum"><a name="page109" id="page109"></a>109</span></p> -<p>§ 3. In the first volume, we considered all clouds as belonging +<p>§ 3. In the first volume, we considered all clouds as belonging to three regions, that of the cirrous, the central cloud, and the rain-cloud. It is of course an arrangement more of convenience than of true description, for cirrous clouds sometimes form low @@ -5071,7 +5034,7 @@ conveniently think of as the “cloud-flocks.” And we have to discover if any laws of beauty attach to them, such as we have seen in mountains or tree-branches.</p> -<p>§ 4. On one of the few mornings of this winter, when the sky +<p>§ 4. On one of the few mornings of this winter, when the sky was clear, and one of the far fewer, on which its clearness was visible from the neighborhood of London,—which now entirely loses at least two out of three sunrises, owing to the environing @@ -5084,7 +5047,7 @@ minor clouds; but each was more than usually distinct in separation from its neighbor, and as they showed in nearly pure pale scarlet on the dark purple ground, they were easily to be counted.</p> -<p>§ 5. There were five or six ranks, from the zenith to the horizon; +<p>§ 5. There were five or six ranks, from the zenith to the horizon; that is to say, three distinct ones, and then two or three more running together, and losing themselves in distance, in the manner roughly shown in Fig. 79. The nearest rank was composed @@ -5100,7 +5063,7 @@ more than less.</p> <tr><td class="figright1"><img style="width:310px; height:172px" src="images/img158.jpg" alt="" /></td></tr> <tr><td class="caption"><span class="sc">Fig. 79.</span></td></tr></table> -<p>There were therefore 150×60, that +<p>There were therefore 150×60, that is, 9,000, separate clouds in this one rank, or about 50,000 in the field of sight. Flocks of Admetus under Apollo’s @@ -5111,7 +5074,7 @@ We must leave fancies, however; these wonderful clouds need close looking at. I will try to draw one or two of them before they fade.</p> -<p>§ 6. On doing which we find, after all, they are not much +<p>§ 6. On doing which we find, after all, they are not much more like sheep than Canis Major is like a dog. They resemble more some of our old friends, the pine branches, covered with snow. The three forming the uppermost figure, in the Plate @@ -5162,7 +5125,7 @@ Fig. 80.<a name="fa1m" id="fa1m" href="#ft1m"><span class="sp">1</span></a></p> <p><span class="pagenum"><a name="page112" id="page112"></a>112</span></p> -<p>§ 7. What is it that throws them into these lines?</p> +<p>§ 7. What is it that throws them into these lines?</p> <p>Eddies of wind?</p> @@ -5192,7 +5155,7 @@ thrust another, they shall walk every one in his own path.”</p> <tr><td class="figleft1"><img style="width:180px; height:1077px" src="images/img162.jpg" alt="" /></td></tr> <tr><td class="caption"><span class="sc">Fig. 82.</span></td></tr></table> -<p>§ 8. These questions occur, at first sight, respecting every +<p>§ 8. These questions occur, at first sight, respecting every group of cirrus cloud. Whatever the form may be, whether branched, as in this instance, or merely rippled, @@ -5217,7 +5180,7 @@ All that I want is, that we should have our questions ready to put clearly to the electricians when the electricians are ready to answer us.</p> -<p>§ 9. It is possible that some of the loveliest conditions of +<p>§ 9. It is possible that some of the loveliest conditions of <span class="pagenum"><a name="page114" id="page114"></a>114</span> these parallel clouds may be owing to a structure which I forgot to explain, when it occurred in rocks, in the course of the last @@ -5237,7 +5200,7 @@ light on their edges, we should have a series of curved lights, looking like independent clouds.</p> -<p>§ 10. I believe conditions of form like those +<p>§ 10. I believe conditions of form like those in Fig. 82 (turn the book with its outer edge down) may not unfrequently be thus, owing to stratification, when they occur in the nearer sky. @@ -5255,7 +5218,7 @@ the fact, and notable perspective phenomena depend on the approximation of clouds to such a condition.</p> -<p>§ 11. Referring the reader to my Elements +<p>§ 11. Referring the reader to my Elements of Perspective for statements of law which would be in this place tiresome, I can only ask him to take my word for it that the three figures in Plate 64 represent @@ -5289,7 +5252,7 @@ stoutness in the triangle, causes leanness in the diamond.<a name="fa3m" id="fa3 <tr><td class="figcenter"><img style="width:453px; height:919px" src="images/img165.jpg" alt="" /></td></tr> <tr><td class="caption">65. Cloud Perspective. (Curvilinear.)</td></tr></table> -<p>§ 12. Still greater confusion in aspect is induced by the apparent +<p>§ 12. Still greater confusion in aspect is induced by the apparent change caused by perspective in the direction of the wind. If Fig. 3 be supposed to include a quarter of the horizon, the spaces, into which its straight lines divide it, represent squares of @@ -5317,7 +5280,7 @@ shade above the cathedral.</p> <tr><td class="figcenter"><img style="width:558px; height:312px" src="images/img168.jpg" alt="" /></td></tr> <tr><td class="caption"><span class="sc">Fig. 83.</span></td></tr></table> -<p>§ 13. Sky perspective, however, remains perfectly simple, so +<p>§ 13. Sky perspective, however, remains perfectly simple, so long as it can be reduced to any rectilinear arrangement; but when nearly the whole system is curved, which nine times out of ten is the case, it becomes embarrassing. The central figure in @@ -5340,7 +5303,7 @@ sides parallel. This is the usual condition of cloud: for though arranged in curved ranks, each cloud has its face to the front, or, at all events, acts in some parallel line—generally another curve—with those next to it: being rarely, except in the form of fine -radiating striæ, arranged on the curves as at <i>a</i>, Fig. 84; but as at +radiating striæ, arranged on the curves as at <i>a</i>, Fig. 84; but as at <i>b</i>, or <i>c</i>. It would make the diagram too complex if I gave one of intersecting curves; but the lowest figure in Plate 65 represents, in perspective, two groups of ellipses arranged in equidistant @@ -5356,7 +5319,7 @@ them, roughly, in Fig. 90, facing page 128.<a name="fa4m" id="fa4m" href="#ft4m" <tr><td class="figcenter"><img style="width:785px; height:144px" src="images/img169.jpg" alt="" /></td></tr> <tr><td class="caption"><span class="sc">Fig. 84.</span></td></tr></table> -<p>§ 14. And in these figures, which, if we look up the subject +<p>§ 14. And in these figures, which, if we look up the subject rightly, would be but the first and simplest of the series necessary to illustrate the action of the upper cirri, the reader may see, at once, how necessarily painters, untrained in observance of @@ -5373,7 +5336,7 @@ or in more or less equal masses, can no more paint a sky, than he could, by random dashes for its ruined arches, paint the Coliseum.</p> -<p>§ 15. Whatever approximation to the character of upper +<p>§ 15. Whatever approximation to the character of upper clouds may have been reached by some of our modern students, it will be found, on careful analysis, that Turner stands more absolutely alone in this gift of cloud-drawing, than in any other @@ -5405,7 +5368,7 @@ cloud.</p> <tr><td class="figcenter"><img style="width:921px; height:592px" src="images/img173.jpg" alt="" /></td></tr> <tr><td class="caption">67. Clouds.</td></tr></table> -<p>§ 16. To follow the subject farther would, however, lead us +<p>§ 16. To follow the subject farther would, however, lead us into doctrine of circular storms, and all kinds of pleasant, but infinite, difficulty, from which temptation I keep clear, believing that enough is now stated to enable the reader to understand @@ -5415,10 +5378,10 @@ or purple dashes of cloud-spray, which, in such pictures as the San Benedetto, looking to Fusina, the Napoleon, or the Temeraire, guide the eye to the horizon more by their true perspective <span class="pagenum"><a name="page119" id="page119"></a>119</span> -than by their aërial tone, and are buoyant, not so much by expression +than by their aërial tone, and are buoyant, not so much by expression of lightness as of motion.<a name="fa6m" id="fa6m" href="#ft6m"><span class="sp">6</span></a></p> -<p>§ 17. I say the “white or purple” cloud-spray. One word +<p>§ 17. I say the “white or purple” cloud-spray. One word yet may be permitted me respecting the mystery of that color. What should we have thought—if we had lived in a country where there were no clouds, but only low mist or fog—of any @@ -5450,7 +5413,7 @@ partly on the opacity, which enables them to reflect light strongly; partly on a spongelike power of gathering light into their bodies.</p> -<p>§ 18. Long ago it was noted by Aristotle, and again by Leonardo, +<p>§ 18. Long ago it was noted by Aristotle, and again by Leonardo, that vaporous bodies looked russet, or even red, when warm light was seen through them, and blue when deep shade was seen through them. Both colors may, generally, be seen on any @@ -5492,7 +5455,7 @@ the fiery ball.</p> <tr><td class="figcenter"><img style="width:806px; height:575px" src="images/img178.jpg" alt="" /></td></tr> <tr><td class="caption">66. Light in the West, Beauvais.</td></tr></table> -<p>§ 19. Without, however, troubling ourselves at all about laws, +<p>§ 19. Without, however, troubling ourselves at all about laws, or causes of color, the visible consequences of their operation are <span class="pagenum"><a name="page121" id="page121"></a>121</span> notably these—that when near us, clouds present only subdued @@ -5613,7 +5576,7 @@ sure were they of its being land, and were nearly starved to death in consequenc <p class="center chap2">THE CLOUD-CHARIOTS.</p> -<p class="noind pt1"><span class="chap1 sc">§ 1. Between</span> the flocks of small countless clouds which +<p class="noind pt1"><span class="chap1 sc">§ 1. Between</span> the flocks of small countless clouds which occupy the highest heavens, and the gray undivided film of the true rain-cloud, form the fixed masses or torn fleeces, sometimes collected and calm, sometimes fiercely drifting, which are, nevertheless, @@ -5632,7 +5595,7 @@ themselves with storm-cloud and true thunder-cloud. When there is thunder in the air, they will form in cold weather, or early in the day.</p> -<p>§ 2. I have never succeeded in drawing a cumulus. Its divisions +<p>§ 2. I have never succeeded in drawing a cumulus. Its divisions of surface are grotesque and endless, as those of a mountain;—perfectly defined, brilliant beyond all power of color, and transitory as a dream. Even Turner never attempted to paint @@ -5659,7 +5622,7 @@ where the cloud ended? What should make it bind itself in those solid mounds, and stay so:—positive, fantastic, defiant, determined?</p> -<p>§ 3. If ever I am able to understand the process of the cumulus +<p>§ 3. If ever I am able to understand the process of the cumulus formation,<a name="fa1n" id="fa1n" href="#ft1n"><span class="sp">1</span></a> it will become to me one of the most interesting of all subjects of study to trace the connection of the threatening and terrible outlines of thunder-cloud with the increased @@ -5670,7 +5633,7 @@ broken and rapidly moving forms of the central clouds, which connect themselves with mountains, and may, therefore, among mountains, be seen close and truly.</p> -<p>§ 4. Yet even of these, I can only reason with great doubt and +<p>§ 4. Yet even of these, I can only reason with great doubt and continual pause. This last volume ought certainly to be better than the first of the series, for two reasons. I have learned, during the sixteen years, to say little where I said much, and to see @@ -5679,7 +5642,7 @@ marvel in looking back to my first account of clouds, not only at myself, but even at my dear master, M. de Saussure. To think that both of us should have looked at drifting mountain clouds, for years together, and been content with the theory which you -will find set forth in § 4, of the chapter on the central cloud +will find set forth in § 4, of the chapter on the central cloud region (Vol. I.), respecting the action of the snowy summits and watery vapor passing them. It is quite true that this action takes place, and that the said fourth paragraph is right, as far as it @@ -5710,7 +5673,7 @@ mountain, which, supposing them of chilly temperament, must have discomforted the atmosphere in their neighborhood for leagues. And finally (C) reversing the principle under letter A, the cap-cloud constantly forms on the summit of Mont Blanc, -while it will obstinately refuse to appear on the Dome du Goûte +while it will obstinately refuse to appear on the Dome du Goûte or Aiguille Sans-nom, where the snow-fields are of greater extent, and the air must be moister, because lower.</p> @@ -5724,7 +5687,7 @@ and the air must be moister, because lower.</p> <tr><td class="figright1"><img style="width:465px; height:245px" src="images/img185.jpg" alt="" /></td></tr> <tr><td class="caption"><span class="sc">Fig. 86.</span></td></tr></table> -<p>§ 5. The fact is, that the explanation given in that fourth +<p>§ 5. The fact is, that the explanation given in that fourth paragraph can, in reality, account only for what may properly be termed “lee-side cloud,” slightly noticed in the continuation of the same chapter, but deserving most attentive illustration, as @@ -5761,7 +5724,7 @@ Plate 69 represents the loveliest form of it, seen in that perfect arch, so far as I know, only over the highest piece of earth in Europe.</p> -<p>§ 6. Respecting which there are two mysteries:—First, why +<p>§ 6. Respecting which there are two mysteries:—First, why it should form only at a certain distance above the snow, showing blue sky between it and the summit. Secondly, why, so forming, it should always show as an arch, not as a concave cup. This @@ -5777,7 +5740,7 @@ of a more or less conical peak; and of this, also, I have no word to utter but the old one, “Electricity,” and I might as well say nothing.</p> -<p>§ 7. Neither the helmet cloud, nor the lee-side cloud, however, +<p>§ 7. Neither the helmet cloud, nor the lee-side cloud, however, though most interesting and beautiful, are of much importance in picturesque effect. They are too isolated and strange. But the great mountain cloud, which seems to be a blending of the @@ -5787,7 +5750,7 @@ which would in some way or other have formed anywhere), requires prolonged attention, as the principal element of the sky in noblest landscape.</p> -<p>§ 8. For which purpose, first, it may be well to clear a few +<p>§ 8. For which purpose, first, it may be well to clear a few clouds out of the way. I believe the true cumulus is never seen in a great mountain region, at least never associated with hills. It is always broken up and modified by them. Boiling and @@ -5798,7 +5761,7 @@ itself. It would be very grand if one ever saw a great mountain peak breaking through the domed shoulders of a true cumulus; but this I have never seen.</p> -<p>§ 9. Again, the true high cirri never cross a mountain in +<p>§ 9. Again, the true high cirri never cross a mountain in Europe. How often have I hoped to see an Alp rising through and above their level-laid and rippled fields! but those white harvest-fields are heaven’s own. And, finally, even the low, level, @@ -5814,7 +5777,7 @@ the greatest rarity.</p> <tr><td class="figcenter" colspan="2"><img style="width:815px; height:572px" src="images/img188.jpg" alt="" /></td></tr> <tr><td class="tcl f80">J. Ruskin.</td> <td class="tcr f80">J. C. Armytage.</td></tr> -<tr><td class="caption" colspan="2">70. The Graiæ.</td></tr></table> +<tr><td class="caption" colspan="2">70. The Graiæ.</td></tr></table> <table class="nobctr" style="clear: both;" summary="Illustration"> <tr><td class="figcenter"><img style="width:914px; height:569px" src="images/img190.jpg" alt="" /></td></tr> @@ -5825,7 +5788,7 @@ the greatest rarity.</p> <tr><td class="tcr f90"><i>To face page 127.</i></td></tr> <tr><td class="caption"><span class="sc">Fig. 87.</span></td></tr></table> -<p>§ 10. The ordinary mountain cloud, therefore, if well defined, +<p>§ 10. The ordinary mountain cloud, therefore, if well defined, divides itself into two kinds: a broken condition of cumulus, grand in proportion as it is solid and quiet,—and a strange modification of drift-cloud, midway, as I said, between the helmet @@ -5838,7 +5801,7 @@ the vignette of St. Maurice in Rogers’s Italy. There is nothing, however, to be specially observed of it, as it only differs from the cumulus of the plains, by being smaller and more broken.</p> -<p>§ 11. Not so the mountain drift-cloud, which is as peculiar +<p>§ 11. Not so the mountain drift-cloud, which is as peculiar as it is majestic. The Plates 70 and 71 show, as well as I can express, two successive phases of it on a mountain crest; (in this instance the great limestone ridge above St. Michel, in Savoy.) @@ -5866,7 +5829,7 @@ breaking into fragments with an apparently concentric motion, as in the figure; but of this motion also—whether vertical or horizontal—I can say nothing positive.</p> -<p>§ 12. The absolute scale of such clouds may be seen, or at +<p>§ 12. The absolute scale of such clouds may be seen, or at least demonstrated, more clearly in Fig. 88, which is a rough note of an effect of sky behind the tower of Berne Cathedral. It was made from the mound beside the railroad bridge. The @@ -5878,7 +5841,7 @@ feet above it in height. The drift-cloud behind it, therefore, being in full light, and showing no overhanging surfaces, must rise at least twenty thousand feet into the air.</p> -<p>§ 13. The extreme whiteness of the volume of vapor in this +<p>§ 13. The extreme whiteness of the volume of vapor in this case (not, I fear, very intelligible in the woodcut<a name="fa3n" id="fa3n" href="#ft3n"><span class="sp">3</span></a>) may be partly owing to recent rain, which, by its evaporation, gives a peculiar density and brightness to some forms of clearing cloud. In order @@ -5898,7 +5861,7 @@ again to heaven instantly in white clouds. The storm passes as if it had tormented the crags, and the strong mountains smoke like tired horses.</p> -<p>§ 14. Here is another question for us of some interest. Why +<p>§ 14. Here is another question for us of some interest. Why does the much greater quantity of moisture lying on the horizontal fields send up no visible vapor, and the less quantity left on the rocks glorify itself into a magnificent wreath of soaring @@ -5934,7 +5897,7 @@ texture—all manner of crannies, and bosses, and projections, and filaments of moss and lichen, exposing a vast extent of drying surface to the air. And the evaporation is rapid in proportion.</p> -<p>§ 15. Its rapidity, however, observe, does not account for its +<p>§ 15. Its rapidity, however, observe, does not account for its visibility, and this is one of the questions I cannot clearly solve, unless I were sure of the nature of the vesicular vapor. When our breath becomes visible on a frosty day, it is easily enough @@ -5963,7 +5926,7 @@ along all the far succession of the hill-slopes and ravines.</p> <tr><td class="figcenter"><img style="width:792px; height:376px" src="images/img198.jpg" alt="" /></td></tr> <tr><td class="caption"><span class="sc">Fig. 91.</span></td></tr></table> -<p>§ 16. There is this distinction, however, between the clouds +<p>§ 16. There is this distinction, however, between the clouds that form during the rain and after it. In the worst weather, the rain-cloud keeps rather high, and is unbroken; but when there is a disposition in the rain to relax, every now and then a @@ -5988,7 +5951,7 @@ of the wreath.</p> <tr><td class="figcenter"><img style="width:566px; height:288px" src="images/img199.jpg" alt="" /></td></tr> <tr><td class="caption"><span class="sc">Fig.</span> 92.</td></tr></table> -<p>§ 17. This cloud of evaporation, however, does not always +<p>§ 17. This cloud of evaporation, however, does not always rise. It sometimes rests in absolute stillness, low laid in the hollows of the hills, their peaks emergent from it. Fig. 92 shows this condition of it, seen from a distance, among the Cenis hills. @@ -5996,7 +5959,7 @@ I do not know what gives it this disposition to rest in the ravines, nor whether there is a greater chill in the hollows, or a real action of gravity on the particles of cloud. In general, the position seems to depend on the temperature. Thus, in Chamouni, the -crests of La Côte and Taconay continually appear in stormy weather +crests of La Côte and Taconay continually appear in stormy weather as in Plate 36, Vol. IV., in which I intended to represent rising drift-cloud, made dense between the crests by the chill from the glaciers. But in the condition shown in Fig. 92, on a comparatively @@ -6071,7 +6034,7 @@ right, so I leave them as they were drawn at the moment.</p> <p class="center chap2">THE ANGEL OF THE SEA.</p> -<p class="noind pt1"><span class="chap1 sc">§ 1. Perhaps</span> the best and truest piece of work done in the +<p class="noind pt1"><span class="chap1 sc">§ 1. Perhaps</span> the best and truest piece of work done in the first volume of this book, was the account given in it of the rain-cloud; to which I have here little, descriptively, to add. But the question before us now is, not who has drawn the rain-cloud @@ -6094,7 +6057,7 @@ perpetuity to?</p> the fifth chapter of last volume; one or two, yet unnoticed, belong to the present division of our subject.</p> -<p>§ 2. The climates or lands into which our globe is divided +<p>§ 2. The climates or lands into which our globe is divided may, with respect to their fitness for Art, be perhaps conveniently ranged under five heads:—</p> @@ -6146,7 +6109,7 @@ can get such a form shortly worded:—</p> <tr><td class="tcl">Moss-lands</td> <td class="tcl">Shrewd intellect</td> <td class="tcl">No art.</td></tr> </table> -<p>§ 3. In this table the moss-lands appear symmetrically opposed +<p>§ 3. In this table the moss-lands appear symmetrically opposed to the wood-lands, which in a sort they are; the too diminutive vegetation under bleakest heaven, opposed to the too colossal under sultriest heaven, while the perfect ministry of the @@ -6165,7 +6128,7 @@ help, not on great rivers coming from distant mountain chains, nor on vast tracts of ocean-mist coming up at evening, but on the continual play and change of sun and cloud.</p> -<p>§ 4. Note this word “change.” The moss-lands have an +<p>§ 4. Note this word “change.” The moss-lands have an infinite advantage, not only in sight, but in liberty; they are the freest ground in all the world. You can only traverse the great woods by crawling like a lizard, or climbing like a monkey—the @@ -6180,7 +6143,7 @@ bent down, like the northern winds, to brace and brighten the languor into which the repose of more favored districts may degenerate.</p> -<p>§ 5. It would be strange, indeed, if there were no beauty in +<p>§ 5. It would be strange, indeed, if there were no beauty in the phenomena by which this great renovating and purifying work is done. And it is done almost entirely by the great Angel of the Sea—rain;—the Angel, observe, the messenger sent to a @@ -6206,7 +6169,7 @@ laughings, and glitterings of silver streamlets, born suddenly, and twined about the mossy heights in trickling tinsel, answering to them as they wave.<a name="fa1o" id="fa1o" href="#ft1o"><span class="sp">1</span></a></p> -<p>§ 6. Nor are those wings colorless. We habitually think of +<p>§ 6. Nor are those wings colorless. We habitually think of the rain-cloud only as dark and gray; not knowing that we owe to it perhaps the fairest, though not the most dazzling of the hues of heaven. Often in our English mornings, the rain-clouds @@ -6224,7 +6187,7 @@ painted them, no other man.<a name="fa2o" id="fa2o" href="#ft2o"><span class="sp <p><span class="pagenum"><a name="page137" id="page137"></a>137</span></p> -<p>§ 7. For these are the robes of love of the Angel of the Sea. +<p>§ 7. For these are the robes of love of the Angel of the Sea. To these that name is chiefly given, the “spreadings of the clouds,” from their extent, their gentleness, their fulness of rain. Note how they are spoken of in Job xxxvi. v. 29-31. “By @@ -6241,7 +6204,7 @@ us; but the light is the possession of the friends of God, and they may ascend thereto,—where the tabernacle veil will cross and part its rays no more.</p> -<p>§ 8. But the Angel of the Sea has also another message,—in +<p>§ 8. But the Angel of the Sea has also another message,—in the “great rain of his strength,” rain of trial, sweeping away ill-set foundations. Then his robe is not spread softly over the whole heaven, as a veil, but sweeps back from his shoulders, @@ -6264,7 +6227,7 @@ them, heaven wailing wildly, the trees stooped blindly down, covering their faces, quivering in every leaf with horror, ruin of their branches flying by them like black stubble.</p> -<p>§ 9. I wrote Furies. I ought to have written Gorgons. Perhaps +<p>§ 9. I wrote Furies. I ought to have written Gorgons. Perhaps the reader does not know that the Gorgons are not dead, are ever undying. We shall have to take our chance of being turned into stones by looking them in the face, presently. Meantime, @@ -6281,9 +6244,9 @@ Sea); Ceto, the deep places of the sea, meaning its bays among rocks, therefore called by Hesiod “Fair-cheeked” Ceto; and Eurybia, the tidal force or sway of the sea, of whom more hereafter.</p> -<p>§ 10. Phorcys and Ceto, the malignant angel of the sea, and +<p>§ 10. Phorcys and Ceto, the malignant angel of the sea, and the spirit of its deep rocky places, have children, namely, first, -Graiæ, the soft rain-clouds. The Greeks had a greater dislike +Graiæ, the soft rain-clouds. The Greeks had a greater dislike of storm than we have, and therefore whatever violence is in the action of rain, they represented by harsher types than we should—types given in one group by Aristophanes (speaking in mockery @@ -6292,14 +6255,14 @@ so much talk about the fierce rushing of the moist clouds, coiled in glittering; and the locks of the hundred-headed Typhon; <span class="pagenum"><a name="page139" id="page139"></a>139</span> and the blowing storms; and the bent-clawed birds drifted on -the breeze, fresh, and aërial.” Note the expression “bent-clawed +the breeze, fresh, and aërial.” Note the expression “bent-clawed birds.” It illustrates two characters of these clouds; partly their coiling form; but more directly the way they tear down the earth from the hill-sides; especially those twisted storm-clouds which in violent action become the waterspout. These always strike at a narrow point, often opening the earth on a hill-side into a trench as a great pickaxe would (whence the -Graiæ are said to have only one beak between them). Nevertheless, +Graiæ are said to have only one beak between them). Nevertheless, the rain-cloud was, on the whole, looked upon by the Greeks as beneficent, so that it is boasted of in the Œdipus Coloneus for its perpetual feeding of the springs of Cephisus,<a name="fa4o" id="fa4o" href="#ft4o"><span class="sp">4</span></a> and @@ -6311,14 +6274,14 @@ existence, from the deep-sounding Sea, our Father, up to the crests of the wooded hills, whence we look down over the sacred land, nourishing its fruits, and over the rippling of the divine rivers, and over the low murmuring bays of the deep.” I cannot -satisfy myself about the meaning of the names of the Graiæ—Pephredo +satisfy myself about the meaning of the names of the Graiæ—Pephredo and Enuo—but the epithets which Hesiod gives them are interesting: “Pephredo, the well-robed; Enuo, the crocus-robed;” probably, it seems to me, from their beautiful colors in morning.</p> -<p>§ 11. Next to the Graiæ, Phorcys and Ceto begat the Gorgons, -which are the true storm-clouds. The Graiæ have only +<p>§ 11. Next to the Graiæ, Phorcys and Ceto begat the Gorgons, +which are the true storm-clouds. The Graiæ have only one beak or tooth, but all the Gorgons have tusks like boars; brazen hands (brass being the word used for the metal of which the Greeks made their spears), and golden wings.</p> @@ -6335,7 +6298,7 @@ her head are the fringes of the hail, the idea of coldness being connected by the Greeks with the bite of the serpent, as with the hemlock.</p> -<p>§ 12. On Minerva’s shield, her head signifies, I believe, the +<p>§ 12. On Minerva’s shield, her head signifies, I believe, the cloudy coldness of knowledge, and its venomous character (“Knowledge puffeth up.” Compare Bacon in Advancement of Learning). But the idea of serpents rose essentially from the @@ -6344,21 +6307,21 @@ breaking into full storm till it is cloven by the cirrus; which is twice hinted at in the story of Perseus; only we must go back a little to gather it together.</p> -<p>Perseus was the son of Jupiter by Danaë, who being shut in +<p>Perseus was the son of Jupiter by Danaë, who being shut in a brazen tower, Jupiter came to her in a shower of gold: the brazen tower being, I think, only another expression for the cumulus or Medusa cloud; and the golden rain for the rays of -the sun striking it; but we have not only this rain of Danaë’s to +the sun striking it; but we have not only this rain of Danaë’s to remember in connection with the Gorgon, but that also of the -sieves of the Danaïdes, said to represent the provision of Argos -with water by their father Danaüs, who dug wells about the +sieves of the Danaïdes, said to represent the provision of Argos +with water by their father Danaüs, who dug wells about the Acropolis; nor only wells, but opened, I doubt not, channels of -irrigation for the fields, because the Danaïdes are said to have +irrigation for the fields, because the Danaïdes are said to have brought the mysteries of Ceres from Egypt. And though I cannot -trace the root of the names Danaüs and Danaë, there is +trace the root of the names Danaüs and Danaë, there is assuredly some farther link of connection in the deaths of the -lovers of the Danaïdes, whom they slew, as Perseus Medusa. -And again note, that when the father of Danaë, Acrisius, is +lovers of the Danaïdes, whom they slew, as Perseus Medusa. +And again note, that when the father of Danaë, Acrisius, is detained in Seriphos by storms, a disk thrown by Perseus is carried <i>by the wind against his head</i>, and kills him; and lastly, when Perseus cuts off the head of Medusa, from her blood @@ -6367,7 +6330,7 @@ the Lightning, and Pegasus, the Angel of the “Wild Fountains,” that is to say, the fastest flying or lower rain-cloud; winged, but racing as upon the earth.</p> -<p>§ 13. I say, “wild” fountains; because the kind of fountain +<p>§ 13. I say, “wild” fountains; because the kind of fountain from which Pegasus is named is especially the “fountain of the great deep” of Genesis; sudden and furious, (cataracts of heaven, not windows, in the Septuagint);—the mountain torrent @@ -6384,7 +6347,7 @@ Helicon,<a name="fa5o" id="fa5o" href="#ft5o"><span class="sp">5</span></a> and well-head.” It is perpetual; but has, nevertheless, the Pegasean storm-power.</p> -<p>§ 14. Wherein we may find, I think, sufficient cause for putting +<p>§ 14. Wherein we may find, I think, sufficient cause for putting honor upon the rain-cloud. Few of us, perhaps, have thought, in watching its career across our own mossy hills, or listening to the murmur of the springs amidst the mountain @@ -6402,11 +6365,11 @@ its strength,<a name="fa6o" id="fa6o" href="#ft6o"><span class="sp">6</span></a> flashes rather than shinings; the dark spaces and the dazzling race and skim along the acclivities, and dart and dip from crag <span class="pagenum"><a name="page142" id="page142"></a>142</span> -to dell, swallow-like;—no Graiæ these,—gray and withered: +to dell, swallow-like;—no Graiæ these,—gray and withered: Grey Hounds rather, following the Cerinthian stag with the golden antlers.</p> -<p>§ 15. There is one character about these lower rain-clouds, +<p>§ 15. There is one character about these lower rain-clouds, partly affecting all their connection with the upper sky, which I have never been able to account for; that which, as before noticed, Aristophanes fastened on at once for their distinctive @@ -6426,7 +6389,7 @@ or perspective convergence. A troop of leaning clouds will follow one another, each stooping forward at the same apparent slope, round a fourth of the horizon.</p> -<p>§ 16. Another circumstance which the reader should note in +<p>§ 16. Another circumstance which the reader should note in this cloud of Turner’s, is the witch-like look of drifted or erected locks of hair at its left side. We have just read the words of the old Greek poet: “Locks of the hundred-headed Typhon;” @@ -6441,7 +6404,7 @@ golden sky beyond.</p> <tr><td class="figcenter"><img style="width:690px; height:565px" src="images/img211.jpg" alt="" /></td></tr> <tr><td class="caption">72. The Locks of Typhon.</td></tr></table> -<p>§ 17. It was not, however, as we saw, merely to locks of hair, +<p>§ 17. It was not, however, as we saw, merely to locks of hair, but to serpents, that the Greeks likened the dissolving of the Medusa cloud in blood. Of that sanguine rain, or of its meaning, <span class="pagenum"><a name="page143" id="page143"></a>143</span> @@ -6466,7 +6429,7 @@ inventions of the kind, likely to bring more evil upon men than ever the Medusa cloud did, and turn them more effectually into stone.<a name="fa10o" id="fa10o" href="#ft10o"><span class="sp">10</span></a></p> -<p>§ 18. I have named in the first volume the principal works +<p>§ 18. I have named in the first volume the principal works of Turner representing these clouds; and until I am able to draw them better, it is useless to say more of them; but in connection with the subject we have been examining, I should be @@ -6485,7 +6448,7 @@ them, while he reverenced; nor does he ever introduce them without some hidden purpose, bearing upon the expression of the scene he is painting.</p> -<p>§ 19. On that plain of Salisbury, he had been struck first by +<p>§ 19. On that plain of Salisbury, he had been struck first by its widely-spacious pastoral life; and secondly, by its monuments of the two great religions of England—Druidical and Christian.</p> @@ -6508,7 +6471,7 @@ and are shrinking from the rain; his dog crouches under a bank; his sheep, for the most part, are resting quietly, some coming up the slope of the bank towards him.<a name="fa11o" id="fa11o" href="#ft11o"><span class="sp">11</span></a></p> -<p>§ 20. The rain-clouds in this picture are wrought with a care +<p>§ 20. The rain-clouds in this picture are wrought with a care which I have never seen equalled in any other sky of the same kind. It is the rain of blessing—abundant, but full of brightness; golden gleams are flying across the wet grass, and fall softly @@ -6523,16 +6486,16 @@ And nearer, in the darkness, the shepherd lies dead, his flock scattered.</p> <p>I alluded, in speaking before of this Stonehenge, to Turner’s -use of the same symbol in the drawing of Pæstum for Rogers’s +use of the same symbol in the drawing of Pæstum for Rogers’s Italy; but a more striking instance of its employment occurs in -a Study of Pæstum, which he engraved himself before undertaking +a Study of Pæstum, which he engraved himself before undertaking the Liber Studiorum and another in his drawing of the Temple of Minerva, on Cape Colonna: and observe farther that he rarely introduces lightning, if the ruined building has not been devoted to religion. The wrath of man may destroy the fortress, but only the wrath of heaven can destroy the temple.</p> -<p>§ 21. Of these secret meanings of Turner’s, we shall see enough +<p>§ 21. Of these secret meanings of Turner’s, we shall see enough in the course of the inquiry we have to undertake, lastly, respecting ideas of relation; but one more instance of his opposed use of the lightning symbol, and of the rain of blessing, I name here, @@ -6555,7 +6518,7 @@ convent nestles into the hollow of the rock; and a little brook runs under the shadow of the nearer trees, beside which two monks sit reading.</p> -<p>§ 22. It was a beautiful thought, yet an erring one, as all +<p>§ 22. It was a beautiful thought, yet an erring one, as all thoughts are which oppose the Law to the Gospel. When people <span class="pagenum"><a name="page146" id="page146"></a>146</span> read, “the law came by Moses, but grace and truth by @@ -6575,7 +6538,7 @@ love I thy law! it is my meditation all the day. Thy testimonies are my delight and my counsellors; sweeter, also, than honey and the honeycomb.”</p> -<p>§ 23. And I desire, especially, that the reader should note +<p>§ 23. And I desire, especially, that the reader should note this, in now closing the work through which we have passed together in the investigation of the beauty of the visible world. For perhaps he expected more pleasure and freedom in that @@ -6591,7 +6554,7 @@ of him, not sympathy; patience, not zeal; apprehension, not sensation. The thing to be shown him was not a pleasure to be snatched, but a law to be learned.</p> -<p>§ 24. It is in this character, however, that the beauty of the +<p>§ 24. It is in this character, however, that the beauty of the natural world completes its message. We saw long ago, how its various <i>powers</i> of appeal to the mind of men might be traced to some typical expression of Divine attributes. We have seen since @@ -6602,7 +6565,7 @@ the guide of all fair and fortunate existence.</p> <p><span class="pagenum"><a name="page147" id="page147"></a>147</span></p> -<p>§ 25. Which understanding, let us receive our last message +<p>§ 25. Which understanding, let us receive our last message from the Angel of the Sea.</p> <p>Take up the 19th Psalm and look at it verse by verse. Perhaps @@ -6631,7 +6594,7 @@ sort of significance we do not look for;—it being, truly, not to be discovered, unless we really attend to what is said, instead of to our own feelings.</p> -<p>§ 26. It is unfortunate also, but very certain, that in order to +<p>§ 26. It is unfortunate also, but very certain, that in order to <span class="pagenum"><a name="page148" id="page148"></a>148</span> attend to what is said, we must go through the irksomeness of knowing the meaning of the words. And the first thing that @@ -6642,7 +6605,7 @@ verses connected with them, to be asked about, or for a future time; and never to think they are reading the Bible when they are merely repeating phrases of an unknown tongue.</p> -<p>§ 27. Let us try, by way of example, this 19th Psalm, and see +<p>§ 27. Let us try, by way of example, this 19th Psalm, and see what plain meaning is uppermost in it.</p> <p>“The heavens declare the glory of God.”</p> @@ -6667,7 +6630,7 @@ when used plurally, and especially when in distinction, as here, from the word “firmament,” remained expressive of the starry space beyond.</p> -<p>§ 28. A child might therefore be told (surely, with advantage), +<p>§ 28. A child might therefore be told (surely, with advantage), that our beautiful word Heaven may possibly have been formed from a Hebrew word, meaning “the high place;” that the great warrior Roman nation, camping much out at night, generally @@ -6697,7 +6660,7 @@ its fulness insupportable—infinite.</p> <p>“And the firmament showeth his <i>handywork</i>.”</p> -<p>§ 29. The clouds, prepared by the hand of God for the help +<p>§ 29. The clouds, prepared by the hand of God for the help of man, varied in their ministration—veiling the inner splendor—show, not His eternal glory, but His daily handiwork. So He dealt with Moses. I will cover thee “with my hand” as I pass @@ -6709,7 +6672,7 @@ man may see it, man may behold it afar off.” “Behold, God is great, and we know him not. For he maketh small the drops of water: they pour down rain according to the vapor thereof.”</p> -<p>§ 30. “Day unto day uttereth speech, and night unto night +<p>§ 30. “Day unto day uttereth speech, and night unto night showeth knowledge. They have no speech nor language, yet without these their voice is heard. Their rule is gone out throughout the earth, and their words to the end of the world.”</p> @@ -6730,7 +6693,7 @@ message.</p> <p>Thenceforward, it comes to the matter of it.</p> -<p>§ 31. Observe, you have the two divisions of the declaration. +<p>§ 31. Observe, you have the two divisions of the declaration. The heavens (compare Psalm viii.) declare the eternal glory of God before men, and the firmament the daily mercy of God towards men. And the eternal glory is in this—that the law of the @@ -6748,7 +6711,7 @@ righteous.</p> <p>Between statute and judgment.</p> -<p>§ 32. I. Between law and commandment.</p> +<p>§ 32. I. Between law and commandment.</p> <p>The law is fixed and everlasting; uttered once, abiding for ever, as the sun, it may not be moved. It is “perfect, converting @@ -6766,7 +6729,7 @@ not for guiding merely, but for strengthening, and tasting honey with. “Look how mine eyes have been enlightened, because I tasted a little of this honey.”</p> -<p>§ 33. II. Between testimony and fear.</p> +<p>§ 33. II. Between testimony and fear.</p> <p>The testimony is everlasting: the true promise of salvation. Bright as the sun beyond all the earth-cloud, it makes wise the @@ -6781,7 +6744,7 @@ it only remaining for ever.</p> <p><span class="pagenum"><a name="page151" id="page151"></a>151</span></p> -<p>§ 34. III. Between statute and judgment.</p> +<p>§ 34. III. Between statute and judgment.</p> <p>The statutes are the appointments of the Eternal justice; fixed and bright, and constant as the stars; equal and balanced @@ -6807,7 +6770,7 @@ of the ways of death and life.</p> “there is great reward:” pain now, and bitterness of tears, but reward unspeakable.</p> -<p>§ 35. Thus far the psalm has been descriptive and interpreting. +<p>§ 35. Thus far the psalm has been descriptive and interpreting. It ends in prayer.</p> <p>“Who can understand his errors?” (wanderings from the @@ -6862,7 +6825,7 @@ fields, irregularly circular.</p> it <i>not to shine</i>.” The closing verse of the chapter, as we have it, is unintelligible; not so in the Vulgate, the reading of which I give.</p> -<p><a name="ft4o" id="ft4o" href="#fa4o"><span class="fn">4</span></a> I assume the <span class="grk" title="aupnoi krênai nomades">ἅυπνοι κρῆναι νομάδες</span> to mean clouds, not springs; +<p><a name="ft4o" id="ft4o" href="#fa4o"><span class="fn">4</span></a> I assume the <span class="grk" title="aupnoi krênai nomades">ἅυπνοι κρῆναι νομάδες</span> to mean clouds, not springs; but this does not matter, the whole passage being one of rejoicing in moisture and dew of heaven.</p> @@ -6886,7 +6849,7 @@ stand without rocking.</p> slope <i>forward</i> at the foot. See the Entrance to Fowey Harbor, of the England Series.</p> -<p><a name="ft8o" id="ft8o" href="#fa8o"><span class="fn">8</span></a> See Part IX. chap. 2, “The Hesperid Æglé.”</p> +<p><a name="ft8o" id="ft8o" href="#fa8o"><span class="fn">8</span></a> See Part IX. chap. 2, “The Hesperid Æglé.”</p> <p><a name="ft9o" id="ft9o" href="#fa9o"><span class="fn">9</span></a> The reader must remember that sketches made as these are, on the instant, cannot be far carried, and would lose all their use if they were @@ -6936,7 +6899,7 @@ INVENTION FORMAL.</p> <p class="center chap2">THE LAW OF HELP.</p> -<p class="noind pt1"><span class="chap1 sc">§ 1. We</span> have now reached the last and the most important +<p class="noind pt1"><span class="chap1 sc">§ 1. We</span> have now reached the last and the most important part of our subject. We have seen, in the first division of this book, how far art may be, and has been, consistent with physical or material facts. In its second division, we examined how far it @@ -6962,7 +6925,7 @@ to say what may be ascertained of the nature of formal invention, before attempting to illustrate the faculty in its higher field.</p> -<p>§ 2. First, then, of <span class="sc">Invention Formal</span>, otherwise and most +<p>§ 2. First, then, of <span class="sc">Invention Formal</span>, otherwise and most commonly called technical composition; that is to say, the arrangement <span class="pagenum"><a name="page154" id="page154"></a>154</span> of lines, forms, or colors, so as to produce the best @@ -6985,7 +6948,7 @@ can hardly leave off looking at it.</p> did it could have done it; composed as no other picture is, or was, or ever can be again. Every great work stands alone.</p> -<p>§ 3. Yet there are certain elementary laws of arrangement +<p>§ 3. Yet there are certain elementary laws of arrangement traceable a little way; a few of these only I shall note, not caring to pursue the subject far in this work, so intricate it becomes even in its first elements: nor could it be treated with any approach @@ -7000,7 +6963,7 @@ far it is required.</p> <p><span class="pagenum"><a name="page155" id="page155"></a>155</span></p> -<p>§ 4. Composition may be best defined as the help of everything +<p>§ 4. Composition may be best defined as the help of everything in the picture by everything else.</p> <p>I wish the reader to dwell a little on this word “Help.” It @@ -7035,7 +6998,7 @@ to their original vitality; and the foulest of all corruption is that of the body of man; and, in his body, that which is occasioned by disease, more than that of natural death.</p> -<p>§ 5. I said just now, that though atoms of inanimate substance +<p>§ 5. I said just now, that though atoms of inanimate substance could not help each other, they could “consist” with each other. “Consistence” is their virtue. Thus the parts of a crystal are consistent, but of dust, inconsistent. Orderly adherence, @@ -7062,7 +7025,7 @@ undefiled: “living” or “Lord of life.”</p> helpful, helpful, Lord God of Hosts;” <i>i.e.</i> of all the hosts, armies, and creatures of the earth.<a name="fa2p" id="fa2p" href="#ft2p"><span class="sp">2</span></a></p> -<p>§ 6. A pure or holy state of anything, therefore, is that in +<p>§ 6. A pure or holy state of anything, therefore, is that in which all its parts are helpful or consistent. They may or may not be homogeneous. The highest or organic purities are composed of many elements in an entirely helpful state. The highest @@ -7072,7 +7035,7 @@ Government and co-operation are in all things and eternally the laws of life. Anarchy and competition, eternally, and in all things, the laws of death.</p> -<p>§ 7. Perhaps the best, though the most familiar example we +<p>§ 7. Perhaps the best, though the most familiar example we could take of the nature and power of consistence, will be that of the possible changes in the dust we tread on.</p> @@ -7084,7 +7047,7 @@ refuse; but take merely an ounce or two of the blackest slime of a beaten footpath on a rainy day, near a large manufacturing town.</p> -<p>§ 8. That slime we shall find in most cases composed of clay +<p>§ 8. That slime we shall find in most cases composed of clay (or brickdust, which is burnt clay) mixed with soot, a little sand, and water. All these elements are at helpless war with each other, and destroy reciprocally each other’s nature and power, @@ -7096,7 +7059,7 @@ that this ounce of mud is left in perfect rest, and that its elements gather together, like to like, so that their atoms may get into the closest relations possible.</p> -<p>§ 9. Let the clay begin. Ridding itself of all foreign substance, +<p>§ 9. Let the clay begin. Ridding itself of all foreign substance, it gradually becomes a white earth, already very beautiful; and fit, with help of congealing fire, to be made into finest porcelain, and painted on, and be kept in kings’ palaces. But such @@ -7136,7 +7099,7 @@ snow.</p> <p><span class="pagenum"><a name="page158" id="page158"></a>158</span></p> -<p>§ 10. Now invention in art signifies an arrangement, in +<p>§ 10. Now invention in art signifies an arrangement, in which everything in the work is thus consistent with all things else, and helpful to all else.</p> @@ -7157,7 +7120,7 @@ be taken away, the rest will look better; because the attention is less distracted. Hence the pleasure of inferior artists in sketching, and their inability to finish; all that they add destroys.</p> -<p>§ 11. Also in true composition, everything not only helps +<p>§ 11. Also in true composition, everything not only helps everything else a <i>little</i>, but helps with its utmost power. Every atom is in full energy; and <i>all</i> that energy is kind. Not a line, nor spark of color, but is doing its very best, and that best is @@ -7165,7 +7128,7 @@ aid. The extent to which this law is carried in truly right and noble work is wholly inconceivable to the ordinary observer, and no true account of it would be believed.</p> -<p>§ 12. True composition being entirely easy to the man who +<p>§ 12. True composition being entirely easy to the man who can compose, he is seldom proud of it, though he clearly recognizes it. Also, true composition is inexplicable. No one can explain how the notes of a Mozart melody, or the folds of a piece @@ -7175,23 +7138,23 @@ If you do not feel it, no one can by reasoning make you feel it. And, the highest composition is so subtle, that it is apt to become unpopular, and sometimes seem insipid.</p> -<p>§ 13. The reader may be surprised at my giving so high a +<p>§ 13. The reader may be surprised at my giving so high a place to invention. But if he ever come to know true invention from false, he will find that it is not only the highest quality of art, but is simply the most wonderful act or power of humanity. -It is pre-eminently the deed of human creation; <span class="grk" title="poiêsis">ποίησις</span>, otherwise, +It is pre-eminently the deed of human creation; <span class="grk" title="poiêsis">ποίησις</span>, otherwise, poetry.</p> <p>If the reader will look back to my definition of poetry, he will find it is “the suggestion, by the imagination, of noble grounds for -the noble emotions” (Vol. III. p. 10), amplified below (§ 14) into +the noble emotions” (Vol. III. p. 10), amplified below (§ 14) into “assembling by help of the imagination;” that is to say, imagination associative, described at length in Vol. II., in the chapter just referred to. The mystery of the power is sufficiently set forth in that place. Of its dignity I have a word or two to say here.</p> -<p>§ 14. Men in their several professed employments, looked at +<p>§ 14. Men in their several professed employments, looked at broadly, may be properly arranged under five classes:—</p> <p>1. Persons who see. These in modern language are sometimes @@ -7236,7 +7199,7 @@ false saying is no saying. But it is touching the two great productive classes of the doers and makers, that we have one or two important points to note here.</p> -<p>§ 15. Has the reader ever considered, carefully, what is the +<p>§ 15. Has the reader ever considered, carefully, what is the meaning of “doing” a thing?</p> <p>Suppose a rock falls from a hill-side, crushes a group of cottages, @@ -7253,7 +7216,7 @@ and with deliberate purpose loosened it, that it might fall on the cottages, you say in quite a different sense, “It is his deed: he is the doer of it.”</p> -<p>§ 16. It appears, then, that deliberate purpose and resolve are +<p>§ 16. It appears, then, that deliberate purpose and resolve are needed to constitute a deed or doing, in the true sense of the word; and that when, accidentally or mechanically, events take place without such purpose, we have indeed effects or results, and @@ -7275,13 +7238,13 @@ working pistons. All these people produce immense and sorrowful effect in the world. Yet none of them are doers: it is their nature to crush, impede, and prick: but deed is not in them.<a name="fa4p" id="fa4p" href="#ft4p"><span class="sp">4</span></a></p> -<p>§ 17. And farther, observe, that even when some effect is +<p>§ 17. And farther, observe, that even when some effect is finally intended, you cannot call it the person’s deed, unless it is <i>what</i> he intended.</p> <p>If an ignorant person, purposing evil, accidentally does good, (as if a thief’s disturbing a family should lead them to discover -in time that their house was on fire); or <i>vice versâ</i>, if an ignorant +in time that their house was on fire); or <i>vice versâ</i>, if an ignorant person intending good, accidentally does evil (as if a child should give hemlock to his companions for celery), in neither case do you call them the doers of what may result. So that in @@ -7310,7 +7273,7 @@ one stern, eternal, sense, subdues all kingdoms, and turns to flight the armies of the aliens, and is at once the source and the substance of all human deed, rightly so called.</p> -<p>§ 18. Thus far then of practical persons, once called believers, +<p>§ 18. Thus far then of practical persons, once called believers, as set forth in the last word of the noblest group of words ever, so far as I know, uttered by simple man concerning his practice, being the final testimony of the leaders of a great practical @@ -7318,14 +7281,14 @@ nation, whose deed thenceforward became an example of deed to mankind:</p> <table class="reg" summary="poem"><tr><td> <div class="poemr"> -<p><span class="grk" title="Ô xein’, angellein Lakedaimoniois, hoti têde">Ω ξεῖν᾿, ἀγγέλλειν Λακεδαιμονίοις, ὃτι τῇδε</span></p> -<p><span class="grk" title="Keimetha, tois keinôn rhêmasi peithomenoi.">Κείμεθα, τοῖς κείνων ῥήμασί πειθόμενοι</span>.</p> +<p><span class="grk" title="Ô xein’, angellein Lakedaimoniois, hoti têde">Ω ξεῖν᾿, ἀγγέλλειν Λακεδαιμονίοις, ὃτι τῇδε</span></p> +<p><span class="grk" title="Keimetha, tois keinôn rhêmasi peithomenoi.">Κείμεθα, τοῖς κείνων ῥήμασί πειθόμενοι</span>.</p> </div> </td></tr></table> -<p class="noind">“O stranger! (we pray thee), tell the Lacedæmonians that we +<p class="noind">“O stranger! (we pray thee), tell the Lacedæmonians that we are lying here, having <i>obeyed</i> their words.”</p> -<p>§ 19. What, let us ask next, is the ruling character of the +<p>§ 19. What, let us ask next, is the ruling character of the person who produces—the creator or maker, anciently called the poet?</p> @@ -7350,7 +7313,7 @@ the foot of the tree of knowledge, fastened up to it, quite unable to fall, or do anything else, would they have been well created, or in any true sense created at all?</p> -<p>§ 20. It will, perhaps, appear to you, after a little farther +<p>§ 20. It will, perhaps, appear to you, after a little farther thought, that to create anything in reality is to put life into it.</p> <p>A poet, or creator, is therefore a person who puts things together, @@ -7422,7 +7385,7 @@ evermore. No crown made of such can ever meet glory of Angel’s hand. may be trusted.” “This is a true saying, and worthy of all acceptation,” &c., meaning a trusty saying,—a saying to be rested on, leant upon.</p> -<p><a name="ft6p" id="ft6p" href="#fa6p"><span class="fn">6</span></a> <span class="grk" title="Chorous te ônomakenai para tês charas emphyton onoma">Χορούς τε ὠνομακέναι παρὰ τῆς χαρᾶς ἔμφυτον ονομα</span>. (Dé +<p><a name="ft6p" id="ft6p" href="#fa6p"><span class="fn">6</span></a> <span class="grk" title="Chorous te ônomakenai para tês charas emphyton onoma">Χορούς τε ὠνομακέναι παρὰ τῆς χαρᾶς ἔμφυτον ονομα</span>. (Dé leg. II. 1.)</p> <p><a name="ft7p" id="ft7p" href="#fa7p"><span class="fn">7</span></a> This being, indeed, among the visiblest signs of the Divine or immortal @@ -7432,9 +7395,9 @@ merely to “<i>im</i>-mortal;” whereas it is essentially contrary to anarchic or disobedient, and that which is divine ruling and obedient; this being the true distinction between flesh and spirit.</p> -<p><a name="ft8p" id="ft8p" href="#fa8p"><span class="fn">8</span></a> <span class="grk" title="Pollakis moi phoitôn to auto enypnion en tô parelthonti -biô, allot’ en allê opsei phainomenon, ta auta de legon, Ô -Sôkra tes, ephê, mousikên poiei kai ergazou">Πολλάκις μοι φοιτῶν τὸ αὐτὸ ἐνύπνιον ἐν τῷ παρελθόντι +<p><a name="ft8p" id="ft8p" href="#fa8p"><span class="fn">8</span></a> <span class="grk" title="Pollakis moi phoitôn to auto enypnion en tô parelthonti +biô, allot’ en allê opsei phainomenon, ta auta de legon, Ô +Sôkra tes, ephê, mousikên poiei kai ergazou">Πολλάκις μοι φοιτῶν τὸ αὐτὸ ἐνύπνιον ἐν τῷ παρελθόντι βίῳ, ἄλλοτ᾽ ἐν ἄλλη ὄψει φαινόμενον, τὰ αὐτὰ δὲ λέγον, Ω Σώκρα τες, ἔφη, μουδικὴν ποίει καὶ ἐργαζου</span>. (Phaedo, 11.)</p> </div> @@ -7446,7 +7409,7 @@ Sôkra tes, ephê, mousikên poiei kai ergazou">Πολλάκ <p class="center chap2">THE TASK OF THE LEAST.</p> -<p class="noind pt1"><span class="chap1 sc">§ 1. The</span> reader has probably been surprised at my assertions +<p class="noind pt1"><span class="chap1 sc">§ 1. The</span> reader has probably been surprised at my assertions made often before now, and reiterated here, that the <i>minutest</i> portion of a great composition is helpful to the whole. It certainly does not seem easily conceivable that this should be so. I will @@ -7464,7 +7427,7 @@ destroy a design whose purpose was to express disquiet and feebleness. It is therefore necessary to ascertain the motive before descending to the detail.</p> -<p>§ 2. One of the simplest subjects, in the series of the Rivers +<p>§ 2. One of the simplest subjects, in the series of the Rivers of France, is “Rietz, near Saumur.” The published Plate gives a better rendering than usual of its tone of light; and my rough etching, Plate 73, sufficiently shows the arrangement of its lines. @@ -7492,7 +7455,7 @@ with overlappings of vineyard trellis from above, and little towers or summer-houses for outlook, when the grapes are ripe, or for gossip over the garden wall.</p> -<p>§ 3. It is an autumnal evening, then, by this Loire side. +<p>§ 3. It is an autumnal evening, then, by this Loire side. The day has been hot, and the air is heavy and misty still; the sunlight warm, but dim; the brown vine-leaves motionless: all else quiet. Not a sail in sight on the river,<a name="fa1q" id="fa1q" href="#ft1q"><span class="sp">1</span></a> its strong, noiseless @@ -7507,7 +7470,7 @@ vine and the river twine and undermine as they will; careless to mend or build, so long as the walls hold together, and the black fruit swells in the sunshine.</p> -<p>§ 4. To get this repose, together with rude stability, we have +<p>§ 4. To get this repose, together with rude stability, we have therefore horizontal lines and bold angles. The grand horizontal space and sweep of Turner’s distant river show perhaps better in the etching than in the Plate; but depend wholly for value on @@ -7550,7 +7513,7 @@ window-shutter diffuses it upwards, where all the lines of the distant buildings suggest one and the same idea of disorderly and careless strength, mingling masonry with rock.</p> -<p>§ 5. So far of the horizontal and curved lines. How of the +<p>§ 5. So far of the horizontal and curved lines. How of the radiating ones? What has the black vine trellis got to do?</p> <p>Lay a pencil or ruler parallel with its lines. You will find @@ -7582,7 +7545,7 @@ the scythe on the shoulder of the peasant going home. (There is nothing about the scythe in the passage of the poem which this vignette illustrates.)</p> -<p>§ 6. Observe, farther, the outline of the church itself. As +<p>§ 6. Observe, farther, the outline of the church itself. As our habitations are, so is our church, evidently a heap of old, but massive, walls, patched, and repaired, and roofed in, and over and over, until its original shape is hardly recognizable. I know @@ -7597,7 +7560,7 @@ and my going in and out will not disturb them. For they <i>are</i> praying, which in many a handsomer and highlier-furbished edifice might, perhaps, not be so assuredly the case.</p> -<p>§ 7. Lastly: What kind of people have we on this winding +<p>§ 7. Lastly: What kind of people have we on this winding road? Three indolent ones, leaning on the wall to look over into the gliding water; and a matron with her market panniers, by her figure, not a fast rider. The road, besides, is bad, and seems @@ -7605,7 +7568,7 @@ unsafe for trotting, and she has passed without disturbing the cat, who sits comfortably on the block of wood in the middle of it.</p> -<p>§ 8. Next to this piece of quietness, let us glance at a composition +<p>§ 8. Next to this piece of quietness, let us glance at a composition in which the motive is one of tumult: that of the Fall of Schaffhausen. It is engraved in the Keepsake. I have etched in Plate 74, at the top, the chief lines of its composition,<a name="fa2q" id="fa2q" href="#ft2q"><span class="sp">2</span></a> in @@ -7623,7 +7586,7 @@ the bottom being the root of it; the two soldiers laid right and left to sustain the branch of figures beyond, balanced just as a tree bough would be.</p> -<p>§ 9. One of the gens-d’armes is flirting with a young lady in +<p>§ 9. One of the gens-d’armes is flirting with a young lady in a round cap and full sleeves, under pretence of wanting her to show him what she has in her bandbox. The motive of which flirtation is, so far as Turner is concerned in it, primarily the @@ -7654,7 +7617,7 @@ water.</p> <td class="tcr f80">Engraved by R. P. Cuff.</td></tr> <tr><td class="caption" colspan="3">75. The Castle of Lauffen.</td></tr></table> -<p>§ 10. This spring exists on the spot, and so does everything +<p>§ 10. This spring exists on the spot, and so does everything else in the picture; but the combinations are wholly arbitrary; it being Turner’s fixed principle to collect out of any scene whatever was characteristic, and put it together just as he liked. @@ -7673,7 +7636,7 @@ resolving to show, serenely draws the rock as it appears from the other side of the Rhine, and brings that view of it over to this side. I have etched the bit with the rock a little larger below; and if the reader knows the spot, he will see that this piece of -the drawing, reversed in the etching, is almost a bonâ fide unreversed +the drawing, reversed in the etching, is almost a bonâ fide unreversed study of the fall from the Lauffen side.<a name="fa3q" id="fa3q" href="#ft3q"><span class="sp">3</span></a></p> <p>Finally, the castle of Lauffen itself, being, when seen from @@ -7690,7 +7653,7 @@ has been lost; still, Plate 75 may, if compared with the same piece in the Keepsake engraving, at least show that the original drawing has not yet been rendered with completeness.</p> -<p>§ 11. These two examples may sufficiently serve to show the +<p>§ 11. These two examples may sufficiently serve to show the mode in which minor details, both in form and spirit, are used by Turner to aid his main motives; of course I cannot, in the space of this volume, go on examining subjects at this length, @@ -7711,14 +7674,14 @@ but the perfection of formative arrangement, as I said, cannot be explained, any more than that of melody in music. An instance or two of it, however, may be given.</p> -<p>§ 12. Much fine formative arrangement depends on a more +<p>§ 12. Much fine formative arrangement depends on a more or less elliptical or pear-shaped balance of the group, obtained by arranging the principal members of it on two opposite curves, and either centralizing it by some powerful feature at the base, centre, or summit; or else clasping it together by some conspicuous point or knot. A very small object will often do this satisfactorily.</p> -<p>If you can get the complete series of Lefèbre’s engravings +<p>If you can get the complete series of Lefèbre’s engravings from Titian and Veronese, they will be quite enough to teach you, in their dumb way, everything that is teachable of composition; at all events, try to get the Madonna, with St. Peter and St. @@ -7738,7 +7701,7 @@ of the nearest senator, points at her also. If you have Turner’s Liber Studiorum, turn to the Lauffenburg, and compare the figure group there: a fivefold chain, one standing figure, central; two recumbent, for wings; two half-recumbent, for bases; and a -cluster of weeds to clasp. Then turn to Lefèbre’s Europa (there +cluster of weeds to clasp. Then turn to Lefèbre’s Europa (there are two in the series—I mean the one with the two tree trunks over her head). It is a wonderful ninefold group. Europa central; two stooping figures, each surmounted by a standing one, @@ -7750,7 +7713,7 @@ a garland for clasp.</p> <tr><td class="figcenter"><img style="width:845px; height:900px" src="images/img247.jpg" alt="" /></td></tr> <tr><td class="caption"><span class="sc">Fig. 94.</span></td></tr></table> -<p>§ 13. Fig. 94, page 171, will serve to show the mode in which +<p>§ 13. Fig. 94, page 171, will serve to show the mode in which <span class="pagenum"><a name="page171" id="page171"></a>171</span> similar arrangements are carried into the smallest detail. It is magnified four times from a cluster of leaves in the foreground @@ -7774,7 +7737,7 @@ side.</p> <tr><td class="figcenter"><img style="width:397px; height:349px" src="images/img248b.jpg" alt="" /></td></tr> <tr><td class="caption"><span class="sc">Fig. 96.</span></td></tr></table> -<p>§ 14. Unless every leaf, and every visible point or object, however +<p>§ 14. Unless every leaf, and every visible point or object, however small, forms a part of some harmony of this kind (these symmetrical conditions being only the most simple and obvious), it has no business in the picture. It is the necessary connection @@ -7804,7 +7767,7 @@ had occurred to the engraver’s mind. He thought any leaves would do, and supplied them from his own repertory of hack vegetation.</p> -<p>§ 15. I would willingly enlarge farther on this subject—it is +<p>§ 15. I would willingly enlarge farther on this subject—it is a favorite one with me; but the figures required for any exhaustive treatment of it would form a separate volume. All that I can do is to indicate, as these examples do sufficiently, the vast @@ -7861,7 +7824,7 @@ care to say has been already said admirably by Mr. J. S. Mill in his essay on <p class="center chap2">THE RULE OF THE GREATEST.</p> -<p class="noind pt1"><span class="chap1 sc">§ 1. In</span> the entire range of art principles, none perhaps present +<p class="noind pt1"><span class="chap1 sc">§ 1. In</span> the entire range of art principles, none perhaps present a difficulty so great to the student, or require from the teacher expression so cautious, and yet so strong, as those which concern the nature and influence of magnitude.</p> @@ -7875,7 +7838,7 @@ ground unnoted, there are yet creatures who are of more value than many; and the same Spirit which weighs the dust of the earth in a balance, counts the isles as a little thing.</p> -<p>§ 2. The just temper of human mind in this matter may, +<p>§ 2. The just temper of human mind in this matter may, nevertheless, be told shortly. Greatness can only be rightly estimated when minuteness is justly reverenced. Greatness is the aggregation of minuteness; nor can its sublimity be felt truthfully @@ -7890,7 +7853,7 @@ refuse, it will close the paths of noble art to the student as effectually, and hopelessly, as even the blindness of pride, or impatience of ambition.</p> -<p>§ 3. I say the paths of noble art, not of useful art. All +<p>§ 3. I say the paths of noble art, not of useful art. All accurate investigation will have its reward; the morbid curiosity will at least slake the thirst of others, if not its own; and the diffused and petty affections will distribute, in serviceable measure, @@ -7906,7 +7869,7 @@ microscopic drawing of an insect may be precious; but nothing except disgrace and misguidance will ever be gathered from such work as that of Haydon or Barry.</p> -<p>§ 4. The work I have mostly had to do, since this essay was +<p>§ 4. The work I have mostly had to do, since this essay was begun, has been that of contention against such debased issues of swollen insolence and windy conceit; but I have noticed lately, that some lightly-budding philosophers have depreciated true @@ -7925,27 +7888,27 @@ solved by the simple human instinct respecting number and magnitude, not by reasonings on infinity:—</p> <div class="condensed"> -<p>“Le navigateur, qui, la nuit, voit l’océan étinceler de lumière, danser en -guirlandes de feu, s’égaye d’abord de ce spectacle. Il fait dix lieues; la -guirlande s’allonge indéfiniment, elle s’agite, se tord, se noue, aux mouvements +<p>“Le navigateur, qui, la nuit, voit l’océan étinceler de lumière, danser en +guirlandes de feu, s’égaye d’abord de ce spectacle. Il fait dix lieues; la +guirlande s’allonge indéfiniment, elle s’agite, se tord, se noue, aux mouvements de la lame; c’est un serpent monstrueux qui va toujours s’allongeant, -jusqu’à trente lieues, quarante lieues. Et tout cela n’est qu’une danse d’animalcules +jusqu’à trente lieues, quarante lieues. Et tout cela n’est qu’une danse d’animalcules imperceptibles. En quel nombre? A cette question l’imagination -s’effraye; elle sent là une nature de puissance immense, de richesse epouvantable.... +s’effraye; elle sent là une nature de puissance immense, de richesse epouvantable.... Que sont ces petits des petits? Rien moins que les -constructeurs du globe où nous sommes. De leurs corps, de leurs débris, -ils ont préparé le sol qui est sous nos pas.... Et ce sont les plus petits -qui ont fait les plus grandes choses. L’imperceptible rhizopode s’est bâti un +constructeurs du globe où nous sommes. De leurs corps, de leurs débris, +ils ont préparé le sol qui est sous nos pas.... Et ce sont les plus petits +qui ont fait les plus grandes choses. L’imperceptible rhizopode s’est bâti un monument bien autre que les pyramides, pas moins que l’Italie centrale, une -notable partie de la chaîne des Apennins. Mais c’était trop peu encore; -les masses énormes du Chili, les prodigieuses Cordillères, qui regardent le +notable partie de la chaîne des Apennins. Mais c’était trop peu encore; +les masses énormes du Chili, les prodigieuses Cordillères, qui regardent le <span class="pagenum"><a name="page177" id="page177"></a>177</span> -monde à leurs pieds, sont le monument funéraire où cet être insaisissable, et -pour ainsi dire, invisible, a enseveli les débris de son espèce dïsparue.”—(Michelet: +monde à leurs pieds, sont le monument funéraire où cet être insaisissable, et +pour ainsi dire, invisible, a enseveli les débris de son espèce dïsparue.”—(Michelet: <i>L’Insecte</i>.)</p> </div> -<p>§ 5. In these passages, and those connected with them in the +<p>§ 5. In these passages, and those connected with them in the chapter from which they are taken, itself so vast in scope, and therefore so sublime, we may perhaps find the true relations of minuteness, multitude, and magnitude. We shall not feel that @@ -7995,7 +7958,7 @@ surface-work, shallow generalization, and cold arithmetical estimates of things, are among the chief dangers and causes of misery which men have to deal with.</p> -<p>§ 6. On the other hand, and in clear distinction from all such +<p>§ 6. On the other hand, and in clear distinction from all such workers, it is to be remembered that the great composers, not less deep in feeling, are in the fixed habit of regarding as much the relations and positions, as the separate nature, of things; @@ -8011,7 +7974,7 @@ exceedingly; unerring, constant, terrible in steadfastness of intent; unconquerable: incomprehensible: always suggesting, implying, including, more than can be told.</p> -<p>§ 7. And this may be seen down to their treatment of the +<p>§ 7. And this may be seen down to their treatment of the smallest things.</p> <p>For there is nothing so small but we may, as we choose, see it @@ -8024,7 +7987,7 @@ who with these embraces the largest sphere of thought, and suggests within that sphere the most perfect order of thought, has wrought the most wisely, and therefore most nobly.</p> -<p>§ 8. I do not, however, purpose here to examine or illustrate +<p>§ 8. I do not, however, purpose here to examine or illustrate <span class="pagenum"><a name="page179" id="page179"></a>179</span> the nature of great treatment—to do so effectually would need many examples from the figure composers; and it will be better @@ -8054,7 +8017,7 @@ justly chosen aim.</p> <p class="center chap2">THE LAW OF PERFECTNESS.</p> -<p class="noind pt1"><span class="chap1 sc">§1. Among</span> the several characteristics of great treatment +<p class="noind pt1"><span class="chap1 sc">§1. Among</span> the several characteristics of great treatment which in the last chapter were alluded to without being enlarged upon, one will be found several times named;—reserve.</p> @@ -8069,7 +8032,7 @@ them. The nature of this reserve we must understand in order that we may also determine the nature of true completion or perfectness, which is the end of composition.</p> -<p>§ 2. For perfectness, properly so called, means harmony. +<p>§ 2. For perfectness, properly so called, means harmony. The word signifies, literally, the doing our work <i>thoroughly</i>. It does not mean carrying it up to any constant and established degree of finish, but carrying the whole of it up to a degree determined @@ -8106,7 +8069,7 @@ it, for he would always perceive more that might be done; he could not endure it, because all doing ended only in more elaborate deficiency.</p> -<p>§ 3. But we are apt to forget, in modern days, that the +<p>§ 3. But we are apt to forget, in modern days, that the reserve of a man who is not putting forth half his strength is different in manner and dignity from the effort of one who can do no more. Charmed, and justly charmed, by the harmonious @@ -8118,7 +8081,7 @@ of the things beyond ours. For many reasons, therefore, it becomes desirable to understand precisely and finally what a good painter means by completion.</p> -<p>§ 4. The sketches of true painters may be classed under the +<p>§ 4. The sketches of true painters may be classed under the following heads:—</p> <p>I. <i>Experimental.</i>—In which they are assisting an imperfect @@ -8142,7 +8105,7 @@ with a view to choice. But there were always two distinct imaginations contending for realization—not experimental modifications of one.</p> -<p>§ 5. II. <i>Determinant.</i>—The fastening down of an idea in the +<p>§ 5. II. <i>Determinant.</i>—The fastening down of an idea in the simplest terms, in order that it may not be disturbed or confused by after work. Nearly all the great composers do this, methodically, before beginning a painting. Such sketches are usually in @@ -8154,7 +8117,7 @@ with color, indicating the places of the principal lights.</p> They are the expression of concluded operations of mind, are drawn slowly, and are not so much sketches, as maps.</p> -<p>§ 6. III. <i>Commemorative.</i>—Containing records of facts which +<p>§ 6. III. <i>Commemorative.</i>—Containing records of facts which the master required. These in their most elaborate form are “studies,” or drawings, from Nature, of parts needed in the composition, often highly finished in the part which is to be introduced. @@ -8182,7 +8145,7 @@ studies of bits of their pictures.</p> <tr><td class="figcenter"><img style="width:673px; height:829px" src="images/img259.jpg" alt="" /></td></tr> <tr><td class="caption"><span class="sc">Fig. 97.</span></td></tr></table> -<p>§ 7. When the sketch is made merely as a memorandum, it is +<p>§ 7. When the sketch is made merely as a memorandum, it is impossible to say how little, or what kind of drawing, may be sufficient for the purpose. It is of course likely to be hasty from its very nature, and unless the exact purpose be understood, it @@ -8225,7 +8188,7 @@ Could it have been drawn round as instantaneously, it would have been. The purpose is throughout determined; there is no scrawling, as in vulgar sketching.<a name="fa1r" id="fa1r" href="#ft1r"><span class="sp">1</span></a></p> -<p>§ 8. Again, Fig. 98 is a facsimile of one of Turner’s “memoranda,” +<p>§ 8. Again, Fig. 98 is a facsimile of one of Turner’s “memoranda,” of a complete subject,<a name="fa2r" id="fa2r" href="#ft2r"><span class="sp">2</span></a> Lausanne, from the road to Fribourg.</p> @@ -8249,7 +8212,7 @@ modifies as he draws, placing his memoranda where they are to be ultimately used, and taking exactly what he wants, not a fragment or line more.</p> -<p>§ 9. This sketch has been made in the afternoon. He had +<p>§ 9. This sketch has been made in the afternoon. He had been impressed as he walked up the hill, by the vanishing of the lake in the golden horizon, without end of waters, and by the opposition of the pinnacled castle and cathedral to its level breadth. @@ -8262,16 +8225,16 @@ of the lake. Down it goes instantly a hundred feet, that we may see the lake over it; without the smallest regard for the military position of Lausanne.</p> -<p>§ 10. Next: The last low spire on the left is in truth concealed +<p>§ 10. Next: The last low spire on the left is in truth concealed behind the nearer bank, the town running far down the hill (and climbing another hill) in that direction. But the group oi spires, without it, would not be rich enough to give a proper impression of Lausanne, as a spiry place. Turner quietly sends to fetch the church from round the corner, places it where he -likes, and indicates its distance only by aërial perspective (much +likes, and indicates its distance only by aërial perspective (much greater in the pencil drawing than in the woodcut).</p> -<p>§ 11. But again: Not only the spire of the lower church, but +<p>§ 11. But again: Not only the spire of the lower church, but the peak of the Rochers d’Enfer (that highest in the distance) would in reality be out of sight; it is much farther round to the left. This would never do either; for without it, we should @@ -8286,7 +8249,7 @@ the slope of distant hill, which, as every traveller knows, in its decline to the west, is one of the most notable features of the view from Lausanne.</p> -<p>§ 12. These modifications, easily traceable in the large features +<p>§ 12. These modifications, easily traceable in the large features of the design, are carried out with equal audacity and precision in every part of it. Every one of those confused lines on the right indicates something that is really there, only everything @@ -8301,7 +8264,7 @@ made very round indeed in the picture (to oppose the spiky and angular masses of castle) and very consecutive, in order to form another conducting line into the distance.</p> -<p>§ 13. These motives, or motives like them, might perhaps be +<p>§ 13. These motives, or motives like them, might perhaps be guessed on looking at the sketch. But no one without going to the spot would understand the meaning of the vertical lines in the left-hand lowest corner.</p> @@ -8315,7 +8278,7 @@ the cathedral is very great; it would be greater still in the completed picture, increasing the sense of looking down from a height, and giving grasp of, and power over, the whole scene.</p> -<p>§ 14. Throughout the sketch, as in all that Turner made, the +<p>§ 14. Throughout the sketch, as in all that Turner made, the observing and combining intellect acts in the same manner. Not a line is lost, nor a moment of time; and though the pencil flies, and the whole thing is literally done as fast as a piece of shorthand @@ -8327,7 +8290,7 @@ of haste.</p> <p><span class="pagenum"><a name="page187" id="page187"></a>187</span></p> -<p>§ 15. I know not if the reader can understand,—I myself cannot, +<p>§ 15. I know not if the reader can understand,—I myself cannot, though I see it to be demonstrable,—the simultaneous occurrence of idea which produces such a drawing as this: the grasp of the whole, from the laying of the first line, which induces continual @@ -8339,7 +8302,7 @@ takes its part, as the stones in an arch of a bridge; the last touch locks the arch. Remove that keystone, or remove any other of the stones of the vault, and the whole will fall.</p> -<p>§ 16. I repeat—the power of mind which accomplishes this, +<p>§ 16. I repeat—the power of mind which accomplishes this, is yet wholly inexplicable to me, as it was when first I defined it in the chapter on imagination associative, in the second volume. But the grandeur of the power impresses me daily more and @@ -8377,7 +8340,7 @@ particular spot of the picture, he will, perhaps, not stir from it till that bit is finished. But the absolutely best, or centrally, and entirely <i>right</i> way of painting is as follows:—</p> -<p>§ 17. A light ground, white, red, yellow, or gray, not brown, +<p>§ 17. A light ground, white, red, yellow, or gray, not brown, or black. On that an entirely accurate, and firm black outline of the whole picture, in its principal masses. The outline to be exquisitely correct as far as it reaches, but not to include small @@ -8392,7 +8355,7 @@ now, of course, necessarily without previous outline, and all small detail reserved to the last, the bracelet being not touched, nor indicated in the last, till the arm is finished.<a name="fa3r" id="fa3r" href="#ft3r"><span class="sp">3</span></a></p> -<p>§ 18. This is, as far as it can be expressed in few words, the +<p>§ 18. This is, as far as it can be expressed in few words, the right, or Venetian way of painting; but it is incapable of absolute definition, for it depends on the scale, the material, and the nature of the object represented, <i>how much</i> a great painter will @@ -8433,7 +8396,7 @@ of time spent vainly. Look close at the two touches,—you wonder what they mean. Retire six feet from the picture—the pearl is there!</p> -<p>§ 19. The degree in which the ground colors are extended +<p>§ 19. The degree in which the ground colors are extended over his picture, as he works, is to a great painter absolutely indifferent. It is all the same to him whether he grounds a head, and finishes it at once to the shoulders, leaving all round it @@ -8462,7 +8425,7 @@ see him finishing at the Academy sometimes suspected him of having the picture finished underneath the colors he showed, and removing, instead of adding, as they watched.</p> -<p>§ 20. But, whatever the means used may be, the certainty +<p>§ 20. But, whatever the means used may be, the certainty and directness of them imply absolute grasp of the whole subject, and without this grasp there is no good painting. This, finally, let me declare, without qualification—that partial conception is @@ -8485,7 +8448,7 @@ with another, while the color is drying;—cannot work at any part of it you choose with equal contentment—you have not firm enough grasp of it.</p> -<p>§ 21. It follows also, that no vain or selfish person can possibly +<p>§ 21. It follows also, that no vain or selfish person can possibly paint, in the noble sense of the word. Vanity and selfishness are troublous, eager, anxious, petulant:—painting can only be done in calm of mind. Resolution is not enough to secure @@ -8514,12 +8477,12 @@ courtesy. Rubens’ letters are almost ludicrous in their unhurried politeness. Reynolds, swiftest of painters, was gentlest of companions; so also Velasquez, Titian, and Veronese.</p> -<p>§ 22. It is gratuitous to add that no shallow or petty person +<p>§ 22. It is gratuitous to add that no shallow or petty person can paint. Mere cleverness or special gift never made an artist. It is only perfectness of mind, unity, depth, decision, the highest qualities, in fine, of the intellect, which will form the imagination.</p> -<p>§ 23. And, lastly, no false person can paint. A person false +<p>§ 23. And, lastly, no false person can paint. A person false at heart may, when it suits his purposes, seize a stray truth here or there; but the relations of truth,—its perfectness,—that which makes it wholesome truth, he can never perceive. As @@ -8579,7 +8542,7 @@ SPIRITUAL.</p> <p class="center chap2">THE DARK MIRROR.</p> -<p class="noind pt1"><span class="chap1 sc">§ 1. In</span> the course of our inquiry into the moral of landscape +<p class="noind pt1"><span class="chap1 sc">§ 1. In</span> the course of our inquiry into the moral of landscape (Vol. III., chap. 17), we promised, at the close of our work, to seek for some better, or at least clearer, conclusions than were then possible to us. We confined ourselves in that chapter to @@ -8614,7 +8577,7 @@ landscape which it is not inexpedient to draw. What kind, we may probably discover by considering that which mankind has hitherto contented itself with painting.</p> -<p>§ 2. We may arrange nearly all existing landscape under the +<p>§ 2. We may arrange nearly all existing landscape under the following heads:—</p> <p>I. <span class="sc">Heroic.</span>—Representing an imaginary world, inhabited by @@ -8651,7 +8614,7 @@ Its principal master is Turner.<a name="fa1s" id="fa1s" href="#ft1s"><span class <p><span class="pagenum"><a name="page195" id="page195"></a>195</span></p> -<p>§ 3. These are the four true orders of landscape, not of +<p>§ 3. These are the four true orders of landscape, not of course distinctly separated from each other in all cases, but very distinctly in typical examples. Two spurious forms require separate note.</p> @@ -8669,7 +8632,7 @@ Canaletto, Guardi, Tempesta, and the like.</p> unite the irreconcileable sentiment of two or more of the above-named classes. Its principal masters are Berghem and Wouvermans.</p> -<p>§ 4. Passing for the present by these inferior schools, we find +<p>§ 4. Passing for the present by these inferior schools, we find that all true landscape, whether simple or exalted, depends primarily for its interest on connection with humanity, or with spiritual powers. Banish your heroes and nymphs from the @@ -8681,7 +8644,7 @@ in their green, nor will the noblest masses of ground or colors of cloud arrest or raise your thoughts, if the earth has no life to sustain, and the heaven none to refresh.</p> -<p>§ 5. It might perhaps be thought that, since from scenes in +<p>§ 5. It might perhaps be thought that, since from scenes in which the figure was principal, and landscape symbolical and subordinate (as in the art of Egypt), the process of ages had led us to scenes in which landscape was principal and the figure @@ -8704,7 +8667,7 @@ Take out the faces; leave the draperies, and how then? Put the fine dresses and jewelled girdles into the best group you can; paint them with all Veronese’s skill: will they satisfy you?</p> -<p>§ 6. Not so. As long as they are in their due service and +<p>§ 6. Not so. As long as they are in their due service and subjection—while their folds are formed by the motion of men, and their lustre adorns the nobleness of men—so long the lustre and the folds are lovely. But cast them from the human limbs;—golden @@ -8717,7 +8680,7 @@ golden circlets of clouds, are only fair when they meet the fondness of human thoughts, and glorify human visions of heaven.</p> -<p>§ 7. It is the leaning on this truth which, more than any +<p>§ 7. It is the leaning on this truth which, more than any other, has been the distinctive character of all my own past work. And in closing a series of Art-studies, prolonged during so many years, it may be perhaps permitted me to point out this @@ -8745,7 +8708,7 @@ another, is founded on a comparison of their influences on the life of the workman—a question by all other writers on the subject of architecture wholly forgotten or despised.</p> -<p>§ 8. The essential connection of the power of landscape with +<p>§ 8. The essential connection of the power of landscape with human emotion is not less certain, because in many impressive pictures the link is slight or local. That the connection should exist at a single point is all that we need. The comparison with @@ -8766,7 +8729,7 @@ Where humanity is not, and was not, the best natural beauty is more than vain. It is even terrible; not as the dress cast aside from the body; but as an embroidered shroud hiding a skeleton.</p> -<p>§ 9. And on each side of a right feeling in this matter there +<p>§ 9. And on each side of a right feeling in this matter there lie, as usual, two opposite errors.</p> <p>The first, that of caring for man only; and for the rest of @@ -8795,7 +8758,7 @@ man. Where this is not, sympathy with any higher spirit is impossible.</p> <p>For the directest manifestation of Deity to man is in His own image, that is, in man.</p> -<p>§ 10. “In his own image. After his likeness.” <i>Ad imaginem +<p>§ 10. “In his own image. After his likeness.” <i>Ad imaginem et similitudinem Suam.</i> I do not know what people in general understand by those words. I suppose they ought to be understood. The truth they contain seems to lie at the foundation @@ -8808,7 +8771,7 @@ not as well be out of the text?</p> of belief with which the verse has been encumbered. Let us try to find its only possible plain significance.</p> -<p>§ 11. It cannot be supposed that the bodily shape of man resembles, +<p>§ 11. It cannot be supposed that the bodily shape of man resembles, or resembled, any bodily shape in Deity. The likeness must therefore be, or have been, in the soul. Had it wholly passed away, and the Divine soul been altered into a soul brutal @@ -8850,7 +8813,7 @@ far, therefore, as you love truth, and live therein, in so far revelation can exist for you;—and in so far, your mind is the image of God’s.</p> -<p>§ 12. But consider farther, not only <i>to</i> what, but <i>by</i> what, is +<p>§ 12. But consider farther, not only <i>to</i> what, but <i>by</i> what, is the revelation. By sight? or word? If by sight, then to eyes which see justly. Otherwise, no sight would be revelation. So far, then, as your sight is just, it is the image of God’s sight.</p> @@ -8869,7 +8832,7 @@ what love means. Only the broken mirror can.</p> <p><span class="pagenum"><a name="page200" id="page200"></a>200</span></p> -<p>§ 13. Here is more revelation. “God is just!” Just! What +<p>§ 13. Here is more revelation. “God is just!” Just! What is that? The revelation cannot help you to discover. You say it is dealing equitably or equally. But how do you discern the equality? Not by inequality of mind; not by a mind incapable @@ -8881,7 +8844,7 @@ your mind is the image of God’s: and so far as you do <i>not</i> discern this nature of justice or equality, the words “God is just” bring no revelation to you.</p> -<p>§ 14. “But His thoughts are not as our thoughts.” No: the +<p>§ 14. “But His thoughts are not as our thoughts.” No: the sea is not as the standing pool by the wayside. Yet when the breeze crisps the pool, you may see the image of the breakers, and a likeness of the foam. Nay, in some sort, the same foam. @@ -8900,7 +8863,7 @@ in that is the law of God written; in that is the promise of God revealed. Know thyself; for through thyself only thou canst know God.</p> -<p>§ 15. Through the glass, darkly. But, except through the +<p>§ 15. Through the glass, darkly. But, except through the glass, in nowise.</p> <p>A tremulous crystal, waved as water, poured out upon the @@ -8937,7 +8900,7 @@ sound, nor to the general reader, very clear in sense.</p> <p class="center chap2">THE LANCE OF PALLAS.</p> -<p class="noind pt1"><span class="chap1 sc">§ 1. It</span> might be thought that the tenor of the preceding +<p class="noind pt1"><span class="chap1 sc">§ 1. It</span> might be thought that the tenor of the preceding chapter was in some sort adverse to my repeated statement that all great art is the expression of man’s delight in God’s work, not in <i>his own.</i> But observe, he is not himself his own work: @@ -8955,7 +8918,7 @@ forget the less creation around him, and instead of being the light of the world, he is as a sun in space—a fiery ball, spotted with storm.</p> -<p>§ 2. All the diseases of mind leading to fatalest ruin consist +<p>§ 2. All the diseases of mind leading to fatalest ruin consist primarily in this isolation. They are the concentration of man upon himself, whether his heavenly interests or his worldly interests, matters not; it is the being <i>his own</i> interests which makes @@ -8966,7 +8929,7 @@ healthy state of nations and of individual minds consists in the unselfish presence of the human spirit everywhere, energizing over all things; speaking and living through all things.</p> -<p>§ 3. Man being thus the crowning and ruling work of God, +<p>§ 3. Man being thus the crowning and ruling work of God, <span class="pagenum"><a name="page203" id="page203"></a>203</span> it will follow that all his best art must have something to tell about himself, as the soul of things, and ruler of creatures. It @@ -8984,7 +8947,7 @@ irrevocably so; neither part of it may, but at its peril, expel, despise, or defy the other. All great art confesses and worships both.</p> -<p>§ 4. The art which, since the writings of Rio and Lord Lindsay, +<p>§ 4. The art which, since the writings of Rio and Lord Lindsay, is specially known as “Christian,” erred by pride in its denial of the animal nature of man;—and, in connection with all monkish and fanatical forms of religion, by looking always to @@ -9001,7 +8964,7 @@ chapter, the Heroic, is that of the noble naturalists. The second (Classical), and third (Pastoral), belong to the time of sensual decline. The fourth (Contemplative) is that of modern revival.</p> -<p>§ 5. But why, the reader will ask, is no place given in this +<p>§ 5. But why, the reader will ask, is no place given in this scheme to the “Christian” or spiritual art which preceded the naturalists? Because all landscape belonging to that art is subordinate, and in one essential principle false. It is subordinate, @@ -9014,7 +8977,7 @@ of the Greeks and Egyptians.</p> <p><span class="pagenum"><a name="page204" id="page204"></a>204</span></p> -<p>§ 6. But also it cannot constitute a real school, because its +<p>§ 6. But also it cannot constitute a real school, because its first assumption is false, namely, that the natural world can be represented without the element of death.</p> @@ -9027,7 +8990,7 @@ becoming worthier.</p> <p>It will be a hard piece of work for us to think this rightly out, but it must be done.</p> -<p>§ 7. Perhaps an accurate analysis of the schools of art of all +<p>§ 7. Perhaps an accurate analysis of the schools of art of all time might show us that when the immortality of the soul was practically and completely believed, the elements of decay, danger, and grief in visible things were always disregarded. However @@ -9061,7 +9024,7 @@ needed sometimes to be reminded of it, and whom, not at all fearing the things much himself, the painter accordingly did remind of it, somewhat sharply.</p> -<p>§ 8. A similar condition of mind seems to have been attained, +<p>§ 8. A similar condition of mind seems to have been attained, not unfrequently, in modern times, by persons whom either narrowness of circumstance or education, or vigorous moral efforts have guarded from the troubling of the world, so as to give them @@ -9080,7 +9043,7 @@ and at last put to entire rest, the physical sensations of grief and fear; so that the man would look upon danger without dread,—accept pain without lamentation.</p> -<p>§ 9. It may perhaps be thought that this is a very high and +<p>§ 9. It may perhaps be thought that this is a very high and right state of mind.</p> <p>Unfortunately, it appears that the attainment of it is never @@ -9094,7 +9057,7 @@ pure religious temper. On the contrary, a great deal of literature exists, produced by persons in that temper, which is markedly, and very far, below average literary work.</p> -<p>§ 10. The reason of this I believe to be, that the right faith of +<p>§ 10. The reason of this I believe to be, that the right faith of man is not intended to give him repose, but to enable him to do his work. It is not intended that he should look away from the place he lives in now, and cheer himself with thoughts of the @@ -9115,7 +9078,7 @@ on what these religious persons call “the bright side of things,” that is to say, on one side of them only, when God has given them two sides, and intended us to see both.</p> -<p>§ 11. I was reading but the other day, in a book by a zealous, +<p>§ 11. I was reading but the other day, in a book by a zealous, useful, and able Scotch clergyman, one of these rhapsodies, in which he described a scene in the Highlands to show (he said) the goodness of God. In this Highland scene there was nothing @@ -9158,7 +9121,7 @@ ribs also, which are nearly as bare as the dead ewe’s; and the child’s wasted shoulders, cutting his old tartan jacket through, so sharp are they. We will go down and talk with the man.</p> -<p>§ 12. Or, that I may not piece pure truth with fancy, for I +<p>§ 12. Or, that I may not piece pure truth with fancy, for I have none of his words set down, let us hear a word or two from another such, a Scotchman also, and as true hearted, and in just as fair a scene. I write out the passage, in which I have kept @@ -9216,7 +9179,7 @@ too.’”</p> but has its shadows; and deeper coloring, here and there, than that of heath and rose.</p> -<p>§ 13. Now, as far as I have watched the main powers of human +<p>§ 13. Now, as far as I have watched the main powers of human mind, they have risen first from the resolution to see fearlessly, pitifully, and to its very worst, what these deep colors mean, wheresoever they fall; not by any means to pass on the @@ -9243,7 +9206,7 @@ came of avoiding the evil, and seeking pleasure only; and thus obtain, at last, some power of judging whether the tendency of our own contemplative art be right or ignoble.</p> -<p>§ 14. The ruling purpose of Greek poetry is the assertion of +<p>§ 14. The ruling purpose of Greek poetry is the assertion of victory, by heroism, over fate, sin, and death. The terror of these great enemies is dwelt upon chiefly by the tragedians. The victory over them by Homer.</p> @@ -9261,7 +9224,7 @@ less than guilt, to destruction.<a name="fa2t" id="fa2t" href="#ft2t"><span clas <p><span class="scs">C.</span> Repression, by brutal or tyrannous strength, of a benevolent will.</p> -<p>§ 15. In all these cases sorrow is much more definitely connected +<p>§ 15. In all these cases sorrow is much more definitely connected <span class="pagenum"><a name="page210" id="page210"></a>210</span> with sin by the Greek tragedians than by Shakspere. The “fate” of Shakspere is, indeed, a form of blindness, but it issues @@ -9287,12 +9250,12 @@ remains but dead march and clothes of burial. At the close of a Greek tragedy there are far-off sounds of a divine triumph, and a glory as of resurrection.<a name="fa3t" id="fa3t" href="#ft3t"><span class="sp">3</span></a></p> -<p>§ 16. The Homeric temper is wholly different. Far more +<p>§ 16. The Homeric temper is wholly different. Far more tender, more practical, more cheerful; bent chiefly on present things and giving victory now, and here, rather than in hope, and hereafter. The enemies of mankind, in Homer’s conception, are more distinctly conquerable; they are ungoverned passions, -especially anger, and unreasonable impulse generally (<span class="grk" title="atê">ἀτὴ</span>). +especially anger, and unreasonable impulse generally (<span class="grk" title="atê">ἀτὴ</span>). Hence the anger of Achilles, misdirected by pride, but rightly directed by friendship, is the subject of the <i>Iliad</i>. The anger of Ulysses (<span class="grk" title="Odysseus">Ὀδυσσεὺς</span> “the angry”), misdirected at first into @@ -9316,7 +9279,7 @@ of Ulysses are an expression of the contest of manhood, not only with its own passions or with the folly of others, but with the merciless and mysterious powers of the natural world.</p> -<p>§ 17. This is perhaps the chief signification of the seven years’ +<p>§ 17. This is perhaps the chief signification of the seven years’ stay with Calypso, “the concealer.” Not, as vulgarly thought, the concealer of Ulysses, but the great concealer—the hidden power of natural things. She is the daughter of Atlas and the @@ -9327,11 +9290,11 @@ spoken of with any peculiar reverence, it is called “Ogygian.”) Escaping from this goddess of secrets, and from other spirits, some of destructive natural force (Scylla), others signifying the enchantment of mere natural beauty (Circe, daughter of the Sun -and Sea), he arrives at last at the Phæacian land, whose king is +and Sea), he arrives at last at the Phæacian land, whose king is “strength with intellect,” and whose queen, “virtue.” These restore him to his country.</p> -<p>§ 18. Now observe that in their dealing with all these subjects +<p>§ 18. Now observe that in their dealing with all these subjects the Greeks never shrink from horror; down to its uttermost depth, to its most appalling physical detail, they strive to sound the secrets of sorrow. For them there is no passing by @@ -9350,7 +9313,7 @@ spear. That is one aspect of things in this world, a fair world truly, but having, among its other aspects, this one, highly ambiguous.</p> -<p>§ 19. Meeting it boldly as they may, gazing right into the +<p>§ 19. Meeting it boldly as they may, gazing right into the skeleton face of it, the ambiguity remains; nay, in some sort gains upon them. We trusted in the gods;—we thought that wisdom and courage would save us. Our wisdom and courage @@ -9388,7 +9351,7 @@ sink to sleep, but not to shame.</p> <p><span class="pagenum"><a name="page213" id="page213"></a>213</span></p> -<p>§ 20. And herein was conquest. So defied, the betraying and +<p>§ 20. And herein was conquest. So defied, the betraying and accusing shadows shrank back; the mysterious horror subdued itself to majestic sorrow. Death was swallowed up in victory. Their blood, which seemed to be poured out upon the ground, @@ -9425,7 +9388,7 @@ men; the idea partly corresponding to the scriptural—“In the hand of Lord there is a cup, and the wine is red; it is full mixed, and He poureth out of the same.” But the title of the gods, nevertheless, both with Homer and Hesiod, is given not from the cup of sorrow, but of good; “givers of -good” (<span class="grk" title="dotêres heaon">δωτὴρες ἐάων</span>).—<i>Hes. Theog.</i> 664: <i>Odyss.</i> viii. 325.</p> +good” (<span class="grk" title="dotêres heaon">δωτὴρες ἐάων</span>).—<i>Hes. Theog.</i> 664: <i>Odyss.</i> viii. 325.</p> <p><a name="ft3t" id="ft3t" href="#fa3t"><span class="fn">3</span></a> The Alcestis is perhaps the central example of the <i>idea</i> of all Greek drama.</p> @@ -9433,12 +9396,12 @@ drama.</p> <p><a name="ft4t" id="ft4t" href="#fa4t"><span class="fn">4</span></a></p> <table class="reg" summary="poem"><tr><td> <div class="poemr"> -<p><span class="grk" title="tô kai tethneiôti noon pore Persephoneia">τῷ καὶ τεθνειῶτι νόον πόρε Περσεφόνεια</span>,</p> -<p><span class="grk" title="oiô pepnusthai; toi de skiai aissousin">οἴω πεπνύσθαί τοὶ δὲ σκιαὶ ἀἴσσουσιν</span>.</p> +<p><span class="grk" title="tô kai tethneiôti noon pore Persephoneia">τῷ καὶ τεθνειῶτι νόον πόρε Περσεφόνεια</span>,</p> +<p><span class="grk" title="oiô pepnusthai; toi de skiai aissousin">οἴω πεπνύσθαί τοὶ δὲ σκιαὶ ἀἴσσουσιν</span>.</p> <p class="i15">Od. x. 495.</p> </div> </td></tr></table> -<p><a name="ft5t" id="ft5t" href="#fa5t"><span class="fn">5</span></a> <span class="grk" title="ouketi anestesan, all’ en telei toutô eschonto.">οὐκέτι ὰνέστησαν, αλλ᾽ ἐν τέλει τουτῳ ἔσχοντο</span>. Herod, i. 31.</p> +<p><a name="ft5t" id="ft5t" href="#fa5t"><span class="fn">5</span></a> <span class="grk" title="ouketi anestesan, all’ en telei toutô eschonto.">οὐκέτι ὰνέστησαν, αλλ᾽ ἐν τέλει τουτῳ ἔσχοντο</span>. Herod, i. 31.</p> <p><a name="ft6t" id="ft6t" href="#fa6t"><span class="fn">6</span></a> <span class="grk" title="ho de apopempomenos, autos men ouk apelipeto ton de paida sustrateuomenon, eonta oi mounogenea, apepempse.">ὁ δὲ ὰποπεμπόμενος, αὐτὸς μὲν οὐκ άπελίπετο τὸν δὲ παῖδα @@ -9452,7 +9415,7 @@ sustrateuomenon, eonta oi mounogenea, apepempse.">ὁ δὲ ὰ& <p class="center chap2">THE WINGS OF THE LION.</p> -<p class="noind pt1"><span class="chap1 sc">§ 1. Such</span> being the heroic spirit of Greek religion and art, we +<p class="noind pt1"><span class="chap1 sc">§ 1. Such</span> being the heroic spirit of Greek religion and art, we may now with ease trace the relations between it and that which animated the Italian, and chiefly the Venetian, schools.</p> @@ -9475,7 +9438,7 @@ restrictions. Both are healthy in the youth of art. Heavenly aim and severe law for boyhood; earthly work and fair freedom for manhood.</p> -<p>§ 2. The Venetians began, I repeat, with asceticism; always, +<p>§ 2. The Venetians began, I repeat, with asceticism; always, however, delighting in more massive and deep color than other religious painters. They are especially fond of saints who have been cardinals, because of their red hats, and they sunburn all @@ -9500,7 +9463,7 @@ under the Tramontane winds with half a mile’s breadth of rollers;—se and sand shrivelled up together in one yellow careering field of fall and roar.</p> -<p>§ 3. They were, also, we said, always quarrelling with the +<p>§ 3. They were, also, we said, always quarrelling with the Pope. Their religious liberty came, like their bodily health, from that wave-training; for it is one notable effect of a life passed on shipboard to destroy weak beliefs in appointed forms of @@ -9522,7 +9485,7 @@ indeed, to sell indulgences, but not winds, for any money. Whereas, God and the sea are with us, and we must even trust them both, and take what they shall send.</p> -<p>§ 4. Then, farther. This ocean-work is wholly adverse to +<p>§ 4. Then, farther. This ocean-work is wholly adverse to any morbid conditions of sentiment. Reverie, above all things, is forbidden by Scylla and Charybdis. By the dogs and the depths, no dreaming! The first thing required of us is presence @@ -9547,7 +9510,7 @@ nobler pride of power in its stead; but it tends partly to soothe, partly to chasten, partly to employ and direct, the hot Italian temper, and make us every way greater, calmer, and happier.</p> -<p>§ 5. Moreover, it tends to induce in us great respect for the +<p>§ 5. Moreover, it tends to induce in us great respect for the whole human body; for its limbs, as much as for its tongue or its wit. Policy and eloquence are well; and, indeed, we Venetians can be politic enough, and can speak melodiously when @@ -9564,21 +9527,21 @@ the horizon;—thighed and shouldered like the billows;—footed like their stealing foam;—bathed in cloud of golden hair, like their sunsets.</p> -<p>§ 6. Such were the physical influences constantly in operation +<p>§ 6. Such were the physical influences constantly in operation on the Venetians; their painters, however, were partly prepared for their work by others in their infancy. Associations connected with early life among mountains softened and deepened the teaching of the sea; and the wildness of form of the Tyrolese Alps gave greater strength and grotesqueness to their imaginations than the Greek painters could have found among the cliffs -of the Ægean. Thus far, however, the influences on both are +of the Ægean. Thus far, however, the influences on both are <span class="pagenum"><a name="page217" id="page217"></a>217</span> nearly similar. The Greek sea was indeed less bleak, and the Greek hills less grand; but the difference was in degree rather than in the nature of their power. The moral influences at work on the two races were far more sharply opposed.</p> -<p>§ 7. Evil, as we saw, had been fronted by the Greek, and +<p>§ 7. Evil, as we saw, had been fronted by the Greek, and thrust out of his path. Once conquered, if he thought of it more, it was involuntarily, as we remember a painful dream, yet with a secret dread that the dream might return and continue @@ -9597,7 +9560,7 @@ calamitous conditions both of body and soul, which added largely to the pagan’s simple list of elements of evil, and introduced the most complicated states of mental suffering and decrepitude.</p> -<p>§ 8. Therefore the Christian painters differed from the Greek +<p>§ 8. Therefore the Christian painters differed from the Greek in two main points. They had been taught a faith which put an end to restless questioning and discouragement. All was at last to be well—and their best genius might be peacefully given to @@ -9609,7 +9572,7 @@ and maladies of men were to be made, at least in part, the subjects of art. The Venetian was, therefore, in his inner mind, less serious than the Greek: in his superficial temper, sadder. In his heart there was none of the deep horror which vexed the -soul of Æschylus or Homer. His Pallas-shield was the shield of +soul of Æschylus or Homer. His Pallas-shield was the shield of Faith, not the shield of the Gorgon. All was at last to issue happily; in sweetest harpings and seven-fold circles of light. But for the present he had to dwell with the maimed and the blind, @@ -9617,7 +9580,7 @@ and to revere Lazarus more than Achilles.</p> <p><span class="pagenum"><a name="page218" id="page218"></a>218</span></p> -<p>§ 9. This reference to a future world has a morbid influence +<p>§ 9. This reference to a future world has a morbid influence on all their conclusions. For the earth and all its natural elements are despised. They are to pass away like a scroll. Man, the immortal, is alone revered; his work and presence are all @@ -9634,11 +9597,11 @@ She is for hermits, martyrs, murderers,—for St. Jerome, and St. Mary of Egypt, and the Magdalen in the desert, and monk Peter, falling before the sword.</p> -<p>§ 10. But the worst point we have to note respecting the +<p>§ 10. But the worst point we have to note respecting the spirit of Venetian landscape is its pride.</p> <p>It was observed in the course of the third volume how the -mediæval temper had rejected agricultural pursuits, and whatever +mediæval temper had rejected agricultural pursuits, and whatever pleasures could come of them.</p> <p>At Venice this negation had reached its extreme. Though @@ -9662,7 +9625,7 @@ passed unheeded by his proud fancy; carol or murmur of them had fallen unrecognized on ears accustomed only to grave syllables of war-tried men, and wash of songless wave.</p> -<p>§ 11. No simple joy was possible to him. Only stateliness and +<p>§ 11. No simple joy was possible to him. Only stateliness and power; high intercourse with kingly and beautiful humanity, proud thoughts, or splendid pleasures; throned sensualities, and ennobled appetites. But of innocent, childish, helpful, holy @@ -9687,7 +9650,7 @@ but richly green with wild herbage; here and there a flower, by preference white or blue, rarely yellow, still more rarely red.</p> -<p>§ 12. It was stated that this heroic landscape of theirs was +<p>§ 12. It was stated that this heroic landscape of theirs was peopled by spiritual beings of the highest order. And in this rested the dominion of the Venetians over all later schools. They were the <i>last believing</i> school of Italy. Although, as I said @@ -9700,7 +9663,7 @@ at Venice; and though faith in it was compatible with much which to us appears criminal or absurd, the religion itself was entirely sincere.</p> -<p>§ 13. Perhaps when you see one of Titian’s splendidly passionate +<p>§ 13. Perhaps when you see one of Titian’s splendidly passionate subjects, or find Veronese making the marriage in Cana one blaze of worldly pomp, you imagine that Titian must have been a sensualist, and Veronese an unbeliever.</p> @@ -9716,7 +9679,7 @@ disadvantage he had, in scorn of the poor; now finally, let us see with what power he was invested, which men since his time have never recovered more.</p> -<p>§ 14. “Neither of a bramble bush, gather they grapes.”</p> +<p>§ 14. “Neither of a bramble bush, gather they grapes.”</p> <p>The great saying has twofold help for us. Be assured, first, that if it were bramble from which you gathered them, these are @@ -9730,7 +9693,7 @@ the temper of the Venetian Catholics. I do not enter into examination of our own feelings; but I have to note this one significant point of difference between us.</p> -<p>§ 15. An English gentleman, desiring his portrait, gives probably +<p>§ 15. An English gentleman, desiring his portrait, gives probably to the painter a choice of several actions, in any of which he is willing to be represented. As for instance, riding his best horse, shooting with his favorite pointer, manifesting himself in @@ -9747,7 +9710,7 @@ portrait, they nearly always choose to be painted on their knees.</p> <p><span class="pagenum"><a name="page221" id="page221"></a>221</span></p> -<p>§ 16. “Hypocrisy,” you say; and “that they might be seen +<p>§ 16. “Hypocrisy,” you say; and “that they might be seen of men.” If we examine ourselves, or any one else, who will give trustworthy answer on this point, so as to ascertain, to the best of our judgment, what the feeling is, which would make a @@ -9772,7 +9735,7 @@ to be assumed. But if we can find no one likely to have been deceived, we must believe the Venetian to have been, in reality, what there was no advantage in seeming.</p> -<p>§ 17. I leave the matter to your examination, forewarning +<p>§ 17. I leave the matter to your examination, forewarning you, confidently, that you will discover by severest evidence, that the Venetian religion was true. Not only true, but one of the main motives of their lives. In the field of investigation @@ -9791,7 +9754,7 @@ and Bonifazio, I remember no profane subject of importance.</p> <p><span class="pagenum"><a name="page222" id="page222"></a>222</span></p> -<p>§ 18. There is, moreover, one distinction of the very highest +<p>§ 18. There is, moreover, one distinction of the very highest import between the treatment of sacred subjects by Venetian painters and by all others.</p> @@ -9818,7 +9781,7 @@ dearest children playing with their pet dogs at Christ’s very feet.</p> <p>I once myself thought this irreverent. How foolishly! As if children whom He loved <i>could</i> play anywhere else.</p> -<p>§ 19. The picture most illustrative of this feeling is perhaps +<p>§ 19. The picture most illustrative of this feeling is perhaps that at Dresden, of Veronese’s family, painted by himself.</p> <p>He wishes to represent them as happy and honored. The @@ -9838,7 +9801,7 @@ stands a little behind, his hands clasped in prayer.</p> <p><span class="pagenum"><a name="page223" id="page223"></a>223</span></p> -<p>§ 20. His wife kneels full in front, a strong Venetian woman, +<p>§ 20. His wife kneels full in front, a strong Venetian woman, well advanced in years. She has brought up her children in fear of God, and is not afraid to meet the Virgin’s eyes. She gazes steadfastly on them; her proud head and gentle, self-possessed @@ -9876,7 +9839,7 @@ lightly back to him, lays the tips of her fingers on his; but Charity takes firm hold of him by the wrist from behind, and will push him on presently, if he still hangs back.</p> -<p>§ 21. In front of the mother kneel her two eldest children, a +<p>§ 21. In front of the mother kneel her two eldest children, a girl of about sixteen, and a boy a year or two younger. They are both wrapt in adoration—the boy’s being the deepest. Nearer us, at their left side, is a younger boy, about nine years @@ -9904,7 +9867,7 @@ Madonna got into the house; nor, secondly, why she is allowed to stay, disturbing the family, and taking all their attention from his dogship. And he is walking away, much offended.</p> -<p>§ 22. The dog is thus constantly introduced by the Venetians +<p>§ 22. The dog is thus constantly introduced by the Venetians in order to give the fullest contrast to the highest tones of human thought and feeling. I shall examine this point presently farther, in speaking of pastoral landscape and animal @@ -9912,7 +9875,7 @@ painting; but at present we will merely compare the use of the same mode of expression in Veronese’s Presentation of the Queen of Sheba.</p> -<p>§ 23. This picture is at Turin, and is of quite inestimable +<p>§ 23. This picture is at Turin, and is of quite inestimable value. It is hung high; and the really principal figure—the Solomon, being in the shade, can hardly be seen, but is painted with Veronese’s utmost tenderness, in the bloom of perfect @@ -9929,14 +9892,14 @@ against the purple robe of one of the elders. It touches with its wings one of the golden lions of the throne, on which the light also flashes strongly; thus forming, together with it, the lion and eagle symbol, which is the type of Christ throughout -mediæval work. In order to show the meaning of this symbol, +mediæval work. In order to show the meaning of this symbol, and that Solomon is typically invested with the Christian royalty, one of the elders, by a bold anachronism, holds a jewel in his hand of the shape of a cross, with which he (by accident of gesture) points to Solomon; his other hand is laid on an open book.</p> -<p>§ 24. The group opposite, of which the queen forms the +<p>§ 24. The group opposite, of which the queen forms the centre, is also painted with Veronese’s highest skill; but contains no point of interest bearing on our present subject, except its connection by a chain of descending emotion. The Queen is @@ -9957,7 +9920,7 @@ thinking everybody has lost their wits; and barking violently at one of the attendants, who has set down a golden vase disrespectfully near him.</p> -<p>§ 25. Throughout these designs I want the reader to notice +<p>§ 25. Throughout these designs I want the reader to notice the purpose of representing things as they were likely to have occurred, down to trivial, or even ludicrous detail—the nobleness of all that was intended to be noble being so great that @@ -9973,7 +9936,7 @@ stone. St. Catherine, terrified, thinking he is really going to fall, stretches out her arms to catch him. But the Madonna looking down, only smiles, “He will not fall.”</p> -<p>§ 26. A more touching instance of this realization occurs, +<p>§ 26. A more touching instance of this realization occurs, however, in the treatment of the saint Veronica (in the Ascent to Calvary), at Dresden. Most painters merely represent her as one of the gentle, weeping, attendant women; and show her @@ -9986,7 +9949,7 @@ to reach Christ; has set her teeth close, and thrusts aside one of the executioners, who strikes fiercely at her with a heavy doubled cord.</p> -<p>§ 27. These instances are enough to explain the general +<p>§ 27. These instances are enough to explain the general character of the mind of Veronese, capable of tragic power to the utmost, if he chooses to exert it in that direction, but, by habitual preference, exquisitely graceful and playful; religious @@ -9994,7 +9957,7 @@ without severity, and winningly noble; delighting in slight, sweet, every-day incident, but hiding deep meanings underneath it; rarely painting a gloomy subject, and never a base one.</p> -<p>§ 28. I have, in other places, entered enough into the examination +<p>§ 28. I have, in other places, entered enough into the examination of the great religious mind of Tintoret; supposing then that he was distinguished from Titian chiefly by this character. But in this I was mistaken; the religion of Titian is @@ -10007,7 +9970,7 @@ prevent the reader from getting clue to its real tone. The first of these is its occasional coarseness in choice of type of feature.</p> -<p>§ 29. In the second volume I had to speak of Titian’s Magdalen, +<p>§ 29. In the second volume I had to speak of Titian’s Magdalen, <span class="pagenum"><a name="page227" id="page227"></a>227</span> in the Pitti Palace, as treated basely, and that in strong terms, “the disgusting Magdalen of the Pitti.”</p> @@ -10037,7 +10000,7 @@ painful: the only instance, so far as I remember, of Titian’s painting a woman markedly and entirely belonging to the lowest class.</p> -<p>§ 30. It may perhaps appear more difficult to account for the +<p>§ 30. It may perhaps appear more difficult to account for the alternation of Titian’s great religious pictures with others devoted wholly to the expression of sensual qualities, or to exulting and bright representation of heathen deities.</p> @@ -10071,7 +10034,7 @@ the greatest studies of the female body by the Venetians, all other characters are overborne by majesty, and the form becomes as pure as that of a Greek statue.</p> -<p>§ 31. There is no need, I should think, to point out how +<p>§ 31. There is no need, I should think, to point out how this contemplation of the entire personal nature was reconcilable with the severest conceptions of religious duty and faith.</p> @@ -10095,7 +10058,7 @@ what it became unquestionably, one of the chief causes of the corruption of the mind of Italy, and of her subsequent decline in moral and political power?</p> -<p>§ 32. By reason of one great, one fatal fault;—recklessness +<p>§ 32. By reason of one great, one fatal fault;—recklessness in aim. Wholly noble in its sources, it was wholly unworthy in its purposes.</p> @@ -10124,7 +10087,7 @@ high moral purpose. The Venetian gave the most earnest faith, and the lordliest faculty, to gild the shadows of an ante-chamber, or heighten the splendors of a holiday.</p> -<p>§ 33. Strange, and lamentable as this carelessness may appear, +<p>§ 33. Strange, and lamentable as this carelessness may appear, I find it to be almost the law with the great workers. Weak and vain men have acute consciences, and labor under a profound sense of responsibility. The strong men, sternly disdainful of @@ -10165,7 +10128,7 @@ the Lion.</p> <p class="center sc">“EMIGRAVIT.”</p> -<p class="noind pt1"><span class="chap1 sc">§ 1. By</span> referring to the first analysis of our subject, it will +<p class="noind pt1"><span class="chap1 sc">§ 1. By</span> referring to the first analysis of our subject, it will be seen we have next to examine the art which cannot conquer the evil, but remains at war with, or in captivity to it.</p> @@ -10191,7 +10154,7 @@ is no part of our work here to determine. That in this faith, it was possible to attain entire peace of mind; to live calmly, and die hopefully, is indisputable.</p> -<p>§ 2. But this possibility ceased at the Reformation. Thenceforward +<p>§ 2. But this possibility ceased at the Reformation. Thenceforward human life became a school of debate, troubled and fearful. Fifteen hundred years of spiritual teaching were called into fearful question, whether indeed it had been teaching by @@ -10212,7 +10175,7 @@ And He has guided us into <i>no</i> truth. There can be no such Spirit. There is no Advocate, no Comforter. Has there been no Resurrection?”</p> -<p>§ 3. Then came the Resurrection of Death. Never since +<p>§ 3. Then came the Resurrection of Death. Never since man first saw him, face to face, had his terror been so great. “Swallowed up in victory:” alas! no; but king over all the earth. All faith, hope, and fond belief were betrayed. Nothing @@ -10227,7 +10190,7 @@ wine. They recoiled to such pleasure as yet remained possible to them—feeble infidelities, and luxurious sciences, and so went their way.</p> -<p>§ 4. At least, of the men with whom we are concerned—the +<p>§ 4. At least, of the men with whom we are concerned—the artists—this was almost the universal fate. They gave themselves to the following of pleasure only; and as a religious school, after a few pale rays of fading sanctity from Guido, and brown @@ -10247,7 +10210,7 @@ distress of impious poverty.</p> <p><span class="pagenum"><a name="page232" id="page232"></a>232</span></p> -<p>§ 5. It would be impossible to imagine any two phases of +<p>§ 5. It would be impossible to imagine any two phases of scenery or society more contrary in character, more opposite in teaching, than those surrounding Nuremberg and Naples, in the sixteenth and seventeenth centuries. What they were then, both @@ -10261,7 +10224,7 @@ their effect on the youth of the two painters.</p> <tr><td class="figcenter"><img style="width:848px; height:574px" src="images/img312.jpg" alt="" /></td></tr> <tr><td class="caption">76. The Moat of Nuremberg.</td></tr></table> -<p>§ 6. Nuremberg is gathered at the base of a sandstone rock, +<p>§ 6. Nuremberg is gathered at the base of a sandstone rock, rising in the midst of a dry but fertile plain. The rock forms a prolonged and curved ridge, of which the concave side, at the highest point, is precipitous; the other slopes gradually to the @@ -10285,7 +10248,7 @@ not unfrequently, others, turreted at the angles, which are true Gothic of the fifteenth, some of the fourteenth, century; and the principal churches remain nearly as in Durer’s time. Their Gothic is none of it good, nor even rich (though the -façades have their ornament so distributed as to give them a sufficiently +façades have their ornament so distributed as to give them a sufficiently <span class="pagenum"><a name="page233" id="page233"></a>233</span> elaborate effect at a distance); their size is diminutive; their interiors mean, rude, and ill-proportioned, wholly dependent @@ -10296,7 +10259,7 @@ execution; but the designs in metal are usually meritorious, and Fischer’s shrine of St. Sebald is good, and may rank with Italian work.<a name="fa2v" id="fa2v" href="#ft2v"><span class="sp">2</span></a></p> -<p>§ 7. Though, however, not comparable for an instant to any +<p>§ 7. Though, however, not comparable for an instant to any great Italian or French city, Nuremberg possesses one character peculiar to itself, that of a self-restrained, contented, quaint domesticity. It would be vain to expect any first-rate painting, @@ -10326,7 +10289,7 @@ of Drawing, p. 111) is an actual portrait of part of the landscape seen from those castle ramparts, looking towards Franconian Switzerland.</p> -<p>§ 8. If the reader will be at the pains to turn to it, he will +<p>§ 8. If the reader will be at the pains to turn to it, he will see at a glance the elements of the Nuremberg country, as they still exist. Wooden cottages, thickly grouped, enormously high in the roofs; the sharp church spire, small and slightly grotesque, @@ -10341,9 +10304,9 @@ guiding the produce of the field,—when one finds the footpaths bordered everywhere, by the bossy spires and lustrous jetty flowers of the black hollyhock.</p> -<p>§ 9. Lastly, when Durer penetrated among those hills of +<p>§ 9. Lastly, when Durer penetrated among those hills of Franconia he would find himself in a pastoral country, much resembling -the Gruyère districts of Switzerland, but less thickly +the Gruyère districts of Switzerland, but less thickly inhabited, and giving in its steep, though not lofty, rocks,—its scattered pines,—and its fortresses and chapels, the motives of all the wilder landscape introduced by the painter in such pieces @@ -10353,7 +10316,7 @@ to be regretted, is possibly owing to his happy recollections of the sea-city where he received the rarest of all rewards granted to a good workman; and, for once in his life, was understood.</p> -<p>§ 10. Among this pastoral simplicity and formal sweetness of +<p>§ 10. Among this pastoral simplicity and formal sweetness of domestic peace, Durer had to work out his question concerning the grave. It haunted him long; he learned to engrave death’s heads well before he had done with it; looked deeper than any @@ -10365,7 +10328,7 @@ still fresh in our minds, we had better turn south quickly and compare the elements of education which formed, and of creation which companioned, Salvator.</p> -<p>§ 11. Born with a wild and coarse nature (how coarse I will +<p>§ 11. Born with a wild and coarse nature (how coarse I will show you soon), but nevertheless an honest one, he set himself in youth hotly to the war, and cast himself carelessly on the current of life. No rectitude of ledger-lines stood in his way; @@ -10384,7 +10347,7 @@ beasts, not of the timorous and the contemptible. Better the wrath of the robber, than enmity of the priest; and the cunning of the wolf than of the hypocrite.</p> -<p>§ 12. We are accustomed to hear the south of Italy spoken +<p>§ 12. We are accustomed to hear the south of Italy spoken of as a beautiful country. Its mountain forms are graceful above others, its sea-bays exquisite in outline and hue; but it is only beautiful in superficial aspect. In closer detail it is wild @@ -10405,7 +10368,7 @@ and rage over the heaps of their fallen towers. Far above, in thunder-blue serration, stand the eternal edges of the angry Apennine, dark with rolling impendence of volcanic cloud.</p> -<p>§ 13. Yet even among such scenes as these, Salvator might +<p>§ 13. Yet even among such scenes as these, Salvator might have been calmed and exalted, had he been, indeed, capable of exaltation. But he was not of high temper enough to perceive beauty. He had not the sacred sense—the sense of color; all @@ -10426,9 +10389,9 @@ prison-yards (he became afterwards a renowned mime in Florence); his satires are full of good mocking, but his own doom to sadness is never repealed.</p> -<p>§ 14. Of all men whose work I have ever studied, he gives +<p>§ 14. Of all men whose work I have ever studied, he gives me most distinctly the idea of a lost spirit. Michelet calls him -“Ce damné Salvator,” perhaps in a sense merely harsh and violent; +“Ce damné Salvator,” perhaps in a sense merely harsh and violent; the epithet to me seems true in a more literal, more merciful sense,—“That condemned Salvator.” I see in him, notwithstanding all his baseness, the last traces of spiritual life in @@ -10456,7 +10419,7 @@ wealth and of death.” Two grand scorns; but, oh, condemned Salvator! the question is not for man what he can scorn, but what he can love.</p> -<p>§ 15. I do not care to trace the various hold which Hades +<p>§ 15. I do not care to trace the various hold which Hades takes on this fallen soul. It is no part of my work here to analyze his art, nor even that of Durer; all that we need to note is the opposite answer they gave to the question about death.</p> @@ -10475,7 +10438,7 @@ seed, the only fruit of it. “Thorns, also, and thistles shall it bring forth to thee.” The same tone of thought marks all Salvator’s more earnest work.</p> -<p>§ 16. On the contrary, in the sight of Durer, things were for +<p>§ 16. On the contrary, in the sight of Durer, things were for the most part as they ought to be. Men did their work in his city and in the fields round it. The clergy were sincere. Great social questions unagitated; great social evils either non-existent, @@ -10512,7 +10475,7 @@ horse of Death stoops its head; and its rein catches the little bell which hangs from the knight’s horse-bridle, making it toll, as a passing bell.<a name="fa4v" id="fa4v" href="#ft4v"><span class="sp">4</span></a></p> -<p>§ 17. Durer’s second answer is the plate of “Melencholia,” +<p>§ 17. Durer’s second answer is the plate of “Melencholia,” which is the history of the sorrowful toil of the earth, as the “Knight and Death” is of its sorrowful patience under temptation.</p> @@ -10524,7 +10487,7 @@ Durer declares the sad, but unsullied conquest over Death the tempter; and the sad, but enduring conquest over Death the destroyer.</p> -<p>§ 18. Though the general intent of the Melencholia is clear, +<p>§ 18. Though the general intent of the Melencholia is clear, and to be felt at a glance, I am in some doubt respecting its special symbolism. I do not know how far Durer intended to show that labor, in many of its most earnest forms, is closely @@ -10539,7 +10502,7 @@ strength labor and sorrow.”</p> <p>“Yes,” he replies, “but labor and sorrow are his strength.”</p> -<p>§ 19. The labor indicated is in the daily work of men. Not +<p>§ 19. The labor indicated is in the daily work of men. Not the inspired or gifted labor of the few (it is labor connected with the sciences, not with the arts), shown in its four chief functions: thoughtful, faithful, calculating and executing.</p> @@ -10574,7 +10537,7 @@ which is crowned with fire, and has the wings of the bat.</p> <p><a name="ft1v" id="ft1v" href="#fa1v"><span class="fn">1</span></a> To obtain room for the goods, the roofs slope steeply, and their other dormer windows are richly carved—but all are of wood; and, for the most part, I think, some hundred years later than Durer’s time. A large number -of the oriel and bow windows on the façades are wooden also, and of +of the oriel and bow windows on the façades are wooden also, and of recent date.</p> <p><a name="ft2v" id="ft2v" href="#fa2v"><span class="fn">2</span></a> His piece in the cathedral of Magdeburg is strangely inferior, wanting @@ -10616,7 +10579,7 @@ holding of flattery; comparing it with the note on Giorgione and Titian.</p> <p class="center chap2">CLAUDE AND POUSSIN.</p> -<p class="noind pt1"><span class="chap1 sc">§ 1. It</span> was stated in the last chapter that Salvator was the +<p class="noind pt1"><span class="chap1 sc">§ 1. It</span> was stated in the last chapter that Salvator was the last painter of Italy on whom any fading trace of the old faithful spirit rested. Carrying some of its passion far into the seventeenth century, he deserved to be remembered together with the @@ -10627,7 +10590,7 @@ cast aside all regard for the faith of their fathers, or for any other; and founded a school of art properly called “classical,”<a name="fa1w" id="fa1w" href="#ft1w"><span class="sp">1</span></a> of which the following are the chief characteristics.</p> -<p>§ 2. The belief in a supreme benevolent Being having ceased, +<p>§ 2. The belief in a supreme benevolent Being having ceased, and the sense of spiritual destitution fastening on the mind, together with the hopeless perception of ruin and decay in the existing world, the imagination sought to quit itself from the @@ -10641,7 +10604,7 @@ world. Let us eat and drink (refinedly), for to-morrow we die, and attain the highest possible dignity as men in this world, since we shall have none as spirits in the next.</p> -<p>§ 3. Observe, this is neither the Greek nor the Roman spirit. +<p>§ 3. Observe, this is neither the Greek nor the Roman spirit. Neither Claude, nor Poussin, nor any other painter or writer, properly termed “classical,” ever could enter into the Greek or <span class="pagenum"><a name="page242" id="page242"></a>242</span> @@ -10655,14 +10618,14 @@ the irreverent habit of judgment instead of admiration. It is generally expressed under the justly degrading term “good taste.”</p> -<p>§ 4. Hence, in the second place, the habit of restraint or self-government +<p>§ 4. Hence, in the second place, the habit of restraint or self-government (instead of impulsive and limitless obedience), based upon pride, and involving, for the most part, scorn of the helpless and weak, and respect only for the orders of men who have been trained to this habit of self-government. Whence the title classical, from the Latin <i>classicus</i>.</p> -<p>§ 5. The school is, therefore, generally to be characterized +<p>§ 5. The school is, therefore, generally to be characterized as that of taste and restraint. As the school of taste, everything is, in its estimation, beneath it, so as to be tasted or tested; not above it, to be thankfully received. Nothing was to be fed upon @@ -10683,7 +10646,7 @@ against it. The word, though an ugly one, is quite accurate, the most spasmodic books in the world being Solomon’s Song, Job, and Isaiah.</p> -<p>§ 6. The classical landscape, properly so called, is therefore +<p>§ 6. The classical landscape, properly so called, is therefore <span class="pagenum"><a name="page243" id="page243"></a>243</span> the representative of perfectly trained and civilized human life, associated with perfect natural scenery and with decorative @@ -10708,7 +10671,7 @@ chiefly in the open air. Hence, the architecture around them must be of the most finished kind, the rough country and ground being subdued by frequent and happy humanity.</p> -<p>§ 7. 2. Such personages and buildings must be associated +<p>§ 7. 2. Such personages and buildings must be associated with natural scenery, uninjured by storms or inclemency of climate (such injury implying interruption of the open air life); and it must be scenery conducing to pleasure, not to material @@ -10718,7 +10681,7 @@ nothing to do with them; but passing their lives under avenues of scented and otherwise delightful trees—under picturesque rocks, and by clear fountains.</p> -<p>§ 8. 3. The spiritual powers in classical scenery must be +<p>§ 8. 3. The spiritual powers in classical scenery must be decorative; ornamental gods, not governing gods; otherwise they could not be subjected to the principles of taste, but would <span class="pagenum"><a name="page244" id="page244"></a>244</span> @@ -10735,18 +10698,18 @@ rarely presents herself (except to be insulted by judgment of Paris); Juno seldom, except for some purpose of tyranny; Jupiter seldom, but for purpose of amour.</p> -<p>§ 9. Such being the general ideal of the classical landscape, it +<p>§ 9. Such being the general ideal of the classical landscape, it can hardly be necessary to show the reader how such charm as it possesses must in general be strong only over weak or second-rate orders of mind. It has, however, been often experimentally or playfully aimed at by great men; but I shall only take note of its two leading masters.</p> -<p>§ 10. I. Claude. As I shall have no farther occasion to refer +<p>§ 10. I. Claude. As I shall have no farther occasion to refer to this painter, I will resume, shortly, what has been said of him throughout the work. He had a fine feeling for beauty of form and considerable tenderness of perception. Vol. I., p. 76; vol. -III., p. 318. His aërial effects are unequalled. Vol. III., p. 318. +III., p. 318. His aërial effects are unequalled. Vol. III., p. 318. Their character appears to me to arise rather from a delicacy of bodily constitution in Claude, than from any mental sensibility; such as they are, they give a kind of feminine charm to his work, @@ -10773,7 +10736,7 @@ III., p. 322), yet truly; and strives for the likeness of it, therein differing from Salvator, who never attempts to be truthful, but only to be impressive.</p> -<p>§ 11. III. His seas are the most beautiful in old art. Vol. I., +<p>§ 11. III. His seas are the most beautiful in old art. Vol. I., p. 345. For he studied tame waves, as he did tame skies, with great sincerity, and some affection; and modelled them with more care not only than any other landscape painter of his day, but @@ -10794,12 +10757,12 @@ is his want of harmony in expression. Vol. II., p. 151. (Compare, for illustration of this, the account of the picture of the Mill in the preface to Vol. I.)</p> -<p>§ 12. Such were the principal qualities of the leading painter +<p>§ 12. Such were the principal qualities of the leading painter of classical landscape, his effeminate softness carrying him to dislike all evidences of toil, or distress, or terror, and to delight in the calm formalities which mark the school.</p> -<p>Although he often introduces romantic incidents and mediæval +<p>Although he often introduces romantic incidents and mediæval as well as Greek or Roman personages, his landscape is always in the true sense classic—everything being “elegantly” (selectingly or tastefully), not passionately, treated. The absence of indications @@ -10819,7 +10782,7 @@ conventionalism to indicate the subject he intends. We may take two examples, merely to show the general character of such designs of his.</p> -<p>§ 13. 1. St. George and the Dragon.</p> +<p>§ 13. 1. St. George and the Dragon.</p> <p>The scene is a beautiful opening in woods by a river side, a pleasant fountain springs on the right, and the usual rich vegetation @@ -10840,7 +10803,7 @@ the proceedings with the air of a connoisseur. Two attendants stand in graceful attitudes behind him, and two more walk away under the trees, conversing on general subjects.</p> -<p>§ 14. 2. Worship of the Golden Calf.</p> +<p>§ 14. 2. Worship of the Golden Calf.</p> <p>The scene is nearly the same as that of the St. George; but, in order better to express the desert of Sinai, the river is much @@ -10861,7 +10824,7 @@ his hands, and Moses, in the way usually expected of him, breaks the tables of the law, which are as large as an ordinary octavo volume.</p> -<p>§ 15. I need not proceed farther, for any reader of sense or +<p>§ 15. I need not proceed farther, for any reader of sense or ordinary powers of thought can thus examine the subjects of Claude, one by one, for himself. We may quit him with these few final statements concerning him.</p> @@ -10876,7 +10839,7 @@ and by the very fact of his banishing painfulness, exercise considerable influence over certain classes of minds; but this influence is almost exclusively hurtful to them.</p> -<p>§ 16. Nevertheless, on account of such small sterling qualities +<p>§ 16. Nevertheless, on account of such small sterling qualities as they possess, and of their general pleasantness, as well as their importance in the history of art, genuine Claudes must always possess a considerable value, either as drawing-room ornaments @@ -10885,7 +10848,7 @@ of China manufacture, and other agreeable curiosities, of which the price depends on the rarity rather than the merit, yet always on a merit of a certain low kind.</p> -<p>§ 17. The other characteristic master of classical landscape is +<p>§ 17. The other characteristic master of classical landscape is Nicolo Poussin.</p> <p>I named Claude first, because the forms of scenery he has @@ -10914,7 +10877,7 @@ tree, in the “Inspiration of Poet” (both in the Dulwich Gallery), appear to me examples of about his highest reach in this sphere.</p> -<p>§ 18. His want of sensibility permits him to paint frightful +<p>§ 18. His want of sensibility permits him to paint frightful subjects, without feeling any true horror: his pictures of the Plague, the Death of Polydectes, &c., are thus ghastly in incident, sometimes disgusting, but never impressive. The prominence @@ -10932,7 +10895,7 @@ deeply meditative character. His Deluge might be much depreciated, under this head of ideas of relation, but it is so uncharacteristic of him that I pass it by. Whatever power this lowness of tone, light in the distance, &c., give to his landscape, or to -Gaspar’s (compare Vol. II., Chapter on Infinity, § 12), is in both +Gaspar’s (compare Vol. II., Chapter on Infinity, § 12), is in both conventional and artificial.</p> <p>I have nothing, therefore, to add farther, here, to what was @@ -10967,7 +10930,7 @@ may be conceived as absolute slaves.</p> <p class="center chap2">RUBENS AND CUYP.</p> -<p class="noind pt1"><span class="chap1 sc">§ 1. The</span> examination of the causes which led to the final departure +<p class="noind pt1"><span class="chap1 sc">§ 1. The</span> examination of the causes which led to the final departure of the religious spirit from the hearts of painters, would involve discussion of the whole scope of the Reformation on the minds of persons unconcerned directly in its progress. This is of @@ -10977,7 +10940,7 @@ course impossible.</p> may verify, if he pleases, by his own labor. I do not give them rashly.</p> -<p>§ 2. The strength of the Reformation lay entirely in its being +<p>§ 2. The strength of the Reformation lay entirely in its being a movement towards purity of practice.</p> <p>The Catholic priesthood was hostile to it in proportion to the @@ -10997,12 +10960,12 @@ Owing to which habits of hot, ingenious, and unguarded controversy, the Reformed churches themselves soon forgot the meaning of the word which, of all words, was oftenest in their mouths. They forgot that <span class="grk" title="pistis">πίστις</span> is a derivative of <span class="grk" title="peithomai">πείθομαι</span>, -not of <span class="grk" title="pisteuô">πιστεύω</span>, and that “fides,” closely connected with “fio” +not of <span class="grk" title="pisteuô">πιστεύω</span>, and that “fides,” closely connected with “fio” <span class="pagenum"><a name="page250" id="page250"></a>250</span> on one side, and with “confido” on the other, is but distantly related to “credo.”<a name="fa1x" id="fa1x" href="#ft1x"><span class="sp">1</span></a></p> -<p>§ 3. By whatever means, however, the reader may himself be +<p>§ 3. By whatever means, however, the reader may himself be disposed to admit, the Reformation <i>was</i> arrested; and got itself shut up into chancels of cathedrals in England (even those, generally too large for it), and into conventicles everywhere else. @@ -11020,7 +10983,7 @@ church, which shall depend neither on ignorance for its continuance, nor on controversy for its progress; but shall reign at once in light, and love.</p> -<p>§ 4. The whole body of painters (such of them as were left) +<p>§ 4. The whole body of painters (such of them as were left) necessarily fell into the rationalistic chasm. The Evangelicals despised the arts, while the Roman Catholics were effete or insincere, and could not retain influence over men of strong reasoning @@ -11031,7 +10994,7 @@ world, and themselves became men of the world. Men, I mean, having no belief in spiritual existences; no interests or affections beyond the grave.</p> -<p>§ 5. Not but that they still painted scriptural subjects. Altar-pieces +<p>§ 5. Not but that they still painted scriptural subjects. Altar-pieces were wanted occasionally, and pious patrons sometimes commissioned a cabinet Madonna. But there is just this difference <span class="pagenum"><a name="page251" id="page251"></a>251</span> @@ -11042,7 +11005,7 @@ are always languid unless they are profane. Leonardo is only to be seen in the Cena; Titian only in the Assumption; but Rubens only in the Battle of the Amazons, and Vandyck only at court.</p> -<p>§ 6. Altar-pieces, when wanted, of course either of them will +<p>§ 6. Altar-pieces, when wanted, of course either of them will supply as readily as anything else. Virgins in blue,<a name="fa2x" id="fa2x" href="#ft2x"><span class="sp">2</span></a> or St. Johns in red,<a name="fa3x" id="fa3x" href="#ft3x"><span class="sp">3</span></a> as many as you please. Martyrdoms also, by all means: Rubens especially delights in these. St. Peter, head downwards,<a name="fa4x" id="fa4x" href="#ft4x"><span class="sp">4</span></a> @@ -11052,9 +11015,9 @@ advantage, also.<a name="fa5x" id="fa5x" href="#ft5x"><span class="sp">5</span>< armed with thunder, to destroy the world, spares it at the intercession of St. Francis.”<a name="fa6x" id="fa6x" href="#ft6x"><span class="sp">6</span></a> Last Judgments even, quite Michael-Angelesque, rich in twistings of limbs, with spiteful biting, and -scratching; and fine aërial effects in smoke of the pit.<a name="fa7x" id="fa7x" href="#ft7x"><span class="sp">7</span></a></p> +scratching; and fine aërial effects in smoke of the pit.<a name="fa7x" id="fa7x" href="#ft7x"><span class="sp">7</span></a></p> -<p>§ 7. In all this, however, there is not a vestige of religious +<p>§ 7. In all this, however, there is not a vestige of religious feeling or reverence. We have even some visible difficulty in meeting our patron’s pious wishes. Daniel in the lion’s den is indeed an available subject, but duller than a lion hunt; and @@ -11063,7 +11026,7 @@ but (says polite Sir Peter), Mary of Medicis, or Catherine, her bodice being fuller, and better embroidered, would, if we might offer a suggestion, probably give greater satisfaction.</p> -<p>§ 8. No phenomenon in human mind is more extraordinary +<p>§ 8. No phenomenon in human mind is more extraordinary than the junction of this cold and worldly temper with great rectitude of principle, and tranquil kindness of heart. Rubens was an honorable and entirely well-intentioned man, earnestly @@ -11095,7 +11058,7 @@ done by the best of my scholars, and the whole retouched by my hand; a most brilliant picture, and full of many beautiful young girls.”</p> -<p>§ 9. Observe, however, Rubens is always entirely honorable +<p>§ 9. Observe, however, Rubens is always entirely honorable in his statements of what is done by himself and what not. He is religious, too, after his manner; hears mass every morning, and perpetually uses the phrase “by the grace of God,” or some other @@ -11113,7 +11076,7 @@ his father-in-law (or father, it matters not which) “as Simeon;” another elderly relation, with a beard, “as St. Jerome;” and he himself “as St. George.”</p> -<p>§ 10. Rembrandt has also painted (it is, on the whole, his +<p>§ 10. Rembrandt has also painted (it is, on the whole, his greatest picture, so far as I have seen) himself and his wife in a state of ideal happiness. He sits at supper with his wife on his knee, flourishing a glass of champagne, with a roast peacock on @@ -11143,7 +11106,7 @@ scriptural legends.</p> religion, but all remembrance of it. Absolutely now at last we find ourselves without sight of God in all the world.</p> -<p>§ 11. So far as I can hear or read, this is an entirely new and +<p>§ 11. So far as I can hear or read, this is an entirely new and wonderful state of things achieved by the Hollanders. The human being never got wholly quit of the terror of spiritual being before. Persian, Egyptian, Assyrian, Hindoo, Chinese, all @@ -11160,7 +11123,7 @@ market vegetables.</p> <p>This is the first and essential character of the Holland landscape art. Its second is a worthier one; respect for rural life.</p> -<p>§ 12. I should attach greater importance to this rural feeling, +<p>§ 12. I should attach greater importance to this rural feeling, if there were any true humanity in it, or any feeling for beauty. But there is neither. No incidents of this lower life are painted for the sake of the incidents, but only for the effects of light. @@ -11189,7 +11152,7 @@ puppies at play, not playfully; the man’s heart not going even with the puppies. Essentially he sees nothing but the shine on the flaps of their ears.</p> -<p>§ 13. Observe always, the fault lies not in the thing’s being +<p>§ 13. Observe always, the fault lies not in the thing’s being little, or the incident being slight. Titian could have put issues of life and death into the face of a man asking the way; nay, into the back of him, if he had so chosen. He has put a whole @@ -11206,7 +11169,7 @@ seen either in the chase or in agriculture; and to judge justly of the value of this animal painting it will be necessary for us to glance at that of earlier times.</p> -<p>§ 14. And first of the animals which have had more influence +<p>§ 14. And first of the animals which have had more influence over the human soul, in its modern life, than ever Apis or the <span class="pagenum"><a name="page255" id="page255"></a>255</span> crocodile had over Egyptian—the dog and horse. I stated, in @@ -11220,7 +11183,7 @@ But they saw the noble qualities of the dog, too;—all his patience, love, and faithfulness; therefore Veronese, hard as he is often on lap-dogs, has painted one great heroic poem on the dog.</p> -<p>§ 15. Two mighty brindled mastiffs, and beyond them, darkness. +<p>§ 15. Two mighty brindled mastiffs, and beyond them, darkness. You scarcely see them at first, against the gloomy green. No other sky for them—poor things. They are gray themselves, spotted with black all over; their multitudinous doggish vices @@ -11236,7 +11199,7 @@ chain about the dogs’ necks, and holds it in his strong right hand, leaning proudly a little back from them. They will never break loose.</p> -<p>§ 16. This is Veronese’s highest, or spiritual view of the dog’s +<p>§ 16. This is Veronese’s highest, or spiritual view of the dog’s nature. He can only give this when looking at the creature alone. When he sees it in company with men, he subdues it, like an inferior light in presence of the sky; and generally then @@ -11253,7 +11216,7 @@ the wine of the miracle.</p> <p><span class="pagenum"><a name="page256" id="page256"></a>256</span></p> -<p>§ 17. In the picture of Susannah, her little pet dog is merely +<p>§ 17. In the picture of Susannah, her little pet dog is merely doing his duty, barking at the Elders. But in that of the Magdalen (at Turin) a noble piece of bye-meaning is brought out by a dog’s help. On one side is the principal figure, the Mary washing @@ -11264,7 +11227,7 @@ thus making it unclean. The Pharisee gathers up his robe in a passion, and shows the hem of it to a bystander, pointing to the dog at the same time.</p> -<p>§ 18. In the Supper at Emmaus, the dog’s affection is, however, +<p>§ 18. In the Supper at Emmaus, the dog’s affection is, however, fully dwelt upon. Veronese’s own two little daughters are playing, on the hither side of the table, with a great wolf-hound, larger than either of them. One with her head down, nearly @@ -11278,7 +11241,7 @@ sustaining hand, looks earnestly into the face of the child close to his; would answer her with the gravity of a senator, if so it might be:—can only look at her, and love her.</p> -<p>§ 19. To Velasquez and Titian dogs seem less interesting +<p>§ 19. To Velasquez and Titian dogs seem less interesting than to Veronese; they paint them simply as noble brown beasts, but without any special character; perhaps Velasquez’s dogs are sterner and more threatening than the Venetian’s, as are also his @@ -11306,7 +11269,7 @@ from which eyes of merciful men should instinctively turn away, and eyes of high-minded men scornfully, is dishonorable, alike in the power which it degrades, and the joy to which it betrays.</p> -<p>§ 20. In our modern treatment of the dog, of which the prevailing +<p>§ 20. In our modern treatment of the dog, of which the prevailing tendency is marked by Landseer, the interest taken in him is disproportionate to that taken in man, and leads to a somewhat trivial mingling of sentiment, or warping by caricature; @@ -11329,7 +11292,7 @@ boy being taught to shoot by his father,—the dog critically and eagerly watching the raising of the gun,—shows equally true sympathy.</p> -<p>§ 21. I wish I were able to trace any of the leading circumstances +<p>§ 21. I wish I were able to trace any of the leading circumstances in the ancient treatment of the horse, but I have no sufficient data. Its function in the art of the Greeks is connected with all their beautiful fable philosophy; but I have not @@ -11353,7 +11316,7 @@ hardly to have done justice to the dog. My pleasure in the entire Odyssey is diminished because Ulysses gives not a word of kindness or of regret to Argus.</p> -<p>§ 22. I am still less able to speak of Roman treatment of +<p>§ 22. I am still less able to speak of Roman treatment of the horse. It is very strange that in the chivalric ages, he is despised; their greatest painters drawing him with ludicrous neglect. The Venetians, as was natural, painted him little and @@ -11390,7 +11353,7 @@ and selfishness of men, in order to enable them to be healthy in uselessness, and get quit of the burdens of their own lives, without condescending to make them serviceable to others.</p> -<p>§ 23. Lastly, of cattle.</p> +<p>§ 23. Lastly, of cattle.</p> <p>The period when the interest of men began to be transferred from the ploughman to his oxen is very distinctly marked @@ -11471,7 +11434,7 @@ of wild animals, see my pamphlet on Pre-Raphaelitism.</p> <p class="center chap2">OF VULGARITY.</p> -<p class="noind pt1"><span class="chap1 sc">§ 1. Two</span> great errors, coloring, or rather discoloring, severally, +<p class="noind pt1"><span class="chap1 sc">§ 1. Two</span> great errors, coloring, or rather discoloring, severally, the minds of the higher and lower classes, have sown wide dissension, and wider misfortune, through the society of modern days. These errors are in our modes of interpreting the @@ -11497,7 +11460,7 @@ wanted to hold a falsehood,—namely, that race was of no consequence. It being precisely of as much consequence in man as it is in any other animal.</p> -<p>§ 2. The nation cannot truly prosper till both these errors +<p>§ 2. The nation cannot truly prosper till both these errors are finally got quit of. Gentlemen have to learn that it is no part of their duty or privilege to live on other people’s toil. They have to learn that there is no degradation in the hardest @@ -11516,7 +11479,7 @@ pocket, than to take it out of his hand on the understanding that you are to steer his ship up channel, when you do not know the soundings.</p> -<p>§ 3. On the other hand, the lower orders, and all orders, +<p>§ 3. On the other hand, the lower orders, and all orders, have to learn that every vicious habit and chronic disease communicates itself by descent; and that by purity of birth the entire system of the human body and soul may be gradually @@ -11527,7 +11490,7 @@ a wolf-hound and the vilest mongrel cur. And the knowledge of this great fact ought to regulate the education of our youth, and the entire conduct of the nation.<a name="fa1y" id="fa1y" href="#ft1y"><span class="sp">1</span></a></p> -<p>§ 4. Gentlemanliness, however, in ordinary parlance, must +<p>§ 4. Gentlemanliness, however, in ordinary parlance, must <span class="pagenum"><a name="page263" id="page263"></a>263</span> be taken to signify those qualities which are usually the evidence of high breeding, and which, so far as they can be acquired, it @@ -11537,7 +11500,7 @@ will signify qualities usually characteristic of ill-breeding, which, according to his power, it becomes every person’s duty to subdue. We have briefly to note what these are.</p> -<p>§ 5. A gentleman’s first characteristic is that fineness of +<p>§ 5. A gentleman’s first characteristic is that fineness of structure in the body, which renders it capable of the most delicate sensation; and of structure in the mind which renders it capable of the most delicate sympathies—one may say, simply, @@ -11555,7 +11518,7 @@ clumsy foot; but in the way he will lift his foot if a child lies in his way; and in his sensitive trunk, and still more sensitive mind, and capability of pique on points of honor.</p> -<p>§ 6. And, though rightness of moral conduct is ultimately +<p>§ 6. And, though rightness of moral conduct is ultimately the great purifier of race, the sign of nobleness is not in this rightness of moral conduct, but in sensitiveness. When the make of the creature is fine, its temptations are strong, as well @@ -11578,7 +11541,7 @@ as strange that Nathan hides the name. This is true gentleman. A vulgar man would assuredly have been cautious, and asked “who it was?”</p> -<p>§ 7. Hence it will follow that one of the probable signs of +<p>§ 7. Hence it will follow that one of the probable signs of high-breeding in men generally, will be their kindness and mercifulness; these always indicating more or less fineness of make in the mind; and miserliness and cruelty the contrary; @@ -11596,7 +11559,7 @@ Ezzelin, and your lady, the deadly Lucrece; yet still gentleman and lady, quite incapable of making anything else of themselves, being so born.</p> -<p>§ 8. A truer sign of breeding than mere kindness is therefore +<p>§ 8. A truer sign of breeding than mere kindness is therefore sympathy; a vulgar man may often be kind in a hard way, on principle, and because he thinks he ought to be; whereas, a highly-bred man, even when cruel, will be cruel in a softer way, @@ -11628,7 +11591,7 @@ didn’t know what to make of him.” Which is precisely the fact, and the only fact which he is anywise able to announce to the vulgar man concerning himself.</p> -<p>§ 9. There is yet another quite as efficient cause of the apparent +<p>§ 9. There is yet another quite as efficient cause of the apparent reserve of a gentleman. His sensibility being constant and intelligent, it will be seldom that a feeling touches him, however acutely, but it has touched him in the same way often @@ -11648,7 +11611,7 @@ hard he is!” Next day he hears that the hard person has put good end to the sorrow he said nothing about;—and then he changes his wonder, and exclaims, “How reserved he is!”</p> -<p>§ 10. Self-command is often thought a characteristic of high-breeding: +<p>§ 10. Self-command is often thought a characteristic of high-breeding: and to a certain extent it is so, at least it is one of the means of forming and strengthening character; but it is rather a way of imitating a gentleman than a characteristic of him; a @@ -11670,7 +11633,7 @@ so that still the vulgarity resolves itself into want of sensibility. Also, it is to be noted that great powers of self-restraint may be attained by very vulgar persons, when it suits their purposes.</p> -<p>§ 11. Closely, but strangely, connected with this openness is +<p>§ 11. Closely, but strangely, connected with this openness is that form of truthfulness which is opposed to cunning, yet not opposed to falsity absolute. And herein is a distinction of great importance.</p> @@ -11698,7 +11661,7 @@ in deceiving; a gentleman is humiliated by his success, or at least by so much of the success as is dependent merely on the falsehood, and not on his intellectual superiority.</p> -<p>§ 12. The absolute disdain of all lying belongs rather to +<p>§ 12. The absolute disdain of all lying belongs rather to Christian chivalry than to mere high breeding; as connected merely with this latter, and with general refinement and courage, the exact relations of truthfulness may be best studied in the @@ -11719,7 +11682,7 @@ who should go beyond thee in deceit, even were he a god, thou many-witted! What! here in thine own land, too, wilt thou not cease from cheating? Knowest thou not me, Pallas Athena, maid of Jove, who am with thee in all thy labors, and gave -thee favor with the Phæacians, and keep thee, and have come +thee favor with the Phæacians, and keep thee, and have come now to weave cunning with thee?” But how completely this kind of cunning was looked upon as a part of a man’s power, and not as a diminution of faithfulness, is perhaps best shown by @@ -11728,7 +11691,7 @@ are summed up by Chremulus in the Plutus—“Of all my house servants, I hold you to be the faithfullest, and the greatest cheat (or thief).”</p> -<p>§ 13. Thus, the primal difference between honorable and base +<p>§ 13. Thus, the primal difference between honorable and base lying in the Greek mind lay in honorable purpose. A man who used his strength wantonly to hurt others was a monster; so, also, a man who used his cunning wantonly to hurt others. @@ -11752,7 +11715,7 @@ their arrows on it—no audience was ever tired hearing (<span class="grk" title="to Euripideion ekeino">τὸ Εὔριπιδειον ἐκεἶνο</span>) “that Euripidean thing” brought to shame.</p> -<p>§ 14. And this is especially to be insisted on in the early education +<p>§ 14. And this is especially to be insisted on in the early education of young people. It should be pointed out to them with continual earnestness that the essence of lying is in deception, not in words; a lie may be told by silence, by equivocation, by @@ -11765,7 +11728,7 @@ gesture or silence, instead of utterance; and, finally, according to Tennyson’s deep and trenchant line, “A lie which is half a truth is ever the worst of lies.”</p> -<p>§ 15. Although, however, ungenerous cunning is usually so +<p>§ 15. Although, however, ungenerous cunning is usually so distinct an outward manifestation of vulgarity, that I name it separately from insensibility, it is in truth only an effect of insensibility, producing want of affection to others, and blindness @@ -11782,7 +11745,7 @@ has very little intellectual power, but according to that which it has, it is yet, as of old, the subtlest of the beasts of the field.</p> -<p>§ 16. Another great sign of vulgarity is also, when traced to +<p>§ 16. Another great sign of vulgarity is also, when traced to its root, another phase of insensibility, namely, the undue regard to appearances and manners, as in the households of vulgar persons, of all stations, and the assumption of behavior, language, @@ -11806,7 +11769,7 @@ herself to her maids of honor by an unqueenly knowledge of sewing; but she is not in the least vulgar, for she is sensitive, simple, and generous, and a queen could be no more.</p> -<p>§ 17. Is the vulgarity, then, only in trying to play a part you +<p>§ 17. Is the vulgarity, then, only in trying to play a part you cannot play, so as to be continually detected? No; a bad amateur actor may be continually detected in his part, but yet continually detected to be a gentleman: a vulgar regard to appearances @@ -11816,7 +11779,7 @@ of his words: but he does not pretend to pronounce accurately; he <i>does</i> pronounce accurately, the vulgarity is in the real (not assumed) scrupulousness.</p> -<p>§ 18. It will be found on farther thought, that a vulgar regard +<p>§ 18. It will be found on farther thought, that a vulgar regard for appearances is, primarily, a selfish one, resulting, not out of a wish, to give pleasure (as a wife’s wish to make herself beautiful <span class="pagenum"><a name="page270" id="page270"></a>270</span> @@ -11838,7 +11801,7 @@ than of what he is saying; and, secondly, in his not having musical fineness of ear enough to feel that his talking is uneasy and strained.</p> -<p>§ 19. Finally, vulgarity is indicated by coarseness of language +<p>§ 19. Finally, vulgarity is indicated by coarseness of language or manners, only so far as this coarseness has been contracted under circumstances not necessarily producing it. The illiterateness of a Spanish or Calabrian peasant is not vulgar, because they @@ -11862,7 +11825,7 @@ in—</p> <p class="noind">but much in Mrs. Gamp’s inarticulate “bottle on the chumley-piece, and let me put my lips to it when I am so dispoged.”</p> -<p>§ 20. So also of personal defects, those only are vulgar which +<p>§ 20. So also of personal defects, those only are vulgar which imply insensibility or dissipation.</p> <p><span class="pagenum"><a name="page271" id="page271"></a>271</span></p> @@ -11872,7 +11835,7 @@ deformity of the Black Dwarf, or the corpulence of Falstaff; but much in the same personal characters, as they are seen in Uriah Heep, Quilp, and Chadband.</p> -<p>§ 21. One of the most curious minor questions in this matter +<p>§ 21. One of the most curious minor questions in this matter is respecting the vulgarity of excessive neatness, complicating itself with inquiries into the distinction between base neatness, and the perfectness of good execution in the fine arts. It will be @@ -11896,7 +11859,7 @@ away.</p> <p><span class="pagenum"><a name="page273" id="page273"></a>273</span></p> -<p>§ 22. All the different impressions connected with negligence +<p>§ 22. All the different impressions connected with negligence or foulness depend, in like manner, on the degree of insensibility implied. Disorder in a drawing-room is vulgar, in an antiquary’s study, not; the black battle-stain on a soldier’s face @@ -11908,7 +11871,7 @@ or insensitive, while timidity is not vulgar, if it be a characteristic of race or fineness of make. A fawn is not vulgar in being timid, nor a crocodile “gentle” because courageous.</p> -<p>§ 23. Without following the inquiry into farther detail,<a name="fa4y" id="fa4y" href="#ft4y"><span class="sp">4</span></a> we +<p>§ 23. Without following the inquiry into farther detail,<a name="fa4y" id="fa4y" href="#ft4y"><span class="sp">4</span></a> we <span class="pagenum"><a name="page274" id="page274"></a>274</span> may conclude that vulgarity consists in a deadness of the heart and body, resulting from prolonged, and especially from inherited @@ -11922,7 +11885,7 @@ crime as peculiarly issue from stupidity, are its material manifestation.</p> <p><span class="pagenum"><a name="page275" id="page275"></a>275</span></p> -<p>§ 24. Two years ago, when I was first beginning to work out +<p>§ 24. Two years ago, when I was first beginning to work out the subject, and chatting with one of my keenest-minded friends (Mr. Brett, the painter of the Val d’Aosta in the Exhibition of 1859), I casually asked him, “What is vulgarity?” merely to see @@ -12019,13 +11982,13 @@ a wholesome state of not knowing what to think.</p> <p>Then turn to p. 167, where the great law of finish is again maintained as strongly as ever: “Perfect finish (finish, that is to say, up to the point possible) is always desirable from the greatest masters, and is always given by -them.”—§ 19.</p> +them.”—§ 19.</p> -<p>And, lastly, if you look to § 19 of the chapter on the Early Renaissance, +<p>And, lastly, if you look to § 19 of the chapter on the Early Renaissance, you will find the profoundest respect paid to completion; and, at the close -of that chapter, § 38, the principle is resumed very strongly. “As <i>ideals of +of that chapter, § 38, the principle is resumed very strongly. “As <i>ideals of executive perfection</i>, these palaces are most notable among the architecture of -Europe, and the Rio façade of the Ducal palace, as an example of finished +Europe, and the Rio façade of the Ducal palace, as an example of finished masonry in a vast building, is one of the finest things, not only in Venice, but in the world.”</p> @@ -12153,7 +12116,7 @@ reference to my own writings in his “Children’s Bower.”</p> <p class="center chap2">WOUVERMANS AND ANGELICO.</p> -<p class="noind pt1"><span class="chap1 sc">§ 1. Having</span> determined the general nature of vulgarity, we +<p class="noind pt1"><span class="chap1 sc">§ 1. Having</span> determined the general nature of vulgarity, we are now able to close our view of the character of the Dutch school.</p> @@ -12193,7 +12156,7 @@ scarlet autumn on the hills, and they merely look curiously into it to see if there is anything gray and glittering which can be painted on their common principles.</p> -<p>§ 2. If this, however, were their only fault, it would not +<p>§ 2. If this, however, were their only fault, it would not prove absolute insensibility, any more than it could be declared of the makers of Florentine tables, that they were blind or vulgar because they took out of nature only what could be represented @@ -12215,7 +12178,7 @@ the motives of one of the most elaborate Wouvermans existing—the landscape with a hunting party, No. 208 in the Pinacothek of Munich.</p> -<p>§ 3. A large lake in the distance narrows into a river in the +<p>§ 3. A large lake in the distance narrows into a river in the foreground; but the river has no current, nor has the lake either reflections or waves. It is a piece of gray slate-table, painted with horizontal touches, and only explained to be water @@ -12230,7 +12193,7 @@ and wandering tendrils of vine. A gentleman is coming down from a door in the ruins to get into his pleasure-boat. His servant catches his dog.</p> -<p>§ 4. On the nearer side of the river, a bank of broken ground +<p>§ 4. On the nearer side of the river, a bank of broken ground rises from the water’s edge up to a group of very graceful and carefully studied trees, with a French-antique statue on a pedestal in the midst of them, at the foot of which are three musicians, @@ -12249,7 +12212,7 @@ in the immediate foreground. The tone of the whole is dark and gray, throwing out the figures in spots of light, on Wouvermans’ usual system. The sky is cloudy, and very cold.</p> -<p>§ 5. You observe that in this picture the painter has assembled +<p>§ 5. You observe that in this picture the painter has assembled all the elements which he supposes pleasurable. We have music, dancing, hunting, boating, fishing, bathing, and child-play, all at once. Water, wide and narrow; architecture, rustic @@ -12264,7 +12227,7 @@ at the hunter’s fall; the bathers regard not the draught of fishes; the fishers fish among the bathers, without apparently anticipating any diminution in their haul.</p> -<p>§ 6. Let the reader ask himself, would it have been possible +<p>§ 6. Let the reader ask himself, would it have been possible for the painter in any clearer way to show an absolute, clay-cold, ice-cold incapacity of understanding what a pleasure meant? Had he had as much heart as a minnow, he would have given @@ -12285,7 +12248,7 @@ can we spend another minute of this languid day! But what pleasure can be in a boat? let us swim; we see people always drest, let us see them naked.”</p> -<p>§ 7. Such is the unredeemed, carnal appetite for mere sensual +<p>§ 7. Such is the unredeemed, carnal appetite for mere sensual pleasure. I am aware of no other painter who consults it so exclusively, without one gleam of higher hope, thought, beauty, or passion.</p> @@ -12300,7 +12263,7 @@ twelve thousand pounds (300,000 francs) for permission to keep it. The report, true or not, shows the estimation in which the picture is held at Turin.</p> -<p>§ 8. There are some twenty figures in the mêlée whose faces +<p>§ 8. There are some twenty figures in the mêlée whose faces can be seen (about sixty in the picture altogether), and of these twenty, there is not one whose face indicates courage or power; or anything but animal rage and cowardice; the latter prevailing @@ -12323,20 +12286,20 @@ so called, anywhere, but of clever, dotty, sparkling, telling execution, as much as the canvas will hold, and much delicate gray and blue color in the smoke and sky.</p> -<p>§ 9. Now, in order fully to feel the difference between this +<p>§ 9. Now, in order fully to feel the difference between this view of war, and a gentleman’s, go, if possible, into our National Gallery, and look at the young Malatesta riding into the battle of Sant’ Egidio (as he is painted by Paul Ucello). His uncle Carlo, the leader of the army, a grave man of about sixty, has just given orders for the knights to close: two have pushed forward with -lowered lances, and the mêlée has begun only a few yards in +lowered lances, and the mêlée has begun only a few yards in front; but the young knight, riding at his uncle’s side, has not yet put his helmet on, nor intends doing so, yet. Erect he sits, and quiet, waiting for his captain’s orders to charge; calm as if he were at a hawking party, only more grave; his golden hair wreathed about his proud white brow, as about a statue’s.</p> -<p>§ 10. “Yes,” the thoughtful reader replies; “this may be +<p>§ 10. “Yes,” the thoughtful reader replies; “this may be pictorially very beautiful; but those Dutchmen were good fighters, and generally won the day; whereas, this very battle of Sant’ Egidio, so calmly and bravely begun, was lost.”</p> @@ -12351,7 +12314,7 @@ of resoluteness in Dutch battle-pieces remains, for the present, a mystery to me. In those of Wouvermans, it is only a natural development of his perfect vulgarity in all respects.</p> -<p>§ 11. I do not think it necessary to trace farther the evidences +<p>§ 11. I do not think it necessary to trace farther the evidences of insensitive conception in the Dutch school. I have associated the name of Teniers with that of Wouvermans in the beginning of this chapter, because Teniers is essentially the painter of the @@ -12379,7 +12342,7 @@ review of older art, I will endeavor to illustrate, by four simple examples, the main directions of its spiritual power, and the cause of its decline.</p> -<p>§ 12. The frontispiece of this volume is engraved from an +<p>§ 12. The frontispiece of this volume is engraved from an old sketch of mine, a pencil outline of the little Madonna by Angelico, in the Annunciation preserved in the sacristy of Santa Maria Novella. This Madonna has not, so far as I know, been @@ -12398,7 +12361,7 @@ rage and lust; the pleasures and distresses of the debased body—from these, his thoughts, if so we may call them, never for an instant rise or range.</p> -<p>§ 13. The soul of Angelico is in all ways the precise reverse +<p>§ 13. The soul of Angelico is in all ways the precise reverse of this; habitually as incognizant of any earthly pleasure as Wouvermans <span class="pagenum"><a name="page283" id="page283"></a>283</span> of any heavenly one. Both are exclusive with absolute @@ -12439,7 +12402,7 @@ activity.</p> <tr><td class="figright1"><img style="width:189px; height:196px" src="images/img364.jpg" alt="" /></td></tr> <tr><td class="caption"><span class="sc">Fig. 99.</span></td></tr></table> -<p>§ 14. In order to mark the temper of Angelico, by a contrast +<p>§ 14. In order to mark the temper of Angelico, by a contrast of another kind, I give, in Fig. 99, a facsimile of one of the heads in Salvator’s etching of the Academy of Plato. It is accurately characteristic of Salvator, showing, by quite a central @@ -12452,7 +12415,7 @@ which is as elevated a type as he ever reaches, is assuredly debased enough; and a sufficient image of the mind of the painter of Catiline and the Witch of Endor.</p> -<p>§ 15. Then, in Fig. 100, you have +<p>§ 15. Then, in Fig. 100, you have also a central type of the mind of Durer. Complete, yet quaint; severely rational and practical, yet capable of the highest @@ -12528,7 +12491,7 @@ justice or affection, how to end.</p> <p class="center chap2">THE TWO BOYHOODS.</p> -<p class="noind pt1"><span class="chap1 sc">§ 1. Born</span> half-way between the mountains and the sea—that +<p class="noind pt1"><span class="chap1 sc">§ 1. Born</span> half-way between the mountains and the sea—that young George of Castelfranco—of the Brave Castle:—Stout George they called him, George of Georges, so goodly a boy he was—Giorgione.</p> @@ -12578,7 +12541,7 @@ heaven and circling sea.</p> <p>Such was Giorgione’s school—such Titian’s home.</p> -<p>§ 2. Near the south-west corner of Covent Garden, a square +<p>§ 2. Near the south-west corner of Covent Garden, a square brick pit or well is formed by a close-set block of houses, to the back windows of which it admits a few rays of light. Access to the bottom of it is obtained out of Maiden Lane, through a low @@ -12594,7 +12557,7 @@ a boy being born on St. George’s day, 1775, began soon after to take interest in the world of Covent Garden, and put to service such spectacles of life as it afforded.</p> -<p>§ 3. No knights to be seen there, nor, I imagine, many beautiful +<p>§ 3. No knights to be seen there, nor, I imagine, many beautiful ladies; their costume at least disadvantageous, depending much on incumbency of hat and feather, and short waists; the majesty of men founded similarly on shoebuckles and wigs;—impressive @@ -12608,7 +12571,7 @@ on summer mornings; deep furrowed cabbage leaves at the greengrocer’s; magnificence of oranges in wheelbarrows round the corner; and Thames’ shore within three minutes’ race.</p> -<p>§ 4. None of these things very glorious; the best, however, +<p>§ 4. None of these things very glorious; the best, however, that England, it seems, was then able to provide for a boy of gift: who, such as they are, loves them—never, indeed, forgets them. The short waists modify to the last his visions of Greek @@ -12621,7 +12584,7 @@ clearness of Italian air; and by Thames’ shore, with its stranded barges and glidings of red sail, dearer to us than Lucerne lake or Venetian lagoon,—by Thames’ shore we will die.</p> -<p>§ 5. With such circumstance round him in youth, let us note +<p>§ 5. With such circumstance round him in youth, let us note what necessary effects followed upon the boy. I assume him to have had Giorgione’s sensibility (and more than Giorgione’s, if that be possible) to color and form. I tell you farther, and this @@ -12641,7 +12604,7 @@ fishy and muddy, like Billingsgate or Hungerford Market, had great attraction for him; black barges, patched sails, and every possible condition of fog.</p> -<p>§ 6. You will find these tolerations and affections guiding or +<p>§ 6. You will find these tolerations and affections guiding or sustaining him to the last hour of his life; the notablest of all such endurances being that of dirt. No Venetian ever draws anything foul; but Turner devoted picture after picture to the @@ -12656,12 +12619,12 @@ and looked for <i>litter</i>, like Covent Garden wreck after the market. His pictures are often full of it, from side to side; their foregrounds differ from all others in the natural way that things have of lying about in them. Even his richest vegetation, in -ideal work, is confused; and he delights in shingle, débris, and +ideal work, is confused; and he delights in shingle, débris, and heaps of fallen stones. The last words he ever spoke to me about a picture were in gentle exaltation about his St. Gothard: “that <i>litter</i> of stones which I endeavored to represent.”</p> -<p>§ 7. The second great result of this Covent Garden training +<p>§ 7. The second great result of this Covent Garden training was, understanding of and regard for the poor, whom the Venetians, we saw, despised; whom, contrarily, Turner loved, and more than loved—understood. He got no romantic sight of @@ -12690,7 +12653,7 @@ side;—and, on the other, with these masses of human power and national wealth which weigh upon us, at Covent Garden here, with strange compression, and crush us into narrow Hand Court.</p> -<p>§ 8. “That mysterious forest below London Bridge”—better +<p>§ 8. “That mysterious forest below London Bridge”—better <span class="pagenum"><a name="page290" id="page290"></a>290</span> for the boy than wood of pine, or grove of myrtle. How he must have tormented the watermen, beseeching them to let him @@ -12713,7 +12676,7 @@ is accomplished—once, with all our might, for its death; twice, with all our might, for its victory; thrice, in pensive farewell to the old Temeraire, and, with it, to that order of things.</p> -<p>§ 9. Now this fond companying with sailors must have divided +<p>§ 9. Now this fond companying with sailors must have divided his time, it appears to me, pretty equally between Covent Garden and Wapping (allowing for incidental excursions to Chelsea on one side, and Greenwich on the other), which time he would @@ -12744,7 +12707,7 @@ hands; red gleams were seen through the black, underneath, at the places where it had been strained. Was it ochre?—said the world—or red lead?</p> -<p>§ 10. Schooled thus in manners, literature, and general moral +<p>§ 10. Schooled thus in manners, literature, and general moral principles at Chelsea and Wapping, we have finally to inquire concerning the most important point of all. We have seen the principal differences between this boy and Giorgione, as respects @@ -12758,7 +12721,7 @@ really no other way of learning. His father taught him “to lay one penny upon another.” Of mother’s teaching, we hear of none; of parish pastoral teaching, the reader may guess how much.</p> -<p>§ 11. I chose Giorgione rather than Veronese to help me in +<p>§ 11. I chose Giorgione rather than Veronese to help me in carrying out this parallel; because I do not find in Giorgione’s work any of the early Venetian monarchist element. He seems to me to have belonged more to an abstract contemplative school. @@ -12768,7 +12731,7 @@ concerning the usual priestly doctrines of his day,—how would the Venetian religion, from an outer intellectual standing-point, have <i>looked</i> to him?</p> -<p>§ 12. He would have seen it to be a religion indisputably +<p>§ 12. He would have seen it to be a religion indisputably powerful in human affairs; often very harmfully so; sometimes devouring widows’ houses, and consuming the strongest and fairest from among the young; freezing into merciless bigotry @@ -12789,7 +12752,7 @@ eastern seas, to the sentinel his watchword, to the soldier his war-cry; and, on the lips of all who died for Venice, shaping the whisper of death.</p> -<p>§ 13. I suppose the boy Turner to have regarded the religion +<p>§ 13. I suppose the boy Turner to have regarded the religion of his city also from an external intellectual standing-point.</p> <p>What did he see in Maiden Lane?</p> @@ -12818,7 +12781,7 @@ into a pew, for whom the reading by candlelight will be beneficial.<a name="fa1a <p><span class="pagenum"><a name="page293" id="page293"></a>293</span></p> -<p>§ 14. For the rest, this religion seems to him discreditable—discredited—not +<p>§ 14. For the rest, this religion seems to him discreditable—discredited—not believing in itself, putting forth its authority in a cowardly way, watching how far it might be tolerated, continually shrinking, disclaiming, fencing, finessing; divided against @@ -12832,7 +12795,7 @@ lagoon. For St. Mark ruled over life; the Saint of London over death; St. Mark over St. Mark’s Place, but St. Paul over St. Paul’s Churchyard.</p> -<p>§ 15. Under these influences pass away the first reflective +<p>§ 15. Under these influences pass away the first reflective hours of life, with such conclusion as they can reach. In consequence of a fit of illness, he was taken—I cannot ascertain in what year—to live with an aunt, at Brentford; and here, I believe, @@ -12850,7 +12813,7 @@ his little country house is,—of all places in the world,—at Twickenham! Of swans and reedy shores he now learns the soft motion and the green mystery, in a way not to be forgotten.</p> -<p>§ 16. And at last fortune wills that the lad’s true life shall +<p>§ 16. And at last fortune wills that the lad’s true life shall begin; and one summer’s evening, after various wonderful stage-coach experiences on the north road, which gave him a love of stage-coaches ever after, he finds himself sitting alone among the @@ -12871,7 +12834,7 @@ of purple rocks, and river pools of blue, and tender wilderness of glittering trees, and misty lights of evening on immeasurable hills.</p> -<p>§ 17. Beauty, and freedom, and peace; and yet another +<p>§ 17. Beauty, and freedom, and peace; and yet another teacher, graver than these. Sound preaching at last here, in Kirkstall crypt, concerning fate and life. Here, where the dark pool reflects the chancel pillars, and the cattle lie in unhindered @@ -12879,7 +12842,7 @@ rest, the soft sunshine on their dappled bodies, instead of priests’ vestments; their white furry hair ruffled a little, fitfully, by the evening wind, deep-scented from the meadow thyme.</p> -<p>§ 18. Consider deeply the import to him of this, his first +<p>§ 18. Consider deeply the import to him of this, his first sight of ruin, and compare it with the effect of the architecture that was around Giorgione. There were indeed aged buildings, at Venice, in his time, but none in decay. All ruin was removed, @@ -12894,7 +12857,7 @@ only strength and immortality, could not but paint both; conceived the form of man as deathless, calm with power, and fiery with life.</p> -<p>§ 19. Turner saw the exact reverse of this. In the present +<p>§ 19. Turner saw the exact reverse of this. In the present work of men, meanness, aimlessness, unsightliness: thin-walled, lath-divided, narrow-garreted houses of clay; booths of a darksome Vanity Fair, busily base.</p> @@ -12917,7 +12880,7 @@ Venetian’s eyes, all beauty depended on man’s presence and pride; in Turner’s, on the solitude he had left, and the humiliation he had suffered.</p> -<p>§ 20. And thus the fate and issue of all his work were determined +<p>§ 20. And thus the fate and issue of all his work were determined at once. He must be a painter of the strength of nature, there was no beauty elsewhere than in that; he must paint also the labor and sorrow and passing away of men; this was the @@ -12930,7 +12893,7 @@ stand between him and the troubling of the world; still less between him and the toil of his country,—blind, tormented, unwearied, marvellous England.</p> -<p>§ 21. Also their Sorrow; Ruin of all their glorious work, +<p>§ 21. Also their Sorrow; Ruin of all their glorious work, passing away of their thoughts and their honor, mirage of pleasure, <span class="sc">Fallacy of Hope</span>; gathering of weed on temple step; gaining of wave on deserted strand; weeping of the mother for @@ -12938,7 +12901,7 @@ the children, desolate by her breathless first-born in the streets of the city,<a name="fa3aa" id="fa3aa" href="#ft3aa"><span class="sp">3</span></a> desolate by her last sons slain, among the beasts of the field.<a name="fa4aa" id="fa4aa" href="#ft4aa"><span class="sp">4</span></a></p> -<p>§ 22. And their Death. That old Greek question again;—yet +<p>§ 22. And their Death. That old Greek question again;—yet unanswered. The unconquerable spectre still flitting among the forest trees at twilight; rising ribbed out of the sea-sand;—white, a strange Aphrodite,—out of the sea-foam; stretching its @@ -12963,7 +12926,7 @@ years old when Napoleon came down on Arcola. Look on the map of Europe, and count the blood-stains on it, between Arcola and Waterloo.</p> -<p>§ 23. Not alone those blood-stains on the Alpine snow, and +<p>§ 23. Not alone those blood-stains on the Alpine snow, and the blue of the Lombard plain. The English death was before his eyes also. No decent, calculable, consoled dying; no passing to rest like that of the aged burghers of Nuremberg town. No @@ -12979,7 +12942,7 @@ imperfect yearning, as of motherless infants starving at the dawn; oppressed royalties of captive thought, vague ague-fits of bleak, amazed despair.</p> -<p>§ 24. A goodly landscape this, for the lad to paint, and under +<p>§ 24. A goodly landscape this, for the lad to paint, and under a goodly light. Wide enough the light was, and clear; no more Salvator’s lurid chasm on jagged horizon, nor Durer’s spotted rest of sunny gleam on hedgerow and field; but light over all the @@ -13041,7 +13004,7 @@ the next, at Oxford.</p> <p class="center chap2">THE NEREID’S GUARD.</p> -<p class="noind pt1"><span class="chap1 sc">§ 1. The</span> work of Turner, in its first period, is said in my +<p class="noind pt1"><span class="chap1 sc">§ 1. The</span> work of Turner, in its first period, is said in my account of his drawings at the National Gallery to be distinguished by “boldness of handling, generally gloomy tendency of mind, subdued color, and perpetual reference to precedent in @@ -13050,7 +13013,7 @@ for a more special account of his early modes of technical study. Here we are concerned only with the expression of that gloomy tendency of mind, whose causes we are now better able to understand.</p> -<p>§ 2. It was prevented from overpowering him by his labor. +<p>§ 2. It was prevented from overpowering him by his labor. This, continual, and as tranquil in its course as a ploughman’s in the field, by demanding an admirable humility and patience, averted the tragic passion of youth. Full of stern sorrow and @@ -13071,7 +13034,7 @@ dark or subdued.</p> <tr><td class="figcenter"><img style="width:831px; height:581px" src="images/img381.jpg" alt="" /></td></tr> <tr><td class="caption">78. Quivi Trovammo.</td></tr></table> -<p>§ 3. Of the first forty subjects which he exhibited at the +<p>§ 3. Of the first forty subjects which he exhibited at the <span class="pagenum"><a name="page299" id="page299"></a>299</span> Royal Academy, thirty-one are architectural, and of these twenty-one are of elaborate Gothic architecture (Peterborough @@ -13116,7 +13079,7 @@ paints what we might suppose would be a happier subject, the Garden of the Hesperides. This being the most important picture of the first period, I will analyze it completely.</p> -<p>§ 4. The fable of the Hesperides had, it seems to me, in the +<p>§ 4. The fable of the Hesperides had, it seems to me, in the Greek mind two distinct meanings; the first referring to natural phenomena, and the second to moral. The natural meaning of it I believe to have been this:—</p> @@ -13158,7 +13121,7 @@ watches from the top of the cliff.</p> <p><span class="pagenum"><a name="page301" id="page301"></a>301</span></p> -<p>§ 5. But, both in the Greek mind and Turner’s, this natural +<p>§ 5. But, both in the Greek mind and Turner’s, this natural meaning of the legend was a completely subordinate one. The moral significance of it lay far deeper. In the second, but principal sense, the Hesperides were not daughters of Atlas, nor connected @@ -13167,7 +13130,7 @@ are properly the nymphs of the sunset, and are the daughters of night, having many brothers and sisters, of whom I shall take Hesiod’s account.</p> -<p>§ 6. “And the Night begat Doom, and short-withering Fate, +<p>§ 6. “And the Night begat Doom, and short-withering Fate, and Death.</p> <p>“And begat Sleep, and the company of Dreams, and Censure, @@ -13181,7 +13144,7 @@ mighty Sea.</p> <p>“And Jealousy, and Deceit, and Wanton Love; and Old Age, that fades away; and Strife, whose will endures.”</p> -<p>§ 7. We have not, I think, hitherto quite understood the +<p>§ 7. We have not, I think, hitherto quite understood the Greek feeling about those nymphs and their golden apples, coming as a light in the midst of cloud; between Censure, and Sorrow,—and the Destinies. We must look to the precise meaning @@ -13239,11 +13202,11 @@ frame, such age is the forerunner of true death—the child of Night. “And Strife,” the last and the mightiest, the nearest to man of the Night-children—blind leader of the blind.</p> -<p>§ 8. Understanding thus whose sisters they are, let us consider +<p>§ 8. Understanding thus whose sisters they are, let us consider of the Hesperides themselves—spoken of commonly as the “Singing Nymphs.” They are four.</p> -<p>Their names are Æglé,—Brightness; Erytheia,—Blushing; +<p>Their names are Æglé,—Brightness; Erytheia,—Blushing; Hestia,—the (spirit of the) Hearth; Arethusa,—the Ministering.</p> <p>O English reader! hast thou ever heard of these fair and @@ -13272,7 +13235,7 @@ it is watched by the Dragon.</p> <p>We must, therefore, see who the Dragon was, and what kind of dragon.</p> -<p>§ 9. The reader will, perhaps, remember that we traced, in +<p>§ 9. The reader will, perhaps, remember that we traced, in an earlier chapter, the birth of the Gorgons, through Phorcys and Ceto, from Nereus. The youngest child of Phorcys and Ceto is the Dragon of the Hesperides; but this latest descent is @@ -13290,7 +13253,7 @@ children; but they call him the aged man, in that he is errorless and kind; neither forgets he what is right; but knows all just and gentle counsel.”</p> -<p>§ 10. Now the children of Nereus, like the Hesperides themselves, +<p>§ 10. Now the children of Nereus, like the Hesperides themselves, bear a twofold typical character; one physical, the other moral. In his physical symbolism, Nereus himself is the calm and gentle sea, from which rise, in gradual increase of terror, @@ -13312,14 +13275,14 @@ morally, secretness of heart, called “fair-cheeked,” because tranqui in outward aspect. 4. Eurybia (wide strength), physically, the flowing, especially the tidal power of the sea (she, by one of the sons of Heaven, becomes the mother of three great Titans, -one of whom, Astræus, and the Dawn, are the parents of the +one of whom, Astræus, and the Dawn, are the parents of the four Winds); morally, the healthy passion of the heart. Thus far the children of Nereus.</p> -<p>§ 11. Next, Phorcys and Ceto, in their physical characters +<p>§ 11. Next, Phorcys and Ceto, in their physical characters (the grasping or devouring of the sea, reaching out over the land and its depth), beget the Clouds and Storms—namely, first, the -Graiæ, or soft rain-clouds; then the Gorgons, or storm-clouds; +Graiæ, or soft rain-clouds; then the Gorgons, or storm-clouds; and youngest and last, the Hesperides’ Dragon—Volcanic or earth-storm, associated, in conception, with the Simoom and fiery African winds.</p> @@ -13343,11 +13306,11 @@ version, to find where he is being led: “Thou brakest the head of the dragon, and gavest him to be meat to the Ethiopian people. <span class="pagenum"><a name="page305" id="page305"></a>305</span> Thou didst tear asunder the strong fountains and the -storm-torrents; thou didst dry up the rivers of Etham, <span class="grk" title="pêgas +storm-torrents; thou didst dry up the rivers of Etham, <span class="grk" title="pêgas kai cheimarrhous">πηγὰς καὶ χειμάῤῥους</span>, the Pegasus fountains—Etham on the edge of the wilderness.”</p> -<p>§ 12. Returning then to Hesiod, we find he tells us of the +<p>§ 12. Returning then to Hesiod, we find he tells us of the Dragon himself:—“He, in the secret places of the desert land, kept the all-golden apples in his great knots” (coils of rope, or extremities of anything). With which compare Euripides’ report @@ -13366,7 +13329,7 @@ child of Typhon and Echidna. Now Typhon is volcanic storm, generally the evil spirit of tumult.</p> <p>Echidna (the adder) is a descendant of Medusa. She is a -daughter of Chrysaor (the lightning), by Calliröe (the fair flowing), +daughter of Chrysaor (the lightning), by Calliröe (the fair flowing), a daughter of Ocean;—that is to say, she joins the intense fatality of the lightning with perfect gentleness. In form she is half-maiden, half-serpent; therefore she is the spirit of all the @@ -13375,7 +13338,7 @@ dominion over many gentle things;—and chiefly over a kiss, given, indeed, in another garden than that of the Hesperides, yet in relation to keeping of treasure also.</p> -<p>§ 13. Having got this farther clue, let us look who it is +<p>§ 13. Having got this farther clue, let us look who it is whom Dante makes the typical Spirit of Treachery. The eighth or lowest pit of hell is given to its keeping; at the edge of which pit, Virgil casts a <i>rope</i> down for a signal; instantly there @@ -13414,7 +13377,7 @@ half-serpent;—hear what Dante’s Fraud is like:—</p> <p class="i05">With sting like scorpion’s arm’d.”</p> </div> </td></tr></table> -<p>§ 14. You observe throughout this description the leaning on +<p>§ 14. You observe throughout this description the leaning on the character of the <i>Sea</i> Dragon; a little farther on, his way of flying is told us:—</p> @@ -13441,7 +13404,7 @@ by the Sun, to cross the sea in.</p> <p><span class="pagenum"><a name="page307" id="page307"></a>307</span></p> -<p>§ 15. We will return to this part of the legend presently, +<p>§ 15. We will return to this part of the legend presently, having enough of it now collected to get at the complete idea of the Hesperian dragon, who is, in fine, the “Pluto il gran nemico” of Dante; the demon of all evil passions connected with covetousness; @@ -13455,7 +13418,7 @@ and fire, he is the destroyer, descended from Typhon as well as Phorcys; having, moreover, with all these, the irresistible strength of his ancestral sea.</p> -<p>§ 16. Now, look at him, as Turner has drawn him (p. 298). +<p>§ 16. Now, look at him, as Turner has drawn him (p. 298). I cannot reduce the creature to this scale without losing half his power; his length, especially, seems to diminish more than it should in proportion to his bulk. In the picture he is far in the @@ -13467,7 +13430,7 @@ and of the loss which, however well he might have been engraved, he would still have sustained, in the impossibility of expressing the lurid color of his armor, alternate bronze and blue.</p> -<p>§ 17. Still, the main points of him are discernible enough; +<p>§ 17. Still, the main points of him are discernible enough; and among all the wonderful things that Turner did in his day, I think this nearly the most wonderful. How far he had really found out for himself the collateral bearings of the Hesperid @@ -13499,7 +13462,7 @@ of the ice; they are at once ice and iron. “His bones are like solid pieces of brass; his bones are like bars of iron; by his neesings a light doth shine.”</p> -<p>§ 18. The strange unity of vertebrated action, and of a true +<p>§ 18. The strange unity of vertebrated action, and of a true bony contour, infinitely varied in every vertebra, with this glacial outline;—together with the adoption of the head of the Ganges crocodile, the fish-eater, to show his sea descent (and this in the @@ -13508,7 +13471,7 @@ within Turner’s reach), renders the whole conception one of the most curious exertions of the imaginative intellect with which I am acquainted in the arts.</p> -<p>§ 19. Thus far, then, of the dragon; next, we have to examine +<p>§ 19. Thus far, then, of the dragon; next, we have to examine the conception of the Goddess of Discord. We must return for a moment to the tradition about Geryon. I cannot yet decipher the meaning of his oxen, said to be fed together with those of @@ -13535,7 +13498,7 @@ of this peace by repentance and patience; Helen and Penelope seen at last sitting upon their household thrones, in the Hesperian light of age.</p> -<p>§ 20. We have, therefore, to regard Discord, in the Hesperides +<p>§ 20. We have, therefore, to regard Discord, in the Hesperides garden, eminently as the disturber of households, assuming a different aspect from Homer’s wild and fierce discord of war. They are, nevertheless, one and the same power; for she changes @@ -13545,23 +13508,23 @@ It seems to me as if it ought to have one in common with Erinnys either in mind or in words;—the final work of Eris is essentially “division,” and she is herself always double-minded; shouts two ways at once (in Iliad, xi. 6), and wears a mantle rent in half -(Æneid, viii. 702). Homer makes her loud-voiced, and insatiably +(Æneid, viii. 702). Homer makes her loud-voiced, and insatiably covetous. This last attribute is, with him, the source of her usual title. She is little when she first is seen, then rises till her head touches heaven. By Virgil she is called mad; and her hair is of serpents, bound with bloody garlands.</p> -<p>§ 21. This is the conception first adopted by Turner, but +<p>§ 21. This is the conception first adopted by Turner, but combined with another which he found in Spenser; only note that there is some confusion in the minds of English poets between -Eris (Discord) and Até (Error), who is a daughter of Discord, +Eris (Discord) and Até (Error), who is a daughter of Discord, according to Hesiod. She is properly—mischievous error, tender-footed; for she does not walk on the earth, but on heads of men (Iliad, xix. 92); <i>i.e.</i> not on the solid ground, but on human vain thoughts; therefore, her hair is glittering (Iliad, xix. 126). I think she is mainly the confusion of mind coming of pride, as Eris comes of covetousness; therefore, Homer makes -her a daughter of Jove. Spenser, under the name of Até, describes +her a daughter of Jove. Spenser, under the name of Até, describes Eris. I have referred to his account of her in my notice <span class="pagenum"><a name="page310" id="page310"></a>310</span> of the Discord on the Ducal palace of Venice (remember the inscription @@ -13577,9 +13540,9 @@ from which Turner derived his conception of her are these—</p> <p class="i05">And as her eares, so eke her feet were odde,</p> <p class="i05">And much unlike; th’ one long, the other short,</p> <p class="i05">And both misplast; that, when th’ one forward yode,</p> -<p class="i05">The other backe retired and contrárie trode.</p> +<p class="i05">The other backe retired and contrárie trode.</p> -<p class="s">“Likewise unequall were her handës twaine;</p> +<p class="s">“Likewise unequall were her handës twaine;</p> <p class="i05">That one did reach, the other pusht away;</p> <p class="i05">That one did make the other mard againe,</p> <p class="i05">And sought to bring all things unto decay;</p> @@ -13606,7 +13569,7 @@ added one final touch of his own. The nymph who brings the apples to the goddess, offers her one in each hand; and Eris, of the divided mind, cannot choose.</p> -<p>§ 22. One farther circumstance must be noted, in order to +<p>§ 22. One farther circumstance must be noted, in order to complete our understanding of the picture,—the gloom extending, not to the dragon only, but also to the fountain and the tree of golden fruit. The reason of this gloom may be found in @@ -13631,7 +13594,7 @@ sprinkling moist honey and drowsy poppy; who also has power over ghosts; “and the earth shakes and the forests stoop from the hills at her bidding.”</p> -<p>§ 23. This passage Turner must have known well, from his +<p>§ 23. This passage Turner must have known well, from his continual interest in Carthage: but his diminution of the splendor of the old Greek garden was certainly caused chiefly by Spenser’s describing the Hesperides fruit as growing first in the @@ -13649,7 +13612,7 @@ garden of Mammon:—</p> <p class="s" style="letter-spacing: 2em"> * * * *</p> -<p class="s">“The gardin of Prosèrpina this hight:</p> +<p class="s">“The gardin of Prosèrpina this hight:</p> <p class="i05">And in the midst thereof a silver seat,</p> <p class="i05">With a thick arber goodly over dight,</p> <p class="i05">In which she often usd from open heat</p> @@ -13669,7 +13632,7 @@ garden of Mammon:—</p> <p class="s" style="letter-spacing: 2em"> * * * *</p> <p class="s">“Here eke that famous golden apple grew,</p> -<p class="i05">The which emongst the gods false Até threw.”</p> +<p class="i05">The which emongst the gods false Até threw.”</p> </div> </td></tr></table> <p>There are two collateral evidences in the picture of Turner’s @@ -13679,7 +13642,7 @@ remind us of Cocytus; and the breaking of the bough of the tree by the weight of its apples—not healthily, but as a diseased tree would break.</p> -<p>§ 24. Such then is our English painter’s first great religious +<p>§ 24. Such then is our English painter’s first great religious picture; and exponent of our English faith. A sad-colored work, not executed in Angelico’s white and gold; nor in Perugino’s crimson and azure; but in a sulphurous hue, as relating to @@ -13692,7 +13655,7 @@ cliffs, not of Cyrene, but of England, for his altar; and no chance of any Mars’ Hill proclamation concerning him, “whom therefore ye ignorantly worship.”</p> -<p>§ 25. This is no irony. The fact is verily so. The greatest +<p>§ 25. This is no irony. The fact is verily so. The greatest man of our England, in the first half of the nineteenth century, in the strength and hope of his youth, perceives this to be the thing he has to tell us of utmost moment, connected with the @@ -13742,7 +13705,7 @@ Pictures, 1857.</p> <p><a name="ft5ab" id="ft5ab" href="#fa5ab"><span class="fn">5</span></a> Her name is also that of the Hesperid nymph; but I give the Hesperid her Greek form of name, to distinguish her from the goddess. The Hesperid Arethusa has the same subordinate relation to Ceres; and Erytheia, to -Venus. Æglé signifies especially the spirit of brightness or cheerfulness +Venus. Æglé signifies especially the spirit of brightness or cheerfulness including even the subordinate idea of household neatness or cleanliness.</p> <p><a name="ft6ab" id="ft6ab" href="#fa6ab"><span class="fn">6</span></a> It is merely a sketch on the steel, like the illustrations before given of @@ -13755,9 +13718,9 @@ may be able to engrave it of the full size.</p> <div class="center ptb6"><img style="width:258px; height:35px; vertical-align: middle;" src="images/img0.jpg" alt="" /></div> <p class="center chap">CHAPTER XI.</p> -<p class="center chap2">THE HESPERID ÆGLÉ.</p> +<p class="center chap2">THE HESPERID ÆGLÉ.</p> -<p class="noind pt1"><span class="chap1 sc">§ 1. Five</span> years after the Hesperides were painted, another +<p class="noind pt1"><span class="chap1 sc">§ 1. Five</span> years after the Hesperides were painted, another great mythological subject appeared by Turner’s hand. Another dragon—this time not triumphant, but in death-pang; the Python, slain by Apollo.</p> @@ -13773,7 +13736,7 @@ which was not clearly manifested in all its results until much later in his life; but in the coloring of this picture are the first signs of it; and in the subject of this picture, its symbol.</p> -<p>§ 2. Had Turner died early, the reputation he would have +<p>§ 2. Had Turner died early, the reputation he would have left, though great and enduring, would have been strangely different from that which ultimately must now attach to his name. He would have been remembered as one of the severest of @@ -13788,14 +13751,14 @@ or capacity.</p> <p>It was only after the year 1820 that these were determinable, and his peculiar work discerned.</p> -<p>§ 3. He had begun by faithful declaration of the sorrow there +<p>§ 3. He had begun by faithful declaration of the sorrow there was in the world. It is now permitted him to see also its beauty. He becomes, separately and without rival, the painter of the loveliness and light of the creation.</p> <table class="nobctr" style="clear: both;" summary="Illustration"> <tr><td class="figcenter"><img style="width:503px; height:922px" src="images/img399.jpg" alt="" /></td></tr> -<tr><td class="caption">79. The Hesperid Æglé.</td></tr></table> +<tr><td class="caption">79. The Hesperid Æglé.</td></tr></table> <p><span class="pagenum"><a name="page315" id="page315"></a>315</span></p> @@ -13828,7 +13791,7 @@ the Venetians, from Rubens, Reynolds or Velasquez. From these we get only conventional substitutions for it, Rubens being especially daring<a name="fa1ac" id="fa1ac" href="#ft1ac"><span class="sp">1</span></a> in frankness of symbol.</p> -<p>§ 4. Turner, however, as a landscape painter, had to represent +<p>§ 4. Turner, however, as a landscape painter, had to represent sunshine of one kind or another. He went steadily through the subdued golden chord, and painted Cuyp’s favorite effect, “sun rising through vapor,” for many a weary year. But this @@ -13868,7 +13831,7 @@ such things that ever yet had appeared in the world. They would neither look nor hear;—only shouted continuously, “Perish Apollo. Bring us back Python.”</p> -<p>§ 5. We must understand the real meaning of this cry, for +<p>§ 5. We must understand the real meaning of this cry, for herein rests not merely the question of the great right or wrong in Turner’s life, but the question of the right or wrong of all painting. Nay, on this issue hangs the nobleness of painting as @@ -13881,16 +13844,16 @@ true dignity of color? We left that doubt a little while ago among the clouds, wondering what they had been made so scarlet for. Now Turner brings the doubt back to us, unescapable any more. No man, hitherto, had painted the clouds scarlet. Hesperid -Æglé, and Erytheia, throned there in the west, fade into +Æglé, and Erytheia, throned there in the west, fade into the twilights of four thousand years, unconfessed. Here is at last one who confesses them, but is it well? Men say these Hesperids <span class="pagenum"><a name="page317" id="page317"></a>317</span> -are sensual goddesses,—traitresses,—that the Graiæ are +are sensual goddesses,—traitresses,—that the Graiæ are the only true ones. Nature made the western and the eastern clouds splendid in fallacy. Crimson is impure and vile; let us paint in black if we would be virtuous.</p> -<p>§ 6. Note, with respect to this matter, that the peculiar innovation +<p>§ 6. Note, with respect to this matter, that the peculiar innovation of Turner was the perfection of the color chord by means of <i>scarlet</i>. Other painters had rendered the golden tones, and the blue tones, of sky; Titian especially the last, in perfectness. @@ -13913,7 +13876,7 @@ lower in the key, but that is no reason why I should be false in the note. Here is sunshine which glows even when subdued; it has not cool shade, but fiery shade.”<a name="fa2ac" id="fa2ac" href="#ft2ac"><span class="sp">2</span></a> This is the glory of sunshine.</p> -<p>§ 7. Now, this scarlet color,—or pure red, intensified by expression +<p>§ 7. Now, this scarlet color,—or pure red, intensified by expression of light,—is, of all the three primitive colors, that which is most distinctive. Yellow is of the nature of simple light; blue, connected with simple shade; but red is an entirely abstract @@ -13930,7 +13893,7 @@ also concentrated in the blood of man.</p> <tr><td class="figcenter"><img style="width:907px; height:581px" src="images/img406.jpg" alt="" /></td></tr> <tr><td class="caption">80. Rocks at Rest.</td></tr></table> -<p>§ 8. Unforeseen requirements have compelled me to disperse +<p>§ 8. Unforeseen requirements have compelled me to disperse through various works, undertaken between the first and last portions of this essay, the examination of many points respecting color, which I had intended to reserve for this place. I can now @@ -13961,7 +13924,7 @@ away of sins has been borrowed, he will find that the fountain in which sins are indeed to be washed away, is that of love, not of agony.</p> -<p>§ 9. But, without approaching the presence of this deeper +<p>§ 9. But, without approaching the presence of this deeper meaning of the sign, the reader may rest satisfied with the connection given him directly in written words, between the cloud and its bow. The cloud, or firmament, as we have seen, signifies @@ -13984,7 +13947,7 @@ again, with its fruits; also, with the spring and fall of the leaf, and with the morning and evening of the day, in order to show the waiting of love about the birth and death of man.</p> -<p>§ 10. And now, I think, we may understand, even far away +<p>§ 10. And now, I think, we may understand, even far away in the Greek mind, the meaning of that contest of Apollo with the Python. It was a far greater contest than that of Hercules with Ladon. Fraud and avarice might be overcome by frankness @@ -14005,14 +13968,14 @@ decay.</p> <p>Apollo’s contest with him is the strife of purity with pollution; of life, with forgetfulness; of love, with the grave.</p> -<p>§ 11. I believe this great battle stood, in the Greek mind, +<p>§ 11. I believe this great battle stood, in the Greek mind, for the type of the struggle of youth and manhood with deadly sin—venomous, infectious, irrecoverable sin. In virtue of his victory over this corruption, Apollo becomes thenceforward the guide; the witness; the purifying and helpful God. The other gods help waywardly, whom they choose. But Apollo helps always: he is by name, not only Pythian, the conqueror of -death; but Pæan—the healer of the people.</p> +death; but Pæan—the healer of the people.</p> <p>Well did Turner know the meaning of that battle: he has told its tale with fearful distinctness. The Mammon dragon @@ -14021,11 +13984,11 @@ colossal worm: wounded, he bursts asunder in the midst,<a name="fa4ac" id="fa4ac melts to pieces, rather than dies, vomiting smoke—a smaller serpent-worm rising out of his blood.</p> -<p>§ 12. Alas, for Turner! This smaller serpent-worm, it +<p>§ 12. Alas, for Turner! This smaller serpent-worm, it seemed, he could not conceive to be slain. In the midst of all the power and beauty of nature, he still saw this death-worm writhing among the weeds. A little thing now, yet enough; -you may see it in the foreground of the Bay of Baiæ, which has +you may see it in the foreground of the Bay of Baiæ, which has also in it the story of Apollo and the Sibyl; Apollo giving love; but not youth, nor immortality: you may see it again in the foreground of the Lake Avernus—the Hades lake—which Turner @@ -14051,10 +14014,10 @@ notable child of hers without even cruel Pandora’s gift.</p> <p>He was without hope.</p> -<p>True daughter of Night, Hesperid Æglé was to him; coming +<p>True daughter of Night, Hesperid Æglé was to him; coming between Censure, and Sorrow,—and the Destinies.</p> -<p>§ 13. What, for us, his work yet may be, I know not. But +<p>§ 13. What, for us, his work yet may be, I know not. But let not the real nature of it be misunderstood any more.</p> <p>He is distinctively, as he rises into his own peculiar strength, @@ -14070,7 +14033,7 @@ way Atropos will have it, and there is no pleading with her.</p> <p>So, therefore, first of the rose.</p> -<p>§ 14. That is to say, of this vision of the loveliness and kindness +<p>§ 14. That is to say, of this vision of the loveliness and kindness of Nature, as distinguished from all visions of her ever received by other men. By the Greek, she had been distrusted. She was to him Calypso, the Concealer, Circe, the Sorceress. By @@ -14092,7 +14055,7 @@ of it, or may remain, is the loveliest ever yet done by man, in imagery of the physical world. Whatsoever is there of fairest, you will find recorded by Turner, and by him alone.</p> -<p>§ 15. I say <i>you</i> will find, not knowing to how few I speak; +<p>§ 15. I say <i>you</i> will find, not knowing to how few I speak; for in order to find what is fairest, you must delight in what is fair; and I know not how few or how many there may be who take such delight. Once I could speak joyfully about beautiful @@ -14103,7 +14066,7 @@ can reach, destroy all beauty. They seem to have no other desire or hope but to have large houses and to be able to move fast. Every perfect and lovely spot which they can touch, they defile.<a name="fa5ac" id="fa5ac" href="#ft5ac"><span class="sp">5</span></a></p> -<p>§ 16. Nevertheless, though not joyfully, or with any hope of +<p>§ 16. Nevertheless, though not joyfully, or with any hope of being at present heard, I would have tried to enter here into some examination of the right and worthy effect of beauty in Art upon human mind, if I had been myself able to come to @@ -14121,7 +14084,7 @@ What the final use may be to men, of landscape painting, or of any painting, or of natural beauty, I do not yet know. Thus far, however, I <i>do</i> know.</p> -<p>§ 17. Three principal forms of asceticism have existed in +<p>§ 17. Three principal forms of asceticism have existed in <span class="pagenum"><a name="page326" id="page326"></a>326</span> this weak world. Religious asceticism, being the refusal of pleasure and knowledge for the sake (as supposed) of religion; @@ -14139,7 +14102,7 @@ say, encamping by the shores of Garda. “We do not come here to look at the mountains,” so the thriving manufacturers tell me, between Rochdale and Halifax.</p> -<p>§ 18. All these asceticisms have their bright, and their dark +<p>§ 18. All these asceticisms have their bright, and their dark sides. I myself like the military asceticism best, because it is not so necessarily a refusal of general knowledge as the two others, but leads to acute and marvellous use of mind, and perfect @@ -14186,7 +14149,7 @@ state, are that he should not see dreams, but realities; that he should not destroy life, but save it; and that he should be not rich, but content.</p> -<p>§ 19. Towards which last state of contentment, I do not see +<p>§ 19. Towards which last state of contentment, I do not see that the world is at present approximating. There are, indeed, two forms of discontent: one laborious, the other indolent and complaining. We respect the man of laborious desire, but let @@ -14197,7 +14160,7 @@ the earth.” Neither covetous men, nor the Grave, can inherit anything;<a name="fa6ac" id="fa6ac" href="#ft6ac"><span class="sp">6</span></a> they can but consume. Only contentment can possess.</p> -<p>§ 20. The most helpful and sacred work, therefore, which +<p>§ 20. The most helpful and sacred work, therefore, which can at present be done for humanity, is to teach people (chiefly by example, as all best teaching must be done) not how “to better themselves,” but how to “satisfy themselves.” It is the curse @@ -14211,7 +14174,7 @@ shall always be filled, that being the bread of Heaven; but hungering after the bread, or wages, of unrighteousness, shall not be filled, that being the bread of Sodom.</p> -<p>§ 21. And, in order to teach men how to be satisfied, it is +<p>§ 21. And, in order to teach men how to be satisfied, it is necessary fully to understand the art and joy of humble life,—this, at present, of all arts or sciences being the one most needing study. Humble life—that is to say, proposing to itself no @@ -14223,7 +14186,7 @@ life of domestic affection and domestic peace, full of sensitiveness to all elements of costless and kind pleasure;—therefore, chiefly to the loveliness of the natural world.</p> -<p>§ 22. What length and severity of labor may be ultimately +<p>§ 22. What length and severity of labor may be ultimately found necessary for the procuring of the due comforts of life, I do not know; neither what degree of refinement it is possible to unite with the so-called servile occupations of life: but this I @@ -14245,7 +14208,7 @@ take in amusements, definitely serviceable. It would be far better, for instance, that a gentleman should mow his own fields, than ride over other people’s.</p> -<p>§ 23. Again, respecting degrees of possible refinement, I +<p>§ 23. Again, respecting degrees of possible refinement, I <span class="pagenum"><a name="page330" id="page330"></a>330</span> cannot yet speak positively, because no effort has yet been made to teach refined habits to persons of simple life.</p> @@ -14272,7 +14235,7 @@ leaf and flower in his fields; and unencumbered by any theories of moral or political philosophy, he should help his neighbor, and disdain a bribe.</p> -<p>§ 24. Many most valuable conclusions respecting the degree +<p>§ 24. Many most valuable conclusions respecting the degree of nobleness and refinement which may be attained in servile or in rural life may be arrived at by a careful study of the noble writings of Blitzius (Jeremias Gotthelf), which contain a record @@ -14284,7 +14247,7 @@ of Elise, in the Tour de Jacob; nor any more exquisitely tender and refined than that of Aenneli in the Fromagerie and Aenneli in the Miroir des Paysans.<a name="fa9ac" id="fa9ac" href="#ft9ac"><span class="sp">9</span></a></p> -<p>§ 25. How far this simple and useful pride, this delicate +<p>§ 25. How far this simple and useful pride, this delicate <span class="pagenum"><a name="page331" id="page331"></a>331</span> innocence, might be adorned, or how far destroyed, by higher intellectual education in letters or the arts, cannot be known @@ -14314,7 +14277,7 @@ toil.</p> <p>Thus far, then, of the Rose.</p> -<p>§ 26. Last, of the Worm.</p> +<p>§ 26. Last, of the Worm.</p> <p>I said that Turner painted the labor of men, their sorrow, and their death. This he did nearly in the same tones of mind @@ -14338,7 +14301,7 @@ death, Turner was what Dante might have been, without the “bello ovile,” without Casella, without Beatrice, and without Him who gave them all, and took them all away.</p> -<p>§ 27. I will trace this state of his mind farther, in a little +<p>§ 27. I will trace this state of his mind farther, in a little while. Meantime, I want you to note only the result upon his work;—how, through all the remainder of his life, wherever he looked, he saw ruin.</p> @@ -14347,11 +14310,11 @@ looked, he saw ruin.</p> which he introduced, such as no man had painted before? Brightness, indeed, he gave, as we have seen, because it was true and right; but in this he only perfected what others had -attempted. His own favorite light is not Æglé, but Hesperid -Æglé. Fading of the last rays of sunset. Faint breathing of +attempted. His own favorite light is not Æglé, but Hesperid +Æglé. Fading of the last rays of sunset. Faint breathing of the sorrow of night.</p> -<p>§ 28. And fading of sunset, note also, on ruin. I cannot +<p>§ 28. And fading of sunset, note also, on ruin. I cannot but wonder that this difference between Turner’s work and previous art-conception has not been more observed. None of the great early painters draw ruins, except compulsorily. The @@ -14396,7 +14359,7 @@ it,—calm sunset above, but fading from the glen, leaving it to its roar of passionate waters and sighing of pine-branches in the night.</p> -<p>§ 29. Such is his view of human labor. Of human pride, +<p>§ 29. Such is his view of human labor. Of human pride, see what records. Morpeth tower, roofless and black; gate of old Winchelsea wall, the flock of sheep driven <i>round</i> it, not through it; and Rievaulx choir, and Kirkstall crypt; and @@ -14414,7 +14377,7 @@ the woodman’s children away at the sunset.</p> dying by the arrow; Hesperie, by the viper’s fang; and Rizpah, more than dead, beside her children.</p> -<p>§ 30. Such are the lessons of the Liber Studiorum. Silent +<p>§ 30. Such are the lessons of the Liber Studiorum. Silent always with a bitter silence, disdaining to tell his meaning, when he saw there was no ear to receive it, Turner only indicated this purpose by slight words of contemptuous anger, when @@ -14439,7 +14402,7 @@ the mother of Minos and Rhadamanthus).<a name="fa12ac" id="fa12ac" href="#ft12ac <tr><td class="figcenter"><img style="width:853px; height:564px" src="images/img430.jpg" alt="" /></td></tr> <tr><td class="caption">83. The Bridge of Rheinfelden.</td></tr></table> -<p>§ 31. I need not trace the dark clue farther, the reader may +<p>§ 31. I need not trace the dark clue farther, the reader may follow it unbroken through all his work and life, this thread of <span class="pagenum"><a name="page336" id="page336"></a>336</span> Atropos.<a name="fa13ac" id="fa13ac" href="#ft13ac"><span class="sp">13</span></a> I will only point, in conclusion, to the intensity @@ -14456,7 +14419,7 @@ the vain pursuit of beauty.</p> Venetian dreams of his become, themselves so beautiful and so frail; wrecks of all that they were once—twilights of twilight!</p> -<p>§ 32. Vain beauty; yet not all in vain. Unlike in birth, +<p>§ 32. Vain beauty; yet not all in vain. Unlike in birth, how like in their labor, and their power over the future, these masters of England and Venice—Turner and Giorgione. But ten years ago, I saw the last traces of the greatest works of @@ -14755,7 +14718,7 @@ by a restrained tragic power of the highest order; and it would be worth reading, were it only for the story of Aenneli, and for the last half page of its close.</p> -<p><a name="ft10ac" id="ft10ac" href="#fa10ac"><span class="fn">10</span></a> “The Cumæan Sibyl, Deiphobe, was, in her youth, beloved by +<p><a name="ft10ac" id="ft10ac" href="#fa10ac"><span class="fn">10</span></a> “The Cumæan Sibyl, Deiphobe, was, in her youth, beloved by Apollo; who, promising to grant her whatever she would ask, she took up a handful of earth, and asked that she might live as many years as there were grains of dust in her hand. She obtained her petition. Apollo would @@ -14833,7 +14796,7 @@ these studies, Plates 83 and 84; the first of these is the bridge drawn from the spot whence Turner made his upper memorandum; afterwards, he went down close to the fishing house, and took the second; in which he unhesitatingly divides the Rhine by a strong pyramidal rock, in order to get -a group of firm lines pointing to his main subject, the tower (compare § 12, +a group of firm lines pointing to his main subject, the tower (compare § 12, p. 170, above); and throws a foaming mass of water away to the left, in order to give a better idea of the river’s force; the modifications of form in the tower itself are all skilful and majestic in the highest degree. The @@ -14925,8 +14888,8 @@ per tale, o per altra che vi fosse, contrassegnolla con quella spezie di mannaja che tiene in mano; per altro tanto ci cercava le sole bellezze della natura, che poco pensando al costume, ritrasse qui una di quelle donne Friulane, che vengono per servire in Venezia; non alterandone nemmeno -l’abito, è facendola alquanto attempata, quale forse ci la vedea; senza voler -sapere che per rappresentare le Virtù, si suole da pittori belle è fresche giovani +l’abito, è facendola alquanto attempata, quale forse ci la vedea; senza voler +sapere che per rappresentare le Virtù, si suole da pittori belle è fresche giovani immaginare.”</p> <p>Compare with this what I have said of Titian’s Magdalen. I ought in @@ -14940,7 +14903,7 @@ can obtain of Titian’s “Flora.”</p> had been pure vermilion; little else was left in the figure I saw. Therefore, not knowing what power the painter intended to personify by the figure at the commencement of this chapter, I have called her, from her -glowing color, Hesperid Æglé.</p> +glowing color, Hesperid Æglé.</p> </div> <p><span class="pagenum"><a name="page339" id="page339"></a>339</span></p> @@ -14950,7 +14913,7 @@ glowing color, Hesperid Æglé.</p> <p class="center chap2">PEACE.</p> -<p class="noind pt1"><span class="chap1 sc">§ 1. Looking</span> back over what I have written, I find that I +<p class="noind pt1"><span class="chap1 sc">§ 1. Looking</span> back over what I have written, I find that I have only now the power of ending this work; it being time that it should end, but not of “concluding” it; for it has led me into fields of infinite inquiry, where it is only possible to break @@ -14968,7 +14931,7 @@ I remember of Turner himself, as I become better capable of understanding it, I find myself more and more helpless to explain his errors and his sins.</p> -<p>§ 2. His errors, I might say, simply. Perhaps, some day, +<p>§ 2. His errors, I might say, simply. Perhaps, some day, people will again begin to remember the force of the old Greek word for sin; and to learn that all sin is in essence—“Missing the mark;” losing sight or consciousness of heaven; and that @@ -14989,7 +14952,7 @@ others.</p> <p>These two methods of obedience being just the two which are most directly opposite to the law of mercy and truth.</p> -<p>§ 3. “Bind them about thy neck.” I said, but now, that of +<p>§ 3. “Bind them about thy neck.” I said, but now, that of an evil tree men never gathered good fruit. And the lesson we have finally to learn from Turner’s life is broadly this, that all the power of it came of its mercy and sincerity; all the failure of @@ -15006,7 +14969,7 @@ the conclusions of this writer; but if they appear to me just, will endeavor afterwards, so far as may be in my power, to confirm and illustrate them; and, if unjust, to show in what degree.</p> -<p>§ 4. Which, lest death or illness should forbid me, this only +<p>§ 4. Which, lest death or illness should forbid me, this only I declare now of what I know respecting Turner’s character. Much of his mind and heart I do not know;—perhaps, never shall know. But this much I do; and if there is anything in @@ -15039,7 +15002,7 @@ century, and most sorrowfully manifested in its greatest men; but existing in an infinitely more fatal form in the lower and general mind, reacting upon those who ought to be its teachers.</p> -<p>§ 5. The form which the infidelity of England, especially, has +<p>§ 5. The form which the infidelity of England, especially, has <span class="pagenum"><a name="page344" id="page344"></a>344</span> taken, is one hitherto unheard of in human history. No nation ever before declared boldly, by print and word of mouth, that its @@ -15063,7 +15026,7 @@ certainly never contemplated.”</p> <p>I had no conception of the absolute darkness which has covered the national mind in this respect, until I began to come into collision with persons engaged in the study of economical and -political questions. The entire naïveté and undisturbed imbecility +political questions. The entire naïveté and undisturbed imbecility with which I found them declare that the laws of the Devil were the only practicable ones, and that the laws of God were merely a form of poetical language, passed all that I had @@ -15117,7 +15080,7 @@ for you;—and, driven out to die in the street, Swammerdam shall discover the laws of life for you—such hard terms do they make with you, these brutish men, who can only be had for hire.</p> -<p>§ 8. Neither is good work ever done for hatred, any more +<p>§ 8. Neither is good work ever done for hatred, any more than hire—but for love only. For love of their country, or their leader, or their duty, men fight steadily; but for massacre and plunder, feebly. Your signal, “England expects every man to @@ -15127,7 +15090,7 @@ it no more in commerce than in battle. The cross bones will not make a good shop-sign, you will find ultimately, any more than a good battle-standard. Not the cross bones, but the cross.</p> -<p>§ 9. Now the practical result of this infidelity in man, is the +<p>§ 9. Now the practical result of this infidelity in man, is the utter ignorance of all the ways of getting his right work out of him. From a given quantity of human power and intellect, to produce the least possible result, is a problem solved, nearly with @@ -15151,7 +15114,7 @@ young painters should give up his art altogether, and go to Australia,—or fight his way through all neglect and obloquy to the painting of the Christ in the Temple.</p> -<p>§ 10. The marketing was indeed done in this case, as in all +<p>§ 10. The marketing was indeed done in this case, as in all others, on the usual terms. For the millions of money, we got a mouldering toy: for the starvation, five years’work of the prime of a noble life. Yet neither that picture, great as it is, @@ -15201,7 +15164,7 @@ faithlessness. And as surely,—as irrevocably,—as the fruit-bud falls before the east wind, so fails the power of the kindest human heart, if you meet it with poison.</p> -<p>§ 11. Now the condition of mind in which Turner did all +<p>§ 11. Now the condition of mind in which Turner did all his great work was simply this: “What I do must be done rightly; but I know also that no man now living in Europe cares to understand it; and the better I do it, the less he will see the @@ -15240,7 +15203,7 @@ sold at the gates of the National Gallery for the instruction of the common people, describes Calcott and Claude as the greater artists.</p> -<p>§ 12. To censure, on the other hand, Turner was acutely sensitive, +<p>§ 12. To censure, on the other hand, Turner was acutely sensitive, owing to his own natural kindness; he felt it, for himself, or for others, not as criticism, but as cruelty. He knew that however little his higher powers could be seen, he had at least @@ -15251,7 +15214,7 @@ ingratitude. “A man may be weak in his age,” he said to me once, at the time when he felt he was dying; “but you should not tell him so.”</p> -<p>§ 13. What Turner might have done for us, had he received +<p>§ 13. What Turner might have done for us, had he received help and love, instead of disdain, I can hardly trust myself to imagine. Increasing calmly in power and loveliness, his work would have formed one mighty series of poems, each great as @@ -15266,7 +15229,7 @@ we know. But few of us yet know how true an image those darkening wrecks of radiance give of the shadow which gained sway over his once pure and noble soul.</p> -<p>§ 14. Not unresisted, nor touching the heart’s core, nor any +<p>§ 14. Not unresisted, nor touching the heart’s core, nor any of the old kindness and truth: yet festering work of the worm—inexplicable and terrible, such as England, by her goodly gardening, leaves to infect her earth-flowers.</p> @@ -15279,7 +15242,7 @@ Keats, Byron, Shelley, Turner. Great England, of the Iron-heart now, not of the Lion-heart; for these souls of her children an account may perhaps be one day required of her.</p> -<p>§ 15. She has not yet read often enough that old story of the +<p>§ 15. She has not yet read often enough that old story of the Samaritan’s mercy. He whom he saved was going down from Jerusalem to Jericho—to the accursed city (so the old Church used to understand it). He should not have left Jerusalem; it @@ -15292,7 +15255,7 @@ in her pure, priestly dress, passing by on the other side. So far as we are concerned, that is the account <i>we</i> have to give of them.<a name="fa3ad" id="fa3ad" href="#ft3ad"><span class="sp">3</span></a></p> -<p>§ 16. So far as <i>they</i> are concerned, I do not fear for them;—there +<p>§ 16. So far as <i>they</i> are concerned, I do not fear for them;—there being one Priest who never passes by. The longer I live, the more clearly I see how all souls are in His hand—the mean and the great. Fallen on the earth in their baseness, or @@ -15309,7 +15272,7 @@ from the prison-house, maimed from the battle, or mad from the tombs, their souls shall surely yet sit, astonished, at His feet who giveth peace.</p> -<p>§ 17. Who <i>giveth</i> peace? Many a peace we have made and +<p>§ 17. Who <i>giveth</i> peace? Many a peace we have made and named for ourselves, but the falsest is in that marvellous thought that we, of all generations of the earth, only know the right; <span class="pagenum"><a name="page351" id="page351"></a>351</span> @@ -15328,7 +15291,7 @@ Zimri, who slew his master, there is no peace for him: but, for us? tiara on head, may we not look out of the windows of heaven?”</p> -<p>§ 18. Another kind of peace I look for than this, though I +<p>§ 18. Another kind of peace I look for than this, though I hear it said of me that I am hopeless.</p> <p>I am not hopeless, though my hope may be as Veronese’s, the @@ -15353,7 +15316,7 @@ that this conquest is to be by hostility, since evil may be overcome with good. But I find it written very distinctly that God loved the world, and that Christ is the light of it.</p> -<p>§ 19. What the much-used words, therefore, mean, I cannot +<p>§ 19. What the much-used words, therefore, mean, I cannot tell. But this, I believe, they <i>should</i> mean. That there is, indeed, one world which is full of care, and desire, and hatred: a world of war, of which Christ is not the light, which indeed is @@ -15626,11 +15589,11 @@ Righteousness.—Is. lx. 17.</p> <p class="f120 center">—————</p> <div class="list"> -<p>Aiguille Blaitière, iv. 186, 188, 399; +<p>Aiguille Blaitière, iv. 186, 188, 399; Bouchard, iv. 39, 186, 200, 209-211; de Chamouni, iv. 163, 183; des Charmoz, iv. 177, 190, 191,192, 206; - du Gouté, iv. 206; + du Gouté, iv. 206; duMoine, iv. 189 (note); du Plan, iv. 187; Pourri (Chamouni), iv. 196, 214; @@ -15694,7 +15657,7 @@ Righteousness.—Is. lx. 17.</p> <p>Engelberg, Hill of Angels, v. <a href="#page86">86</a>.</p> -<p class="pt2">Faïdo, pass of (St. Gothard), iv. 21.</p> +<p class="pt2">Faïdo, pass of (St. Gothard), iv. 21.</p> <p>Finster-Aarhorn (Bernese Alps), peak of, iv. 164, 178.</p> @@ -15747,7 +15710,7 @@ Righteousness.—Is. lx. 17.</p> <p>Montanvert, view from, iv. 178.</p> -<p>Montagne de la Côte, crests of, iv. 206, 208, 212, 282; v. <a href="#page121">121</a>.</p> +<p>Montagne de la Côte, crests of, iv. 206, 208, 212, 282; v. <a href="#page121">121</a>.</p> <p>Montagne de Taconay, iv. 206, 208, 213, 282; v. <a href="#page131">131</a>.</p> @@ -15771,12 +15734,12 @@ Righteousness.—Is. lx. 17.</p> <p class="pt2">Oxford, Queen’s College, front of, i. 104.</p> -<p class="pt2">Pélerins Cascade (Valley of Chamouni), iv. 282.</p> +<p class="pt2">Pélerins Cascade (Valley of Chamouni), iv. 282.</p> <p>Pisa, destruction of works of art in, ii. 6 (note); mountain scenery round, iv. 357.</p> -<p>Petit Salève, iv. 161.</p> +<p>Petit Salève, iv. 161.</p> <p class="pt2">Rhone, valley of, iv. 95.</p> @@ -15789,7 +15752,7 @@ Righteousness.—Is. lx. 17.</p> <p>Rome, pursuit of art in, i. 4; Temple of Antoninus and Faustus, griffin on, iii. 100.</p> -<p>Rouen, destruction of mediæval architecture in, ii. 6 (note).</p> +<p>Rouen, destruction of mediæval architecture in, ii. 6 (note).</p> <p class="pt2">Saddleback (Cumberland), i. 298.</p> @@ -15817,7 +15780,7 @@ Righteousness.—Is. lx. 17.</p> <p>Thames, description of, v. <a href="#page288">288</a>.</p> -<p>Tours, destruction of mediæval buildings in, ii. 6 (note).</p> +<p>Tours, destruction of mediæval buildings in, ii. 6 (note).</p> <p>Trient, valley of (mountain gloom), iv. 259, 318.</p> @@ -15834,7 +15797,7 @@ Righteousness.—Is. lx. 17.</p> of Cluse, iv. 144; of Cormayer, iv. 176; of Grindewald, iv. 166; - of Frütigen (Canton of Berne), v. <a href="#page86">86</a>.</p> + of Frütigen (Canton of Berne), v. <a href="#page86">86</a>.</p> <p>Venice, in the eighteenth century, i. 110; modern restorations in, ii. 8 (note); @@ -15951,8 +15914,8 @@ Righteousness.—Is. lx. 17.</p> Jonah, ii. 204; Last Judgment, ii. 181, 183; Night and Day, ii. 203, iii. 96; - Pietà of Florence, ii. 185; - Pietà of Genoa, ii. 83; + Pietà of Florence, ii. 185; + Pietà of Genoa, ii. 83; Plague of the Fiery Serpents, ii. 69 (note); St. Matthew, ii. 185; Twilight i. 33; @@ -15992,7 +15955,7 @@ Righteousness.—Is. lx. 17.</p> painting of sunlight by, iii. 318, v. <a href="#page315">315</a>; feeling of the beauty of form, i. 76, iii. 318, v. <a href="#page244">244</a>; narrowness of, contrasted with vastness of nature, i. 77; - aërial effects of, iii. 318, v. <a href="#page244">244</a>; + aërial effects of, iii. 318, v. <a href="#page244">244</a>; sincerity of purpose of, iii. 317, v. <a href="#page244">244</a>; never forgot himself, i. 77, v. <a href="#page244">244</a>; true painting of afternoon sunshine, iii. 321, v. <a href="#page245">245</a>, <a href="#page315">315</a>; @@ -16151,7 +16114,7 @@ Righteousness.—Is. lx. 17.</p> <p>Gainsborough, color of, i. 93; execution of i. xxii. preface; - aërial distances of, i. 93; + aërial distances of, i. 93; imperfect treatment of details, i. 82.</p> <p>Ghiberti, Lorenzo, leaf-moulding and bas-reliefs of, v. <a href="#page35">35</a>.</p> @@ -16348,7 +16311,7 @@ Righteousness.—Is. lx. 17.</p> Pictures referred to— Chimborazo, i. 208; Destruction of Niobe’s Children, in Dulwich Gallery, i. 294; - Dido and Æneas, i. 257, 391, ii. 159; + Dido and Æneas, i. 257, 391, ii. 159; La Riccia, i. 386, 155, ii. 159; Mont Blanc, i. 208; Sacrifice of Isaac, i. 195, 208, 230, ii. 159.</p> @@ -16527,7 +16490,7 @@ Righteousness.—Is. lx. 17.</p> Running and Falling Water, i. 325, 344; Sea-piece, i. 344.</p> -<p class="pt2">Schöngauer, Martin, joy in ugliness, iv. 329; +<p class="pt2">Schöngauer, Martin, joy in ugliness, iv. 329; missal drawing of, iv. 329.</p> <p>Snyders, painting of dogs by, v. <a href="#page257">257</a>.</p> @@ -16718,7 +16681,7 @@ Righteousness.—Is. lx. 17.</p> death of, v. <a href="#page349">349</a>.</p> <p>   Pictures referred to— - Æsacus and Hesparie, i. 394; + Æsacus and Hesparie, i. 394; Acro-Corinth, i. 221; Alnwick, i. 127, 269; Ancient Italy, i. 131; @@ -16728,7 +16691,7 @@ Righteousness.—Is. lx. 17.</p> Avenue of Brienne, i. 178; Babylon, i. 236; Bamborough, i. 375; - Bay of Baiæ, i. 132, 324, iii. 311, v. <a href="#page98">98</a>, <a href="#page323">323</a>; + Bay of Baiæ, i. 132, 324, iii. 311, v. <a href="#page98">98</a>, <a href="#page323">323</a>; Bedford, i. 127; Ben Lomond, i. 258; Bethlehem, i. 242; @@ -16740,7 +16703,7 @@ Righteousness.—Is. lx. 17.</p> Buckfastleigh, i. 267, iv. 14; Building of Carthage, i. 29, 136, 147, 162, 171, iii. 311; Burning of Parliament House, i. 269; - Cærlaverock, i. 202 (note), 264; + Cærlaverock, i. 202 (note), 264; Calais, i. 269; Calder Bridge, i. 183; Caldron Snout Fall, i. 268; @@ -16750,8 +16713,8 @@ Righteousness.—Is. lx. 17.</p> Carthages, the two, i. 131, v. <a href="#page337">337</a>; Castle Upnor, i. 267, 359; Chain Bridge over the Tees, i. 368, 394; - Château de la Belle Gabrielle, i. 394, v. <a href="#page61">61</a>; - Château of Prince Albert, i. 357; + Château de la Belle Gabrielle, i. 394, v. <a href="#page61">61</a>; + Château of Prince Albert, i. 357; Cicero’s Villa, i. 131, 136, 146, 147; Cliff from Bolton Abbey, iii. 321; Constance, i. 367; @@ -16777,7 +16740,7 @@ Righteousness.—Is. lx. 17.</p> Dunstaffnage, i. 231, 285; Ely, i. 410; Eton College, i. 127; - Faïdo, Pass of, iv. 21, 222; + Faïdo, Pass of, iv. 21, 222; Fall of Carthage, i. 146, 171; Fall of Schaffhausen, v. <a href="#page167">167</a>, <a href="#page325">325</a> (note); Flight into Egypt, i. 242; @@ -16863,7 +16826,7 @@ Righteousness.—Is. lx. 17.</p> St. Michael’s Mount, i. 261, 263; Stonehenge, i. 260, 268, v. <a href="#page143">143</a> (English series); Study (Block of Gniess at Chamouni), iii. 125; - Study (Pæstum) v. <a href="#page145">145</a>; + Study (Pæstum) v. <a href="#page145">145</a>; Sun of Venice going to Sea, i. 138, 361; Swiss Fribourg, iii. 125; Tantallon Castle, i. 377; @@ -16873,9 +16836,9 @@ Righteousness.—Is. lx. 17.</p> Temple of Jupiter, i. 131, iii. 310; Temple of Minerva, v. <a href="#page145">145</a>; Tenth Plague of Egypt, i. 130, v. <a href="#page295">295</a> (note), 299; - The Old Téméraire, i. 135, iv. 314, v. <a href="#page118">118</a>, <a href="#page290">290</a>; + The Old Téméraire, i. 135, iv. 314, v. <a href="#page118">118</a>, <a href="#page290">290</a>; Tivoli, i. 132; - Towers of Héve, i. 269; + Towers of Héve, i. 269; Trafalgar, v. <a href="#page290">290</a>; Trematon Castle, i. 268; Ulleswater, i. 322, 258, iv. 300; @@ -16920,7 +16883,7 @@ Righteousness.—Is. lx. 17.</p> Lake of Lucerne, i. 263, 367; Perugia, i. 174; Piacenza, i. 268, 296; - Pæstum, i. 260, 268; + Pæstum, i. 260, 268; Second Vignette, i. 264, 372; The Great St. Bernard, i. 263; Vignette to St. Maurice, i. 263, 263 (note), v. <a href="#page127">127</a>.</p> @@ -16956,7 +16919,7 @@ Righteousness.—Is. lx. 17.</p> Skiddaw, i. 267, 305.</p> <p>   Liber Studiorum:— - Æsacus and Hesperie, i. 130, 400 (note), ii. 162; + Æsacus and Hesperie, i. 130, 400 (note), ii. 162; Ben Arthur, i. 126, iv. 308, 309; Blair Athol, i. 394; Cephalus and Procris, i. 394, 400 (note), ii. 160, 207, iii. 317, v. <a href="#page334">334</a>; @@ -16992,18 +16955,18 @@ Righteousness.—Is. lx. 17.</p> <p>   Rivers of France, i. 129; Amboise, i. 184, 269; - Amboise (the Château), i. 184; + Amboise (the Château), i. 184; Beaugency, i. 184; Blois, i. 183; - Blois (Château de), i. 183, 202, 269; + Blois (Château de), i. 183, 202, 269; Caudebec, i. 269, 302, 366; - Château Gaillard, i. 183; + Château Gaillard, i. 183; Clairmont, i. 269, 303; Confluence of the Seine and Marne, i. 364; Drawings of, i. 130; Havre, i. 224; Honfleur, i. 304; - Jumièges, i. 250, 364; + Jumièges, i. 250, 364; La Chaise de Gargantua, i. 364; Loire, i. 363; Mantes, i. 269; @@ -17117,7 +17080,7 @@ Righteousness.—Is. lx. 17.</p> <div class="list"> <p>Abstraction necessary, when realization is impossible, ii. 206.</p> -<p>Æsthetic faculty, defined, ii. 12, 16.</p> +<p>Æsthetic faculty, defined, ii. 12, 16.</p> <p>Age, the present, mechanical impulse of, iii. 301, 302; spirit of, iii. 302, 303; @@ -17131,12 +17094,12 @@ Righteousness.—Is. lx. 17.</p> angular forms of, iv. 179, 191; how influencing the earth, iv. 193; Dez Charmoz, sharp horn of, iv. 177; - Blaitière, curves of, iv. 185-188; + Blaitière, curves of, iv. 185-188; of Chamouni, sculpture of, 160, 182. See Local Index.</p> <p>Alps, Tyrolese, v. <a href="#page216">216</a>; - aërialness of, at great distances, i. 277; + aërialness of, at great distances, i. 277; gentians on, v. <a href="#page89">89</a>; roses on, v. <a href="#page99">99</a>; pines on, iv. 290, v. <a href="#page86">86</a>; @@ -17310,7 +17273,7 @@ Righteousness.—Is. lx. 17.</p> physical, Venetian love of, v. <a href="#page295">295</a>; vulgar pursuit of, iii. 67.</p> -<p>Beauty, human, ancient, and mediæval admiration of, iii. 197, 198; +<p>Beauty, human, ancient, and mediæval admiration of, iii. 197, 198; Venetian painting of, v. <a href="#page227">227</a>; consummation not found on earth, ii. 134; Greek love of, iii. 177, 189, 197; @@ -17484,7 +17447,7 @@ Righteousness.—Is. lx. 17.</p> effect of association upon, i. 69; delight of great men in, iii. 257; cause of practical failures, three centuries’ want of practice, iii. 257; - mediæval love of, iii. 231; + mediæval love of, iii. 231; Greek sense of, iii. 219; brightness of, when wet, iv. 244; difference of, in mountain and lowland scenery, iv. 346, 347; @@ -17608,7 +17571,7 @@ Righteousness.—Is. lx. 17.</p> makes mountains abodes of misery, iii. 231, and is insensible to their broad forms, iii. 240; conception of rocks, iii. 232, 238; - declaration of mediæval faith, iii. 217; + declaration of mediæval faith, iii. 217; delight in white clearness of sky, iii. 242; idea of the highest art, reproduction of the aspects of things past and present, iii. 18; idea of happiness, iii. 217; @@ -17639,7 +17602,7 @@ Righteousness.—Is. lx. 17.</p> of Moses and Aaron, iv. 378-383; contrasted with life, ii. 79.</p> -<p>Débris, curvature of, iv. 279, 284, 285; +<p>Débris, curvature of, iv. 279, 284, 285; lines of projection produced by, iv. 279; various angles of, iv. 309; effect of gentle streams on, iv. 281; @@ -17710,7 +17673,7 @@ Righteousness.—Is. lx. 17.</p> distinctness of, iii. 36; of Swiss pines, iv. 290; modern, of snowy mountains, unintelligible, i. 286; - as taught in Encyclopædia Britannica, iv. 295; + as taught in Encyclopædia Britannica, iv. 295; inviolable canon of, “draw only what you see,” iv. 16; should be taught every child, iii. 299.</p> @@ -17802,7 +17765,7 @@ Righteousness.—Is. lx. 17.</p> <p class="pt2">Faculty Theoretic, definition of, ii. 12, 18.</p> -<p>Faculty Æsthetic, definition of, ii. 12, 18.</p> +<p>Faculty Æsthetic, definition of, ii. 12, 18.</p> <p>Faith, derivation of the word, v. <a href="#page161">161</a>; developed by love of nature, iii. 299; @@ -17861,7 +17824,7 @@ Righteousness.—Is. lx. 17.</p> <p>Firmament, definition of, iv. 83, v. <a href="#page148">148</a>.</p> -<p>Flowers, mediæval love of, iii. 193; +<p>Flowers, mediæval love of, iii. 193; mountain variety of, iv. 347; typical of the passing and the excellence of human life, iii. 227; sympathy with, ii. 91, v. <a href="#page88">88</a>; @@ -17959,7 +17922,7 @@ Righteousness.—Is. lx. 17.</p> <p>Grass, uses of, iii. 227; type of humility and cheerfulness, and of the passing away of human life, iii. 227, 228, v. <a href="#page96">96</a>; - Greek mode of regarding as opposed to mediæval, iii. 223, 224; + Greek mode of regarding as opposed to mediæval, iii. 223, 224; enamelled, Dante’s “green enamel” description of, iii. 222, 226; damp, Greek love of, iii. 222; careful drawing of, by Venetians, iii. 317; @@ -17985,7 +17948,7 @@ Righteousness.—Is. lx. 17.</p> belief in the presence of Deity in nature, iii. 169-177; absence of feeling for the picturesque, iii. 187; belief in particular gods ruling the elements, iii. 171-177; - and Mediæval feeling, difference between, iii. 218; + and Mediæval feeling, difference between, iii. 218; ideal of God, ii. 223; faith, compared with that of an old Scotch farmer, iii. 188; feeling about waves, iii. 169; @@ -18005,13 +17968,13 @@ Righteousness.—Is. lx. 17.</p> <p>Grotesque, third form of the Ideal, iii. 92-107; three kinds of, iii. 92; noble, iii. 93, 102; - true and false (mediæval and classical) griffins, iii. 101-107; + true and false (mediæval and classical) griffins, iii. 101-107; Spenser’s description of Envy, iii. 94; how fitted for illumination, iii. 101; modern, iv. 385-403.</p> <p>Grotesque Expressional, iv. 385; - modern example of, “Gen. Fèvrier turned traitor,” iv. 388.</p> + modern example of, “Gen. Fèvrier turned traitor,” iv. 388.</p> <p class="pt2">Habit, errors induced by; embarrasses the judgment, ii. 24; modifying effects of, ii. 32; @@ -18277,7 +18240,7 @@ Righteousness.—Is. lx. 17.</p> <p>Landscape, Greek, iii. 178-187, v. <a href="#page211">211</a>-213; effect of on Greek mind, iv. 351; of fifteenth century, iii. 201; - mediæval, iii. 201, 209, 219, iv. 77-79; + mediæval, iii. 201, 209, 219, iv. 77-79; choice of, influenced by national feeling, i. 125; novelty of, iii. 143-151; love of, iii. 280, 294; @@ -18341,7 +18304,7 @@ Righteousness.—Is. lx. 17.</p> of ramification, v. <a href="#page49">49</a>-62; of vegetation, how expressed in early Italian sculpture, v. <a href="#page46">46</a>.</p> -<p>Leaf, Leaves, how treated by mediæval ornamental artists, iii. 204; +<p>Leaf, Leaves, how treated by mediæval ornamental artists, iii. 204; <span class="pagenum"><a name="page380" id="page380"></a>380</span> of American plane, iii. 205; of Alisma plantago, iii. 205; @@ -18374,10 +18337,10 @@ Righteousness.—Is. lx. 17.</p> <p>Life, intensity of, proportionate to intensity of helpfulness, v. <a href="#page155">155</a>; connection of color with, iv. 53, 123, v. <a href="#page322">322</a>; - man’s, see Man, Mediæval.</p> + man’s, see Man, Mediæval.</p> <p>Light, power, gradation, and preciousness of, iv. 34, 37, 53, 69, 71-73; - mediæval love of, iii. 200; + mediæval love of, iii. 200; value of, on what dependent, ii. 48; how affected by color, i. 68, 70; influence of, in architecture, i. 106; @@ -18478,7 +18441,7 @@ Righteousness.—Is. lx. 17.</p> fitted for sculpture, iv. 127; colors of, iv. 140.</p> -<p>Mediæval, ages compared with modern, iii. 250; +<p>Mediæval, ages compared with modern, iii. 250; not “dark,” iii. 252; mind, how opposed to Greek, iii. 193; faith, life the expression of man’s delight in God’s work, iii. 217; @@ -18511,7 +18474,7 @@ Righteousness.—Is. lx. 17.</p> baronial life in the, iii. 192, 195; neglect of agriculture in, iii. 192; made earth a great battlefield, v. <a href="#page5">5</a>. - See Mediæval.</p> + See Mediæval.</p> <p>Mill, J. S., “On Liberty,” v. <a href="#page174">174</a>.</p> @@ -18554,7 +18517,7 @@ Righteousness.—Is. lx. 17.</p> hardship of, iv. 335; his life of, “gloom,” iv. 320.</p> -<p>Mountains (see also Banks, Crests, Débris, &c.), uses and functions of, iv. 91; +<p>Mountains (see also Banks, Crests, Débris, &c.), uses and functions of, iv. 91; influences of, on artistic power, iv. 356; influence on purity of religion, doctrine, and practice, iv. 351; monkish view of, iv. 377, iii. 196; @@ -18590,7 +18553,7 @@ Righteousness.—Is. lx. 17.</p> Dante’s conception of, iii. 229, 230, 239; Dante’s repugnance to, iii. 240; influence of the Apennines on Dante, iii. 231; - mediæval feeling respecting, iii. 191, 229; + mediæval feeling respecting, iii. 191, 229; symbolism of, in Dante, iii. 240; not represented by the Greeks, iii. 145; scenery not attempted by old masters, i. 278; @@ -18624,14 +18587,14 @@ Righteousness.—Is. lx. 17.</p> Ceto, deep places of the sea, v. <a href="#page138">138</a>, <a href="#page304">304</a>; Chrysaor, angel of lightning, v. <a href="#page140">140</a>; Danae’s golden rain, v. <a href="#page140">140</a>; - Danaïdes, sieves of, v. <a href="#page140">140</a>; + Danaïdes, sieves of, v. <a href="#page140">140</a>; Dragon of Hesperides, v. <a href="#page302">302</a>, <a href="#page308">308</a>, <a href="#page309">309</a>; Eurybia, tidal force of the sea, v. <a href="#page138">138</a>, <a href="#page304">304</a>; Fates, v. <a href="#page301">301</a>; Garden of Hesperides, v. <a href="#page300">300</a>-316; Goddess of Discord, Eris, v. <a href="#page305">305</a>-310; Gorgons, storm-clouds, v. <a href="#page138">138</a>, <a href="#page304">304</a>; - Graiæ, soft rain-clouds, 138, 304; + Graiæ, soft rain-clouds, 138, 304; Hesperides, v. <a href="#page303">303</a>, <a href="#page310">310</a>; Nereus, god of the sea, v. <a href="#page138">138</a>, <a href="#page303">303</a>; Minerva’s shield, Gorgon’s head on, v. <a href="#page140">140</a>; @@ -18666,9 +18629,9 @@ Righteousness.—Is. lx. 17.</p> how modified by inventive painters, v. <a href="#page181">181</a>; as represented by old masters, i. 77, 176; treatment of, by old landscape painters, i. 75; - feeling respecting, of mediæval and Greek knight, iii. 177, 192, 193, 197, v. <a href="#page5">5</a>; - drawing from (Encyclopædia Britannica), iv. 295. - See Beauty, Deity, Greek, Mediæval, Mystery, also Clouds, Mountains, etc.</p> + feeling respecting, of mediæval and Greek knight, iii. 177, 192, 193, 197, v. <a href="#page5">5</a>; + drawing from (Encyclopædia Britannica), iv. 295. + See Beauty, Deity, Greek, Mediæval, Mystery, also Clouds, Mountains, etc.</p> <p>Neatness, modern love of, iii. 109, iv. 3-6; vulgarity of excessive, v. <a href="#page271">271</a>.</p> @@ -18740,7 +18703,7 @@ Righteousness.—Is. lx. 17.</p> distinctively the art of coloring, v. <a href="#page316">316</a>; perfect, indistinctness necessary to, iv. 64; great, expressive of nobleness of mind, v. <a href="#page178">178</a>, <a href="#page191">191</a>. - See Landscape Painting, Animal Painting, Art, Artist, Truth, Mediæval, Renaissance.</p> + See Landscape Painting, Animal Painting, Art, Artist, Truth, Mediæval, Renaissance.</p> <p>Past and present, sadly sundered, iv. 4.</p> @@ -18750,8 +18713,8 @@ Righteousness.—Is. lx. 17.</p> <p>Perfectness, law of, v. <a href="#page180">180</a>-192.</p> -<p>Perspective, aërial, iii. 248; - aërial, and tone, difference between, i. 141; +<p>Perspective, aërial, iii. 248; + aërial, and tone, difference between, i. 141; despised in thirteenth century art, iii. 18; of clouds, v. <a href="#page114">114</a>, <a href="#page118">118</a>; of Turner’s diagrams, v. <a href="#page341">341</a> (note).</p> @@ -18866,7 +18829,7 @@ Righteousness.—Is. lx. 17.</p> <p>Pride, cause of mistakes, iv. 50; destructive of ideal character, ii. 122; - in idleness, of mediæval knights, iii. 192; + in idleness, of mediæval knights, iii. 192; in Venetian landscape, v. <a href="#page218">218</a>.</p> <p>Proportion, apparent and constructive, ii. 57-63; @@ -18971,13 +18934,13 @@ Righteousness.—Is. lx. 17.</p> power of, in supporting vegetation, iv. 125, 130; varied vegetation and color of, i. 169; contortion of, iv. 116, 150, 152, 157; - débris of, iv. 119; + débris of, iv. 119; lamination of, iv. 113, 127, i. 291; limestone, iv. 130, 144, 209, 250, 258; sandstone, iv. 132; light and shade of, i. 311; overhanging of, iv. 120, 254, 257; - mediæval landscape, iii. 229-247; + mediæval landscape, iii. 229-247; early painters’ drawing of, iii. 239; Dante’s dislike of, iii. 230; Dante’s description of, iii. 231, 236; @@ -19093,7 +19056,7 @@ Righteousness.—Is. lx. 17.</p> as given by various masters, iv. 47; of colorists right, of chiaroscurists untrue, iv. 49; exaggeration of, in photography, iv. 63; - rejection of, by mediævals, iii. 200.</p> + rejection of, by mediævals, iii. 200.</p> <p>Shakspere, creative order of poets, iii. 156 (note); his entire sympathy with all creatures, iv. 362-363; @@ -19178,7 +19141,7 @@ Righteousness.—Is. lx. 17.</p> <p>Spring, our time for staying in town, v. <a href="#page89">89</a>.</p> -<p>Stones, how treated by mediæval artists, iv. 302; +<p>Stones, how treated by mediæval artists, iv. 302; carefully realized in ancient art, iv. 301; false modern ideal, iv. 308; true drawing of, iv. 308. See Rock.</p> @@ -19225,7 +19188,7 @@ Righteousness.—Is. lx. 17.</p> <p>Symmetry, type of divine justice, ii. 72-74; value of, ii. 222; use of, in religious art, ii. 73, iv. 75; - love of, in mediæval art, iii. 199; + love of, in mediæval art, iii. 199; appearance of, in mountain form, i. 297; of curvature in trees, i. 400, v. <a href="#page34">34</a>; of tree-stems, v. <a href="#page58">58</a>, <a href="#page60">60</a>; @@ -19268,7 +19231,7 @@ Righteousness.—Is. lx. 17.</p> three operations of, ii. 101; how connected with vital beauty, ii. 91; how related to the imagination, ii. 157; - should not be called æsthetic, ii. 12; + should not be called æsthetic, ii. 12; as concerned with moral functions of animals, ii. 97, 98.</p> <p>Theoria, meaning of, ii. 12, 18; @@ -19434,7 +19397,7 @@ Righteousness.—Is. lx. 17.</p> <p class="pt2">Ugliness, sometimes permitted in nature, i. 64; is a positive thing, iii. 24; - delight in, Martin Schöngauer, iv. 329, 333; + delight in, Martin Schöngauer, iv. 329, 333; of modern costume, v. <a href="#page273">273</a> (note), iii. 254, 255; of modern architecture, iii. 253, v. <a href="#page347">347</a>.</p> @@ -19525,7 +19488,7 @@ Righteousness.—Is. lx. 17.</p> execrable painting of, by elder landscape masters, i. 328; as painted by the modern, i. 348-354; as painted by Turner, i. 355-383; - as represented by mediæval art, iii. 209; + as represented by mediæval art, iii. 209; truth of, i. 325-383. See Sea, Torrents, Foam.</p> <p>Waves, as described by Homer and Keats, iii. 168; @@ -19548,381 +19511,7 @@ Righteousness.—Is. lx. 17.</p> <div class="center ptb6"><img style="width:258px; height:35px; vertical-align: middle;" src="images/img0.jpg" alt="" /></div> - - - - - - - -<pre> - - - - - -End of Project Gutenberg's Modern Painters, Volume V (of 5), by John Ruskin - -*** END OF THIS PROJECT GUTENBERG EBOOK MODERN PAINTERS, VOLUME V (OF 5) *** - -***** This file should be named 44329-h.htm or 44329-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/4/3/2/44329/ - -Produced by Marius Masi, Juliet Sutherland and the Online -Distributed Proofreading Team at http://www.pgdp.net - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. Special rules, -set forth in the General Terms of Use part of this license, apply to -copying and distributing Project Gutenberg-tm electronic works to -protect the PROJECT GUTENBERG-tm concept and trademark. Project -Gutenberg is a registered trademark, and may not be used if you -charge for the eBooks, unless you receive specific permission. If you -do not charge anything for copies of this eBook, complying with the -rules is very easy. You may use this eBook for nearly any purpose -such as creation of derivative works, reports, performances and -research. They may be modified and printed and given away--you may do -practically ANYTHING with public domain eBooks. Redistribution is -subject to the trademark license, especially commercial -redistribution. - - - -*** START: FULL LICENSE *** - -THE FULL PROJECT GUTENBERG LICENSE -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK - -To protect the Project Gutenberg-tm mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase "Project -Gutenberg"), you agree to comply with all the terms of the Full Project -Gutenberg-tm License available with this file or online at - www.gutenberg.org/license. - - -Section 1. General Terms of Use and Redistributing Project Gutenberg-tm -electronic works - -1.A. By reading or using any part of this Project Gutenberg-tm -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or destroy -all copies of Project Gutenberg-tm electronic works in your possession. -If you paid a fee for obtaining a copy of or access to a Project -Gutenberg-tm electronic work and you do not agree to be bound by the -terms of this agreement, you may obtain a refund from the person or -entity to whom you paid the fee as set forth in paragraph 1.E.8. - -1.B. "Project Gutenberg" is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg-tm electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg-tm electronic works if you follow the terms of this agreement -and help preserve free future access to Project Gutenberg-tm electronic -works. See paragraph 1.E below. - -1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" -or PGLAF), owns a compilation copyright in the collection of Project -Gutenberg-tm electronic works. Nearly all the individual works in the -collection are in the public domain in the United States. If an -individual work is in the public domain in the United States and you are -located in the United States, we do not claim a right to prevent you from -copying, distributing, performing, displaying or creating derivative -works based on the work as long as all references to Project Gutenberg -are removed. Of course, we hope that you will support the Project -Gutenberg-tm mission of promoting free access to electronic works by -freely sharing Project Gutenberg-tm works in compliance with the terms of -this agreement for keeping the Project Gutenberg-tm name associated with -the work. You can easily comply with the terms of this agreement by -keeping this work in the same format with its attached full Project -Gutenberg-tm License when you share it without charge with others. - -1.D. The copyright laws of the place where you are located also govern -what you can do with this work. Copyright laws in most countries are in -a constant state of change. If you are outside the United States, check -the laws of your country in addition to the terms of this agreement -before downloading, copying, displaying, performing, distributing or -creating derivative works based on this work or any other Project -Gutenberg-tm work. The Foundation makes no representations concerning -the copyright status of any work in any country outside the United -States. - -1.E. Unless you have removed all references to Project Gutenberg: - -1.E.1. The following sentence, with active links to, or other immediate -access to, the full Project Gutenberg-tm License must appear prominently -whenever any copy of a Project Gutenberg-tm work (any work on which the -phrase "Project Gutenberg" appears, or with which the phrase "Project -Gutenberg" is associated) is accessed, displayed, performed, viewed, -copied or distributed: - -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 - -1.E.2. If an individual Project Gutenberg-tm electronic work is derived -from the public domain (does not contain a notice indicating that it is -posted with permission of the copyright holder), the work can be copied -and distributed to anyone in the United States without paying any fees -or charges. If you are redistributing or providing access to a work -with the phrase "Project Gutenberg" associated with or appearing on the -work, you must comply either with the requirements of paragraphs 1.E.1 -through 1.E.7 or obtain permission for the use of the work and the -Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or -1.E.9. - -1.E.3. If an individual Project Gutenberg-tm electronic work is posted -with the permission of the copyright holder, your use and distribution -must comply with both paragraphs 1.E.1 through 1.E.7 and any additional -terms imposed by the copyright holder. Additional terms will be linked -to the Project Gutenberg-tm License for all works posted with the -permission of the copyright holder found at the beginning of this work. - -1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg-tm. - -1.E.5. Do not copy, display, perform, distribute or redistribute this -electronic work, or any part of this electronic work, without -prominently displaying the sentence set forth in paragraph 1.E.1 with -active links or immediate access to the full terms of the Project -Gutenberg-tm License. - -1.E.6. You may convert to and distribute this work in any binary, -compressed, marked up, nonproprietary or proprietary form, including any -word processing or hypertext form. However, if you provide access to or -distribute copies of a Project Gutenberg-tm work in a format other than -"Plain Vanilla ASCII" or other format used in the official version -posted on the official Project Gutenberg-tm web site (www.gutenberg.org), -you must, at no additional cost, fee or expense to the user, provide a -copy, a means of exporting a copy, or a means of obtaining a copy upon -request, of the work in its original "Plain Vanilla ASCII" or other -form. Any alternate format must include the full Project Gutenberg-tm -License as specified in paragraph 1.E.1. - -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg-tm works -unless you comply with paragraph 1.E.8 or 1.E.9. - -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg-tm electronic works provided -that - -- You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg-tm works calculated using the method - you already use to calculate your applicable taxes. The fee is - owed to the owner of the Project Gutenberg-tm trademark, but he - has agreed to donate royalties under this paragraph to the - Project Gutenberg Literary Archive Foundation. Royalty payments - must be paid within 60 days following each date on which you - prepare (or are legally required to prepare) your periodic tax - returns. Royalty payments should be clearly marked as such and - sent to the Project Gutenberg Literary Archive Foundation at the - address specified in Section 4, "Information about donations to - the Project Gutenberg Literary Archive Foundation." - -- You provide a full refund of any money paid by a user who notifies - you in writing (or by e-mail) within 30 days of receipt that s/he - does not agree to the terms of the full Project Gutenberg-tm - License. You must require such a user to return or - destroy all copies of the works possessed in a physical medium - and discontinue all use of and all access to other copies of - Project Gutenberg-tm works. - -- You provide, in accordance with paragraph 1.F.3, a full refund of any - money paid for a work or a replacement copy, if a defect in the - electronic work is discovered and reported to you within 90 days - of receipt of the work. - -- You comply with all other terms of this agreement for free - distribution of Project Gutenberg-tm works. - -1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm -electronic work or group of works on different terms than are set -forth in this agreement, you must obtain permission in writing from -both the Project Gutenberg Literary Archive Foundation and Michael -Hart, the owner of the Project Gutenberg-tm trademark. Contact the -Foundation as set forth in Section 3 below. - -1.F. - -1.F.1. Project Gutenberg volunteers and employees expend considerable -effort to identify, do copyright research on, transcribe and proofread -public domain works in creating the Project Gutenberg-tm -collection. Despite these efforts, Project Gutenberg-tm electronic -works, and the medium on which they may be stored, may contain -"Defects," such as, but not limited to, incomplete, inaccurate or -corrupt data, transcription errors, a copyright or other intellectual -property infringement, a defective or damaged disk or other medium, a -computer virus, or computer codes that damage or cannot be read by -your equipment. - -1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right -of Replacement or Refund" described in paragraph 1.F.3, the Project -Gutenberg Literary Archive Foundation, the owner of the Project -Gutenberg-tm trademark, and any other party distributing a Project -Gutenberg-tm electronic work under this agreement, disclaim all -liability to you for damages, costs and expenses, including legal -fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT -LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE -PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. - -1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium with -your written explanation. The person or entity that provided you with -the defective work may elect to provide a replacement copy in lieu of a -refund. If you received the work electronically, the person or entity -providing it to you may choose to give you a second opportunity to -receive the work electronically in lieu of a refund. If the second copy -is also defective, you may demand a refund in writing without further -opportunities to fix the problem. - -1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO OTHER -WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO -WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. - -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of damages. -If any disclaimer or limitation set forth in this agreement violates the -law of the state applicable to this agreement, the agreement shall be -interpreted to make the maximum disclaimer or limitation permitted by -the applicable state law. The invalidity or unenforceability of any -provision of this agreement shall not void the remaining provisions. - -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg-tm electronic works in accordance -with this agreement, and any volunteers associated with the production, -promotion and distribution of Project Gutenberg-tm electronic works, -harmless from all liability, costs and expenses, including legal fees, -that arise directly or indirectly from any of the following which you do -or cause to occur: (a) distribution of this or any Project Gutenberg-tm -work, (b) alteration, modification, or additions or deletions to any -Project Gutenberg-tm work, and (c) any Defect you cause. - - -Section 2. Information about the Mission of Project Gutenberg-tm - -Project Gutenberg-tm is synonymous with the free distribution of -electronic works in formats readable by the widest variety of computers -including obsolete, old, middle-aged and new computers. It exists -because of the efforts of hundreds of volunteers and donations from -people in all walks of life. - -Volunteers and financial support to provide volunteers with the -assistance they need are critical to reaching Project Gutenberg-tm's -goals and ensuring that the Project Gutenberg-tm collection will -remain freely available for generations to come. In 2001, the Project -Gutenberg Literary Archive Foundation was created to provide a secure -and permanent future for Project Gutenberg-tm and future generations. -To learn more about the Project Gutenberg Literary Archive Foundation -and how your efforts and donations can help, see Sections 3 and 4 -and the Foundation information page at www.gutenberg.org - - -Section 3. Information about the Project Gutenberg Literary Archive -Foundation - -The Project Gutenberg Literary Archive Foundation is a non profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation's EIN or federal tax identification -number is 64-6221541. Contributions to the Project Gutenberg -Literary Archive Foundation are tax deductible to the full extent -permitted by U.S. federal laws and your state's laws. - -The Foundation's principal office is located at 4557 Melan Dr. S. -Fairbanks, AK, 99712., but its volunteers and employees are scattered -throughout numerous locations. Its business office is located at 809 -North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email -contact links and up to date contact information can be found at the -Foundation's web site and official page at www.gutenberg.org/contact - -For additional contact information: - Dr. Gregory B. Newby - Chief Executive and Director - gbnewby@pglaf.org - -Section 4. Information about Donations to the Project Gutenberg -Literary Archive Foundation - -Project Gutenberg-tm depends upon and cannot survive without wide -spread public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS. - -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To -SEND DONATIONS or determine the status of compliance for any -particular state visit www.gutenberg.org/donate - -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. - -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. - -Please check the Project Gutenberg Web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. -To donate, please visit: www.gutenberg.org/donate - - -Section 5. General Information About Project Gutenberg-tm electronic -works. - -Professor Michael S. Hart was the originator of the Project Gutenberg-tm -concept of a library of electronic works that could be freely shared -with anyone. For forty years, he produced and distributed Project -Gutenberg-tm eBooks with only a loose network of volunteer support. - -Project Gutenberg-tm eBooks are often created from several printed -editions, all of which are confirmed as Public Domain in the U.S. -unless a copyright notice is included. Thus, we do not necessarily -keep eBooks in compliance with any particular paper edition. - -Most people start at our Web site which has the main PG search facility: - - www.gutenberg.org - -This Web site includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. - - -</pre> - +<div>*** END OF THE PROJECT GUTENBERG EBOOK 44329 ***</div> </body> </html> |