,library ,edition      ,,the ,,complete 
,,works              ,,of               
,,john ,,ruskin            ,,modern     
,,painters      ,,volume ,,iv--,,of     
,,mountain ,,beauty                _/   
,,of ,,leaf ,,beauty    ,,volume ,v     
,,of ,,cloud ,,beauty               ,,of
 ,,ideas ,,of ,,relation                
,,national ,,library ,,association      
,,new ,,york         ,,chicago          
,,modern ,,painters4      ,,volume ,v41 
,,completing ,,the ,,work ,,and         
,,containing        ,,parts      ,,vi4  
,,of ,,leaf ,,beauty4--,,vii4 ,,of      
,,cloud ,,beauty4      ,,viii4 ,,of     
,,ideas ,,of ,,relation4        #a4 ,,of
 ,,invention ,,formal4      ,,ix4 ,,of  
,,ideas ,,of ,,relation4        #b4 ,,of
 ,,invention ,,spiritual4               
,,preface4      ,the disproportion1     
between the length of time occupied in  
the  preparation of this volume1 and the
 slightness of apparent result1 is so   
vexatious to me1 and must seem so       
strange to the reader1 that he will     

perhaps bear with my stating some of the
 matters which have employed or         
interrupted me between #ahee and #ahfj4 
,i needed rest after finishing the      
fourth volume1 and did little in the    
following summer4 ,the winter of  #ahef 
was spent in writing the ,elements of   
,drawing1 for which ,i thought  there   
was immediate need2 and in examining    
with more attention than they  deserved 
some of the modern theories of political
 economy1 to which  there was           
necessarily reference in my addresses at
 ,manchester4 ,the  ,manchester         
,exhibition then gave me some work1     
chiefly in its magnificent  ,reynolds'  
constellation2 and thence ,i went on    
into ,scotland1 to look at  ,dumblane   
and ,jedburgh1 and some other favorite  
sites of ,turner's2 which  ,i had not   
all seen1 when ,i received notice from  
,mr4 ,wornum that he had  obtained for  
me permission1 from the ,trustees of the
 ,national ,gallery1  to arrange1 as ,i 
thought best1 the ,turner drawings      

belonging to the  nation2 on which ,i   
returned to ,london immediately4    ,in 
seven tin boxes in the lower room of the
 ,national ,gallery ,i found  upwards of
 nineteen thousand pieces of paper1     
drawn upon by ,turner in  one way or    
another4 ,many on both sides2 some with 
four1 five1 or six  subjects on each    
side 7the pencil point digging          
spiritedly through from  the foregrounds
 of the front into the tender pieces of 
sky on the back72  some in chalk1 which 
the touch of the finger would sweep     
away2#a others  in ink1 rotted into     
holes2 others 7some splendid colored    
drawings among  them7 long eaten away by
 damp and mildew1 and falling into dust 
at the  edges1 in capes and bays of     
fragile decay2 others worm-eaten1 some  
mouse-eaten1 many torn half-way through2
 numbers doubled 7quadrupled1 ,i  should
 say7 up into four1 being ,turner's     
favorite mode of packing for            
travelling2 nearly all rudely flattened 
out from the bundles in which  ,turner  

had finally rolled them up and squeezed 
them into his drawers in  ,queen ,anne  
,street4 ,dust of thirty years'         
accumulation1 black1 dense1 and  sooty1 
lay in the rents of the crushed and     
crumpled edges of these  flattened      
bundles1 looking like a jagged black    
frame1 and producing  altogether        
unexpected effects in brilliant portions
 of skies1 whence an  accidental or     
experimental finger mark of the first   
bundle-unfolder had  swept it away4     
,about half1 or rather more1 of the     
entire number consisted of pencil       
sketches1 in flat oblong pocket-books1  
dropping to pieces at the back1  tearing
 laterally whenever opened1 and every   
drawing rubbing itself into  the one    
opposite4 ,these first ,i paged with my 
own hand2 then unbound2  and laid every 
leaf separately in a clean sheet of     
perfectly smooth  writing paper1 so that
 it might receive no farther injury4    
,then1  enclosing the contents and      
boards of each book 7usually ninety-two 

leaves1 more or less drawn on both      
sides1 with two sketches on the  boards 
at the beginning and end7 in a separate 
sealed packet1 ,i returned  it to its   
tin box4 ,the loose sketches needed more
 trouble4 ,the dust had  first to be got
 off them 7from the chalk ones it could 
only be blown  off72 then they had to be
 variously flattened2 the torn ones to  
be laid  down1 the loveliest guarded1 so
 as to prevent all future friction2 and 
four hundred of the most characteristic 
framed and glazed1 and cabinets         
constructed for them which would admit  
of their free use by the public4  ,with 
two assistants1 ,i was at work all the  
autumn and winter of #aheg1  every day1 
all day long1 and often far into the    
night4    ,the manual labor would not   
have hurt me2 but the excitement        
involved in  seeing unfolded the whole  
career of ,turner's mind during his     
life1  joined with much sorrow at the   
state in which nearly all his most      
precious work had been left1 and with   

great anxiety1 and heavy sense of       
responsibility besides1 were very       
trying2 and ,i have never in my life    
felt so much exhausted as when ,i locked
 the last box1 and gave the keys  to    
,mr4 ,wornum1 in ,may1 #aheh4 ,among the
 later colored sketches1 there was  one 
magnificent series1 which appeared to be
 of some towns along the  course of the 
,rhine on the north of ,switzerland4    
,knowing that these  towns were         
peculiarly liable to be injured by      
modern railroad works1 ,i  thought ,i   
might rest myself by hunting down these 
,turner subjects1 and  sketching what ,i
 could of them1 in order to illustrate  
his compositions4    ,as ,i expected1   
the subjects in question were all on1 or
 near1 that east  and west reach of the 
,rhine between ,constance and ,basle4   
,most of them  are of ,rheinfelden1     
,seckingen1 ,lauffenbourg1              
,schaffhausen1 and the ,swiss  ,baden4  
,having made what notes were possible to
 me of these subjects in the  summer    

7one or two are used in this volume71 ,i
 was crossing ,lombardy in  order to    
examine some points of the shepherd     
character in the ,vaudois  valleys1     
thinking to get my book finished next   
spring2 when ,i  unexpectedly found some
 good ,paul ,veroneses at ,turin4 ,there
 were several  questions respecting the 
real motives of ,venetian work that     
still  troubled me not a little1 and    
which ,i had intended to work out in the
  ,louvre2 but seeing that ,turin was a 
good place wherein to keep out of       
people's way1 ,i settled there instead1 
and began with ,veronese's ,queen  of   
,sheba2--when1 with much consternation1 
but more delight1 ,i found that  ,i had 
never got to the roots of the moral     
power of the ,venetians1 and  that they 
needed still another and a very stern   
course of study4 ,there  was nothing for
 it but to give up the book for that    
year4 ,the winter was  spent mainly in  
trying to get at the mind of ,titian2   
not a light  winter's task2 of which the

 issue1 being in many ways very         
unexpected to  me 7the reader will find 
it partly told towards the close of this
  volume71 necessitated my going in the 
spring to ,berlin1 to see ,titian's     
portrait of ,lavinia there1 and to      
,dresden to see the ,tribute ,money1 the
  elder ,lavinia1 and girl in white1    
with the flag fan4 ,another portrait1   
at ,dresden1 of a lady in a dress of    
rose and gold1 by me unheard of  before1
 and one of an admiral1 at ,munich1 had 
like to have kept me in  ,germany all   
summer4    ,getting home at last1 and   
having put myself to arrange materials  
of  which it was not easy1 after so much
 interruption1 to recover the           
command2--which also were now not       
reducible to a single volume--two       
questions occurred in the outset1 one in
 the section on vegetation1  respecting 
the origin of wood2 the other in the    
section on sea1  respecting curves of   
waves2 to neither of which1 from        
botanist or  mathematicians1 any        

sufficient answer seemed obtainable4    
,in other respects also the section on  
the sea was wholly unsatisfactory  to   
me3 ,i knew little of ships1 nothing of 
blue open water4 ,turner's  pathetic    
interest in the sea1 and his            
inexhaustible knowledge of  shipping1   
deserved more complete and accurate     
illustration than was at  all possible  
to me2 and the mathematical difficulty  
lay at the beginning  of all            
demonstration of facts4 ,i determined to
 do this piece of work  well1 or not at 
all1 and threw the proposed section out 
of this volume4  ,if ,i ever am able to 
do what ,i want with it 7and this is    
barely  probable71 it will be a separate
 book2 which1 on other accounts1 ,i do  
not regret1 since many persons might be 
interested in studies of the  shipping  
of the old ,nelson times1 and of the    
sea-waves and sailor  character of all  
times1 who would not care to encumber   
themselves with  five volumes of a work 
on ,art4    ,the vegetation question    

had1 however1 at all cost1 to be made   
out as  best might be2 and again lost me
 much time4 ,many of the results of this
  inquiry1 also1 can only be given1 if  
ever1 in a detached form4    ,during    
these various discouragements1 the      
preparation of the ,plates  could not go
 on prosperously4 ,drawing is difficult 
enough1 undertaken in  quietness3 it is 
impossible to bring it to any point of  
fine rightness  with half-applied       
energy4    ,many experiments were made  
in hope of expressing ,turner's peculiar
  execution and touch by facsimile4     
,they cost time1 and strength1 and1 for 
the present1 have failed2 many elaborate
 drawings1 made during the  winter of   
#aheh1 having been at last thrown aside4
 ,some good may  afterwards come of     
these2 but certainly not by reduction to
 the size of  the page of this book1 for
 which1 even of smaller subjects1 ,i    
have not  prepared the most interesting1
 for ,i do not wish the possession of   
any  effective and valuable engravings  

from ,turner to be contingent on the    
purchasing a book of mine4#b    ,feebly 
and faultfully1 therefore1 yet as well  
as ,i can do it under these             
discouragements1 the book is at last    
done2 respecting the general course  of 
which1 it will be kind and well if the  
reader will note these few  points that 
follow4    ,the first volume was the    
expansion of a reply to a magazine      
article2 and  was not begun because ,i  
then thought myself qualified to write a
  systematic treatise on ,art2 but      
because ,i at least knew1 and knew it to
  be demonstrable1 that ,turner was     
right and true1 and that his critics    
were wrong1 false1 and base4 ,at that   
time ,i had seen much of nature1 and    
had been several times in ,italy1       
wintering once in ,rome2 but had chiefly
  delighted in northern art1 beginning1 
when a mere boy1 with ,rubens and       
,rembrandt4 ,it was long before ,i got  
quit of a boy's veneration for  ,rubens'
 physical art-power2 and the reader     

will1 perhaps1 on this ground  forgive  
the strong expressions of admiration for
 ,rubens1 which1 to my  great regret1   
occur in the first volume4    ,finding  
myself1 however1 engaged seriously in   
the essay1 ,i went1 before  writing the 
second volume1 to study in ,italy2 where
 the strong reaction  from the influence
 of ,rubens threw me at first too far   
under that of  ,angelico and ,raphael1  
and1 which was the worst harm that came 
of that  ,rubens influence1 blinded me  
long to the deepest qualities of        
,venetian  art2 which1 the reader may   
see by expressions occurring not only in
 the  second1 but even in the third and 
fourth volumes1 ,i thought1 however     
powerful1 yet partly luxurious and      
sensual1 until ,i was led into the      
final inquiries above related4    ,these
 oscillations of temper1 and            
progressions of discovery1 extending    
over a period of seventeen years1 ought 
not to diminish the reader's  confidence
 in the book4 ,let him be assured of    

this1 that unless  important changes are
 occurring in his opinions continually1 
all his  life long1 not one of those    
opinions can be on any questionable     
subject  true4 ,all true opinions are   
living1 and show their life by being    
capable  of nourishment2 therefore of   
change4 ,but their change is that of a  
tree--not of a cloud4    ,in the main   
aim and principle of the book1 there is 
no variation1 from  its first syllable  
to its last4 ,it declares the           
perfectness and eternal  beauty of the  
work of ,god2 and tests all work of man 
by concurrence  with1 or subjection to  
that4 ,and it differs from most books1  
and has a  chance of being in some      
respects better for the difference1 in  
that it  has not been written either for
 fame1 or for money1 or for             
conscience-sake1 but of necessity4      
,it has not been written for praise4    
,had ,i wished to gain present          
reputation1 by a little flattery        
adroitly used in some places1 a sharp   

word or two withheld in others1 and the 
substitution of verbiage  generally for 
investigation1 ,i could have made the   
circulation of these  volumes tenfold   
what it has been in modern society4 ,had
 ,i wished for  future fame1 ,i should  
have written one volume1 not five4      
,also1 it has  not been written for     
money4 ,in this wealth-producing        
country1 seventeen  years' labor could  
hardly have been invested with less     
chance of  equivalent return4    ,also1 
it has not been written for             
conscience-sake4 ,i had no definite     
hope in writing it2 still less any sense
 of its being required of me as  a duty4
 ,it seems to me1 and seemed always1    
probable1 that ,i might have  done much 
more good in some other way4 ,but it has
 been written of  necessity4 ,i saw an  
injustice done1 and tried to remedy it4 
,i heard  falsehood taught1 and was     
compelled to deny it4 ,nothing else was 
possible to me4 ,i knew not how little  
or how much might come of the  business1

 or whether ,i was fit for it2 but here 
was the lie full set in  front of me1   
and there was no way round it1 but only 
over it4 ,so that1  as the work changed 
like a tree1 it was also rooted like a  
tree--not  where it would1 but where    
need was2 on which1 if any fruit grow   
such as  you can like1 you are welcome  
to gather it without thanks2 and so far 
as  it is poor or bitter1 it will be    
your justice to refuse it without       
reviling4      ,,footnotes3      #a ,the
 best book of studies for his great     
shipwrecks contained about      a       
quarter of a pound of chalk dbris1 black
 and white1 broken off the      crayons 
with which ,turner had drawn furiously  
on both sides of the      leaves2 every 
leaf1 with peculiar foresight and       
consideration of      difficulties to be
 met by future mounters1 containing half
 of one      subject on the front of it1
 and half of another on the back4       
#b ,to ,mr4 ,armytage1 ,mr4 ,cuff1 and  
,mr4 ,cousen1 ,i have to express my     

sincere thanks for the patience1 and my 
sincere admiration of the      skill1   
with which they have helped me4 ,their  
patience1 especially1      has been put 
to severe trial by the rewardless toil  
required to      produce facsimiles of  
drawings in which the slightness of     
subject      could never attract any due
 notice to the excellence of            
workmanship4        ,aid1 just as       
disinterested1 and deserving of as      
earnest      acknowledgment1 has been   
given me by ,miss ,byfield1 in her      
faultless      facsimiles of my careless
 sketches2 by ,miss ,o4 ,hill1 who      
prepared the      copies which ,i       
required from portions of the pictures  
of the old      masters2 and by ,mr4    
,robin ,allen1 in accurate line studies 
from      nature1 of which1 though only 
one is engraved in this volume1 many    
others have been most serviceable1 both 
to it and to me4          ,,table ,,of  
,,contents4        ,,part ,,vi4         
,,on ,,leaf ,,beauty4                   

,,page    ,,preface                     
v      ,,chapter ,i4--,the ,earth-,veil 
#a          ,,ii4--,the ,leaf ,orders   
#f         ,,iii4--,the ,bud            
#aj          ,,iv4--,the ,leaf          
#ba           ,v4--,leaf ,aspects       
#cd          ,,vi4--,the ,branch        
#ci         ,,vii4--,the ,stem          
#di        ,,viii4--,the ,leaf          
,monuments              #fc             
,,ix4--,the ,leaf ,shadows              
#gg           ,x4--,leaves ,motionless  
#hh        ,,part ,,vii4      ,,of      
,,cloud ,,beauty4      ,,chapter        
,i4--,the ,cloud ,balancings            
#aja          ,,ii4--,the ,cloud-,flocks
               #ajh         ,,iii4--,the
 ,cloud-,chariots             #abb      
,,iv4--,the ,angel of the ,sea          
#acc        ,,part ,,viii4      ,,of    
,,ideas ,,of ,,relation3--,i4 ,,of      
,,invention ,,formal4      ,,chapter    
,i4--,the ,law of ,help                 
#aec          ,,ii4--,the ,task of the  
,least          #afd                    

,,iii4--,the ,rule of the ,greatest     
#age          ,,iv4--,the ,law of       
,perfectness         #ahj        ,,part 
,,ix4      ,,of ,,ideas ,,of            
,,relation3--,,ii4 ,,of ,,invention     
,,spiritual4      ,,chapter ,i4--,the   
,dark ,mirror                #aic       
,,ii4--,the ,lance of ,pallas           
#bjb         ,,iii4--,the ,wings of the 
,lion          #bad                     
,,iv4--,durer and ,salvator             
#bcj           ,v4--,claude and ,poussin
             #bda                       
,,vi4--,rubens and ,cuyp                
#bdi         ,,vii4--,of ,vulgarity     
#bfa         ,,viii4--,wouvermans and   
,angelico       #bgg                    
,,ix4--,the ,two ,boyhoods              
#bhf           ,x4--,the ,nereid's      
,guard             #bih                 
,,xi4--,the ,hesperid gl                
#cad         ,,xii4--,peace      #cci   
,,local ,,index4      ,,index ,,to      
,,painters ,,and ,,pictures4            
,,topical ,,index4          ,,list ,,of 

,,plates ,,to ,,vol4 ,v4                
,drawn by                  ,engraved by 
,frontispiece1 ,ancilla ,domini         
,fra ,angelico              ,,wm4 ,,hall
      ,plate                            
,facing page      #ea4 ,the ,dryad's    
,toil                ,j4 ,ruskin        
,j4 ,c4 ,,armytage    #ab    #eb4       
,spirals of ,thorn                ,r4   
,allen                  ,r4 ,p4 ,,cuff  
#bf    #ec4 ,the ,dryad's ,crown        
,j4 ,ruskin                 ,j4 ,c4     
,,armytage    #cf    #ed4 ,dutch        
,leafage                   ,cuyp and    
,hobbima          ,j4 ,,cousen          
#cg    #ee4 ,by the ,way-side           
,j4 ,m4 ,w4 ,turner           ,j4 ,c4   
,,armytage   #ch    #ef4 ,sketch by a   
,clerk of the ,works  ,j4 ,ruskin       
,j4 ,,emslie         #fa    #eg4        
,leafage by ,durer and ,veronese        
,durer and ,veronese        ,r4 ,p4     
,,cuff        #fe    #eh4 ,branch       
,curvature                ,r4 ,allen    
,r4 ,p4 ,,cuff        #fi    #ei4 ,the  

,dryad's ,waywardness         ,j4       
,ruskin                 ,r4 ,p4 ,,cuff  
#ga    #fj4 ,the ,rending of ,leaves    
,j4 ,ruskin                 ,j4 ,,cousen
         #id    #fa4 ,richmond1 from the
 ,moors        ,j4 ,m4 ,w4 ,turner      
,j4 ,c4 ,,armytage    #ih    #fb4 ,by   
the ,brookside                ,j4 ,m4   
,w4 ,turner           ,j4 ,c4 ,,armytage
    #ih    #fc4 ,the ,cloud ,flocks     
,j4 ,ruskin                 ,j4 ,c4     
,,armytage   #aji    #fd4 ,cloud        
,perspective 7,rectilinear7 ,j4 ,ruskin 
,j4 ,,emslie        #aae    #fe4        
7,curvilinear7 ,j4 ,ruskin              
,j4 ,,emslie        #aaf    #ff4 ,light 
in the ,west1 ,beauvais     ,j4 ,ruskin 
,j4 ,c4 ,,armytage   #aba    #fg4       
,clouds                          ,j4 ,m4
 ,w4 ,turner           ,j4 ,c4          
,,armytage   #aah    #fh4 ,monte ,rosa  
,j4 ,ruskin                 ,j4 ,c4     
,,armytage   #cci    #fi4 ,aiguilles and
 their ,friends     ,j4 ,ruskin         
,j4 ,c4 ,,armytage   #abe    #gj4 ,the  

,grai                       ,j4 ,ruskin 
,j4 ,c4 ,,armytage   #abg    #ga4 ,venga
 ,medusa                  ,j4 ,ruskin   
,j4 ,c4 ,,armytage   #abg    #gb4 ,the  
,locks of ,typhon             ,j4 ,m4   
,w4 ,turner           ,j4 ,c4 ,,armytage
   #adb    #gc4 ,loire ,side            
,j4 ,m4 ,w4 ,turner           ,j4       
,,ruskin        #afe    #gd4 ,the ,mill 
,stream                 ,j4 ,m4 ,w4     
,turner           ,j4 ,,ruskin          
#afh    #ge4 ,the ,castle of ,lauffen   
,j4 ,m4 ,w4 ,turner           ,r4 ,p4   
,,cuff       #afi    #gf4 ,the ,moat of 
,nuremberg           ,j4 ,ruskin        
,j4 ,h4 ,,le ,,keux    #bcc    #gh4     
,quivi ,trovammo                  ,j4   
,m4 ,w4 ,turner           ,j4 ,,ruskin  
#bih    #gi4 ,hesperid gl               
,giorgione                 ,,wm4 ,,hall 
#cad    #hj4 ,rocks at ,rest            
_/ ,j4 ,ruskin1 from ,j4 ,m4   ,j4 ,c4  
,,armytage   #cai                       
,w4 ,turner           _/    #ha4 ,rocks 
in ,unrest                _/ ,j4        

,ruskin1 from ,j4 ,m4   ,j4 ,c4         
,,armytage   #cbj                       
,w4 ,turner           _/    #hb4 ,the   
,nets in the ,rapids          ,j4 ,m4   
,w4 ,turner           ,j4 ,h4 ,,le      
,,keux    #ccf    #hc4 ,the ,bridge of  
,rheinfelden       ,j4 ,ruskin          
,j4 ,h4 ,,le ,,keux    #ccg    #hd4     
,peace                           ,j4    
,ruskin                 ,j4 ,h4 ,,le    
,,keux    #cch      ,,separate          
,,engravings ,,on ,,wood4      ,figure  
#ef1              to face page #fe      
#fa1                          #fi       
#ge to #gh1                    #ig      
#he1                         #aah       
#hg1                         #abg       
#hh to #ij1                   #abh      
#ih1                         #ahd       
#ajj1                         #bhd      
,illustration3 ,ancilla ,domini4        
,,modern ,,painters4    ,,part ,,vi4    
,,of ,,leaf ,,beauty4          ,,chapter
 ,i4    ,,the ,,earth-,,veil4       #a4 
,to dress it and to keep it4    ,that1  

then1 was to be our work4 ,alas6 what   
work have we set ourselves  upon        
instead6 ,how have we ravaged the garden
 instead of kept it--feeding  our       
war-horses with its flowers1 and        
splintering its trees into              
spear-shafts6    ,and at the ,east a    
flaming sword4    ,is its flame         
quenchless8 and are those gates that    
keep the way indeed  passable no more8  
or is it not rather that we no more     
desire to enter8  ,for what can we      
conceive of that first ,eden which we   
might not yet win  back1 if we chose8   
,it was a place full of flowers1 we say4
 ,well3 the  flowers are always striving
 to grow wherever we suffer them2 and   
the  fairer1 the closer4 ,there may     
indeed have been a ,fall of ,flowers1 as
 a  ,fall of ,man2 but assuredly        
creatures such as we are can now fancy  
nothing lovelier than roses and lilies1 
which would grow for us side by  side1  
leaf overlapping leaf1 till the ,earth  
was white and red with them1  if we     

cared to have it so4 ,and ,paradise was 
full of pleasant shades and  fruitful   
avenues4 ,well3 what hinders us from    
covering as much of the  world as we    
like with pleasant shade and pure       
blossom1 and goodly fruit8  ,who forbids
 its valleys to be covered over with    
corn1 till they laugh  and sing8 ,who   
prevents its dark forests1 ghostly and  
uninhabitable1  from being changed into 
infinite orchards1 wreathing the hills  
with  frail-floretted snow1 far away to 
the half-lighted horizon of ,april1 and 
flushing the face of all the autumnal   
earth with glow of clustered food8  ,but
 ,paradise was a place of peace1 we say1
 and all the animals were  gentle       
servants to us4 ,well3 the world would  
yet be a place of peace if  we were all 
peacemakers1 and gentle service should  
we have of its  creatures if we gave    
them gentle mastery4 ,but so long as we 
make sport  of slaying bird and beast1  
so long as we choose to contend rather  
with  our fellows than with our faults1 

and make battlefield of our meadows     
instead of pasture--so long1 truly1 the 
,flaming ,sword will still turn  every  
way1 and the gates of ,eden remain      
barred close enough1 till we  have      
sheathed the sharper flame of our own   
passions1 and broken down the  closer   
gates of our own hearts4     #b4 ,i have
 been led to see and feel this more and 
more1 as ,i considered  the service     
which the flowers and trees1 which man  
was at first  appointed to keep1 were   
intended to render to him in return for 
his  care2 and the services they still  
render to him1 as far as he allows      
their influence1 or fulfils his own task
 towards them4 ,for what infinite       
wonderfulness there is in this          
vegetation1 considered1 as indeed it is1
  as the means by which the earth       
becomes the companion of man--his friend
  and his teacher6 ,in the conditions   
which we have traced in its rocks1      
there could only be seen preparation for
 his existence2--the characters  which  

enable him to live on it safely1 and to 
work with it easily--in  all these it   
has been inanimate and passive2 but     
vegetation is to it as  an imperfect    
soul1 given to meet the soul of man4    
,the earth in its  depths must remain   
dead and cold1 incapable except of slow 
crystalline  change2 but at its surface1
 which human beings look upon and deal  
with1  it ministers to them through a   
veil of strange intermediate being2     
which  breathes1 but has no voice2      
moves1 but cannot leave its appointed   
place2  passes through life without     
consciousness1 to death without         
bitterness2  wears the beauty of youth1 
without its passion2 and declines to the
  weakness of age1 without its regret4  
#c4 ,and in this mystery of intermediate
 being1 entirely subordinate to  us1    
with which we can deal as we choose1    
having just the greater power  as we    
have the less responsibility for our    
treatment of the unsuffering  creature1 
most of the pleasures which we need from

 the external world  are gathered1 and  
most of the lessons we need are written1
 all kinds of  precious grace and       
teaching being united in this link      
between the ,earth  and ,man3 wonderful 
in universal adaptation to his need1    
desire1 and  discipline2 ,god's daily   
preparation of the earth for him1 with  
beautiful  means of life4 ,first a      
carpet to make it soft for him2 then1 a 
colored  fantasy of embroidery thereon2 
then1 tall spreading of foliage to shade
  him from sunheat1 and shade also the  
fallen rain1 that it may not dry        
quickly back into the clouds1 but stay  
to nourish the springs among the  moss4 
,stout wood to bear this leafage3 easily
 to be cut1 yet tough and  light1 to    
make houses for him1 or instruments     
7lance-shaft1 or  plough-handle1        
according to his temper72 useless it had
 been1 if harder2  useless1 if less     
fibrous2 useless1 if less elastic4      
,winter comes1 and  the shade of leafage
 falls away1 to let the sun warm the    

earth2 the  strong boughs remain1       
breaking the strength of winter winds4  
,the seeds  which are to prolong the    
race1 innumerable according to the need1
 are  made beautiful and palatable1     
varied into infinitude of appeal to the 
fancy of man1 or provision for his      
service3 cold juice1 or glowing  spice1 
or balm1 or incense1 softening oil1     
preserving resin1 medicine of  styptic1 
febrifuge1 or lulling charm3 and all    
these presented in forms  of endless    
change4 ,fragility or force1 softness   
and strength1 in all  degrees and       
aspects2 unerring uprightness1 as of    
temple pillars1 or  undivided wandering 
of feeble tendrils on the ground2 mighty
 resistances  of rigid arm and limb to  
the storms of ages1 or wavings to and   
fro with  faintest pulse of summer      
streamlet4 ,roots cleaving the strength 
of rock1  or binding the transience of  
the sand2 crests basking in sunshine of 
the  desert1 or hiding by dripping      
spring and lightless cave2 foliage far  

tossing in entangled fields beneath     
every wave of ocean--clothing with      
variegated1 everlasting films1 the peaks
 of the trackless mountains1 or         
ministering at cottage doors to every   
gentlest passion and simplest joy  of   
humanity4     #d4 ,being thus prepared  
for us in all ways1 and made beautiful1 
and  good for food1 and for building1   
and for instruments of our hands1 this  
race of plants1 deserving boundless     
affection and admiration from us1       
become1 in proportion to their obtaining
 it1 a nearly perfect test of  our being
 in right temper of mind and way of     
life2 so that no one can be  far wrong  
in either who loves the trees enough1   
and every one is  assuredly wrong in    
both1 who does not love them1 if his    
life has  brought them in his way4 ,it  
is clearly possible to do without them1 
for  the great companionship of the sea 
and sky are all that sailors need2  and 
many a noble heart has been taught the  
best it had to learn between  dark stone

 walls4 ,still if human life be cast    
among trees at all1 the  love borne to  
them is a sure test of its purity4 ,and 
it is a sorrowful  proof of the mistaken
 ways of the world that the country1 in 
the  simple sense of a place of fields  
and trees1 has hitherto been the  source
 of reproach to its inhabitants1 and    
that the words countryman1  rustic1     
clown1 paysan1 villager1 still signify a
 rude and  untaught person1 as opposed  
to the words townsman1 and citizen4 ,we 
accept this usage of words1 or the evil 
which it signifies1 somewhat too        
quietly2 as if it were quite necessary  
and natural that country-people  should 
be rude1 and towns-people gentle4       
,whereas ,i believe that the  result of 
each mode of life may1 in some stages of
 the world's progress1  be the exact    
reverse2 and that another use of words  
may be forced upon  us by a new aspect  
of facts1 so that we may find ourselves 
saying3 ,such  and such a person is very
 gentle and kind--he is quite rustic2   

and such  and such another person is    
very rude and ill-taught--he is quite   
urbane4     #e4 ,at all events1 cities  
have hitherto gained the better part of 
their  good report through our evil ways
 of going on in the world               
generally2--chiefly and eminently       
through our bad habit of fighting with  
each other4 ,no field1 in the middle    
ages1 being safe from devastation1  and 
every country lane yielding easier      
passage to the marauders1               
peacefully-minded men necessarily       
congregated in cities1 and walled       
themselves in1 making as few            
cross-country roads as possible3 while  
the  men who sowed and reaped the       
harvests of ,europe were only the       
servants  or slaves of the barons4 ,the 
disdain of all agricultural pursuits by 
the  nobility1 and of all plain facts by
 the monks1 kept educated ,europe in a  
state of mind over which natural        
phenomena could have no power2 body and 
intellect being lost in the practice of 

war without purpose1 and the  meditation
 of words without meaning4 ,men learned 
the dexterity with  sword and syllogism1
 which they mistook for education1      
within cloister  and tilt-yard2 and     
looked on all the broad space of the    
world of ,god  mainly as a place for    
exercise of horses1 or for growth of    
food4     #f4 ,there is a beautiful type
 of this neglect of the perfectness of  
the  ,earth's beauty1 by reason of the  
passions of men1 in that picture of     
,paul ,uccello's of the battle of ,sant'
 ,egidio1#a in which the armies  meet on
 a country road beside a hedge of wild  
roses2 the tender red  flowers tossing  
above the helmets1 and glowing between  
the lowered  lances4 ,for in like manner
 the whole of ,nature only shone        
hitherto for  man between the tossing of
 helmet-crests2 and sometimes ,i cannot 
but  think of the trees of the earth as 
capable of a kind of sorrow1 in that    
imperfect life of theirs1 as they opened
 their innocent leaves in the  warm     

spring-time1 in vain for men2 and all   
along the dells of ,england  her beeches
 cast their dappled shade only where the
 outlaw drew his bow1  and the king rode
 his careless chase2 and by the sweet   
,french rivers  their long ranks of     
poplar waved in the twilight1 only to   
show the  flames of burning cities1 on  
the horizon1 through the tracery of     
their  stems3 amidst the fair defiles of
 the ,apennines1 the twisted            
olive-trunks hid the ambushes of        
treachery2 and on their valley meadows1 
day by day1 the lilies which were white 
at the dawn were washed with  crimson at
 sunset4     #g4 ,and indeed ,i had once
 purposed1 in this work1 to show what   
kind of  evidence existed respecting the
 possible influence of country life on  
men2 it seeming to me1 then1 likely that
 here and there a reader would  perceive
 this to be a grave question1 more than 
most which we contend  about1 political 
or social1 and might care to follow it  
out with me  earnestly4    ,the day will

 assuredly come when men will see that  
it is a grave  question2 at which       
period1 also1 ,i doubt not1 there will  
arise persons  able to investigate it4  
,for the present1 the movements of the  
world seem  little likely to be         
influenced by botanical law2 or by any  
other  considerations respecting trees1 
than the probable price of timber4 ,i   
shall limit myself1 therefore1 to my own
 simple woodman's work1 and try  to hew 
this book into its final shape1 with the
 limited and humble aim  that ,i had in 
beginning it1 namely1 to prove how far  
the idle and  peaceable persons1 who    
have hitherto cared about leaves and    
clouds1 have  rightly seen1 or          
faithfully reported of them4            
,,footnote3      #a3 ,in our own        
,national ,gallery4 ,it is quaint and   
imperfect1 but of      great interest4  
,,chapter ,,ii4    ,,the ,,leaf         
,,orders4       #a4 ,as in our sketch of
 the structure of mountains it seemed   
advisable  to adopt a classification of 

their forms1 which1 though inconsistent 
with absolute scientific precision1 was 
convenient for order of  successive     
inquiry1 and gave useful largeness of   
view2 so1 and with yet  stronger reason1
 in glancing at the first laws of       
vegetable life1 it  will be best to     
follow an arrangement easily remembered 
and broadly  true1 however incapable of 
being carried out into entirely         
consistent  detail4 ,i say1 with yet    
stronger reason1 because more questions 
are at  issue among botanists than among
 geologists2 a greater number of        
classifications have been suggested for 
plants than for rocks2 nor is it        
unlikely that those now accepted may be 
hereafter modified4 ,i take an          
arrangement1 therefore1 involving no    
theory2 serviceable enough for all      
working purposes1 and sure to remain    
thus serviceable1 in its rough          
generality1 whatever views may hereafter
 be developed among botanists4     #b4  
,a child's division of plants is into   

trees and flowers4 ,if1  however1 we    
were to take him in spring1 after he had
 gathered his lapful  of daisies1 from  
the lawn into the orchard1 and ask him  
how he would  call those wreaths of     
richer floret1 whose frail petals tossed
 their  foam of promise between him and 
the sky1 he would at once see the need  
of some intermediate name1 and call     
them1 perhaps1 tree-flowers4 ,if1  then1
 we took him to a birch-wood1 and showed
 him that catkins were  flowers1 as well
 as cherry-blossoms1 he might1 with a   
little help1 reach  so far as to divide 
all flowers into two classes2 one1 those
 that grew  on ground2 and another1     
those that grew on trees4 ,the botanist 
might  smile at such a division2 but an 
artist would not4 ,to him1 as the child1
  there is something specific and       
distinctive in those rough trunks that  
carry the higher flowers4 ,to him1 it   
makes the main difference between  one  
plant and another1 whether it is to tell
 as a light upon the ground1  or as a   

shade upon the sky4 ,and if1 after this1
 we asked for a little  help from the   
botanist1 and he were to lead us1       
leaving the blossoms1 to  look more     
carefully at leaves and buds1 we should 
find ourselves able in  some sort to    
justify1 even to him1 our childish      
classification4 ,for our  present       
purposes1 justifiable or not1 it is the 
most suggestive and  convenient4 ,plants
 are1 indeed1 broadly referable to two  
great classes4  ,the first we may1      
perhaps1 not inexpediently call ,,tented
 ,,plants4 ,they  live in encampments1  
on the ground1 as lilies2 or on surfaces
 of rock1  or stems of other plants1 as 
lichens and mosses4 ,they live--some for
 a  year1 some for many years1 some for 
myriads of years2 but1 perishing1  they 
pass as the tented ,arab passes2 they   
leave no memorials of  themselves1      
except the seed1 or bulb1 or root which 
is to perpetuate  the race4     #c4 ,the
 other great class of plants we may     
perhaps best call ,,building  ,,plants4 

,these will not live on the ground1 but 
eagerly raise edifices  above it4 ,each 
works hard with solemn forethought all  
its life4  ,perishing1 it leaves its    
work in the form which will be most     
useful to  its successors--its own      
monument1 and their inheritance4 ,these 
architectural edifices we call ,trees4  
,it may be thought that this            
nomenclature already involves a theory4 
,but  ,i care about neither the         
nomenclature1 nor about anything        
questionable  in my description of the  
classes4 ,the reader is welcome to give 
them  what names he likes1 and to render
 what account of them he thinks         
fittest4 ,but to us1 as artists1 or     
lovers of art1 this is the first and    
most vital question concerning a plant3 
,has it a fixed form or a  changing one8
 ,shall ,i find it always as ,i do      
to-day--this ,parnassia  palustris--with
 one leaf and one flower8 or may it some
 day have  incalculable pomp of leaves  
and unmeasured treasure of flowers8     

,will it  rise only to the height of a  
man--as an ear of corn--and perish like 
a  man2 or will it spread its boughs to 
the sea and branches to the river1  and 
enlarge its circle of shade in heaven   
for a thousand years8     #d4 ,this1 ,i 
repeat1 is the first question ,i ask the
 plant4 ,and as it  answers1 ,i range it
 on one side or the other1 among those  
that rest or  those that toil3          
tent-dwellers1 who toil not1 neither do 
they spin2 or  tree-builders1 whose days
 are as the days of the people4 ,i find 
again1  on farther questioning these    
plants who rest1 that one group of them 
does indeed rest always1 contentedly1 on
 the ground1 but that those of  another 
group1 more ambitious1 emulate the      
builders2 and though they  cannot build 
rightly1 raise for themselves pillars   
out of the remains of  past generations1
 on which they themselves1 living the   
life of ,st4  ,simeon ,stylites1 are    
called1 by courtesy1 ,trees2 being1 in  
fact1 many of  them 7palms1 for         

instance7 quite as stately as real      
trees4#a    ,these two classes we might 
call earth-plants1 and pillar-plants4   
#e4 ,again1 in questioning the true     
builders as to their modes of work1  ,i 
find that they also are divisible into  
two great classes4 ,without in  the     
least wishing the reader to accept the  
fanciful nomenclature1 ,i  think he may 
yet most conveniently remember these as 
,builders with the  shield1 and         
,builders with the sword4    ,builders  
with the shield have expanded leaves1   
more or less resembling  shields1 partly
 in shape1 but still more in office2 for
 under their  lifted shadow the young   
bud of the next year is kept from harm4 
,these  are the gentlest of the         
builders1 and live in pleasant places1  
providing  food and shelter for man4    
,builders with the sword1 on the        
contrary1 have  sharp leaves in the     
shape of swords1 and the young buds1    
instead of  being as numerous as the    
leaves1 crouching each under a          

leaf-shadow1 are  few in number1 and    
grow fearlessly1 each in the midst of a 
sheaf of  swords4 ,these builders live  
in savage places1 are sternly dark in   
color1  and though they give much help  
to man by their merely physical         
strength1  they 7with few exceptions7   
give him no food1 and imperfect shelter4
  ,their mode of building is ruder than 
that of the shield-builders1 and  they  
in many ways resemble the pillar-plants 
of the opposite order4 ,we  call them   
generally ,pines4     #f4 ,our work1 in 
this section1 will lie only among the   
shield-builders1  sword-builders1 and   
plants of rest4 ,the ,pillar-plants     
belong1 for the  most part1 to other    
climates4 ,i could not analyze them     
rightly2 and the  labor given to them   
would be comparatively useless for our  
present  purposes4 ,the chief mystery of
 vegetation1 so far as respects external
  form1 is among the fair               
shield-builders4 ,these1 at least1 we   
must  examine fondly and earnestly4     

,,footnote3      #a ,i am not sure that 
this is a fair account of palms4 ,i have
 never      had opportunity of studying 
stems of ,endogens1 and ,i cannot       
understand the description given of them
 in books1 nor do ,i know how      far  
some of their branched conditions       
approximate to real      tree-structure4
 ,if this work1 whatever errors it may  
involve1      provokes the curiosity of 
the reader so as to lead him to seek for
      more and better knowledge1 it will
 do all the service ,i hope from it4    
,,chapter ,,iii4    ,,the ,,bud4        
#a4 ,if you gather in summer time an    
outer spray of any shield-leaved  tree1 
you will find it consists of a slender  
rod1 throwing out leaves1  perhaps on   
every side1 perhaps on two sides only1  
with usually a cluster  of closer leaves
 at the end4 ,in order to understand its
 structure1 we  must reduce it to a     
simple general type4 ,nay1 even to a    
very inaccurate  type4 ,for a           
tree-branch is essentially a complex    

thing1 and no simple  type can1         
therefore1 be a right one4    ,this type
 ,i am going to give you is full of     
fallacies and inaccuracies2  but out of 
these fallacies we will bring the truth1
 by casting them  aside one by one4     
,illustration3 ,,fig4 #a4     #b4 ,let  
the tree spray be represented under one 
of these two types1 ,a  or ,b1 ,fig4 #a1
 the cluster at the end being in each   
case supposed to  consist of three      
leaves only 7a most impertinent         
supposition1 for it  must at least have 
four1 only the fourth would be in a     
puzzling  perspective in ,a1 and hidden 
behind the central leaf in ,b74 ,so1    
receive  this false type patiently4     
,when leaves are set on the stalk one   
after  another1 as in ,a1 they are      
called alternate2 when placed as in ,b1 
opposite4 ,it is necessary you should   
remember this not very difficult  piece 
of nomenclature4    ,if you examine the 
branch you have gathered1 you will see  
that for some  little way below the     

full-leaf cluster at the end1 the stalk 
is smooth1  and the leaves are set      
regularly on it4 ,but at six1 eight1 or 
ten inches  down1 there comes an awkward
 knot2 something seems to have gone     
wrong1  perhaps another spray branches  
off there2 at all events1 the stem gets 
suddenly thicker1 and you may break it  
there 7probably7 easier than  anywhere  
else4    ,that is the junction of two   
stories of the building4 ,the smooth    
piece  has all been done this summer4   
,at the knot the foundation was left    
during the winter4    ,the year's work  
is called a shoot4 ,i shall be glad if  
you will break  it off to look at2 as my
 ,a and ,b types are supposed to go no  
farther  down than the knot4    ,the    
alternate form ,a is more frequent than 
,b1 and some botanists think  includes  
,b4 ,we will1 therefore1 begin with it4 
#c4 ,if you look close at the figure1   
you will see small projecting  points at
 the roots of the leaves4 ,these        
represent buds1 which you may  find1    

most probably1 in the shoot you have in 
your hand4 ,whether you  find them or   
not1 they are there--visible1 or latent1
 does not matter4  ,every leaf has      
assuredly an infant bud to take care of1
 laid tenderly1  as in a cradle1 just   
where the leaf-stalk forms a safe niche 
between it  and the main stem4 ,the     
child-bud is thus fondly guarded all    
summer2 but  its protecting leaf dies in
 the autumn2 and then the boy-bud is put
 out  to rough winter-schooling1 by     
which he is prepared for personal       
entrance  into public life in the       
spring4    ,illustration3 ,,fig4 #b4    
,let us suppose autumn to have come1 and
 the leaves to have fallen4 ,then  our  
,a of ,fig4 ,i1 the buds only being     
left1 one for each leaf1 will  appear as
 ,a ,b1 in ,fig4 #b4 ,we will call the  
buds grouped at ,b1 terminal  buds1 and 
those at a1 b1 and c1 lateral buds4     
,this budded rod is the true year's work
 of the building plant1 at that  part of
 its edifice4 ,you may consider the     

little spray1 if you like1 as  one      
pinnacle of the tree-cathedral1 which   
has taken a year to fashion2            
innumerable other pinnacles having been 
built at the same time on other         
branches4     #d4 ,now1 every one of    
these buds1 a1 b1 and c1 as well as     
every  terminal bud1 has the power and  
disposition to raise himself in the     
spring1 into just such another pinnacle 
as ,a ,b is4    ,this development is the
 process we have mainly to study in this
 chapter2  but1 in the outset1 let us   
see clearly what it is to end in4       
,illustration3 ,,fig4 #c4    ,each bud1 
,i said1 has the power and disposition  
to make a pinnacle of  himself1 but he  
has not always the opportunity4 ,what   
may hinder him we  shall see presently4 
,meantime1 the reader will1 perhaps1    
kindly allow me  to assume that the buds
 a1 b1 and c1 come to nothing1 and only 
the  three terminal ones build forward4 
,each of these producing the image of   
the first pinnacle1 we have the type for

 our next summer bough of ,fig4  #c2 in 
which observe the original shoot ,a ,b1 
has become thicker2 its  lateral buds   
having proved abortive1 are now only    
seen as little knobs  on its sides4 ,its
 terminal buds have each risen into a   
new pinnacle4 ,the  central or strongest
 one ,b ,c1 has become the very image of
 what his  parent shoot ,a ,b1 was last 
year4 ,the two lateral ones are weaker  
and  shorter1 one probably longer than  
the other4 ,the joint at ,b is the knot 
or foundation for each shoot above      
spoken of4    ,illustration3 ,,fig4 #d4 
,knowing now what we are about1 we will 
go into closer detail4    ,illustration3
 #ea4 ,the ,dryad's ,toil4     #e4 ,let 
us return to the type in ,fig4 #b1 of   
the fully accomplished  summer's work3  
the rod with its bare buds4 ,plate #ea1 
opposite1  represents1 of about half its
 real size1 an outer spray of oak in    
winter4 ,it is not growing strongly1 and
 is as simple as possible in            
ramification4 ,you may easily see1 in   

each branch1 the continuous piece  of   
shoot produced last year4 ,the wrinkles 
which make these shoots look  like old  
branches are caused by drying1 as the   
stalk of a bunch of  raisins is furrowed
 7the oak-shoot fresh gathered is round 
as a  grape-stalk74 ,i draw them thus1  
because the furrows are important clues 
to structure4 ,fig4 #d is the top of one
 of these oak sprays magnified for      
reference4 ,the little brackets1 x1 y1  
c41 which project beneath  each bud and 
sustain it1 are the remains of the      
leaf-stalks4 ,those  stalks were jointed
 at that place1 and the leaves fell     
without leaving a  scar1 only a         
crescent-shaped1 somewhat blank-looking 
flat space1 which  you may study at your
 ease on a horse-chestnut stem1 where   
these spaces  are very large4     #f4   
,now if you cut your oak spray neatly   
through1 just above a bud1 as  at ,a1   
,fig4 #d1 and look at it with a not very
 powerful magnifier1 you  will find it  
present the pretty section1 ,fig4 #e4   

,illustration3 ,,fig4 #e4    ,that is   
the proper or normal section of an oak  
spray4 ,never quite  regular4 ,sure to  
have one of the projections a little    
larger than the  rest1 and to have its  
bark 7the black line7 not quite         
regularly put  round it1 but exquisitely
 finished1 down to a little white star  
in the  very centre1 which ,i have not  
drawn1 because it would look in the     
woodcut black1 not white2 and be too    
conspicuous4    ,illustration3 ,,fig4   
#f4    ,the oak spray1 however1 will not
 keep this form unchanged for an        
instant4 ,cut it through a little way   
above your first section1 and you  will 
find the largest projection is          
increasing till1 just where it  opens#a 
at last into the leaf-stalk1 its section
 is ,fig4 #f4 ,if1  therefore1 you      
choose to consider every interval       
between bud and bud as  one story of    
your tower or pinnacle1 you find that   
there is literally  not a hair's-breadth
 of the work in which the plan of the   

tower does  not change4 ,you may see in 
,plate #ea that every shoot is suffused 
by a  subtle 7in nature an infinitely   
subtle7 change of contour between bud   
and bud4    ,illustration3 ,,fig4 #g4   
,illustration3 ,,fig4 #h4     #g4 ,but  
farther1 observe in what succession     
those buds are put round  the bearing   
stem4 ,let the section of the stem be   
represented by the  small central circle
 in ,fig4 #h2 and suppose it surrounded 
by a nearly  regular pentagon 7in the   
figure it is quite regular for          
clearness'  sake74 ,let the first of any
 ascending series of buds be represented
 by  the curved projection filling the  
nearest angle of the pentagon at #a4    
,then the next bud1 above1 will fill the
 angle at #b2 the next above1 at  #c1   
the next at #d1 the next at #e4 ,the    
sixth will come nearly over the  first4 
,that is to say1 each projecting portion
 of the section1 ,fig4 #e1  expands into
 its bud1 not successively1 but by      
leaps1 always to the  next but one2 the 

buds being thus placed in a nearly      
regular spiral  order4     #h4 ,i say   
nearly regular--for there are subtleties
 of variation in plan  which it would be
 merely tiresome to enter into4 ,all    
that we need care  about is the general 
law1 of which the oak spray furnishes a 
striking  example1--that the buds of the
 first great group of alternate builders
  rise in a spiral order round the stem 
7,i believe1 for the most part1 the     
spiral proceeds from right to left74    
,and this spiral succession very        
frequently approximates to the          
pentagonal order1 which it takes with   
great accuracy in an oak2 for1 merely   
assuming that each ascending bud  places
 itself as far as it can easily out of  
the way of the one beneath1  and yet not
 quite on the opposite side of the stem1
 we find the interval  between the two  
must generally approximate to that left 
between #a and #b1  or #b and #c1 in    
,fig4 #h4b    ,illustration3 ,,fig4 #i4 
#i4 ,should the interval be consistently

 a little less than that which  brings  
out the pentagonal structure1 the plant 
seems to get at first  into much        
difficulty4 ,for1 in such case1 there is
 a probability of the  buds falling into
 a triangle1 as at ,a1 ,fig4 #i2 and    
then the fourth must  come over the     
first1 which would be inadmissible 7we  
shall soon see  why74 ,nevertheless1 the
 plant seems to like the triangular     
result for  its outline1 and sets itself
 to get out of the difficulty with much 
ingenuity1 by methods of succession1    
which ,i will examine farther in the    
next chapter3 it being enough for us to 
know at present that the  puzzled1 but  
persevering1 vegetable does get out of  
its difficulty and  issues triumphantly1
 and with a peculiar expression of leafy
 exultation1  in a hexagonal star1      
composed of two distinct triangles1     
normally as at  ,b1 ,fig4 #i4 ,why the  
buds do not like to be one above the    
other1 we shall  see in next chapter4   
,meantime ,i must shortly warn the      

reader of what we  shall then discover1 
that1 though we have spoken of the      
projections of  our pentagonal tower as 
if they were first built to sustain each
 its  leaf1 they are themselves chiefly 
built by the leaf they seem to  sustain4
 ,without troubling ourselves about this
 yet1 let us fix in our  minds broadly  
the effective aspect of the matter1     
which is all we want1  by a simple      
practical illustration4     #aj4 ,take a
 piece of stick half-an-inch thick1 and 
a yard or two long1  and tie large      
knots1 at any equal distances you       
choose1 on a piece of  pack-thread4     
,then wind the pack-thread round the    
stick1 with any number  of equidistant  
turns you choose1 from one end to the   
other1 and the  knots will take the     
position of buds in the general type of 
alternate  vegetation4 ,by varying the  
number of knots and the turns of the    
thread1  you may get the system of any  
tree1 with the exception of one         
character  only--viz41 that since the   

shoot grows faster at one time than     
another1  the buds run closer together  
when the growth is slow4 ,you cannot    
imitate  this structure by closing the  
coils of your string1 for that would    
alter  the positions of your knots      
irregularly4 ,the intervals between the 
buds  are1 by this gradual acceleration 
or retardation of growth1 usually       
varied in lovely proportions4 ,fig4 #aj 
shows the elevations of the buds  on    
five different sprays of oak2 ,a and ,b 
being of the real size 7short  shoots72 
,c1 ,d1 and ,e1 on a reduced scale4 ,i  
have not traced the cause  of the       
apparent tendency of the buds to follow 
in pairs1 in these longer  shoots4      
,illustration3 ,,fig4 #aj4              
,illustration3 ,,fig4 #aa4     #aa4     
,lastly3 ,if the spiral be constructed  
so as to bring the buds  nearly on      
opposite sides of the stem1 though      
alternate in succession1  the stem1 most
 probably1 will shoot a little away from
 each bud after  throwing it off1 and   

thus establish the oscillatory form b1  
,fig4 #aa1  which1 when the buds are    
placed1 as in this case1 at diminishing 
intervals1 is very beautiful4#c     #ab4
 ,i fear this has been a tiresome       
chapter2 but it is necessary to  master 
the elementary structure1 if we are to  
understand anything of  trees2 and the  
reader will therefore1 perhaps1 take    
patience enough to  look at one or two  
examples of the spray structure of the  
second great  class of builders1 in     
which the leaves are opposite4 ,nearly  
all  opposite-leaved trees grow1        
normally1 like vegetable weathercocks   
run to  seed1 with north and south1 and 
east and west pointers thrown off       
alternately one over another1 as in     
,fig4 #ab4    ,illustration3 ,,fig4 #ab4
    ,this1 ,i say1 is the normal        
condition4 ,under certain circumstances1
 north  and south pointers set          
themselves north-east and south-west2   
this  concession being acknowledged and 
imitated by the east and west pointers  

at the next opportunity2 but1 for the   
present1 let us keep to our simple      
form4    ,the first business of the     
budding stem1 is to get every pair of   
buds set  accurately at right angles to 
the one below4 ,here are some examples  
of  the way it contrives this4 ,a1 ,fig4
 #ac1 is the section of the stem of a   
spray of box1 magnified eight or nine   
times1 just where it throws off  two of 
its leaves1 suppose on north and south  
sides4 ,the crescents below  and above  
are sections through the leaf-stalks    
thrown off on each side4  ,just above   
this joint1 the section of the stem is  
,b1 which is the normal  section of a   
box-stem1 as ,fig4 #e is of an oak's4   
,this1 as it ascends1  becomes ,c1      
elongating itself now east and west2 and
 the section next to  ,c1 would be again
 ,a turned that way2 or1 taking the     
succession  completely through two      
joints1 and of the real size1 it would  
be thus3  ,fig4 #ad4    ,illustration3  
,,fig4 #ac4    ,illustration3 ,,fig4    

#ad4    ,the stem of the spotted aucuba 
is normally hexagonal1 as that of the   
box  is normally square4 ,it is very    
dexterous and delicate in its mode of   
transformation to the two sides4        
,through the joint it is ,a1 ,fig4 #ae4 
,above joint1 ,b1 normal1 passing on    
into ,c1 and ,d for the next joint4     
,illustration3 ,,fig4 #ae4              
,illustration3 ,,fig4 #af4    ,while in 
the horse-chestnut1 a larger tree1 and1 
as we shall see  hereafter1 therefore   
less regular in conduct1 the section1   
normally  hexagonal1 is much rounded and
 softened into irregularities2 ,a1 ,fig4
 #af1  becoming1 as it buds1 ,b and ,c4 
,the dark diamond beside ,c is a section
  through a bud1 in which1 however      
small1 the quatrefoil disposition is    
always seen complete3 the four little   
infant leaves with a queen leaf in  the 
middle1 all laid in their fan-shaped    
feebleness1 safe in a white  cloud of   
miniature woollen blanket4     #ac4 ,the
 elementary structure of all important  

trees may1 ,i think1 thus  be resolved  
into three principal forms3             
three-leaved1 ,fig4 #i2  four-leaved1   
,figs4 #ac to #af2 and five-leaved1     
,fig4 #h4 ,or1 in well-known  terms1    
trefoil1 quatrefoil1 cinqfoil4 ,and     
these are essential classes1  more      
complicated forms being usually1 it     
seems to me1 resolvable into  these1 but
 these not into each other4 ,the        
simplest arrangement 7,fig4  #aa71 in   
which the buds are nearly opposite in   
position1 though alternate  in          
elevation1 cannot1 ,i believe1          
constitute a separate class1 being only 
an accidental condition of the spiral4  
,if it did1 it might be called  difoil2 
but the important classes are three3--  
,trefoil1    ,fig4  #i3 ,type1          
,rhododendron4    ,quatrefoil1 ,fig4    
#ac3 ,type1 ,horse-chestnut4            
,cinqfoil1   ,fig4  #e3 ,type1 ,oak4    
#ad4 ,the coincidences between beautiful
 architecture and the  construction of  
trees must more and more have become    

marked in the  reader's mind as we      
advanced2 and if he will now look at    
what ,i have  said in other places of   
the use and meaning of the trefoil1     
quatrefoil1  and cinqfoil1 in ,gothic   
architecture1 he will see why ,i could  
hardly  help thinking and speaking of   
all trees as builders4 ,but there is yet
  one more subtlety in their way of     
building which we have not noticed4 ,if 
the reader will look carefully at the   
separate shoots in ,plate #ea1 he  will 
see that the furrows of the stems fall  
in almost every case into  continuous   
spiral curves1 carrying the whole system
 of buds with them4  ,this superinduced 
spiral action1 of which we shall perhaps
 presently  discover the cause1 often   
takes place vigorously1 producing       
completely  twisted stems of great      
thickness4 ,it is nearly always existent
 slightly1  giving farther grace and    
change to the whole wonderful structure4
 ,and  thus we have1 as the final result
 of one year's vegetative labor on any  

single spray1 a twisted tower1 not      
similar at any height of its  building3 
or 7for1 as we shall see presently1 it  
loses in diameter at  each bud7 a       
twisted spire1 correspondent somewhat in
 principle to the  twisted spire of     
,dijon1 or twisted fountain of ,ulm1 or 
twisted shafts of  ,verona4 ,bossed as  
it ascends with living sculpture1       
chiselled1 not by  diminution but       
through increase1 it rises by one       
consistent impulse from  its base to its
 minaret1 ready1 in spring-time1 to     
throw round it at the  crest at once the
 radiance of fresh youth and the promise
 of restoration  after that youth has   
passed away4 ,a marvellous creation3 nay
 might we  not almost say1 a marvellous 
creature full of prescience in its      
infancy1  foreboding even1 in the       
earliest gladness of its opening to     
sunshine1  the hour of fainting strength
 and falling leaf1 and guarding under   
the  shade of its faithful shields the  
bud that is to bear its hope through    

winter's shieldless sleep8    ,men often
 look to bring about great results by   
violent and unprepared  effort4 ,but it 
is only in fair and forecast order1 as  
the earth  bringeth forth her bud1 that 
righteousness and praise may spring     
forth  before the nations4              
,,footnotes3      #a ,the added portion1
 surrounding two of the sides of the    
pentagon1      is the preparation for   
the stalk of the leaf1 which1 on        
detaching      itself from the stem1    
presents variable sections1 of which    
those      numbered #a to #d1 ,fig4 #g1 
are examples4 ,i cannot determine the   
proper      normal form4 ,the           
bulb-shaped spot in the heart of the    
uppermost of      the five projections  
in ,fig4 #f is the root of the bud4     
#b ,for more accurate information the   
reader may consult ,professor           
,lindley's ,introduction to ,botany     
7,longman1 #ahdh71 vol4 i4 p4 #bde1     
et seqq4      #c ,fig4 #aa is a shoot of
 the line1 drawn on two sides1 to show  

its      continuous curve in one        
direction1 and alternated curves in     
another4      ,the buds1 which may be   
seen to be at equal heights in the two  
figures1 are exquisitely proportioned in
 their distances4 ,there is no      end 
to the refinement of system1 if we      
choose to pursue it4          ,,chapter 
,,iv4    ,,the ,,leaf4       #a4 ,having
 now some clear idea of the position of 
the bud1 we have next  to examine the   
forms and structure of its shield--the  
leaf which guards  it4 ,you will form   
the best general idea of the flattened  
leaf of  shield-builders by thinking of 
it as you would of a mast and sail4     
,more  consistently with our            
classification1 we might perhaps say1 by
 thinking  always of the arm sustaining 
the shield2 but we should be in danger  
of  carrying fancy too far1 and the     
likeness of mast and sail is closer1 for
  the mast tapers as the leaf-rib does1 
while the hand holding the  uppermost   
strap of the buckler clenches itself4   

,whichever figure we use1  it will cure 
us of the bad habit of imagining a leaf 
composed of a short  stalk with a broad 
expansion at the end of it4 ,whereas we 
should always  think of the stalk as    
running right up the leaf to its point1 
and  carrying the expanded1 or foliate  
part1 as the mast of a lugger does its  
sail4 ,to some extent1 indeed1 it has   
yards also1 ribs branching from the     
innermost one2 only the yards of the    
leaf will not run up and down1  which is
 one essential function of a sailyard4  
#b4 ,the analogy will1 however1 serve   
one step more4 ,as the sail must be  on 
one side of the mast1 so the expansion  
of a leaf is on one side of  its central
 rib1 or of its system of ribs4 ,it is  
laid over them as if it  were stretched 
over a frame1 so that on the upper      
surface it is  comparatively smooth2 on 
the lower1 barred4 ,the understanding of
 the  broad relations of these parts is 
the principal work we have to do in     
this chapter4     #c4 ,first1 then1 you 

may roughly assume that the section of  
any  leaf-mast will be a crescent1 as at
 a1 ,fig4 #ag 7compare ,fig4 #g above74 
,the flat side is the uppermost1 the    
round side underneath1 and the flat  or 
upper side caries the leaf4 ,you can at 
once see the convenience of  this       
structure for fitting to a central stem4
 ,suppose the central stem  has a little
 hole in the centre1 b1 ,fig4 #ag1 and  
that you cut it down  through the middle
 7as terrible knights used to cut their 
enemies in the  dark ages1 so that half 
the head fell on one side1 and half on  
the  other73 ,pull the two halves       
separate1 c1 and they will nearly       
represent the shape and position of     
opposite leaf-ribs4 ,in reality the     
leaf-stalks have to fit themselves to   
the central stem1 a1 and as we  shall   
see presently1 to lap round it3 but we  
must not go too fast4    ,illustration3 
,,fig4 #ag4    ,illustration3 ,,fig4    
#ah4    ,illustration3 ,,fig4 #ai4      
#d4 ,now1 a1 ,fig4 #ag1 being the       

general type of a leaf-stalk1 ,fig4 #ah 
is the general type of the way it       
expands into and carries its leaf2#a    
this figure being the enlargement of a  
typical section right across any  leaf1 
the dotted lines show the under surface 
foreshortened4 ,you see ,i  have made   
one side broader than the other4 ,i mean
 that4 ,it is typically  so4 ,nature    
cannot endure two sides of a leaf to be 
alike4 ,by encouraging  one side more   
than the other1 either by giving it more
 air or light1 or  perhaps in a chief   
degree by the mere fact of the moisture 
necessarily  accumulating on the lower  
edge when it rains1 and the other always
  drying first1 she contrives it so1    
that if the essential form or idea of   
the leaf be a1 ,fig4 #ai1 the actual    
form will always be c1 or an            
approximate to it2 one half being pushed
 in advance of the other1 as at  b1 and 
all reconciled by soft curvature1 c4    
,the effort of the leaf  to keep itself 
symmetrical rights it1 however1 often at

 the point1 so  that the insertion of   
the stalk only makes the inequality     
manifest4 ,but  it follows that the     
sides of a straight section across the  
leaf are  unequal all the way up1 as in 
my drawing1 except at one point4        
,illustration3 ,,fig4 #bj4     #e4 ,i   
have represented the two wings of the   
leaf as slightly convex on  the upper   
surface4 ,this is also on the whole a   
typical character4 ,i use  the          
expression wings of the leaf1 because   
supposing we exaggerate the  main rib a 
little1 the section will generally      
resemble a bad painter's  type of a bird
 7a1 ,fig4 #bj74 ,sometimes the outer   
edges curl up1 b1  but an entirely      
concave form1 c1 is rare4 ,when b is    
strongly  developed1 closing well in1   
the leaf gets a good deal the look of a 
boat  with a keel4    ,illustration3    
,,fig4 #ba4     #f4 ,if now you take    
this oblique form of sail1 and cut it   
into any  number of required pieces down
 to its mast1 as in ,fig4 #ba1 ,a1 and  

then  suppose each of the pieces to     
contract into studding-sails at the     
side1  you will have whatever type of   
divided leaf you choose to shape it for4
  ,in ,fig4 #ba1 ,a1 ,b1 ,i have taken  
the rose as the simplest type4 ,the leaf
  is given in separate contour at ,c2   
but that of the mountain ash1 ,a1  ,fig4
 #bb1 suggests the original oval form   
which encloses all the  subdivisions    
much more beautifully4 ,each of the     
studding-sails in this  ash-leaf looks  
much at first as if he were himself a   
mainsail4 ,but you  may know him always 
to be a subordinate1 by observing that  
the  inequality of the two sides which  
is brought about by accidental          
influences in the mainsail1 is an       
organic law in the studding-sail4 ,the  
real leaf tries to set itself evenly on 
its mast2 and the inequality is  only a 
graceful concession to circumstances4   
,but the subordinate or  studding-sail  
is always by law larger at one side than
 the other2 and  if he is himself again 

divided into smaller sails1 he will have
 larger  sails on the lowest side1 or   
one more sail on the lowest side1 than  
he  has on the other4 ,he always wears1 
therefore1 a servant's1 or1 at least1   
subordinate's dress4 ,you may know him  
anywhere as not the master4 ,even  in   
the ash leaflet1 of which ,i have       
outlined one separately1 ,b1 ,fig4 #bb1 
this is clearly seen2 but it is much    
more distinct in more finely  divided   
leaves4#b    ,illustration3 ,,fig4 #bb  
#g4 ,observe1 then1 that leaves are     
broadly divisible into mainsails and    
studding-sails2 but that the word leaf  
is properly to be used only of  the     
mainsail2 leaflet is the best word for  
minor divisions2 and whether  these     
minor members are only separated by deep
 cuts1 or become complete  stalked      
leaflets1 still they are always to be   
thought of merely as parts  of a true   
leaf4    ,it follows from the mode of   
their construction that leaflets must   
always  lie more or less flat1 or edge  

to edge1 in a continuous plane4 ,this   
position distinguishes them from true   
leaves as much as their oblique  form1  
and distinguishes them with the same    
delicate likeness of system2  for as the
 true leaf takes1 accidentally and      
partially1 the oblique  outline which is
 legally required in the subordinate1 so
 the true leaf  takes accidentally and  
partially the flat disposition which is 
legally  required in the subordinate4   
,and this point of position we must now 
study4 ,henceforward1 throughout this   
chapter1 the reader will please  note   
that ,i speak only of true leaves1 not  
of leaflets4    ,illustration3 ,,fig4   
#bc4     #h4 ,,law ,i4 ,,the ,,law ,,of 
,,deflection4--,the first law1 then1    
respecting  position in true leaves1 is 
that they fall gradually back from the  
uppermost one1 or uppermost group4 ,they
 are never set as at a1 ,fig4  #bc1 but 
always as at b4 ,the reader may see at  
once that they have more  room and      
comfort by means of the latter          

arrangement4 ,the law is carried  out   
with more or less distinctness according
 to the habit of the plant2  but is     
always acknowledged4    ,illustration3  
,,fig4 #bd4    ,in strong-leaved shrubs 
or trees it is shown with great         
distinctness and  beauty3 the phillyrea 
shoot1 for instance1 ,fig4 #bd1 is      
almost in as true  symmetry as a ,greek 
honeysuckle ornament4 ,in the hawthorn  
shoot1  central in ,plate #eb1 opposite1
 the law is seen very slightly1 yet it  
rules all the play and fantasy of the   
varied leaves1 gradually  depressing    
their lines as they are set lower4 ,in  
crowded foliage of  large trees the     
disposition of each separate leaf is not
 so manifest4  ,for there is a strange  
coincidence in this between trees and   
communities  of men4 ,when the community
 is small1 people fall more easily into 
their  places1 and take1 each in his    
place1 a firmer standing than can be    
obtained by the individuals of a great  
nation4 ,the members of a vast          

community are separately weaker1 as an  
aspen or elm leaf is thin1  tremulous1  
and directionless1 compared with the    
spear-like setting and  firm substance  
of a rhododendron or laurel leaf4 ,the  
laurel and  rhododendron are like the   
,athenian or ,florentine republics2 the 
aspen  like ,england--strong-trunked    
enough when put to proof1 and very good 
for  making cartwheels of1 but shaking  
pale with epidemic panic at every       
breeze4 ,nevertheless1 the aspen has the
 better of the great nation1 in  that if
 you take it bough by bough1 you shall  
find the gentle law of  respect and room
 for each other truly observed by the   
leaves in such  broken way as they can  
manage it2 but in the nation you find   
every one  scrambling for his neighbor's
 place4    ,this1 then1 is our first    
law1 which we may generally call the    
,law of  ,deflection2 or1 if the        
position of the leaves with respect to  
the root  be regarded1 of ,radiation4   
,the second is more curious1 and we must

 go  back over our ground a little to   
get at it4    ,illustration3 #eb4       
,spirals of ,thorn4     #i4 ,,law ,,ii4 
,,the ,,law ,,of ,,succession4--,from   
what we saw of the position of  buds1 it
 follows that in every tree the leaves  
at the end of the spray1  taking the    
direction given them by the uppermost   
cycle or spiral of the  buds1 will fall 
naturally into a starry group1          
expressive of the order  of their       
growth4 ,in an oak we shall have a      
cluster of five leaves1 in a            
horse-chestnut of four1 in a            
rhododendron of six1 and so on4 ,but    
observe1 if we draw the oak-leaves all  
equal1 as at a1 ,fig4 #be1 or the       
chestnut's 7b71 or the rhododendron's   
7c71 you instantly will feel1  or ought 
to feel1 that something is wrong2 that  
those are not foliage  forms--not even  
normally or typically so--but dead      
forms1 like crystals  of snow4          
,considering this1 and looking back to  
last chapter1 you will  see that the    

buds which throw out these leaves do not
 grow side by side1  but one above      
another4 ,in the oak and rhododendron1  
all five and all  six buds are at       
different heights2 in the chestnut1 one 
couple is above  the other couple4      
,illustration3 ,,fig4 #be4     #aj4 ,now
 so surely as one bud is above another1 
it must be stronger or  weaker than that
 other4 ,the shoot may either be        
increasing in strength  as it advances1 
or declining2 in either case1 the buds  
must vary in  power1 and the leaves in  
size4 ,at the top of the shoot1 the last
 or  uppermost leaves are mostly the    
smallest2 of course always so in spring 
as they develope4    ,illustration3     
,,fig4 #bf4    ,let us then apply these 
conditions to our formal figure above1  
and  suppose each leaf to be weaker in  
its order of succession4 ,the oak       
becomes as a1 ,fig4 #bf1 the chestnut   
shoot as b1 the rhododendron1  c4       
,these1 ,i should think1 it can hardly  
be necessary to tell the  reader1 are   

true normal forms2--respecting which one
 or two points must  be noticed in      
detail4     #aa4 ,the magnitude of the  
leaves in the oak star diminishes1 of   
course1  in alternate order4 ,the       
largest leaf is the lowest1 #a in       
,figure #h1 p4  #ad4 ,while the largest 
leaf forms the bottom1 next it1 opposite
 each  other1 come the third and fourth1
 in order and magnitude1 and the fifth  
and second form the top4 ,an oak star   
is1 therefore1 always an oblique  star2 
but in the chestnut and other quatrefoil
 trees1 though the  uppermost couple of 
leaves must always be smaller than the  
lowermost  couple1 there appears no     
geometrical reason why the opposite     
leaves of  each couple should vary in   
size4 ,nevertheless1 they always do1 so 
that  the quatrefoil becomes oblique as 
well as the cinqfoil1 as you see it is  
in ,fig4 #bf4    ,illustration3 ,,fig4  
#bg4    ,illustration3 ,,fig4 #bh4      
,the normal of four-foils is therefore  
as in ,fig4 #bg1 ,a 7maple73 with       

magnitudes1 in order numbered2 but it   
often happens that an opposite  pair    
agree to become largest and smallest2   
thus giving the pretty  symmetry1 ,fig4 
#bg1 ,b 7spotted aucuba74 ,of course the
 quatrefoil in  reality is always less  
formal1 one pair of leaves more or less 
hiding or  preceding the other4 ,fig4   
#bh is the outline of a young one in the
 maple4    ,illustration3 ,,fig4 #bi4   
#ab4 ,the third form is more complex1   
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 difficulties4    
,draw a circle as in ,fig4 #bi1 and two 
lines1 ,,ab1 ,,bc1 touching it1 equal   
to each other1 and each divided         
accurately in half where they touch the 
circle1 so that ,,ap shall be equal to  
,,pb1 ,,bq1 and ,,qc4 ,and let the lines
  ,,ab and ,,bc be so placed that a     
dotted line ,,ac1 joining their         
extremities1  would not be much longer  
than either of them4    ,illustration3  

,,fig4 #cj4    ,continue to draw lines  
of the same length all round the circle4
 ,lay five  of them1 ,,ab1 ,,bc1 ,,cd1  
,,de1 ,,ef4 ,then join the points ,,ad1 
,,eb1 and ,,cf1 and  you have ,fig4 #cj1
 which is a hexagon1 with the following 
curious  properties4 ,it has one side   
largest1 ,,cd1 two sides less1 but equal
 to  each other1 ,,ae and ,,bf2 and     
three sides less still1 and equal to    
each  other1 ,,ad1 ,,cf1 and ,,be4      
,illustration3 ,,fig4 #ca4              
,illustration3 ,,fig4 #cb4    ,now put  
leaves into this hexagon1 ,fig4 #ca1 and
 you will see how  charmingly the       
rhododendron has got out of its         
difficulties4 ,the next  cycle will put 
a leaf in at the gap at the top1 and    
begin a new hexagon4  ,observe1 however1
 this geometrical figure is only to the 
rhododendron  what the a in ,fig4 #be is
 to the oak1 the icy or dead form4 ,to  
get the  living normal form we must     
introduce our law of succession4 ,that  
is to  say1 the five lines ,a ,b1 ,b ,c1

 c41 must continually diminish1 as they 
proceed1 and therefore continually      
approach the centre2 roughly1 as in     
,fig4 #cb4    ,illustration3 ,,fig4 #cc4
     #ac4 ,i dread entering into the    
finer properties of this construction1  
but the reader cannot now fail to feel  
their beautiful result either in  the   
cluster in ,fig4 #bf1 or here in ,fig4  
#cc1 which is a richer and more  oblique
 one4 ,the three leaves of the uppermost
 triad are perfectly seen1  closing over
 the bud2 and the general form is clear1
 though the lower  triads are confused  
to the eye by unequal development1 as in
 these  complex arrangements is almost  
always the case4 ,the more difficulties 
are to be encountered the more licence  
is given to the plant in dealing  with  
them1 and we shall hardly ever find a   
rhododendron shoot fulfilling  its      
splendid spiral as an oak does its      
simple one4    ,here1 for instance1 is  
the actual order of ascending leaves in 
four  rhododendron shoots which ,i      

gather at random4    ,illustration3     
,,fig4 #cd4    ,of these1 ,a is the only
 quite well-conducted one2 ,b takes one 
short  step1 ,c1 one step backwards1 and
 ,d1 two steps back and one1 too short1 
forward4    ,illustration3 ,,fig4 #ce4  
#ad4 ,,law ,,iii4 ,,the ,,law ,,of      
,,resilience4--,if you have been        
gathering any  branches from the trees  
,i have named among quatrefoils 7the box
 is the  best for exemplification71 you 
have perhaps been embarrassed by finding
  that the leaves1 instead of growing on
 four sides of the stem1 did            
practically grow oppositely on two4 ,but
 if you look closely at the  places of  
their insertion1 you will find they     
indeed spring on all four  sides2 and   
that in order to take the flattened     
opposite position1 each  leaf twists    
round on its stalk1 as in ,fig4 #ce1    
which represents a  box-leaf magnified  
and foreshortened4 ,the leaves do this  
in order to  avoid growing downwards1   
where the position of the bough and bud 

would1  if the leaves regularly kept    
their places1 involve downward growth4  
,the  leaves always rise up on each side
 from beneath1 and form a flattened     
group1 more or less distinctly in       
proportion to the horizontality of the  
bough1 and the contiguity of foliage    
below and above4 ,i shall not  trouble  
myself to illustrate this law1 as you   
have only to gather a few  tree-sprays  
to see its effect4 ,but you must note   
the resulting  characters on every leaf2
 namely1 that not one leaf in a thousand
  grows without a fixed turn in its     
stalk2 warping and varying the whole  of
 the curve on the two edges1 throughout 
its length1 and thus producing  the     
loveliest conditions of its form4 ,we   
shall presently trace the law  of       
resilience farther on a larger scale3   
meanwhile1 in summing the  results of   
our inquiry thus far1 let us remember   
that every one of these  laws is        
observed with varying accuracy and      
gentle equity1 according not  only to   

the strength and fellowship of foliage  
on the spray itself1 but  according to  
the place and circumstances of its      
growth4     #ae4 ,for the leaves1 as we 
shall see immediately1 are the feeders  
of  the plant4 ,their own orderly habits
 of succession must not interfere  with 
their main business of finding food4    
,where the sun and air are1 the  leaf   
must go1 whether it be out of order or  
not4 ,so1 therefore1 in any  group1 the 
first consideration with the young      
leaves is much like that  of young bees1
 how to keep out of each other's way1   
that every one may  at once leave its   
neighbors as much free-air pasture as   
possible1 and  obtain a relative freedom
 for itself4 ,this would be a quite     
simple  matter1 and produce other simply
 balanced forms1 if each branch1 with   
open air all round it1 had nothing to   
think of but reconcilement of  interests
 among its own leaves4 ,but every branch
 has others to meet or  to cross1       
sharing with them1 in various advantage1

 what shade1 or sun1  or rain is to be  
had4 ,hence every single leaf-cluster   
presents the  general aspect of a little
 family1 entirely at unity among        
themselves1  but obliged to get their   
living by various shifts1 concessions1  
and  infringements of the family rules1 
in order not to invade the privileges   
of other people in their neighborhood4  
#af4 ,and in the arrangement of these   
concessions there is an exquisite       
sensibility among the leaves4 ,they do  
not grow each to his own liking1  till  
they run against one another1 and then  
turn back sulkily2 but by a  watchful   
instinct1 far apart1 they anticipate    
their companions' courses1  as ships at 
sea1 and in every new unfolding of their
 edged tissue1 guide  themselves by the 
sense of each other's remote presence1  
and by a  watchful penetration of leafy 
purpose in the far future4 ,so that     
every  shadow which one casts on the    
next1 and every glint of sun which each 
reflects to the next1 and every touch   

which in toss of storm each  receives   
from the next1 aid or arrest the        
development of their advancing  form1   
and direct1 as will be safest and best1 
the curve of every fold  and the current
 of every vein4     #ag4 ,and this      
peculiar character exists in all the    
structures thus  developed1 that they   
are always visibly the result of a      
volition on the  part of the leaf1      
meeting an external force or fate1 to   
which it is  never passively subjected4 
,upon it1 as on a mineral in the course 
of  formation1 the great merciless      
influences of the universe1 and the     
oppressive powers of minor things       
immediately near it1 act continually4   
,heat and cold1 gravity and the other   
attractions1 windy pressure1 or  local  
and unhealthy restraint1 must1 in       
certain inevitable degrees1  affect the 
whole of its life4 ,but it is life which
 they affect2--a  life of progress and  
will1--not a merely passive accumulation
 of  substance4 ,this may be seen by a  

single glance4 ,the mineral1--suppose an
  agate in the course of                
formation--shows in every line nothing  
but a dead  submission to surrounding   
force4 ,flowing1 or congealing1 its     
substance  is here repelled1 there      
attracted1 unresistingly to its place1  
and its  languid sinuosities follow the 
clefts of the rock that contains them1  
in  servile deflexion and compulsory    
cohesion1 impotently calculable1 and    
cold4 ,but the leaf1 full of fears and  
affections1 shrinks and seeks1 as  it   
obeys4 ,not thrust1 but awed into its   
retiring2 not dragged1 but won  to its  
advance2 not bent aside1 as by a bridle1
 into new courses of  growth3 but       
persuaded and converted through tender  
continuance of  voluntary change4       
#ah4 ,the mineral and it differing thus 
widely in separate being1 they  differ  
no less in modes of companionship4 ,the 
mineral crystals group  themselves      
neither in succession1 nor in sympathy2 
but great and small  recklessly strive  

for place1 and deface or distort each   
other as they  gather into opponent     
asperities4 ,the confused crowd fills   
the rock  cavity1 hanging together in a 
glittering1 yet sordid heap1 in which   
nearly every crystal1 owing to their    
vain contention1 is imperfect1 or       
impure4 ,here and there one1 at the cost
 and in defiance of the rest1  rises    
into unwarped shape or unstained        
clearness4 ,but the order of the  leaves
 is one of soft and subdued concession4 
,patiently each awaits its  appointed   
time1 accepts its prepared place1 yields
 its required  observance4 ,under every 
oppression of external accident1 the    
group yet  follows a law laid down in   
its own heart2 and all the members of   
it1  whether in sickness or health1 in  
strength or languor1 combine to carry   
out this first and last heart law2      
receiving1 and seeming to desire for    
themselves and for each other1 only life
 which they may communicate1 and        
loveliness which they may reflect4      

,,footnotes3      #a ,i believe the     
undermost of the two divisions of the   
leaf      represents vegetable tissue   
returning from the extremity4 ,see      
,lindley's ,introduction to ,botany     
7#ahdh71 vol4 i4 p4 #bec4      #b ,for  
farther notes on this subject1 see my   
,elements of ,drawing1      p4 #bhf4    
,,chapter ,v4    ,,leaf ,,aspects4      
#a4 ,before following farther our       
inquiry into tree structure1 it will    
rest us1 and perhaps forward our work a 
little1 to make some use of what  we    
know already4    ,it results generally  
from what we have seen that any group of
 four or  five leaves presenting itself 
in its natural position to the eye1     
consists of a series of forms connected 
by exquisite and complex  symmetries1   
and that these forms will be not only   
varied in themselves1  but every one of 
them seen under a different condition of
  foreshortening4    ,the facility of   
drawing the group may be judged of by a 
comparison4  ,suppose five or six boats1

 very beautifully built1 and sharp in   
the  prow1 to start all from one point1 
and the first bearing up into the  wind1
 the other three or four to fall off    
from it in succession an equal  number  
of points1#a taking each1 in            
consequence1 a different slope of  deck 
from the stem of the sail4 ,suppose1    
also1 that the bows of these  boats were
 transparent1 so that you could see the 
under sides of their  decks as well as  
the upper2--and that it were required of
 you to draw  all their five decks1 the 
under or upper side1 as their curve     
showed it1  in true foreshortened       
perspective1 indicating the exact       
distance each  boat had reached at a    
given moment from the central point they
 started  from4    ,if you can do that1 
you can draw a rose-leaf4 ,not          
otherwise4     #b4 ,when1 some few years
 ago1 the pre-,raphaelites began to lead
 our  wandering artists back into the   
eternal paths of all great ,art1 and    
showed that whatever men drew at all1   

ought to be drawn accurately and        
knowingly2 not blunderingly nor by guess
 7leaves of trees among other  things73 
as ignorant pride on the one hand       
refused their teaching1  ignorant hope  
caught at it on the other4 ,what6 said  
many a feeble  young student to himself4
 ,painting is not a matter of science   
then1 nor  of supreme skill1 nor of     
inventive brain4 ,i have only to go and 
paint  the leaves of the trees as they  
grow1 and ,i shall produce beautiful    
landscapes directly4    ,alas6 my       
innocent young friend4 ,paint the leaves
 as they grow6 ,if you  can paint one   
leaf1 you can paint the world4 ,these   
pre-,raphaelite  laws1 which you think  
so light1 lay stern on the strength of  
,apelles and  ,zeuxis2 put ,titian to   
thoughtful trouble2 are unrelaxed yet1  
and  unrelaxable for ever4 ,paint a leaf
 indeed6 ,above-named ,titian has done  
it3 ,correggio1 moreover1 and           
,giorgione3 and ,leonardo1 very nearly1 
trying hard4 ,holbein1 three or four    

times1 in precious pieces1 highest      
wrought4 ,raphael1 it may be1 in one or 
two crowns of ,muse or ,sibyl4 ,if  any 
one else1 in later times1 we have to    
consider4     #c4 ,at least until       
recently1 the perception of organic leaf
 form was  absolutely1 in all painters  
whatsoever1 proportionate to their power
 of  drawing the human figure4 ,all the 
great ,italian designers drew leaves    
thoroughly well1 though none quite so   
fondly as ,correggio4 ,rubens drew  them
 coarsely and vigorously1 just as he    
drew limbs4 ,among the inferior  ,dutch 
painters1 the leaf-painting degenerates 
in proportion to the  diminishing power 
in figure4 ,cuyp1 ,wouvermans1 and ,paul
 ,potter1 paint  better foliage than    
either ,hobbima or ,ruysdael4     #d4   
,in like manner the power of treating   
vegetation in sculpture is  absolutely  
commensurate with nobleness of figure   
design4 ,the quantity1  richness1 or    
deceptive finish may be greater in      
third-rate work2 but in  true           

understanding and force of arrangement  
the leaf and the human  figure show     
always parallel skill4 ,the             
leaf-mouldings of ,lorenzo  ,ghiberti   
are unrivalled1 as his bas-reliefs are1 
and the severe foliage  of the          
,cathedral of ,chartres is as grand as  
its queen-statues4     #e4 ,the greatest
 draughtsmen draw leaves1 like          
everything else1 of  their full-life    
size in the nearest part of the picture4
 ,they cannot be  rightly drawn on any  
other terms4 ,it is impossible to reduce
 a group so  treated without losing much
 of its character2 and more painfully   
impossible to represent by engraving any
 good workman's handling4 ,i  intended  
to have inserted in this place an       
engraving of the cluster of  oak-leaves 
above ,correggio's ,antiope in the      
,louvre1 but it is too  lovely2 and if  
,i am able to engrave it at all1 it must
 be separately1  and of its own size4   
,so ,i draw1 roughly1 instead1 a group  
of oak-leaves  on a young shoot1 a      

little curled with autumn frost3 ,plate 
#ec4 ,i could  not draw them accurately 
enough if ,i drew them in spring4 ,they 
would  droop and lose their relations4  
,thus roughly drawn1 and losing some of 
their grace1 by withering1 they1        
nevertheless1 have enough left to show  
how noble leaf-form is2 and to prove1 it
 seems to me1 that ,dutch  draughtsmen  
do not wholly express it4 ,for instance1
 ,fig4 #c1 ,plate #ed1 is  a facsimile  
of a bit of the nearest oak foliage out 
of ,hobbima's ,scene  with the          
,water-mill1 ,no4 #aca1 in the ,dulwich 
,gallery4 ,compared with the  real forms
 of oak-leaf1 in ,plate #ec1 it may1 ,i 
hope1 at least enable my  readers to    
understand1 if they choose1 why1 never  
having ceased to rate  the ,dutch       
painters for their meanness or          
minuteness1 ,i yet accepted the         
leaf-painting of the pre-,raphaelites   
with reverence and hope4                
,illustration3 #ec4 ,the ,dryad's       
,crown4    ,illustration3 #ed4 ,dutch   

,leafage4     #f4 ,no word has been more
 harmfully misused than that ugly one of
  niggling4 ,i should be glad if it were
 entirely banished from service  and    
record4 ,the only essential question    
about drawing is whether it be  right or
 wrong2 that it be small or large1 swift
 or slow1 is a matter of  convenience   
only4 ,but so far as the word may be    
legitimately used at  all1 it belongs   
especially to such execution as this of 
,hobbima's--execution which substitutes1
 on whatever scale1 a mechanical  trick 
or habit of hand for true drawing of    
known or intended forms4 ,so  long as   
the work is thoughtfully directed1 there
 is no niggling4 ,in a  small ,greek    
coin the muscles of the human body are  
as grandly treated as  in a colossal    
statue2 and a fine vignette of ,turner's
 will show separate  touches often more 
extended in intention1 and stronger in  
result1 than  those of his largest oil  
pictures4 ,in the vignette of the       
picture of  ,ginevra1 at page #ij of    

,roger's ,italy1 the forefinger touching
 the lip is  entirely and rightly drawn1
 bent at the two joints1 within the     
length of  the thirtieth of an inch1 and
 the whole hand within the space of one 
of  those niggling touches of ,hobbima4 
,but if this work were magnified1 it    
would be seen to be a strong and simple 
expression of a hand by thick  black    
lines4     #g4 ,niggling1 therefore1    
essentially means disorganized and      
mechanical  work1 applied on a scale    
which may deceive a vulgar or ignorant  
person  into the idea of its being      
true3--a definition applicable to the   
whole  of the leaf-painting of the      
,dutch landscapists in distant effect1  
and  for the most part to that of their 
near subjects also4 ,cuyp and           
,wouvermans1 as before stated1 and      
others1 in proportion to their power    
over the figure1 drew leaves better in  
the foreground1 yet never  altogether   
well2 for though ,cuyp often draws a    
single leaf carefully  7weedy           

ground-vegetation especially1 with great
 truth71 he never felt  the connection  
of leaves1 but scattered them on the    
boughs at random4  ,fig4 #a in ,plate   
#ed is nearly a facsimile of part of the
 branch on the  left side in our        
,national ,gallery picture4 ,its entire 
want of grace and  organization ought to
 be felt at a glance1 after the work we 
have gone  through4 ,the average        
conditions of leafage-painting among the
 ,dutch are  better represented by ,fig4
 #b1 ,plate #ed1 which is a piece of the
 foliage  from the ,cuyp in the ,dulwich
 ,gallery1 ,no4 #afc4 ,it is merely     
wrought with  a mechanical play of brush
 in a well-trained hand1 gradating the  
color  irregularly and agreeably1 but   
with no more feeling or knowledge of    
leafage than a paperstainer shows in    
graining a pattern4 ,a bit of the  stalk
 is seen on the left2 it might just as  
well have been on the other  side1 for  
any connection the leaves have with it4 
,as the leafage retires  into distance1 

the ,dutch painters merely diminish     
their scale of  touch4 ,the touch itself
 remains the same1 but its effect is    
falser2 for  though the separate stains 
or blots in ,fig4 #b1 do not rightly    
represent  the forms of leaves1 they may
 not inaccurately represent the number  
of  leaves on that spray4 ,but in       
distance1 when1 instead of one spray1 we
  have thousands in sight1 no human     
industry1 nor possible diminution of    
touch can represent their mist of       
foliage1 and the ,dutch work becomes    
doubly base1 by reason of false form1   
and lost infinity4     #h4 ,hence what  
,i said in our first inquiry about      
foliage1 ,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 canvas1  if he had worked on it    
till doomsday4 ,and this brings me to   
the main  difficulty ,i have had in     
preparing this section4 ,that infinitude
 of  ,turner's execution attaches not   

only to his distant work1 but in due    
degree to the nearest pieces of his     
trees4 ,as ,i have shown in the  chapter
 on mystery1 he perfected the system of 
art1 as applicable to  landscape1 by the
 introduction of this infiniteness4 ,in 
other qualities  he is often only equal1
 in some inferior1 to great preceding   
painters2  but in this mystery he stands
 alone4 ,he could not paint a cluster of
  leaves better than ,titian2 but he    
could a bough1 much more a distant  mass
 of foliage4 ,no man ever before painted
 a distant tree rightly1 or a           
full-leaved branch rightly4 ,all        
,titian's distant branches are ponderous
  flakes1 as if covered with seaweed1   
while ,veronese's and ,raphael's are    
conventional1 being exquisitely         
ornamental arrangements of small perfect
  leaves4 ,see the background of the    
,parnassus in ,volpato's plate4 ,it is  
very lovely1 however4    ,illustration3 
#ee4 ,by the ,way-side4     #i4 ,but    
this peculiar execution of ,turner's is 

entirely uncopiable2  least of all to be
 copied in engraving4 ,it is at once so 
dexterous and  so keenly cunning1       
swiftest play of hand being applied with
 concentrated  attention on every       
movement1 that no care in facsimile will
 render it4  ,the delay in the          
conclusion of this work has been partly 
caused by the  failure of repeated      
attempts to express this execution4 ,i  
see my way now  to some partial result2 
but must get the writing done1 and give 
undivided care to it before ,i attempt  
to produce costly plates4  ,meanwhile1  
the little cluster of foliage opposite1 
from the thicket  which runs up the bank
 on the right-hand side of the drawing  
of  ,richmond1 looking up the river1 in 
the ,yorkshire series1 will give the    
reader some idea of the mingled         
definiteness and mystery of ,turner's   
work1 as opposed to the mechanism of the
 ,dutch on the one side1 and the        
conventional severity of the ,italians  
on the other4 ,it should be  compared   

with the published engraving in the     
,yorkshire series2 for just  as much    
increase1 both in quantity and          
refinement1 would be necessary in  every
 portion of the picture1 before any true
 conception could be given  of the      
richness of ,turner's designs4 ,a       
fragment of distant foliage ,i may  give
 farther on2 but1 in order to judge     
rightly of either example1 we  must know
 one or two points in the structure of  
branches1 requiring yet  some irksome   
patience of inquiry1 which ,i am        
compelled to ask the reader  to grant me
 through another two chapters4          
,,footnote3      #a ,i don't know that  
this is rightly expressed2 but the      
meaning will      be understood4        
,,chapter ,,vi4    ,,the ,,branch4      
#a4 ,we have hitherto spoken of each    
shoot as either straight or only  warped
 by its spiral tendency2 but no shoot of
 any length1 except those  of the       
sapling1 ever can be straight2 for1 as  
the family of leaves which  it bears are

 forced unanimously to take some given  
direction in search  of food or light1  
the stalk necessarily obeys the same    
impulse1 and  bends itself so as to     
sustain them in their adopted position1 
with the  greatest ease to itself and   
comfort for them4    ,in doing this1 it 
has two main influences to comply or    
contend with3 the  first1 the direct    
action of the leaves in drawing it this 
way or that1  as they themselves seek   
particular situations2 the second1 the  
pressure  of their absolute weight after
 they have taken their places1          
depressing  each bough in a given       
degree2 the leverage increasing as the  
leaf  extends4 ,to these principal      
forces may frequently be added that of  
some  prevalent wind1 which1 on a       
majority of days in the year1 bends the 
bough1 leaves and all1 for hours        
together1 out of its normal position4   
,owing to these three forces1 the shoot 
is nearly sure to be curved in at  least
 two directions2#a that is to say1 not  

merely as the rim of a  wine-glass is   
curved 7so that1 looking at it          
horizontally1 the circle  becomes a     
straight line71 but as the edge of a lip
 or an eyebrow is  curved1 partly       
upward1 partly forwards1 so that in no  
possible  perspective can it be seen as 
a straight line4 ,similarly1 no         
perspective  will usually bring a shoot 
of a free-growing tree to appear a      
straight  line4     #b4 ,it is evident  
that the more leaves the stalk has to   
sustain1 the  more strength it requires4
 ,it might appear1 therefore1 not       
unadvisable1  that every leaf should1 as
 it grew1 pay a small tax to the stalk  
for its  sustenance2 so that there might
 be no fear of any number of leaves     
being  too oppressive to their bearer4  
,which1 accordingly1 is just what the   
leaves do4 ,each1 from the moment of his
 complete majority1 pays a stated  tax  
to the stalk2 that is to say1 collects  
for it a certain quantity of  wood1 or  
materials for wood1 and sends this wood1

 or what ultimately  will become wood1  
down the stalk to add to its thickness4 
#c4 ,down the stalk8 yes1 and down a    
great way farther4 ,for1 as the  leaves1
 if they did not thus contribute to     
their own support1 would soon  be too   
heavy for the spray1 so if the spray1   
with its family of leaves1  contributed 
nothing to the thickness of the branch1 
the leaf-families  would soon break down
 their sustaining branches4 ,and1       
similarly1 if the  branches gave nothing
 to the stem1 the stem would soon fall  
under its  boughs4 ,therefore1 by a     
power of which ,i believe no sufficient 
account  exists1#b as each leaf adds to 
the thickness of the shoot1 so each     
shoot to the branch1 so each branch to  
the stem1 and that with so  perfect an  
order and regularity of duty1 that from 
every leaf in all the  countless crowd  
at the tree's summit1 one slender fibre1
 or at least  fibre's thickness of wood1
 descends through shoot1 through spray1 
through branch1 and through stem2 and   

having thus added1 in its due           
proportion1 to form the strength of the 
tree1 labors yet farther and  more      
painfully to provide for its security2  
and thrusting forward into  the root1   
loses nothing of its mighty energy1     
until1 mining through the  darkness1 it 
has taken hold in cleft of rock or depth
 of earth1 as  extended as the sweep of 
its green crest in the free air4     #d4
 ,such1 at least1 is the mechanical     
aspect of the tree4 ,the work of  its   
construction1 considered as a branch    
tower1 partly propped by  buttresses1   
partly lashed by cables1 is thus shared 
in by every leaf4  ,but considering it  
as a living body to be nourished1 it is 
probably an  inaccurate analogy to speak
 of the leaves being taxed for the      
enlargement of the trunk4 ,strictly     
speaking1 the trunk enlarges by         
sustaining them4 ,for each leaf1 however
 far removed from the ground1  stands in
 need of nourishment derived from the   
ground1 as well as of  that which it    

finds in the air2 and it simply sends   
its root down along  the stem of the    
tree1 until it reaches the ground and   
obtains the  necessary mineral elements4
 ,the trunk has been therefore called by
 some  botanists a bundle of roots1 but 
,i think inaccurately4 ,it is rather a  
messenger to the roots4#c ,a root1      
properly so called1 is a fibre1  spongy 
or absorbent at the extremity1 which    
secretes certain elements  from the     
earth4 ,the stem is by this definition  
no more a cluster of  roots than a      
cluster of leaves1 but a channel of     
intercourse between the  roots and the  
leaves4 ,it can gather no nourishment4  
,it only carries  nourishment1 being1 in
 fact1 a group of canals for the        
conveyance of  marketable commodities1  
with an electric telegraph attached to  
each1  transmitting messages from leaf  
to root1 and root to leaf1 up and down  
the tree4 ,but whatever view we take of 
the operative causes1 the  external and 
visible fact is simply that every leaf  

does send down from  its stalk a slender
 thread of woody matter along the sides 
of the shoot  it grows upon2 and that   
the increase of thickness in stem1      
proportioned  to the advance of the     
leaves1 corresponds with an increase of 
thickness  in roots1 proportioned to the
 advance of their outer fibres4 ,how far
  interchange of elements takes place   
between root and leaf1 it is not our    
work here to examine2 the general and   
broad idea is this1 that the whole  tree
 is fed partly by the earth1 partly by  
the air2--strengthened and  sustained by
 the one1 agitated and educated by the  
other2--all of it  which is best1 in    
substance1 life1 and beauty1 being drawn
 more from the  dew of heaven than the  
fatness of the earth4 ,the results of   
this  nourishment of the bough by the   
leaf in external aspect1 are the object 
of our immediate inquiry4     #e4       
,hitherto we have considered the shoot  
as an ascending body1  throwing off buds
 at intervals4 ,this it is indeed2 but  

the part of it  which ascends is not    
seen externally4 ,look back to ,plate   
#ea4 ,you will  observe that each shoot 
is furrowed1 and that the ridges between
 the  furrows rise in slightly spiral   
lines1 terminating in the armlets under 
the buds which bore last year's leaves4 
,these ridges1 which rib the  shoot so  
distinctly1 are not on the ascending    
part of it4 ,they are the  contributions
 of each successive leaf thrown out as  
it ascended4 ,every  leaf sent down a   
slender cord1 covering and clinging to  
the shoot  beneath1 and increasing its  
thickness4 ,each1 according to his size 
and  strength1 wove his little strand of
 cable1 as a spider his thread2 and     
cast it down the side of the springing  
tower by a marvellous                   
magic--irresistible6 ,the fall of a     
granite pyramid from an ,alp may        
perhaps be stayed2 the descending force 
of that silver thread shall not  be     
stayed4 ,it will split the rocks        
themselves at its roots1 if need be1    

rather than fail in its work4    ,so    
many leaves1 so many silver cords4      
,count--for by just the thickness  of   
one cord1 beneath each leaf1 let fall in
 fivefold order round and  round1 the   
shoot increases in thickness to its     
root3--a spire built  downwards from the
 heaven4    ,illustration3 ,,fig4 #cf4  
,and now we see why the leaves dislike  
being above each other4 ,each seeks  a  
vacant place1 where he may freely let   
fall the cord4 ,the turning aside  of   
the cable to avoid the buds beneath1 is 
one of the main causes of  spiral       
curvature1 as the shoot increases4 ,it  
required all the care ,i  could give to 
the drawing1 and all ,mr4 ,armytage's   
skill in engraving  ,plate #ea1 to      
express1 though drawing them nearly of  
their full size1 the  principal courses 
of curvature in even this least graceful
 of trees4     #f4 ,according to the    
structure thus ascertained1 the body of 
the shoot  may at any point be          
considered as formed by a central rod1  

represented  by the shaded inner circle1
 a1 ,fig4 #cf1 surrounded by as many    
rods of  descending external wood as    
there are leaves above the point where  
the  section is made4 ,the first five   
leaves above send down the first dark   
rods2 and the next above send down those
 between1 which1 being from  younger    
leaves1 are less liable to interstices2 
then the third group  sending down the  
side1 it will be seen at a glance how a 
spiral action  is produced4 ,it would   
lead us into too subtile detail1 if ,i  
traced the  forces of this spiral       
superimposition4 ,i must be content to  
let the  reader peruse this part of the 
subject for himself1 if it amuses him1  
and lead to larger questions4     #g4   
,broadly and practically1 we may        
consider the whole cluster of woody     
material in ,fig4 #cf as one circle of  
fibrous substance formed round a  small 
central rod4 ,the real appearance in    
most trees is approximately as  in b1   
,fig4 #cf1 the radiating structure      

becoming more distinct in  proportion to
 the largeness and compactness of the   
wood4#d    ,illustration3 ,,fig4 #cg4   
,now the next question is1 how this     
descending external coating of wood     
will behave itself when it comes to the 
forking of the shoots4 ,to  simplify the
 examination of this1 let us suppose the
 original or growing  shoot 7whose      
section is the shaded inner circle in   
,fig4 #cf7 to have been  in the form of 
a letter ,y1 and no thicker than a stout
 iron wire1 as in  ,fig4 #cg4 ,down the 
arms of this letter ,y1 we have two     
fibrous streams  running in the         
direction of the arrows4 ,if the depth  
or thickness of  these streams be such  
as at b and c1 what will their thickness
 be  when they unite at e8 ,evidently1  
the quantity of wood surrounding the    
vertical wire at e must be twice as     
great as that surrounding the  wires b  
and c4     #h4 ,the reader will1        
perhaps1 be good enough to take it on my
 word 7if  he does not know enough of   

geometry to ascertain71 that the large  
circle1 in ,fig4 #ch1 contains twice as 
much area as either of the two  smaller 
circles4 ,putting these circles in      
position1 so as to guide us1  and       
supposing the trunk to be bounded by    
straight lines1 we have for the  outline
 of the fork that in ,fig4 #ch4 ,how1   
then1 do the two minor circles  change  
into one large one8 ,the section of the 
stem at a is a circle2  and at b1 is a  
circle2 and at c1 a circle4 ,but what is
 it at e8  ,evidently1 if the two       
circles merely united gradually1 without
 change of  form through a series of    
figures1 such as those at the top of    
,fig4 #ci1  the quantity of wood1       
instead of remaining the same1 would    
diminish from  the contents of two      
circles to the contents of one4 ,so for 
every loss  which the circles sustain at
 this junction1 an equal quantity of    
wood  must be thrust out somehow to the 
side4 ,thus1 to enable the circles to   
run into each other1 as far as shown at 

b1 in ,fig4 #ci1 there must be a  loss  
between them of as much wood as the     
shaded space4 ,therefore1 half  of that 
space must be added1 or rather pushed   
out on each side1 and the  section of   
the uniting branch becomes approximately
 as in c1 ,fig4 #ci2  the wood squeezed 
out encompassing the stem more as the   
circles close1  until the whole is      
reconciled into one larger single       
circle4    ,illustration3 ,,fig4 #ch4   
,illustration3 ,,fig4 #ci4     #i4 ,i   
fear the reader would have no patience  
with me1 if ,i asked him to  examine1 in
 longitudinal section1 the lines of the 
descending currents  of wood as they    
eddy into the increased single river4   
,of course1 it is  just what would take 
place if two strong streams1 filling    
each a  cylindrical pipe1 ran together  
into one larger cylinder1 with a central
  rod passing up every tube4 ,but1 as   
this central rod increases1 and1 at  the
 same time1 the supply of the stream    
from above1 every added leaf            

contributing its little current1 the    
eddies of wood about the fork  become   
intensely curious and interesting2 of   
which thus much the reader  may observe 
in a moment by gathering a branch of any
 tree 7laburnum  shows it better1 ,i    
think1 than most71 that the two meeting 
currents1  first wrinkling a little1    
then rise in a low wave in the hollow of
 the  fork1 and flow over at the side1  
making their way to diffuse themselves  
round the stem1 as in ,fig4 #dj4 ,seen  
laterally1 the bough bulges out  below  
the fork1 rather curiously and          
awkwardly1 especially if more than  two 
boughs meet at the same place1 growing  
in one plane1 so as to show  the sudden 
increase on the profile4 ,if the reader 
is interested in the  subject1 he will  
find strangely complicated and wonderful
 arrangements  of stream when smaller   
boughs meet larger 7one example is given
 in ,plate  #c1 ,vol4 ,,iii41 where the 
current of a smaller bough1 entering    
upwards1  pushes its way into the       

stronger rivers of the stem74 ,but ,i   
cannot1 of  course1 enter into such     
detail here4    ,illustration3 ,,fig4   
#dj4    ,illustration3 ,,fig4 #da4      
#aj4 ,the little ringed accumulation1   
repelled from the wood of the  larger   
trunk at the base of small boughs1 may  
be seen at a glance in any  tree1 and   
needs no illustration2 but ,i give one  
from ,salvator1 ,fig4 #da  7from his own
 etching1 ,democritus omnium ,derisor71 
which is  interesting1 because it shows 
the swelling at the bases of insertion1 
which yet1 ,salvator's eye not being    
quick enough to detect the law of       
descent in the fibres1 he1 with his     
usual love of ugliness1 fastens on  this
 swollen character1 and exaggerates it  
into an appearance of  disease4 ,the    
same bloated aspect may be seen in the  
example already  given from another     
etching1 ,vol4 ,,iii41 ,plate #d1 ,fig4 
#h4    ,illustration3 ,,fig4 #db4       
#aa4 ,i do not give any more examples   
from ,claude4 ,we have had enough       

already in ,plate #d1 ,vol4 ,,iii41     
which the reader should examine         
carefully4 ,if he will then look forward
 to ,fig4 #fa here1 he will see how     
,turner inserts branches1 and with what 
certain and strange instinct of         
fidelity he marks the wrinkled          
enlargement and sinuous eddies of the   
wood rivers where they meet4    ,and    
remember always that ,turner's greatness
 and rightness in all these  points     
successively depend on no scientific    
knowledge4 ,he was entirely  ignorant of
 all the laws we have been developing4  
,he had merely  accustomed himself to   
see impartially1 intensely1 and         
fearlessly4    ,illustration3 ,,fig4    
#dc4     #ab4 ,it may1 perhaps1 be      
interesting to compare1 with the rude   
fallacies of ,claude and ,salvator1 a   
little piece of earliest art1  wrought  
by men who could see and feel4 ,the     
scroll1 ,fig4 #db1 is a portion  of that
 which surrounds the arch in ,san ,zeno 
of ,verona1 above the  pillar engraved  

in the ,stones of ,venice1 ,plate #ag1  
,vol4 ,i4 ,it is1  therefore1 twelfth1  
or earliest thirteenth century work4    
,yet the foliage  is already full of    
spring and life2 and in the part of the 
stem1 which ,i  have given of its real  
size in ,fig4 #dc1 the reader will      
perhaps be  surprised to see at the     
junctions the laws of vegetation1 which 
escaped  the sight of all the degenerate
 landscape-painters of ,italy1 expressed
  by one of her simple architectural    
workmen six hundred years ago4    ,we   
now know enough1 ,i think1 of the       
internal conditions which regulate      
tree-structure to enable us to          
investigate finally1 the great laws of  
branch and stem aspect4 ,but they are   
very beautiful2 and we will give  them a
 separate chapter4      ,,footnotes3    
#a ,see the note on ,fig4 #aa1 at page  
#ag1 which shows these two              
directions in a shoot of lime4      #b  
,i find that the office and nature of   
cambium1 the causes of the      action  

of the sap1 and the real mode of the    
formation of buds1 are      all still   
under the investigation of botanists4 ,i
 do not lose time in      stating the   
doubts or probabilities which exist on  
these subjects4      ,for us1 the       
mechanical fact of the increase of      
thickness by every      leaf's action is
 all that needs attention4 ,the reader  
who wishes for      information as      
accurate as the present state of science
 admits1 may      consult ,lindley's    
,introduction to ,botany1 and an        
interesting little      book by ,dr4    
,alexander ,harvey on ,trees and their  
,nature 7,nisbet       ,co41 #ahef71 to 
which ,i owe much help4      #c ,in the 
true sense a mediator1 7,greek3 mesits74
      #d ,the gradual development of    
this radiating structure1 which is      
organic and essential1 composed of what 
are called by botanists      medullary  
rays1 is still a great mystery and      
wonder to me4          ,,chapter ,,vii4 
,,the ,,stem4       #a4 ,we must be     

content1 in this most complex subject1  
to advance very  slowly3 and our        
easiest1 if not our only way1 will be to
 examine1 first1  the conditions under  
which boughs would form1 supposing them 
all to  divide in one plane1 as your    
hand divides when you lay it flat on the
  table1 with the fingers as wide apart 
as you can4 ,and then we will  deduce   
the laws of ramification which follow on
 the real structure of  branches1 which 
truly divide1 not in one plane1 but as  
your fingers  separate if you hold a    
large round ball with them4    ,the     
reader has1 ,i hope1 a clear idea by    
this time of the main principle  of     
tree-growth2 namely1 that the increase  
is by addition1 or  superimposition1 not
 extension4 ,a branch does not stretch  
itself out as  a leech stretches its    
body4 ,but it receives additions at its 
extremity1  and proportional additions  
to its thickness4 ,for although the     
actual  living shoot1 or growing point1 
of any year1 lengthens itself gradually 

until it reaches its terminal bud1 after
 that bud is formed1 its length  is     
fixed4 ,it is thenceforth one joint of  
the tree1 like the joint of a  pillar1  
on which other joints of marble may be  
laid to elongate the  pillar1 but which 
will not itself stretch4 ,a tree is thus
 truly edified1  or built1 like a house4
     #b4 ,i am not sure with what       
absolute stringency this law is         
observed1  or what slight lengthening of
 substance may be traceable by close    
measurement among inferior branches4    
,for practical purposes1 we may  assume 
that the law is final1 and that if we   
represent the state of a  plant1 or     
extremity of branch1 in any given year  
under the simplest  possible type1 ,fig4
 #dd1 a1 of two shoots1 with terminal   
buds1  springing from one stem1 its     
growth next year may be expressed by the
  type1 ,fig4 #dd1 b1 in which1 the     
original stems not changing or          
increasing1 the terminal buds have built
 up each another story of  plant1 or    

repetition of the original form2 and1 in
 order to support this  new edifice1    
have sent down roots all the way to the 
ground1 so as to  enclose and thicken   
the inferior stem4    ,illustration3    
,,fig4 #dd4    ,but if this is so1 how  
does the original stem1 which never     
lengthens1  ever become the tall trunk  
of a tree8 ,the arrangement just stated 
provides very satisfactorily for making 
it stout1 but not for making it  tall4  
,if the ramification proceeds in this   
way1 the tree must assuredly  become a  
round compact ball of short sticks1     
attached to the ground by a  very stout1
 almost invisible1 stem1 like a         
puff-ball4    ,for if we take the form  
above1 on a small scale1 merely to see  
what  comes of it1 and carry its        
branching three steps farther1 we get   
the  successive conditions in ,fig4 #de1
 of which the last comes already round  
to the ground4    ,illustration3 ,,fig4 
#de4    ,but those forms really look    
something like trees6 ,yes1 if they were

 on  a large scale4 ,but each of the    
little shoots is only six or seven      
inches  long2 the whole cluster would   
but be three or four feet over1 and     
touches the ground already at its       
extremity4 ,it would enlarge if it went 
on growing1 but never rise from the     
ground4     #c4 ,this is an interesting 
question3 one1 also1 which1 ,i fear1 we 
must  solve1 so far as yet it can be    
solved1 with little help4 ,perhaps      
nothing  is more curious in the history 
of human mind than the way in which the 
science of botany has become oppressed  
by nomenclature4 ,here is perhaps  the  
first question which an intelligent     
child would think of asking  about a    
tree3 ,mamma1 how does it make its      
trunk8 and you may open one  botanical  
work after another1 and good ones too1  
and by sensible  men1--you shall not    
find this child's question fairly put1  
much less  fairly answered4 ,you will be
 told gravely that a stem has received  
many  names1 such as culmus1 stipes1 and

 truncus2 that twigs were once  called  
flagella1 but are now called ramuli2 and
 that ,mr4 ,link calls  a straight stem1
 with branches on its sides1 a caulis   
excurrens2 and a  stem1 which at a      
certain distance above the earth breaks 
out into  irregular ramifications1 a    
caulis deliquescens4 ,all thanks and    
honor  be to ,mr4 ,link6 ,but at this   
moment1 when we want to know why one    
stem  breaks at a certain distance1 and 
the other not at all1 we find  no great 
help in those splendid excurrencies and 
deliquescencies4  ,at a certain         
distance8 ,yes3 but why not before8 or  
why then8 ,how  was it that1 for many   
and many a year1 the young shoots agreed
 to  construct a vertical tower1 or1 at 
least1 the nucleus of one1 and then1    
one merry day1 changed their minds1 and 
built about their metropolis in  all    
directions1 nobody knows where1 far into
 the air in free delight8  ,how is it   
that yonder larch-stem grows straight   
and true1 while all its  branches1      

constructed by the same process as the  
mother trunk1 and under  the mother     
trunk's careful inspection and          
direction1 nevertheless have  lost all  
their manners1 and go forking and       
flashing about1 more like  cracklings of
 spitefullest lightning than decent     
branches of trees that  dip green leaves
 in dew8     #d4 ,we have probably1 many
 of us1 missed the point of such        
questions as  these1 because we too     
readily associated the structure of     
trees with  that of flowers4 ,the       
flowering part of a plant shoots out or 
up1 in some  given direction1 until1 at 
a stated period1 it opens or branches   
into  perfect form by a law just as     
fixed1 and just as inexplicable1 as that
  which numbers the joints of an        
animal's skeleton1 and puts the head on 
its right joint4 ,in many forms of      
flowers--foxglove1 aloe1 hemlock1 or    
blossom of maize--the structure of the  
flowering part so far assimilates       
itself to that of a tree1 that we not   

unnaturally think of a tree only  as a  
large flower1 or large remnant of       
flower1 run to seed4 ,and we  suppose   
the time and place of its branching to  
be just as organically  determined as   
the height of the stalk of straw1 or    
hemlock pipe1 and the  fashion of its   
branching just as fixed as the shape of 
petals in a pansy  or cowslip4     #e4  
,but that is not so2 not so in anywise4 
,so far as you can watch a  tree1 it is 
produced throughout by repetitions of   
the same process1  which repetitions1   
however1 are arbitrarily directed so as 
to produce  one effect at one time1 and 
another at another time4 ,a young       
sapling has  his branches as much as the
 tall tree4 ,he does not shoot up in a  
long  thin rod1 and begin to branch when
 he is ten or fifteen feet high1 as  the
 hemlock or foxglove does when each has 
reached its ten or fifteen  inches4 ,the
 young sapling conducts himself with all
 the dignity of a  tree from the        
first2--only he so manages his branches 

as to form a  support for his future    
life1 in a strong straight trunk1 that  
will hold  him well off the ground4     
,prudent little sapling6--but how does  
he manage  this8 how keep the young     
branches from rambling about1 till the  
proper  time1 or on what plea dismiss   
them from his service if they will not  
help his provident purpose8 ,so again1  
there is no difference in mode of       
construction between the trunk of a pine
 and its branch4 ,but external          
circumstances so far interfere with the 
results of this repeated  construction1 
that a stone pine rises for a hundred   
feet like a pillar1  and then suddenly  
bursts into a cloud4 ,it is the         
knowledge of the mode  in which such    
change may take place which forms the   
true natural history  of trees3--or1    
more accurately1 their moral history4   
,an animal is born  with so many limbs1 
and a head of such a shape4 ,that is1   
strictly  speaking1 not its history1 but
 one fact of its history3 a fact of     

which  no other account can be given    
than that it was so appointed4 ,but a   
tree  is born without a head4 ,it has   
got to make its own head4 ,it is born   
like  a little family from which a great
 nation is to spring2 and at a certain  
time1 under peculiar external           
circumstances1 this nation1 every       
individual of which remains the same in 
nature and temper1 yet gives  itself a  
new political constitution1 and sends   
out branch colonies1  which enforce     
forms of law and life entirely different
 from those of the  parent state4 ,that 
is the history of the state4 ,it is also
 the history  of a tree4     #f4 ,of    
these hidden histories1 ,i know and can 
tell you as little as ,i  did of the    
making of rocks4 ,it will be enough for 
me if ,i can put the  difficulty fairly 
before you1 show you clearly such facts 
as are  necessary to the understanding  
of great ,art1 and so leave you to      
pursue1  at your pleasure1 the graceful 
mystery of this imperfect leafage life4 

,i took in the outset the type of a     
triple but as the most general  that    
could be given of all trees1 because it 
represents a prevalently  upright main  
tendency1 with a capacity of branching  
on both sides4 ,i  would have shown the 
power of branching on all sides if ,i   
could2 but  we must be content at first 
with the simplest condition4 ,from what 
we  have seen since of bud structure1 we
 may now make our type more complete  by
 giving each bud a root proportioned to 
its size4 ,and our elementary  type of  
tree plant will be as in ,fig4 #df4     
,illustration3 ,,fig4 #df4     #g4 ,now 
these three buds1 though differently    
placed1 have all one mind4  ,no bud has 
an oblique mind4 ,every one would like1 
if he could1 to grow  upright1 and it is
 because the midmost one has entirely   
his own way in  this matter1 that he is 
largest4 ,he is an elder brother2--his  
birthright  is to grow straight towards 
the sky4 ,a younger child may perhaps   
supplant him1 if he does not care for   

his privilege4 ,in the meantime all  are
 of one family1 and love each other1--so
 that the two lateral buds do  not stoop
 aside because they like it1 but to let 
their more favored  brother grow in     
peace4 ,all the three buds and roots    
have at heart the  same desire2--which  
is1 the one to grow as straight as he   
can towards  bright heaven1 the other as
 deep as he can into dark earth4 ,up to 
light1  and down to shade2--into air and
 into rock3--that is their mind and     
purpose for ever4 ,so far as they can1  
in kindness to each other1 and by       
sufferance of external circumstances1   
work out that destiny1 they will4  ,but 
their beauty will not result from their 
working it out1--only from  their       
maintained purpose and resolve to do so1
 if it may be4 ,they will               
fail--certainly two1 perhaps all three  
of them3 fail                           
egregiously2--ridiculously2--it may be  
agonizingly4 ,instead of growing  up1   
they may be wholly sacrificed to happier

 buds above1 and have to  grow down1    
sideways1 roundabout ways1 all sorts of 
ways4 ,instead of  getting down quietly 
into the convent of the earth1 they may 
have to  cling and crawl about hardest  
and hottest angles of it1 full in sight 
of  man and beast1 and roughly trodden  
under foot by them2--stumbling-blocks   
to many4    ,yet out of such sacrifice1 
gracefully made--such misfortune1       
gloriously  sustained--all their true   
beauty is to arise4 ,yes1 and from more 
than  sacrifice--more than misfortune3  
from death4 ,yes1 and more than         
death3--from the worst kind of death3   
not natural1 coming to each in  its due 
time2 but premature1 oppressed1         
unnatural1 misguided--or so it  would   
seem--to the poor dying sprays4 ,yet1   
without such death1 no strong  trunk    
were ever possible2 no grace of glorious
 limb or glittering leaf2  no           
companionship with the rest of nature or
 with man4    ,illustration3 ,,fig4 #dg4
     #h4 ,let us see how this must be4  

,we return to our poor little threefold 
type1 ,fig4 #df1 above4 ,next year he   
will become as in ,fig4 #dg4 ,the two   
lateral buds keeping as much as may be  
out of their brother's way1 and  yet    
growing upwards with a will1 strike     
diagonal lines1 and in moderate  comfort
 accomplish their year's life and       
terminal buds4 ,but what is to  be done 
next8 ,forming the triple terminal head 
on this diagonal line1 we  find that one
 of our next year's buds1 c1 will have  
to grow down  again1 which is very hard2
 and another1 b1 will run right against 
the  lateral branch of the upper bud1   
,a1 which must not be allowed under any 
circumstances4    ,what are we to do8   
,illustration3 ,,fig4 #dh4     #i4 ,the 
best we can4 ,give up our straightness1 
and some of our length1  and consent to 
grow short1 and crooked4 ,but b shall be
 ordered to  stoop forward and keep his 
head out of the great bough's way1 as in
 ,fig4  #dh1 and grow as he best may1   
with the consumptive pain in his chest4 

,to  give him a little more room1 the   
elder brother1 a1 shall stoop a  little 
forward also1 recovering himself when he
 has got out of b's  way2 and bud c     
shall be encouraged to bend himself     
bravely round and  up1 after his first  
start in that disagreeable downward     
direction4 ,poor  b1 withdrawn from air 
and light between a and ,a1 and having  
to live  stooping besides1 cannot make  
much of himself1 and is stunted and     
feeble4 c1 having free play for his     
energies1 bends up with a will1  and    
becomes handsomer1 to our minds1 than if
 he had been straight2 and  a is none   
the worse for his concession to unhappy 
b in early life4    ,illustration3      
,,fig4 #di4    ,so far well for this    
year4 ,but how for next8 b is already   
too near the  spray above him1 even for 
his own strength and comfort2 much less1
 with  his weak constitution1 will he be
 able to throw up any strong new        
shoots4 ,and if he did1 they would only 
run into those of the bough  above4 7,if

 the reader will proceed in the         
construction of the whole  figure he    
will see that this is so47 ,under these 
discouragements and  deficiencies1 b is 
probably frostbitten1 and drops off4    
,the bough  proceeds1 mutilated1 and    
itself somewhat discouraged4 ,but it    
repeats its  sincere and good-natured   
compliances1 and at the close of the    
year1 new  wood from all the leaves     
having concealed the stump1 and effaced 
the  memory of poor lost b1 and perhaps 
a consolatory bud lower down having     
thrown out a tiny spray to make the most
 of the vacant space near the  main     
stem1 we shall find the bough in some   
such shape as ,fig4 #di4     #aj4       
,wherein we already see the germ of our 
irregularly bending branch1  which might
 ultimately be much the prettier for the
 loss of b4 ,alas6  the ,fates have     
forbidden even this4 ,while the low     
bough is making all  these exertions1   
the boughs of ,a1 above him1 higher in  
air1 have made  the same under happier  

auspices4 ,every year their thicker     
leaves more  and more forbid the light2 
and1 after rain1 shed their own drops   
unwittingly on the unfortunate lower    
bough1 and prevent the air or sun  from 
drying his bark or checking the chill in
 his medullary rays4 ,slowly  a hopeless
 languor gains upon him4 ,he buds here  
or there1 faintly1 in  the spring2 but  
the flow of strong wood from above      
oppresses him even  about his root1     
where it joins the trunk4 ,the very sap 
does not turn  aside to him1 but rushes 
up to the stronger1 laughing leaves far 
above4  ,life is no more worth having2  
and abandoning all effort1 the poor     
bough  drops1 and finds consummation of 
destiny in helping an old woman's  fire4
    ,when he is gone1 the one next above
 is left with greater freedom1 and  will
 shoot now from points of its sprays    
which were before likely to  perish4    
,hence another condition of irregularity
 in form4 ,but that bough  also will    
fall in its turn1 though after longer   

persistence4 ,gradually  thus the       
central trunk is built1 and the branches
 by whose help it was  formed cast off1 
leaving here and there scars1 which are 
all effaced by  years1 or lost sight of 
among the roughnesses and furrows of the
 aged  surface4 ,the work is continually
 advancing1 and thus the head of foliage
  on any tree is not an expansion at a  
given height1 like a flower-bell1  but  
the collective group of boughs1 or      
workmen1 who have got up so far1  and   
will get up higher next year1 still     
losing one or two of their  number      
underneath4     #aa4 ,so far well4 ,but 
this only accounts for the formation of 
a  vertical trunk4 ,how is it that at a 
certain height this vertical trunk      
ceases to be built2 and irregular       
branches spread in all directions8      
,first3 ,in a great number of trees1 the
 vertical trunk never ceases to be      
built4 ,it is confused1 at the top of   
the tree1 among other radiating         
branches1 being at first1 of course1    

just as slender as they1 and only       
prevailing over them in time4 ,it shows 
at the top the same degree of           
irregularity and undulation as a        
sapling2 and is transformed gradually   
into straightness lower down 7see ,fig4 
#ej74 ,the reader has only to take  an  
hour's ramble1 to see for himself how   
many trees are thus  constructed1 if    
circumstances are favorable to their    
growth4 ,again1 the  mystery of         
blossoming has great influence in       
increasing the tendency to  dispersion  
among the upper boughs3 but this part of
 vegetative structure  ,i cannot enter  
into2 it is too subtle1 and has1        
besides1 no absolute  bearing on our    
subject2 the principal conditions which 
produce the  varied play of branches    
being purely mechanical4 ,the point at  
which they  show a determined tendency  
to spread is generally to be conceived  
as a  place of rest for the tree1 where 
it has reached the height from the      
ground at which ground-mist1 imperfect  

circulation of air1 c41 have  ceased to 
operate injuriously on it1 and where it 
has free room1 and  air1 and light for  
its growth4    ,illustration3 ,,fig4    
#ej4     #ab4 ,i find there is quite an 
infinite interest in watching the       
different ways in which trees part their
 sprays at this resting-place1  and the 
sometimes abrupt1 sometimes gentle and  
undiscoverable1 severing  of the upright
 stem into the wandering and wilful     
branches2 but a  volume1 instead of a   
chapter or two1 and quite a little      
gallery of  plates1 would be needed to  
illustrate the various grace of this    
division1 associated as it is with an   
exquisitely subtle effacing of          
undulation in the thicker stems1 by the 
flowing down of the wood from  above2   
the curves which are too violent in the 
branches being filled up1  so that what 
was at a1 ,fig4 #ej1 becomes as at b1   
and when the main  stem is old1 passes  
at last into straightness by almost     
imperceptible  curves1 a continually    

gradated emphasis of curvature being    
carried to  the branch extremities4     
,illustration3 ,,fig4 #ea4     #ac4     
,hitherto we have confined ourselves    
entirely to examination of  stems in one
 plane4 ,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 branches1 not in one plane1 but on  
all  sides4 ,as your fingers divide when
 they hold a ball1 ,i said3 or1  better1
 a large cup1 without a handle4         
,consider how such ramification  will   
appear in one of the bud groups1 that of
 our old friend the oak4 ,we  saw it    
opened usually into five shoots4        
,imagine1 then 7,fig4 #ea71 a           
five-sided cup or funnel with a stout   
rod running through the centre of  it4  
,in the figure it is seen from above1 so
 as partly to show the  inside1 and a   
little obliquely1 that the central rod  
may not hide any of  the angles4 ,then  
let us suppose that1 where the angles of

 this cup were1  we have1 instead1 five 
rods1 as in ,fig4 #eb1 ,a1 like the ribs
 of a  pentagonal umbrella turned inside
 out by the wind4 ,i dot the pentagon   
which connects their extremities1 to    
keep their positions clear4 ,then  these
 five rods1 with the central one1 will  
represent the five shoots1  and the     
leader1 from a vigorous young oak-spray4
 ,put the leaves on each2  the          
five-foiled star at its extremity1 and  
the others1 now not quite  formally1 but
 still on the whole as in ,fig4 #c      
above1 and we have the  result1 ,fig4   
#eb1 ,b--rather a pretty one4           
,illustration3 ,,fig4 #eb4     #ad4 ,by 
considering the various aspects which   
the five rods would take  in ,fig4 #eb1 
as the entire group was seen from below 
or above1 and at  different angles and  
distances1 the reader may find out for  
himself what  changes of aspect are     
possible in even so regular a structure 
as this4  ,but the branchings soon take 
more complex symmetry4 ,we know that    

next  year each of these five           
subordinate rods is to enter into life  
on its  own account1 and to repeat the  
branching of the first4 ,thus1 we shall 
have five pentagonal cups surrounding a 
large central pentagonal cup4  ,this    
figure1 if the reader likes a pretty    
perspective problem1 he may  construct  
for his own pleasure3--which having     
done1 or conceived1 he is  then to apply
 the great principles of subjection and 
resilience1 not to  three branches only1
 as in ,fig4 #di1 but to the five of    
each cup2--by  which the cups get       
flattened out and bent up1 as you may   
have seen  vessels of ,venetian glass1  
so that every cup actually takes        
something  the shape of a thick aloe or 
artichoke leaf2 and they surround the   
central one1 not as a bunch of grapes   
surrounds a grape at the end of  it1 but
 as the petals grow round the centre of 
a rose4 ,so that any one  of these      
lateral branches--though1 seen from     
above1 it would present a  symmetrical  

figure1 as if it were not flattened 7,a1
 ,fig4 #ec7--seen  sideways1 or in      
profile1 will show itself to be at least
 as much  flattened as at ,b4           
,illustration3 ,,fig4 #ec4     #ae4 ,you
 may thus regard the whole tree as      
composed of a series of such  thick1    
flat1 branch-leaves2 only incomparably  
more varied and enriched  in framework  
as they spread2 and arranged more or    
less in spirals round  the trunk4       
,gather a cone of a ,scotch fir2 begin  
at the bottom of it1 and  pull off the  
seeds1 so as to show one of the spiral  
rows of them  continuously1 from the    
bottom to the top1 leaving enough seeds 
above  them to support the row4 ,then   
the gradual lengthening of the seeds    
from  the root1 their spiral            
arrangement1 and their limitation within
 a  curved1 convex form1 furnish the    
best severe type you can have of the    
branch system of all stemmed trees2 and 
each seed of the cone  represents1 not  
badly1 the sort of flattened solid      

leaf-shape which all  complete branches 
have4 ,also1 if you will try to draw the
 spiral of the  fir-cone1 you will      
understand something about              
tree-perspective1 which  may be         
generally useful4 ,finally1 if you note 
the way in which the seeds  of the cone 
slip each farther and farther over each 
other1 so as to  change sides in the    
middle of the cone1 and obtain a        
reversed action of  spiral lines in the 
upper half1 you may imagine what a piece
 of work it  would be for both of us1 if
 we were to try to follow the           
complexities of  branch order in trees  
of irregular growth1 such as the        
rhododendron4 ,i  tried to do it1 at    
least1 for the pine1 in section1 but saw
 ,i was  getting into a perfect maelstrm
 of spirals1 from which no efforts would
  have freed me1 in any imaginable time1
 and the only safe way was to keep      
wholly out of the stream4               
,illustration3 ,,fig4 #ed4     #af4 ,the
 alternate system1 leading especially to

 the formation of  forked trees1 is more
 manageable2 and if the reader is master
 of  perspective1 he may proceed some   
distance in the examination of that for 
himself4 ,but ,i do not care to frighten
 the general reader by many  diagrams3  
the book is always sure to open at them 
when he takes it up4 ,i  will venture on
 one which has perhaps something a      
little amusing about  it1 and is really 
of importance4    ,illustration3 ,,fig4 
#ee4    ,illustration3 ,j4 ,ruskin ,j4  
,emslie    #ef4 ,sketch by a ,clerk of  
the ,works4     #ag4 ,let ,x1 ,fig4 #ed1
 represent a shoot of any               
opposite-leaved tree4 ,the  mode in     
which it will grow into a tree depends1 
mainly1 on its  disposition to lose the 
leader or a lateral shoot4 ,if it keeps 
the  leader1 but drops the lateral1 it  
takes the form ,a1 and next year by a   
repetition of the process1 ,b4 ,but if  
it keeps the laterals1 and drops  the   
leader1 it becomes first1 ,c and next   
year1 ,d4 ,the form ,a is almost        

universal in spiral or alternate trees2 
and it is especially to be noted  as    
bringing about this result1 that in any 
given forking1 one bough  always goes on
 in its own direct course1 and the other
 leaves it softly2  they do not separate
 as if one was repelled from the other4 
,thus in ,fig4  #ee1 a perfect and      
nearly symmetrical piece of             
ramification1 by ,turner  7lowest bough 
but one in the tree on the left in the  
,chteau of ,la  belle ,gabrielle71 the  
leading bough1 going on in its own      
curve1 throws  off1 first1 a bough to   
the right1 then one to the left1 then   
two small  ones to the right1 and       
proceeds itself1 hidden by leaves1 to   
form the  farthest upper point of the   
branch4    ,the lower secondary         
bough--the first thrown off--proceeds in
 its own  curve1 branching first to the 
left1 then to the right4    ,the upper  
bough proceeds in the same way1 throwing
 off first to left1  then to right4 ,and
 this is the commonest and most graceful

 structure4  ,but if the tree loses the 
leader1 as at ,c1 ,fig4 #ed 7and many   
opposite  trees have a trick of doing   
so71 a very curious result is arrived   
at1  which ,i will give in a geometrical
 form4     #ah4 ,the number of branches 
which die1 so as to leave the main stem 
bare1 is always greatest low down1 or   
near the interior of the tree4 ,it      
follows that the lengths of stem which  
do not fork diminish gradually to  the  
extremities1 in a fixed proportion4     
,this is a general law4 ,assume1  for   
example's sake1 the stem to separate    
always into two branches1 at an  equal  
angle1 and that each branch is three    
quarters of the length of the  preceding
 one4 ,diminish their thickness in      
proportion1 and carry out the  figure   
any extent you like4 ,in ,plate #ef1    
opposite1 ,fig4 #a1 you have it  at its 
ninth branch2 in which ,i wish you to   
notice1 first1 the delicate  curve      
formed by every complete line of the    
branches 7compare ,vol4 ,,iv4  ,fig4    

#ia72 and1 secondly1 the very curious   
result of the top of the tree  being a  
broad flat line1 which passes at an     
angle into lateral shorter  lines1 and  
so down to the extremities4 ,it is this 
property which renders  the contours of 
tops of trees so intensely difficult to 
draw rightly1  without making their     
curves too smooth and insipid4          
,observe1 also1 that the great weight of
 the foliage being thrown on the        
outside of each main fork1 the tendency 
of forked trees is very often to  droop 
and diminish the bough on one side1 and 
erect the other into a  principal       
mass4#a     #ai4 ,but the form in a     
perfect tree is dependent on the        
revolution of  this sectional profile1  
so as to produce a mushroom-shaped or   
cauliflower-shaped mass1 of which ,i    
leave the reader to enjoy the           
perspective drawing by himself1 adding1 
after he has completed it1 the  effect  
of the law of resilience to the         
extremities4 ,only1 he must note  this3 

that in real trees1 as the branches rise
 from the ground1 the open  spaces      
underneath are partly filled by         
subsequent branchings1 so that a  real  
tree has not so much the shape of a     
mushroom1 as of an apple1 or1  if       
elongated1 a pear4     #bj4 ,and now you
 may just begin to understand a little  
of ,turner's  meaning in those odd      
pear-shaped trees of his1 in the        
,mercury and  ,argus1 and other such    
compositions3 which1 however1 before we 
can do  completely1 we must gather our  
evidence together1 and see what general 
results will come of it respecting the  
hearts and fancies of trees1 no  less   
than their forms4      ,,footnote3      
#a ,this is ,harding's favorite form of 
tree4 ,you will find it much            
insisted on in his works on foliage4 ,i 
intended to have given a      figure to 
show the results of the pressure of the 
weight of all the      leafage on a     
great lateral bough1 in modifying its   
curves1 the      strength of timber     

being greatest where the leverage of the
 mass      tells most4 ,but ,i find     
nobody ever reads things which it takes 
any      trouble to understand1 so that 
it is of no use to write them4          
,,chapter ,,viii4    ,,the ,,leaf       
,,monuments4       #a4 ,and now1 having 
ascertained in its main points the      
system on which  the leaf-workers build1
 let us see1 finally1 what results in   
aspect1 and  appeal to human mind1 their
 building must present4 ,in some sort it
  resembles that of the coral animal1   
differing1 however1 in two points4      
,first1 the animal which forms branched 
coral1 builds1 ,i believe1 in calm      
water1 and has few accidents of current1
 light1 or heat to contend with4  ,he   
builds in monotonous ramification1      
untormented1 therefore  unbeautiful4    
,secondly1 each coral animal builds for 
himself1 adding his  cell to what has   
been before constructed1 as a bee adds  
another cell to  the comb4 ,he obtains  
no essential connection with the root   

and  foundation of the whole structure4 
,that foundation is thickened  clumsily1
 by a fused and encumbering aggregation1
 as a stalactite  increases2--not by    
threads proceeding from the extremities 
to the root4     #b4 ,the leaf1 as we   
have seen1 builds in both respects under
 opposite  conditions4 ,it leads a life 
of endurance1 effort1 and various       
success1  issuing in various beauty2 and
 it connects itself with the whole      
previous edifice by one sustaining      
thread1 continuing its appointed  piece 
of work all the way from top to root4   
,whence result three great  conditions  
in branch aspect1 for which ,i cannot   
find good names1 but  must use the      
imperfect ones of ,spring1 ,caprice1    
,fellowship4     #c4 ,i4 ,,spring3 or   
the appearance of elastic and           
progressive power1 as  opposed to that  
look of a bent piece of cord4--,this    
follows partly on  the poise of the     
bough1 partly on its action in seeking  
or shunning4  ,every branch-line        

expresses both these4 ,it takes a curve 
accurately  showing the relations       
between the strength of the sprays in   
that  position 7growing downward1       
upward1 or laterally71 and the weight of
  leaves they carry2 and again1 it takes
 a curve expressive of the will  or aim 
of those sprays1 during all their life1 
and handed down from sire  to son1 in   
steady inheritance of resolution to     
reach forward in a given  direction1 or 
bend away from some given evil          
influence4    ,and all these            
proportionate strengths and measured    
efforts of the bough  produce its       
loveliness1 and ought to be felt1 in    
looking at it1 not by  any mathematical 
evidence1 but by the same fine instinct 
which enables  us to perceive1 when a   
girl dances rightly1 that she moves     
easily1 and  with delight to herself2   
that her limbs are strong enough1 and   
her body  tender enough1 to move        
precisely as she wills them to move4    
,you cannot  say of any bend of arm or  

foot what precise relations of their    
curves to  the whole figure manifest1 in
 their changeful melodies1 that ease of 
motion2 yet you feel that they do so1   
and you feel it by a true  instinct4    
,and if you reason on the matter        
farther1 you may know1 though  you      
cannot see1 that an absolute            
mathematical necessity proportions      
every bend of the body to the rate and  
direction of its motion2 and that  the  
momentary fancy and fire of the will    
measure themselves1 even in  their      
gaily-fancied freedom1 by stern laws of 
nervous life1 and material  attraction1 
which regulate eternally every pulse of 
the strength of man1  and every sweep of
 the stars of heaven4     #d4 ,observe1 
also1 the balance of the bough of a tree
 is quite as  subtle as that of a figure
 in motion4 ,it is a balance between the
  elasticity of the bough and the weight
 of leaves1 affected in curvature1      
literally1 by the growth of every leaf2 
and besides this1 when it  moves1 it is 

partly supported by the resistance of   
the air1 greater or  less1 according to 
the shape of leaf2--so that branches    
float on the  wind more than they yield 
to it2 and in their tossing do not so   
much  bend under a force1 as rise on a  
wave1 which penetrates in liquid        
threads through all their sprays4       
,illustration    ,illustration3 #eg4    
,leafage by ,durer and ,veronese4       
,illustration3 ,,fig4 #ef4 ,to face page
 #fe4     #e4 ,i am not sure how far1 by
 any illustration1 ,i can exemplify     
these  subtle conditions of form4 ,all  
my plans have been shortened1 and ,i    
have  learned to content myself with yet
 more contracted issues of them after   
the shortening1 because ,i know that    
nearly all in such matters must be  said
 or shown1 unavailably4 ,no saying will 
teach the truth4 ,nothing but  doing4   
,if the reader will draw boughs of trees
 long and faithfully1  giving previous  
pains to gain the power 7how rare67 of  
drawing  anything faithfully1 he will   

come to see what ,turner's work is1  or 
any other right work1 but not by        
reading1 nor thinking1 nor idly         
looking4 ,however1 in some degree1 even 
our ordinary instinctive  perception of 
grace and balance may serve us1 if we   
choose to pay any  accurate attention to
 the matter4     #f4 ,look back to ,fig4
 #ee4 ,that bough of ,turner's is       
exactly and  exquisitely poised1 leaves 
and all1 for its present horizontal     
position4  ,turn the book so as to put  
the spray upright1 with the leaves at   
the  top4 ,you ought to see they would  
then be wrong2--that they must1 in that 
position1 have adjusted themselves more 
directly above the main stem1  and more 
firmly1 the curves of the lighter sprays
 being a deflection  caused by their    
weight in the horizontal position4      
,again1 ,fig4 #ef  represents1 enlarged 
to four times the size of the original1 
the two  ,scotch firs in ,turner's      
etching of ,inverary4#a ,these are both 
in  perfect poise1 representing a double

 action3 the warping of the trees  away 
from the sea-wind1 and the continual    
growing out of the boughs on  the       
right-hand side1 to recover the balance4
    ,turn the page so as to be          
horizontal1 and you ought to feel that1 
considered now as branches1 both would  
be out of balance4 ,if you turn  the    
heads of the trees to your right1 they  
are wrong1 because gravity  would have  
bent them more downwards2 if to your    
left1 wrong1 because the  law of        
resilience would have raised them more  
at the extremities4     #g4 ,now take   
two branches of ,salvator's1 ,figs4 #eg 
and #eh4b ,you ought  to feel that these
 have neither poise nor spring3 their   
leaves are  incoherent1 ragged1 hanging 
together in decay4    ,illustration3    
,,fig4 #eg4    ,illustration3 ,,fig4    
#eh4    ,immediately after these1 turn  
to ,plate #eg1 opposite4 ,the branch at 
the  top is facsimiled from that in the 
hand of ,adam1 in ,durer's ,adam and    
,eve4#c ,it is full of the most         

exquisite vitality and spring in every  
line4 ,look at it for five minutes      
carefully4 ,then turn back to           
,salvator's1 ,fig4 #eg4 ,are you as well
 satisfied with it8 ,you ought to  feel 
that it is not strong enough at the     
origin to sustain the leaves2  and that 
if it were1 those leaves themselves are 
in broken or forced  relations with each
 other4 ,such relations might1 indeed1  
exist in a  partially withered tree1 and
 one of these branches is intended to be
  partially withered1 but the other is  
not2 and if it were1 ,salvator's  choice
 of the withered tree is precisely the  
sign of his preferring  ugliness to     
beauty1 decrepitude and disorganization 
to life and youth4  ,the leaves on the  
spray1 by ,durer1 hold themselves as the
 girl holds  herself in dancing2 those  
on ,salvator's as an old man1 partially 
palsied1 totters along with broken      
motion1 and loose deflection of limb4   
#h4 ,next1 let us take a spray by ,paul 
,veronese#d--the lower figure in  ,plate

 #eg4 ,it is just as if we had gathered 
one out of the garden4 ,though  every   
line and leaf in the quadruple group is 
necessary to join with  other parts of  
the composition of the noble picture1   
every line and leaf  is also as free and
 true as if it were growing4 ,none are  
confused1 yet  none are loose2 all are  
individual1 yet none separate1 in tender
 poise  of pliant strength and fair     
order of accomplished grace1 each1 by   
due  force of the indulgent bough1 set  
and sustained4     #i4 ,observe1        
however1 that in all these instances    
from earlier masters1  the expression of
 the universal botanical law of poise is
 independent of  accuracy in rendering  
of species4 ,as before noticed1 the     
neglect of  specific distinction long   
restrained the advance of landscape1 and
 even  hindered ,turner himself in many 
respects4 ,the sprays of ,veronese are a
  conventional type of laurel2 ,albert  
,durer's an imaginary branch of         
paradisaical vegetation2 ,salvator's1 a 

rude reminiscence of sweet  chestnut2   
,turner's only is a faithful rendering  
of the ,scotch fir4    ,illustration3   
#eh4 ,branch ,curvature4                
,illustration3 ,,fig4 #ei4              
,illustration3 ,,fig4 #fj4              
,illustration3 ,,fig4 #fa ,to face page 
#fi4     #aj4 ,to show how the principle
 of balance is carried out by ,nature   
herself1 here is a little terminal      
upright spray of willow1 the most       
graceful of ,english trees 7,fig4 #ei74 
,i have drawn it carefully2 and if  the 
reader will study its curves1 or1       
better1 trace and pencil them with  a   
perfectly fine point1 he will feel1 ,i  
think1 without difficulty1 their        
finished relation to the leaves they    
sustain4 ,then if we turn suddenly  to a
 piece of ,dutch branch-drawing 7,fig4  
#fj71 facsimiled from ,no4 #afj1        
,dulwich ,gallery 7,berghem71 he will   
understand1 ,i believe1 also the        
qualities of that1 without comment of   
mine4 ,it is of course not so dark  in  

the original1 being drawn with the      
chance dashes of a brush loaded  with   
brown1 but the contours are absolutely  
as in the woodcut4 ,this  ,dutch design 
is a very characteristic example of two 
faults in  tree-drawing2 namely1 the    
loss not only of grace and spring1 but  
of  woodiness4 ,a branch is not elastic 
as steel is1 neither as a carter's  whip
 is4 ,it is a combination1 wholly       
peculiar1 of elasticity with  half-dead 
and sapless stubbornness1 and of        
continuous curve with pauses  of        
knottiness1 every bough having its      
blunted1 affronted1 fatigued1  or       
repentant moments of existence1 and     
mingling crabbed rugosities  and fretful
 changes of mind with the main          
tendencies of its growth4 ,the  piece of
 pollard willow opposite 7,fig4 #fa71   
facsimiled from ,turner's  etching of   
,young ,anglers1 in the ,liber          
,studiorum1 has all these  characters in
 perfectness1 and may serve for         
sufficient study of them4  ,it is       

impossible to explain in what the       
expression of the woody strength        
consists1 unless it be felt4 ,one very  
obvious condition is the excessive      
fineness of curvature1 approximating    
continually to a straight line4 ,in     
order to get a piece of branch curvature
 given as accurately as ,i could  by an 
unprejudiced person1 ,i set one of my   
pupils at the ,working ,men's  ,college 
7a joiner by trade7 to draw1 last       
spring1 a lilac branch of its  real     
size1 as it grew1 before it budded4 ,it 
was about six feet long1 and  before he 
could get it quite right1 the buds came 
out and interrupted  him2 but the       
fragment he got drawn is engraved in    
flat profile1 in ,plate  #eh4 ,it has   
suffered much by reduction1 one or two  
of its finest curves  having become lost
 in the mere thickness of the lines4    
,nevertheless1 if  the reader will      
compare it carefully with the ,dutch    
work1 it will teach  him something about
 trees4     #aa4 ,,ii4 ,,caprice4--,the 

next character we had to note of the    
leaf-builders was their capriciousness1 
noted1 partly1 in ,vol4 ,,iii4  chap4   
ix4  #ad4 ,it is a character connected  
with the ruggedness and                 
ill-temperedness just spoken of1 and an 
essential source of branch  beauty3     
being in reality the written story of   
all the branch's life1--of  the theories
 it formed1 the accidents it suffered1  
the fits of  enthusiasm to which it     
yielded in certain delicious warm       
springs2 the  disgusts at weeks of east 
wind1 the mortifications of itself for  
its  friends' sakes2 or the sudden and  
successful inventions of new ways of    
getting out to the sun4 ,the reader will
 understand this character in a  moment1
 by merely comparing ,fig4 #fb1 which is
 a branch of ,salvator's1#e  with ,fig4 
#fc1 which ,i have traced from the      
engraving1 in the ,yorkshire  series1 of
 ,turner's ,aske ,hall4 ,you cannot but 
feel at once1 not only  the wrongness of
 ,salvator's1 but its dulness4 ,it is   

not now a question  either of poise1 or 
grace1 or gravity2 only of wit4 ,that   
bough has got  no sense2 it has not been
 struck by a single new idea from the   
beginning  of it to the end2 dares not  
even cross itself with one of its own   
sprays4 ,you will be amazed1 in taking  
up any of these old engravings1 to  see 
how seldom the boughs do cross each     
other4 ,whereas1 in nature1 not  only is
 the intersection of extremities a      
mathematical necessity 7see  ,plate     
#ef71 but out of this intersection and  
crossing of curve by curve1  and the    
opposition of line it involves1 the best
 part of their  composition arises4     
,look at the way the boughs are         
interwoven in that  piece of lilac stem 
7,plate #eh74    ,illustration3 ,,fig4  
#fb4    ,illustration3 ,,fig4 #fc4      
,illustration3 #ei4 ,the ,dryad's       
,waywardness4     #ab4 ,again3 ,as it   
seldom struck the old painters that     
boughs must cross  each other1 so it    
never seems to have occurred to them    

that they must be  sometimes            
foreshortened4 ,i chose this bit from   
,aske ,hall1 that you  might see at     
once1 both how ,turner foreshortens the 
main stem1 and how1  in doing so1 he    
shows the turning aside1 and outwards1  
of the one next  to it1 to the left1 to 
get more air4#f ,indeed1 this           
foreshortening lies  at the core of the 
business2 for unless it be well         
understood1 no  branch-form can ever be 
rightly drawn4 ,i placed the oak spray  
in ,plate  #ea so as to be seen as      
nearly straight on its flank as         
possible4 ,it is  the most uninteresting
 position in which a bough can be drawn2
 but it  shows the first simple action  
of the law of resilience4 ,i will now   
turn  the bough with its extremity      
towards us1 and foreshorten it 7,plate  
#ei71  which being done1 you perceive   
another tendency in the whole branch1   
not  seen at all in the first ,plate1 to
 throw its sprays to its own right 7or  
to your left71 which it does to avoid   

the branch next it1 while the  forward  
action is in a sweeping curve round to  
your right1 or to the  branch's left3 a 
curve which it takes to recover position
 after its  first concession4 ,the lines
 of the nearer and smaller shoots are   
very  nearly--thus foreshortened--those 
of a boat's bow4 ,here is a piece of    
,dutch foreshortening for you to compare
 with it1 ,fig4 #fd4g    ,illustration3 
,,fig4 #fd4     #ac4 ,in this final     
perfection of bough-drawing1 ,turner    
stands wholly  alone4 ,even ,titian does
 not foreshorten his boughs rightly4 ,of
 course  he could1 if he had cared to do
 so2 for if you can foreshorten a limb  
or  a hand1 much more a tree branch4    
,but either he had never looked at a    
tree carefully enough to feel that it   
was necessary1 or1 which is more        
likely1 he disliked to introduce in a   
background elements of vigorous         
projection4 ,be the reason what it may1 
if you take ,lefvre's plates of  the    
,peter ,martyr and ,st4 ,jerome--the    

only ones ,i know which give any  idea  
of ,titian's tree-drawing1 you will     
observe at once that the boughs  lie in 
flakes1 artificially set to the right   
and left1 and are not  intricate or     
varied1 even where the foliage indicates
 some  foreshortening2--completing thus 
the evidence for my statement long ago  
given1 that no man but ,turner had ever 
drawn the stem of a tree4               
,illustration3 ,,fig4 #fe4              
,illustration3 ,,fig4 #ff4     #ad4 ,it 
may be well also to note1 for the       
advantage of the general  student of    
design1 that1 in foliage and bough      
drawing1 all the final  grace and       
general utility of the study depend on  
its being well  foreshortened2 and that1
 till the power of doing so quite       
accurately is  obtained1 no             
landscape-drawing is of the least value2
 nor can the  character of any tree be  
known at all until not only its         
branches1 but  its minutest extremities1
 have been drawn in the severest        

foreshortening1 with little accompanying
 plans of the arrangements of  the      
leaves or buds1 or thorns1 on the stem4 
,thus ,fig4 #fe is the  extremity of a  
single shoot of spruce foreshortened1   
showing the  resilience of its swords   
from beneath1 and ,fig4 #ff is a little 
ground-plan1 showing the position of the
 three lowest triple groups of  thorn on
 a shoot of gooseberry4#h ,the fir shoot
 is carelessly drawn2  but it is not    
worth while to do it better1 unless ,i  
engraved it on  steel1 so as to show the
 fine relations of shade4     #ae4      
,,iii4 ,,fellowship4--,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 boughs2 namely1 the mode
 of their  association in masses4 ,it   
follows1 of course1 from all the laws of
  growth we have ascertained1 that the  
terminal outline of any tree or  branch 
must be a simple one1 containing within 
it1 at a given height or  level1 the    

series of leaves of the year2 only we   
have not yet noticed  the kind of form  
which results1 in each branch1 from the 
part it has to  take in forming the mass
 of the tree4 ,the systems of branching 
are  indeed infinite1 and could not be  
exemplified by any number of types2  but
 here are two common types1 in section1 
which will enough explain  what ,i mean4
    ,illustration3 ,,fig4 #fg4     #af4 
,if a tree branches with a concave      
tendency1 it is apt to carry its  boughs
 to the outer curve of limitation1 as at
 ,a1 ,fig4 #fg1 and if with a  convex   
tendency1 as at ,b4 ,in either case the 
vertical section1 or  profile1 of a     
bough will give a triangular mass1      
terminated by curves1  and elongated at 
one extremity4 ,these triangular masses 
you may see at a  glance1 prevailing in 
the branch system of any tree in winter4
 ,they may1  of course1 be              
mathematically reduced to the four types
 a1 b1 c1  and d1 ,fig4 #fg1 but are    
capable of endless variety of expression

 in  action1 and in the adjustment of   
their weights to the bearing stem4      
#ag4 ,to conclude1 then1 we find that   
the beauty of these buildings of  the   
leaves consists1 from the first step of 
it to the last1 in its  showing their   
perfect fellowship2 and a single aim    
uniting them under  circumstances of    
various distress1 trial1 and pleasure4  
,without the  fellowship1 no beauty2    
without the steady purpose1 no beauty2  
without  trouble1 and death1 no beauty2 
without individual pleasure1 freedom1   
and  caprice1 so far as may be          
consistent with the universal good1 no  
beauty4    ,illustration3 ,,fig4 #fh4   
,illustration3 ,,fig4 #fi4     #ah4     
,tree-loveliness might be thus lost or  
killed in many ways4  ,discordance would
 kill it--of one leaf with another2     
disobedience would  kill it--of any leaf
 to the ruling law2 indulgence would    
kill it1 and  the doing away with pain2 
or slavish symmetry would kill it1 and  
the  doing away with delight4 ,and this 

is so1 down to the smallest atom and    
beginning of life3 so soon as there is  
life at all1 there are these four       
conditions of it2--harmony1 obedience1  
distress1 and delightsome  inequality4  
,here is the magnified section of an    
oak-bud1 not the size of  a wheat grain 
7,fig4 #fh74 ,already its nascent leaves
 are seen arranged  under the perfect   
law of resilience1 preparing for        
stoutest work on the  right side4 ,here 
is a dogwood bud just opening into life 
7,fig4 #fi74 ,its  ruling law is to be  
four square1 but see how the uppermost  
leaf takes  the lead1 and the lower     
bends up1 already a little distressed by
 the  effort4 ,here is a birch-bud1     
farther advanced1 ,fig4 #gj4 ,who shall 
say  how many humors the little thing   
has in its mind already2 or how many    
adventures it has passed through8 ,and  
so to the end4 ,help1 submission1       
sorrow1 dissimilarity1 are the sources  
of all good2--war1 disobedience1        
luxury1 equality1 the sources of all    

evil4    ,illustration3 ,,fig4 #gj4     
#ai4 ,there is yet another and a deeply 
laid lesson to be received from  the    
leaf-builders1 which ,i hope the reader 
has already perceived4 ,every  leaf1 we 
have seen1 connects its work with the   
entire and accumulated  result of the   
work of its predecessors4 ,their        
previous construction  served it during 
its life1 raised it towards the light1  
gave it more  free sway and motion in   
the wind1 and removed it from the       
noxiousness of  earth exhalation4       
,dying1 it leaves its own small but     
well-labored  thread1 adding1 though    
imperceptibly1 yet essentially1 to the  
strength1  from root to crest1 of the   
trunk on which it had lived1 and fitting
 that  trunk for better service to      
succeeding races of leaves4    ,we men1 
sometimes1 in what we presume to be     
humility1 compare ourselves  with       
leaves2 but we have as yet no right to  
do so4 ,the leaves may well  scorn the  
comparison4 ,we who live for ourselves1 

and neither know how  to use nor keep   
the work of past time1 may humbly       
learn1--as from the  ant1               
foresight1--from the leaf1 reverence4   
,the power of every great  people1 as of
 every living tree1 depends on its not  
effacing1 but  confirming and           
concluding1 the labors of its ancestors4
 ,looking back to  the history of       
nations1 we may date the beginning of   
their decline from  the moment when they
 ceased to be reverent in heart1 and    
accumulative in  hand and brain2 from   
the moment when the redundant fruit of  
age hid in  them the hollowness of      
heart1 whence the simplicities of custom
 and  sinews of tradition had withered  
away4 ,had men but guarded the righteous
  laws1 and protected the precious works
 of their fathers1 with half the        
industry they have given to change and  
to ravage1 they would not now  have been
 seeking vainly1 in millennial visions  
and mechanic servitudes1  the           
accomplishment of the promise made to   

them so long ago3 ,as the days  of a    
tree are the days of my people1 and mine
 elect shall long enjoy the  work of    
their hands2 they shall not labor in    
vain1 nor bring forth for  trouble2 for 
they are the seed of the blessed of the 
,lord1 and their  offspring with them4  
#bj4 ,this lesson we have to take from  
the leaf's life4 ,one more we may       
receive from its death4 ,if ever in     
autumn a pensiveness falls upon us as   
the leaves drift by in their fading1 may
 we not wisely look up in hope  to their
 mighty monuments8 ,behold how fair1 how
 far prolonged1 in arch  and aisle1 the 
avenues of the valleys2 the fringes of  
the hills6 ,so  stately1--so eternal2   
the joy of man1 the comfort of all      
living  creatures1 the glory of the     
earth1--they are but the monuments of   
those  poor leaves that flit faintly    
past us to die4 ,let them not pass1     
without  our understanding their last   
counsel and example3 that we also1      
careless  of monument by the grave1 may 

build it in the world--monument by which
  men may be taught to remember1 not    
where we died1 but where we lived4      
,,footnotes3      #a ,they are enlarged1
 partly in order to show the care and   
minuteness of ,turner's drawing on the  
smallest scale1 partly to save      the 
reader the trouble of using a magnifying
 glass1 partly because      this woodcut
 will print safely2 while if ,i had     
facsimiled the fine      ,turner        
etching1 the block might have been      
spoiled after a hundred                 
impressions4      #b ,magnified to twice
 the size of the original1 but otherwise
      facsimiled from his own etching of
 ,oedipus1 and the ,school of ,plato4   
#c ,the parrot perched on it is removed1
 which may be done without      altering
 the curve1 as the bird is set where its
 weight would not      have bent the    
wood4      #d ,the largest laurel spray 
in the background of the ,susanna1      
,louvre--reduced to about a fifth of the
 original4 ,the drawing was      made   

for me by ,m4 ,hippolyte ,dubois1 and ,i
 am glad it is not one of my      own1  
lest ,i should be charged with          
exaggerating ,veronese's accuracy4      
,this group of leaves is1 in the        
original1 of the life-size2 the         
circle which interferes with the spray  
on the right being the outline      of  
the head and of one of the elders2 and1 
as painted for distant      effect1     
there is no care in completing the      
stems3--they are struck      with a few 
broken touches of the brush1 which      
cannot be imitated in      the          
engraving1 and much of their spirit is  
lost in consequence4      #e ,the       
longest in ,apollo and the ,sibyl1      
engraved by ,boydell4      7,reduced    
one-half47      #f ,the foreshortening  
of the bough to the right is a piece of 
great      audacity2 it comes towards us
 two or three feet sharply1 after       
forking1 so as to look half as thick    
again as at the fork2--then      bends  
back again1 and outwards4      #g       

,hobbima4 ,dulwich ,gallery1 ,no4 #aca4 
,turn the book with its inner      edge 
up4      #h ,their change from groups of
 three to groups of two1 and then to    
single thorns at the end of the spray1  
will be found very beautiful      in a  
real shoot4 ,the figure on the left in  
,plate #eb is a branch of               
blackthorn with its spines 7which are a 
peculiar condition of branch1      and  
can bud like branches1 while thorns have
 no root nor power of      development74
 ,such a branch gives good practice     
without too much      difficulty4       
,,chapter ,,ix4    ,,the ,,leaf         
,,shadows4      ,illustration3 ,,fig4   
#ga4     #a4 ,it may be judged1 by the  
time which it has taken to arrive at any
  clear idea of the structure of        
shield-builders1 what a task would open 
to us if we endeavored to trace the more
 wonderful forms of the wild  builders  
with the sword4 ,not that they are more 
complex2 but they are  more definite1   
and cannot be so easily generalized4    

,the conditions which  produce the spire
 of the cypress1 and flaked breadth of  
the cedar1 the  rounded head of the     
stone pine1 and perfect pyramid of the  
black spruce1  are far more distinct1   
and would require more accurate and     
curious  diagrams to illustrate them1   
than the graceful1 but in some degree   
monotonous branching of leaf-builders4  
,in broad principle they are1  however1 
alike4 ,the leaves construct the sprays 
in the same accumulative  way3 the only 
essential difference being that in the  
sword-builders the  leaves are all set  
close1 and at equal intervals4 ,instead 
of admitting  extended and variable     
spaces between them1 the whole spray is 
one tower  of leaf-roots1 set in a      
perfect spiral4 ,thus1 ,fig4 #ga1 at ,a1
 represents  a fragment of spray of     
,scotch fir of its real size4 ,b is the 
same piece  magnified1 the diamond-like 
spaces being the points on which the    
leaves  grew4 ,the dotted lines show the
 regularity of the spiral4 ,as the minor

  stems join in boughs1 the scars left  
by the leaves are gradually  effaced1   
and a thick but broken and scaly bark   
forms instead4     #b4 ,a sword-builder 
may therefore be generally considered as
 a  shield-builder put under the        
severest military restraint4 ,the       
graceful  and thin leaf is concentrated 
into a strong1 narrow1 pointed rod2 and 
the insertion of these rods on them is  
in a close and perfectly timed  order4  
,in some ambiguous trees connected with 
the tribe 7as the arbor  vit7 there is  
no proper stem to the outer leaves1 but 
all the  extremities form a kind of     
coralline leaf1 flat and fern-like1 but 
articulated like a crustacean animal1   
which gradually concentrates and        
embrowns itself into the stem4 ,the     
thicker branches of these trees are     
exquisitely fantastic2 and the mode in  
which the flat system of leaf  first    
produces an irregular branch1 and then  
adapts itself to the  symmetrical cone  
of the whole tree1 is one of the most   

interesting  processes of form which ,i 
know in vegetation4     #c4 ,neither    
this1 however1 nor any other of the pine
 formations1 have  we space here to     
examine in detail2 while without detail1
 all discussion  of them is in vain4 ,i 
shall only permit myself to note a few  
points  respecting my favorite tree1 the
 black spruce1 not with any view to art 
criticism 7though we might get at some  
curious results by a comparison  of     
popular pine-drawing in ,germany1       
,america1 and other dark-wooded         
countries1 with the true natural forms71
 but because ,i think the  expression of
 this tree has not been rightly         
understood by travellers in             
,switzerland1 and that1 with a little   
watching of it1 they might easily       
obtain a juster feeling4     #d4 ,of the
 many marked adaptations of nature to   
the mind of man1 it  seems one of the   
most singular1 that trees intended      
especially for the  adornment of the    
wildest mountains should be in broad    

outline the most  formal of trees4 ,the 
vine1 which is to be the companion of   
man1 is  waywardly docile in its growth1
 falling into festoons beside his       
cornfields1 or roofing his garden-walks1
 or casting its shadow all  summer upon 
his door4 ,associated always with the   
trimness of  cultivation1 it introduces 
all possible elements of sweet wildness4
 ,the  pine1 placed nearly always among 
scenes disordered and desolate1 brings  
into them all possible elements of order
 and precision4 ,lowland trees  may lean
 to this side and that1 though it is but
 a meadow breeze that  bends them1 or a 
bank of cowslips from which their trunks
 lean aslope4  ,but let storm and       
avalanche do their worst1 and let the   
pine find only a  ledge of vertical     
precipice to cling to1 it will          
nevertheless grow  straight4 ,thrust a  
rod from its last shoot down the        
stem2--it shall  point to the centre of 
the earth as long as the tree lives4    
#e4 ,also it may be well for lowland    

branches to reach hither and  thither   
for what they need1 and to take all     
kinds of irregular shape and  extension4
 ,but the pine is trained to need       
nothing1 and to endure  everything4 ,it 
is resolvedly whole1 self-contained1    
desiring nothing but  rightness1 content
 with restricted completion4 ,tall or   
short1 it will be  straight4 ,small or  
large1 it will be round4 ,it may be     
permitted also to  these soft lowland   
trees that they should make themselves  
gay with show  of blossom1 and glad with
 pretty charities of fruitfulness4 ,we  
builders  with the sword have harder    
work to do for man1 and must do it in   
close-set troops4 ,to stay the sliding  
of the mountain snows1 which would  bury
 him2 to hold in divided drops1 at our  
sword-points1 the rain1 which  would    
sweep away him and his treasure-fields2 
to nurse in shade among  our brown      
fallen leaves the tricklings that feed  
the brooks in drought2  to give massive 
shield against the winter wind1 which   

shrieks through  the bare branches of   
the plain3--such service must we do him 
steadfastly  while we live4 ,our bodies1
 also1 are at his service3 softer than  
the  bodies of other trees1 though our  
toil is harder than theirs4 ,let him    
take them as pleases him1 for his houses
 and ships4 ,so also it may be  well for
 these timid lowland trees to tremble   
with all their leaves1 or  turn their   
paleness to the sky1 if but a rush of   
rain passes by them2 or  to let fall    
their leaves at last1 sick and sere4    
,but we pines must live  carelessly     
amidst the wrath of clouds4 ,we only    
wave our branches to and  fro when the  
storm pleads with us1 as men toss their 
arms in a dream4    ,and finally1 these 
weak lowland trees may struggle fondly  
for the last  remnants of life1 and send
 up feeble saplings again from their    
roots  when they are cut down4 ,but we  
builders with the sword perish boldly2  
our dying shall be perfect and solemn1  
as our warring3 we give up our  lives   

without reluctance1 and for ever4#a     
#f4 ,i wish the reader to fix his       
attention for a moment on these two     
great characters of the pine1 its       
straightness and rounded perfectness2   
both wonderful1 and in their issue      
lovely1 though they have hitherto       
prevented the tree from being drawn4 ,i 
say1 first1 its straightness4  ,because 
we constantly see it in the wildest     
scenery1 we are apt to  remember only as
 characteristic examples of it those    
which have been  disturbed by violent   
accident or disease4 ,of course such    
instances are  frequent4 ,the soil of   
the pine is subject to continual change2
 perhaps  the rock in which it is rooted
 splits in frost and falls forward1     
throwing the young stems aslope1 or the 
whole mass of earth around it is        
undermined by rain1 or a huge boulder   
falls on its stem from above1 and       
forces it for twenty years to grow with 
weight of a couple of tons  leaning on  
its side4 ,hence1 especially at edges of

 loose cliffs1 about  waterfalls1 or at 
glacier banks1 and in other places      
liable to  disturbance1 the pine may be 
seen distorted and oblique2 and in      
,turner's  ,source of the ,arveron1 he  
has1 with his usual unerring perception 
of  the main point in any matter1       
fastened on this means of relating the  
glacier's history4 ,the glacier cannot  
explain its own motion2 and  ordinary   
observers saw in it only its rigidity2  
but ,turner saw that the  wonderful     
thing was its non-rigidity4 ,other ice  
is fixed1 only this ice  stirs4 ,all the
 banks are staggering beneath its waves1
 crumbling and  withered as by the blast
 of a perpetual storm4 ,he made the     
rocks of his  foreground loose--rolling 
and tottering down together2 the pines1 
smitten aside by them1 their tops dead1 
bared by the ice wind4     #g4          
,nevertheless1 this is not the truest or
 universal expression of the  pine's    
character4 ,i said long ago1 even of    
,turner3 ,into the spirit of  the pine  

he cannot enter4 ,he understood the     
glacier at once2 he had  seen the force 
of sea on shore too often to miss the   
action of those  crystal-crested waves4 
,but the pine was strange to him1       
adverse to his  delight in broad and    
flowing line2 he refused its magnificent
 erectness4  ,magnificent6--nay1        
sometimes1 almost terrible4 ,other      
trees1 tufting crag  or hill1 yield to  
the form and sway of the ground1 clothe 
it with soft  compliance1 are partly its
 subjects1 partly its flatterers1 partly
 its  comforters4 ,but the pine rises in
 serene resistance1 self-contained2 nor 
can ,i ever without awe stay long under 
a great ,alpine cliff1 far from  all    
house or work of men1 looking up to its 
companies of pine1 as they  stand on the
 inaccessible juts and perilous ledges  
of the enormous wall1  in quiet         
multitudes1 each like the shadow of the 
one beside it--upright1  fixed1         
spectral1 as troops of ghosts standing  
on the walls of ,hades1 not  knowing    

each other--dumb for ever4 ,you cannot  
reach them1 cannot cry to  them2--those 
trees never heard human voice2 they are 
far above all sound  but of the winds4  
,no foot ever stirred fallen leaf of    
theirs4 ,all  comfortless they stand1   
between the two eternities of the       
,vacancy and  the ,rock3 yet with such  
iron will1 that the rock itself looks   
bent and  shattered beside              
them--fragile1 weak1 inconsistent1      
compared to their  dark energy of       
delicate life1 and monotony of enchanted
  pride3--unnumbered1 unconquerable4    
#h4 ,then note1 farther1 their          
perfectness4 ,the impression on most    
people's minds must have been received  
more from pictures than reality1  so far
 as ,i can judge2--so ragged they think 
the pine2 whereas its chief  character  
in health is green and full roundness4  
,it stands compact1 like  one of its own
 cones1 slightly curved on its sides1   
finished and quaint  as a carved tree in
 some ,elizabethan garden2 and instead  

of being wild  in expression1 forms the 
softest of all forest scenery2 for other
 trees  show their trunks and twisting  
boughs3 but the pine1 growing either in 
luxuriant mass or in happy isolation1   
allows no branch to be seen4  ,summit   
behind summit rise its pyramidal ranges1
 or down to the very  grass sweep the   
circlets of its boughs2 so that there is
 nothing but  green cone and green      
carpet4 ,nor is it only softer1 but in  
one sense  more cheerful than other     
foliage2 for it casts only a pyramidal  
shadow4  ,lowland forest arches         
overhead1 and chequers the ground with  
darkness2  but the pine1 growing in     
scattered groups1 leaves the glades     
between  emerald-bright4 ,its gloom is  
all its own2 narrowing into the sky1 it 
lets the sunshine strike down to the    
dew4 ,and if ever a superstitious       
feeling comes over me among the         
pine-glades1 it is never tainted with   
the old ,german forest fear2 but is only
 a more solemn tone of the fairy        

enchantment that haunts our ,english    
meadows2 so that ,i have always  called 
the prettiest pine glade in ,chamouni1  
,fairies' ,hollow4 ,it is in  the glen  
beneath the steep ascent above ,pont    
,pelissier1 and may be  reached by a    
little winding path which goes down from
 the top of the  hill2 being1 indeed1   
not truly a glen1 but a broad ledge of  
moss and  turf1 leaning in a formidable 
precipice 7which1 however1 the gentle   
branches hide7 over the ,arve4 ,an      
almost isolated rock promontory1        
many-colored1 rises at the end of it4   
,on the other sides it is bordered  by  
cliffs1 from which a little cascade     
falls1 literally down among the  pines1 
for it is so light1 shaking itself into 
mere showers of seed  pearl in the sun1 
that the pines don't know it from mist1 
and grow  through it without minding4   
,underneath1 there is only the mossy    
silence1  and above1 for ever1 the snow 
of the nameless ,aiguille4     #i4 ,and 
then the third character which ,i want  

you to notice in the pine  is its       
exquisite fineness4 ,other trees rise   
against the sky in dots and  knots1 but 
this in fringes4#b ,you never see the   
edges of it1 so subtle  are they2 and   
for this reason1 it alone of trees1 so  
far as ,i know1 is  capable of the fiery
 change which we saw before had been    
noticed by  ,shakespeare4 ,when the sun 
rises behind a ridge crested with pine1 
provided the ridge be at a distance of  
about two miles1 and seen clear1  all   
the trees1 for about three or four      
degrees on each side of the sun1  become
 trees of light1 seen in clear flame    
against the darker sky1 and  dazzling as
 the sun itself4 ,i thought at first    
this was owing to the  actual lustre of 
the leaves2 but ,i believe now it is    
caused by the  cloud-dew upon           
them1--every minutest leaf carrying its 
diamond4 ,it seems  as if these trees1  
living always among the clouds1 had     
caught part of  their glory from them2  
and themselves the darkest of           

vegetation1 could  yet add splendor to  
the sun itself4     #aj4 ,yet ,i have   
been more struck by their character of  
finished  delicacy at a distance from   
the central ,alps1 among the pastoral   
hills  of the ,emmenthal1 or lowland    
districts of ,berne1 where they are set 
in  groups between the cottages1 whose  
shingle roofs 7they also of pine7 of    
deep gray blue1 and lightly carved      
fronts1 golden and orange in the  autumn
 sunshine1#c gleam on the banks and     
lawns of hill-side1--endless  lawns1    
mounded1 and studded1 and bossed all    
over with deeper green  hay-heaps1      
orderly set1 like jewellery 7the        
mountain hay1 when the  pastures are    
full of springs1 being strangely dark   
and fresh in verdure  for a whole day   
after it is cut74 ,and amidst this      
delicate delight of  cottage and field1 
the young pines stand delicatest of all1
 scented as  with frankincense1 their   
slender stems straight as arrows1 and   
crystal  white1 looking as if they would

 break with a touch1 like needles2 and  
their arabesques of dark leaf pierced   
through and through by the pale         
radiance of clear sky1 opal blue1 where 
they follow each other along the  soft  
hill-ridges1 up and down4     #aa4 ,i   
have watched them in such scenes with   
the deeper interest1  because of all    
trees they have hitherto had most       
influence on human  character4 ,the     
effect of other vegetation1 however     
great1 has been  divided by mingled     
species2 elm and oak in ,england1 poplar
 in ,france1  birch in ,scotland1 olive 
in ,italy and ,spain1 share their power 
with  inferior trees1 and with all the  
changing charm of successive            
agriculture4 ,but the tremendous unity  
of the pine absorbs and moulds the  life
 of a race4 ,the pine shadows rest upon 
a nation4 ,the ,northern  peoples1      
century after century1 lived under one  
or other of the two  great powers of the
 ,pine and the ,sea1 both infinite4     
,they dwelt amidst  the forests1 as they

 wandered on the waves1 and saw no end1 
nor any  other horizon2--still the dark 
green trees1 or the dark green waters1  
jagged the dawn with their fringe1 or   
their foam4 ,and whatever elements  of  
imagination1 or of warrior strength1 or 
of domestic justice1 were  brought down 
by the ,norwegian and the ,goth against 
the dissoluteness or  degradation of the
 ,south of ,europe1 were taught them    
under the green  roofs and wild         
penetralia of the pine4     #ab4 ,i do  
not attempt1 delightful as the task     
would be1 to trace this  influence      
7mixed with superstition7 in            
,scandinavia1 or ,north ,germany2  but  
let us at least note it in the instance 
which we speak of so  frequently1 yet so
 seldom take to heart4 ,there has been  
much dispute  respecting the character  
of the ,swiss1 arising out of the       
difficulty  which other nations had to  
understand their simplicity4 ,they were 
assumed to be either romantically       
virtuous1 or basely mercenary1 when in  

fact they were neither heroic nor base1 
but were true-hearted men1  stubborn    
with more than any recorded             
stubbornness2 not much regarding  their 
lives1 yet not casting them causelessly 
away2 forming no high  ideal of         
improvement1 but never relaxing their   
grasp of a good they had  once gained2  
devoid of all romantic sentiment1 yet   
loving with a  practical and patient    
love that neither wearied nor forsook2  
little  given to enthusiasm in religion1
 but maintaining their faith in a purity
  which no worldliness deadened and no  
hypocrisy soiled2 neither  chivalrously 
generous nor pathetically humane1 yet   
never pursuing their  defeated enemies1 
nor suffering their poor to perish3     
proud1 yet not  allowing their pride to 
prick them into unwary or unworthy      
quarrel2  avaricious1 yet contentedly   
rendering to their neighbor his due2    
dull1  but clear-sighted to all the     
principles of justice2 and patient1     
without  ever allowing delay to be      

prolonged by sloth1 or forbearance by   
fear4     #ac4 ,this temper of ,swiss   
mind1 while it animated the whole       
confederacy1 was rooted chiefly in one  
small district which formed the  heart  
of their country1 yet lay not among its 
highest mountains4 ,beneath  the        
glaciers of ,zermatt and ,evolena1 and  
on the scorching slopes of the  ,valais1
 the peasants remained in an aimless    
torpor1 unheard of but as  the obedient 
vassals of the great ,bishopric of      
,sion4 ,but where the lower  ledges of  
calcareous rock were broken by the      
inlets of the ,lake ,lucerne1  and      
bracing winds penetrating from the north
 forbade the growth of the  vine1       
compelling the peasantry to adopt an    
entirely pastoral life1 was  reared     
another race of men4 ,their narrow      
domain should be marked by a  small     
green spot on every map of ,europe4 ,it 
is about forty miles from  east to west2
 as many from north to south3 yet on    
that shred of rugged  ground1 while     

every kingdom of the world around it    
rose or fell in fatal  change1 and every
 multitudinous race mingled or wasted   
itself in various  dispersion and       
decline1 the simple shepherd dynasty    
remained changeless4  ,there is no      
record of their origin4 ,they are       
neither ,goths1 ,burgundians1  ,romans1 
nor ,germans4 ,they have been for ever  
,helvetii1 and for ever  free4          
,voluntarily placing themselves under   
the protection of the ,house  of        
,hapsburg1 they acknowledged its        
supremacy1 but resisted its  oppression2
 and rose against the unjust governors  
it appointed over  them1 not to gain1   
but to redeem1 their liberties4         
,victorious in the  struggle by the     
,lake of ,egeri1 they stood the foremost
 standard-bearers  among the nations of 
,europe in the cause of loyalty and     
life--loyalty in  its highest sense1 to 
the laws of ,god's helpful justice1 and 
of man's  faithful and brotherly        
fortitude4     #ad4 ,you will find among

 them1 as ,i said1 no subtle wit nor    
high  enthusiasm1 only an undeceivable  
common sense1 and an obstinate          
rectitude4 ,they cannot be persuaded    
into their duties1 but they feel  them2 
they use no phrases of friendship1 but  
do not fail you at your  need4          
,questions of creed1 which other nations
 sought to solve by logic  or reverie1  
these shepherds brought to practical    
tests3 sustained with  tranquillity the 
excommunication of abbots who wanted to 
feed their  cattle on other people's    
fields1 and1 halbert in hand1 struck    
down the  ,swiss ,reformation1 because  
the ,evangelicals of ,zurich refused to 
send  them their due supplies of salt4  
,not readily yielding to the demands of 
superstition1 they were patient under   
those of economy2 they would  purchase  
the remission of taxes1 but not of sins2
 and while the sale of  indulgences was 
arrested in the church of ,ensiedlen as 
boldly as at the  gates of ,wittenberg1 
the inhabitants of the valley of        

,frtigen#d ate no  meat for seven years1
 in order peacefully to free themselves 
and their  descendants from the         
seigniorial claims of the ,baron of     
,thurm4     #ae4 ,what praise may be    
justly due to this modest and rational  
virtue1  we have perhaps no sufficient  
grounds for defining4 ,it must long     
remain  questionable how far the vices  
of superior civilization may be atoned  
for by its achievements1 and the errors 
of more transcendental devotion         
forgiven to its rapture4 ,but1 take it  
for what we may1 the character of  this 
peasantry is1 at least1 serviceable to  
others and sufficient for  their own    
peace2 and in its consistency and       
simplicity1 it stands alone  in the     
history of the human heart4 ,how far it 
was developed by  circumstances of      
natural phenomena may also be disputed2 
nor should ,i  enter into such dispute  
with any strongly held conviction4 ,the 
,swiss  have certainly no feelings      
respecting their mountains in anywise   

correspondent to ours4 ,it was rather as
 fortresses of defence1 than as         
spectacles of splendor1 that the cliffs 
of the ,rothstock bare rule over  the   
destinies of those who dwelt at their   
feet2 and the training for  which the   
mountain children had to thank the      
slopes of the ,muotta-,thal1  was in    
soundness of breath1 and steadiness of  
limb1 far more than in  elevation of    
idea4 ,but the point which ,i desire the
 reader to note is1  that the character 
of the scene which1 if any1 appears to  
have been  impressive to the inhabitant1
 is not that which we ourselves feel    
when  we enter the district4 ,it was not
 from their lakes1 nor their cliffs1    
nor their glaciers--though these were   
all peculiarly their possession1  that  
the three venerable cantons or states   
received their name4 ,they  were not    
called the ,states of the ,rock1 nor the
 ,states of the ,lake1 but  the ,states 
of the ,forest4 ,and the one of the     
three which contains the  most touching 

record of the spiritual power of ,swiss 
religion1 in the  name of the convent of
 the ,hill of ,angels1 has1 for its own1
 none but  the sweet childish name of   
,under the ,woods4     #af4 ,and indeed 
you may pass under them if1 leaving the 
most sacred  spot in ,swiss history1 the
 ,meadow of the ,three ,fountains1 you  
bid the  boatman row southward a little 
way by the shore of the ,bay of ,uri4   
,steepest there on its western side1 the
 walls of its rocks ascend to  heaven4  
,far1 in the blue of evening1 like a    
great cathedral pavement1  lies the lake
 in its darkness2 and you may hear the  
whisper of  innumerable falling waters  
return from the hollows of the cliff1   
like  the voices of a multitude praying 
under their breath4 ,from time to time  
the beat of a wave1 slow lifted1 where  
the rocks lean over the black  depth1   
dies heavily as the last note of a      
requiem4 ,opposite1 green with  steep   
grass1 and set with chalet villages1 the
 ,fron-,alp rises in one  solemn glow of

 pastoral light and peace2 and above1   
against the clouds  of twilight1 ghostly
 on the gray precipice1 stand1 myriad by
 myriad1 the  shadowy armies of the     
,unterwalden pine4#e    ,i have seen    
that it is possible for the stranger to 
pass through this  great chapel1 with   
its font of waters1 and mountain        
pillars1 and vaults  of cloud1 without  
being touched by one noble thought1 or  
stirred by any  sacred passion2 but for 
those who received from its waves the   
baptism of  their youth1 and learned    
beneath its rocks the fidelity of their 
manhood1 and watched amidst its clouds  
the likeness of the dream of  life1 with
 the eyes of age--for these ,i will not 
believe that the  mountain shrine was   
built1 or the calm of its forest-shadows
 guarded by  their ,god1 in vain4       
,,footnotes3      #a ,croesus1          
therefore1 having heard these things1   
sent word to the      people of         
,lampsacus that they should let         
,miltiades go2 and1 if not1      he     

would cut them down like a              
pine-tree4--,herod4 vi4 #cg4      #b    
,keats 7as is his way7 puts nearly all  
that may be said of the      pine into  
one verse1 though they are only         
figurative pines of which      he is    
speaking4 ,i have come to that pass of  
admiration for him now1      that ,i    
dare not read him1 so discontented he   
makes me with my own      work3 but     
others must not leave unread1 in        
considering the influence      of trees 
upon the human soul1 that marvellous ode
 to ,psyche4 ,here is      the piece    
about pines3--          ,yes1 ,i will be
 thy priest1 and build a fane           
,in some untrodden region of my mind1   
,where branchd thoughts1 new grown with 
pleasant pain1         ,instead of      
pines1 shall murmur in the wind3        
,far1 far around shall those            
dark-clustered trees         ,fledge the
 wild-ridged mountains1 steep by steep2 
,and there by zephyrs1 streams1 and     
birds1 and bees1         ,the moss-lain 

,dryads shall be lull'd to sleep2       
,and in the midst of this wide quietness
         ,a rosy sanctuary will ,i dress
         ,with the wreath'd trellis of a
 working brain1         ,with buds1 and 
bells1 and stars without a name1        
,with all the ,gardener ,fancy e'er     
could feign1         ,who1 breeding     
flowers1 will never breed the same4     
,and there shall be for thee all soft   
delight         ,that shadowy thought   
can win2         ,a bright torch1 and a 
casement ope1 at night1         ,to let 
the warm ,love in4      #c ,there has   
been much cottage-building about the    
hills lately1 with      very pretty     
carving1 the skill in which has been    
encouraged by      travellers2 and the  
fresh-cut larch is splendid in color    
under rosy      sunlight4      #d ,this 
valley is on the pass of the ,gemmi in  
,canton ,berne1 but the      people are 
the same in temper as those of the      
,waldstetten4      #e ,the cliff        
immediately bordering the lake is in    

,canton ,uri3 the      green hills of   
,unterwalden rise above4 ,this is the   
grandest piece of      the shore of     
,lake ,lucerne2 the rocks near ,tell's  
,chapel are neither      so lofty nor so
 precipitous4          ,,chapter ,x4    
,,leaves ,,motionless4       #a4 ,it    
will be remembered that our final       
inquiry was to be into the  sources of  
beauty in the tented plants1 or flowers 
of the field2 which  the reader may     
perhaps suppose one of no great         
difficulty1 the beauty of  flowers being
 somewhat generally admitted and        
comprehended4    ,admitted8 yes4        
,comprehended8 no2 and1 which is worse1 
in all its highest  characters1 for many
 a day yet1 incomprehensible3 though    
with a little  steady application1 ,i   
suppose we might soon know more than we 
do now  about the colors of             
flowers1--being tangible enough1 and    
staying longer  than those of clouds4   
,we have discovered something definite  
about colors  of opal and of peacock's  

plume2 perhaps1 also1 in due time we may
 give  some account of that true gold   
7the only gold of intrinsic value7 which
  gilds buttercups2 and understand how  
the spots are laid1 in painting a       
pansy4    ,art is of interest1 when we  
may win any of its secrets2 but to such 
knowledge the road lies not up brick    
streets4 ,and howsoever that            
flower-painting may be done1 one thing  
is certain1 it is not by  machinery4    
#b4 ,perhaps1 it may be thought1 if we  
understood flowers better1 we  might    
love them less4    ,we do not love them 
much1 as it is4 ,few people care about  
flowers4 ,many1  indeed1 are fond of    
finding a new shape of blossom1 caring  
for it as a  child cares about a        
kaleidoscope4 ,many1 also1 like a fair  
service of  flowers in the greenhouse1  
as a fair service of plate on the table4
 ,many  are scientifically interested in
 them1 though even these in the         
nomenclature rather than the flowers4   
,and a few enjoy their gardens2 but  ,i 

have never heard of a piece of land1    
which would let well on a  building     
lease1 remaining unlet because it was a 
flowery piece4 ,i have  never heard of  
parks being kept for wild hyacinths1    
though often of  their being kept for   
wild beasts4 ,and the blossoming time of
 the year  being principally spring1 ,i 
perceive it to be the mind of most      
people1  during that period1 to stay in 
towns4     #c4 ,a year or two ago1 a    
keen-sighted and eccentrically-minded   
friend  of mine1 having taken it into   
his head to violate this national       
custom1  and go to the ,tyrol in spring1
 was passing through a valley near      
,landech1 with several similarly        
headstrong companions4 ,a strange       
mountain appeared in the distance1      
belted about its breast with a zone  of 
blue1 like our ,english ,queen4 ,was it 
a blue cloud8 ,a blue horizontal  bar of
 the air that ,titian breathed in youth1
 seen now far away1 which  mortal might 
never breathe again8 ,was it a mirage--a

 meteor8 ,would it  stay to be          
approached8 7ten miles of winding road  
yet between them and  the foot of its   
mountain47 ,such questioning had they   
concerning it4 ,my  keen-sighted friend 
alone maintained it to be substantial3  
whatever it  might be1 it was not air1  
and would not vanish4 ,the ten miles of 
road  were overpassed1 the carriage     
left1 the mountain climbed4 ,it stayed  
patiently1 expanding still into richer  
breadth and heavenlier glow--a  belt of 
gentians4 ,such things may verily be    
seen among the ,alps in  spring1 and in 
spring only4 ,which being so1 ,i observe
 most people prefer  going in autumn4   
#d4 ,nevertheless1 without any special  
affection for them1 most of us1  at     
least1 languidly consent to the beauty  
of flowers1 and occasionally  gather    
them1 and prefer them from among other  
forms of vegetation4 ,this1  strange to 
say1 is precisely what great painters do
 not4    ,every other kind of object    
they paint1 in its due place and office1

 with  respect2--but1 except            
compulsorily and imperfectly1 never     
flowers4 ,a  curious fact1 this6 ,here  
are men whose lives are spent in the    
study of  color1 and the one thing they 
will not paint is a flower6 ,anything   
but  that4 ,a furred mantle1 a jewelled 
zone1 a silken gown1 a brazen corslet1  
nay1 an old leathern chair1 or a        
wall-paper if you will1 with utmost     
care and delight2--but a flower by no   
manner of means1 if avoidable4  ,when   
the thing has perforce to be done1 the  
great painters of course do  it rightly4
 ,titian1 in his early work1 sometimes  
carries a blossom or  two out with      
affection1 as the columbines in our     
,bacchus and ,ariadne4  ,so also        
,holbein4 ,but in his later and mightier
 work1 ,titian will only  paint a fan or
 a wristband intensely1 never a flower4 
,in his portrait of  ,lavinia1 at       
,berlin1 the roses are just touched     
finely enough to fill  their place1 with
 no affection whatever1 and with the    

most subdued red  possible2 while in the
 later portrait of her1 at ,dresden1    
there are no  roses at all1 but a belt  
of chased golden balls1 on every stud of
 which  ,titian has concentrated his    
strength1 and ,i verily believe forgot  
the  face a little1 so much has his mind
 been set on them4     #e4 ,in ,paul    
,veronese's ,europa1 at ,dresden1 the   
entire foreground is  covered with      
flowers1 but they are executed with     
sharp and crude touches  like those of a
 decorative painter4 ,in ,correggio's   
paintings1 at  ,dresden1 and in the     
,antiope of the ,louvre1 there are      
lovely pieces of  foliage1 but no       
flowers4 ,a large garland of oranges and
 lemons1 with  their leaves1 above the  
,st4 ,george1 at ,dresden1 is connected 
traditionally with the garlanded        
backgrounds of ,ghirlandajo and         
,mantegna1 but the studious absence of  
flowers renders it almost  disagreeably 
ponderous4 ,i do not remember any       
painted by ,velasquez1 or  by ,tintoret1

 except compulsory ,annunciation lilies4
 ,the flowers of  ,rubens are gross and 
rude2 those of ,vandyck vague1 slight1  
and subdued  in color1 so as not to     
contend with the flesh4 ,in his         
portraits of ,king  ,charles's children1
 at ,turin1 an enchanting picture1 there
 is a  rose-thicket1 in which the roses 
seem to be enchanted the wrong way1 for 
their leaves are all gray1 and the      
flowers dull brick-red4 ,yet it is      
right4     #f4 ,one reason for this is  
that all great men like their inferior  
forms  to follow and obey contours of   
large surfaces1 or group themselves in  
connected masses4 ,patterns do the      
first1 leaves the last2 but flowers     
stand separately4    ,another reason is 
that the beauty of flower-petals and    
texture can only  be seen by looking at 
it close2 but flat patterns can be seen 
far off1  as well as gleaming of        
metal-work4 ,all the great men calculate
 their  work for effect at some         
distance1 and with that object1 know it 

to be  lost time to complete the drawing
 of flowers4 ,farther1 the forms of     
flowers being determined1 require a     
painful attention1 and restrain the     
fancy2 whereas1 in painting fur1 jewels1
 or bronze1 the color and touch  may be 
varied almost at pleasure1 and without  
effort4    ,again1 much of what is best 
in flowers is inimitable in painting2   
and a  thoroughly good workman feels the
 feebleness of his means when he        
matches them fairly with ,nature1 and   
gives up the attempt  frankly--painting 
the rose dull red1 rather than trying to
 rival its  flush in sunshine4    ,and1 
lastly1 in nearly all good              
landscape-painting1 the breadth of      
foreground included implies such a      
distance of the spectator from the      
nearest object as must entirely prevent 
his seeing flower detail4     #g4 ,there
 is1 however1 a deeper reason than all  
these2 namely1 that  flowers have no    
sublimity4 ,we shall have to examine the
 nature of  sublimity in our following  

and last section1 among other ideas of  
relation4 ,here ,i only note the fact   
briefly1 that impressions of awe and    
sorrow being at the root of the         
sensation of sublimity1 and the beauty  
of separate flowers not being of the    
kind which connects itself with  such   
sensation1 there is a wide distinction1 
in general1 between  flower-loving minds
 and minds of the highest order4        
,flowers seem  intended for the solace  
of ordinary humanity3 children love     
them2 quiet1  tender1 contented ordinary
 people love them as they grow2         
luxurious and  disorderly people rejoice
 in them gathered3 ,they are the        
cottager's  treasure2 and in the crowded
 town1 mark1 as with a little broken    
fragment of rainbow1 the windows of the 
workers in whose heart rests the        
covenant of peace4 ,passionate or       
religious minds contemplate them with   
fond1 feverish intensity2 the affection 
is seen severely calm in the  works of  
many old religious painters1 and mixed  

with more open and true  country        
sentiment in those of our own           
pre-,raphaelites4 ,to the child and  the
 girl1 the peasant and the manufacturing
 operative1 to the grisette  and the    
nun1 the lover and monk1 they are       
precious always4 ,but to the  men of    
supreme power and thoughtfulness1       
precious only at times2  symbolically   
and pathetically often to the poets1 but
 rarely for their  own sake4 ,they fall 
forgotten from the great workmen's and  
soldiers'  hands4 ,such men will take1  
in thankfulness1 crowns of leaves1 or   
crowns  of thorns--not crowns of        
flowers4     #h4 ,some beautiful things 
have been done lately1 and more         
beautiful are  likely to be done1 by our
 younger painters1 in representing      
blossoms of  the orchard and the field  
in mass and extent4 ,i have had         
something to do  with the encouragement 
of this impulse2 and truly1 if pictures 
are to  be essentially imitative rather 
than inventive1 it is better to spend   

care in painting hyacinths than dead    
leaves1 and roses rather than  stubble4 
,such work1 however1 as ,i stated in my 
first essay on this  subject1 in the    
year #ahea1a can only connect itself    
with the great  schools by becoming     
inventive instead of copyist2 and for   
the most part1  ,i believe these young  
painters would do well to remember that 
the best  beauty of flowers being wholly
 inimitable1 and their sweetest service 
unrenderable by art1 the picture        
involves some approach to an            
unsatisfying mockery1 in the cold       
imagery of what ,nature has given to be 
breathed with the profuse winds of      
spring1 and touched by the happy        
footsteps of youth4     #i4 ,among the  
greater masters1 as ,i have said1 there 
is little  laborious or affectionate    
flower-painting4 ,the utmost that       
,turner ever  allows in his foregrounds 
is a water-lily or two1 a cluster of    
heath or  foxglove1 a thistle sometimes1
 a violet or daisy1 or a bindweed-bell2 

just enough to lead the eye into the    
understanding of the rich mystery  of   
his more distant leafage4 ,rich mystery1
 indeed1 respecting which  these        
following facts about the foliage of    
tented plants must be noted  carefully4 
#aj4 ,two characters seem especially    
aimed at by ,nature in the              
earth-plants3 first1 that they should be
 characteristic and interesting2        
secondly1 that they should not be very  
visibly injured by crushing4    ,i say1 
first1 characteristic4 ,the leaves of   
large trees take  approximately simple  
forms1 slightly monotonous4 ,they are   
intended to be  seen in mass4 ,but the  
leaves of the herbage at our feet take  
all kinds  of strange shapes1 as if to  
invite us to examine them4 ,star-shaped1
  heart-shaped1 spear-shaped1           
arrow-shaped1 fretted1 fringed1 cleft1  
furrowed1 serrated1 sinuated2 in whorls1
 in tufts1 in spires1 in wreaths        
endlessly expressive1 deceptive1        
fantastic1 never the same from          

footstalk to blossom2 they seem         
perpetually to tempt our watchfulness1  
and take delight in outstripping our    
wonder4     #aa4 ,secondly1 observe1    
their forms are such as will not be     
visibly  injured by crushing4 ,their    
complexity is already disordered3 jags  
and  rents are their laws of being2 rent
 by the footstep they betray no  harm4  
,here1 for instance 7,fig4 #gb71 is the 
mere outline of a  buttercup-leaf in    
full free growth2 which1 perhaps1 may be
 taken as a  good common type of earth  
foliage4 ,fig4 #gc is a less advanced   
one1  placed so as to show its          
symmetrical bounding form4 ,but both1   
how  various2--how delicately rent into 
beauty6 ,as in the aiguilles of the     
great ,alps1 so in this lowest          
field-herb1 where rending is the law of 
being1 it is the law of loveliness4     
,illustration3 ,,fig4 #gb4     #ab4 ,one
 class1 however1 of these torn leaves1  
peculiar to the tented  plants1 has1 it 
seems to me1 a strange expressional     

function4 ,i mean the  group of leaves  
rent into alternate gaps1 typically     
represented by the  thistle4 ,the       
alternation of the rent1 if not         
absolutely1 is  effectively1 peculiar to
 the earth-plants4 ,leaves of the       
builders are  rent symmetrically1 so as 
to form radiating groups1 as in the     
horse-chestnut1 or they are irregularly 
sinuous1 as in the oak2 but the         
earth-plants continually present forms  
such as those in the opposite  ,plate3 a
 kind of web-footed leaf1 so to speak2 a
 continuous tissue1  enlarged           
alternately on each side of the stalk4  
,leaves of this form have  necessarily a
 kind of limping gait1 as if they grew  
not all at once1 but  first a little bit
 on one side1 and then a little bit on  
the other1 and  wherever they occur in  
quantity1 give the expression to        
foreground  vegetation which we feel and
 call ragged4    ,illustration3 ,,fig4  
#gc4    ,illustration3 #fj4 ,the        
,rending of ,leaves4     #ac4 ,it is    

strange that the mere alternation of the
 rent should give  this effect2 the more
 so1 because alternate leaves1          
completely separate  from each other1   
produce one of the most graceful types  
of building  plants4 ,yet the fact is   
indeed so1 that the alternate rent in   
the  earth-leaf is the principal cause  
of its ragged effect4 ,however deeply   
it may be rent symmetrically1 as in the 
alchemilla1 or buttercup1 just          
instanced1 and however finely divided1  
as in the parsleys1 the result is       
always a delicate richness1 unless the  
jags are alternate1 and the  leaf-tissue
 continuous at the stem2 and the moment 
these conditions  appear1 so does the   
raggedness4     #ad4 ,it is yet more    
worthy of note that the proper duty of  
these  leaves1 which catch the eye so   
clearly and powerfully1 would appear to 
be to draw the attention of man to spots
 where his work is needed1 for  they    
nearly all habitually grow on ruins or  
neglected ground3 not noble  ruins1 or  

on wild ground1 but on heaps of rubbish1
 or pieces of land  which have been     
indolently cultivated or much disturbed4
 ,the leaf on the  right of the three in
 the ,plate1 which is the most          
characteristic of the  class1 is that of
 the ,sisymbrium ,irio1 which grows1 by 
choice1 always on  ruins left by fire4  
,the plant1 which1 as far as ,i have    
observed1 grows  first on earth that has
 been moved1 is the colts-foot3 its     
broad  covering leaf is much jagged1 but
 only irregular1 not alternate in the   
rent2 but the weeds that mark habitual  
neglect1 such as the thistle1  give     
clear alternation4     #ae4 ,the aspects
 of complexity and carelessness of      
injury are farther  increased in the    
herb of the field1 because it is herb   
yielding seed2  that is to say1 a seed  
different in character from that which  
trees form  in their fruit4    ,i am    
somewhat alarmed in reading over the    
above sentence1 lest a  botanist1 or    
other scientific person1 should open the

 book at it4 ,for of  course the        
essential character of either fruit or  
seed being only that  in the smallest   
compass the vital principle of the plant
 is rendered  portable1 and for some    
time1 preservable1 we ought to call     
every such  vegetable dormitory a fruit 
or a seed indifferently4 ,but with      
respect to man there is a notable       
difference between them4    ,a seed is  
what we sow4    ,a fruit1 what we enjoy4
    ,fruit is seed prepared especially  
for the sight and taste of man and      
animals2 and in this sense we have true 
fruit and traitorous fruit  7poisonous72
 but it is perhaps the best available   
distinction1#b that  seed being the part
 necessary for the renewed birth of the 
plant1 a  fruit is such seed enclosed or
 sustained by some extraneous substance1
  which is soft and juicy1 and          
beautifully colored1 pleasing and useful
 to  animals and men4     #af4 ,i find  
it convenient in this volume1 and wish  
,i had thought of the  expedient before1

 whenever ,i get into a difficulty1 to  
leave the reader  to work it out4 ,he   
will perhaps1 therefore1 be so good as  
to define  fruit for himself4 ,having   
defined it1 he will find that the       
sentence  about which ,i was alarmed    
above is1 in the main1 true1 and that   
tented  plants principally are herb     
yielding seed1 while building plants    
give  fruit4 ,the berried shrubs of rock
 and wood1 however dwarfed in stature1  
are true builders4 ,the strawberry-plant
 is the only important  exception--a    
tender ,bedouin4     #ag4 ,of course the
 principal reason for this is the plain1
 practical  one1 that fruit should not  
be trampled on1 and had better perhaps  
be put  a little out of easy reach than 
too near the hand1 so that it may not be
  gathered wantonly or without some     
little trouble1 and may be waited for   
until it is properly ripe3 while the    
plants meant to be trampled on have     
small and multitudinous seed1 hard and  
wooden1 which may be shaken and         

scattered about without harm4    ,also1 
fine fruit is often only to be brought  
forth with patience2 not by  young and  
hurried trees--but in due time1 after   
much suffering2 and the  best fruit is  
often to be an adornment of old age1 so 
as to supply the  want of other grace4  
,while the plants which will not work1  
but only  bloom and wander1 do not      
7except the grasses7 bring forth fruit  
of high  service1 but only the seed that
 prolongs their race1 the grasses alone 
having great honor put on them for their
 humility1 as we saw in our  first      
account of them4    ,illustration3      
,,fig4 #gd4    ,illustration3 ,,fig4    
#ge4    ,illustration3 ,,fig4 #gf4      
,illustration3 ,,fig4 #gg4              
,illustration3 ,,fig4 #gh4   ,to face   
page #ig4     #ah4 ,this being so1 we   
find another element of very complex    
effect  added to the others which exist 
in tented plants1 namely1 that of       
minute1 granular1 feathery1 or downy    
seed-vessels1 mingling quaint brown     

punctuation1 and dusty tremors of       
dancing grain1 with the bloom of the    
nearer fields2 and casting a gossamered 
grayness and softness of plumy  mist    
along their surfaces far away2          
mysterious evermore1 not only with  dew 
in the morning or mirage at noon1 but   
with the shaking threads of  fine       
arborescence1 each a little belfry of   
grain-bells1 all a-chime4     #ai4 ,i   
feel sorely tempted to draw one of these
 same spires of the fine  grasses1 with 
its sweet changing proportions of       
pendent grain1 but it  would be a       
useless piece of finesse1 as such form  
of course never enters  into general    
foreground effect4#c ,i have1 however1  
engraved1 at the top  of the group of   
woodcuts opposite 7,fig4 #gd71 a single 
leaf cluster of  ,durer's foreground in 
the ,st4 ,hubert1 which is interesting  
in several  ways2 as an example of      
modern work1 no less than old2 for it is
 a  facsimile twice removed2 being first
 drawn from the plate with the pen1  by 

,mr4 ,allen1 and then facsimiled on wood
 by ,miss ,byfield2 and if the  reader  
can compare it with the original1 he    
will find it still come  tolerably close
 in most parts 7though the nearest large
 leaf has got  spoiled71 and of course  
some of the finest and most precious    
qualities  of ,durer's work are lost4   
,still1 it gives a fair idea of his     
perfectness  of conception1 every leaf  
being thoroughly set in perspective1 and
 drawn  with unerring decision4 ,on each
 side of it 7,figs4 #ge1 #gf7 are two   
pieces  from a fairly good modern       
etching1 which ,i oppose to the ,durer  
in order  to show the difference between
 true work and that which pretends to   
give  detail1 but is without feeling or 
knowledge4 ,there are a great many      
leaves in the piece on the left1 but    
they are all set the same way2 the      
draughtsman has not conceived their real
 positions1 but draws one after  another
 as he would deliver a tale of bricks4  
,the grasses on the right  look         

delicate1 but are a mere series of      
inorganic lines4 ,look how  ,durer's    
grass-blades cross each other4 ,if you  
take a pen and copy a  little piece of  
each example1 you will soon feel the    
difference4  ,underneath1 in the centre 
7,fig4 #gg71 is a piece of grass out of 
,landseer's etching of the ,ladies'     
,pets1 more massive and effective  than 
the two lateral fragments1 but still    
loose and uncomposed4 ,then  underneath 
is a piece of firm and good work again1 
which will stand with  ,durer's2 it is  
the outline only of a group of leaves   
out of ,turner's  foreground in the     
,richmond from the ,moors1 of which ,i  
give a reduced  etching1 ,plate #fa1 for
 the sake of the foreground principally1
 and in  ,plate #fb1 the group of leaves
 in question1 in their light and shade1 
with the bridge beyond4 ,what ,i have   
chiefly to say of them belongs to  our  
section on composition2 but this mere   
fragment of a ,turner  foreground may   
perhaps lead the reader to take note in 

his great  pictures of the almost       
inconceivable labor with which he has   
sought to  express the redundance and   
delicacy of ground leafage4     #bj4 ,by
 comparing the etching in ,plate #fa    
with the published engraving1  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 public4
 ,this ,plate has been reduced by ,mr4  
,armytage from a  pen-drawing of mine1  
as large as the original of ,turner's   
7#ah inches by  #aa inches74 ,it will   
look a little better under a magnifying 
glass2 but  only a most costly          
engraving1 of the real size1 could give 
any idea of  the richness of mossy and  
ferny leafage included in the real      
design4 ,and  if this be so on one of   
the ordinary ,england drawings of a     
barren  ,yorkshire moor1 it may be      
imagined what the task would be of      
engraving  truly such a foreground as   
that of the ,bay of ,bai or ,daphne and 

,leucippus1 in which ,turner's aim has  
been luxuriance4    ,illustration3 #fa4 
,richmond from the ,moors4              
,illustration3 #fb4 ,by the ,brookside4 
#ba4 ,his mind recurred1 in all these   
classical foregrounds1 to strong        
impressions made upon him during his    
studies at ,rome1 by the masses of      
vegetation which enrich its heaps of    
ruin with their embroidery and  bloom4  
,i have always partly regretted these   
,roman studies1 thinking that  they led 
him into too great fondness of pandering
 luxuriance in  vegetation1 associated  
with decay2 and prevented his giving    
affection enough to the more solemn and 
more sacred infinity with which1  among 
the mightier ruins of the ,alpine ,rome1
 glow the pure and  motionless splendors
 of the gentian and the rose4     #bb4  
,leaves motionless4 ,the strong pines   
wave above them1 and the weak  grasses  
tremble beside them2 but the blue stars 
rest upon the earth with  a peace as of 
heaven2 and far along the ridges of iron

 rock1 moveless as  they1 the rubied    
crests of ,alpine rose flush in the low 
rays of morning4  ,nor these yet the    
stillest leaves4 ,others there are      
subdued to a deeper  quietness1 the mute
 slaves of the earth1 to whom we owe1   
perhaps1  thanks1 and tenderness1 the   
most profound of all we have to render  
for  the leaf ministries4     #bc4 ,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 vine1 down to the close shrinking   
trefoil1  and contented daisy1 pressed  
on earth2 and1 at last1 to the leaves   
that  are not merely close to earth1 but
 themselves a part of it2 fastened  down
 to it by their sides1 here and there   
only a wrinkled edge rising  from the   
granite crystals4 ,we have found beauty 
in the tree yielding  fruit1 and in the 
herb yielding seed4 ,how of the herb    
yielding no  seed1#d the fruitless1     
flowerless lichen of the rock8     #bd4 

,lichen1 and mosses 7though these last  
in their luxuriance are deep  and rich  
as herbage1 yet both for the most part  
humblest of the green  things that      
live71--how of these8 ,meek creatures6  
the first mercy of the  earth1 veiling  
with hushed softness its dintless rocks2
 creatures full  of pity1 covering with 
strange and tender honor the scarred    
disgrace of  ruin1--laying quiet finger 
on the trembling stones1 to teach them  
rest4  ,no words1 that ,i know of1 will 
say what these mosses are4 ,none are    
delicate enough1 none perfect enough1   
none rich enough4 ,how is one to  tell  
of the rounded bosses of furred and     
beaming green1--the starred  divisions  
of rubied bloom1 fine-filmed1 as if the 
,rock ,spirits could  spin porphyry as  
we do glass1--the traceries of intricate
 silver1 and  fringes of amber1         
lustrous1 arborescent1 burnished through
 every fibre  into fitful brightness and
 glossy traverses of silken change1 yet 
all  subdued and pensive1 and framed for

 simplest1 sweetest offices of grace4   
,they will not be gathered1 like the    
flowers1 for chaplet or love-token2  but
 of these the wild bird will make its   
nest1 and the wearied child his  pillow4
    ,and1 as the earth's first mercy1 so
 they are its last gift to us4 ,when    
all other service is vain1 from plant   
and tree1 the soft mosses and gray      
lichen take up their watch by the       
head-stone4 ,the woods1 the blossoms1   
the gift-bearing grasses1 have done     
their parts for a time1 but these do    
service for ever4 ,trees for the        
builder's yard1 flowers for the bride's 
chamber1 corn for the granary1 moss for 
the grave4     #be4 ,yet as in one sense
 the humblest1 in another they are the  
most  honored of the earth-children4    
,unfading1 as motionless1 the worm frets
  them not1 and the autumn wastes not4  
,strong in lowliness1 they neither      
blanch in heat nor pine in frost4 ,to   
them1 slow-fingered1  constant-hearted1 
is entrusted the weaving of the dark1   

eternal1  tapestries of the hills2 to   
them1 slow-pencilled1 iris-dyed1 the    
tender  framing of their endless        
imagery4 ,sharing the stillness of the  
unimpassioned rock1 they share also its 
endurance2 and while the winds  of      
departing spring scatter the white      
hawthorn blossom like drifted  snow1 and
 summer dims on the parched meadow the  
drooping of its  cowslip-gold1--far     
above1 among the mountains1 the silver  
lichen-spots  rest1 star-like1 on the   
stone2 and the gathering orange stain   
upon the  edge of yonder western peak   
reflects the sunsets of a thousand      
years4      ,,footnotes3      #a        
,pre-,raphaelitism4 ,the essay contains 
some important notes on      ,turner's  
work1 which1 therefore1 ,i do not repeat
 in this volume4      #b ,i say the best
 available distinction4 ,it is1 of      
course1 no real      distinction4 ,a    
peapod is a kind of central type of seed
 and      seed-vessel1 and it is        
difficult so to define fruit as to keep 

clear      of it4 ,pea-shells are boiled
 and eaten in some countries rather than
      pease4 ,it does not sound like a  
scientific distinction to say that      
fruit is a shell which is good without  
being boiled4 ,nay1 even if      we     
humiliate ourselves into this practical 
reference to the kitchen1      we are   
still far from success4 ,for the pulp of
 a strawberry is not a      shell1 the  
seeds being on the outside of it4 ,the  
available part of      a pomegranate or 
orange1 though a seed envelope1 is      
itself shut      within a less useful   
rind4 ,while in an almond the shell     
becomes less      profitable still1 and 
all goodness retires into the seed      
itself1 as      in a grain of corn4     
#c ,for the same reason1 ,i enter into  
no considerations respecting      the   
geometrical forms of flowers1 though    
they are deeply interesting1      and   
perhaps some day ,i may give a few      
studies of them separately4 ,the        
reader should note1 however1 that beauty

 of form in flowers is      chiefly     
dependent on a more accurately finished 
or more studiously      varied          
development of the tre-foil1            
quatre-foil1 and cinq-foil              
structures which we have seen           
irregularly approached by leaf-buds4    
,the most beautiful six-foiled flowers  
7like the rhododendron-shoot7      are  
composed of two triangular groups1 one  
superimposed on the other1      as in   
the narcissus2 and the most interesting 
types both of six-foils      and        
cinq-foils are unequally leaved1        
symmetrical on opposite sides1      as  
the iris and violet4      #d ,the reader
 must remember always that my work is   
concerning the      aspects of things   
only4 ,of course1 a lichen has seeds1   
just as      other plants have1 but not 
effectually or visibly for man4         
,,part ,,vii4    ,,of ,,cloud ,,beauty4 
,,chapter ,i4    ,,the                  
,,cloud-,,balancings4       #a4 ,we have
 seen that when the earth had to be     

prepared for the  habitation of man1 a  
veil1 as it were1 of intermediate being 
was spread  between him and its         
darkness1 in which were joined1 in a    
subdued  measure1 the stability and     
insensibility of the earth1 and the     
passion  and perishing of mankind4      
,but the heavens1 also1 had to be       
prepared for his habitation4    ,between
 their burning light1--their deep       
vacuity1 and man1 as between  the       
earth's gloom of iron substance1 and    
man1 a veil had to be spread of         
intermediate being2--which should       
appease the unendurable glory to the    
level of human feebleness1 and sign the 
changeless motion of the heavens  with a
 semblance of human vicissitude4        
,between earth and man arose the leaf4  
,between the heaven and man came  the   
cloud4 ,his life being partly as the    
falling leaf1 and partly as the  flying 
vapor4     #b4 ,has the reader any      
distinct idea of what clouds are8 ,we   
had some  talk about them long ago1 and 

perhaps thought their nature1 though at 
that time not clear to us1 would be     
easily enough understandable when we    
put ourselves seriously to make it out4 
,shall we begin with one or two  easiest
 questions8    ,that mist which lies in 
the morning so softly in the valley1    
level and  white1 through which the tops
 of the trees rise as if through an     
inundation--why is it so heavy8 and why 
does it lie so low1 being yet  so thin  
and frail that it will melt away utterly
 into splendor of  morning1 when the sun
 has shone on it but a few moments more8
 ,those  colossal pyramids1 huge and    
firm1 with outlines as of rocks1 and    
strength to bear the beating of the high
 sun full on their fiery  flanks--why   
are they so light1--their bases high    
over our heads1 high  over the heads of 
,alps8 why will these melt away1 not as 
the sun rises1  but as he descends1 and 
leave the stars of twilight clear1 while
 the  valley vapor gains again upon the 
earth like a shroud8    ,or that ghost  

of a cloud1 which steals by yonder clump
 of pines2 nay1  which does not steal by
 them1 but haunts them1 wreathing yet   
round  them1 and yet--and yet1 slowly3  
now falling in a fair waved line like a 
woman's veil2 now fading1 now gone3 we  
look away for an instant1 and  look     
back1 and it is again there4 ,what has  
it to do with that clump of  pines1 that
 it broods by them and weaves itself    
among their branches1 to  and fro8 ,has 
it hidden a cloudy treasure among the   
moss at their roots1  which it watches  
thus8 ,or has some strong enchanter     
charmed it into fond  returning1 or     
bound it fast within those bars of      
bough8 ,and yonder filmy  crescent1 bent
 like an archer's bow above the snowy   
summit1 the highest  of all the         
hill1--that white arch which never forms
 but over the supreme  crest1--how is it
 stayed there1 repelled apparently from 
the  snow--nowhere touching it1 the     
clear sky seen between it and the       
mountain edge1 yet never leaving        

it--poised as a white bird hovers over  
its nest8    ,or those war-clouds that  
gather on the horizon1 dragon-crested1  
tongued  with fire2--how is their barbed
 strength bridled8 what bits are these  
they are champing with their vaporous   
lips2 flinging off flakes of black      
foam8 ,leagued leviathans of the ,sea of
 ,heaven1 out of their nostrils  goeth  
smoke1 and their eyes are like the      
eyelids of the morning4 ,the  sword of  
him that layeth at them cannot hold the 
spear1 the dart1 nor  the habergeon4    
,where ride the captains of their       
armies8 ,where are set  the measures of 
their march8 ,fierce murmurers1         
answering each other from  morning until
 evening--what rebuke is this which has 
awed them into  peace8 what hand has    
reined them back by the way by which    
they came8     #c4 ,i know not if the   
reader will think at first that         
questions like  these are easily        
answered4 ,so far from it1 ,i rather    
believe that some  of the mysteries of  

the clouds never will be understood by  
us at all4  ,knowest thou the balancings
 of the clouds8 ,is the answer ever to  
be  one of pride8 ,the wondrous works of
 ,him which is perfect in knowledge8    
,is our knowledge ever to be so8    ,it 
is one of the most discouraging         
consequences of the varied character  of
 this work of mine1 that ,i am wholly   
unable to take note of the  advance of  
modern science4 ,what has conclusively  
been discovered or  observed about      
clouds1 ,i know not2 but by the chance  
inquiry possible to  me ,i find no book 
which fairly states the difficulties of 
accounting for  even the ordinary       
aspects of the sky4 ,i shall1 therefore1
 be able in  this section to do little  
more than suggest inquiries to the      
reader1  putting the subject in a clear 
form for him4 ,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 not 
know4     #d4 ,first1 then1 ,i believe  

we do not know what makes clouds float4 
,clouds are water1 in some fine form or 
another2 but water is heavier  than air1
 and the finest form you can give a     
heavy thing will not make  it float in a
 light thing4 ,on it1 yes2 as a boat3   
but in it1 no4  ,clouds are not boats1  
nor boat-shaped1 and they float in the  
air1 not on  the top of it4 ,nay1 but   
though unlike boats1 may they not be    
like  feathers8 ,if out of quill        
substance there may be constructed      
eider-down1  and out of vegetable       
tissue1 thistle-down1 both buoyant      
enough for a  time1 surely of           
water-tissue may be constructed also    
water-down1 which  will be buoyant      
enough for all cloudy purposes4 ,not so4
 ,throw out your  eider plumage in a    
calm day1 and it will all come settling 
to the  ground3 slowly indeed1 to       
aspect2 but practically so fast that all
 our  finest clouds would be here in a  
heap about our ears in an hour or two1  
if they were only made of               

water-feathers4 ,but may they not be    
quill-feathers1 and have air inside     
them8 ,may not all their particles be   
minute little balloons8    ,a balloon   
only floats when the air inside it is   
either specifically1 or  by heating1    
lighter than the air it floats in4 ,if  
the cloud-feathers had  warm air inside 
their quills1 a cloud would be warmer   
than the air about  it1 which it is not 
7,i believe74 ,and if the cloud-feathers
 had hydrogen  inside their quills1 a   
cloud would be unwholesome for          
breathing1 which  it is not--at least so
 it seems to me4    ,but may they not   
have nothing inside their quills8 ,then 
they would  rise1 as bubbles do through 
water1 just as certainly as1 if they    
were  solid feathers1 they would fall4  
,all our clouds would go up to the top  
of the air1 and swim in eddies of       
cloud-foam4    ,but is not that just    
what they do8 ,no4 ,they float at       
different  heights1 and with definite   
forms1 in the body of the air itself4   

,if they  rose like foam1 the sky on a  
cloudy day would look like a very large 
flat glass of champagne seen from below1
 with a stream of bubbles 7or  clouds7  
going up as fast as they could to a flat
 foam-ceiling4    ,but may they not be  
just so nicely mixed out of something   
and nothing1  as to float where they are
 wanted8    ,yes3 that is just what they
 not only may1 but must be3 only this   
way of  mixing something and nothing is 
the very thing ,i want to explain or    
have  explained1 and cannot do it1 nor  
get it done4     #e4 ,except thus far4  
,it is conceivable that minute hollow   
spherical  globules might be formed of  
water1 in which the enclosed vacuity    
just  balanced the weight of the        
enclosing water1 and that the arched    
sphere  formed by the watery film was   
strong enough to prevent the pressure of
  the atmosphere from breaking it in4   
,such a globule would float like a      
balloon at the height in the atmosphere 
where the equipoise between the  vacuum 

it enclosed1 and its own excess of      
weight above that of the air1  was      
exact4 ,it would1 probably1 approach its
 companion globules by  reciprocal      
attraction1 and form aggregations which 
might be visible4    ,this is1 ,i       
believe1 the view usually taken by      
meteorologists4 ,i state it  as a       
possibility1 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    
chapter4     #f4 ,nevertheless1 ,i state
 it as a possibility only1 not seeing   
how any  known operation of physical law
 could explain the formation of such    
molecules4 ,this1 however1 is not the   
only difficulty4 ,whatever shape the    
water is thrown into1 it seems at first 
improbable that it should lose  its     
property of wetness4 ,minute division of
 rain1 as in ,scotch mist1  makes it    
capable of floating farther1#a or       
floating up and down a  little1 just as 
dust will float1 though pebbles will    

not2 or gold-leaf1  though a sovereign  
will not2 but minutely divided rain wets
 as much as  any other kind1 whereas a  
cloud1 partially always1 sometimes      
entirely1  loses its power of           
moistening4 ,some low clouds look1 when 
you are in  them1 as if they were made  
of specks of dust1 like short hairs2 and
  these clouds are entirely dry4 ,and   
also many clouds will wet some          
substances1 but not others4 ,so that we 
must grant farther1 if we are to  be    
happy in our theory1 that the spherical 
molecules are held together  by an      
attraction which prevents their adhering
 to any foreign body1 or  perhaps ceases
 only under some peculiar electric      
conditions4     #g4 ,the question       
remains1 even supposing their production
 accounted  for1--,what intermediate    
states of water may exist between these 
spherical hollow molecules and pure     
vapor8    ,has the reader ever          
considered the relations of commonest   
forms of  volatile substance8 ,the      

invisible particles which cause the     
scent of a  rose-leaf1 how minute1 how  
multitudinous1 passing richly away into 
the  air continually6 ,the visible cloud
 of frankincense--why visible8 ,is it   
in consequence of the greater quantity1 
or larger size of the particles1  and   
how does the heat act in throwing them  
off in this quantity1 or of  this size8 
,ask the same questions respecting      
water4 ,it dries1 that is1 becomes      
volatile1 invisibly1 at 7any87          
temperature4 ,snow dries1 as water does4
  ,under increase of heat1 it           
volatilizes faster1 so as to become     
dimly  visible in large mass1 as a      
heat-haze4 ,it reaches boiling point1   
then  becomes entirely visible4 ,but    
compress it1 so that no air shall get   
between the watery particles--it is     
invisible again4 ,at the first  issuing 
from the steam-pipe the steam is        
transparent2 but opaque1 or  visible1 as
 it diffuses itself4 ,the water is      
indeed closer1 because  cooler1 in that 

diffusion2 but more air is between its  
particles4 ,then  this very question of 
visibility is an endless one1 wavering  
between  form of substance and action of
 light4 ,the clearest 7or least visible7
  stream becomes brightly opaque by more
 minute division in its foam1 and  the  
clearest dew in hoar-frost4 ,dust1      
unperceived in shade1 becomes           
constantly visible in sunbeam2 and      
watery vapor in the atmosphere1 which   
is itself opaque1 when there is promise 
of fine weather1 becomes  exquisitely   
transparent2 and 7questionably7 blue1   
when it is going to  rain4     #h4      
,questionably blue3 for besides knowing 
very little about water1 we  know what1 
except by courtesy1 must1 ,i think1 be  
called ,nothing--about  air4 ,is it the 
watery vapor1 or the air itself1 which  
is blue8 ,are  neither blue1 but only   
white1 producing blue when seen over    
dark spaces8  ,if either blue1 or white1
 why1 when crimson is their commanded   
dress1  are the most distant clouds     

crimsonest8 ,clouds close to us may be  
blue1  but far off1 golden1--a strange  
result1 if the air is blue4 ,and again1 
if blue1 why are rays that come through 
large spaces of it red2 and that  ,alp1 
or anything else that catches far-away  
light1 why colored red at  dawn and     
sunset8 ,no one knows1 ,i believe4 ,it  
is true that many  substances1 as opal1 
are blue1 or green1 by reflected light1 
yellow by  transmitted2 but air1 if blue
 at all1 is blue always by transmitted  
light4 ,i hear of a wonderful solution  
of nettles1 or other unlovely  herb1    
which is green when shallow1--red when  
deep4 ,perhaps some day1 as  the motion 
of the heavenly bodies by help of an    
apple1 their light by  help of a nettle1
 may be explained to mankind4     #i4   
,but farther3 these questions of        
volatility1 and visibility1 and  hue1   
are all complicated with those of shape4
 ,how is a cloud outlined8  ,granted    
whatever you choose to ask1 concerning  
its material1 or its  aspect1 its       

loftiness and luminousness1--how of its 
limitation8 ,what  hews it into a heap1 
or spins it into a web8 ,cold is usually
 shapeless1  ,i suppose1 extending over 
large spaces equally1 or with gradual   
diminution4 ,you cannot have1 in the    
open air1 angles1 and wedges1 and       
coils1 and cliffs of cold4 ,yet the     
vapor stops suddenly1 sharp and steep   
as a rock1 or thrusts itself across the 
gates of heaven in likeness of a  brazen
 bar2 or braids itself in and out1 and  
across and across1 like a  tissue of    
tapestry2 or falls into ripples1 like   
sand2 or into waving  shreds and        
tongues1 as fire4 ,on what anvils and   
wheels is the vapor  pointed1 twisted1  
hammered1 whirled1 as the potter's clay8
 ,by what hands  is the incense of the  
sea built up into domes of marble8      
,and1 lastly1 all these questions       
respecting substance1 and aspect1 and   
shape1 and line1 and division1 are      
involved with others as inscrutable1    
concerning action4 ,the curves in which 

clouds move are unknown2--nay1  the very
 method of their motion1 or apparent    
motion1 how far it is by  change of     
place1 how far by appearance in one     
place and vanishing from  another4 ,and 
these questions about movement lead     
partly far away into  high mathematics1 
where ,i cannot follow them1 and partly 
into theories  concerning electricity   
and infinite space1 where ,i suppose at 
present no  one can follow them4        
,what1 then1 is the use of asking the   
questions8    ,for my own part1 ,i enjoy
 the mystery1 and perhaps the reader    
may4 ,i  think he ought4 ,he should not 
be less grateful for summer rain1 or see
  less beauty in the clouds of morning1 
because they come to prove him  with    
hard questions2 to which1 perhaps1 if we
 look close at the heavenly  scroll1#b  
we may find also a syllable or two of   
answer illuminated here  and there4     
,,footnotes3      #a ,the buoyancy of   
solid bodies of a given specific        
gravity1 in a      given fluid1 depends1

 first on their size1 then on their     
forms4        ,first1 on their size2    
that is to say1 on the proportion of the
      magnitude of the object           
7irrespective of the distribution of its
      particles7 to the magnitude of the
 particles of the air4        ,thus1 a  
grain of sand is buoyant in wind1 but a 
large stone is not2      and pebbles and
 sand are buoyant in water in proportion
 to their      smallness1 fine dust     
taking long to sink1 while a large stone
 sinks      at once4 ,thus1 we see that 
water may be arranged in drops of any   
magnitude1 from the largest rain-drop1  
about the size of a large pea1      to  
an atom so small as not to be separately
 visible1 the smallest      rain passing
 gradually into mist4 ,of these drops of
 different sizes      7supposing the    
strength of the wind the same71 the     
largest fall      fastest1 the smaller  
drops are more buoyant1 and the small   
misty rain      floats about like a     
cloud1 as often up as down1 so that an  

umbrella      is useless in it2 though  
in a heavy thunder-storm1 if there is no
      wind1 one may stand gathered up   
under an umbrella without a drop        
touching the feet4        ,secondly1    
buoyancy depends on the amount of       
surface which a given      weight of the
 substance exposes to the resistance of 
the substance it      floats in4 ,thus1 
gold-leaf is in a high degree buoyant1  
while the      same quantity of gold in 
a compact grain would fall like a shot2 
and      a feather is buoyant1 though   
the same quantity of animal matter in a 
compact form would be as heavy as a     
little stone4 ,a slate blows far        
from a house-top1 while a brick falls   
vertically1 or nearly so4      #b ,there
 is a beautiful passage in ,sartor      
,resartus concerning this      old      
,hebrew scroll1 in its deeper meanings1 
and the child's watching      it1 though
 long illegible for him1 yet with an eye
 to the gilding4      ,it signifies in a
 word or two nearly all that is to be   

said about      clouds4                 
,,chapter ,,ii4    ,,the                
,,cloud-,,flocks4       #a4 ,from the   
tenor of the foregoing chapter1 the     
reader will1 ,i hope1  be prepared to   
find me1 though dogmatic 7it is said7   
upon some  occasions1 anything rather   
than dogmatic respecting clouds4 ,i will
  assume nothing concerning them1 beyond
 the simple fact1 that as a  floating   
sediment forms in a saturated liquid1   
vapor forms in the body  of the air2 and
 all that ,i want the reader to be clear
 about in the  outset is that this vapor
 floats in and with the wind 7as1 if you
 throw  any thick coloring matter into a
 river1 it floats with the stream71 and 
that it is not blown before a denser    
volume of the wind1 as a fleece of  wool
 would be4     #b4 ,at whatever height  
they form1 clouds may be broadly        
considered as  of two species only1     
massive and striated4 ,i cannot find a  
better word  than massive1 though it is 
not a good one1 for ,i mean it only to  

signify  a fleecy arrangement in which  
no lines are visible4 ,the fleece may be
  so bright as to look like flying      
thistle-down1 or so diffused as to show 
no visible outline at all4 ,still if it 
is all of one common texture1  like a   
handful of wool1 or a wreath of smoke1  
,i call it massive4    ,on the other    
hand1 if divided by parallel lines1 so  
as to look more or  less like           
spun-glass1 ,i call it striated4 ,in    
,plate #fi1 ,fig4 #d1 the top  of the   
,aiguille ,dru 7,chamouni7 is seen      
emergent above low striated  clouds1    
with heaped massive cloud beyond4 ,i do 
not know in the least  what causes this 
striation1 except that it depends on the
 nature of the  cloud1 not on the wind4 
,the strongest wind will not throw a    
cloud1  massive by nature1 into the     
linear form4 ,it will toss it about1 and
 tear  it to pieces1 but not spin it    
into threads4 ,on the other hand1 often 
without any wind at all1 the cloud will 
spin itself into threads fine as        

gossamer4 ,these threads are often said 
to be a prognostic of storm2 but  they  
are not produced by storm4              
,illustration3 ,j4 ,ruskin   ,j4,c4     
,armytage    #fc4 ,the ,cloud-,flocks4  
#c4 ,in the first volume1 we considered 
all clouds as belonging to three        
regions1 that of the cirrous1 the       
central cloud1 and the rain-cloud4 ,it  
is of course an arrangement more of     
convenience than of true  description1  
for cirrous clouds sometimes form low as
 well as high2 and  rain sometimes falls
 high as well as low4 ,i will1          
nevertheless1 retain  this old          
arrangement1 which is practically as    
serviceable as any4    ,allowing1 also1 
for various exceptions and              
modifications1 these three  bodies of   
cloud may be generally distinguished in 
our minds thus4 ,the  clouds of upper   
region are for the most part quiet1 or  
seem to be so1  owing to their distance4
 ,they are formed now of striated1 now  
of massive  substance2 but always finely

 divided into large ragged flakes or    
ponderous heaps4 ,these heaps 7cumuli7  
and flakes1 or drifts1 present          
different phenomena1 but must be joined 
in our minds under the head of  central 
cloud4 ,the lower clouds1 bearing rain  
abundantly1 are composed  partly of     
striated1 partly of massive substance2  
but may generally be  comprehended under
 the term rain-cloud4    ,our business  
in this chapter1 then1 is with the upper
 clouds1 which1  owing to their         
quietness and multitude1 we may perhaps 
conveniently  think of as the           
cloud-flocks4 ,and we have to discover  
if any laws of  beauty attach to them1  
such as we have seen in mountains or    
tree-branches4     #d4 ,on one of the   
few mornings of this winter1 when the   
sky was clear1  and one of the far      
fewer1 on which its clearness was       
visible from the  neighborhood of       
,london1--which now entirely loses at   
least two out of  three sunrises1 owing 
to the environing smoke1--the dawn broke

 beneath a  broad field of level purple 
cloud1 under which floated ranks of     
divided  cirri1 composed of finely      
striated vapor4    ,it was not a sky    
containing any extraordinary number of  
these minor  clouds2 but each was more  
than usually distinct in separation from
 its  neighbor1 and as they showed in   
nearly pure pale scarlet on the dark    
purple ground1 they were easily to be   
counted4     #e4 ,there were five or six
 ranks1 from the zenith to the horizon2 
that  is to say1 three distinct ones1   
and then two or three more running      
together1 and losing themselves in      
distance1 in the manner roughly shown   
in ,fig4 #gi4 ,the nearest rank was     
composed of more than #aej rows of      
cloud1 set obliquely1 as in the figure4 
,i counted #aej which was near  the     
mark1 and then stopped1 lest the light  
should fail1 to count the  separate     
clouds in some of the rows4 ,the average
 number was #fj in each  row1 rather    
more than less4    ,illustration3 ,,fig4

 #gi4    ,there were therefore #aejfj1  
that is1 #i1jjj1 separate clouds in this
 one  rank1 or about #ej1jjj in the     
field of sight4 ,flocks of ,admetus     
under  ,apollo's keeping4 ,who else     
could shepherd such8 ,he by day1 dog    
,sirius by  night2 or huntress ,diana   
herself--her bright arrows driving away 
the  clouds of prey that would ravage   
her fair flocks4 ,we must leave fancies1
  however2 these wonderful clouds need  
close looking at4 ,i will try to  draw  
one or two of them before they fade4    
#f4 ,on doing which we find1 after all1 
they are not much more like  sheep than 
,canis ,major is like a dog4 ,they      
resemble more some of our old  friends1 
the pine branches1 covered with snow4   
,the three forming the  uppermost       
figure1 in the ,plate opposite1 are as  
like three of the fifty  thousand as ,i 
could get them1 complex enough in       
structure1 even this  single group4     
,busy workers they must be1 that twine  
the braiding of them  all to the        

horizon1 and down beyond it4    ,and who
 are these workers8 ,you have two       
questions here1 both difficult4  ,what  
separates these thousands of clouds each
 from the other1 and each  about equally
 from the other8 ,how can they be drawn 
asunder1 yet not  allowed to part8      
,looped lace as it were1 richest        
point--invisible  threads fastening     
embroidered cloud to cloud--the plighted
 clouds of  ,milton1--creatures of the  
element--      ,that in the colors of   
the rainbow live     ,and play in the   
plighted clouds4    ,compare ,geraldine 
dressing3--      ,puts on her silken    
vestments white1     ,and tricks her    
hair in lovely plight4    ,and          
,britomart's--                          
,her well-plighted frock    ,she low let
 fall1 that flowed from her lanck side  
,down to her foot1 with careless        
modesty4    ,and1 secondly1 what bends  
each of them into these flame-like      
curves1  tender and various1 as motions 
of a bird1 hither and thither8 ,perhaps 

you may hardly see the curves well in   
the softly finished forms2 here  they   
are plainer in rude outline1 ,fig4 #hj4a
    ,illustration3 ,,fig4 #hj4     #g4  
,what is it that throws them into these 
lines8    ,eddies of wind8    ,nay1 an  
eddy of wind will not stay quiet for    
three minutes1 as that  cloud did to be 
drawn2 as all the others did1 each in   
his place4 ,you  see there is perfect   
harmony among the curves4 ,they all flow
 into each  other as the currents of a  
stream do4 ,if you throw dust that will 
float  on the surface of a slow river1  
it will arrange itself in lines somewhat
  like these4 ,to a certain extent1     
indeed1 it is true that there are       
gentle currents of change in the        
atmosphere1 which move slowly enough to 
permit in the clouds that follow them   
some appearance of stability4 ,but  how 
to obtain change so complex in an       
infinite number of consecutive          
spaces2--fifty thousand separate groups 
of current in half of a morning  sky1   

with quiet invisible vapor between1 or  
none--and yet all obedient  to one      
ruling law1 gone forth through their    
companies2--each marshalled  to their   
white standards1 in great unity of      
warlike march1 unarrested1  unconfused8 
,one shall not thrust another1 they     
shall walk every one in  his own path4  
,illustration3 ,,fig4 #ha4     #h4      
,these questions occur1 at first sight1 
respecting every group of  cirrus cloud4
 ,whatever the form may be1 whether     
branched1 as in this  instance1 or      
merely rippled1 or thrown into          
shield-like segments1 as in  ,fig4      
#ha--;a frequent arrangement--there is  
still the same difficulty in  accounting
 satisfactorily for the individual      
forces which regulate the  similar shape
 of each mass1 while all are moved by a 
general force that  has apparently no   
influence on the divided structure4     
,thus the mass of  clouds disposed as in
 ,fig4 #ha1 will probably move1         
mutually1 in the  direction of the      

arrow2 that is to say1 sideways1 as far 
as their  separate curvature is         
concerned4 ,i suppose it probable that  
as the  science of electricity is more  
perfectly systematized1 the explanation 
of many circumstances of cloud-form will
 be rendered by it4 ,at present ,i  see 
no use in troubling the reader or myself
 with conjectures which a  year's       
progress in science might either        
effectively contradict or  supersede4   
,all that ,i want is1 that we should    
have our questions ready  to put clearly
 to the electricians when the           
electricians are ready to  answer us4   
#i4 ,it is possible that some of the    
loveliest conditions of these  parallel 
clouds may be owing to a structure which
 ,i forgot to explain1  when it occurred
 in rocks1 in the course of the last    
volume4    ,illustration3 ,,fig4 #hb4   
,when they are finely stratified1 and   
their surfaces abraded by broad1        
shallow furrows1 the edges of the beds1 
of course1 are thrown into  undulations1

 and at some distance1 where the furrows
 disappear1 the  surface looks as if the
 rock had flowed over it in successive  
waves4  ,such a condition is seen on the
 left at the top in ,fig4 #ag1 in ,vol4 
,,iv4  ,supposing a series of beds of   
vapor cut across by a straight sloping  
current of air1 and so placed as to     
catch the light on their edges1 we      
should have a series of curved lights1  
looking like independent clouds4        
#aj4 ,i believe conditions of form like 
those in ,fig4 #hb 7turn the book  with 
its outer edge down7 may not            
unfrequently be thus1 owing to          
stratification1 when they occur in the  
nearer sky4 ,this line of cloud is  far 
off at the horizon1 drifting towards the
 left 7the points of course  forward71  
and is1 ,i suppose1 a series of nearly  
circular eddies seen in  perspective4   
,which question of perspective we must  
examine a little before going a  step   
farther4 ,in order to simplify it1 let  
us assume that the under  surfaces of   

clouds are flat1 and lie in a horizontal
 extended field4  ,this is in great     
measure the fact1 and notable           
perspective phenomena  depend on the    
approximation of clouds to such a       
condition4    ,illustration3 #fd4 ,cloud
 ,perspective4 7,rectilinear47          
,illustration3 #fe4 ,cloud ,perspective4
 7,curvilinear47     #aa4 ,referring the
 reader to my ,elements of ,perspective 
for statements  of law which would be in
 this place tiresome1 ,i can only ask   
him to take  my word for it that the    
three figures in ,plate #fd represent   
limiting  lines of sky perspective1 as  
they would appear over a large space of 
the  sky4 ,supposing that the breadth   
included was one-fourth of the horizon1 
the shaded portions in the central      
figure represent square fields  of      
cloud1#b and those in the uppermost     
figure narrow triangles1 with  their    
shortest side next us1 but sloping a    
little away from us4    ,in each figure1
 the shaded portions show the           

perspective limits of  cloud-masses1    
which1 in reality1 are arranged in      
perfectly straight  lines1 are all      
similar1 and are equidistant from each  
other4 ,their exact  relative positions 
are marked by the lines connecting them1
 and may be  determined by the reader if
 he knows perspective4 ,if he does not1 
he may  be surprised at first to be told
 that the stubborn and blunt little     
triangle1 b1 ,fig4 #a1 ,plate #fd1      
represents a cloud precisely similar1   
and similarly situated1 to that         
represented by the thin triangle1 a2    
and1 in like manner1 the stout diamond1 
a1 ,fig4 #b1 represents  precisely the  
same form and size of cloud as the thin 
strip at b4 ,he  may perhaps think it   
still more curious that the retiring    
perspective  which causes stoutness in  
the triangle1 causes leanness in the    
diamond4#c     #ab4 ,still greater      
confusion in aspect is induced by the   
apparent  change caused by perspective  
in the direction of the wind4 ,if ,fig4 

#c be  supposed to include a quarter of 
the horizon1 the spaces1 into which its 
straight lines divide it1 represent     
squares of sky4 ,the curved lines1      
which cross these spaces from corner to 
corner1 are precisely parallel          
throughout2 and1 therefore1 two clouds  
moving1 one on the curved line  from a  
to b1 and the other on the other side1  
from c to d1  would1 in reality1 be     
moving with the same wind1 in parallel  
lines4 ,in  ,plate #ff1 which is a      
sketch of an actual sunset behind       
,beauvais  cathedral 7the point of the  
roof of the apse1 a little to the left  
of  the centre1 shows it to be a summer 
sunset71 the white cirri in the high    
light are all moving eastward1 away from
 the sun1 in perfectly parallel  lines1 
curving a little round to the south4    
,underneath1 are two straight  ranks of 
rainy cirri1 crossing each other2 one   
directed south-east2 the  other1        
north-west4 ,the meeting perspective of 
these1 in extreme  distance1 determines 

the shape of the angular light which    
opens above  the cathedral4 ,underneath 
all1 fragments of true rain-cloud are   
floating  between us and the sun1       
governed by curves of their own4 ,they  
are1  nevertheless1 connected with the  
straight cirri1 by the dark             
semi-cumulus in the middle of the shade 
above the cathedral4    ,illustration3  
,,fig4 #hc4     #ac4 ,sky perspective1  
however1 remains perfectly simple1 so   
long as it  can be reduced to any       
rectilinear arrangement2 but when nearly
 the whole  system is curved1 which nine
 times out of ten is the case1 it       
becomes  embarrassing4 ,the central     
figure in ,plate #fe represents the     
simplest  possible combination of       
perspective of straight lines with that 
of  curves1 a group of concentric       
circles of small clouds being supposed  
to  cast shadows from the sun near the  
horizon4 ,such shadows are often cast   
in misty air2 the aspect of rays about  
the sun being1 in fact1 only  caused by 

spaces between them4 ,they are carried  
out formally and far in  the ,plate1 to 
show how curiously they may modify the  
arrangement of  light in a sky4 ,the    
woodcut1 ,fig4 #hc1 gives roughly the   
arrangement of  the clouds in ,turner's 
,pools of ,solomon1 in which he has     
employed a  concentric system of circles
 of this kind1 and thus lighted4 ,in the
  perspective figure the clouds are     
represented as small square masses1  for
 the sake of greater simplicity1 and are
 so beaded or strung as it  were on the 
curves in which they move1 as to keep   
their distances  precisely equal1 and   
their sides parallel4 ,this is the usual
 condition  of cloud3 for though        
arranged in curved ranks1 each cloud has
 its face  to the front1 or1 at all     
events1 acts in some parallel           
line--generally  another curve--with    
those next to it3 being rarely1 except  
in the form  of fine radiating stri1    
arranged on the curves as at a1 ,fig4   
#hd2 but  as at b1 or c4 ,it would make 

the diagram too complex if ,i gave one  
of intersecting curves2 but the lowest  
figure in ,plate #fe represents1 in     
perspective1 two groups of ellipses     
arranged in equidistant straight and    
parallel lines1 and following each other
 on two circular curves4 ,their  exact  
relative position is shown in ,fig4 #b1 
,plate #ef4 ,while the  uppermost figure
 in ,plate #fe represents1 in parallel  
perspective1 a  series of ellipses      
arranged in radiation on a circle1 their
 exact  relative size and position are  
shown in ,fig4 #c1 ,plate #ef1 and the  
lines  of such a sky as would be        
produced by them1 roughly1 in ,fig4 #ij1
 facing  page #abh4d    ,illustration3  
,,fig4 #hd4     #ad4 ,and in these      
figures1 which1 if we look up the       
subject rightly1  would be but the first
 and simplest of the series necessary to
  illustrate the action of the upper    
cirri1 the reader may see1 at once1  how
 necessarily painters1 untrained in     
observance of proportion1 and  ignorant 

of perspective1 must lose in every touch
 the expression of  buoyancy and space  
in sky4 ,the absolute forms of each     
cloud are1 indeed1  not alike1 as the   
ellipses in the engraving2 but          
assuredly1 when moving  in groups of    
this kind1 there are among them the same
 proportioned  inequalities of relative 
distance1 the same gradated changes from
  ponderous to elongated form1 the same 
exquisite suggestions of  including     
curve2 and a common painter1 dotting his
 clouds down at  random1 or in more or  
less equal masses1 can no more paint a  
sky1 than  he could1 by random dashes   
for its ruined arches1 paint the        
,coliseum4     #ae4 ,whatever           
approximation to the character of upper 
clouds may have  been reached by some of
 our modern students1 it will be found1 
on  careful analysis1 that ,turner      
stands more absolutely alone in this    
gift  of cloud-drawing1 than in any     
other of his great powers4 ,observe1 ,i 
say1  cloud-drawing2 other great men    

colored clouds beautifully2 none but he 
ever drew them truly3 this power coming 
from his constant habit of  drawing     
skies1 like everything else1 with the   
pencil point4 ,it is quite  impossible  
to engrave any of his large finished    
skies on a small scale2  but the        
woodcut1 ,fig4 #he1 will give some idea 
of the forms of cloud  involved in one  
of his small drawings4 ,it is only half 
of the sky in  question1 that of ,rouen 
from ,st4 ,catherine's ,hill1 in the    
,rivers of  ,france4 ,its clouds are    
arranged on two systems of intersecting 
circles1  crossed beneath by long bars  
very slightly bent4 ,the form of every  
separate cloud is completely studied2   
the manner of drawing them will be      
understood better by help of the ,plate 
opposite1 which is a piece of the  sky  
above the ,campo ,santo1#e at ,venice1  
exhibited in #ahdb4 ,it is  exquisite in
 rounding of the separate fragments and 
buoyancy of the  rising central group1  
as well as in its expression of the     

wayward  influence of curved lines of   
breeze on a generally rectilinear system
 of  cloud4    ,illustration3 ,,fig4    
#he4 ,to face page #aah4                
,illustration3 #fg4 ,clouds4     #af4   
,to follow the subject farther would1   
however1 lead us into  doctrine of      
circular storms1 and all kinds of       
pleasant1 but infinite1  difficulty1    
from which temptation ,i keep clear1    
believing that enough is  now stated to 
enable the reader to understand what he 
is to look for in  ,turner's skies2 and 
what kind of power1 thought1 and science
 are  involved continually in the little
 white or purple dashes of  cloud-spray1
 which1 in such pictures as the ,san    
,benedetto1 looking to  ,fusina1 the    
,napoleon1 or the ,temeraire1 guide the 
eye to the horizon  more by their true  
perspective than by their arial tone1   
and are  buoyant1 not so much by        
expression of lightness as of motion4#f 
#ag4 ,i say the white or purple         
cloud-spray4 ,one word yet may be       

permitted me respecting the mystery of  
that color4 ,what should we have        
thought--if we had lived in a country   
where there were no clouds1 but  only   
low mist or fog--of any stranger who had
 told us that1 in his  country1 these   
mists rose into the air1 and became     
purple1 crimson1  scarlet1 and gold8 ,i 
am aware of no sufficient explanation of
 these hues  of the upper clouds1 nor of
 their strange mingling of opacity with 
a  power of absorbing light4 ,all clouds
 are so opaque that1 however  delicate  
they may be1 you never see one through  
another4 ,six feet depth  of them1 at a 
little distance1 will wholly veil the   
darkest mountain  edge2 so that1 whether
 for light or shade1 they tell upon the 
sky as  body color on canvas2 they have 
always a perfect surface and            
bloom2--delicate as a rose-leaf1 when   
required of them1 but never poor  or    
meagre in hue1 like old-fashioned       
water-colors4 ,and1 if needed1 in  mass1
 they will bear themselves for solid    

force of hue against any rock4  ,facing 
p4 #cci1 ,i have engraved a memorandum  
made of a clear sunset after  rain1 from
 the top of ,milan cathedral4 ,the      
greater part of the outline  is         
granite--,monte ,rosa--the rest cloud2  
but it and the granite were dark  alike4
 ,frequently1 in effects of this kind1  
the cloud is darker of the  two4#g ,and 
this opacity is1 nevertheless1 obtained 
without destroying  the gift they have  
of letting broken light through them1 so
 that1  between us and the sun1 they may
 become golden fleeces1 and float as    
fields of light4    ,now their distant  
colors depend on these two properties   
together2  partly on the opacity1 which 
enables them to reflect light strongly2 
partly on a spongelike power of         
gathering light into their bodies4      
#ah4 ,long ago it was noted by          
,aristotle1 and again by ,leonardo1 that
  vaporous bodies looked russet1 or even
 red1 when warm light was seen  through 
them1 and blue when deep shade was seen 

through them4 ,both  colors may1        
generally1 be seen on any wreath of     
cottage smoke4    ,whereon1 easy        
conclusion has sometimes been founded by
 modern reasoners4  ,all red in sky is  
caused by light seen through vapor1 and 
all blue by  shade seen through vapor4  
,easy1 indeed1 but not sure1 even in    
cloud-color only4 ,it is true that  the 
smoke of a town may be of a rich brick  
red against golden twilight2  and of a  
very lovely1 though not bright1 blue    
against shade4 ,but ,i never  saw       
crimson or scarlet smoke1 nor           
ultramarine smoke4    ,even granting    
that watery vapor in its purity may give
 the colors more  clearly1 the red      
colors are by no means always relieved  
against light4  ,the finest scarlets are
 constantly seen in broken flakes on a  
deep  purple ground of heavier cloud    
beyond1 and some of the loveliest       
rose-colors on clouds in the east1      
opposite the sunset1 or in the west  in 
the morning4 ,nor are blues always      

attainable by throwing vapor over       
shade4 ,especially1 you cannot get them 
by putting it over blue itself4 ,a  thin
 vapor on dark blue sky is of a warm    
gray1 not blue4 ,a  thunder-cloud1 deep 
enough to conceal everything behind it1 
is often  dark lead-color1 or sulphurous
 blue2 but the thin vapors crossing it1 
milky-white4 ,the vividest hues are     
connected also with another attribute   
of clouds1 their lustre--metallic in    
effect1 watery in reality4 ,they not    
only reflect color as dust or wool      
would1 but1 when far off1 as water      
would2 sometimes even giving a distinct 
image of the sun underneath the  orb    
itself2--in all cases becoming dazzling 
in lustre1 when at a low  angle1 capable
 of strong reflection4 ,practically1    
this low angle is only  obtained when   
the cloud seems near the sun1 and hence 
we get into the  careless habit of      
looking at the golden reflected light as
 if it were  actually caused by nearness
 to the fiery ball4    ,illustration3   

#ff4 ,light in the ,west1 ,beauvais4    
#ai4 ,without1 however1 troubling       
ourselves at all about laws1 or causes  
of color1 the visible consequences of   
their operation are notably  these--that
 when near us1 clouds present only      
subdued and uncertain  colors2 but when 
far from us1 and struck by the sun on   
their under  surfaces--so that the      
greater part of the light they receive  
is  reflected--they may become golden1  
purple1 scarlet1 and intense fiery      
white1 mingled in all kinds of          
gradations1 such as ,i tried to describe
  in the chapter on the upper clouds in 
the first volume1 in hope of being  able
 to return to them when we knew what was
 beautiful4    ,the question before us  
now is1 therefore1 ,what value ought    
this  attribute of clouds to possess in 
the human mind8 ,ought we to admire     
their colors1 or despise them8 ,is it   
well to watch them as ,turner does1  and
 strive to paint them through all       
deficiency and darkness of  inadequate  

material8 ,or1 is it wiser and          
nobler--like ,claude1 ,salvator1        
,ruysdael1 ,wouvermans--never to look   
for them--never to portray8 ,we must    
yet have patience a little before       
deciding this1 because we have to       
ascertain some facts respecting the     
typical meaning of color itself2  which1
 reserving for another place1 let us    
proceed here to learn the  forms of the 
inferior clouds4      ,,footnotes3      
#a ,before going farther1 ,i must say a 
word or two respecting method      of   
drawing clouds4        ,absolutely well 
no cloud can be drawn with the point2   
nothing but      the most delicate      
management of the brush will express its
 variety of      edge and texture4 ,by  
laborious and tender engraving1 a close 
approximation may be obtained either to 
nature or to good painting2      and the
 engravings of sky by our modern line   
engravers are often      admirable2--in 
many respects as good as can be1 and to 
my mind the      best part of their     

work4 ,there still exist some early     
proofs of      ,miller's plate of the   
,grand ,canal1 ,venice1 in which the sky
 is the      likest thing to ,turner's  
work ,i have ever seen in large         
engravings4      ,the plate was spoiled 
after a few impressions were taken off  
by      desire of the publisher4 ,the   
sky was so exactly like ,turner's that  
he      thought it would not please the 
public1 and had all the fine            
cloud-drawing rubbed away to make it    
soft4        ,the ,plate opposite page  
#aah1 by ,mr4 ,armytage1 is also1 ,i    
think1 a      superb specimen of        
engraving1 though in result not so good 
as the one      just spoken of1 because 
this was done from my copy of ,turner's 
sky1      not from the picture itself4  
,but engraving of this finished kind    
cannot1 by reason of its                
costliness1 be given for every          
illustration of cloud form4 ,nor1 if it 
could1 can skies be sketched with the   
completion which would bear it4      ,it

 is sometimes possible to draw one cloud
 out of fifty thousand with             
something like fidelity before it fades4
 ,but if we want the      arrangement of
 the fifty thousand1 they can only be   
indicated with      the rudest lines1   
and finished from memory4 ,it was1 as we
 shall see      presently1 only by his  
gigantic powers of memory that ,turner  
was      enabled to draw skies as he    
did4        ,now1 ,i look upon my own   
memory of clouds1 or of anything else1  
as of      no value whatever4 ,all the  
drawings on which ,i have ever rested an
      assertion have been made without  
stirring from the spot2 and in          
sketching clouds from nature1 it is very
 seldom desirable to use the      brush4
 ,for broad effects and notes of color  
7though these1 hastily      made1 are   
always inaccurate1 and letters          
indicating the color do      nearly as  
well7 the brush may be sometimes useful1
 but1 in most      cases1 a dark pencil1
 which will lay shade with its side and 

draw      lines with its point1 is the  
best instrument4 ,turner almost always  
outlined merely with the point1 being   
able to remember the relations      of  
shade without the slightest chance of   
error4 ,the point1 at all      events1  
is needful1 however much stump work may 
be added to it4        ,now1 in         
translating sketches made with the      
pencil point into      engraving1 we    
must either engrave delicately and      
expensively1 or be      content to      
substitute for the soft varied pencil   
lines the finer and      uncloudlike    
touches of the pen4 ,it is best to do   
this boldly1 if at      all1 and without
 the least aim at fineness of effect1 to
 lay down a      vigorous black line as 
the limit of the cloud form or action4  
,the      more subtle a painter's       
finished work1 the more fearless he is  
in      using the vigorous black line   
when he is making memoranda1 of         
treating his subject conventionally4 ,at
 the top of page #bbd1 ,vol4      ,,iv41

 the reader may see the kind of outline 
which ,titian uses for      clouds in   
his pen work4 ,usually he is even bolder
 and coarser4 ,and in      the rude     
woodcuts ,i am going to employ here1 ,i 
believe the reader      will find       
ultimately that1 with whatever ill      
success used by me1 the      means of   
expression are the fullest and most     
convenient that can be      adopted1    
short of finished engraving1 while there
 are some conditions      of            
cloud-action which ,i satisfy myself    
better in expressing by these           
coarse lines than in any other way4     
#b ,if the figures are supposed to      
include less than one-fourth of      the
 horizon1 the shaded figures represent  
diamond-shaped clouds2 but      the     
reader cannot understand this without   
studying perspective laws               
accurately4      #c ,in reality1 the    
retiring ranks of cloud1 if long enough1
 would1      of course1 go on converging
 to the horizon4 ,i do not continue     

them1      because the figures would    
become too compressed4      #d ,i use   
ellipses in order to make these figures 
easily      intelligible2 the curves    
actually are variable curves1 of the    
nature of the cycloid1 or other curves  
of continuous motion2 probably          
produced by a current moving in some    
such direction as that indicated      by
 the dotted line in ,fig4 #c1 ,plate    
#ef4      #e ,now in the possession of  
,e4 ,bicknell1 ,esq41 who kindly lent me
      the picture1 that ,i might make   
this drawing from it carefully4      #f 
,i cannot yet engrave these2 but the    
little study of a single rank      of   
cirrus1 the lowest in ,plate #fc1 may   
serve to show the value of              
perspective in expressing buoyancy4 ,it 
is not1 however1 though      beautifully
 engraved by ,mr4 ,armytage1 as delicate
 as it should be1 in      the finer     
threads which indicate increasing       
distance at the      extremity4 ,compare
 the rising of the lines of curve at the

 edges of      this mass1 with the      
similar action on a larger scale1 of    
,turner's      cloud1 opposite4      #g 
,in the autobiography of ,john ,newton  
there is an interesting      account of 
the deception of a whole ship's company 
by cloud1 taking      the aspect and    
outline of mountainous land4 ,they ate  
the last      provision in the ship1 so 
sure were they of its being land1 and   
were      nearly starved to death in    
consequence4          ,,chapter ,,iii4  
,,the ,,cloud-,,chariots4       #a4     
,between the flocks of small countless  
clouds which occupy the  highest        
heavens1 and the gray undivided film of 
the true rain-cloud1  form the fixed    
masses or torn fleeces1 sometimes       
collected and calm1  sometimes fiercely 
drifting1 which are1 nevertheless1 known
 under one  general name of cumulus1 or 
heaped cloud4    ,the true cumulus1 the 
most majestic of all clouds1 and almost 
the only  one which attracts the notice 
of ordinary observers1 is for the most  

part windless2 the movement of its      
masses being solemn1 continuous1        
inexplicable1 a steady advance or       
retiring1 as if they were animated by   
an inner will1 or compelled by an unseen
 power4 ,they appear to be  peculiarly  
connected with heat1 forming perfectly  
only in the afternoon1  and melting away
 in the evening4 ,their noblest         
conditions are strongly  electric1 and  
connect themselves with storm-cloud and 
true  thunder-cloud4 ,when there is     
thunder in the air1 they will form in   
cold  weather1 or early in the day4     
#b4 ,i have never succeeded in drawing a
 cumulus4 ,its divisions of  surface are
 grotesque and endless1 as those of a   
mountain2--perfectly  defined1 brilliant
 beyond all power of color1 and         
transitory as a dream4  ,even ,turner   
never attempted to paint them1 any more 
than he did the  snows of the high      
,alps4    ,nor can ,i explain them any  
more than ,i can draw them4 ,the        
ordinary  account given of their        

structure is1 ,i believe1 that the      
moisture raised  from the earth by the  
sun's heat becomes visible by           
condensation at a  certain height in the
 colder air1 that the level of the      
condensing point  is that of the cloud's
 base1 and that above it1 the heaps are 
pushed up  higher and higher as more    
vapor accumulates1 till1 towards        
evening1 the  supply beneath ceases2 and
 at sunset1 the fall of dew enables the 
surrounding atmosphere to absorb and    
melt them away4 ,very plausible4  ,but  
it seems to me herein unexplained how   
the vapor is held together in  those    
heaps4 ,if the clear air about and above
 it has no aqueous vapor in  it1 or at  
least a much less quantity1 why does not
 the clear air keep  pulling the cloud  
to pieces1 eating it away1 as steam is  
consumed in  open air8 ,or1 if any cause
 prevents such rapid devouring of it1   
why does  not the aqueous vapor diffuse 
itself softly in the air like smoke1 so 
that one would not know where the cloud 

ended8 ,what should make it bind  itself
 in those solid mounds1 and stay        
so3--positive1 fantastic1  defiant1     
determined8     #c4 ,if ever ,i am able 
to understand the process of the cumulus
  formation1#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 action 
of the  electric power4 ,i am for the   
present utterly unable to speak         
respecting  this matter1 and must pass  
it by1 in all humility1 to say what     
little ,i  have ascertained respecting  
the more broken and rapidly moving forms
 of  the central clouds1 which connect  
themselves with mountains1 and may1     
therefore1 among mountains1 be seen     
close and truly4     #d4 ,yet even of   
these1 ,i can only reason with great    
doubt and continual  pause4 ,this last  
volume ought certainly to be better than
 the first of  the series1 for two      
reasons4 ,i have learned1 during the    

sixteen years1  to say little where ,i  
said much1 and to see difficulties where
 ,i saw  none4 ,and ,i am in a great    
state of marvel in looking back to my   
first  account of clouds1 not only at   
myself1 but even at my dear master1 ,m4 
de  ,saussure4 ,to think that both of us
 should have looked at drifting         
mountain clouds1 for years together1 and
 been content with the theory  which you
 will find set forth in  #d1 of the     
chapter on the central  cloud region    
7,vol4 ,i471 respecting the action of   
the snowy summits and  watery vapor     
passing them4 ,it is quite true that    
this action takes  place1 and that the  
said fourth paragraph is right1 as far  
as it  reaches4 ,but both ,saussure and 
,i ought to have known--we both did     
know1  but did not think of it--that the
 covering or cap-cloud forms on hot     
summits as well as cold ones2--that the 
red and bare rocks of ,mont  ,pilate1   
hotter1 certainly1 after a day's        
sunshine than the cold  storm-wind which

 sweeps to them from the ,alps1         
nevertheless have been  renowned for    
their helmet of cloud1 ever since the   
,romans watched the  cloven summit1 gray
 against the south1 from the ramparts of
 ,vindonissa1  giving it the name from  
which the good ,catholics of ,lucerne   
have warped  out their favorite piece of
 terrific sacred biography4#b ,and both 
my  master and ,i should also have      
reflected1 that if our theory about its 
formation had been generally true1 the  
helmet cloud ought to form on  every    
cold summit1 at the approach of rain1 in
 approximating proportions  to the bulk 
of the glaciers2 which is so far from   
being the case that  not only 7,a7 the  
cap-cloud may often be seen on lower    
summits of grass  or rock1 while the    
higher ones are splendidly clear 7which 
may be  accounted for by supposing the  
wind containing the moisture not to have
  risen so high71 but 7,b7 the cap-cloud
 always shows a preference for  hills of
 a conical form1 such as the ,mole or   

,niesen1 which can have very  little    
power in chilling the air1 even         
supposing they were cold  themselves1   
while it will entirely refuse to form   
round huge masses of  mountain1 which1  
supposing them of chilly temperament1   
must have  discomforted the atmosphere  
in their neighborhood for leagues4 ,and 
finally 7,c7 reversing the principle    
under letter ,a1 the cap-cloud          
constantly forms on the summit of ,mont 
,blanc1 while it will obstinately       
refuse to appear on the ,dome du ,gote  
or ,aiguille ,sans-nom1 where the       
snow-fields are of greater extent1 and  
the air must be moister1 because  lower4
    ,illustration3 ,j4 ,ruskin4   ,j4   
,c4 ,armytage4    #fi4 ,aiguilles and   
their ,friends4    ,illustration3 ,,fig4
 #hf4     #e4 ,the fact is1 that the    
explanation given in that fourth        
paragraph  can1 in reality1 account only
 for what may properly be termed        
lee-side  cloud1 slightly noticed in the
 continuation of the same chapter1 but  

deserving most attentive illustration1  
as one of the most beautiful  phenomena 
of the ,alps4 ,when a moist wind blows  
in clear weather over a  cold summit1 it
 has not time to get chilled as it      
approaches the  rock1 and therefore the 
air remains clear1 and the sky bright on
 the  windward side2 but under the lee  
of the peak1 there is partly a back     
eddy1 and partly still air2 and in that 
lull and eddy the wind gets time  to be 
chilled by the rock1 and the cloud      
appears as a boiling mass of  white     
vapor1 rising continually with the      
return current to the upper  edge of the
 mountain1 where it is caught by the    
straight wind1 and  partly torn1 partly 
melted away in broken fragments4 ,in    
,fig4 #hf the dark  mass represents the 
mountain peak1 the arrow the main       
direction of the  wind1 the curved lines
 show the directions of such current and
 its  concentration1 and the dotted     
lines enclose the space in which cloud  
forms densely1 floating away beyond and 

above in irregular tongues and  flakes4 
,the second figure from the top in      
,plate #fi represents the actual  aspect
 of it when in full development1 with a 
strong south wind1 in a  clear day1 on  
the ,aiguille ,dru1 the sky being       
perfectly blue and lovely  around4      
,so far all is satisfactory4 ,but the   
true helmet cloud will not allow  itself
 to be thus explained away4 ,the        
uppermost figure in ,plate #fi          
represents the loveliest form of it1    
seen in that perfect arch1 so far  as ,i
 know1 only over the highest piece of   
earth in ,europe4     #f4 ,respecting   
which there are two mysteries3--,first1 
why it should  form only at a certain   
distance above the snow1 showing blue   
sky between  it and the summit4         
,secondly1 why1 so forming1 it should   
always show as  an arch1 not as a       
concave cup4 ,this last question puzzles
 me especially4  ,for1 if it be a true  
arch1 and not a cup1 it ought to show   
itself in  certain positions of the     

spectator1 or directions of the wind1   
like the  ring of ,saturn1 as a mere    
line1 or as a spot of cloud pausing over
 the  hill-top4 ,but ,i never saw it so4
 ,while1 as above noticed1 the lowest   
form of the helmet cloud is not white as
 of silver1 but like ,dolon's  helmet of
 wolf-skin1--it is a gray1 flaky veil1  
lapping itself over the  shoulders of a 
more or less conical peak2 and of this1 
also1 ,i have no  word to utter but the 
old one1 ,electricity1 and ,i might as  
well say  nothing4     #g4 ,neither the 
helmet cloud1 nor the lee-side cloud1   
however1 though  most interesting and   
beautiful1 are of much importance in    
picturesque  effect4 ,they are too      
isolated and strange4 ,but the great    
mountain cloud1  which seems to be a    
blending of the two with independent    
forms of vapor  7that is to say1 a      
greater development1 in consequence of  
the mountain's  action1 of clouds which 
would in some way or other have formed  
anywhere71 requires prolonged attention1

 as the principal element of the  sky in
 noblest landscape4     #h4 ,for which  
purpose1 first1 it may be well to clear 
a few clouds out  of the way4 ,i believe
 the true cumulus is never seen in a    
great mountain  region1 at least never  
associated with hills4 ,it is always    
broken up and  modified by them4        
,boiling and rounded masses of vapor    
occur continually1  as behind the       
,aiguille ,dru 7lowest figure in ,plate 
#fi72 but the quiet1  thoroughly        
defined1 infinitely divided and modelled
 pyramid never  develops itself4 ,it    
would be very grand if one ever saw a   
great mountain  peak breaking through   
the domed shoulders of a true cumulus2  
but this ,i  have never seen4     #i4   
,again1 the true high cirri never cross 
a mountain in ,europe4 ,how  often have 
,i hoped to see an ,alp rising through  
and above their  level-laid and rippled 
fields6 but those white harvest-fields  
are  heaven's own4 ,and1 finally1 even  
the low1 level1 cirrus 7used so largely 

in ,martin's pictures7 rarely crosses a 
mountain4 ,if it does1 it usually       
becomes slightly waved or broken1 so as 
to destroy its character4  ,sometimes1  
however1 at great distances1 a very     
level bar of cloud will  strike across a
 peak2 but nearer1 too much of the under
 surface of the  field is seen1 so that 
a well-defined bar across a peak1 seen  
at a high  angle1 is of the greatest    
rarity4    ,illustration3 ,j4 ,ruskin4  
,j4 ,c4 ,armytage4    #gj4 ,the ,grai4  
,illustration3 #ga4 ,venga ,medusa4     
,illustration3 ,,fig4 #hg4 ,to face page
 #abg4     #aj4 ,the ordinary mountain  
cloud1 therefore1 if well defined1      
divides  itself into two kinds3 a broken
 condition of cumulus1 grand in         
proportion as it is solid and           
quiet1--and a strange modification of   
drift-cloud1 midway1 as ,i said1 between
 the helmet and the lee-side  forms4    
,the broken1 quiet cumulus impressed    
,turner exceedingly when he  first saw  
it on hills4 ,he uses it1 slightly      

exaggerating its  definiteness1 in all  
his early studies among the mountains of
 the  ,chartreuse1 and very beautifully 
in the vignette of ,st4 ,maurice in     
,rogers's ,italy4 ,there is nothing1    
however1 to be specially observed of    
it1 as it only differs from the cumulus 
of the plains1 by being smaller  and    
more broken4     #aa4 ,not so the       
mountain drift-cloud1 which is as       
peculiar as it is  majestic4 ,the       
,plates #gj and #ga show1 as well as ,i 
can express1 two  successive phases of  
it on a mountain crest2 7in this        
instance the great  limestone ridge     
above ,st4 ,michel1 in ,savoy47 ,but    
what colossal  proportions this noble   
cloud assumes may be best gathered from 
the rude  sketch1 ,fig4 #hg1 in which ,i
 have simply put firm black ink over the
  actual pencil lines made at the       
moment1 giving the form of a single     
wreath of the drift-cloud1 stretching   
about five miles in a direct line  from 
the summit of one of the ,alps of the   

,val d',aosta1 as seen from the  plain  
of ,turin4 ,it has a grand volcanic     
look1 but ,i believe its aspect  of     
rising from the peak to be almost1 if   
not altogether1 deceptive2 and  that the
 apparently gigantic column is a nearly 
horizontal stream of  lee-side cloud1   
tapered into the distance by            
perspective1 and thus  rising at its    
apparently lowest but in reality most   
distant point1 from  the mountain summit
 whose shade calls it into being out of 
the clear  winds4    ,whether this be so
 or not1 the apparent origin of the     
cloud on the peak1  and radiation from  
it1 distinguish it from the drift-cloud 
of level  country1 which arranges itself
 at the horizon in broken masses1 such  
as  ,fig4 #hi1 showing no point of      
origin2 and ,i do not know how far they 
are  vertical cliffs or horizontally    
extended fields4 ,they are apt to be    
very  precipitous in aspect1 breaking   
into fragments with an apparently       
concentric motion1 as in the figure2 but

 of this motion also--whether  vertical 
or horizontal--,i can say nothing       
positive4     #ab4 ,the absolute scale  
of such clouds may be seen1 or at least 
demonstrated1 more clearly in ,fig4 #hh1
 which is a rough note of an  effect of 
sky behind the tower of ,berne          
,cathedral4 ,it was made from the  mound
 beside the railroad bridge4 ,the       
,cathedral tower is half-a-mile         
distant4 ,the great ,eiger of           
,grindelwald is seen just on the right  
of it4  ,this mountain is distant from  
the tower thirty-four miles as the crow 
flies1 and ten thousand feet above it in
 height4 ,the drift-cloud behind  it1   
therefore1 being in full light1 and     
showing no overhanging  surfaces1 must  
rise at least twenty thousand feet into 
the air4     #ac4 ,the extreme whiteness
 of the volume of vapor in this case    
7not1 ,i  fear1 very intelligible in the
 woodcut#c7 may be partly owing to      
recent  rain1 which1 by its evaporation1
 gives a peculiar density and brightness

  to some forms of clearing cloud4 ,in  
order to understand this1 we must       
consider another set of facts4 ,when    
weather is thoroughly wet among  hills1 
we ought no more to accuse the mountains
 of forming the clouds1  than we do the 
plains in similar circumstances4 ,the   
unbroken mist buries  the mountains to  
their bases2 but that is not their      
fault4 ,it may be  just as wet and just 
as cloudy elsewhere4 7,this is not true 
of ,scottish  mountain1 by the way47    
,but when the wet weather is breaking1  
and the  clouds pass1 perhaps1 in great 
measure1 away from the plains leaving   
large spaces of blue sky1 the mountains 
begin to shape clouds for  themselves4  
,the fallen moisture evaporates from the
 plain invisibly2 but  not so from the  
hill-side4 ,there1 what quantity of rain
 has not gone  down in the torrents1    
ascends again to heaven instantly in    
white clouds4  ,the storm passes as if  
it had tormented the crags1 and the     
strong  mountains smoke like tired      

horses4     #ad4 ,here is another       
question for us of some interest4 ,why  
does the  much greater quantity of      
moisture lying on the horizontal fields 
send up  no visible vapor1 and the less 
quantity left on the rocks glorify      
itself  into a magnificent wreath of    
soaring snow8    ,first1 for the very   
reason1 that it is less in quantity1 and
 more  distributed2 as a wet cloth      
smokes when you put it near the fire1   
but a  basin of water not4              
,illustration3 ,,fig4 #hh4              
,illustration3 ,,fig4 #hi4              
,illustration3 ,,fig4 #ij4 ,to face page
 #abh4    ,the previous heat of the     
crags1 noticed in the first volume1 p4  
#bdi1 is  only a part of the cause4 ,it 
operates only locally1 and on remains of
  sudden showers4 ,but after any number 
of days and nights of rain1 and in  all 
places exposed to returning sunshine and
 breezes1 the distribution  of the      
moisture tells4 ,so soon as the rain has
 ceased1 all water that  can run off is 

of course gone from the steep           
hill-sides2 there remains  only the thin
 adherent film of moisture to be dried2 
but that film is  spread over a complex 
texture--all manner of crannies1 and    
bosses1 and  projections1 and filaments 
of moss and lichen1 exposing a vast     
extent of  drying surface to the air4   
,and the evaporation is rapid in        
proportion4     #ae4 ,its rapidity1     
however1 observe1 does not account for  
its  visibility1 and this is one of the 
questions ,i cannot clearly solve1      
unless ,i were sure of the nature of the
 vesicular vapor4 ,when our breath      
becomes visible on a frosty day1 it is  
easily enough understood that the       
moisture which was invisible1 carried by
 the warm air from the lungs1  becomes  
visible when condensed or precipitated  
by the surrounding chill2  but one does 
not see why air passing over a moist    
surface quite as cold  as itself should 
take up one particle of water more than 
it can  conveniently--that is to say1   

invisibly--carry4 ,whenever you see     
vapor1 you may not inaccurately consider
 the air as having got more than  it can
 properly hold1 and dropping some4 ,now 
it is easily understood how  it should  
take up much in the lungs1 and let some 
of it fall when it is  pinched by the   
frost outside2 but why should it        
overload itself there on  the hills1    
when it is at perfect liberty to fly    
away as soon as it  likes1 and come back
 for more8 ,i do not see my way well in 
this4 ,i do  not see it clearly1 even   
through the wet cloth4 ,i shall leave   
all the  embarrassment of the matter1   
however1 to my reader1 contenting       
myself1  as usual1 with the actual fact1
 that the hill-side air does behave in  
this covetous and unreasonable manner2  
and that1 in consequence1 when  the     
weather is breaking 7and sometimes1     
provokingly1 when it is not71  phantom  
clouds form and rise in sudden crowds of
 wild and spectral  imagery along all   
the far succession of the hill-slopes   

and ravines4    ,illustration3 ,,fig4   
#ia4     #af4 ,there is this            
distinction1 however1 between the clouds
 that form  during the rain and after   
it4 ,in the worst weather1 the          
rain-cloud keeps  rather high1 and is   
unbroken2 but when there is a           
disposition in the  rain to relax1 every
 now and then a sudden company of white 
clouds will  form quite low down 7in    
,chamouni or ,grindelwald1 and such high
  districts1 even down to the bottom of 
the valley71 which will remain1         
perhaps1 for ten minutes1 filling all   
the air1 then disappear as  suddenly as 
they came1 leaving the gray upper cloud 
and steady rain to  their work4 ,these  
clouds of relaxation1 if we may so call 
them1 are  usually flaky and horizontal1
 sometimes tending to the silky cirrus1 
yet  showing no fine forms of drift2 but
 when the rain has passed1 and the  air 
is getting warm1 forms the true clearing
 cloud1 in wreaths that  ascend         
continually with a slow circling motion1

 melting as they rise4  ,the woodcut1   
,fig4 #ia1 is a rude note of it floating
 more quietly from  the hill of the     
,superga1 the church 7nearly as large as
 ,st4 ,paul's7  appearing above1 and    
thus showing the scale of the wreath4   
,illustration3 ,,fig4 #ib4     #ag4     
,this cloud of evaporation1 however1    
does not always rise4 ,it  sometimes    
rests in absolute stillness1 low laid in
 the hollows of the  hills1 their peaks 
emergent from it4 ,fig4 #ib shows this  
condition of it1  seen from a distance1 
among the ,cenis hills4 ,i do not know  
what gives it  this disposition to rest 
in the ravines1 nor whether there is a  
greater  chill in the hollows1 or a real
 action of gravity on the particles of  
cloud4 ,in general1 the position seems  
to depend on the temperature4  ,thus1 in
 ,chamouni1 the crests of ,la ,cte and  
,taconay continually appear  in stormy  
weather as in ,plate #cf1 ,vol4 ,,iv41  
in which ,i intended to  represent      
rising drift-cloud1 made dense between  

the crests by the chill  from the       
glaciers4 ,but in the condition shown in
 ,fig4 #ib1 on a  comparatively open    
sweep of hill-side1 the thermometer     
would certainly  indicate a higher      
temperature in the sheltered valley than
 on the  exposed peaks2 yet the cloud   
still subsides into the valleys like    
folds  of a garment2 and1 more than     
this1 sometimes conditions of morning   
cloud1 dependent1 ,i believe1 chiefly on
 dew evaporation1 form first on  the    
tops of the soft hills of wooded        
,switzerland1 and droop down in  rent   
fringes1 and separate tongues1 clinging 
close to all the  hill-sides1 and giving
 them exactly the appearance of being   
covered with  white fringed cloth1      
falling over them in torn or divided    
folds4 ,it  always looks like a true    
action of gravity4 ,how far it is1 in   
reality1  the indication of the power of
 the rising sun causing evaporation1    
first  on the hill-top1 and then in     
separate streams1 by its divided light  

on  the ravines1 ,i cannot tell4 ,the   
subject is1 as the reader perceives1    
always inextricably complicated by these
 three necessities--that to get  a cloud
 in any given spot1 you must have       
moisture to form the material  of it1   
heat to develop it1 and cold#d to show  
it2 and the adverse  causes inducing the
 moisture1 the evaporation1 and the     
visibility are  continually interchanged
 in presence and in power4 ,and thus1   
also1 the  phenomena which properly     
belong to a certain elevation are       
confused1  among hills at least1 with   
those which in plains would have been   
lower  or higher4    ,i have been led   
unavoidably in this chapter to speak of 
some conditions  of the rain-cloud2 nor 
can we finally understand the forms even
 of the  cumulus1 without considering   
those into which it descends or diffuses
  itself4 ,which1 however1 being1 ,i    
think1 a little more interesting than   
our work hitherto1 we will leave this   
chapter to its dulness1 and begin       

another4      ,,footnotes3      #a ,one 
of the great difficulties in doing this 
is to distinguish the      portions of  
cloud outline which really slope upwards
 from those which      only appear to do
 so1 being in reality horizontal1 and   
thrown into      apparent inclination by
 perspective4      #b ,pileatus1 capped 
7strictly speaking1 with the cap of     
liberty2--stormy cloud enough sometimes 
on men's brows as well as on            
mountains71 corrupted into ,pilatus1 and
 ,pilate4      #c ,i could not properly 
illustrate the subject of clouds without
      numbers of these rude drawings1   
which would probably offend the         
general reader by their coarseness1     
while the cost of engraving them      in
 facsimile is considerable1 and would   
much add to the price of the      book4 
,if ,i find people at all interested in 
the subject1 ,i may1      perhaps1 some 
day systematize and publish my studies  
of cloud      separately4 ,i am sorry   
not to have given in this volume a      

careful      study of a rich cirrus sky1
 but no wood-engraving that ,i can      
employ      on this scale will express  
the finer threads and waves4      #d ,we
 might say light1 as well as cold2 for  
it wholly depends on the      degree of 
light in the sky how far delicate cloud 
is seen4        ,the second figure from 
the top in ,plate #fi shows an effect of
 morning      light on the range of the 
,aiguille ,bouchard 7,chamouni74 ,every 
crag      casts its shadow up into      
apparently clear sky4 ,the shadow is1 in
 such      cases1 a bluish gray1 the    
color of clear sky2 and the defining    
light      is caused by the sunbeams    
showing mist which otherwise would have 
been unperceived4 ,the shadows are not  
irregular enough in      outline--the   
sketch was made for their color and     
sharpness1 not their      shape1--and ,i
 cannot now put them right1 so ,i leave 
them as they were      drawn at the     
moment4          ,,chapter ,,iv4        
,,the ,,angel ,,of ,,the ,,sea4         

#a4 ,perhaps the best and truest piece  
of work done in the first volume  of    
this book1 was the account given in it  
of the rain-cloud2 to which ,i  have    
here little1 descriptively1 to add4 ,but
 the question before us now  is1 not who
 has drawn the rain-cloud best1 but if  
it were worth drawing  at all4 ,our     
,english artists naturally painted it   
often and rightly2 but  are their       
pictures the better for it8 ,we have    
seen how mountains are  beautiful2 how  
trees are beautiful2 how sun-lighted    
clouds are  beautiful2 but can rain be  
beautiful8    ,i spoke roughly of the   
,italian painters in that chapter1      
because they  could only draw distinct  
clouds1 or violent storms1 massive      
concretions1 while our northern painters
 could represent every phase of  mist   
and fall of shower4    ,but is this     
indeed so delightful8 ,is ,english wet  
weather1 indeed1 one of  the things     
which we should desire to see ,art give 
perpetuity to8    ,yes1 assuredly4 ,i   

have given some reasons for this answer 
in the fifth  chapter of last volume2   
one or two1 yet unnoticed1 belong to the
 present  division of our subject4      
#b4 ,the climates or lands into which   
our globe is divided may1 with  respect 
to their fitness for ,art1 be perhaps   
conveniently ranged under  five heads3--
    #a4 ,forest-lands1 sustaining the   
great mass of the magnificent vegetation
  of the tropics1 for the most part     
characterized by moist and unhealthy    
heat1 and watered by enormous rivers1 or
 periodical rains4 ,this country        
cannot1 ,i believe1 develop the mind or 
art of man4 ,he may reach great         
subtlety of intellect1 as the ,indian1  
but not become learned1 nor  produce any
 noble art1 only a savage or grotesque  
form of it4 ,even  supposing the evil   
influences of climate could be          
vanquished1 the  scenery is on too large
 a scale4 ,it would be difficult to     
conceive of  groves less fit for        
academic purposes than those mentioned  

by ,humboldt1  into which no one can    
enter except under a stout wooden       
shield1 to avoid  the chance of being   
killed by the fall of a nut4    #b4     
,sand-lands1 including the desert and   
dry-rock plains of the earth1  inhabited
 generally by a nomade population1      
capable of high mental  cultivation and 
of solemn monumental or religious art1  
but not of art in  which pleasurableness
 forms a large element1 their life being
  essentially one of hardship4    #c4   
,grape and wheat lands1 namely1 rocks   
and hills1 such as are good for  the    
vine1 associated with arable ground     
forming the noblest and best  ground    
given to man4 ,in these districts only  
art of the highest kind  seems possible1
 the religious art of the sand-lands    
being here joined  with that of pleasure
 or sense4    #d4 ,meadow-lands1        
including the great pastoral and        
agricultural districts  of the ,north1  
capable only of an inferior art3 apt to 
lose its  spirituality and become wholly

 material4    #e4 ,moss-lands1 including
 the rude forest-mountain and ground of 
the  ,north1 inhabited by a healthy     
race1 capable of high mental cultivation
  and moral energy1 but wholly incapable
 of art1 except savage1 like that  of   
the forest-lands1 or as in ,scandinavia4
    ,we might carry out these divisions 
into others1 but these are ,i think     
essential1 and easily remembered in a   
tabular form2 saying wood  instead of   
forest1 and field for meadow1 we can get
 such a form  shortly worded3--         
,wood-lands     ,shrewd intellect       
,no art4    ,sand-lands     ,high       
intellect        ,religious art4        
,vine-lands     ,highest intellect      
,perfect art4    ,field-lands    ,high  
intellect        ,material art4         
,moss-lands     ,shrewd intellect       
,no art4     #c4 ,in this table the     
moss-lands appear symmetrically opposed 
to the  wood-lands1 which in a sort they
 are2 the too diminutive vegetation     
under bleakest heaven1 opposed to the   

too colossal under sultriest  heaven1   
while the perfect ministry of the       
elements1 represented by bread  and     
wine1 produces the perfect soul of man4 
,but this is not altogether so4 ,the    
moss-lands have one great advantage     
over the forest-lands1 namely1 sight of 
the sky4    ,and not only sight of it1  
but continual and beneficent help from  
it4  ,what they have to separate them   
from barren rock1 namely1 their moss and
  streams1 being dependent on its direct
 help1 not on great rivers coming  from 
distant mountain chains1 nor on vast    
tracts of ocean-mist coming up  at      
evening1 but on the continual play and  
change of sun and cloud4     #d4 ,note  
this word change4 ,the moss-lands have  
an infinite advantage1  not only in     
sight1 but in liberty2 they are the     
freest ground in all the  world4 ,you   
can only traverse the great woods by    
crawling like a lizard1  or climbing    
like a monkey--the great sands with slow
 steps and veiled  head4 ,but           

bare-headed1 and open-eyed1 and         
free-limbed1 commanding all  the        
horizon's space of changeful light1 and 
all the horizon's compass of  tossing   
ground1 you traverse the moss-land4 ,in 
discipline it is severe  as the desert1 
but it is a discipline compelling to    
action2 and the  moss-lands seem1       
therefore1 the rough schools of the     
world1 in which its  strongest human    
frames are knit and tried1 and so bent  
down1 like the  northern winds1 to brace
 and brighten the languor into which the
 repose  of more favored districts may  
degenerate4     #e4 ,it would be        
strange1 indeed1 if there were no beauty
 in the  phenomena by which this great  
renovating and purifying work is done4  
,and  it is done almost entirely by the 
great ,angel of the ,sea--rain2--the    
,angel1 observe1 the messenger sent to a
 special place on a special  errand4    
,not the diffused perpetual presence of 
the burden of mist1 but  the going and  
returning of intermittent cloud4 ,all   

turns upon that  intermittence4 ,soft   
moss on stone and rock2--cave-fern of   
tangled glen2  wayside well--perennial1 
patient1 silent1 clear2 stealing through
 its  square font of rough-hewn stone2  
ever thus deep--no more--which the      
winter wreck sullies not1 the summer    
thirst wastes not1 incapable of  stain  
as of decline--where the fallen leaf    
floats undecayed1 and the  insect darts 
undefiling4 ,cressed brook and          
ever-eddying river1 lifted  even in     
flood scarcely over its                 
stepping-stones1--but through all sweet 
summer keeping tremulous music with     
harp-strings of dark water among the    
silver fingering of the pebbles4 ,far   
away in the south the strong river      
,gods have all hasted1 and gone down to 
the sea4 ,wasted and burning1  white    
furnaces of blasting sand1 their broad  
beds lie ghastly and bare2  but here the
 soft wings of the ,sea ,angel droop    
still with dew1 and the  shadows of     
their plumes falter on the hills3       

strange laughings1 and  glitterings of  
silver streamlets1 born suddenly1 and   
twined about the  mossy heights in      
trickling tinsel1 answering to them as  
they wave4#a     #f4 ,nor are those     
wings colorless4 ,we habitually think of
 the  rain-cloud only as dark and gray2 
not knowing that we owe to it perhaps   
the fairest1 though not the most        
dazzling of the hues of heaven4 ,often  
in our ,english mornings1 the           
rain-clouds in the dawn form soft level 
fields1 which melt imperceptibly into   
the blue2 or when of less extent1       
gather into apparent bars1 crossing the 
sheets of broader cloud above2  and all 
these bathed throughout in an           
unspeakable light of pure  rose-color1  
and purple1 and amber1 and blue2 not    
shining1 but  misty-soft2 the barred    
masses1 when seen nearer1 composed of   
clusters or  tresses of cloud1 like     
floss silk2 looking as if each knot were
 a little  swathe or sheaf of lighted   
rain4 ,no clouds form such skies1 none  

are so  tender1 various1 inimitable4    
,turner himself never caught them4      
,correggio1 putting out his whole       
strength1 could have painted them1 no   
other man4#b     #g4 ,for these are the 
robes of love of the ,angel of the ,sea4
 ,to these  that name is chiefly given1 
the spreadings of the clouds1 from their
  extent1 their gentleness1 their       
fulness of rain4 ,note how they are     
spoken of in ,job xxxvi4 v4 #bi-ca4 ,by 
them judgeth he the people2 he  giveth  
meat in abundance4 ,with clouds he      
covereth the light4#c ,he hath  hidden  
the light in his hands1 and commanded   
that it should return4 ,he  speaks of it
 to his friend2 that it is his          
possession1 and that he may  ascend     
thereto4    ,that1 then1 is the ,sea    
,angel's message to ,god's friends2     
that1 the  meaning of those strange     
golden lights and purple flushes before 
the  morning rain4 ,the rain is sent to 
judge1 and feed us2 but the light is    
the possession of the friends of ,god1  

and they may ascend  thereto1--where the
 tabernacle veil will cross and part its
 rays no  more4     #h4 ,but the ,angel 
of the ,sea has also another            
message1--in the great  rain of his     
strength1 rain of trial1 sweeping away  
ill-set foundations4  ,then his robe is 
not spread softly over the whole heaven1
 as a veil1 but  sweeps back from his   
shoulders1 ponderous1 oblique1          
terrible--leaving  his sword-arm free4  
,the approach of trial-storm1           
hurricane-storm1 is indeed in its       
vastness  as the clouds of the softer   
rain4 ,but it is not slow nor           
horizontal1 but  swift and steep3 swift 
with passion of ravenous winds2 steep as
 slope of  some dark1 hollowed hill4    
,the fronting clouds come leaning       
forward1 one  thrusting the other aside1
 or on2 impatient1 ponderous1 impendent1
 like  globes of rock tossed of         
,titans--,ossa on ,olympus--but hurled  
forward  all1 in one wave of            
cloud-lava--cloud whose throat is as a  

sepulchre4  ,fierce behind them rages   
the oblique wrath of the rain1 white as 
ashes1  dense as showers of driven      
steel2 the pillars of it full of ghastly
  life2 ,rain-,furies1 shrieking as they
 fly2--scourging1 as with whips of      
scorpions2--the earth ringing and       
trembling under them1 heaven wailing    
wildly1 the trees stooped blindly down1 
covering their faces1 quivering  in     
every leaf with horror1 ruin of their   
branches flying by them like  black     
stubble4     #i4 ,i wrote ,furies4 ,i   
ought to have written ,gorgons4 ,perhaps
 the reader  does not know that the     
,gorgons are not dead1 are ever undying4
 ,we shall  have to take our chance of  
being turned into stones by looking them
 in  the face1 presently4 ,meantime1 ,i 
gather what part of the great ,greek    
story of the ,sea ,angels1 has meaning  
for us here4    ,nereus1 the ,god of the
 ,sea1 who dwells in it always 7,neptune
 being the  ,god who rules it from      
,olympus71 has children by the ,earth2  

namely1  ,thaumas1 the father of ,iris2 
that is1 the wonderful or               
miracle-working  angel of the sea2      
,phorcys1 the malignant angel of it 7you
 will find him  degraded through many   
forms1 at last1 in the story of         
,sindbad1 into the  ,old ,man of the    
,sea72 ,ceto1 the deep places of the    
sea1 meaning its bays  among rocks1     
therefore called by ,hesiod             
,fair-cheeked ,ceto2 and  ,eurybia1 the 
tidal force or sway of the sea1 of whom 
more hereafter4     #aj4 ,phorcys and   
,ceto1 the malignant angel of the sea1  
and the spirit  of its deep rocky       
places1 have children1 namely1 first1   
,grai1 the soft  rain-clouds4 ,the      
,greeks had a greater dislike of storm  
than we have1 and  therefore whatever   
violence is in the action of rain1 they 
represented  by harsher types than we   
should--types given in one group by     
,aristophanes 7speaking in mockery of   
the poets73 ,this was the reason1  then1
 that they made so much talk about the  

fierce rushing of the moist  clouds1    
coiled in glittering2 and the locks of  
the hundred-headed  ,typhon2 and the    
blowing storms2 and the bent-clawed     
birds drifted on  the breeze1 fresh1 and
 arial4 ,note the expression bent-clawed
 birds4  ,it illustrates two characters 
of these clouds2 partly their coiling   
form2 but more directly the way they    
tear down the earth from the            
hill-sides2 especially those twisted    
storm-clouds which in violent  action   
become the waterspout4 ,these always    
strike at a narrow point1  often opening
 the earth on a hill-side into a trench 
as a great pickaxe  would 7whence the   
,grai are said to have only one beak    
between them74  ,nevertheless1 the      
rain-cloud was1 on the whole1 looked    
upon by the  ,greeks as beneficent1 so  
that it is boasted of in the ,oedipus   
,coloneus  for its perpetual feeding of 
the springs of ,cephisus1#d and         
elsewhere  often2 and the opening song  
of the rain-clouds in ,aristophanes is  

entirely beautiful3--    ,o eternal     
,clouds6 let us raise into open sight   
our dewy existence1 from  the           
deep-sounding ,sea1 our ,father1 up to  
the crests of the wooded hills1  whence 
we look down over the sacred land1      
nourishing its fruits1 and  over the    
rippling of the divine rivers1 and over 
the low murmuring bays  of the deep4 ,i 
cannot satisfy myself about the meaning 
of the names of  the ,grai--,pephredo   
and ,enuo--but the epithets which       
,hesiod gives them  are interesting3    
,pephredo1 the well-robed2 ,enuo1 the   
crocus-robed2  probably1 it seems to me1
 from their beautiful colors in morning4
     #aa4 ,next to the ,grai1 ,phorcys  
and ,ceto begat the ,gorgons1 which are 
the true storm-clouds4 ,the ,grai have  
only one beak or tooth1 but all  the    
,gorgons have tusks like boars2 brazen  
hands 7brass being the word  used for   
the metal of which the ,greeks made     
their spears71 and golden  wings4       
,their names are ,steino 7straitened71  

of storms compressed into narrow        
compass2 ,euryale 7having wide          
threshing-floor71 of storms spread over 
great space2 ,medusa 7the dominant71 the
 most terrible4 ,she is  essentially the
 highest storm-cloud2 therefore the     
hail-cloud or cloud  of cold1 her       
countenance turning all who behold it to
 stone4 7,he  casteth forth his ice like
 morsels4 ,who can stand before his     
cold87 ,the  serpents about her head are
 the fringes of the hail1 the idea of   
coldness being connected by the ,greeks 
with the bite of the serpent1 as  with  
the hemlock4     #ab4 ,on ,minerva's    
shield1 her head signifies1 ,i believe1 
the cloudy  coldness of knowledge1 and  
its venomous character 7,knowledge      
puffeth  up4 ,compare ,bacon in         
,advancement of ,learning74 ,but the    
idea of serpents  rose essentially from 
the change of form in the cloud as it   
broke2 the  cumulus cloud not breaking  
into full storm till it is cloven by the
  cirrus2 which is twice hinted at in   

the story of ,perseus2 only we must  go 
back a little to gather it together4    
,perseus was the son of ,jupiter by     
,dana1 who being shut in a brazen       
tower1 ,jupiter came to her in a shower 
of gold3 the brazen tower being1  ,i    
think1 only another expression for the  
cumulus or ,medusa cloud2 and  the      
golden rain for the rays of the sun     
striking it2 but we have not  only this 
rain of ,dana's to remember in          
connection with the ,gorgon1 but  that  
also of the sieves of the ,danades1 said
 to represent the provision  of ,argos  
with water by their father ,danas1 who  
dug wells about the  ,acropolis2 nor    
only wells1 but opened1 ,i doubt not1   
channels of  irrigation for the fields1 
because the ,danades are said to have   
brought  the mysteries of ,ceres from   
,egypt4 ,and though ,i cannot trace the 
root of  the names ,danas and ,dana1    
there is assuredly some farther link of 
connection in the deaths of the lovers  
of the ,danades1 whom they slew1  as    

,perseus ,medusa4 ,and again note1 that 
when the father of ,dana1  ,acrisius1 is
 detained in ,seriphos by storms1 a disk
 thrown by ,perseus is  carried by the  
wind against his head1 and kills him2   
and lastly1 when  ,perseus cuts off the 
head of ,medusa1 from her blood springs 
,chrysaor1  wielder of the golden sword1
 the ,angel of the ,lightning1 and      
,pegasus1  the ,angel of the ,wild      
,fountains1 that is to say1 the fastest 
flying or  lower rain-cloud2 winged1 but
 racing as upon the earth4     #ac4 ,i  
say1 wild fountains2 because the kind of
 fountain from which  ,pegasus is named 
is especially the fountain of the great 
deep of  ,genesis2 sudden and furious1  
7cataracts of heaven1 not windows1 in   
the  ,septuagint72--the mountain torrent
 caused by thunderous storm1 or as our  
fountain--a ,geyser-like leaping forth  
of water4 ,therefore1 it is the  deep   
and full source of streams1 and so used 
typically of the source of  evils1 or of
 passions2 whereas the word spring with 

the ,greeks is like  our well-head--a   
gentle issuing forth of water           
continually4 ,but1  because both the    
lightning-fire and the gushing forth1 as
 of a fountain1  are the signs of the   
poet's true power1 together with        
perpetuity1 it is  ,pegasus who strikes 
the earth with his foot1 on ,helicon1#e 
and causes  ,hippocrene to spring       
forth--the horse's well-head4 ,it is    
perpetual2  but has1 nevertheless1 the  
,pegasean storm-power4     #ad4 ,wherein
 we may find1 ,i think1 sufficient cause
 for putting honor  upon the rain-cloud4
 ,few of us1 perhaps1 have thought1 in  
watching its  career across our own     
mossy hills1 or listening to the murmur 
of the  springs amidst the mountain     
quietness1 that the chief masters of the
  human imagination owed1 and confessed 
that they owed1 the force of their      
noblest thoughts1 not to the flowers of 
the valley1 nor the majesty of  the     
hill1 but to the flying cloud4    ,yet  
they never saw it fly1 as we may in our 

own ,england4 ,so far1 at  least1 as ,i 
know the clouds of the south1 they are  
often more terrible  than ours1 but the 
,english ,pegasus is swifter4 ,on the   
,yorkshire and  ,derbyshire hills1 when 
the rain-cloud is low and much broken1  
and the  steady west-wind fills all     
space with its strength1#f the          
sun-gleams  fly like golden vultures3   
they are flashes rather than shinings2  
the  dark spaces and the dazzling race  
and skim along the acclivities1 and     
dart and dip from crag to dell1         
swallow-like2--no ,grai these1--gray    
and withered3 ,grey ,hounds rather1     
following the ,cerinthian stag with the 
golden antlers4     #ae4 ,there is one  
character about these lower rain-clouds1
 partly  affecting all their connection 
with the upper sky1 which ,i have never 
been able to account for2 that which1 as
 before noticed1 ,aristophanes  fastened
 on at once for their distinctive       
character--their obliquity4  ,they      
always fly in an oblique position1 as in

 the ,plate opposite1 which  is a       
careful facsimile of the first advancing
 mass of the rain-cloud in  ,turner's   
,slave ,ship4 ,when the head of the     
cloud is foremost1 as in this  instance1
 and rain falling beneath1 it is easy to
 imagine that its  drops1 increasing in 
size as they fall1 may exercise some    
retarding  action on the wind4 ,but the 
head of the cloud is not always first1  
the  base of it is sometimes advanced4#g
 ,the only certainty is1 that it will   
not shape itself horizontally1 its thin 
drawn lines and main contours  will     
always be oblique1 though its motion is 
horizontal2 and1 which is  still more   
curious1 their sloping lines are hardly 
ever modified in  their descent by any  
distinct retiring tendency or           
perspective  convergence4 ,a troop of   
leaning clouds will follow one another1 
each  stooping forward at the same      
apparent slope1 round a fourth of the   
horizon4     #af4 ,another circumstance 
which the reader should note in this    

cloud of  ,turner's1 is the witch-like  
look of drifted or erected locks of hair
 at  its left side4 ,we have just read  
the words of the old ,greek poet3 ,locks
  of the hundred-headed ,typhon2 and    
must remember that ,turner's account  of
 this picture1 in the ,academy          
catalogue1 was ,slaver throwing         
overboard the ,dead and ,dying4 ,typhoon
 coming on4 ,the resemblance to  wildly 
drifted hair is stronger in the picture 
than in the engraving2  the gray and    
purple tints of torn cloud being        
relieved against golden  sky beyond4    
,illustration3 #gb4 ,the ,locks of      
,typhon4     #ag4 ,it was not1 however1 
as we saw1 merely to locks of hair1 but 
to  serpents1 that the ,greeks likened  
the dissolving of the ,medusa cloud in  
blood4 ,of that sanguine rain1 or of its
 meaning1 ,i cannot yet speak4  ,it is  
connected with other and higher types1  
which must be traced in  another        
place4#h    ,but the likeness to        
serpents we may illustrate here4 ,the   

two ,plates  already given1 #gj and #ga 
7at page #abg71 represent successive    
conditions  of the ,medusa cloud on one 
of the ,cenis hills 7the great limestone
  precipice above ,st4 ,michel1 between 
,lanslebourg and ,st4 ,jean di          
,maurienne74#i ,in the first1 the cloud 
is approaching1 with the lee-side  cloud
 forming beyond it2 in the second1 it   
has approached1 increased1  and broken1 
the ,medusa serpents writhing about the 
central peak1 the  rounded tops of the  
broken cumulus showing above4 ,in this  
instance1 they  take nearly the forms of
 flame2 but when the storm is more      
violent1 they  are torn into fragments1 
and magnificent revolving wheels of     
vapor are  formed1 broken1 and tossed   
into the air1 as the grass is tossed in 
the  hay-field from the toothed wheels  
of the mowing-machine2 perhaps1 in      
common with all other inventions of the 
kind1 likely to bring more evil  upon   
men than ever the ,medusa cloud did1 and
 turn them more effectually  into       

stone4#aj     #ah4 ,i have named in the 
first volume the principal works of     
,turner  representing these clouds2 and 
until ,i am able to draw them better1 it
  is useless to say more of them2 but in
 connection with the subject we  have   
been examining1 ,i should be glad if the
 reader could turn to the  engravings of
 the ,england drawings of ,salisbury and
 ,stonehenge4 ,what  opportunities      
,turner had of acquainting himself with 
classical  literature1 and how he used  
them1 we shall see presently4 ,in the   
meantime1 let me simply assure the      
reader that1 in various byways1 he  had 
gained a knowledge of most of the great 
,greek traditions1 and that  he felt    
them more than he knew them2 his mind   
being affected1 up to a  certain point1 
precisely as an ancient painter's would 
have been1 by  external phenomena of    
nature4 ,to him1 as to the ,greek1 the  
storm-clouds  seemed messengers of fate4
 ,he feared them1 while he reverenced2  
nor does  he ever introduce them without

 some hidden purpose1 bearing upon the  
expression of the scene he is painting4 
#ai4 ,on that plain of ,salisbury1 he   
had been struck first by its            
widely-spacious pastoral life2 and      
secondly1 by its monuments of the two   
great religions of ,england--,druidical 
and ,christian4    ,he was not a man to 
miss the possible connection of these   
impressions4  ,he treats the shepherd   
life as a type of the ecclesiastical2   
and  composes his two drawings so as to 
illustrate both4    ,in the drawing of  
,salisbury1 the plain is swept by rapid 
but not  distressful rain4 ,the         
cathedral occupies the centre of the    
picture1  towering high over the city1  
of which the houses 7made on purpose    
smaller than they really are7 are       
scattered about it like a flock of      
sheep4 ,the cathedral is surrounded by a
 great light4 ,the storm gives way  at  
first in a subdued gleam over a distant 
parish church1 then bursts  down again1 
breaks away into full light about the   

cathedral1 and passes  over the city1 in
 various sun and shade4 ,in the         
foreground stands a  shepherd leaning on
 his staff1 watching his                
flock--bare-headed2 he has  given his   
cloak to a group of children1 who have  
covered themselves up  with it1 and are 
shrinking from the rain2 his dog        
crouches under a bank2  his sheep1 for  
the most part1 are resting quietly1 some
 coming up the  slope of the bank       
towards him4#aa     #bj4 ,the           
rain-clouds in this picture are wrought 
with a care which ,i  have never seen   
equalled in any other sky of the same   
kind4 ,it is the  rain of               
blessing--abundant1 but full of         
brightness2 golden gleams are  flying   
across the wet grass1 and fall softly on
 the lines of willows in  the           
valley--willows by the watercourses2 the
 little brooks flash out  here and there
 between them and the fields4 ,turn now 
to the ,stonehenge4  ,that1 also1 stands
 in great light2 but it is the ,gorgon  

light--the sword  of ,chrysaor is bared 
against it4 ,the cloud of judgment hangs
 above4 ,the  rock pillars seem to reel 
before its slope1 pale beneath the      
lightning4  ,and nearer1 in the         
darkness1 the shepherd lies dead1 his   
flock  scattered4    ,i alluded1 in     
speaking before of this ,stonehenge1 to 
,turner's use of the  same symbol in the
 drawing of ,pstum for ,rogers's ,italy2
 but a more  striking instance of its   
employment occurs in a ,study of ,pstum1
 which  he engraved himself before      
undertaking the ,liber ,studiorum and   
another  in his drawing of the ,temple  
of ,minerva1 on ,cape ,colonna3 and     
observe  farther that he rarely         
introduces lightning1 if the ruined     
building has  not been devoted to       
religion4 ,the wrath of man may destroy 
the fortress1  but only the wrath of    
heaven can destroy the temple4     #ba4 
,of these secret meanings of ,turner's1 
we shall see enough in the  course of   
the inquiry we have to undertake1       

lastly1 respecting ideas of  relation2  
but one more instance of his opposed use
 of the lightning  symbol1 and of the   
rain of blessing1 ,i name here1 to      
confirm what has  been noted above4     
,for1 in this last instance1 he was     
questioned  respecting his meaning1 and 
explained it4 ,i refer to the drawings  
of  ,sinai and ,lebanon1 made for       
,finden's ,bible4 ,the sketches from    
which  ,turner prepared that series     
were1 ,i believe1 careful and accurate2 
but  the treatment of the subjects was  
left wholly to him4 ,he took the ,sinai 
and ,lebanon to show the opposite       
influences of the ,law and the ,gospel4 
,the ,rock of ,moses is shown in the    
burning of the desert1 among fallen     
stones1 forked lightning cleaving the   
blue mist which veils the summit  of    
,sinai4 ,armed ,arabs pause at the foot 
of the rock4 ,no human habitation  is   
seen1 nor any herb or tree1 nor any     
brook1 and the lightning strikes        
without rain4#ab ,over the ,mount       

,lebanon an intensely soft gray-blue sky
  is melting into dewy rain4 ,every     
ravine is filled1 every promontory      
crowned1 by tenderest foliage1 golden in
 slanting sunshine4#ac ,the  white      
convent nestles into the hollow of the  
rock2 and a little brook  runs under the
 shadow of the nearer trees1 beside     
which two monks sit  reading4     #bb4  
,it was a beautiful thought1 yet an     
erring one1 as all thoughts are  which  
oppose the ,law to the ,gospel4 ,when   
people read1 the law came by  ,moses1   
but grace and truth by ,christ1 do they 
suppose that the law was  ungracious and
 untrue8 ,the law was given for a       
foundation2 the grace 7or  mercy7 and   
truth for fulfilment2--the whole forming
 one glorious ,trinity  of judgment1    
mercy1 and truth4 ,and if people would  
but read the text of  their ,bibles with
 heartier purpose of understanding it1  
instead of  superstitiously1 they would 
see that throughout the parts which they
 are  intended to make most personally  

their own 7the ,psalms7 it is always the
  ,law which is spoken of with chief    
joy4 ,the ,psalms respecting mercy are  
often sorrowful1 as in thought of what  
it cost2 but those respecting the  law  
are always full of delight4 ,david      
cannot contain himself for joy in       
thinking of it1--he is never weary of   
its praise3--,how love ,i thy law6  it  
is my meditation all the day4 ,thy      
testimonies are my delight and my       
counsellors2 sweeter1 also1 than honey  
and the honeycomb4     #bc4 ,and ,i     
desire1 especially1 that the reader     
should note this1 in now  closing the   
work through which we have passed       
together in the  investigation of the   
beauty of the visible world4 ,for       
perhaps he  expected more pleasure and  
freedom in that work2 he thought that it
  would lead him at once into fields of 
fond imagination1 and may have  been    
surprised to find that the following of 
beauty brought him always  under a      
sterner dominion of mysterious law2 the 

brightness was  continually based upon  
obedience1 and all majesty only another 
form of  submission4 ,but this is indeed
 so4 ,i have been perpetually hindered  
in  this inquiry into the sources of    
beauty by fear of wearying the reader   
with their severities4 ,it was always   
accuracy ,i had to ask of him1 not      
sympathy2 patience1 not zeal2           
apprehension1 not sensation4 ,the thing 
to  be shown him was not a pleasure to  
be snatched1 but a law to be learned4   
#bd4 ,it is in this character1 however1 
that the beauty of the natural  world   
completes its message4 ,we saw long ago1
 how its various powers  of appeal to   
the mind of men might be traced to some 
typical expression  of ,divine          
attributes4 ,we have seen since how its 
modes of appeal  present constant types 
of human obedience to the ,divine law1  
and  constant proofs that this law1     
instead of being contrary to mercy1 is  
the foundation of all delight1 and the  
guide of all fair and fortunate         

existence4     #be4 ,which              
understanding1 let us receive our last  
message from the  ,angel of the ,sea4   
,take up the #aith ,psalm and look at it
 verse by verse4 ,perhaps to my  younger
 readers1 one word may be permitted     
respecting their  ,bible-reading in     
general4#ad ,the ,bible is1 indeed1 a   
deep book1 when  depth is required1 that
 is to say1 for deep people4 ,but it is 
not  intended1 particularly1 for        
profound persons2 on the contrary1 much 
more  for shallow and simple persons4   
,and therefore the first1 and generally 
the main and leading idea of the ,bible1
 is on its surface1 written in  plainest
 possible ,greek1 ,hebrew1 or ,english1 
needing no penetration1 nor             
amplification1 needing nothing but what 
we all might give--attention4    ,but   
this1 which is in every one's power1 and
 is the only thing that ,god  wants1 is 
just the last thing any one will give   
,him4 ,we are delighted to  ramble away 
into day-dreams1 to repeat pet verses   

from other places1  suggested by chance 
words2 to snap at an expression which   
suits our own  particular views1 or to  
dig up a meaning from under a verse1    
which we  should be amiably grieved to  
think any human being had been so happy 
as  to find before4 ,but the plain1     
intended1 immediate1 fruitful meaning1  
which every one ought to find always1   
and especially that which depends  on   
our seeing the relation of the verse to 
those near it1 and getting  the force of
 the whole passage1 in due              
relation--this sort of  significance we 
do not look for2--it being1 truly1 not  
to be discovered1  unless we really     
attend to what is said1 instead of to   
our own feelings4     #bf4 ,it is       
unfortunate also1 but very certain1 that
 in order to attend  to what is said1 we
 must go through the irksomeness of     
knowing the  meaning of the words4 ,and 
the first thing that children should be 
taught  about their ,bibles is1 to      
distinguish clearly between words that  

they  understand and words that they do 
not2 and to put aside the words they  do
 not understand1 and verses connected   
with them1 to be asked about1 or  for a 
future time2 and never to think they are
 reading the ,bible when  they are      
merely repeating phrases of an unknown  
tongue4     #bg4 ,let us try1 by way of 
example1 this #aith ,psalm1 and see what
 plain  meaning is uppermost in it4     
,the heavens declare the glory of ,god4 
,what are the heavens8    ,the word     
occurring in the ,lord's ,prayer1 and   
the thing expressed being  what a child 
may1 with some advantage1 be led to look
 at1 it might be  supposed among a      
schoolmaster's first duties to explain  
this word  clearly4    ,now there can be
 no question that in the minds of the   
sacred writers1 it  stood naturally for 
the entire system of cloud1 and of space
 beyond it1  conceived by them as a     
vault set with stars4 ,but there can1   
also1 be no  question1 as we saw in     
previous inquiry1 that the firmament1   

which is  said to have been called      
heaven1 at the creation1 expresses1 in  
all  definite use of the word1 the      
system of clouds1 as spreading the power
  of the water over the earth2 hence the
 constant expressions dew of  heaven1   
rain of heaven1 c41 where heaven is used
 in the singular2 while  the heavens1   
when used plurally1 and especially when 
in distinction1  as here1 from the word 
firmament1 remained expressive of the   
starry  space beyond4     #bh4 ,a child 
might therefore be told 7surely1 with   
advantage71 that our  beautiful word    
,heaven may possibly have been formed   
from a ,hebrew word1  meaning the high  
place2 that the great warrior ,roman    
nation1 camping  much out at night1     
generally overtired and not in moods for
 thinking1  are believed1 by many       
people1 to have seen in the stars only  
the  likeness of the glittering studs of
 their armor1 and to have called the    
sky ,the bossed1 or studded2 but that   
others think those ,roman soldiers  on  

their might-watches had rather been     
impressed by the great emptiness  and   
void of night1 and by the far coming of 
sounds through its darkness1  and had   
called the heaven ,the ,hollow place4   
,finally1 ,i should tell  the children1 
showing them first the setting of a     
star1 how the great  ,greeks had found  
out the truest power of the heavens1 and
 had called  them ,the ,rolling4 ,but   
whatever different nations had called   
them1 at  least ,i would make it clear  
to the child's mind that in this #aith  
,psalm1  their whole power being        
intended1 the two words are used which  
express  it3 the ,heavens1 for the great
 vault or void1 with all its planets1   
and  stars1 and ceaseless march of orbs 
innumerable2 and the ,firmament1 for    
the ordinance of the clouds4    ,these  
heavens1 then1 declare the glory of     
,god2 that is1 the light of  ,god1 the  
eternal glory1 stable and changeless4   
,as their orbs fail  not--but pursue    
their course for ever1 to give light    

upon the earth--so  ,god's glory        
surrounds man for ever--changeless1 in  
its fulness  insupportable--infinite4   
,and the firmament showeth his          
handywork4     #bi4 ,the clouds1        
prepared by the hand of ,god for the    
help of man1  varied in their           
ministration--veiling the inner         
splendor--show1 not ,his  eternal glory1
 but ,his daily handiwork4 ,so ,he dealt
 with ,moses4 ,i will  cover thee with  
my hand as ,i pass by4 ,compare ,job    
xxxvi4 #bd3 ,remember  that thou magnify
 his work1 which men behold4 ,every man 
may see it4 ,not  so the glory--that    
only in part2 the courses of these stars
 are to be  seen imperfectly1 and but by
 a few4 ,but this firmament1 every man  
may  see it1 man may behold it afar off4
 ,behold1 ,god is great1 and we know    
him not4 ,for he maketh small the drops 
of water3 they pour down rain  according
 to the vapor thereof4     #cj4 ,day    
unto day uttereth speech1 and night unto
 night showeth  knowledge4 ,they have no

 speech nor language1 yet without these 
their  voice is heard4 ,their rule is   
gone out throughout the earth1 and their
  words to the end of the world4        
,note that4 ,their rule throughout the  
earth1 whether inhabited or  not--their 
law of right is thereon2 but their      
words1 spoken to human  souls1 to the   
end of the inhabited world4    ,in them 
hath he set a tabernacle for the sun1 c4
 ,literally1 a  tabernacle1 or curtained
 tent1 with its veil and its hangings2  
also of  the colors of ,his desert      
tabernacle--blue1 and purple1 and       
scarlet4    ,thus far the psalm         
describes the manner of this great      
heaven's message4    ,thenceforward1 it 
comes to the matter of it4     #ca4     
,observe1 you have the two divisions of 
the declaration4 ,the  heavens 7compare 
,psalm viii47 declare the eternal glory 
of ,god before  men1 and the firmament  
the daily mercy of ,god towards men4    
,and the  eternal glory is in this--that
 the law of the ,lord is perfect1 and   

,his  testimony sure1 and ,his statutes 
right4    ,and the daily mercy in       
this--that the commandment of the ,lord 
is pure1  and ,his fear is clean1 and   
,his judgments true and righteous4      
,there are three oppositions3--         
,between law and commandment4           
,between testimony and fear4    ,between
 statute and judgment4     #cb4 ,i4     
,between law and commandment4    ,the   
law is fixed and everlasting2 uttered   
once1 abiding for ever1 as the  sun1 it 
may not be moved4 ,it is perfect1       
converting the soul3 the  whole question
 about the soul being1 whether it has   
been turned from  darkness to light1    
acknowledged this law or not1--whether  
it is godly or  ungodly8 ,but the       
commandment is given momentarily to each
 man1 according  to the need4 ,it does  
not convert3 it guides4 ,it does not    
concern the  entire purpose of the soul2
 but it enlightens the eyes1 respecting 
a  special act4 ,the law is1 ,do this   
always2 the commandment1 ,do thou  this 

now3 often mysterious enough1 and       
through the cloud2 chilling1  and with  
strange rain of tears2 yet always pure  
7the law converting1 but  the           
commandment cleansing73 a rod not for   
guiding merely1 but for  strengthening1 
and tasting honey with4 ,look how mine  
eyes have been  enlightened1 because ,i 
tasted a little of this honey4     #cc4 
,,ii4 ,between testimony and fear4      
,the testimony is everlasting3 the true 
promise of salvation4 ,bright as  the   
sun beyond all the earth-cloud1 it makes
 wise the simple2 all wisdom  being     
assured in perceiving it and trusting   
it2 all wisdom brought to  nothing which
 does not perceive it4    ,but the fear 
of ,god is taught through special       
encouragement and special  withdrawal of
 it1 according to each man's need--by   
the  earth-cloud--smile and frown       
alternately3 it also1 as the            
commandment1  is clean1 purging and     
casting out all other fear1 it only     
remaining for  ever4     #cd4 ,,iii4    

,between statute and judgment4    ,the  
statutes are the appointments of the    
,eternal justice2 fixed and  bright1 and
 constant as the stars2 equal and       
balanced as their courses4  ,they are   
right1 rejoicing the heart4 ,but the    
judgments are special  judgments of     
given acts of men4 ,true1 that is to    
say1 fulfilling the  warning or promise 
given to each man2 righteous altogether1
 that is1  done or executed in truth and
 righteousness4 ,the statute is right1  
in  appointment4 ,the judgment righteous
 altogether1 in appointment and         
fulfilment2--yet not always rejoicing   
the heart4    ,then1 respecting all     
these1 comes the expression of          
passionate desire1  and of joy2 that    
also divided with respect to each4 ,the 
glory of ,god1  eternal in the ,heavens1
 is future1 to be desired more than     
gold1 than  much fine gold--treasure in 
the heavens that faileth not4 ,but the  
present guidance and teaching of ,god   
are on earth2 they are now  possessed1  

sweeter than all earthly food--sweeter  
than honey and the  honeycomb4 ,moreover
 by them 7the law and the testimony7 is 
thy servant  warned--warned of the ways 
of death and life4    ,and in keeping   
them 7the commandments and the          
judgments7 there is  great reward3 pain 
now1 and bitterness of tears1 but reward
  unspeakable4     #ce4 ,thus far the   
psalm has been descriptive and          
interpreting4 ,it ends  in prayer4      
,who can understand his errors8         
7wanderings from the perfect law47      
,cleanse thou me from secret faults2    
from all that ,i have done against  thy 
will1 and far from thy way1 in the      
darkness4 ,keep back thy servant  from  
presumptuous sins 7sins against the     
commandment7 against thy will  when it  
is seen and direct1 pleading with heart 
and conscience4 ,so shall  ,i be        
undefiled1 and innocent from the great  
transgression--the  transgression that  
crucifies afresh4    ,let the words of  
my mouth 7for ,i have set them to       

declare thy law71 and  the meditation of
 my heart 7for ,i have set it to keep   
thy commandments71  be acceptable in thy
 sight1 whose glory is my strength1 and 
whose work1  my redemption2 my          
,strength1 and my ,redeemer4            
,,footnotes3      #a ,compare the       
beautiful stanza beginning the epilogue 
of the      ,golden ,legend4      #b ,i 
do not mean that ,correggio is greater  
than ,turner1 but that      only his way
 of work1 the touch which he has used   
for the golden      hair of ,antiope for
 instance1 could have painted these     
clouds4 ,in      open lowland country ,i
 have never been able to come to any    
satisfactory conclusion about their     
height1 so strangely do they      blend 
with each other4 ,here1 for instance1 is
 the arrangement of an      actual group
 of them4 ,the space at ,a was deep1    
purest ultramarine      blue1 traversed 
by streaks of absolutely pure and       
perfect rose-color4      ,the blue      
passed downwards imperceptibly into gray

 at ,g1 and then into      amber1 and at
 the white edge below into gold4 ,on    
this amber ground      the streaks ,p   
were dark purple1 and1 finally1 the     
spaces at ,b ,b1      again1 clearest   
and most precious blue1 paler than that 
at ,a4 ,the      two levels of these    
clouds are always very notable4 ,after a
      continuance of fine weather among 
the ,alps1 the determined approach      
of rain is usually announced by a soft1 
unbroken film of level cloud1      white
 and thin at the approaching edge1 gray 
at the horizon1 covering      the whole 
sky from side to side1 and advancing    
steadily from the      south-west4      
,under its gray veil1 as it approaches1 
are formed      detached bars1 darker or
 lighter than the field above1 according
 to      the position of the sun4 ,these
 bars are usually of a very sharply     
elongated oval shape1 something like    
fish4 ,i habitually call them      fish 
clouds1 and look upon them with much    
discomfort1 if any      excursions of   

interest have been planned within the   
next three days4      ,their oval shape 
is a perspective deception dependent on 
their      flatness2 they are probably  
thin1 extended fields1 irregularly      
circular4        ,illustration3 ,,fig4  
#ih4      #c ,i do not copy the         
interpolated words which follow1 and    
commandeth it not to shine4 ,the closing
 verse of the chapter1 as      we have  
it1 is unintelligible2 not so in the    
,vulgate1 the reading of      which ,i  
give4      #d ,i assume the ,greek3     
aupnoi krnai nomades to mean clouds1 not
      springs2 but this does not matter1
 the whole passage being one of         
rejoicing in moisture and dew of heaven4
      #e ,i believe1 however1 that when 
,pegasus strikes forth this             
fountain1 he is to be regarded1 not as  
springing from ,medusa's blood1      but
 as born of ,medusa by ,neptune2 the    
true horse was given by ,neptune        
striking the earth with his trident2 the
 divine horse is born to      ,neptune  

and the storm-cloud4      #f ,i have    
been often at great heights on the ,alps
 in rough weather1      and have seen   
strong gusts of storm in the plains of  
the south4 ,but1      to get full       
expression of the very heart and meaning
 of wind1 there      is no place like a 
,yorkshire moor4 ,i think ,scottish     
breezes are      thinner1 very bleak and
 piercing1 but not substantial4 ,if you 
lean on      them they will let you     
fall1 but one may rest against a        
,yorkshire      breeze as one would on a
 quickset hedge4 ,i shall not soon      
forget1--having had the good fortune to 
meet a vigorous one on an      ,april   
morning1 between ,hawes and ,settle1    
just on the flat under                  
,wharnside1--the vague sense of wonder  
with which ,i watched      ,ingleborough
 stand without rocking4      #g ,when   
there is a violent current of wind near 
the ground1 the rain      columns slope 
forward at the foot4 ,see the ,entrance 
to ,fowey      ,harbor1 of the ,england 

,series4      #h ,see ,part ,,ix4 chap4 
#b1 ,the ,hesperid gl4      #i ,the     
reader must remember that sketches made 
as these are1 on the      instant1      
cannot be far carried1 and would lose   
all their use if they      were finished
 at home4 ,these were both made in      
pencil1 and merely      washed with gray
 on returning to the inn1 enough to     
secure the main      forms4      #aj ,i 
do not say this carelessly1 nor because 
machines throw the      laboring man out
 of work4 ,the laboring man will always 
have more      work than he wants4 ,i   
speak thus1 because the use of such     
machinery      involves the destruction 
of all pleasures in rural labor2 and ,i 
doubt      not1 in that destruction1 the
 essential deterioration of the national
      mind4      #aa ,you may see the   
arrangement of subject in the published 
engraving1 but nothing more2 it is among
 the worst engravings in the            
,england ,series4      #ab ,hosea xiii4 
#e1 #ae4      #ac ,hosea xiv4 #d1 #e1   

#f4 ,compare ,psalm lxxii4 #f-af4       
#ad ,i believe few sermons are more     
false or dangerous than those in        
which the teacher professes to impress  
his audience by showing how      much   
there is in a verse4 ,if he examined his
 own heart closely      before          
beginning1 he would often find that his 
real desire was to      show how much   
he1 the expounder1 could make out of the
 verse4 ,but      entirely honest and   
earnest men often fall into the same    
error4 ,they      have been taught that 
they should always look deep1 and that  
,scripture is full of hidden meanings2  
and they easily yield to the            
flattering conviction that every chance 
idea which comes into their      heads  
in looking at a word1 is put there by   
,divine agency4 ,hence they      wander 
away into what they believe to be an    
inspired meditation1 but      which is1 
in reality1 a meaningless jumble of     
ideas2 perhaps very      proper ideas1  
but with which the text in question has 

nothing      whatever to do4            
,,part ,,viii4    ,,of ,,ideas ,,of     
,,relation3--,,first1 ,,of ,,invention  
,,formal4          ,,chapter ,i4        
,,the ,,law ,,of ,,help4       #a4 ,we  
have now reached the last and the most  
important part of our  subject4 ,we have
 seen1 in the first division of this    
book1 how far art  may be1 and has been1
 consistent with physical or material   
facts4 ,in its  second division1 we     
examined how far it may be and has been 
obedient to  the laws of physical       
beauty4 ,in this last division we have  
to consider  its relations of art to    
,god and man4 ,its work in the help of  
human  beings1 and service of their     
,creator4    ,we have to inquire into   
the various ,powers1 ,conditions1 and   
,aims of mind  involved in the          
conception or creation of pictures2 in  
the choice of  subject1 and the mode and
 order of its history2--the choice of   
forms1  and the modes of their          
arrangement4    ,and these phases of    

mind being concerned1 partly with choice
 and  arrangement of incidents1 partly  
with choice and arrangement of forms    
and colors1 the whole subject will fall 
into two main divisions1 namely1        
expressional or spiritual invention2 and
 material or formal invention4    ,they 
are of course connected2--all good      
formal invention being  expressional    
also2 but as a matter of convenience it 
is best to say what  may be ascertained 
of the nature of formal invention1      
before attempting  to illustrate the    
faculty in its higher field4     #b4    
,first1 then1 of ,,invention ,,formal1  
otherwise and most commonly  called     
technical composition2 that is to say1  
the arrangement of lines1  forms1 or    
colors1 so as to produce the best       
possible effect4#a    ,i have often been
 accused of slighting this quality in   
pictures2 the  fact being that ,i have  
avoided it only because ,i considered it
 too great  and wonderful for me to deal
 with4 ,the longer ,i thought1 the more 

wonderful it always seemed2 and it is1  
to myself personally1 the  quality1     
above all others1 which gives me delight
 in pictures4 ,many  others ,i admire1  
or respect2 but this one ,i rejoice in4 
,expression1  sentiment1 truth to       
nature1 are essential2 but all these are
 not enough4  ,i never care to look at a
 picture again1 if it be ill composed2  
and if  well composed ,i can hardly     
leave off looking at it4    ,well       
composed4 ,does that mean according to  
rule8    ,no4 ,precisely the contrary4  
,composed as only the man who did it    
could  have done it2 composed as no     
other picture is1 or was1 or ever can be
  again4 ,every great work stands alone4
     #c4 ,yet there are certain         
elementary laws of arrangement traceable
 a  little way2 a few of these only ,i  
shall note1 not caring to pursue the    
subject far in this work1 so intricate  
it becomes even in its first  elements3 
nor could it be treated with any        
approach to completeness1  unless ,i    

were to give many and elaborate outlines
 of large pictures4 ,i  have a vague    
hope of entering on such a task1 some   
future day4 ,meantime  ,i shall only    
indicate the place which technical      
composition should hold  in our scheme4 
,and1 first1 let us understand what     
composition is1 and how far it is       
required4     #d4 ,composition may be   
best defined as the help of everything  
in the  picture by everything else4     
,i wish the reader to dwell a little on 
this word ,help4 ,it is a grave  one4   
,in substance which we call inanimate1  
as of clouds1 or stones1 their  atoms   
may cohere to each other1 or consist    
with each other1 but they do  not help  
each other4 ,the removal of one part    
does not injure the rest4    ,but in a  
plant1 the taking away of any one part  
does injure the rest4  ,hurt or remove  
any portion of the sap1 bark1 or pith1  
the rest is  injured4 ,if any part      
enters into a state in which it no more 
assists the  rest1 and has thus become  

helpless1 we call it also dead4    ,the 
power which causes the several portions 
of the plant to help each  other1 we    
call life4 ,much more is this so in an  
animal4 ,we may take away  the branch of
 a tree without much harm to it2 but not
 the animal's limb4  ,thus1 intensity of
 life is also intensity of              
helpfulness--completeness  of depending 
of each part on all the rest4 ,the      
ceasing of this help is  what we call   
corruption2 and in proportion to the    
perfectness of the  help1 is the        
dreadfulness of the loss4 ,the more     
intense the life has  been1 the more    
terrible is its corruption4    ,the     
decomposition of a crystal is not       
necessarily impure at all4 ,the         
fermentation of a wholesome liquid      
begins to admit the idea slightly2  the 
decay of leaves yet more2 of flowers1   
more2 of animals1 with greater          
painfulness and terribleness in exact   
proportion to their original  vitality2 
and the foulest of all corruption is    

that of the body of man2  and1 in his   
body1 that which is occasioned by       
disease1 more than that of  natural     
death4     #e4 ,i said just now1 that   
though atoms of inanimate substance     
could not  help each other1 they could  
consist with each other4 ,consistence is
  their virtue4 ,thus the parts of a    
crystal are consistent1 but of dust1    
inconsistent4 ,orderly adherence1 the   
best help its atoms can give1           
constitutes the nobleness of such       
substance4    ,when matter is either    
consistent1 or living1 we call it pure1 
or clean2  when inconsistent1 or        
corrupting 7unhelpful71 we call it      
impure1 or  unclean4 ,the greatest      
uncleanliness being that which is       
essentially most  opposite to life4     
,life and consistency1 then1 both       
expressing one character 7namely1       
helpfulness1 of a higher or lower       
order71 the ,maker of all creatures and 
things1 by whom all creatures live1 and 
all things consist1 is  essentially and 

for ever the ,helpful ,one1 or in softer
 ,saxon1 the ,holy  ,one4    ,the word  
has no other ultimate meaning3 ,helpful1
 harmless1 undefiled3  living or ,lord  
of life4    ,the idea is clear and      
mighty in the cherubim's cry3 ,helpful1 
helpful1  helpful1 ,lord ,god of ,hosts2
 i4e4 of all the hosts1 armies1 and     
creatures of the earth4#b     #f4 ,a    
pure or holy state of anything1         
therefore1 is that in which all  its    
parts are helpful or consistent4 ,they  
may or may not be homogeneous4  ,the    
highest or organic purities are composed
 of many elements in an  entirely       
helpful state4 ,the highest and first   
law of the universe--and  the other name
 of life1 is1 therefore1 help4 ,the     
other name of death  is separation4     
,government and co-operation are in all 
things and  eternally the laws of life4 
,anarchy and competition1 eternally1 and
 in  all things1 the laws of death4     
#g4 ,perhaps the best1 though the most  
familiar example we could take of  the  

nature and power of consistence1 will be
 that of the possible  changes in the   
dust we tread on4    ,exclusive of      
animal decay1 we can hardly arrive at a 
more absolute type  of impurity than the
 mud or slime of a damp over-trodden    
path1 in the  outskirts of a            
manufacturing town4 ,i do not say mud of
 the road1 because  that is mixed with  
animal refuse2 but take merely an ounce 
or two of the  blackest slime of a      
beaten footpath on a rainy day1 near a  
large  manufacturing town4     #h4 ,that
 slime we shall find in most cases      
composed of clay 7or  brickdust1 which  
is burnt clay7 mixed with soot1 a little
 sand1 and  water4 ,all these elements  
are at helpless war with each other1 and
  destroy reciprocally each other's     
nature and power1 competing and         
fighting for place at every tread of    
your foot2--sand squeezing out  clay1   
and clay squeezing out water1 and soot  
meddling everywhere and  defiling the   
whole4 ,let us suppose that this ounce  

of mud is left in  perfect rest1 and    
that its elements gather together1 like 
to like1 so  that their atoms may get   
into the closest relations possible4    
#i4 ,let the clay begin4 ,ridding itself
 of all foreign substance1 it  gradually
 becomes a white earth1 already very    
beautiful2 and fit1 with  help of       
congealing fire1 to be made into finest 
porcelain1 and painted  on1 and be kept 
in kings' palaces4 ,but such artificial 
consistence is  not its best4 ,leave it 
still quiet to follow its own instinct  
of unity1  and it becomes not only      
white1 but clear2 not only clear1 but   
hard2 not  only clear and hard1 but so  
set that it can deal with light in a    
wonderful way1 and gather out of it the 
loveliest blue rays only1  refusing the 
rest4 ,we call it then a sapphire4      
,such being the consummation of the     
clay1 we give similar permission of     
quiet to the sand4 ,it also becomes1    
first1 a white earth1 then proceeds  to 
grow clear and hard1 and at last        

arranges itself in mysterious1          
infinitely fine1 parallel lines1 which  
have the power of reflecting not  merely
 the blue rays1 but the blue1 green1    
purple1 and red rays in the  greatest   
beauty in which they can be seen through
 any hard material  whatsoever4 ,we call
 it then an opal4    ,in next order the 
soot sets to work2 it cannot make itself
 white at  first1 but instead of being  
discouraged1 tries harder and harder1   
and  comes out clear at last1 and the   
hardest thing in the world2 and for the 
blackness that it had1 obtains in       
exchange the power of reflecting all    
the rays of the sun at once in the      
vividest blaze that any solid thing  can
 shoot4 ,we call it then a diamond4     
,last of all the water purifies or      
unites itself1 contented enough if it   
only reach the form of a dew-drop2 but  
if we insist on its proceeding to  a    
more perfect consistence1 it            
crystallizes into the shape of a star4  
,and for the ounce of slime which we had

 by political economy of  competition1  
we have by political economy of         
co-operation1 a sapphire1  an opal1 and 
a diamond1 set in the midst of a star of
 snow4     #aj4 ,now invention in art   
signifies an arrangement1 in which      
everything  in the work is thus         
consistent with all things else1 and    
helpful to all  else4    ,it is the     
greatest and rarest of all the qualities
 of art4 ,the power by  which it is     
effected is absolutely inexplicable and 
incommunicable2 but  exercised with     
entire facility by those who possess it1
 in many cases  even unconsciously4#c   
,in work which is not composed1 there   
may be many beautiful things1 but  they 
do not help each other4 ,they at the    
best only stand beside1 and  more       
usually compete with and destroy1 each  
other4 ,they may be connected           
artificially in many ways1 but the test 
of there being no invention is1  that if
 one of them be taken away1 the others  
are no worse than before4  ,but in true 

composition1 if one be taken away1 all  
the rest are helpless  and valueless4   
,generally1 in falsely composed work1 if
 anything be taken  away1 the rest will 
look better2 because the attention is   
less  distracted4 ,hence the pleasure of
 inferior artists in sketching1 and     
their inability to finish2 all that they
 add destroys4     #aa4 ,also in true   
composition1 everything not only helps  
everything  else a little1 but helps    
with its utmost power4 ,every atom is in
 full  energy2 and all that energy is   
kind4 ,not a line1 nor spark of color1  
but is doing its very best1 and that    
best is aid4 ,the extent to which  this 
law is carried in truly right and noble 
work is wholly  inconceivable to the    
ordinary observer1 and no true account  
of it would  be believed4     #ab4 ,true
 composition being entirely easy to the 
man who can compose1  he is seldom proud
 of it1 though he clearly recognizes it4
 ,also1 true  composition is            
inexplicable4 ,no one can explain how   

the notes of a  ,mozart melody1 or the  
folds of a piece of ,titian's drapery1  
produce  their essential effect on each 
other4 ,if you do not feel it1 no one   
can  by reasoning make you feel it4     
,and1 the highest composition is so     
subtle1 that it is apt to become        
unpopular1 and sometimes seem insipid4  
#ac4 ,the reader may be surprised at my 
giving so high a place to  invention4   
,but if he ever come to know true       
invention from false1 he  will find that
 it is not only the highest quality of  
art1 but is simply  the most wonderful  
act or power of humanity4 ,it is        
pre-eminently the  deed of human        
creation2 ,greek3 poisis1 otherwise1    
poetry4    ,if the reader will look back
 to my definition of poetry1 he will    
find it  is the suggestion1 by the      
imagination1 of noble grounds for the   
noble  emotions 7,vol4 ,,iii4 p4 #aj71  
amplified below 7 #ad7 into assembling  
by  help of the imagination2 that is to 
say1 imagination associative1  described

 at length in ,vol4 ,,ii41 in the       
chapter just referred to4 ,the  mystery 
of the power is sufficiently set forth  
in that place4 ,of its  dignity ,i have 
a word or two to say here4     #ad4 ,men
 in their several professed employments1
 looked at broadly1 may  be properly    
arranged under five classes3--    #a4   
,persons who see4 ,these in modern      
language are sometimes called           
sight-seers1 that being an occupation   
coming more and more into vogue  every  
day4 ,anciently they used to be called1 
simply1 seers4    #b4 ,persons who talk4
 ,these1 in modern language1 are usually
 called  talkers1 or speakers1 as in the
 ,house of ,commons1 and elsewhere4     
,they  used to be called prophets4      
#c4 ,persons who make4 ,these1 in modern
 language1 are usually called           
manufacturers4 ,anciently they were     
called poets4    #d4 ,persons who think4
 ,there seems to be no very distinct    
modern title  for this kind of person1  
anciently called philosophers2          

nevertheless we  have a few of them     
among us4    #e4 ,persons who do3 in    
modern language1 called practical       
persons2  anciently1 believers4    ,of  
the first two classes ,i have only this 
to note1--that we ought  neither to say 
that a person sees1 if he sees falsely1 
nor speaks1 if he  speaks falsely4 ,for 
seeing falsely is worse than blindness1 
and speaking  falsely1 than silence4 ,a 
man who is too dim-sighted to discern   
the road  from the ditch1 may feel which
 is which2--but if the ditch appears    
manifestly to him to be the road1 and   
the road to be the ditch1 what  shall   
become of him8 ,false seeing is         
unseeing1--on the negative side of      
blindness2 and false speaking1          
unspeaking1--on the negative side of    
silence4    ,to the persons who think1  
also1 the same test applies very        
shrewdly4  ,theirs is a dangerous       
profession2 and from the time of the    
,aristophanes  thought-shop to the great
 ,german establishment1 or              

thought-manufactory1  whose productions 
have1 unhappily1 taken in part the place
 of the older  and more serviceable     
commodities of ,nuremberg toys and      
,berlin wool1 it  has been often harmful
 enough to mankind4 ,it should not be   
so1 for a  false thought is more        
distinctly and visibly no thought than a
 false  saying is no saying4 ,but it is 
touching the two great productive       
classes  of the doers and makers1 that  
we have one or two important points to  
note here4     #ae4 ,has the reader ever
 considered1 carefully1 what is the     
meaning of  doing a thing8    ,suppose a
 rock falls from a hill-side1 crushes a 
group of cottages1 and  kills a number  
of people4 ,the stone has produced a    
great effect in the  world4 ,if any one 
asks1 respecting the broken roofs1 ,what
 did it8 you  say the stone did it4 ,yet
 you don't talk of the deed of the      
stone4 ,if  you inquire farther1 and    
find that a goat had been feeding beside
 the  rock1 and had loosened it by      

gnawing the roots of the grasses        
beneath1  you find the goat to be the   
active cause of the calamity1 and you   
say  the goat did it4 ,yet you don't    
call the goat the doer1 nor talk of its 
evil deed4 ,but if you find any one went
 up to the rock1 in the night1  and with
 deliberate purpose loosened it1 that it
 might fall on the  cottages1 you say in
 quite a different sense1 ,it is his    
deed3 he is the  doer of it4     #af4   
,it appears1 then1 that deliberate      
purpose and resolve are needed  to      
constitute a deed or doing1 in the true 
sense of the word2 and that  when1      
accidentally or mechanically1 events    
take place without such  purpose1 we    
have indeed effects or results1 and     
agents or causes1 but  neither deeds nor
 doers4    ,now it so happens1 as we all
 well know1 that by far the largest part
 of  things happening in practical life 
are brought about with no  deliberate   
purpose4 ,there are always a number of  
people who have the  nature of stones2  

they fall on other persons and crush    
them4 ,some again  have the nature of   
weeds1 and twist about other people's   
feet and  entangle them4 ,more have the 
nature of logs1 and lie in the way1 so  
that  every one falls over them4 ,and   
most of all have the nature of thorns1  
and set themselves by waysides1 so that 
every passer-by must be torn1  and all  
good seed choked2 or perhaps make       
wonderful crackling under  various pots1
 even to the extent of practically      
boiling water and  working pistons4 ,all
 these people produce immense and       
sorrowful effect  in the world4 ,yet    
none of them are doers3 it is their     
nature to crush1  impede1 and prick3 but
 deed is not in them4#d     #ag4 ,and   
farther1 observe1 that even when some   
effect is finally  intended1 you cannot 
call it the person's deed1 unless it is 
what he  intended4    ,if an ignorant   
person1 purposing evil1 accidentally    
does good1 7as if a  thief's disturbing 
a family should lead them to discover in

 time that  their house was on fire72 or
 vice vers1 if an ignorant person       
intending good1 accidentally does evil  
7as if a child should give  hemlock to  
his companions for celery71 in neither  
case do you call them  the doers of what
 may result4 ,so that in order to be a  
true deed1 it is  necessary that the    
effect of it should be foreseen4 ,which1
 ultimately1  it cannot be1 but by a    
person who knows1 and in his deed obeys1
 the laws  of the universe1 and of its  
,maker4 ,and this knowledge is in its   
highest  form1 respecting the will of   
the ,ruling ,spirit1 called ,trust4 ,for
 it is  not the knowledge that a thing  
is1 but that1 according to the promise  
and nature of the ,ruling ,spirit1 a    
thing will be4 ,also obedience in its   
highest form is not obedience to a      
constant and compulsory law1 but a      
persuaded or voluntary yielded obedience
 to an issued command2 and so  far as it
 was a persuaded submission to command1 
it was anciently  called1 in a passive  

sense1 persuasion1 or ,greek3 pistis1   
and in so  far as it alone assuredly    
did1 and it alone could do1 what it     
meant to  do1 and was therefore the root
 and essence of all human deed1 it was  
called by the ,latins the doing1 or     
fides1 which has passed into the        
,french foi and the ,english faith4 ,and
 therefore because in ,his  doing always
 certain1 and in ,his speaking always   
true1 ,his name who  leads the armies of
 ,heaven is ,faithful and ,true1#e and  
all deeds  which are done in alliance   
with those armies1 be they small or     
great1  are essentially deeds of faith1 
which therefore1 and in this one stern1 
eternal1 sense1 subdues all kingdoms1   
and turns to flight the armies of  the  
aliens1 and is at once the source and   
the substance of all human  deed1       
rightly so called4     #ah4 ,thus far   
then of practical persons1 once called  
believers1 as set  forth in the last    
word of the noblest group of words ever1
 so far as ,i  know1 uttered by simple  

man concerning his practice1 being the  
final  testimony of the leaders of a    
great practical nation1 whose deed      
thenceforward became an example of deed 
to mankind3      ,greek3  xein'1        
angellein ,lakedaimoniois1 hoti tde     
,keimetha1 tois            keinn rhmasi 
peithomenoi4    ,o stranger6 7we pray   
thee71 tell the ,lacedmonians that we   
are lying  here1 having obeyed their    
words4     #ai4 ,what1 let us ask next1 
is the ruling character of the person   
who  produces--the creator or maker1    
anciently called the poet8    ,we have  
seen what a deed is4 ,what then is a    
creation8 ,nay1 it may be  replied1 to  
create cannot be said of man's labor4   
,on the contrary1 it not only can be    
said1 but is and must be said           
continually4 ,you certainly do not talk 
of creating a watch1 or creating  a     
shoe2 nevertheless you do talk of       
creating a feeling4 ,why is this8       
,look back to the greatest of all       
creation1 that of the world4 ,suppose   

the trees had been ever so well or so   
ingeniously put together1 stem and      
leaf1 yet if they had not been able to  
grow1 would they have been well         
created8 ,or suppose the fish had been  
cut and stitched finely out of  skin and
 whalebone2 yet1 cast upon the waters1  
had not been able to  swim8 ,or suppose 
,adam and ,eve had been made in the     
softest clay1 ever so  neatly1 and set  
at the foot of the tree of knowledge1   
fastened up to  it1 quite unable to     
fall1 or do anything else1 would they   
have been well  created1 or in any true 
sense created at all8     #bj4 ,it will1
 perhaps1 appear to you1 after a little 
farther thought1  that to create        
anything in reality is to put life into 
it4    ,a poet1 or creator1 is therefore
 a person who puts things together1 not 
as a watchmaker steel1 or a shoemaker   
leather1 but who puts life into  them4  
,his work is essentially this3 it is the
 gathering and arranging of  material by
 imagination1 so as to have in it at    

last the harmony or  helpfulness of     
life1 and the passion or emotion of     
life4 ,mere fitting  and adjustment of  
material is nothing2 that is            
watchmaking4 ,but helpful  and          
passionate harmony1 essentially choral  
harmony1 so called from the  ,greek word
 rejoicing1#f is the harmony of ,apollo 
and the ,muses2 the  word ,muse and     
,mother being derived from the same     
root1 meaning  passionate seeking1 or   
love1 of which the issue is passionate  
finding1  or sacred ,,invention4 ,for   
which reason ,i could not bear to use   
any baser  word than this of invention4 
,and if the reader will think over all  
these  things1 and follow them out1 as  
,i think he may easily with this much of
  clue given him1 he will not any more  
think it wrong in me to place  invention
 so high among the powers of man4#g     
,or any more think it strange that the  
last act of the life of  ,socrates#h    
should have been to purify himself from 
the sin of having  negligently listened 

to the voice within him1 which1 through 
all his  past life1 had bid him labor1  
and make harmony4      ,,footnotes3     
#a ,the word composition has been so    
much abused1 and is in itself so        
inexpressive1 that when ,i wrote the    
first part of this work ,i      intended
 always to use1 in this final section of
 it1 the word      invention1 and to    
reserve the term composition for that   
false      composition which can be     
taught on principles2 as ,i have already
 so      employed the term in the       
chapter on ,imagination ,associative1 in
 the      second volume4 ,but1 in       
arranging this section1 ,i find it is   
not      conveniently possible to avoid 
the ordinary modes of parlance2 ,i      
therefore only head the section as ,i   
intended 7and as is1 indeed1      best71
 using in the text the ordinarily       
accepted term2 only1 the      reader    
must be careful to note that what ,i    
spoke of shortly as      composition in 
the chapters on ,imagination1 ,i here   

always call1      distinctly1 false     
composition2 using here1 as ,i find most
      convenient1 the words invention or
 composition indifferently for      the 
true faculty4      #b ,the cries of them
 which have reaped have entered into the
 ears      of the ,lord of ,sabaoth 7of 
all the creatures of the earth74 ,you   
will      find a wonderful clearness    
come into many texts by reading1        
habitually1 helpful and helpfulness for 
holy and holiness1 or      else living1 
as in ,rom4 xi4 #af4 ,the sense         
dedicated 7the ,latin      sanctus71    
being1 of course1 inapplicable to the   
,supreme ,being1 is      an entirely    
secondary and accidental one4      #c   
,by diligent study of good compositions 
it is possible to put work      together
 so that the parts shall help each      
other1 a little1 or at all      events  
do no harm2 and when some tact and taste
 are associated with      this          
diligence1 semblances of real invention 
are often produced1      which1 being   

the results of great labor1 the artist  
is always proud      of2 and which1     
being capable of learned explanation and
 imitation1      the spectator naturally
 takes interest in4 ,the common precepts
 about      composition all produce and 
teach this false kind1 which1 as true   
composition is the noblest1 being the   
corruption of it1 is the      ignoblest 
condition of art4      #d ,we may1      
perhaps1 expediently recollect as much  
of our botany as      to teach us that  
there may be sharp and rough persons1   
like spines1      who yet have good in  
them1 and are essentially branches1 and 
can bud4      ,but the true thorny      
person is no spine1 only an excrescence2
 rootless      evermore1--leafless      
evermore4 ,no crown made of such can    
ever meet      glory of ,angel's hand4  
7,in ,memoriam1 lxviii47      #e ,true1 
means1 etymologically1 not consistent   
with fact1 but      which may be        
trusted4 ,this is a true saying1 and    
worthy of all      acceptation1 c41     

meaning a trusty saying1--a saying to be
 rested      on1 leant upon4      #f    
,greek3 ,chorous te nomakenai para ts   
charas emphyton onoma4      7,d leg4    
,,ii4 #a47      #g ,this being1 indeed1 
among the visiblest signs of the ,divine
 or      immortal life4 ,we have got a  
base habit of opposing the word mortal  
or deathful merely to im-mortal2 whereas
 it is essentially      contrary to     
divine 7to ,greek3 theios1 not to       
,greek3 athanatos1      ,phaedo1 #ff71  
that which is deathful being anarchic or
 disobedient1      and that which is    
divine ruling and obedient2 this being  
the true      distinction between flesh 
and spirit4      #h ,greek3 ,pollakis   
moi phoitn to auto enypnion en t        
parelthonti      bi1 allot' en all opsei
 phainomenon1 ta auta de legon1  ,skra  
tes1      eph1 mousikn poiei kai        
ergazou4 7,phaedo1 #aa47                
,,chapter ,,ii4    ,,the ,,task ,,of    
,,the ,,least4       #a4 ,the reader has
 probably been surprised at my          

assertions made often  before now1 and  
reiterated here1 that the minutest      
portion of a great  composition is      
helpful to the whole4 ,it certainly does
 not seem easily  conceivable that this 
should be so4 ,i will go farther1 and   
say that it  is inconceivable4 ,but it  
is the fact4    ,we shall discern it to 
be so by taking one or two compositions 
to  pieces1 and examining the fragments4
 ,in doing which1 we must remember  that
 a great composition always has a       
leading emotional purpose1  technically 
called its motive1 to which all its     
lines and forms have  some relation4    
,undulating lines1 for instance1 are    
expressive of action2  and would be     
false in effect if the motive of the    
picture was one of  repose4 ,horizontal 
and angular lines are expressive of rest
 and  strength2 and would destroy a     
design whose purpose was to express     
disquiet and feebleness4 ,it is         
therefore necessary to ascertain the    
motive before descending to the detail4 

#b4 ,one of the simplest subjects1 in   
the series of the ,rivers of  ,france1  
is ,rietz1 near ,saumur4 ,the published 
,plate gives a better  rendering than   
usual of its tone of light2 and my rough
 etching1 ,plate  #gc1 sufficiently     
shows the arrangement of its lines4     
,what is their  motive8    ,to get at it
 completely1 we must know something of  
the ,loire4    ,the district through    
which it here flows is1 for the most    
part1 a low  place1 yet not altogether  
at the level of the stream1 but cut into
 steep  banks of chalk or gravel1 thirty
 or forty feet high1 running for miles  
at about an equal height above the      
water4    ,illustration3 #gc4           
,loire-side4    ,these banks are        
excavated by the peasantry1 partly for  
houses1 partly  for cellars1 so         
economizing vineyard space above2 and   
thus a kind of  continuous village runs 
along the river-side1 composed half of  
caves1  half of rude buildings1 backed  
by the cliff1 propped against it1       

therefore always leaning away from the  
river2 mingled with overlappings  of    
vineyard trellis from above1 and little 
towers or summer-houses for  outlook1   
when the grapes are ripe1 or for gossip 
over the garden wall4     #c4 ,it is an 
autumnal evening1 then1 by this ,loire  
side4 ,the day has  been hot1 and the   
air is heavy and misty still2 the       
sunlight warm1 but  dim2 the brown      
vine-leaves motionless3 all else quiet4 
,not a sail in  sight on the river1#a   
its strong1 noiseless current           
lengthening the  stream of low sunlight4
    ,the motive of the picture1         
therefore1 is the expression of rude but
  perfect peace1 slightly mingled with  
an indolent languor and  despondency2   
the peace between intervals of enforced 
labor2 happy1 but  listless1 and having 
little care or hope about the future2   
cutting its  home out of this gravel    
bank1 and letting the vine and the river
 twine  and undermine as they will2     
careless to mend or build1 so long as   

the  walls hold together1 and the black 
fruit swells in the sunshine4     #d4   
,to get this repose1 together with rude 
stability1 we have therefore  horizontal
 lines and bold angles4 ,the grand      
horizontal space and sweep  of ,turner's
 distant river show perhaps better in   
the etching than in the  ,plate2 but    
depend wholly for value on the piece of 
near wall4 ,it is the  vertical line of 
its dark side which drives the eye up   
into the  distance1 right against the   
horizontal1 and so makes it felt1 while 
the  flatness of the stone prepares the 
eye to understand the flatness of the   
river4 ,farther3 hide with your finger  
the little ring on that stone1 and  you 
will find the river has stopped flowing4
 ,that ring is to repeat the  curved    
lines of the river bank1 which express  
its line of current1 and  to bring the  
feeling of them down near us4 ,on the   
other side of the road  the horizontal  
lines are taken up again by the dark    
pieces of wood1  without which we should

 still lose half our space4    ,next3   
,the repose is to be not only perfect1  
but indolent3 the repose of  out-wearied
 people3 not caring much what becomes of
 them4    ,you see the road is covered  
with litter4 ,even the crockery is left 
outside the cottage to dry in the sun1  
after being washed up4 ,the steps  of   
the cottage door have been too high for 
comfort originally1 only it  was less   
trouble to cut three large stones than  
four or five small4 ,they  are now all  
aslope and broken1 not repaired for     
years4 ,their weighty  forms increase   
the sense of languor throughout the     
scene1 and of  stability also1 because  
we feel how difficult it would be to    
stir them4  ,the crockery has its work  
to do also2--the arched door on the left
 being  necessary to show the great     
thickness of walls and the strength they
  require to prevent falling in of the  
cliff above2--as the horizontal  lines  
must be diffused on the right1 so this  
arch must be diffused on  the left2 and 

the large round plate on one side of the
 steps1 with the  two small ones on the 
other1 are to carry down the element of 
circular  curvature4 ,hide them1 and see
 the result4    ,as they carry the      
arched group of forms down1 the arched  
window-shutter  diffuses it upwards1    
where all the lines of the distant      
buildings  suggest one and the same idea
 of disorderly and careless strength1   
mingling masonry with rock4     #e4 ,so 
far of the horizontal and curved lines4 
,how of the radiating  ones8 ,what has  
the black vine trellis got to do8       
,lay a pencil or ruler parallel with its
 lines4 ,you will find that they  point 
to the massive building in the distance4
 ,to which1 as nearly as is  possible   
without at once showing the artifice1   
every other radiating  line points also2
 almost ludicrously when it is once     
pointed out2 even  the curved line of   
the top of the terrace runs into it1 and
 the last  sweep of the river evidently 
leads to its base4 ,and so nearly is it 

in  the exact centre of the picture1    
that one diagonal from corner to corner 
passes through it1 and the other only   
misses the base by the twentieth  of an 
inch4    ,if you are accustomed to      
,france1 you will know in a moment by   
its  outline that this massive building 
is an old church4    ,without it1 the   
repose would not have been essentially  
the laborer's  rest--rest as of the     
,sabbath4 ,among all the groups of lines
 that point  to it1 two are principal3  
the first1 those of the vine trellis3   
the  second1 those of the handles of the
 saw left in the beam3--the blessing  of
 human life and its labor4    ,whenever 
,turner wishes to express profound      
repose1 he puts in the  foreground some 
instrument of labor cast aside4 ,see1 in
 ,roger's ,poems1  the last vignette1   
,datur hora quieti1 with the plough in  
the furrow2  and in the first vignette  
of the same book1 the scythe on the     
shoulder  of the peasant going home4    
7,there is nothing about the scythe in  

the  passage of the poem which this     
vignette illustrates47     #f4 ,observe1
 farther1 the outline of the church     
itself4 ,as our  habitations are1 so is 
our church1 evidently a heap of old1 but
 massive1  walls1 patched1 and repaired1
 and roofed in1 and over and over1 until
  its original shape is hardly          
recognizable4 ,i know the kind of church
  well--can tell even here1 two miles   
off1 that ,i shall find some ,norman    
arches in the apse1 and a flamboyant    
porch1 rich and dark1 with every  statue
 broken out of it2 and a rude wooden    
belfry above all2 and a  quantity of    
miserable shops built in among the      
buttresses2 and that ,i  may walk in and
 out as much as ,i please1 but that how 
often soever1 ,i  shall always find some
 one praying at the ,holy ,sepulchre1 in
 the darkest  aisle1 and my going in and
 out will not disturb them4 ,for they   
are  praying1 which in many a handsomer 
and highlier-furbished edifice might1   
perhaps1 not be so assuredly the case4  

#g4 ,lastly3 ,what kind of people have  
we on this winding road8 ,three         
indolent ones1 leaning on the wall to   
look over into the gliding water2  and a
 matron with her market panniers1 by her
 figure1 not a fast rider4  ,the road1  
besides1 is bad1 and seems unsafe for   
trotting1 and she has  passed without   
disturbing the cat1 who sits comfortably
 on the block of  wood in the middle of 
it4     #h4 ,next to this piece of      
quietness1 let us glance at a           
composition in  which the motive is one 
of tumult3 that of the ,fall of         
,schaffhausen4 ,it  is engraved in the  
,keepsake4 ,i have etched in ,plate #gd1
 at the top1 the  chief lines of its    
composition1#b in which the first great 
purpose is  to give swing enough to the 
water4 ,the line of fall is straight and
  monotonous in reality4 ,turner wants  
to get the great concave sweep and  rush
 of the river well felt1 in spite of the
 unbroken form4 ,the column  of spray1  
rocks1 mills1 and bank1 all radiate like

 a plume1 sweeping  round together in   
grand curves to the left1 where the     
group of figures1  hurried about the    
ferry boat1 rises like a dash of spray2 
they also  radiating3 so as to form one 
perfectly connected cluster1 with the   
two  gens-d'armes and the millstones2   
the millstones at the bottom being the  
root of it2 the two soldiers laid right 
and left to sustain the branch  of      
figures beyond1 balanced just as a tree 
bough would be4     #i4 ,one of the     
gens-d'armes is flirting with a young   
lady in a round  cap and full sleeves1  
under pretence of wanting her to show   
him what she  has in her bandbox4 ,the  
motive of which flirtation is1 so far as
 ,turner  is concerned in it1 primarily 
the bandbox3 this and the millstones    
below1 give him a series of concave     
lines1 which1 concentrated by the       
recumbent soldiers1 intensify the hollow
 sweep of the fall1 precisely as  the   
ring on the stone does the ,loire       
eddies4 ,these curves are carried  out  

on the right by the small plate of eggs1
 laid to be washed at the  spring2 and1 
all these concave lines being a little  
too quiet and  recumbent1 the staggering
 casks are set on the left1 and the     
ill-balanced milk-pail on the right1 to 
give a general feeling of things  being 
rolled over and over4 ,the things which 
are to give this sense of  rolling are  
dark1 in order to hint at the way in    
which the cataract  rolls boulders of   
rock2 while the forms which are to give 
the sense of  its sweeping force are    
white4 ,the little spring1 splashing out
 of its  pine-trough1 is to give        
contrast with the power of the          
fall1--while it  carries out the general
 sense of splashing water4              
,illustration3 #gd4 ,the ,mill-stream4  
,illustration3 ,painted by ,j4 ,n4 ,w4  
,turner4 ,drawn by ,j4 ,ruskin4         
,engraved  by ,r4 ,p4 ,cuff4    #ge4    
,the ,castle of ,lauffen4     #aj4 ,this
 spring exists on the spot1 and so does 
everything else in the  picture2 but the

 combinations are wholly arbitrary2 it  
being ,turner's  fixed principle to     
collect out of any scene whatever was   
characteristic1  and put it together    
just as he liked4 ,the changes made in  
this instance  are highly curious4 ,the 
mills have no resemblance whatever to   
the real  group as seen from this spot2 
for there is a vulgar and formal        
dwelling-house in front of them4 ,but if
 you climb the rock behind them1  you   
find they form on that side a towering  
cluster1 which ,turner has put  with    
little modification into the drawing4   
,what he has done to the  mills1 he has 
done with still greater audacity to the 
central rock4 ,seen  from this spot1 it 
shows1 in reality1 its greatest breadth1
 and is heavy  and uninteresting2 but on
 the ,lauffen side1 exposes its consumed
 base1  worn away by the rush of water1 
which ,turner resolving to show1        
serenely  draws the rock as it appears  
from the other side of the ,rhine1 and  
brings that view of it over to this     

side4 ,i have etched the bit with the   
rock a little larger below2 and if the  
reader knows the spot1 he will  see that
 this piece of the drawing1 reversed in 
the etching1 is almost a  bon fide      
unreversed study of the fall from the   
,lauffen side4#c    ,finally1 the castle
 of ,lauffen itself1 being1 when seen   
from this spot1  too much foreshortened 
to show its extent1 ,turner walks a     
quarter of a  mile lower down the river1
 draws the castle accurately there1     
brings it  back with him1 and puts it in
 all its extent1 where he chooses to    
have  it1 beyond the rocks4    ,i tried 
to copy and engrave this piece of the   
drawing of its real size1  merely to    
show the forms of the trees1 drifted    
back by the breeze from  the fall1 and  
wet with its spray2 but in the endeavor 
to facsimile the  touches1 great part of
 their grace and ease has been lost2    
still1 ,plate  #ge may1 if compared with
 the same piece in the ,keepsake        
engraving1 at  least show that the      

original drawing has not yet been       
rendered with  completeness4     #aa4   
,these two examples may sufficiently    
serve to show the mode in  which minor  
details1 both in form and spirit1 are   
used by ,turner to aid  his main        
motives2 of course ,i cannot1 in the    
space of this volume1 go on  examining  
subjects at this length1 even if ,i had 
time to etch them2 but  every design of 
,turner's would be equally instructive1 
examined in a  similar manner4 ,thus    
far1 however1 we have only seen the help
 of the  parts to the whole3 we must    
give yet a little attention to the mode 
of  combining the smallest details4     
,i am always led away1 in spite of      
myself1 from my proper subject here1    
invention formal1 or the merely pleasant
 placing of lines and masses1  into the 
emotional results of such arrangement4  
,the chief reason of this is that the   
emotional power can be explained2  but  
the perfection of formative arrangement1
 as ,i said1 cannot be  explained1 any  

more than that of melody in music4 ,an  
instance or two of  it1 however1 may be 
given4     #ab4 ,much fine formative    
arrangement depends on a more or less   
elliptical or pear-shaped balance of the
 group1 obtained by arranging  the      
principal members of it on two opposite 
curves1 and either  centralizing it by  
some powerful feature at the base1      
centre1 or summit2  or else clasping it 
together by some conspicuous point or   
knot4 ,a very  small object will often  
do this satisfactorily4    ,if you can  
get the complete series of ,lefbre's    
engravings from ,titian  and ,veronese1 
they will be quite enough to teach you1 
in their dumb way1  everything that is  
teachable of composition2 at all events1
 try to get  the ,madonna1 with ,st4    
,peter and ,st4 ,george under the two   
great pillars2  the ,madonna and ,child1
 with mitred bishop on her left1 and    
,st4 ,andrew on  her right2 and         
,veronese's ,triumph of ,venice4 ,the   
first of these ,plates  unites two      

formative symmetries2 that of the two   
pillars1 clasped by the  square         
altar-cloth below and cloud above1      
catches the eye first2 but the  main    
group is the fivefold one rising to the 
left1 crowned by the  ,madonna4 ,st4    
,francis and ,st4 ,peter form its two   
wings1 and the kneeling  portrait       
figures1 its base4 ,it is clasped at the
 bottom by the key of  ,st4 ,peter1     
which points straight at the ,madonna's 
head1 and is laid on  the steps solely  
for this purpose2 the curved lines1     
which enclose the  group1 meet also in  
her face2 and the straight line of      
light1 on the  cloak of the nearest     
senator1 points at her also4 ,if you    
have ,turner's  ,liber ,studiorum1 turn 
to the ,lauffenburg1 and compare the    
figure group  there3 a fivefold chain1  
one standing figure1 central2 two       
recumbent1  for wings2 two              
half-recumbent1 for bases2 and a cluster
 of weeds to  clasp4 ,then turn to      
,lefbre's ,europa 7there are two in the 

series--,i  mean the one with the two   
tree trunks over her head74 ,it is a    
wonderful  ninefold group4 ,europa      
central2 two stooping figures1 each     
surmounted by  a standing one1 for      
wings2 a cupid on one side1 and dog on  
the other1  for bases2 a cupid and trunk
 of tree1 on each side1 to terminate    
above2  and a garland for clasp4        
,illustration3 ,,fig4 #id4     #ac4     
,fig4 #id1 page #aga1 will serve to show
 the mode in which similar  arrangements
 are carried into the smallest detail4  
,it is magnified four  times from a     
cluster of leaves in the foreground of  
the ,isis 7,liber  ,studiorum74 ,figs4  
#ie and #if1 page #agb1 show the        
arrangement of the two  groups composing
 it2 the lower is purely symmetrical1   
with trefoiled  centre and broad masses 
for wings2 the uppermost is a sweeping  
continuous curve1 symmetrical1 but      
foreshortened4 ,both are clasped by     
arrow-shaped leaves4 ,the two whole     
groups themselves are1 in turn1  members

 of another larger group1 composing the 
entire foreground1 and  consisting of   
broad dock-leaves1 with minor clusters  
on the right and  left1 of which these  
form the chief portion on the right     
side4    ,illustration3 ,,fig4 #ie4     
,illustration3 ,,fig4 #if4     #ad4     
,unless every leaf1 and every visible   
point or object1 however  small1 forms a
 part of some harmony of this kind      
7these symmetrical  conditions being    
only the most simple and obvious71 it   
has no business  in the picture4 ,it is 
the necessary connection of all the     
forms and  colors1 down to the last     
touch1 which constitutes great or       
inventive  work1 separated from all     
common work by an impassable gulf4      
,by diligently copying the etchings of  
the ,liber ,studiorum1 the reader  may1 
however1 easily attain the perception of
 the existence of these  relations1 and 
be prepared to understand ,turner's more
 elaborate  composition4 ,it would take 
many figures to disentangle and explain 

the  arrangements merely of the leaf    
cluster1 ,fig4 #gh1 facing page #ig2 but
  that there is a system1 and that every
 leaf has a fixed value and  place in   
it1 can hardly but be felt at a glance4 
,it is curious that1 in spite of all the
 constant talkings of  composition which
 goes on among art students1 true       
composition is just  the last thing     
which appears to be perceived4 ,one     
would have thought  that in this group1 
at least1 the value of the central black
 leaf would  have been seen1 of which   
the principal function is to point      
towards1 and  continue1 the line of bank
 above4 ,see ,plate #fb4 ,but a glance  
at the  published ,plate in the ,england
 series will show that no idea of the   
composition had occurred to the         
engraver's mind4 ,he thought any leaves 
would do1 and supplied them from his own
 repertory of hack vegetation4     #ae4 
,i would willingly enlarge farther on   
this subject--it is a  favorite one with
 me2 but the figures required for any   

exhaustive  treatment of it would form a
 separate volume4 ,all that ,i can do is
 to  indicate1 as these examples do     
sufficiently1 the vast field open to the
  student's analysis if he cares to     
pursue the subject2 and to mark for  the
 general reader these two strong        
conclusions3--that nothing in great     
work is ever either fortuitous or       
contentious4    ,it is not fortuitous2  
that is to say1 not left to fortune4    
,the must do  it by a kind of felicity  
of ,bacon is true2 it is true also that 
an  accident is often suggestive to an  
inventor4 ,turner himself said1 ,i      
never lose an accident4 ,but it is this 
not losing it1 this taking  things out  
of the hands of ,fortune1 and putting   
them into those of force  and foresight1
 which attest the master4 ,chance may   
sometimes help1 and  sometimes provoke1 
a success2 but must never rule1 and     
rarely allure4    ,and1 lastly1 nothing 
must be contentious4 ,art has many uses 
and many  pleasantnesses2 but of all its

 services1 none are higher than its     
setting forth1 by a visible and enduring
 image1 the nature of all true          
authority and freedom2 ,authority which 
defines and directs the action of       
benevolent law2 and ,freedom which      
consists in deep and soft consent of    
individual#d helpfulness4               
,,footnotes3      #a ,the sails in the  
engraving were put in to catch the      
public eye4      ,there are none in the 
drawing4      #b ,these etchings of     
compositions are all reversed1 for they 
are      merely sketches on the steel1  
and ,i cannot sketch easily except      
straight from the drawing1 and without  
reversing4 ,the looking-glass           
plagues me with cross lights4 ,as       
examples of composition1 it does not    
the least matter which way they are     
turned2 and the reader may see      this
 ,schaffhausen subject from the right   
side of the ,rhine1 by      holding the 
book before a glass4 ,the rude          
indications of the figures      in the  

,loire subject are nearly facsimiles of 
,turner's4      #c ,with the exception  
of the jagged ledge rising out of the   
foam      below which comes from the    
north side1 and is admirable in its     
expression of the position of the       
limestone-beds1 which1 rising from      
below the drift gravel of ,constance1   
are the real cause of the fall      of  
,schaffhausen4      #d ,individual1 that
 is to say1 distinct and separate in    
character1      though joined in        
purpose4 ,i might have enlarged on this 
head1 but      that all ,i should care  
to say has been already said admirably  
by ,mr4      ,j4 ,s4 ,mill in his essay 
on ,liberty4          ,,chapter ,,iii4  
,,the ,,rule ,,of ,,the ,,greatest4     
#a4 ,in the entire range of art         
principles1 none perhaps present a      
difficulty so great to the student1 or  
require from the teacher  expression so 
cautious1 and yet so strong1 as those   
which concern the  nature and influence 
of magnitude4    ,in one sense1 and that

 deep1 there is no such thing as        
magnitude4 ,the  least thing is as the  
greatest1 and one day as a thousand     
years1 in the  eyes of the ,maker of    
great and small things4 ,in another     
sense1 and that  close to us and        
necessary1 there exist both magnitude   
and value4 ,though  not a sparrow falls 
to the ground unnoted1 there are yet    
creatures who  are of more value than   
many2 and the same ,spirit which weighs 
the dust  of the earth in a balance1    
counts the isles as a little thing4     
#b4 ,the just temper of human mind in   
this matter may1 nevertheless1 be  told 
shortly4 ,greatness can only be rightly 
estimated when minuteness is  justly    
reverenced4 ,greatness is the           
aggregation of minuteness2 nor can  its 
sublimity be felt truthfully by any mind
 unaccustomed to the  affectionate      
watching of what is least4    ,but if   
this affection for the least be         
unaccompanied by the powers of          
comparison and reflection2 if it be     

intemperate in its thirst1 restless  in 
curiosity1 and incapable of the patient 
and self-commandant pause  which is wise
 to arrange1 and submissive to refuse1  
it will close the  paths of noble art to
 the student as effectually1 and        
hopelessly1 as  even the blindness of   
pride1 or impatience of ambition4       
#c4 ,i say the paths of noble art1 not  
of useful art4 ,all accurate            
investigation will have its reward2 the 
morbid curiosity will at least  slake   
the thirst of others1 if not its own2   
and the diffused and petty  affections  
will distribute1 in serviceable measure1
 their minute  delights and narrow      
discoveries4 ,the opposite error1 the   
desire of  greatness as such1 or rather 
of what appears great to indolence and  
vanity2--the instinct which ,i have     
described in the ,seven ,lamps1  noting 
it1 among the ,renaissance builders1 to 
be an especial and  unfailing sign of   
baseness of mind1 is as fruitless as it 
is vile2 no  way profitable--every way  

harmful3 the widest and most corrupting 
expression of vulgarity4 ,the           
microscopic drawing of an insect may be 
precious2 but nothing except disgrace   
and misguidance will ever be  gathered  
from such work as that of ,haydon or    
,barry4     #d4 ,the work ,i have mostly
 had to do1 since this essay was begun1 
has  been that of contention against    
such debased issues of swollen insolence
  and windy conceit2 but ,i have noticed
 lately1 that some lightly-budding      
philosophers have depreciated true      
greatness2 confusing the relations of   
scale1 as they bear upon human instinct 
and morality2 reasoning as if a         
mountain were no nobler than a grain of 
sand1 or as if many souls were  not of  
mightier interest than one4 ,to whom it 
must be shortly answered  that the ,lord
 of power and life knew which were ,his 
noblest works1 when  ,he bade ,his      
servant watch the play of the           
,leviathan1 rather than dissect  the    
spawn of the minnow2 and that when it   

comes to practical question  whether a  
single soul is to be jeoparded for many1
 and this ,leonidas1 or  ,curtius1 or   
,winkelried shall abolish--so far as    
abolishable--his own  spirit1 that he   
may save more numerous spirits1 such    
question is to be  solved by the simple 
human instinct respecting number and    
magnitude1 not  by reasonings on        
infinity3--      ,le navigateur1 qui1 la
 nuit1 voit l'ocan tinceler de lumire1  
danser en guirlandes de feu1 s'gaye     
d'abord de ce spectacle4 ,il fait    dix
 lieues2 la guirlande s'allonge         
indfiniment1 elle s'agite1 se    tord1  
se noue1 aux mouvements de la lame2     
c'est un serpent monstrueux    qui va   
toujours s'allongeant1 jusqu' trente    
lieues1 quarante lieues4    ,et tout    
cela n'est qu'une danse d'animalcules   
imperceptibles4 ,en quel    nombre8 ,a  
cette question l'imagination s'effraye2 
elle sent l une    nature de puissance  
immense1 de richesse epouvantable4444   
,que sont ces    petits des petits8     

,rien moins que les constructeurs du    
globe o nous    sommes4 ,de leurs corps1
 de leurs dbris1 ils ont prpar le sol   
qui    est sous nos pas4444 ,et ce sont 
les plus petits qui ont fait les plus   
grandes choses4 ,l'imperceptible        
rhizopode s'est bti un monument bien    
autre que les pyramides1 pas moins que  
l',italie centrale1 une notable         
partie de la chane des ,apennins4 ,mais 
c'tait trop peu encore2 les    masses   
normes du ,chili1 les prodigieuses      
,cordillres1 qui regardent    le monde  
leurs pieds1 sont le monument funraire o
 cet tre    insaisissable1 et pour ainsi
 dire1 invisible1 a enseveli les dbris  
de    son espce dsparue4--7,michelet3   
,l',insecte47     #e4 ,in these         
passages1 and those connected with them 
in the chapter  from which they are     
taken1 itself so vast in scope1 and     
therefore so  sublime1 we may perhaps   
find the true relations of minuteness1  
multitude1 and magnitude4 ,we shall not 
feel that there is no such thing  as    

littleness1 or no such thing as         
magnitude4 ,nor shall we be disposed  to
 confuse a ,volvox with the             
,cordilleras2 but we may learn that they
  both are bound together by links of   
eternal life and toil2 we shall see  the
 vastest thing noble1 chiefly for what  
it includes2 and the meanest  for what  
it accomplishes4 ,thence we might       
gather--and the conclusion  will be     
found in experience true--that the sense
 of largeness would be  most grateful to
 minds capable of comprehending1        
balancing1 and  comparing2 but capable  
also of great patience and expectation2 
while the  sense of minute wonderfulness
 would be attractive to minds acted upon
 by  sharp1 small1 penetrative          
sympathies1 and apt to be impatient1    
irregular1 and partial4 ,this fact is   
curiously shown in the relations        
between the temper of the great         
composers and the modern pathetic       
school4 ,i was surprised at the first   
rise of that school1 now some years     

ago1 by observing how they restrained   
themselves to subjects which in  other  
hands would have been wholly            
uninteresting 7compare ,vol4 ,,iv41 p4  
#ai72 and in their succeeding efforts1  
,i saw with increasing wonder1 that     
they were almost destitute of the power 
of feeling vastness1 or enjoying  the   
forms which expressed it4 ,a mountain or
 great building only appeared  to them  
as a piece of color of a certain shape4 
,the powers it  represented1 or         
included1 were invisible to them4 ,in   
general they  avoided subjects          
expressing space or mass1 and fastened  
on confined1  broken1 and sharp forms2  
liking furze1 fern1 reeds1 straw1       
stubble1 dead  leaves1 and such like1   
better than strong stones1 broad-flowing
 leaves1  or rounded hills3 in all such 
greater things1 when forced to paint    
them1  they missed the main and mighty  
lines2 and this no less in what they    
loved than in what they disliked2 for   
though fond of foliage1 their  trees    

always had a tendency to congeal into   
little acicular  thorn-hedges1 and never
 tossed free4 ,which modes of choice    
proceed  naturally from a petulant      
sympathy with local and immediately     
visible  interests or sorrows1 not      
regarding their large consequences1 nor 
capable of understanding more massive   
view or more deeply deliberate          
mercifulness2--but peevish and          
horror-struck1 and often incapable of   
self-control1 though not of             
self-sacrifice4 ,there are more people  
who  can forget themselves than govern  
themselves4    ,this narrowly pungent   
and bitter virtue has1 however1 its     
beautiful  uses1 and is of special value
 in the present day1 when surface-work1 
shallow generalization1 and cold        
arithmetical estimates of things1 are   
among the chief dangers and causes of   
misery which men have to deal  with4    
#f4 ,on the other hand1 and in clear    
distinction from all such workers1  it  
is to be remembered that the great      

composers1 not less deep in  feeling1   
are in the fixed habit of regarding as  
much the relations and  positions1 as   
the separate nature1 of things2 that    
they reap and thrash  in the sheaf1     
never pluck ears to rub in the hand2    
fish with net1 not  line1 and sweep     
their prey together within great cords  
of errorless  curve2--that nothing ever 
bears to them a separate or isolated    
aspect1  but leads or links a chain of  
aspects--that to them it is not merely  
the  surface1 nor the substance1 of     
anything that is of import2 but its     
circumference and continence3 that they 
are pre-eminently patient and  reserved2
 observant1 not curious2--comprehensive1
 not conjectural2 calm  exceedingly2    
unerring1 constant1 terrible in         
steadfastness of intent2  unconquerable3
 incomprehensible3 always suggesting1   
implying1 including1  more than can be  
told4     #g4 ,and this may be seen down
 to their treatment of the smallest     
things4    ,for there is nothing so     

small but we may1 as we choose1 see it  
in the  whole1 or in part1 and in       
subdued connection with other things1 or
 in  individual and petty prominence4   
,the greatest treatment is always that  
which gives conception the widest range1
 and most harmonious  guidance2--it     
being permitted us to employ a certain  
quantity of time1  and certain number of
 touches of pencil--he who with these   
embraces the  largest sphere of thought1
 and suggests within that sphere the    
most  perfect order of thought1 has     
wrought the most wisely1 and therefore  
most nobly4     #h4 ,i do not1 however1 
purpose here to examine or illustrate   
the  nature of great treatment--to do so
 effectually would need many examples   
from the figure composers2 and it will  
be better 7if ,i have time to work  out 
the subject carefully7 that ,i should do
 so in a form which may be  easily      
accessible to young students4 ,here ,i  
will only state in  conclusion what it  
is chiefly important for all students to

 be convinced  of1 that all the         
technical qualities by which greatness  
of treatment is  known1 such as reserve 
in color1 tranquillity and largeness of 
line1 and  refusal of unnecessary       
objects of interest1 are1 when they are 
real1 the  exponents of an habitually   
noble temper of mind1 never the         
observances  of a precept supposed to be
 useful4 ,the refusal or reserve of a   
mighty  painter cannot be imitated2 it  
is only by reaching the same            
intellectual  strength that you will be 
able to give an equal dignity to your   
self-denial4 ,no one can tell you       
beforehand what to accept1 or what to   
ignore2 only remember always1 in        
painting as in eloquence1 the greater   
your strength1 the quieter will be your 
manner1 and the fewer your  words2 and  
in painting1 as in all the arts and acts
 of life1 the secret  of high success   
will be found1 not in a fretful1 and    
various excellence1  but in a quiet     
singleness of justly chosen aim4        

,,chapter ,,iv4    ,,the ,,law ,,of     
,,perfectness4      #a4 ,among the      
several characteristics of great        
treatment which in the  last chapter    
were alluded to without being enlarged  
upon1 one will be  found several times  
named2--reserve4    ,it is necessary for
 our present purpose that we should     
understand this  quality more           
distinctly4 ,i mean by it the power     
which a great painter  exercises over   
himself in fixing certain limits1 either
 of force1 of  color1 or of quantity of 
work2--limits which he will not         
transgress in  any part of his picture1 
even though here and there a painful    
sense of  incompletion may exist1 under 
the fixed conditions1 and might tempt an
  inferior workman to infringe them4    
,the nature of this reserve we must     
understand in order that we may also    
determine the nature of true  completion
 or perfectness1 which is the end of    
composition4     #b4 ,for perfectness1  
properly so called1 means harmony4 ,the 

word  signifies1 literally1 the doing   
our work thoroughly4 ,it does not mean  
carrying it up to any constant and      
established degree of finish1 but       
carrying the whole of it up to a degree 
determined upon4 ,in a chalk or  pencil 
sketch by a great master1 it will often 
be found that the deepest  shades are   
feeble tints of pale gray2 the outlines 
nearly invisible1 and  the forms brought
 out by a ghostly delicacy of touch1    
which1 on looking  close to the paper1  
will be indistinguishable from its      
general texture4  ,a single line of ink1
 occurring anywhere in such a drawing1  
would of  course destroy it2 placed in  
the darkness of a mouth or nostril1 it  
would turn the expression into a        
caricature2 on a cheek or brow it would 
be simply a blot4 ,yet let the blot     
remain1 and let the master work up to   
it with lines of similar force2 and the 
drawing which was before  perfect1 in   
terms of pencil1 will become1 under his 
hand1 perfect in  terms of ink2 and what

 was before a scratch on the cheek will 
become a  necessary and beautiful part  
of its gradation4    ,all great work is 
thus reduced under certain conditions1  
and its right  to be called complete    
depends on its fulfilment of them1 not  
on the  nature of the conditions chosen4
 ,habitually1 indeed1 we call a colored 
work which is satisfactory to us1       
finished1 and a chalk drawing           
unfinished2 but in the mind of the      
master1 all his work is1 according to   
the sense in which you use the word1    
equally perfect or imperfect4  ,perfect1
 if you regard its purpose and          
limitation2 imperfect1 if you  compare  
it with the natural standard4 ,in what  
appears to you consummate1  the master  
has assigned to himself terms of        
shortcoming1 and marked with  a sad     
severity the point up to which he will  
permit himself to contend  with nature4 
,were it not for his acceptance of such 
restraint1 he could  neither quit his   
work1 nor endure it4 ,he could not quit 

it1 for he would  always perceive more  
that might be done2 he could not endure 
it1 because  all doing ended only in    
more elaborate deficiency4     #c4 ,but 
we are apt to forget1 in modern days1   
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 more4   
,charmed1 and justly  charmed1 by the   
harmonious sketches of great painters1  
and by the  grandeur of their           
acquiescence in the point of pause1 we  
have put  ourselves to produce sketches 
as an end instead of a means1 and       
thought  to imitate the painter's       
scornful restraint of his own power1 by 
a  scornful rejection of the things     
beyond ours4 ,for many reasons1         
therefore1 it becomes desirable to      
understand precisely and finally what  a
 good painter means by completion4      
#d4 ,the sketches of true painters may  
be classed under the following  heads3--
    ,i4 ,experimental4--,in which they  

are assisting an imperfect conception   
of a subject by trying the look of it on
 paper in different ways4    ,by the    
greatest men this kind of sketch is     
hardly ever made2 they  conceive their  
subjects distinctly at once1 and their  
sketch is not to  try them1 but to      
fasten them down4 ,raphael's form the   
only important  exception--and the      
numerous examples of experimental work  
by him are  evidence of his composition 
being technical rather than imaginative4
 ,i  have never seen a drawing of the   
kind by any great ,venetian4 ,among the 
nineteen thousand sketches by           
,turner--which ,i arranged in the       
,national  ,gallery--there was1 to the  
best of my recollection1 not one4 ,in   
several instances the work1 after being 
carried forward a certain  length1 had  
been abandoned and begun again with     
another view2 sometimes  also two or    
more modes of treatment had been set    
side by side with a  view to choice4    
,but there were always two distinct     

imaginations  contending for            
realization--not experimental           
modifications of one4     #e4 ,,ii4     
,determinant4--,the fastening down of an
 idea in the simplest  terms1 in order  
that it may not be disturbed or confused
 by after work4  ,nearly all the great  
composers do this1 methodically1 before 
beginning a  painting4 ,such sketches   
are usually in a high degree resolute   
and  compressive2 the best of them      
outlined or marked calmly with the pen1 
and deliberately washed with color1     
indicating the places of the  principal 
lights4    ,fine drawings of this class 
never show any hurry or confusion4 ,they
 are  the expression of concluded       
operations of mind1 are drawn slowly1   
and  are not so much sketches1 as maps4 
#f4 ,,iii4 ,commemorative4--,containing 
records of facts which the master       
required4 ,these in their most elaborate
 form are studies1 or drawings1  from   
,nature1 of parts needed in the         
composition1 often highly finished  in  

the part which is to be introduced4 ,in 
this form1 however1 they never  occur by
 the greatest imaginative masters4 ,for 
by a truly great inventor  everything is
 invented2 no atom of the work is       
unmodified by his mind2  and no study   
from nature1 however beautiful1 could be
 introduced by him  into his design     
without change2 it would not fit with   
the rest4 ,finished  studies for        
introduction are therefore chiefly by   
,leonardo and ,raphael1  both technical 
designers rather than imaginative ones4 
,commemorative sketches1 by great       
masters1 are generally hasty1 merely to 
put them in mind of motives of          
invention1 or they are shorthand        
memoranda of things with which they do  
not care to trouble their memory2  or1  
finally1 accurate notes of things which 
they must not modify by  invention1 as  
local detail1 costume1 and such like4   
,you may find  perfectly accurate       
drawings of coats of arms1 portions of  
dresses1  pieces of architecture1 and so

 on1 by all the great men2 but you will 
not find elaborate studies of bits of   
their pictures4    ,illustration3 ,,fig4
 #ig4     #g4 ,when the sketch is made  
merely as a memorandum1 it is impossible
 to  say how little1 or what kind of    
drawing1 may be sufficient for the      
purpose4 ,it is of course likely to be  
hasty from its very nature1 and  unless 
the exact purpose be understood1 it may 
be as unintelligible as a  piece of     
shorthand writing4 ,for instance1 in the
 corner of a sheet of  sketches made at 
sea1 among those of ,turner1 at the     
,national ,gallery1  occurs this one1   
,fig4 #ig4 ,i suppose most persons would
 not see much use  in it4 ,it           
nevertheless was probably one of the    
most important sketches  made in        
,turner's life1 fixing for ever in his  
mind certain facts  respecting the      
sunrise from a clear sea-horizon4       
,having myself watched  such sunrise1   
occasionally1 ,i perceive this sketch to
 mean as follows3--    7,half circle at 

the top47 ,when the sun was only half   
out of the sea1 the  horizon was sharply
 traced across its disk1 and red streaks
 of vapor  crossed the lower part of it4
    7,horseshoe underneath47 ,when the  
sun had risen so far as to show         
three-quarters of its diameter1 its     
light became so great as to conceal  the
 sea-horizon1 consuming it away in      
descending rays4    7,smaller horseshoe 
below47 ,when on the point of detaching 
itself from  the horizon1 the sun still 
consumed away the line of the sea1 and  
looked  as if pulled down by it4        
7,broken oval47 ,having risen about a   
fourth of its diameter above the        
horizon1 the sea-line reappeared2 but   
the risen orb was flattened by          
refraction into an oval4    7,broken    
circle47 ,having risen a little farther 
above the sea-line1 the  sun1 at last1  
got itself round1 and all right1 with   
sparkling reflection  on the waves just 
below the sea-line4    ,this memorandum 
is for its purpose entirely perfect and 

efficient1  though the sun is not drawn 
carefully round1 but with a dash of the 
pencil2 but there is no affected or     
desired slightness4 ,could it have  been
 drawn round as instantaneously1 it     
would have been4 ,the purpose is        
throughout determined2 there is no      
scrawling1 as in vulgar sketching4#a    
#h4 ,again1 ,fig4 #ih is a facsimile of 
one of ,turner's memoranda1 of a        
complete subject1#b ,lausanne1 from the 
road to ,fribourg4    ,illustration3    
,,fig4 #ih4 ,to face page #ahd4    ,this
 example is entirely characteristic of  
his usual drawings from  nature1 which  
unite two characters1 being both        
commemorative and                       
determinant3--,commemorative1 in so far 
as they note certain facts about  the   
place3 determinant1 in that they record 
an impression received from  the place  
there and then1 together with the       
principal arrangement of the            
composition in which it was afterwards  
to be recorded4 ,in this mode of        

sketching1 ,turner differs from all     
other men whose work ,i have studied4   
,he never draws accurately on the spot1 
with the intention of modifying  or     
composing afterwards from the materials2
 but instantly modifies as he  draws1   
placing his memoranda where they are to 
be ultimately used1 and  taking exactly 
what he wants1 not a fragment or line   
more4     #i4 ,this sketch has been made
 in the afternoon4 ,he had been         
impressed  as he walked up the hill1 by 
the vanishing of the lake in the golden 
horizon1 without end of waters1 and by  
the opposition of the pinnacled  castle 
and cathedral to its level breadth4     
,that must be drawn6 and from  this     
spot1 where all the buildings are set   
well together4 ,but it  lucklessly      
happens that1 though the buildings come 
just where he wants  them in situation1 
they don't in height4 ,for the castle   
7the square mass  on the right7 is in   
reality higher than the cathedral1 and  
would block  out the end of the lake4   

,down it goes instantly a hundred feet1 
that we  may see the lake over it2      
without the smallest regard for the     
military  position of ,lausanne4        
#aj4 ,next3 ,the last low spire on the  
left is in truth concealed behind  the  
nearer bank1 the town running far down  
the hill 7and climbing  another hill7 in
 that direction4 ,but the group oi      
spires1 without it1  would not be rich  
enough to give a proper impression of   
,lausanne1 as a  spiry place4 ,turner   
quietly sends to fetch the church from  
round the  corner1 places it where he   
likes1 and indicates its distance only  
by  arial perspective 7much greater in  
the pencil drawing than in the          
woodcut74     #aa4 ,but again3 ,not only
 the spire of the lower church1 but the 
peak of  the ,rochers d',enfer 7that    
highest in the distance7 would in       
reality be  out of sight2 it is much    
farther round to the left4 ,this would  
never do  either2 for without it1 we    
should have no idea that ,lausanne was  

opposite the mountains1 nor should we   
have a nice sloping line to lead  us    
into the distance4    ,with the same    
unblushing tranquillity of mind in which
 he had ordered up  the church1 ,turner 
sends also to fetch the ,rochers        
d',enfer2 and puts  them also where he  
chooses1 to crown the slope of distant  
hill1 which1  as every traveller knows1 
in its decline to the west1 is one of   
the most  notable features of the view  
from ,lausanne4     #ab4 ,these         
modifications1 easily traceable in the  
large features of the  design1 are      
carried out with equal audacity and     
precision in every part  of it4 ,every  
one of those confused lines on the right
 indicates  something that is really    
there1 only everything is shifted and   
sorted  into the exact places that      
,turner chose4 ,the group of dark       
objects near  us at the foot of the bank
 is a cluster of mills1 which1 when the 
picture was completed1 were to be the   
blackest things in it1 and to  throw    

back the castle1 and the golden horizon2
 while the rounded touches  at the      
bottom1 under the castle1 indicate a row
 of trees1 which follow a  brook coming 
out of the ravine behind us2 and were   
going to be made very  round indeed in  
the picture 7to oppose the spiky and    
angular masses of  castle7 and very     
consecutive1 in order to form another   
conducting line  into the distance4     
#ac4 ,these motives1 or motives like    
them1 might perhaps be guessed on       
looking at the sketch4 ,but no one      
without going to the spot would         
understand the meaning of the vertical  
lines in the left-hand lowest  corner4  
,they are a memorandum of the artificial
 verticalness of a low  sandstone cliff1
 which has been cut down there to give  
space for a bit  of garden belonging to 
a public-house beneath1 from which      
garden a path  leads along the ravine to
 the ,lausanne rifle ground4 ,the value 
of these  vertical lines in repeating   
those of the cathedral is very great2 it

  would be greater still in the         
completed picture1 increasing the sense 
of  looking down from a height1 and     
giving grasp of1 and power over1 the    
whole scene4     #ad4 ,throughout the   
sketch1 as in all that ,turner made1 the
 observing  and combining intellect acts
 in the same manner4 ,not a line is     
lost1 nor  a moment of time2 and though 
the pencil flies1 and the whole thing is
  literally done as fast as a piece of  
shorthand writing1 it is to the  full as
 purposeful and compressed1 so that     
while there are indeed dashes  of the   
pencil which are unintentional1 they are
 only unintentional as  the form of a   
letter is1 in fast writing1 not from    
want of intention1  but from the        
accident of haste4     #ae4 ,i know not 
if the reader can understand1--,i myself
 cannot1 though  ,i see it to be        
demonstrable1--the simultaneous         
occurrence of idea which  produces such 
a drawing as this3 the grasp of the     
whole1 from the laying  of the first    

line1 which induces continual           
modifications of all that is  done1 out 
of respect to parts not done yet4 ,no   
line is ever changed or  effaced3 no    
experiment made2 but every touch is     
placed with reference to  all that are  
to succeed1 as to all that have gone    
before2 every addition  takes its part1 
as the stones in an arch of a bridge2   
the last touch  locks the arch4 ,remove 
that keystone1 or remove any other of   
the stones  of the vault1 and the whole 
will fall4     #af4 ,i repeat--the power
 of mind which accomplishes this1 is yet
 wholly  inexplicable to me1 as it was  
when first ,i defined it in the chapter 
on  imagination associative1 in the     
second volume4 ,but the grandeur of the 
power impresses me daily more and more2 
and1 in quitting the subject of         
invention1 let me assert finally1 in    
clearest and strongest terms1 that  no  
painting is of any true imaginative     
perfectness at all1 unless it has  been 
thus conceived4    ,one sign of its     

being thus conceived may be always found
 in the  straightforwardness of its     
work4 ,there are continual disputes     
among  artists as to the best way of    
doing things1 which may nearly all be   
resolved into confessions of            
indetermination4 ,if you know precisely 
what  you want1 you will not feel much  
hesitation in setting about it2 and a   
picture may be painted almost any way1  
so only that it can be a straight  way4 
,give a true painter a ground of black1 
white1 scarlet1 or green1  and out of it
 he will bring what you choose4 ,from   
the black1 brightness2  from the white1 
sadness2 from the scarlet1 coolness2    
from the green1  glow3 he will make     
anything out of anything1 but in each   
case his method  will be pure1 direct1  
perfect1 the shortest and simplest      
possible4 ,you  will find him1 moreover1
 indifferent as to succession of        
process4 ,ask  him to begin at the      
bottom of the picture instead of the    
top1--to finish  two square inches of it

 without touching the rest1 or to lay a 
separate  ground for every part before  
finishing any2--it is all the same to   
him6  ,what he will do if left to       
himself1 depends on mechanical          
convenience1  and on the time at his    
disposal4 ,if he has a large brush in   
his hand1  and plenty of one color      
ground1 he may lay as much as is wanted 
of that  color1 at once1 in every part  
of the picture where it is to occur2 and
  if any is left1 perhaps walk to       
another canvas1 and lay the rest of it  
where it will be wanted on that4 ,if1 on
 the contrary1 he has a small  brush in 
his hand1 and is interested in a        
particular spot of the  picture1 he     
will1 perhaps1 not stir from it till    
that bit is finished4  ,but the         
absolutely best1 or centrally1 and      
entirely right way of  painting is as   
follows3--     #ag4 ,a light ground1    
white1 red1 yellow1 or gray1 not brown1 
or black4  ,on that an entirely         
accurate1 and firm black outline of the 

whole  picture1 in its principal masses4
 ,the outline to be exquisitely correct 
as far as it reaches1 but not to include
 small details2 the use of it  being to 
limit the masses of first color4 ,the   
ground-colors then to be  laid firmly1  
each on its own proper part of the      
picture1 as inlaid work  in a mosaic    
table1 meeting each other truly at the  
edges3 as much of  each being laid as   
will get itself into the state which the
 artist  requires it to be in for his   
second painting1 by the time he comes to
  it4 ,on this first color1 the second  
colors and subordinate masses laid  in  
due order1 now1 of course1 necessarily  
without previous outline1 and  all small
 detail reserved to the last1 the       
bracelet being not touched1  nor        
indicated in the last1 till the arm is  
finished4#c     #ah4 ,this is1 as far as
 it can be expressed in few words1 the  
right1 or  ,venetian way of painting2   
but it is incapable of absolute         
definition1  for it depends on the      

scale1 the material1 and the nature of  
the object  represented1 how much a     
great painter will do with his first    
color2 or  how many after processes he  
will use4 ,very often the first color1  
richly  blended and worked into1 is also
 the last2 sometimes it wants a glaze   
only to modify it2 sometimes an entirely
 different color above it4  ,turner's   
storm-blues1 for instance1 were produced
 by a black ground1  with opaque blue1  
mixed with white1 struck over it4#d ,the
 amount of  detail given in the first   
color will also depend on convenience4  
,for  instance1 if a jewel fastens a    
fold of dress1 a ,venetian will lay     
probably a piece of the jewel color in  
its place at the time he draws  the     
fold2 but if the jewel falls upon the   
dress1 he will paint the  folds only in 
the ground color1 and the jewel         
afterwards4 ,for in the  first case his 
hand must pause1 at any rate1 where the 
fold is fastened2  so that he may as    
well mark the color of the gem3 but he  

would have to  check his hand in the    
sweep with which he drew the drapery1 if
 he  painted a jewel that fell upon it  
with the first color4 ,so far1 however1 
as he can possibly use the under color1 
he will1 in whatever he has to          
superimpose4 ,there is a pretty little  
instance of such economical work  in the
 painting of the pearls on the breast of
 the elder princess1 in  our best ,paul 
,veronese 7,family of ,darius74 ,the    
lowest is about the size  of a small    
hazel-nut1 and falls on her rose-red    
dress4 ,any other but a  ,venetian would
 have put a complete piece of white     
paint over the dress1  for the whole    
pearl1 and painted into that the colors 
of the stone4 ,but  ,veronese knows     
beforehand that all the dark side of the
 pearl will  reflect the red of the     
dress4 ,he will not put white over the  
red1 only  to put red over the white    
again4 ,he leaves the actual dress for  
the dark  side of the pearl1 and with   
two small separate touches1 one white1  

another brown1 places its high light and
 shadow4 ,this he does with  perfect    
care and calm2 but in two decisive      
seconds4 ,there is no dash1  nor        
display1 nor hurry1 nor error4 ,the     
exactly right thing is done in  the     
exactly right place1 and not one atom of
 color1 nor moment of time  spent       
vainly4 ,look close at the two          
touches1--you wonder what they mean4    
,retire six feet from the picture--the  
pearl is there6     #ai4 ,the degree in 
which the ground colors are extended    
over his  picture1 as he works1 is to a 
great painter absolutely indifferent4   
,it  is all the same to him whether he  
grounds a head1 and finishes it at  once
 to the shoulders1 leaving all round it 
white2 or whether he grounds  the whole 
picture4 ,his harmony1 paint as he will1
 never can be complete  till the last   
touch is given2 so long as it remains   
incomplete1 he does  not care how little
 of it is suggested1 or how many notes  
are missing4  ,all is wrong till all is 

right2 and he must be able to bear the  
all-wrongness till his work is done1 or 
he cannot paint at all4 ,his mode  of   
treatment will1 therefore1 depend on the
 nature of his subject2 as is           
beautifully shown in the water-color    
sketches by ,turner in the ,national    
,gallery4 ,his general system was to    
complete inch by inch2 leaving the      
paper quite white all round1 especially 
if the work was to be delicate4  ,the   
most exquisite drawings left unfinished 
in the collection--those at  ,rome and  
,naples--are thus outlined accurately on
 pure white paper1 begun  in the middle 
of the sheet1 and worked out to the     
side1 finishing as he  proceeds4 ,if1   
however1 any united effect of light or  
color is to embrace  a large part of the
 subject1 he will lay it in with a broad
 wash over  the whole paper at once2    
then paint into it using it as a ground1
 and  modifying it in the pure ,venetian
 manner4 ,his oil pictures were laid    
roughly with ground colors1 and painted 

into with such rapid skill1 that  the   
artists who used to see him finishing at
 the ,academy sometimes  suspected him  
of having the picture finished          
underneath the colors he  showed1 and   
removing1 instead of adding1 as they    
watched4     #bj4 ,but1 whatever the    
means used may be1 the certainty and    
directness  of them imply absolute grasp
 of the whole subject1 and without this 
grasp there is no good painting4 ,this1 
finally1 let me declare1 without        
qualification--that partial conception  
is no conception4 ,the whole  picture   
must be imagined1 or none of it is4 ,and
 this grasp of the whole  implies very  
strange and sublime qualities of mind4  
,it is not possible1  unless the        
feelings are completely under control2  
the least excitement  or passion will   
disturb the measured equity of power2 a 
painter needs to  be as cool as a       
general2 and as little moved or subdued 
by his sense of  pleasure1 as a soldier 
by the sense of pain4 ,nothing good can 

be done  without intense feeling2 but it
 must be feeling so crushed1 that the   
work is set about with mechanical       
steadiness1 absolutely untroubled1 as  a
 surgeon1--not without pity1 but        
conquering it and putting it            
aside--begins an operation4 ,until the  
feelings can give strength enough  to   
the will to enable it to conquer them1  
they are not strong enough4 ,if  you    
cannot leave your picture at any        
moment2--cannot turn from it and go  on 
with another1 while the color is        
drying2--cannot work at any part of  it 
you choose with equal contentment--you  
have not firm enough grasp of  it4      
#ba4 ,it follows also1 that no vain or  
selfish person can possibly  paint1 in  
the noble sense of the word4 ,vanity and
 selfishness are  troublous1 eager1     
anxious1 petulant3--painting can only be
 done in calm  of mind4 ,resolution is  
not enough to secure this2 it must be   
secured by  disposition as well4 ,you   
may resolve to think of your picture    

only2 but1  if you have been fretted    
before beginning1 no manly or clear     
grasp of it  will be possible for you4  
,no forced calm is calm enough4 ,only   
honest  calm1--natural calm4 ,you might 
as well try by external pressure to     
smoothe a lake till it could reflect the
 sky1 as by violence of effort  to      
secure the peace through which only you 
can reach imagination4 ,that  peace must
 come in its own time2 as the waters    
settle themselves into  clearness as    
well as quietness2 you can no more      
filter your mind into  purity than you  
can compress it into calmness2 you must 
keep it pure1 if  you would have it     
pure2 and throw no stones into it1 if   
you would have  it quiet4 ,great courage
 and self-command may1 to a certain     
extent1 give  power of painting without 
the true calmness underneath2 but never 
of  doing first-rate work4 ,there is    
sufficient evidence of this1 in even    
what we know of great men1 though of the
 greatest1 we nearly always know  the   

least 7and that necessarily2 they being 
very silent1 and not much  given to     
setting themselves forth to questioners2
 apt to be  contemptuously reserved1 no 
less than unselfishly74 ,but in such    
writings  and sayings as we possess of  
theirs1 we may trace a quite curious    
gentleness and serene courtesy4 ,rubens'
 letters are almost ludicrous in  their 
unhurried politeness4 ,reynolds1        
swiftest of painters1 was gentlest  of  
companions2 so also ,velasquez1 ,titian1
 and ,veronese4     #bb4 ,it is         
gratuitous to add that no shallow or    
petty person can paint4  ,mere          
cleverness or special gift never made an
 artist4 ,it is only  perfectness of    
mind1 unity1 depth1 decision1 the       
highest qualities1 in  fine1 of the     
intellect1 which will form the          
imagination4     #bc4 ,and1 lastly1 no  
false person can paint4 ,a person false 
at heart  may1 when it suits his        
purposes1 seize a stray truth here or   
there2 but  the relations of truth1--its

 perfectness1--that which makes it      
wholesome  truth1 he can never perceive4
 ,as wholeness and wholesomeness go     
together1 so also sight with sincerity2 
it is only the constant desire  of1 and 
submissiveness to truth1 which can      
measure its strange angles  and mark its
 infinite aspects2 and fit them and knit
 them into the  strength of sacred      
invention4    ,sacred1 ,i call it       
deliberately2 for it is thus1 in the    
most accurate  senses1 humble as well as
 helpful2 meek in its receiving1 as     
magnificent  in its disposing2 the name 
it bears being rightly given to         
invention  formal1 not because it forms1
 but because it finds4 ,for you cannot  
find  a lie2 you must make it for       
yourself4 ,false things may be imagined1
 and  false things composed2 but only   
truth can be invented4      ,,footnotes3
      #a ,the word in the uppermost     
note1 to the right of the sun1 is       
red2 the others1 yellow1 purple1 cold   
light gray4 ,he always      noted the   

colors of the skies in this way4      #b
 ,it is not so good a facsimile as those
 ,i have given from ,durer1      for the
 original sketch is in light pencil2 and
 the thickening and      delicate       
emphasis of the lines1 on which nearly  
all the beauty of the      drawing      
depended1 cannot be expressed in the    
woodcut1 though marked      by a double 
line as well as ,i could4 ,but the      
figure will answer its      purpose well
 enough in showing ,turner's mode of    
sketching4      #c ,thus1 in the ,holy  
,family of ,titian1 lately purchased for
 the      ,national ,gallery1 the piece 
of ,st4 ,catherine's dress over her     
shoulders is painted on the under dress1
 after that was dry4 ,all its      value
 would have been lost1 had the slightest
 tint or trace of it      been given    
previously4 ,this picture1 ,i think1 and
 certainly many of      ,tintoret's1 are
 painted on dark grounds2 but this is to
 save time1      and with some loss to  
the future brightness of the color4     

#d ,in cleaning the ,hero and ,leander1 
now in the ,national      collection1   
these upper glazes were taken off1 and  
only the black      ground left4 ,i     
remember the picture when its distance  
was of the most      exquisite blue4 ,i 
have no doubt the ,fire at ,sea has had 
its      distance destroyed in the same 
manner4          ,,part ,,ix4    ,,of   
,,ideas ,,of ,,relation3--,,ii4 ,,of    
,,invention ,,spiritual4                
,,chapter ,i4    ,,the ,,dark ,,mirror4 
#a4 ,in the course of our inquiry into  
the moral of landscape 7,vol4  ,,iii41  
chap4 #ag71 we promised1 at the close of
 our work1 to seek for some  better1 or 
at least clearer1 conclusions than were 
then possible to us4  ,we confined      
ourselves in that chapter to the        
vindication of the probable  utility of 
the love of natural scenery4 ,we made no
 assertion of the  usefulness of        
painting such scenery4 ,it might be well
 to delight in  the real country1 or    
admire the real flowers and true        

mountains4 ,but it  did not follow that 
it was advisable to paint them4    ,far 
from it4 ,many reasons might be given   
why we should not paint them4  ,all the 
purposes of good which we saw that the  
beauty of nature could  accomplish1 may 
be better fulfilled by the meanest of   
her realities than  by the brightest of 
imitations4 ,for prolonged              
entertainment1 no picture  can be       
compared with the wealth of interest    
which may be found in the  herbage of   
the poorest field1 or blossoms of the   
narrowest copse4 ,as  suggestive of     
supernatural power1 the passing away of 
a fitful  rain-cloud1 or opening of     
dawn1 are in their change and mystery   
more  pregnant than any pictures4 ,a    
child would1 ,i suppose1 receive a      
religious lesson from a flower more     
willingly than from a print of one1  and
 might be taught to understand the      
nineteenth ,psalm1 on a starry  night1  
better than by diagrams of the          
constellations4    ,whence it might seem

 a waste of time to draw landscape at   
all4    ,i believe it is2--to draw      
landscape mere and solitary1 however    
beautiful  7unless it be for the sake of
 geographical or other science1 or of   
historical record74 ,but there is a kind
 of landscape which it is not           
inexpedient to draw4 ,what kind1 we may 
probably discover by considering  that  
which mankind has hitherto contented    
itself with painting4     #b4 ,we may   
arrange nearly all existing landscape   
under the following  heads3--    ,i4    
,,heroic4--,representing an imaginary   
world1 inhabited by men not  perhaps    
perfectly civilized1 but noble1 and     
usually subjected to severe  trials1 and
 by spiritual powers of the highest     
order4 ,it is frequently  without       
architecture2 never without             
figure-action1 or emotion4 ,its         
principal master is ,titian4    ,,ii4   
,,classical4--,representing an imaginary
 world1 inhabited by perfectly          
civilized men1 and by spiritual powers  

of an inferior order4    ,it generally  
assumes this condition of things to have
 existed among the  ,greek and ,roman   
nations4 ,it contains usually           
architecture of an elevated  character1 
and always incidents of figure-action   
and emotion4 ,its  principal master is  
,nicolo ,poussin4    ,,iii4             
,,pastoral4--,representing peasant life 
and its daily work1 or such  scenery as 
may naturally be suggestive of it1      
consisting usually of  simple landscape1
 in part subjected to agriculture1 with 
figures1  cattle1 and domestic          
buildings4 ,no supernatural being is    
ever visibly  present4 ,it does not in  
ordinary cases admit architecture of an 
elevated  character1 nor exciting       
incident4 ,its principal master is      
,cuyp4    ,,iv4                         
,,contemplative4--,directed principally 
to the observance of the powers  of     
,nature1 and record of the historical   
associations connected with  landscape1 
illustrated by1 or contrasted with1     

existing states of human  life4 ,no     
supernatural being is visibly present4  
,it admits every variety  of subject1   
and requires1 in general1 figure        
incident1 but not of an  exciting       
character4 ,it was not developed        
completely until recent times4  ,its    
principal master is ,turner4#a     #c4  
,these are the four true orders of      
landscape1 not of course  distinctly    
separated from each other in all cases1 
but very distinctly  in typical         
examples4 ,two spurious forms require   
separate note4    7,a47                 
,,picturesque4--,this is indeed rather  
the degradation 7or sometimes  the      
undeveloped state7 of the               
,contemplative1 than a distinct class2  
but  it may be considered generally as  
including pictures meant to display  the
 skill of the artist1 and his powers of 
composition2 or to give  agreeable forms
 and colors1 irrespective of sentiment4 
,it will include  much modern art1 with 
the street views and church interiors of

 the  ,dutch1 and the works of          
,canaletto1 ,guardi1 ,tempesta1 and the 
like4    7,b47 ,,hybrid4--,landscape in 
which the painter endeavors to unite the
  irreconcileable sentiment of two or   
more of the above-named classes4 ,its   
principal masters are ,berghem and      
,wouvermans4     #d4 ,passing for the   
present by these inferior schools1 we   
find that all  true landscape1 whether  
simple or exalted1 depends primarily for
 its  interest on connection with       
humanity1 or with spiritual powers4     
,banish  your heroes and nymphs from the
 classical landscape--its laurel shades 
will move you no more4 ,show that the   
dark clefts of the most romantic        
mountain are uninhabited and            
untraversed2 it will cease to be        
romantic4  ,fields without shepherds and
 without fairies will have no gaiety in 
their green1 nor will the noblest masses
 of ground or colors of cloud  arrest or
 raise your thoughts1 if the earth has  
no life to sustain1 and  the heaven none

 to refresh4     #e4 ,it might perhaps  
be thought that1 since from scenes in   
which the  figure was principal1 and    
landscape symbolical and subordinate 7as
 in  the art of ,egypt71 the process of 
ages had led us to scenes in which      
landscape was principal and the figure  
subordinate1--a continuance in  the same
 current of feeling might bring forth at
 last an art from which  humanity and   
its interests should wholly vanish1     
leaving us to the  passionless          
admiration of herbage and stone4 ,but   
this will not1 and  cannot be4 ,for     
observe the parallel instance in the    
gradually  increasing importance of     
dress4 ,from the simplicity of ,greek   
design1  concentrating1 ,i suppose1 its 
skill chiefly on the naked form1 the    
course of time developed conditions of  
,venetian imagination which found       
nearly as much interest1 and expressed  
nearly as much dignity1 in folds  of    
dress and fancies of decoration as in   
the faces of the figures  themselves2 so

 that if from ,veronese's ,marriage in  
,cana we remove the  architecture and   
the gay dresses1 we shall not in the    
faces and hands  remaining1 find a      
satisfactory abstract of the picture4   
,but try it the  other way4 ,take out   
the faces2 leave the draperies1 and how 
then8 ,put  the fine dresses and        
jewelled girdles into the best group you
 can2 paint  them with all ,veronese's  
skill3 will they satisfy you8     #f4   
,not so4 ,as long as they are in their  
due service and  subjection--while their
 folds are formed by the motion of men1 
and their  lustre adorns the nobleness  
of men--so long the lustre and the folds
 are  lovely4 ,but cast them from the   
human limbs2--golden circlet and silken 
tissue are withered2 the dead leaves of 
autumn are more precious than  they4    
,this is just as true1 but in a far     
deeper sense1 of the weaving of the     
natural robe of man's soul4 ,fragrant   
tissue of flowers1 golden circlets  of  
clouds1 are only fair when they meet the

 fondness of human thoughts1  and       
glorify human visions of heaven4     #g4
 ,it is the leaning on this truth which1
 more than any other1 has  been the     
distinctive character of all my own past
 work4 ,and in closing a  series of     
,art-studies1 prolonged during so many  
years1 it may be perhaps  permitted me  
to point out this specialty--the rather 
that it has been1  of all their         
characters1 the one most denied4 ,i     
constantly see that the  same thing     
takes place in the estimation formed by 
the modern public of  the work of almost
 any true person1 living or dead4 ,it is
 not needful to  state here the causes  
of such error3 but the fact is indeed   
so1 that  precisely the distinctive root
 and leading force of any true man's    
work  and way are the things denied     
concerning him4    ,and in these books  
of mine1 their distinctive character1 as
 essays on  art1 is their bringing      
everything to a root in human passion or
 human  hope4 ,arising first not in any 

desire to explain the principles of art1
  but in the endeavor to defend an      
individual painter from injustice1  they
 have been colored throughout1--nay1    
continually altered in shape1  and even 
warped and broken1 by digressions       
respecting social questions1  which had 
for me an interest tenfold greater than 
the work ,i had been  forced into       
undertaking4 ,every principle of        
painting which ,i have stated  is traced
 to some vital or spiritual fact2 and in
 my works on  architecture the          
preference accorded finally to one      
school over another1  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       
despised4     #h4 ,the essential        
connection of the power of landscape    
with human  emotion is not less certain1
 because in many impressive pictures the
  link is slight or local4 ,that the    
connection should exist at a single     

point is all that we need4 ,the         
comparison with the dress of the body   
may  be carried out into the extremest  
parallelism4 ,it may often happen that  
no part of the figure wearing the dress 
is discernible1 nevertheless1  the      
perceivable fact that the drapery is    
worn by a figure makes all the          
difference4 ,in one of the most sublime 
figures in the world this is  actually  
so3 one of the fainting ,marys in       
,tintoret's ,crucifixion has  cast her  
mantle over her head1 and her face is   
lost in its shade1 and  her whole figure
 veiled in folds of gray4 ,but what the 
difference is  between that gray woof1  
that gathers round her as she falls1 and
 the  same folds cast in a heap upon the
 ground1 that difference1 and more1     
exists between the power of ,nature     
through which humanity is seen1 and  her
 power in the desert4 ,desert--whether  
of leaf or sand--true  desertness is not
 in the want of leaves1 but of life4    
,where humanity is  not1 and was not1   

the best natural beauty is more than    
vain4 ,it is even  terrible2 not as the 
dress cast aside from the body2 but as  
an  embroidered shroud hiding a         
skeleton4     #i4 ,and on each side of a
 right feeling in this matter there lie1
 as  usual1 two opposite errors4    ,the
 first1 that of caring for man only2 and
 for the rest of the  universe1 little1 
or not at all1 which1 in a measure1 was 
the error of  the ,greeks and           
,florentines2 the other1 that of caring 
for the universe  only2--for man1 not at
 all1--which1 in a measure1 is the error
 of modern  science1 and of the ,art    
connecting itself with such science4    
,the degree of power which any man may  
ultimately possess in                   
landscape-painting will depend finally  
on his perception of this  influence4   
,if he has to paint the desert1 its     
awfulness--if the garden1  its          
gladsomeness--will arise simply and only
 from his sensibility to the  story of  
life4 ,without this he is nothing but a 

scientific mechanist2  this1 though it  
cannot make him yet a painter1 raises   
him to the sphere  in which he may      
become one4 ,nay1 the mere shadow and   
semblance of this  have given dangerous 
power to works in all other respects    
unnoticeable2  and the least degree of  
its true presence has given value to    
work in all  other respects vain4       
,the true presence1 observe1 of sympathy
 with the spirit of man4 ,where  this is
 not1 sympathy with any higher spirit is
 impossible4    ,for the directest      
manifestation of ,deity to man is in    
,his own image1  that is1 in man4       
#aj4 ,in his own image4 ,after his      
likeness4 ,ad imaginem et  similitudinem
 ,suam4 ,i do not know what people in   
general understand by  those words4 ,i  
suppose they ought to be understood4    
,the truth they  contain seems to lie at
 the foundation of our knowledge both of
 ,god and  man2 yet do we not usually   
pass the sentence by1 in dull reverence1
  attaching no definite sense to it at  

all8 ,for all practical purpose1  might 
it not as well be out of the text8    ,i
 have no time1 nor much desire1 to      
examine the vague expressions of  belief
 with which the verse has been          
encumbered4 ,let us try to find its     
only possible plain significance4       
#aa4 ,it cannot be supposed that the    
bodily shape of man resembles1 or       
resembled1 any bodily shape in ,deity4  
,the likeness must therefore be1 or     
have been1 in the soul4 ,had it wholly  
passed away1 and the ,divine soul  been 
altered into a soul brutal or diabolic1 
,i suppose we should have  been told of 
the change4 ,but we are told nothing of 
the kind4 ,the verse  still stands as if
 for our use and trust4 ,it was only    
death which was to  be our punishment4  
,not change4 ,so far as we live1 the    
image is still  there2 defiled1 if you  
will2 broken1 if you will2 all but      
effaced1 if  you will1 by death and the 
shadow of it4 ,but not changed4 ,we are 
not  made now in any other image than   

,god's4 ,there are1 indeed1 the two     
states of this image--the earthly and   
heavenly1 but both ,adamite1 both       
human1 both the same likeness2 only one 
defiled1 and one pure4 ,so that  the    
soul of man is still a mirror1 wherein  
may be seen1 darkly1 the  image of the  
mind of ,god4    ,these may seem daring 
words4 ,i am sorry that they do2 but ,i 
am helpless  to soften them4 ,discover  
any other meaning of the text if you are
  able2--but be sure that it is a       
meaning--a meaning in your head and     
heart2--not a subtle gloss1 nor a       
shifting of one verbal expression into  
another1 both idealess4 ,i repeat1 that1
 to me1 the verse has1 and can  have1 no
 other signification than this--that the
 soul of man is a mirror  of the mind of
 ,god4 ,a mirror dark1 distorted1       
broken1 use what blameful  words you    
please of its state2 yet in the main1 a 
true mirror1 out of  which alone1 and by
 which alone1 we can know anything of   
,god at all4    ,how8 the reader1       

perhaps1 answers indignantly4 ,i know   
the nature of  ,god by revelation1 not  
by looking into myself4    ,revelation  
to what8 ,to a nature incapable of      
receiving truth8 ,that  cannot be2 for  
only to a nature capable of truth1      
desirous of it1  distinguishing it1     
feeding upon it1 revelation is possible4
 ,to a being  undesirous of it1 and     
hating it1 revelation is impossible4    
,there can be  none to a brute1 or      
fiend4 ,in so far1 therefore1 as you    
love truth1 and  live therein1 in so far
 revelation can exist for you2--and in  
so far1  your mind is the image of      
,god's4     #ab4 ,but consider farther1 
not only to what1 but by what1 is the   
revelation4 ,by sight8 or word8 ,if by  
sight1 then to eyes which see  justly4  
,otherwise1 no sight would be           
revelation4 ,so far1 then1 as your      
sight is just1 it is the image of ,god's
 sight4    ,if by words1--how do you    
know their meanings8 ,here is a short   
piece of  precious word revelation1 for 

instance4 ,god is love4    ,love6 yes4  
,but what is that8 ,the revelation does 
not tell you that1 ,i  think4 ,look into
 the mirror1 and you will see4 ,out of  
your own heart you  may know what love  
is4 ,in no other possible way1--by no   
other help or  sign4 ,all the words and 
sounds ever uttered1 all the revelations
 of  cloud1 or flame1 or crystal1 are   
utterly powerless4 ,they cannot tell    
you1 in the smallest point1 what love   
means4 ,only the broken mirror  can4    
#ac4 ,here is more revelation4 ,god is  
just6 ,just6 ,what is that8 ,the        
revelation cannot help you to discover4 
,you say it is dealing equitably  or    
equally4 ,but how do you discern the    
equality8 ,not by inequality of  mind2  
not by a mind incapable of weighing1    
judging1 or distributing4 ,if  the      
lengths seem unequal in the broken      
mirror1 for you they are unequal2  but  
if they seem equal1 then the mirror is  
true4 ,so far as you recognize          
equality1 and your conscience tells you 

what is just1 so far your mind  is the  
image of ,god's3 and so far as you do   
not discern this nature of  justice or  
equality1 the words ,god is just bring  
no revelation to you4     #ad4 ,but ,his
 thoughts are not as our thoughts4 ,no3 
the sea is not as  the standing pool by 
the wayside4 ,yet when the breeze crisps
 the pool1  you may see the image of the
 breakers1 and a likeness of the foam4  
,nay1  in some sort1 the same foam4 ,if 
the sea is for ever invisible to you1   
something you may learn of it from the  
pool4 ,nothing1 assuredly1 any          
otherwise4    ,but this poor miserable  
,me6 ,is this1 then1 all the book ,i    
have got to  read about ,god in8 ,yes1  
truly so4 ,no other book1 nor fragment  
of book1  than that1 will you ever      
find2--no velvet-bound missal1 nor      
frankincensed manuscript2--nothing      
hieroglyphic nor cuneiform2 papyrus  and
 pyramid are alike silent on this       
matter2--nothing in the clouds  above1  
nor in the earth beneath4 ,that         

flesh-bound volume is the only          
revelation that is1 that was1 or that   
can be4 ,in that is the image of  ,god  
painted2 in that is the law of ,god     
written2 in that is the promise  of ,god
 revealed4 ,know thyself2 for through   
thyself only thou canst know  ,god4     
#ae4 ,through the glass1 darkly4 ,but1  
except through the glass1 in  nowise4   
,a tremulous crystal1 waved as water1   
poured out upon the ground2--you  may   
defile it1 despise it1 pollute it at    
your pleasure1 and at your  peril2 for  
on the peace of those weak waves must   
all the heaven you  shall ever gain be  
first seen2 and through such purity as  
you can win  for those dark waves1 must 
all the light of the risen ,sun of      
righteousness be bent down1 by faint    
refraction4 ,cleanse them1 and calm     
them1 as you love your life4            
,therefore it is that all the power of  
nature depends on subjection to  the    
human soul4 ,man is the sun of the      
world2 more than the real sun4 ,the     

fire of his wonderful heart is the only 
light and heat worth gauge or  measure4 
,where he is1 are the tropics2 where he 
is not1 the ice-world4      ,,footnote3 
#a ,i have been embarrassed in assigning
 the names to these orders of      art1 
the term ,contemplative belonging in    
justice nearly as much to      the      
romantic and pastoral conception as to  
the modern landscape4 ,i      intended1 
originally1 to call the four            
schools--,romantic1 ,classic1           
,georgic1 and ,theoretic--which would   
have been more accurate2 and more       
consistent with the nomenclature of the 
second volume2 but would not      have  
been pleasant in sound1 nor to the      
general reader1 very clear in           
sense4          ,,chapter ,,ii4    ,,the
 ,,lance ,,of ,,pallas4       #a4 ,it   
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 work1 not in his

 own4 ,but  observe1 he is not himself  
his own work3 he is himself precisely   
the  most wonderful piece of ,god's     
workmanship extant4 ,in this best piece 
not  only he is bound to take delight1  
but cannot1 in a right state of         
thought1 take delight in anything else1 
otherwise than through himself4         
,through himself1 however1 as the sun of
 creation1 not as the creation4  ,in    
himself1 as the light of the world4#a   
,not as being the world4 ,let  him stand
 in his due relation to other creatures1
 and to inanimate  things--know them all
 and love them1 as made for him1 and he 
for  them2--and he becomes himself the  
greatest and holiest of them4 ,but let  
him cast off this relation1 despise and 
forget the less creation around  him1   
and instead of being the light of the   
world1 he is as a sun in  space--a fiery
 ball1 spotted with storm4     #b4 ,all 
the diseases of mind leading to fatalest
 ruin consist primarily  in this        
isolation4 ,they are the concentration  

of man upon himself1  whether his       
heavenly interests or his worldly       
interests1 matters not2 it  is the being
 his own interests which makes the      
regard of them so  mortal4 ,every form  
of asceticism on one side1 of sensualism
 on the  other1 is an isolation of his  
soul or of his body2 the fixing his     
thoughts upon them alone3 while every   
healthy state of nations and of         
individual minds consists in the        
unselfish presence of the human spirit  
everywhere1 energizing over all things2 
speaking and living through all  things4
     #c4 ,man being thus the crowning   
and ruling work of ,god1 it will follow 
that all his best art must have         
something to tell about himself1 as the 
soul of things1 and ruler of creatures4 
,it must also make this reference  to   
himself under a true conception of his  
own nature4 ,therefore all art  which   
involves no reference to man is inferior
 or nugatory4 ,and all art  which       
involves misconception of man1 or base  

thought of him1 is in that  degree      
false1 and base4    ,now the basest     
thought possible concerning him is1 that
 he has no  spiritual nature2 and the   
foolishest misunderstanding of him      
possible  is1 that he has or should     
have1 no animal nature4 ,for his nature 
is  nobly animal1 nobly                 
spiritual--coherently and irrevocably   
so2 neither  part of it may1 but at its 
peril1 expel1 despise1 or defy the      
other4 ,all  great art confesses and    
worships both4     #d4 ,the art which1  
since the writings of ,rio and ,lord    
,lindsay1 is  specially known as        
,christian1 erred by pride in its denial
 of the  animal nature of man2--and1 in 
connection with all monkish and         
fanatical  forms of religion1 by looking
 always to another world instead of     
this4  ,it wasted its strength in       
visions1 and was therefore swept away1  
notwithstanding all its good and glory1 
by the strong truth of the  naturalist  
art of the sixteenth century4 ,but that 

naturalist art erred  on the other side2
 denied at last the spiritual nature of 
man1 and  perished in corruption4    ,a 
contemplative reaction is taking place  
in modern times1 out of which  it may be
 hoped a new spiritual art may be       
developed4 ,the first school  of        
landscape1 named1 in the foregoing      
chapter1 the ,heroic1 is that of  the   
noble naturalists4 ,the second          
7,classical71 and third 7,pastoral71    
belong to the time of sensual decline4  
,the fourth 7,contemplative7 is  that of
 modern revival4     #e4 ,but why1 the  
reader will ask1 is no place given in   
this scheme to  the ,christian or       
spiritual art which preceded the        
naturalists8 ,because  all landscape    
belonging to that art is subordinate1   
and in one essential  principle false4  
,it is subordinate1 because intended    
only to exalt the  conception of saintly
 or ,divine presence3--rather therefore 
to be  considered as a landscape        
decoration or type1 than an effort to   

paint  nature4 ,if ,i included it in my 
list of schools1 ,i should have to go   
still farther back1 and include with it 
the conventional and  illustrative      
landscape of the ,greeks and ,egyptians4
     #f4 ,but also it cannot constitute 
a real school1 because its first        
assumption is false1 namely1 that the   
natural world can be represented        
without the element of death4    ,the   
real schools of landscape are primarily 
distinguished from the  preceding unreal
 ones by their introduction of this     
element4 ,they are  not at first in any 
sort the worthier for it4 ,but they are 
more true1  and capable1 therefore1 in  
the issue1 of becoming worthier4    ,it 
will be a hard piece of work for us to  
think this rightly out1 but it  must be 
done4     #g4 ,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 believed1 the elements  
of decay1 danger1 and grief in visible  

things were always disregarded4 ,however
 this may be1 it is assuredly so  in the
 early ,christian schools4 ,the ideas of
 danger or decay seem not  merely       
repugnant1 but inconceivable to them2   
the expression of  immortality and      
perpetuity is alone possible4 ,i do not 
mean that they  take no note of the     
absolute fact of corruption4 ,this fact 
the early  painters often compel        
themselves to look fuller in the front  
than any  other men3 as in the way they 
usually paint the ,deluge 7the raven    
feeding on the bodies71 and in all the  
various triumphs and processions  of the
 ,power of ,death1 which formed one     
great chapter of religious  teaching and
 painting1 from ,orcagna's time to the  
close of the ,purist  epoch4 ,but ,i    
mean that this external fact of         
corruption is separated in  their minds 
from the main conditions of their work2 
and its horror  enters no more into     
their general treatment of landscape    
than the fear  of murder or martyrdom1  

both of which they had nevertheless     
continually  to represent4 ,none of     
these things appeared to them as        
affecting the  general dealings of the  
,deity with ,his world4 ,death1 pain1   
and decay  were simply momentary        
accidents in the course of immortality1 
which  never ought to exercise any      
depressing influence over the hearts of 
men1  or in the life of ,nature4 ,god1  
in intense life1 peace1 and helping     
power1 was always and everywhere4 ,human
 bodies1 at one time or another1  had   
indeed to be made dust of1 and raised   
from it2 and this becoming  dust was    
hurtful and humiliating1 but not in the 
least melancholy1 nor1  in any very high
 degree1 important2 except to           
thoughtless persons1 who  needed        
sometimes to be reminded of it1 and     
whom1 not at all fearing the  things    
much himself1 the painter accordingly   
did remind of it1 somewhat  sharply4    
#h4 ,a similar condition of mind seems  
to have been attained1 not              

unfrequently1 in modern times1 by       
persons whom either narrowness of       
circumstance or education1 or vigorous  
moral efforts have guarded from  the    
troubling of the world1 so as to give   
them firm and childlike trust  in the   
power and presence of ,god1 together    
with peace of conscience1 and  a belief 
in the passing of all evil into some    
form of good4 ,it is  impossible that a 
person thus disciplined should feel1 in 
any of its  more acute phases1 the      
sorrow for any of the phenomena of      
nature1 or  terror in any material      
danger which would occur to another4    
,the absence  of personal fear1 the     
consciousness of security as great in   
the midst of  pestilence and storm1 as  
amidst beds of flowers on a summer      
morning1 and  the certainty that        
whatever appeared evil1 or was assuredly
 painful1  must eventually issue in a   
far greater and enduring good--this     
general  feeling and conviction1 ,i say1
 would gradually lull1 and at last put  

to  entire rest1 the physical sensations
 of grief and fear2 so that the man     
would look upon danger without          
dread1--accept pain without lamentation4
     #i4 ,it may perhaps be thought that
 this is a very high and right state  of
 mind4    ,unfortunately1 it appears    
that the attainment of it is never      
possible  without inducing some form of 
intellectual weakness4    ,no painter   
belonging to the purest religious       
schools ever mastered his  art4         
,perugino nearly did so2 but it was     
because he was more  rational--more a   
man of the world--than the rest4 ,no    
literature exists  of a high class      
produced by minds in the pure religious 
temper4 ,on the  contrary1 a great deal 
of literature exists1 produced by       
persons in that  temper1 which is       
markedly1 and very far1 below average   
literary work4     #aj4 ,the reason of  
this ,i believe to be1 that the right   
faith of man is  not intended to give   
him repose1 but to enable him to do his 

work4 ,it is  not intended that he      
should look away from the place he lives
 in now1  and cheer himself with        
thoughts of the place he is to live in  
next1 but  that he should look stoutly  
into this world1 in faith that if he    
does  his work thoroughly here1 some    
good to others or himself1 with which1  
however1 he is not at present concerned1
 will come of it hereafter4 ,and  this  
kind of brave1 but not very hopeful or  
cheerful faith1 ,i perceive  to be      
always rewarded by clear practical      
success and splendid  intellectual      
power2 while the faith which dwells on  
the future fades  away into rosy mist1  
and emptiness of musical air4 ,that     
result indeed  follows naturally enough 
on its habit of assuming that things    
must be  right1 or must come right1     
when1 probably1 the fact is1 that so far
 as  we are concerned1 they are entirely
 wrong2 and going wrong3 and also on    
its weak and false way of looking on    
what these religious persons call  the  

bright side of things1 that is to say1  
on one side of them only1  when ,god has
 given them two sides1 and intended us  
to see both4     #aa4 ,i was reading but
 the other day1 in a book by a zealous1 
useful1  and able ,scotch clergyman1 one
 of these rhapsodies1 in which he       
described a scene in the ,highlands to  
show 7he said7 the goodness of  ,god4   
,in this ,highland scene there was      
nothing but sunshine1 and fresh         
breezes1 and bleating lambs1 and clean  
tartans1 and all manner of              
pleasantness4 ,now a ,highland scene is1
 beyond dispute1 pleasant enough  in its
 own way2 but1 looked close at1 has its 
shadows4 ,here1 for  instance1 is the   
very fact of one1 as pretty as ,i can   
remember--having  seen many4 ,it is a   
little valley of soft turf1 enclosed in 
its narrow  oval by jutting rocks and   
broad flakes of nodding fern4 ,from one 
side of  it to the other winds1         
serpentine1 a clear brown stream1       
drooping into  quicker ripple as it     

reaches the end of the oval field1 and  
then1 first  islanding a purple and     
white rock with an amber pool1 it dashes
 away  into a narrow fall of foam under 
a thicket of mountain ash and alder4    
,the autumn sun1 low but clear1 shines  
on the scarlet ash-berries and on  the  
golden birch-leaves1 which1 fallen here 
and there1 when the breeze  has not     
caught them1 rest quiet in the crannies 
of the purple rock4  ,beside the rock1  
in the hollow under the thicket1 the    
carcass of a ewe1  drowned in the last  
flood1 lies nearly bare to the bone1 its
 white ribs  protruding through the     
skin1 raven-torn2 and the rags of its   
wool still  flickering from the branches
 that first stayed it as the stream     
swept it  down4 ,a little lower1 the    
current plunges1 roaring1 into a        
circular  chasm like a well1 surrounded 
on three sides by a chimney-like        
hollowness of polished rock1 down which 
the foam slips in detached  snow-flakes4
 ,round the edges of the pool beneath1  

the water circles  slowly1 like black   
oil2 a little butterfly lies on its     
back1 its wings  glued to one of the    
eddies1 its limbs feebly quivering2 a   
fish rises and  it is gone4 ,lower down 
the stream1 ,i can just see1 over a     
knoll1 the  green and damp turf roofs of
 four or five hovels1 built at the edge 
of a  morass1 which is trodden by the   
cattle into a black ,slough of ,despond 
at  their doors1 and traversed by a few 
ill-set stepping-stones1 with here  and 
there a flat slab on the tops1 where    
they have sunk out of sight2  and at the
 turn of the brook ,i see a man fishing1
 with a boy and a  dog--a picturesque   
and pretty group enough certainly1 if   
they had not  been there all day        
starving4 ,i know them1 and ,i know the 
dog's ribs  also1 which are nearly as   
bare as the dead ewe's2 and the child's 
wasted  shoulders1 cutting his old      
tartan jacket through1 so sharp are     
they4 ,we  will go down and talk with   
the man4     #ab4 ,or1 that ,i may not  

piece pure truth with fancy1 for ,i have
 none of  his words set down1 let us    
hear a word or two from another such1 a 
,scotchman also1 and as true hearted1   
and in just as fair a scene4 ,i  write  
out the passage1 in which ,i have kept  
his few sentences1 word for  word1 as it
 stands in my private diary3--#bbnd     
,april 7#ahea74 ,yesterday ,i  had a    
long walk up the ,via ,gellia1 at       
,matlock1 coming down upon it from  the 
hills above1 all sown with anemones and 
violets1 and murmuring with  sweet      
springs4 ,above all the mills in the    
valley1 the brook1 in its  first purity1
 forms a small shallow pool1 with a     
sandy bottom covered  with cresses1 and 
other water plants4 ,a man was wading in
 it for cresses  as ,i passed up the    
valley1 and bade me good-day4 ,i did not
 go much  farther2 he was there when ,i 
returned4 ,i passed him again1 about one
  hundred yards1 when it struck me ,i   
might as well learn all ,i could about  
watercresses3 so ,i turned back4 ,i     

asked the man1 among other questions1   
what he called the common weed1         
something like watercress1 but with a   
serrated leaf1 which grows at the edge  
of nearly all such pools4 ',we  calls   
that brooklime1 hereabouts1' said a     
voice behind me4 ,i turned1 and  saw    
three men1 miners or manufacturers--two 
evidently ,derbyshire men1  and         
respectable-looking in their way2 the   
third1 thin1 poor1 old1 and             
harder-featured1 and utterly in rags4   
',brooklime8' ,i said4 ',what do you    
call it lime for8' ,the man said he did 
not know1 it was called that4  ',you'll 
find that in the ,british ',erba1' said 
the weak1 calm voice of  the old man4 ,i
 turned to him in much surprise2 but he 
went on saying  something drily 7,i     
hardly understood what7 to the          
cress-gatherer2 who  contradicting him1 
the old man said he 'didn't know fresh  
water1' he  'knew enough of sa't4'      
',have you been a sailor8' ,i asked4 ',i
 was a  sailor for eleven years and ten 

months of my life1' he said1 in the same
  strangely quiet manner4 ',and what are
 you now8' ',i lived for ten years      
after my wife's death by picking up rags
 and bones2 ,i hadn't much  occasion    
afore4' ',and now how do you live8'     
',why1 ,i lives hard and  honest1 and   
haven't got to live long1' or something 
to that effect4 ,he  then went on1 in a 
kind of maundering way1 about his wife4 
',she had  rheumatism and fever very    
bad2 and her second rib grow'd over her 
hench-bone4 ,a' was a clever woman1 but 
a' grow'd to be a very little  one'     
7this with an expression of deep        
melancholy74 ',eighteen years after  her
 first lad she was in the family-way    
again1 and they had doctors up  from    
,lunnon about it4 ,they wanted to rip   
her open and take the child out  of her 
side4 ,but ,i never would give my       
consent4' 7,then1 after a pause37  ',she
 died twenty-six hours and ten minutes  
after it4 ,i never cared much  what come
 of me since2 but ,i know that ,i shall 

soon reach her2 that's a  knowledge ,i  
would na gie for the king's crown4'     
',you are a ,scotchman1  are not you8'  
,i asked4 ',i'm from the ,isle of ,skye1
 sir2 ,i'm a ,mc,gregor4'  ,i said      
something about his religious faith4    
',ye'll know ,i was bred in  the ,church
 of ,scotland1 sir1' he said1 'and ,i   
love it as ,i love my own  soul2 but ,i 
think thae ,wesleyan ,methodists ha' got
 salvation among them1  too4'    ,truly1
 this ,highland and ,english            
hill-scenery is fair enough2 but has    
its shadows2 and deeper coloring1 here  
and there1 than that of heath and  rose4
     #ac4 ,now1 as far as ,i have       
watched the main powers of human mind1  
they  have risen first from the         
resolution to see fearlessly1 pitifully1
 and  to its very worst1 what these deep
 colors mean1 wheresoever they fall2    
not by any means to pass on the other   
side looking pleasantly up to the  sky1 
but to stoop to the horror1 and let the 
sky1 for the present1 take  care of its 

own clouds4 ,however this may be in     
moral matters1 with which  ,i have      
nothing here to do1 in my own field of  
inquiry the fact is so2  and all great  
and beautiful work has come of first    
gazing without  shrinking into the      
darkness4 ,if1 having done so1 the human
 spirit can1  by its courage and faith1 
conquer the evil1 it rises into         
conceptions of  victorious and          
consummated beauty4 ,it is then the     
spirit of the highest  ,greek and       
,venetian ,art4 ,if unable to conquer   
the evil1 but remaining in  strong1     
though melancholy war with it1 not      
rising into supreme beauty1  it is the  
spirit of the best northern art1        
typically represented by that  of       
,holbein and ,durer4 ,if1 itself        
conquered by the evil1 infected by the  
dragon breath of it1 and at last brought
 into captivity1 so as to take  delight 
in evil for ever1 it becomes the spirit 
of the dark1 but still  powerful        
sensualistic art1 represented typically 

by that of ,salvator4 ,we  must trace   
this fact briefly through ,greek1       
,venetian1 and ,dureresque  art2 we     
shall then see how the art of decline   
came of avoiding the evil1  and seeking 
pleasure only2 and thus obtain1 at last1
 some power of  judging whether the     
tendency of our own contemplative art be
 right or  ignoble4     #ad4 ,the ruling
 purpose of ,greek poetry is the        
assertion of victory1 by  heroism1 over 
fate1 sin1 and death4 ,the terror of    
these great enemies is  dwelt upon      
chiefly by the tragedians4 ,the victory 
over them by ,homer4    ,the adversary  
chiefly contemplated by the tragedians  
is ,fate1 or  predestinate misfortune4  
,and that under three principal forms4  
,a4 ,blindness1 or ignorance2 not in    
itself guilty1 but inducing acts  which 
otherwise would have been guilty2 and   
leading1 no less than guilt1  to        
destruction4#b    ,b4 ,visitation upon  
one person of the sin of another4    ,c4
 ,repression1 by brutal or tyrannous    

strength1 of a benevolent will4     #ae4
 ,in all these cases sorrow is much more
 definitely connected with  sin by the  
,greek tragedians than by ,shakspere4   
,the fate of ,shakspere  is1 indeed1 a  
form of blindness1 but it issues in     
little more than haste  or indiscretion4
 ,it is1 in the literal sense1 fatal1   
but hardly  criminal4    ,the ,i am     
fortune's fool of ,romeo1 expresses     
,shakspere's primary idea  of tragic    
circumstance4 ,often his victims are    
entirely innocent1 swept  away by mere  
current of strong encompassing calamity 
7,ophelia1 ,cordelia1  ,arthur1 ,queen  
,katharine74 ,this is rarely so with the
 ,greeks4 ,the victim  may indeed be    
innocent1 as ,antigone1 but is in some  
way resolutely  entangled with crime1   
and destroyed by it1 as if it struck by 
pollution1  no less than participation4 
,the victory over sin and death is      
therefore also with the ,greek          
tragedians more complete than with      
,shakspere4 ,as the enemy has more      

direct moral personality1--as it is     
sinfulness more than mischance1 it  is  
met by a higher moral resolve1 a greater
 preparation of heart1 a more  solemn   
patience and purposed self-sacrifice4   
,at the close of a ,shakspere  tragedy  
nothing remains but dead march and      
clothes of burial4 ,at the  close of a  
,greek tragedy there are far-off sounds 
of a divine triumph1  and a glory as of 
resurrection4#c     #af4 ,the ,homeric  
temper is wholly different4 ,far more   
tender1 more  practical1 more cheerful2 
bent chiefly on present things and      
giving  victory now1 and here1 rather   
than in hope1 and hereafter4 ,the       
enemies  of mankind1 in ,homer's        
conception1 are more distinctly         
conquerable2 they  are ungoverned       
passions1 especially anger1 and         
unreasonable impulse  generally 7,greek3
 at74 ,hence the anger of ,achilles1    
misdirected by  pride1 but rightly      
directed by friendship1 is the subject  
of the  ,iliad4 ,the anger of ,ulysses  

7,greek3 ,odysseus the angry71          
misdirected at first into idle and      
irregular hostilities1 directed at  last
 to execution of sternest justice1 is   
the subject of the ,odyssey4    ,though 
this is the central idea of the two     
poems1 it is connected with  general    
display of the evil of all unbridled    
passions1 pride1  sensuality1 indolence1
 or curiosity4 ,the pride of ,atrides1  
the passion  of ,paris1 the sluggishness
 of ,elpenor1 the curiosity of ,ulysses 
himself  about the ,cyclops1 the        
impatience of his sailors in untying the
 winds1  and all other faults or        
follies1 down to that--7evidently no    
small one  in ,homer's mind7--of        
domestic disorderliness1 are throughout 
shown in  contrast with conditions of   
patient affection and household peace4  
,also1 the wild powers and mysteries of 
,nature are in the ,homeric mind  among 
the enemies of man2 so that all the     
labors of ,ulysses are an  expression of
 the contest of manhood1 not only with  

its own passions or  with the folly of  
others1 but with the merciless and      
mysterious powers  of the natural world4
     #ag4 ,this is perhaps the chief    
signification of the seven years' stay  
with ,calypso1 the concealer4 ,not1 as  
vulgarly thought1 the concealer  of     
,ulysses1 but the great concealer--the  
hidden power of natural things4  ,she is
 the daughter of ,atlas and the ,sea    
7,atlas1 the sustainer of  heaven1 and  
the ,sea1 the disturber of the ,earth74 
,she dwells in the  island of ,ogygia   
7the ancient or venerable74 7,whenever  
,athens1 or any  other ,greek city1 is  
spoken of with any peculiar reverence1  
it is called  ,ogygian47 ,escaping from 
this goddess of secrets1 and from other 
spirits1 some of destructive natural    
force 7,scylla71 others signifying  the 
enchantment of mere natural beauty      
7,circe1 daughter of the ,sun and       
,sea71 he arrives at last at the        
,phacian land1 whose king is strength   
with intellect1 and whose queen1 virtue4

 ,these restore him to his  country4    
#ah4 ,now observe that in their dealing 
with all these subjects the  ,greeks    
never shrink from horror2 down to its   
uttermost depth1 to its  most appalling 
physical detail1 they strive to sound   
the secrets of  sorrow4 ,for them there 
is no passing by on the other side1 no  
turning  away the eyes to vanity from   
pain4 ,literally1 they have not lifted  
up  their souls unto vanity4 ,whether   
there be consolation for them or not1   
neither apathy nor blindness shall be   
their saviours2 if1 for them1 thus      
knowing the facts of the grief of earth1
 any hope1 relief1 or triumph  may      
hereafter seem possible1--well2 but if  
not1 still hopeless1  reliefless1       
eternal1 the sorrow shall be met face to
 face4 ,this ,hector1  so righteous1 so 
merciful1 so brave1 has1 nevertheless1  
to look upon his  dearest brother in    
miserablest death4 ,his own soul passes 
away in  hopeless sobs through the      
throat-wound of the ,grecian spear4     

,that is one  aspect of things in this  
world1 a fair world truly1 but having1  
among  its other aspects1 this one1     
highly ambiguous4     #ai4 ,meeting it  
boldly as they may1 gazing right into   
the skeleton face  of it1 the ambiguity 
remains2 nay1 in some sort gains upon   
them4 ,we  trusted in the gods2--we     
thought that wisdom and courage would   
save us4  ,our wisdom and courage       
themselves deceive us to our death4     
,athena had  the aspect of              
,deiphobus--terror of the enemy4 ,she   
has not terrified him1  but left us1 in 
our mortal need4    ,and1 beyond that   
mortality1 what hope have we8 ,nothing  
is clear to us on  that horizon1 nor    
comforting4 ,funeral honors2 perhaps    
also rest2 perhaps  a shadowy           
life--artless1 joyless1 loveless4 ,no   
devices in that darkness  of the grave1 
nor daring1 nor delight4 ,neither       
marrying nor giving in  marriage1 nor   
casting of spears1 nor rolling of       
chariots1 nor voice of  fame4 ,lapped in

 pale ,elysian mist1 chilling the       
forgetful heart and  feeble frame1 shall
 we waste on forever8 ,can the dust of  
earth claim  more of immortality than   
this8 ,or shall we have even so much as 
rest8  ,may we1 indeed1 lie down again  
in the dust1 or have our sins not hidden
  from us even the things that belong to
 that peace8 ,may not chance and  the   
whirl of passion govern us there2 when  
there shall be no thought1  nor work1   
nor wisdom1 nor breathing of the soul8#d
    ,be it so4 ,with no better reward1  
no brighter hope1 we will be men while  
we may3 men1 just1 and strong1 and      
fearless1 and up to our power1  perfect4
 ,athena herself1 our wisdom and our    
strength1 may betray  us2--,phoebus1 our
 sun1 smite us with plague1 or hide his 
face from us  helpless2--,jove and all  
the powers of fate oppress us1 or give  
us up to  destruction4 ,while we live1  
we will hold fast our integrity2 no weak
  tears shall blind us1 no untimely     
tremors abate our strength of arm nor   

swiftness of limb4 ,the gods have given 
us at least this glorious body  and this
 righteous conscience2 these will we    
keep bright and pure to the  end4 ,so   
may we fall to misery1 but not to       
baseness2 so may we sink to  sleep1 but 
not to shame4     #bj4 ,and herein was  
conquest4 ,so defied1 the betraying and 
accusing  shadows shrank back2 the      
mysterious horror subdued itself to     
majestic  sorrow4 ,death was swallowed  
up in victory4 ,their blood1 which      
seemed to  be poured out upon the       
ground1 rose into hyacinthine flowers4  
,all the  beauty of earth opened to     
them2 they had ploughed into its        
darkness1 and  they reaped its gold2 the
 gods1 in whom they had trusted through 
all  semblance of oppression1 came down 
to love them and be their helpmates4    
,all nature round them became           
divine1--one harmony of power and peace4
  ,the sun hurt them not by day1 nor the
 moon by night2 the earth opened no     
more her jaws into the pit2 the sea     

whitened no more against them the  teeth
 of his devouring waves4 ,sun1 and moon1
 and earth1 and sea1--all  melted into  
grace and love2 the fatal arrows rang   
not now at the  shoulders of ,apollo the
 healer2 lord of life and of the three  
great  spirits of life--,care1 ,memory1 
and ,melody4 ,great ,artemis guarded    
their  flocks by night2 ,selene kissed  
in love the eyes of those who slept4    
,and  from all came the help of heaven  
to body and soul2 a strange spirit      
lifting the lovely limbs2 strange light 
glowing on the golden hair2 and         
strangest comfort filling the trustful  
heart1 so that they could put off  their
 armor1 and lie down to sleep1--their   
work well done1 whether at  the gates of
 their temples#e or of their            
mountains2#f accepting the  death they  
once thought terrible1 as the gift of   
,him who knew and  granted what was     
best4      ,,footnotes3      #a ,matt4  
v4 #ad4      #b ,the speech of ,achilles
 to ,priam expresses this idea of       

fatality      and submission clearly1   
there being two vessels--one full of    
sorrow1      the other of great and     
noble gifts 7a sense of disgrace mixing 
with      that of sorrow1 and of honor  
with that of joy71 from which ,jupiter  
pours forth the destinies of men2 the   
idea partly corresponding to      the   
scriptural-- ,in the hand of the ,lord  
there is a cup1 and the      wine is    
red2 it is full mixed1 and ,he poureth  
out of the same4 ,but      the title of 
the gods1 nevertheless1 both with ,homer
 and ,hesiod1 is      given not from the
 cup of sorrow1 but of good2 givers of  
good      7,greek3 dotres heaon74--,hes4
 ,theog4 #ffd3 ,odyss4 viii4 #cbe4      
#c ,the ,alcestis is perhaps the central
 example of the idea of all      ,greek 
drama4      #d        ,greek3 t kai     
tethneiti noon pore ,persephoneia1      
oi pepnusthai2 toi de skiai aissousin4  
,od4 x4 #die4      #e ,greek3 ouketi    
anestesan1 all' en telei tout eschonto4 
,herod1      i4 #ca4      #f ,greek3 ho 

de apopempomenos1 autos men ouk         
apelipeto ton de paida                  
sustrateuomenon1 eonta oi mounogenea1   
apepempse4 ,herod1 vii4 #bba4           
,,chapter ,,iii4    ,,the ,,wings ,,of  
,,the ,,lion4       #a4 ,such being the 
heroic spirit of ,greek religion and    
art1 we may now  with ease trace the    
relations between it and that which     
animated the  ,italian1 and chiefly the 
,venetian1 schools4    ,observe1 all the
 nobleness1 as well as the faults1 of   
the ,greek art were  dependent on its   
making the most of this present life4   
,it might do so in  the ,anacreontic    
temper--,greek3 ,ti ,pleiadessi1 kamoi2 
,what have ,i to  do with the ,pleiads8 
or in the defiant or the trustful       
endurance of  fate2--but its dominion   
was in this world4    ,florentine art   
was essentially ,christian1 ascetic1    
expectant of a better  world1 and       
antagonistic1 therefore1 to the ,greek  
temper4 ,so that the  ,greek element1   
once forced upon it1 destroyed it4      

,there was absolute  incompatibility    
between them4 ,florentine art1 also1    
could not produce  landscape4 ,it       
despised the rock1 the tree1 the vital  
air itself1  aspiring to breathe        
empyreal air4    ,venetian art began    
with the same aim and under the same    
restrictions4  ,both are healthy in the 
youth of art4 ,heavenly aim and severe  
law for  boyhood2 earthly work and fair 
freedom for manhood4     #b4 ,the       
,venetians began1 ,i repeat1 with       
asceticism2 always1 however1  delighting
 in more massive and deep color than    
other religious painters4  ,they are    
especially fond of saints who have been 
cardinals1 because of  their red hats1  
and they sunburn all their hermits into 
splendid russet  brown4    ,they        
differed from the ,pisans in having no  
,maremma between them and the  sea2 from
 the ,romans1 in continually quarrelling
 with the ,pope2 and from  the          
,florentines in having no gardens4      
,they had another kind of garden1       

deep-furrowed1 with blossom in white    
wreaths--fruitless4 ,perpetual ,may     
therein1 and singing of wild1 nestless  
birds4 ,and they had no ,maremma to     
separate them from this garden of       
theirs4 ,the destiny of ,pisa was       
changed1 in all probability1 by the ten 
miles of marsh-land and poisonous air   
between it and the beach4 ,the  ,genoese
 energy was feverish2 too much heat     
reflected from their torrid  ,apennine4 
,but the ,venetian had his free horizon1
 his salt breeze1 and  sandy            
,lido-shore2 sloped far and             
flat1--ridged sometimes under the       
,tramontane winds with half a mile's    
breadth of rollers2--sea and sand       
shrivelled up together in one yellow    
careering field of fall and roar4       
#c4 ,they were1 also1 we said1 always   
quarrelling with the ,pope4 ,their      
religious liberty came1 like their      
bodily health1 from that  wave-training2
 for it is one notable effect of a life 
passed on  shipboard to destroy weak    

beliefs in appointed forms of religion4 
,a  sailor may be grossly superstitious1
 but his superstitions will be          
connected with amulets and omens1 not   
cast in systems4 ,he must accustom      
himself1 if he prays at all1 to pray    
anywhere and anyhow4 ,candlesticks  and 
incense not being portable into the     
maintop1 he perceives those  decorations
 to be1 on the whole1 inessential to a  
maintop mass4 ,sails  must be set and   
cables bent1 be it never so strict a    
saint's day1 and it  is found that no   
harm comes of it4 ,absolution on a      
lee-shore must be had  of the breakers1 
it appears1 if at all1 and they give it 
plenary and  brief1 without listening to
 confession4    ,whereupon our religious
 opinions become vague1 but our         
religious  confidences strong2 and the  
end of it all is that we perceive the   
,pope  to be on the other side of the   
,apennines1 and able1 indeed1 to sell   
indulgences1 but not winds1 for any     
money4 ,whereas1 ,god and the sea are   

with us1 and we must even trust them    
both1 and take what they shall  send4   
#d4 ,then1 farther4 ,this ocean-work is 
wholly adverse to any morbid  conditions
 of sentiment4 ,reverie1 above all      
things1 is forbidden by  ,scylla and    
,charybdis4 ,by the dogs and the depths1
 no dreaming6 ,the first  thing required
 of us is presence of mind4 ,neither    
love1 nor poetry1 nor  piety1 must ever 
so take up our thoughts as to make us   
slow or unready4  ,in sweet ,val d',arno
 it is permissible enough to dream among
 the  orange-blossoms1 and forget the   
day in twilight of ilex4 ,but along the 
avenues of the ,adrian waves there can  
be no careless walking4  ,vigilance1    
might and day1 required of us1 besides  
learning of many  practical lessons in  
severe and humble dexterities4 ,it is   
enough for the  ,florentine to know how 
to use his sword and to ride4 ,we       
,venetians1 also1  must be able to use  
our swords1 and on ground which is none 
of the  steadiest2 but1 besides1 we must

 be able to do nearly everything that   
hands can turn to--rudders1 and yards1  
and cables1 all needing workmanly       
handling and workmanly knowledge1 from  
captain as well as from men4 ,to  drive 
a nail1 lash a spear1 reef a sail--rude 
work this for noble hands2  but to be   
done sometimes1 and done well1 on pain  
of death4 ,all which not  only takes    
mean pride out of us1 and puts nobler   
pride of power in its  stead2 but it    
tends partly to soothe1 partly to       
chasten1 partly to  employ and direct1  
the hot ,italian temper1 and make us    
every way  greater1 calmer1 and happier4
     #e4 ,moreover1 it tends to induce  
in us great respect for the whole  human
 body2 for its limbs1 as much as for its
 tongue or its wit4 ,policy  and        
eloquence are well2 and1 indeed1 we     
,venetians can be politic enough1  and  
can speak melodiously when we choose2   
but to put the helm up at the  right    
moment is the beginning of all          
cunning--and for that we need arm  and  

eye2--not tongue4 ,and with this respect
 for the body as such1 comes  also the  
sailor's preference of massive beauty in
 bodily form4 ,the  landsmen1 among     
their roses and orange-blossoms1 and    
chequered shadows  of twisted vine1 may 
well please themselves with pale faces1 
and finely  drawn eyebrows1 and         
fantastic braiding of hair4 ,but from   
the sweeping  glory of the sea we learn 
to love another kind of beauty2         
broad-breasted2 level-browed1 like the  
horizon2--thighed and shouldered  like  
the billows2--footed like their stealing
 foam2--bathed in cloud of  golden hair1
 like their sunsets4     #f4 ,such were 
the physical influences constantly in   
operation on the  ,venetians2 their     
painters1 however1 were partly prepared 
for their work  by others in their      
infancy4 ,associations connected with   
early life among  mountains softened and
 deepened the teaching of the sea2 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 gean4 ,thus far1
 however1 the influences  on both are   
nearly similar4 ,the ,greek sea was     
indeed less bleak1 and  the ,greek hills
 less grand2 but the difference was in  
degree rather than  in the nature of    
their power4 ,the moral influences at   
work on the two  races were far more    
sharply opposed4     #g4 ,evil1 as we   
saw1 had been fronted by the ,greek1 and
 thrust out of  his path4 ,once         
conquered1 if he thought of it more1 it 
was  involuntarily1 as we remember a    
painful dream1 yet with a secret dread  
that the dream might return and continue
 for ever4 ,but the teaching of  the    
church in the middle ages had made the  
contemplation of evil one of  the duties
 of men4 ,as sin1 it was to be duly     
thought upon1 that it might  be         
confessed4 ,as suffering1 endured       
joyfully1 in hope of future reward4     
,hence conditions of bodily distemper   

which an ,athenian would have looked    
upon with the severest contempt and     
aversion1 were in the ,christian  church
 regarded always with pity1 and often   
with respect2 while the  partial        
practice of celibacy by the clergy1 and 
by those over whom they  had            
influence1--together with the whole     
system of conventual penance and        
pathetic ritual 7with the vicious       
reactionary tendencies necessarily      
following71 introduced calamitous       
conditions both of body and soul1  which
 added largely to the pagan's simple    
list of elements of evil1 and           
introduced the most complicated states  
of mental suffering and  decrepitude4   
#h4 ,therefore the ,christian painters  
differed from the ,greek in two  main   
points4 ,they had been taught a faith   
which put an end to restless            
questioning and discouragement4 ,all was
 at last to be well--and their  best    
genius might be peacefully given to     
imagining the glories of heaven  and the

 happiness of its redeemed4 ,but on the 
other hand1 though  suffering was to    
cease in heaven1 it was to be not only  
endured1 but  honored upon earth4 ,and  
from the ,crucifixion1 down to a        
beggar's  lameness1 all the tortures and
 maladies of men were to be made1 at    
least  in part1 the subjects of art4    
,the ,venetian was1 therefore1 in his   
inner  mind1 less serious than the      
,greek3 in his superficial temper1      
sadder4 ,in  his heart there was none of
 the deep horror which vexed the soul of
  schylus or ,homer4 ,his ,pallas-shield
 was the shield of ,faith1 not the      
shield of the ,gorgon4 ,all was at last 
to issue happily2 in sweetest  harpings 
and seven-fold circles of light4 ,but   
for the present he had to  dwell with   
the maimed and the blind1 and to revere 
,lazarus more than  ,achilles4     #i4  
,this reference to a future world has a 
morbid influence on all  their          
conclusions4 ,for the earth and all its 
natural elements are  despised4 ,they   

are to pass away like a scroll4 ,man1   
the immortal1 is  alone revered2 his    
work and presence are all that can be   
noble or  desirable4 ,men1 and fair     
architecture1 temples and courts such as
 may be  in a celestial city1 or the    
clouds and angels of ,paradise2 these   
are  what we must paint when we want    
beautiful things4 ,but the sea1 the     
mountains1 the forests1 are all adverse 
to us1--a desolation4 ,the ground  that 
was cursed for our sake2--the sea that  
executed judgment on all our  race1 and 
rages against us still1 though          
bridled2--storm-demons churning  it into
 foam in nightly glare on ,lido1 and    
hissing from it against our  palaces4   
,nature is but a terror1 or a           
temptation4 ,she is for hermits1        
martyrs1 murderers1--for ,st4 ,jerome1  
and ,st4 ,mary of ,egypt1 and the       
,magdalen in the desert1 and monk       
,peter1 falling before the sword4       
#aj4 ,but the worst point we have to    
note respecting the spirit of  ,venetian

 landscape is its pride4    ,it was     
observed in the course of the third     
volume how the medival  temper had      
rejected agricultural pursuits1 and     
whatever pleasures could  come of them4 
,at ,venice this negation had reached   
its extreme4 ,though the ,florentines   
and ,romans had no delight in farming1  
they had in gardening4 ,the  ,venetian  
possessed1 and cared for1 neither fields
 nor pastures4 ,being  delivered1 to his
 loss1 from all the wholesome labors of 
tillage1 he was  also shut out from the 
sweet wonders and charities of the      
earth1 and  from the pleasant natural   
history of the year4 ,birds and beasts1 
and  times and seasons1 all unknown to  
him4 ,no swallow chattered at his       
window1#a nor1 nested under his golden  
roofs1 claimed the sacredness of  his   
mercy2#b no ,pythagorean fowl taught him
 the blessings of the  poor1#c nor did  
the grave spirit of poverty rise at his 
side to set  forth the delicate grace   
and honor of lowly life4#d ,no humble   

thoughts  of grasshopper sire had he1   
like the ,athenian2 no gratitude for    
gifts of  olive2 no childish care for   
figs1 any more than thistles4 ,the rich 
,venetian feast had no need of the      
figtree spoon4#e ,dramas about birds1   
and wasps1 and frogs1 would have passed 
unheeded by his proud fancy2  carol or  
murmur of them had fallen unrecognized  
on ears accustomed only  to grave       
syllables of war-tried men1 and wash of 
songless wave4     #aa4 ,no simple joy  
was possible to him4 ,only stateliness  
and power2  high intercourse with kingly
 and beautiful humanity1 proud thoughts1
 or  splendid pleasures2 throned        
sensualities1 and ennobled appetites4   
,but of  innocent1 childish1 helpful1   
holy pleasures1 he had none4 ,as in the 
classical landscape1 nearly all rural   
labor is banished from the              
,titianesque3 there is one bold etching 
of a landscape1 with grand  ploughing in
 the foreground1 but this is only a     
caprice2 the customary  ,venetian       

background is without sign of laborious 
rural life4 ,we find  indeed often a    
shepherd with his flock1 sometimes a    
woman spinning1 but  no division of     
fields1 no growing crops nor nestling   
villages4 ,in the  numerous drawings and
 woodcuts variously connected with or   
representative of ,venetian work1 a     
watermill is a frequent object1 a  river
 constant1 generally the sea4 ,but the  
prevailing idea in all the  great       
pictures ,i have seen1 is that of       
mountainous land with wild but  graceful
 forest1 and rolling or horizontal      
clouds4 ,the mountains are  dark blue2  
the clouds glowing or soft gray1 always 
massive2 the light1  deep1 clear1       
melancholy2 the foliage1 neither        
intricate nor graceful1  but compact and
 sweeping 7with undulated trunks71      
dividing much into  horizontal flakes1  
like the clouds2 the ground rocky and   
broken somewhat  monotonously1 but      
richly green with wild herbage2 here and
 there a  flower1 by preference white or

 blue1 rarely yellow1 still more rarely 
red4     #ab4 ,it was stated that this  
heroic landscape of theirs was peopled  
by  spiritual beings of the highest     
order4 ,and in this rested the dominion 
of the ,venetians over all later        
schools4 ,they were the last believing  
school of ,italy4 ,although1 as ,i said 
above1 always quarrelling with the      
,pope1 there is all the more evidence of
 an earnest faith in their  religion4   
,people who trusted the ,madonna less1  
flattered the ,pope more4  ,but down to 
,tintoret's time1 the ,roman ,catholic  
religion was still real  and sincere at 
,venice2 and though faith in it was     
compatible with much  which to us       
appears criminal or absurd1 the religion
 itself was  entirely sincere4     #ac4 
,perhaps when you see one of ,titian's  
splendidly passionate  subjects1 or find
 ,veronese making the marriage in ,cana 
one blaze of  worldly pomp1 you imagine 
that ,titian must have been a           
sensualist1 and  ,veronese an           

unbeliever4    ,put the idea from you at
 once1 and be assured of this for       
ever2--it will  guide you through many a
 labyrinth of life1 as well as of       
painting1--that of an evil tree1 men    
never gather good fruit--good of  any   
sort or kind2--even good sensualism4    
,let us look to this calmly4 ,we have   
seen what physical advantage the        
,venetian had1 in his sea and sky2 also 
what moral disadvantage he had1  in     
scorn of the poor2 now finally1 let us  
see with what power he was  invested1   
which men since his time have never     
recovered more4     #ad4 ,neither of a  
bramble bush1 gather they grapes4       
,the great saying has twofold help for  
us4 ,be assured1 first1 that if it  were
 bramble from which you gathered them1  
these are not grapes in your  hand1     
though they look like grapes4 ,or if    
these are indeed grapes1 it  was no     
bramble you gathered them from1 though  
it looked like one4    ,it is difficult 
for persons1 accustomed to receive1     

without questioning1  the modern        
,english idea of religion1 to understand
 the temper of the  ,venetian           
,catholics4 ,i do not enter into        
examination of our own feelings2  but ,i
 have to note this one significant point
 of difference between us4     #ae4 ,an 
,english gentleman1 desiring his        
portrait1 gives probably to the  painter
 a choice of several actions1 in any of 
which he is willing to be  represented4 
,as for instance1 riding his best horse1
 shooting with his  favorite pointer1   
manifesting himself in his robes of     
state on some  great public occasion1   
meditating in his study1 playing with   
his  children1 or visiting his tenants2 
in any of these or other such           
circumstances1 he will give the artist  
free leave to paint him4 ,but in  one   
important action he would shrink even   
from the suggestion of being  drawn4 ,he
 will assuredly not let himself be      
painted praying4    ,strangely1 this is 
the action1 which of all others1 a      

,venetian desires  to be painted in4 ,if
 they want a noble and complete         
portrait1 they  nearly always choose to 
be painted on their knees4     #af4     
,hypocrisy1 you say2 and that they might
 be seen of men4 ,if we  examine        
ourselves1 or any one else1 who will    
give trustworthy answer on  this point1 
so as to ascertain1 to the best of our  
judgment1 what the  feeling is1 which   
would make a modern ,english person     
dislike to be  painted praying1 we shall
 not find it1 ,i believe1 to be excess  
of  sincerity4 ,whatever we find it to  
be1 the opposite ,venetian feeling is   
certainly not hypocrisy4 ,it is often   
conventionalism1 implying as little     
devotion in the person represented1 as  
regular attendance at church does  with 
us4 ,but that it is not hypocrisy1 you  
may ascertain by one simple             
consideration 7supposing you not to have
 enough knowledge of the  expression of 
sincere persons to judge by the         
portraits themselves74 ,the  ,venetians1

 when they desired to deceive1 were much
 too subtle to attempt  it clumsily4 ,if
 they assumed the mask of religion1 the 
mask must have  been of some use4 ,the  
persons whom it deceived must1          
therefore1 have  been religious1 and1   
being so1 have believed in the          
,venetians'  sincerity4 ,if therefore1  
among other contemporary nations with   
whom they  had intercourse1 we can find 
any1 more religious than they1 who were 
duped1 or even influenced1 by their     
external religiousness1 we might  have  
some ground for suspecting that         
religiousness to be assumed4 ,but if  we
 can find no one likely to have been    
deceived1 we must believe the  ,venetian
 to have been1 in reality1 what there   
was no advantage in  seeming4     #ag4  
,i leave the matter to your examination1
 forewarning you1  confidently1 that you
 will discover by severest evidence1    
that the  ,venetian religion was true4  
,not only true1 but one of the main     
motives  of their lives4 ,in the field  

of investigation to which we are here   
limited1 ,i will collect some of the    
evidence of this4    ,for one profane   
picture by great ,venetians1 you will   
find ten of sacred  subjects2 and those1
 also1 including their grandest1 most   
labored1 and  most beloved works4       
,tintoret's power culminates in two     
great religious  pictures3 the          
,crucifixion1 and the ,paradise4        
,titian's in the ,assumption1  the      
,peter ,martyr1 and ,presentation of the
 ,virgin4 ,veronese's in the  ,marriage 
in ,cana4 ,john ,bellini and ,basaiti   
never1 so far as ,i remember1  painted  
any other than sacred subjects4 ,by the 
,palmas1 ,vincenzo1 ,catena1  and       
,bonifazio1 ,i remember no profane      
subject of importance4     #ah4 ,there  
is1 moreover1 one distinction of the    
very highest import  between the        
treatment of sacred subjects by         
,venetian painters and by all  others4  
,throughout the rest of ,italy1 piety   
had become abstract1 and opposed        

theoretically to worldly life2 hence the
 ,florentine and ,umbrian painters      
generally separated their saints from   
living men4 ,they delighted in          
imagining scenes of spiritual           
perfectness2--,paradises1 and companies 
of  the redeemed at the                 
judgment2--glorified meetings of        
martyrs2--madonnas  surrounded by       
circles of angels4 ,if1 which was rare1 
definite  portraitures of living men    
were introduced1 these real characters  
formed  a kind of chorus or attendant   
company1 taking no part in the action4  
,at  ,venice all this was reversed1 and 
so boldly as at first to shock1 with    
its seeming irreverence1 a spectator    
accustomed to the formalities and       
abstractions of the so-called sacred    
schools4 ,the madonnas are no more      
seated apart on their thrones1 the      
saints no more breathe celestial air4   
,they are on our own plain ground--nay1 
here in our houses with us4 ,all  kind  
of worldly business going on in their   

presence1 fearlessly2 our own  friends  
and respected acquaintances1 with all   
their mortal faults1 and  in their      
mortal flesh1 looking at them face to   
face unalarmed3 nay1 our  dearest       
children playing with their pet dogs at 
,christ's very feet4    ,i once myself  
thought this irreverent4 ,how foolishly6
 ,as if children  whom ,he loved could  
play anywhere else4     #ai4 ,the       
picture most illustrative of this       
feeling is perhaps that at  ,dresden1 of
 ,veronese's family1 painted by himself4
    ,he wishes to represent them as     
happy and honored4 ,the best happiness  
and  highest honor he can imagine for   
them is that they should be presented   
to the ,madonna1 to whom1 therefore1    
they are being brought by the three     
virtues--,faith1 ,hope1 and ,charity4   
,the ,virgin stands in a recess behind  
two marble shafts1 such as may be  seen 
in any house belonging to an old family 
in ,venice4 ,she places the  boy ,christ
 on the edge of a balustrade before her4

 ,at her side are ,st4  ,john the       
,baptist1 and ,st4 ,jerome4 ,this group 
occupies the left side of  the picture4 
,the pillars1 seen sideways1 divide it  
from the group formed  by the ,virtues1 
with the wife and children of ,veronese4
 ,he himself  stands a little behind1   
his hands clasped in prayer4     #bj4   
,his wife kneels full in front1 a strong
 ,venetian woman1 well  advanced in     
years4 ,she has brought up her children 
in fear of ,god1 and  is not afraid to  
meet the ,virgin's eyes4 ,she gazes     
steadfastly on them2  her proud head and
 gentle1 self-possessed face are        
relieved in one broad  mass of shadow   
against a space of light1 formed by the 
white robes of  ,faith1 who stands      
beside her1--guardian1 and companion4   
,perhaps a  somewhat disappointing      
,faith at the first sight1 for her face 
is not in  any way exalted or refined4  
,veronese knew that ,faith had to       
companion  simple and slow-hearted      
people perhaps oftener than able or     

refined  people--does not therefore     
insist on her being severely            
intellectual1 or  looking as if she were
 always in the best company4 ,so she is 
only  distinguished by her pure white   
7not bright white7 dress1 her delicate  
hand1 her golden hair drifted in light  
ripples across her breast1 from  which  
the white robes fall nearly in the shape
 of a shield--the shield  of ,faith4 ,a 
little behind her stands ,hope2 she     
also1 at first1 not to  most people a   
recognizable ,hope4 ,we usually paint   
,hope as young1 and  joyous4 ,veronese  
knows better4 ,that young hope is vain  
hope--passing  away in rain of tears2   
but the ,hope of ,veronese is aged1     
assured1  remaining when all else had   
been taken away4 ,for tribulation       
worketh  patience1 and patience         
experience1 and experience hope2 and    
that hope  maketh not ashamed4    ,she  
has a black veil on her head4    ,then  
again1 in the front1 is ,charity1       
red-robed2 stout in the arms1--a        

servant of all work1 she2 but           
small-headed1 not being specially given 
to  thinking2 soft-eyed1 her hair       
braided brightly1 her lips rich red1    
sweet-blossoming4 ,she has got some work
 to do even now1 for a nephew of        
,veronese's is doubtful about coming    
forward1 and looks very humbly and      
penitently towards the ,virgin--his life
 perhaps not having been quite so       
exemplary as might at present be wished4
 ,faith reaches her small white  hand   
lightly back to him1 lays the tips of   
her fingers on his2 but  ,charity takes 
firm hold of him by the wrist from      
behind1 and will push  him on presently1
 if he still hangs back4     #ba4 ,in   
front of the mother kneel her two eldest
 children1 a girl of  about sixteen1 and
 a boy a year or two younger4 ,they are 
both wrapt in  adoration--the boy's     
being the deepest4 ,nearer us1 at their 
left side1  is a younger boy1 about nine
 years old--a black-eyed fellow1 full of
  life--and evidently his father's      

darling 7for ,veronese has put him full 
in light in the front2 and given him a  
beautiful white silken jacket1  barred  
with black1 that nobody may ever miss   
seeing him to the end of  time74 ,he is 
a little shy about being presented to   
the ,madonna1 and for  the present has  
got behind the pillar1 blushing1 but    
opening his black  eyes wide2 he is just
 summoning courage to peep round1 and   
see if she  looks kind4 ,a still younger
 child1 about six years old1 is really  
frightened1 and has run back to his     
mother1 catching hold of her dress  at  
the waist4 ,she throws her right arm    
round him and over him1 with  exquisite 
instinctive action1 not moving her eyes 
from the ,madonna's  face4 ,last of all1
 the youngest child1 perhaps about three
 years old1 is  neither frightened nor  
interested1 but finds the ceremony      
tedious1 and  is trying to coax the dog 
to play with him2 but the dog1 which is 
one of  the little curly1 short-nosed1  
fringy-pawed things1 which all ,venetian

  ladies petted1 will not now be coaxed4
 ,for the dog is the last link in  the  
chain of lowering feeling1 and takes his
 doggish views of the  matter4 ,he      
cannot understand1 first1 how the       
,madonna got into the house2  nor1      
secondly1 why she is allowed to stay1   
disturbing the family1 and  taking all  
their attention from his dogship4 ,and  
he is walking away1  much offended4     
#bb4 ,the dog is thus constantly        
introduced by the ,venetians in order to
  give the fullest contrast to the      
highest tones of human thought and      
feeling4 ,i shall examine this point    
presently farther1 in speaking of       
pastoral landscape and animal painting2 
but at present we will merely  compare  
the use of the same mode of expression  
in ,veronese's  ,presentation of the    
,queen of ,sheba4     #bc4 ,this picture
 is at ,turin1 and is of quite          
inestimable value4 ,it is  hung high2   
and the really principal figure--the    
,solomon1 being in the  shade1 can      

hardly be seen1 but is painted with     
,veronese's utmost  tenderness1 in the  
bloom of perfect youth1 his hair golden1
 short1  crisply curled4 ,he is seated  
high on his lion throne2 two elders on  
each  side beneath him1 the whole group 
forming a tower of solemn shade4 ,i     
have alluded1 elsewhere1 to the         
principle on which all the best         
composers act1 of supporting these lofty
 groups by some vigorous mass of        
foundation4 ,this column of noble shade 
is curiously sustained4 ,a  falconer    
leans forward from the left-hand side1  
bearing on his wrist a  snow-white      
falcon1 its wings spread1 and           
brilliantly relieved against  the purple
 robe of one of the elders4 ,it touches 
with its wings one of  the golden lions 
of the throne1 on which the light also  
flashes  strongly2 thus forming1        
together with it1 the lion and eagle    
symbol1  which is the type of ,christ   
throughout medival work4 ,in order to   
show  the meaning of this symbol1 and   

that ,solomon is typically invested with
  the ,christian royalty1 one of the    
elders1 by a bold anachronism1 holds a  
jewel in his hand of the shape of a     
cross1 with which he 7by accident of    
gesture7 points to ,solomon2 his other  
hand is laid on an open book4     #bd4  
,the group opposite1 of which the queen 
forms the centre1 is also  painted with 
,veronese's highest skill2 but contains 
no point of interest  bearing on our    
present subject1 except its connection  
by a chain of  descending emotion4 ,the 
,queen is wholly oppressed and subdued2 
kneeling1  and nearly fainting1 she     
looks up to ,solomon with tears in her  
eyes2 he1  startled by fear for her1    
stoops forward from the throne1 opening 
his  right hand1 as if to support her1  
so as almost to drop the sceptre4 ,at   
her side her first maid of honor is     
kneeling also1 but does not care  about 
,solomon2 and is gathering up her dress 
that it may not be crushed2  and looking
 back to encourage a negro girl1 who1   

carrying two toy-birds1  made of enamel 
and jewels1 for presenting to the ,king1
 is frightened at  seeing her ,queen    
fainting1 and does not know what she    
ought to do2 while  lastly1 the ,queen's
 dog1 another of the little fringy-paws1
 is wholly  unabashed by ,solomon's     
presence1 or anybody else's2 and stands 
with his  fore legs well apart1 right in
 front of his mistress1 thinking        
everybody  has lost their wits2 and     
barking violently at one of the         
attendants1 who  has set down a golden  
vase disrespectfully near him4     #be4 
,throughout these designs ,i want the   
reader to notice the purpose  of        
representing things as they were likely 
to have occurred1 down to  trivial1 or  
even ludicrous detail--the nobleness of 
all that was  intended to be noble being
 so great that nothing could detract    
from it4  ,a farther instance1 however1 
and a prettier one1 of this familiar    
realization1 occurs in a ,holy ,family1 
by ,veronese1 at ,brussels4 ,the        

,madonna has laid the infant ,christ on 
a projecting base of pillar1 and  stands
 behind1 looking down on him4 ,st4      
,catherine1 having knelt down in  front1
 the child turns round to receive       
her--so suddenly1 and so far1  that any 
other child must have fallen over the   
edge of the stone4 ,st4  ,catherine1    
terrified1 thinking he is really going  
to fall1 stretches out  her arms to     
catch him4 ,but the ,madonna looking    
down1 only smiles1 ,he  will not fall4  
#bf4 ,a more touching instance of this  
realization occurs1 however1 in  the    
treatment of the saint ,veronica 7in the
 ,ascent to ,calvary71 at  ,dresden4    
,most painters merely represent her as  
one of the gentle1  weeping1 attendant  
women2 and show her giving the          
handkerchief as though  these women had 
been allowed to approach ,christ without
 any difficulty4  ,but in ,veronese's   
conception1 she has to break through the
 executioners  to him4 ,she is not      
weeping2 and the expression of pity1    

though intense1  is overborne by that of
 resolution4 ,she is determined to reach
 ,christ2  has set her teeth close1 and 
thrusts aside one of the executioners1  
who  strikes fiercely at her with a     
heavy doubled cord4     #bg4 ,these     
instances are enough to explain the     
general character of the  mind of       
,veronese1 capable of tragic power to   
the utmost1 if he chooses  to exert it  
in that direction1 but1 by habitual     
preference1 exquisitely  graceful and   
playful2 religious without severity1 and
 winningly noble2  delighting in slight1
 sweet1 every-day incident1 but hiding  
deep  meanings underneath it2 rarely    
painting a gloomy subject1 and never a  
base one4     #bh4 ,i have1 in other    
places1 entered enough into the         
examination of  the great religious mind
 of ,tintoret2 supposing then that he   
was  distinguished from ,titian chiefly 
by this character4 ,but in this ,i was  
mistaken2 the religion of ,titian is    
like that of ,shakspere--occult  behind 

his magnificent equity4 ,it is not      
possible1 however1 within the  limits of
 this work1 to give any just account of 
the mind of ,titian3 nor  shall ,i      
attempt it2 but will only explain some  
of those more strange and  apparently   
inconsistent attributes of it1 which    
might otherwise prevent  the reader from
 getting clue to its real tone4 ,the    
first of these is its  occasional       
coarseness in choice of type of feature4
     #bi4 ,in the second volume ,i had  
to speak of ,titian's ,magdalen1 in the 
,pitti ,palace1 as treated basely1 and  
that in strong terms1 the  disgusting   
,magdalen of the ,pitti4    ,truly she  
is so as compared with the received     
types of the ,magdalen4 ,a  stout1      
redfaced woman1 dull1 and coarse of     
feature1 with much of the  animal in    
even her expression of repentance--her  
eyes strained1 and  inflamed with       
weeping4 ,i ought1 however1 to have     
remembered another  picture of the      
,magdalen by ,titian 7,mr4 ,rogers's1   

now in the ,national  ,gallery71 in     
which she is just as refined1 as in the 
,pitti ,palace she is  gross2 and had ,i
 done so1 ,i should have seen ,titian's 
meaning4 ,it had  been the fashion      
before his time to make the ,magdalen   
always young and  beautiful2 her1 if no 
one else1 even the rudest painters      
flattered2 her  repentance was not      
thought perfect unless she had lustrous 
hair and  lovely lips4 ,titian first    
dared to doubt the romantic fable1 and  
reject  the narrowness of sentimental   
faith4 ,he saw that it was possible for 
plain women to love no less than        
beautiful ones2 and for stout persons   
to repent as well as those more         
delicately made4 ,it seemed to him that 
the ,magdalen would have received her   
pardon not the less quickly because  her
 wit was none of the readiest2 and would
 not have been regarded with  less      
compassion by her ,master because her   
eyes were swollen1 or her  dress        
disordered4 ,it is just because he has  

set himself sternly to  enforce this    
lesson that the picture is so painful3  
the only instance1  so far as ,i        
remember1 of ,titian's painting a woman 
markedly and entirely  belonging to the 
lowest class4     #cj4 ,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     
qualities1 or to exulting and bright    
representation of heathen deities4      
,the ,venetian mind1 we have said1 and  
,titian's especially1 as the central    
type of it1 was wholly realist1         
universal1 and manly4    ,in this       
breadth and realism1 the painter saw    
that sensual passion in man  was1 not   
only a fact1 but a ,divine fact2 the    
human creature1 though the  highest of  
the animals1 was1 nevertheless1 a       
perfect animal1 and his  happiness1     
health1 and nobleness depended on the   
due power of every  animal passion1 as  
well as the cultivation of every        

spiritual tendency4    ,he thought that 
every feeling of the mind and heart1 as 
well as every  form of the body1        
deserved painting4 ,also to a painter's 
true and highly  trained instinct1 the  
human body is the loveliest of all      
objects4 ,i do  not stay to trace the   
reasons why1 at ,venice1 the female body
 could be  found in more perfect beauty 
than the male2 but so it was1 and it    
becomes the principal subject therefore1
 both with ,giorgione and ,titian4      
,they painted it fearlessly1 with all   
right and natural qualities2 never1     
however1 representing it as exercising  
any overpowering attractive  influence  
on man2 but only on the ,faun or ,satyr4
    ,yet they did this so majestically  
that ,i am perfectly certain no         
untouched ,venetian picture ever yet    
excited one base thought 7otherwise     
than in base persons anything may do    
so72 while in the greatest studies  of  
the female body by the ,venetians1 all  
other characters are overborne  by      

majesty1 and the form becomes as pure as
 that of a ,greek statue4     #ca4      
,there is no need1 ,i should think1 to  
point out how this  contemplation of the
 entire personal nature was reconcilable
 with the  severest conceptions of      
religious duty and faith4    ,but the   
fond introduction of heathen gods may   
appear less explicable4    ,on          
examination1 however1 it will be found1 
that these deities are never  painted   
with any heart-reverence or affection4  
,they are introduced for  the most part 
symbolically 7,bacchus and ,venus       
oftenest1 as incarnations  of the spirit
 of revelry and beauty71 of course      
always conceived with  deep imaginative 
truth1 much resembling the mode of      
,keats's conception2  but never so as to
 withdraw any of the deep devotion      
referred to the  objects of ,christian  
faith4    ,in all its roots of power1   
and modes of work2--in its belief1 its  
breadth1 and its judgment1 ,i find the  
,venetian mind perfect4    ,how1 then1  

did its art so swiftly pass away8 ,how  
become1 what it became  unquestionably1 
one of the chief causes of the          
corruption of the mind of  ,italy1 and  
of her subsequent decline in moral and  
political power8     #cb4 ,by reason of 
one great1 one fatal                    
fault2--recklessness in aim4  ,wholly   
noble in its sources1 it was wholly     
unworthy in its purposes4    ,separate  
and strong1 like ,samson1 chosen from   
its youth1 and with the  spirit of ,god 
visibly resting on it1--like him1 it    
warred in careless  strength1 and       
wantoned in untimely pleasure4 ,no      
,venetian painter ever  worked with any 
aim beyond that of delighting the eye1  
or expressing  fancies agreeable to     
himself or flattering to his nation4    
,they could not  be either unless they  
were religious4 ,but he did not desire  
the  religion4 ,he desired the delight4 
,the ,assumption is a noble picture1    
because ,titian believed in the         
,madonna4 ,but he did not paint it to   

make any one else believe in her4 ,he   
painted it because he enjoyed rich      
masses of red and blue1 and faces       
flushed with sunlight4    ,tintoret's   
,paradise is a noble picture1 because he
 believed in ,paradise4  ,but he did not
 paint it to make any one think of      
heaven2 but to form a  beautiful        
termination for the hall of the greater 
council4    ,other men used their effete
 faiths and mean faculties with a high  
moral  purpose4 ,the ,venetian gave the 
most earnest faith1 and the lordliest   
faculty1 to gild the shadows of an      
ante-chamber1 or heighten the  splendors
 of a holiday4     #cc4 ,strange1 and   
lamentable as this carelessness may     
appear1 ,i find it  to be almost the law
 with the great workers4 ,weak and vain 
men have  acute consciences1 and labor  
under a profound sense of               
responsibility4  ,the strong men1       
sternly disdainful of themselves1 do    
what they can1 too  often merely as it  
pleases them at the moment1 reckless    

what comes of  it4    ,i know not how   
far in humility1 or how far in bitter   
and hopeless  levity1 the great         
,venetians gave their art to be blasted 
by the  sea-winds or wasted by the worm4
 ,i know not whether in sorrowful       
obedience1 or in wanton compliance1 they
 fostered the folly1 and  enriched the  
luxury of their age4 ,this only ,i know1
 that in proportion  to the greatness of
 their power was the shame of its       
desecration and the  suddenness of its  
fall4 ,the enchanter's spell1 woven by  
centuries of  toil1 was broken in the   
weakness of a moment2 and swiftly1 and  
utterly1  as a rainbow vanishes1 the    
radiance and the strength faded from the
  wings of the ,lion4      ,,footnotes3 
#a ,anacreon1 ,ode #abth4      #b       
,herod1 i4 #ei4      #c ,lucian         
7,micyllus74      #d ,aristophanes1     
,plutus4      #e ,hippias ,major1 #bjh4 
,,chapter ,,iv4    ,,durer ,,and        
,,salvator4    ,,emigravit4       #a4   
,,by referring to the first analysis of 

our subject1 it will be seen  we have   
next to examine the art which cannot    
conquer the evil1 but  remains at war   
with1 or in captivity to it4    ,up to  
the time of the ,reformation it was     
possible for men even of the  highest   
powers of intellect to obtain a         
tranquillity of faith1 in the  highest  
degree favorable to the pursuit of any  
particular art4 ,possible1  at least1 we
 see it to have been2 there is no       
need--nor1 so far as ,i  see1 any       
ground1 for argument about it4 ,i am    
myself unable to understand  how it was 
so2 but the fact is unquestionable4 ,it 
is not that ,i wonder  at men's trust in
 the ,pope's infallibility1 or in his   
virtue2 nor at  their surrendering their
 private judgment2 nor at their being   
easily  cheated by imitations of        
miracles2 nor at their thinking         
indulgences  could be purchased with    
money4 ,but ,i wonder at this one thing 
only2 the  acceptance of the doctrine of
 eternal punishment as dependent on     

accident of birth1 or momentary         
excitement of devotional feeling4 ,i    
marvel at the acceptance of the system  
7as stated in its fulness by  ,dante7   
which condemned guiltless persons to the
 loss of heaven because  they had lived 
before ,christ1 and which made the      
obtaining of ,paradise  turn frequently 
on a passing thought or a momentary     
invocation4 ,how this  came to pass1 it 
is no part of our work here to          
determine4 ,that in this  faith1 it was 
possible to attain entire peace of mind2
 to live calmly1  and die hopefully1 is 
indisputable4     #b4 ,but this         
possibility ceased at the ,reformation4 
,thenceforward human  life became a     
school of debate1 troubled and fearful4 
,fifteen hundred  years of spiritual    
teaching were called into fearful       
question1 whether  indeed it had been   
teaching by angels or devils8 ,whatever 
it had been1  there was no longer any   
way of trusting it peacefully4    ,a    
dark time for all men4 ,we cannot now   

conceive it4 ,the great horror of  it   
lay in this3--that1 as in the trial-hour
 of the ,greek1 the heavens  themselves 
seemed to have deceived those who had   
trusted in them4    ,we had prayed with 
tears2 we had loved with our hearts4    
,there was no  choice of way open to us4
 ,no guidance from ,god or man1 other   
than this1  and behold1 it was a lie4   
',when ,he1 the ,spirit of ,truth1 is   
come1 ,he  shall guide you into all     
truth4' ,and ,he has guided us into no  
truth4  ,there can be no such ,spirit4  
,there is no ,advocate1 no ,comforter4  
,has  there been no ,resurrection8      
#c4 ,then came the ,resurrection of     
,death4 ,never since man first saw him1 
face to face1 had his terror been so    
great4 ,swallowed up in victory3  alas6 
no2 but king over all the earth4 ,all   
faith1 hope1 and fond belief  were      
betrayed4 ,nothing of futurity was now  
sure but the grave4    ,for the         
,pan-,athenaic ,triumph and the ,feast  
of ,jubilee1 there came up1  through    

fields of spring1 the dance of ,death4  
,the brood of weak men fled from the    
face of him4 ,a new ,bacchus and his    
crew this1 with worm for snake and gall 
for wine4 ,they recoiled to such        
pleasure as yet remained possible to    
them--feeble infidelities1 and          
luxurious sciences1 and so went their   
way4     #d4 ,at least1 of the men with 
whom we are concerned--the artists--this
  was almost the universal fate4 ,they  
gave themselves to the following of     
pleasure only2 and as a religious       
school1 after a few pale rays of  fading
 sanctity from ,guido1 and brown gleams 
of gipsy ,madonnahood from  ,murillo1   
came utterly to an end4    ,three men   
only stood firm1 facing the new         
,dionysiac revel1 to see what  would    
come of it4    ,two in the north1       
,holbein and ,durer1 and1 later1 one in 
the south1  ,salvator4    ,but the      
ground on which they stood differed     
strangely2 ,durer and  ,holbein1 amidst 
the formal delights1 the tender         

religions1 and practical  science1 of   
domestic life and honest commerce4      
,salvator1 amidst the  pride of         
lascivious wealth1 and the outlawed     
distress of impious  poverty4     #e4   
,it would be impossible to imagine any  
two phases of scenery or  society more  
contrary in character1 more opposite in 
teaching1 than  those surrounding       
,nuremberg and ,naples1 in the sixteenth
 and seventeenth  centuries4 ,what they 
were then1 both districts still to all  
general  intents remain4 ,the cities    
have in each case lost their splendor   
and  power1 but not their character4    
,the surrounding scenery remains wholly 
unchanged4 ,it is still in our power1   
from the actual aspect of the  places1  
to conceive their effect on the youth of
 the two painters4    ,illustration3    
#gf4 ,the ,moat of ,nuremberg4     #f4  
,nuremberg is gathered at the base of a 
sandstone rock1 rising in  the midst of 
a dry but fertile plain4 ,the rock forms
 a prolonged and  curved ridge1 of which

 the concave side1 at the highest point1
 is  precipitous2 the other slopes      
gradually to the plain4 ,fortified with 
wall and tower along its whole crest1   
and crowned with a stately castle1  it  
defends the city--not with its          
precipitous side--but with its slope4   
,the precipice is turned to the town4   
,it wears no aspect of hostility        
towards the surrounding fields2 the     
roads lead down into them by gentle     
descents from the gates4 ,to the south  
and east the walls are on the  level of 
the plain2 within them1 the city itself 
stands on two swells of  hill1 divided  
by a winding river4 ,its architecture   
has1 however1 been  much overrated4 ,the
 effect of the streets1 so delightful to
 the eye of  the passing traveller1     
depends chiefly on one appendage of the 
roof1  namely1 its warehouse windows4   
,every house1 almost without exception1 
has at least one boldly opening dormer  
window1 the roof of which  sustains a   
pulley for raising goods2 and the       

underpart of this strong  overhanging   
roof is always carved with a rich       
pattern1 not of refined  design1 but    
effective4#a ,among these comparatively 
modern structures  are mingled1 however1
 not unfrequently1 others1 turreted at  
the angles1  which are true ,gothic of  
the fifteenth1 some of the fourteenth1  
century2  and the principal churches    
remain nearly as in ,durer's time4      
,their  ,gothic is none of it good1 nor 
even rich 7though the faades have their 
ornament so distributed as to give them 
a sufficiently elaborate  effect at a   
distance72 their size is diminutive2    
their interiors mean1  rude1 and        
ill-proportioned1 wholly dependent for  
their interest on  ingenious stone      
cutting in corners1 and finely-twisted  
ironwork2 of  these the mason's         
exercises are in the worst possible     
taste1 possessing  not even the merit of
 delicate execution2 but the designs in 
metal are  usually meritorious1 and     
,fischer's shrine of ,st4 ,sebald is    

good1 and may  rank with ,italian       
work4#b     #g4 ,though1 however1 not   
comparable for an instant to any great  
,italian  or ,french city1 ,nuremberg   
possesses one character peculiar to     
itself1  that of a self-restrained1     
contented1 quaint domesticity4 ,it would
 be  vain to expect any first-rate      
painting1 sculpture1 or poetry1 from the
  well-regulated community of merchants 
of small ware4 ,but it is evident  they 
were affectionate and trustworthy--that 
they had playful fancy1 and  honorable  
pride4 ,there is no exalted grandeur in 
their city1 nor any  deep beauty2 but an
 imaginative homeliness1 mingled with   
some elements  of melancholy and power1 
and a few even of grace4    ,this       
homeliness1 among many other causes1    
arises out of one in chief4  ,the       
richness of the houses depends1 as ,i   
just said1 on the dormer  windows3 but  
their deeper character on the pitch and 
space of roofs4 ,i  had to notice long  
ago how much our ,english cottage       

depended for  expression on its steep   
roof4 ,the ,german house does so in far 
greater  degree4 ,plate #gf is          
engraved#c from a slight pen-and-ink    
sketch of mine  on the ramparts of      
,nuremberg1 showing a piece of its moat 
and wall1 and  a little corner of the   
city beneath the castle2 of which the   
tower on  the extreme right rises just  
in front of ,durer's house4 ,the        
character  of this scene approaches more
 nearly that which ,durer would see in  
his  daily walks1 than most of the      
modernized inner streets4 ,in ,durer's  
own  engraving1 ,the ,cannon1 the       
distance 7of which the most important   
passage is facsimiled in my ,elements of
 ,drawing1 p4 #aaa7 is an actual        
portrait of part of the landscape seen  
from those castle ramparts1  looking    
towards ,franconian ,switzerland4       
#h4 ,if the reader will be at the pains 
to turn to it1 he will see at a  glance 
the elements of the ,nuremberg country1 
as they still exist4  ,wooden cottages1 

thickly grouped1 enormously high in the 
roofs2 the  sharp church spire1 small   
and slightly grotesque1 surmounting     
them2  beyond1 a richly cultivated1     
healthy plain bounded by woody hills4   
,by a  strange coincidence the very     
plant which constitutes the staple      
produce  of those fields1 is in almost  
ludicrous harmony with the grotesqueness
  and neatness of the architecture      
around2 and one may almost fancy that   
the builders of the little knotted      
spires and turrets of the town1 and     
workers of its dark iron flowers1 are in
 spiritual presence1 watching  and      
guiding the produce of the field1--when 
one finds the footpaths  bordered       
everywhere1 by the bossy spires and     
lustrous jetty flowers of  the black    
hollyhock4     #i4 ,lastly1 when ,durer 
penetrated among those hills of         
,franconia he  would find himself in a  
pastoral country1 much resembling the   
,gruyre  districts of ,switzerland1 but 
less thickly inhabited1 and giving in   

its  steep1 though not lofty1           
rocks1--its scattered pines1--and its   
fortresses and chapels1 the motives of  
all the wilder landscape  introduced by 
the painter in such pieces as his ,st4  
,jerome1 or ,st4  ,hubert4 ,his         
continual and forced introduction of sea
 in almost every  scene1 much as it     
seems to me to be regretted1 is possibly
 owing to his  happy recollections of   
the sea-city where he received the      
rarest of all  rewards granted to a good
 workman2 and1 for once in his life1 was
  understood4     #aj4 ,among this      
pastoral simplicity and formal sweetness
 of domestic  peace1 ,durer had to work 
out his question concerning the grave4  
,it  haunted him long2 he learned to    
engrave death's heads well before he had
  done with it2 looked deeper than any  
other man into those strange rings1     
their jewels lost2 and gave answer at   
last conclusively in his great  ,knight 
and ,death--of which more presently4    
,but while the ,nuremberg  landscape is 

still fresh in our minds1 we had better 
turn south quickly  and compare the     
elements of education which formed1 and 
of creation  which companioned1         
,salvator4     #aa4 ,born with a wild   
and coarse nature 7how coarse ,i will   
show you  soon71 but nevertheless an    
honest one1 he set himself in youth     
hotly to  the war1 and cast himself     
carelessly on the current of life4 ,no  
rectitude of ledger-lines stood in his  
way2 no tender precision of  household  
customs2 no calm successions of rural   
labor4 ,but past his  half-starved lips 
rolled profusion of pitiless wealth2    
before him glared  and swept the troops 
of shameless pleasure4 ,above him       
muttered ,vesuvius2  beneath his feet   
shook the ,solfatara4    ,in heart      
disdainful1 in temper adventurous2      
conscious of power1  impatient of labor1
 and yet more of the pride of the       
patrons of his  youth1 he fled to the   
,calabrian hills1 seeking1 not          
knowledge1 but  freedom4 ,if he was to  

be surrounded by cruelty and deceit1 let
 them at  least be those of brave men or
 savage beasts1 not of the timorous and 
the contemptible4 ,better the wrath of  
the robber1 than enmity of the  priest2 
and the cunning of the wolf than of the 
hypocrite4     #ab4 ,we are accustomed  
to hear the south of ,italy spoken of as
 a  beautiful country4 ,its mountain    
forms are graceful above others1 its    
sea-bays exquisite in outline and hue2  
but it is only beautiful in  superficial
 aspect4 ,in closer detail it is wild   
and melancholy4 ,its  forests are       
sombre-leafed1 labyrinth-stemmed2 the   
carubbe1 the olive1  laurel1 and ilex1  
are alike in that strange feverish      
twisting of their  branches1 as if in   
spasms of half human pain3--,avernus    
forests2 one  fears to break their      
boughs1 lest they should cry to us from 
their  rents2 the rocks they shade are  
of ashes1 or thrice-molten lava2 iron   
sponge1 whose every pore has been filled
 with fire4 ,silent villages1           

earthquake-shaken1 without commerce1    
without industry1 without  knowledge1   
without hope1 gleam in white ruin from  
hill-side to  hill-side2 far-winding    
wrecks of immemorial walls surround the 
dust of  cities long forsaken3 the      
mountain streams moan through the cold  
arches  of their foundations1 green with
 weed1 and rage over the heaps of their 
fallen towers4 ,far above1 in           
thunder-blue serration1 stand the       
eternal  edges of the angry ,apennine1  
dark with rolling impendence of volcanic
  cloud4     #ac4 ,yet even among such  
scenes as these1 ,salvator might have   
been  calmed and exalted1 had he been1  
indeed1 capable of exaltation4 ,but he  
was not of high temper enough to        
perceive beauty4 ,he had not the sacred 
sense--the sense of color2 all the      
loveliest hues of the ,calabrian air    
were invisible to him2 the sorrowful    
desolation of the ,calabrian  villages  
unfelt4 ,he saw only what was gross and 
terrible1--the jagged  peak1 the        

splintered tree1 the flowerless bank of 
grass1 and wandering  weed1 prickly and 
pale4 ,his temper confirmed itself in   
evil1 and became  more and more fierce  
and morose2 though not1 ,i believe1     
cruel1  ungenerous1 or lascivious4 ,i   
should not suspect ,salvator of wantonly
  inflicting pain4 ,his constantly      
painting it does not prove he delighted 
in it2 he felt the horror of it1 and in 
that horror1 fascination4 ,also1  he    
desired fame1 and saw that here was an  
untried field rich enough in  morbid    
excitement to catch the humor of his    
indolent patrons4 ,but the  gloom gained
 upon him1 and grasped him4 ,he could   
jest1 indeed1 as men  jest in           
prison-yards 7he became afterwards a    
renowned mime in ,florence72  his       
satires are full of good mocking1 but   
his own doom to sadness is  never       
repealed4     #ad4 ,of all men whose    
work ,i have ever studied1 he gives me  
most  distinctly the idea of a lost     
spirit4 ,michelet calls him ,ce damn    

,salvator1 perhaps in a sense merely    
harsh and violent2 the epithet to  me   
seems true in a more literal1 more      
merciful sense1--,that condemned        
,salvator4 ,i see in him1               
notwithstanding all his baseness1 the   
last  traces of spiritual life in the   
art of ,europe4 ,he was the last man to 
whom the thought of a spiritual         
existence presented itself as a         
conceivable reality4 ,all succeeding    
men1 however powerful--,rembrandt1      
,rubens1 ,vandyke1 ,reynolds--would have
 mocked at the idea of a spirit4  ,they 
were men of the world2 they are never in
 earnest1 and they are  never appalled4 
,but ,salvator was capable of           
pensiveness1 of faith1 and  of fear4    
,the misery of the earth is a marvel to 
him2 he cannot leave off  gazing at it4 
,the religion of the earth is a horror  
to him4 ,he gnashes  his teeth at it1   
rages at it1 mocks and gibes at it4 ,he 
would have  acknowledged religion1 had  
he seen any that was true4 ,anything    

rather  than that baseness which he did 
see4 ,if there is no other religion     
than this of pope and cardinals1 let us 
to the robber's ambush and the  dragon's
 den4 ,he was capable of fear also4 ,the
 gray spectre1  horse-headed1 striding  
across the sky--7in the ,pitti          
,palace7--its bat  wings spread1 green  
bars of the twilight seen between its   
bones2 it was  no play to him--the      
painting of it4 ,helpless ,salvator6 ,a 
little early  sympathy1 a word of true  
guidance1 perhaps1 had saved him4 ,what 
says he  of himself8 ,despiser of wealth
 and of death4 ,two grand scorns2 but1  
oh1 condemned ,salvator6 the question is
 not for man what he can scorn1  but    
what he can love4     #ae4 ,i do not    
care to trace the various hold which    
,hades takes on this  fallen soul4 ,it  
is no part of my work here to analyze   
his art1 nor even  that of ,durer2 all  
that we need to note is the opposite    
answer they gave  to the question about 
death4    ,to ,salvator it came in      

narrow terms4 ,desolation1 without hope1
  throughout the fields of nature he had
 to explore2 hypocrisy and  sensuality1 
triumphant and shameless1 in the cities 
from which he  derived his support4 ,his
 life1 so far as any nobility remained  
in it1  could only pass in horror1      
disdain1 or despair4 ,it is difficult to
 say  which of the three prevails most  
in his common work2 but his answer to   
the great question was of despair only4 
,he represents ,umana ,fragilita  by the
 type of a skeleton with plumy wings1   
leaning over a woman and  child2 the    
earth covered with ruin round them--a   
thistle1 casting its  seed1 the only    
fruit of it4 ,thorns1 also1 and thistles
 shall it bring  forth to thee4 ,the    
same tone of thought marks all          
,salvator's more  earnest work4     #af4
 ,on the contrary1 in the sight of      
,durer1 things were for the most  part  
as they ought to be4 ,men did their work
 in his city and in the  fields round   
it4 ,the clergy were sincere4 ,great    

social questions  unagitated2 great     
social evils either non-existent1 or    
seemingly a part  of the nature of      
things1 and inevitable4 ,his answer was 
that of patient  hope2 and twofold1     
consisting of one design in praise of   
,fortitude1 and  another in praise of   
,labor4 ,the ,fortitude1 commonly known 
as the ,knight  and ,death1 represents a
 knight riding through a dark valley    
overhung by  leafless trees1 and with a 
great castle on a hill beyond4 ,beside  
him1  but a little in advance1 rides    
,death on a pale horse4 ,death is       
gray-haired and crowned2--serpents      
wreathed about his crown2 7the sting  of
 death involved in the kingly power74   
,he holds up the hour-glass1 and  looks 
earnestly into the knight's face4       
,behind him follows ,sin2 but ,sin      
powerless2 he has been conquered and    
passed by1 but follows yet1  watching if
 any way of assault remains4 ,on his    
forehead are two horns--,i  think1 of   
sea-shell--to indicate his              

insatiableness and instability4 ,he  has
 also the twisted horns of the ram1 for 
stubbornness1 the ears of an  ass1 the  
snout of a swine1 the hoofs of a goat4  
,torn wings hang useless  from his      
shoulders1 and he carries a spear with  
two hooks1 for catching  as well as     
wounding4 ,the knight does not heed him1
 nor even ,death1  though he is         
conscious of the presence of the last4  
,he rides quietly1 his bridle firm in   
his hand1 and his lips set close in  a  
slight sorrowful smile1 for he hears    
what ,death is saying2 and hears  it as 
the word of a messenger who brings      
pleasant tidings1 thinking to  bring    
evil ones4 ,a little branch of delicate 
heath is twisted round his  helmet4 ,his
 horse trots proudly and straight2 its  
head high1 and with a  cluster of oak on
 the brow where on the fiend's brow is  
the sea-shell  horn4 ,but the horse of  
,death stoops its head2 and its rein    
catches the  little bell which hangs    
from the knight's horse-bridle1 making  

it toll1  as a passing bell4#d     #ag4 
,durer's second answer is the plate of  
,melencholia1 which is the  history of  
the sorrowful toil of the earth1 as the 
,knight and ,death is  of its sorrowful 
patience under temptation4              
,salvator's answer1 remember1 is in both
 respects that of despair4 ,death  as he
 reads1 lord of temptation1 is victor   
over the spirit of man2 and  lord of    
ruin1 is victor over the work of man4   
,durer declares the sad1  but unsullied 
conquest over ,death the tempter2 and   
the sad1 but  enduring conquest over    
,death the destroyer4     #ah4 ,though  
the general intent of the ,melencholia  
is clear1 and to be  felt at a glance1  
,i am in some doubt respecting its      
special symbolism4 ,i  do not know how  
far ,durer intended to show that labor1 
in many of its  most earnest forms1 is  
closely connected with the morbid       
sadness1 or  dark anger1 of the northern
 nations4 ,truly some of the best work  
ever  done for man1 has been in that    

dark anger2#e but ,i have not yet been  
able to determine for myself how far    
this is necessary1 or how far great     
work may also be done with cheerfulness4
 ,if ,i knew what the truth was1 ,i     
should be able to interpret ,durer      
better2 meantime the design seems to  me
 his answer to the complaint1 ,yet is   
his strength labor and sorrow4    ,yes1 
he replies1 but labor and sorrow are his
 strength4     #ai4 ,the labor indicated
 is in the daily work of men4 ,not the  
inspired  or gifted labor of the few 7it
 is labor connected with the sciences1  
not  with the arts71 shown in its four  
chief functions3 thoughtful1 faithful1  
calculating and executing4              
,thoughtful1 first2 all true power      
coming of that resolved1 resistless     
calm of melancholy thought4 ,this is the
 first and last message of the  whole   
design4 ,faithful1 the right arm of the 
spirit resting on the book4             
,calculating 7chiefly in the sense of   
self-command71 the compasses in her     

right hand4 ,executive--roughest        
instruments of labor at her feet3 a     
crucible1 and geometrical solids1       
indicating her work in the sciences4    
,over her head the hour-glass and the   
bell1 for their continual words1        
,whatsoever thy hand findeth to do4     
,beside her1 childish labor             
7lesson-learning87 sitting on an old    
millstone1 with a tablet on its  knees4 
,i do not know what instrument it has in
 its hand4 ,at her knees1 a  wolf-hound 
asleep4 ,in the distance1 a comet 7the  
disorder and  threatening of the        
universe7 setting1 the rainbow dominant 
over it4 ,her  strong body is close     
girded for work2 at her waist hang the  
keys of  wealth2 but the coin is cast   
aside contemptuously under her feet4    
,she  has eagles' wings1 and is crowned 
with fair leafage of spring4    ,yes1   
,albert of ,nuremberg1 it was a noble   
answer1 yet an imperfect one4  ,this is 
indeed the labor which is crowned with  
laurel and has the wings  of the eagle4 

,it was reserved for another country to 
prove1 for another  hand to portray1 the
 labor which is crowned with fire1 and  
has the wings  of the bat4              
,,footnotes3      #a ,to obtain room for
 the goods1 the roofs slope steeply1 and
 their      other dormer windows are    
richly carved--but all are of wood2 and1
 for      the most part1 ,i think1 some 
hundred years later than ,durer's time4 
,a      large number of the oriel and   
bow windows on the faades are wooden    
also1 and of recent date4      #b ,his  
piece in the cathedral of ,magdeburg is 
strangely inferior1      wanting both   
the grace of composition and bold       
handling of the ,st4      ,sebald's4    
,the bronze fountains at ,nuremberg     
7three1 of fame1 in as      many        
squares7 are highly wrought1 and have   
considerable merit2 the      ordinary   
ironwork of the houses1 with less       
pretension1 is1 perhaps1      more truly
 artistic4 ,in ,plate #eb1 the          
right-hand figure is a                  

characteristic example of the           
bell-handle at the door of a private    
house1 composed of a wreath of flowers  
and leafage twisted in a      spiral    
round an upright rod1 the spiral        
terminating below in a      delicate    
tendril2 the whole of wrought iron4 ,it 
is longer than      represented1 some of
 the leaf-links of the chain being      
omitted in the      dotted spaces1 as   
well as the handle1 which1 though often 
itself of      leafage1 is always       
convenient for the hand4      #c ,by    
,mr4 ,le ,keux1 very admirably4      #d 
,this was first pointed out to me by a  
friend--,mr4 ,robin ,allen4 ,it      is 
a beautiful thought2 yet1 possibly1 an  
after-thought1 ,i have some             
suspicion that there is an alteration in
 the plate at that place1 and      that 
the rope to which the bell hangs was    
originally the line of the      chest of
 the nearer horse1 as the grass-blades  
about the lifted hind      leg conceal  
the lines which could not1 in ,durer's  

way of work1 be      effaced1 indicating
 its first intended position4 ,what a   
proof of his      general decision of   
handling is involved in this repentir6  
#e ,yet withal1 you see that the        
,monarch is a great1 valiant1           
cautious1 melancholy1 commanding        
man--,friends in ,council1 last         
volume1 p4 #bfi2 ,milverton giving an   
account of ,titian's picture of         
,charles the ,fifth4 7,compare          
,ellesmere's description of ,milverton  
himself1 p4 #adj47 ,read carefully also 
what is said further on      respecting 
,titian's freedom1 and fearless with    
holding of flattery2      comparing it  
with the note on ,giorgione and ,titian4
          ,,chapter ,v4    ,,claude     
,,and ,,poussin4       #a4 ,it was      
stated in the last chapter that         
,salvator was the last  painter of      
,italy on whom any fading trace of the  
old faithful spirit  rested4 ,carrying  
some of its passion far into the        
seventeenth century1  he deserved to be 

remembered together with the painters   
whom the  questioning of the            
,reformation had exercised1 eighty years
 before4 ,not  so his contemporaries4   
,the whole body of painters around him1 
but  chiefly those of landscape1 had    
cast aside all regard for the faith of  
their fathers1 or for any other2 and    
founded a school of art properly  called
 classical1#a of which the following are
 the chief  characteristics4     #b4    
,the belief in a supreme benevolent     
,being having ceased1 and the  sense of 
spiritual destitution fastening on the  
mind1 together with the  hopeless       
perception of ruin and decay in the     
existing world1 the  imagination sought 
to quit itself from the oppression of   
these ideas by  realizing a perfect     
worldly felicity1 in which the          
inevitable ruin  should at least be     
lovely1 and the necessarily short life  
entirely happy  and refined4 ,labor must
 be banished1 since it was to be        
unrewarded4  ,humiliation and           

degradation of body must be prevented   
since there could  be no compensation   
for them by preparation of the soul for 
another  world4 ,let us eat and drink   
7refinedly71 for to-morrow we die1 and  
attain the highest possible dignity as  
men in this world1 since we shall  have 
none as spirits in the next4     #c4    
,observe1 this is neither the ,greek nor
 the ,roman spirit4 ,neither  ,claude1  
nor ,poussin1 nor any other painter or  
writer1 properly termed  classical1 ever
 could enter into the ,greek or ,roman  
heart1 which was  as full1 in many cases
 fuller1 of the hope of immortality than
 our own4    ,on the absence of belief  
in a good supreme ,being1 follows1      
necessarily1  the habit of looking to   
ourselves for supreme judgment in all   
matters1  and for supreme government4   
,hence1 first1 the irreverent habit of  
judgment instead of admiration4 ,it is  
generally expressed under the  justly   
degrading term good taste4     #d4      
,hence1 in the second place1 the habit  

of restraint or  self-government        
7instead of impulsive and limitless     
obedience71 based  upon pride1 and      
involving1 for the most part1 scorn of  
the helpless and  weak1 and respect only
 for the orders of men who have been    
trained to  this habit of               
self-government4 ,whence the title      
classical1 from the  ,latin classicus4  
#e4 ,the school is1 therefore1 generally
 to be characterized as that of  taste  
and restraint4 ,as the school of taste1 
everything is1 in its  estimation1      
beneath it1 so as to be tasted or       
tested2 not above it1 to  be thankfully 
received4 ,nothing was to be fed upon as
 bread2 but only  palated as a dainty4  
,this spirit has destroyed art since the
 close of  the sixteenth century1 and   
nearly destroyed ,french literature1 our
  ,english literature being at the same 
time severely depressed1 and our        
education 7except in bodily strength7   
rendered nearly nugatory by it1 so  far 
as it affects common-place minds4 ,it is

 not possible that the  classical spirit
 should ever take possession of a mind  
of the highest  order4 ,pope is1 as far 
as ,i know1 the greatest man who ever   
fell  strongly under its influence2 and 
though it spoiled half his work1 he     
broke through it continually into true  
enthusiasm and tender thought4#b        
,again1 as the school of reserve1 it    
refuses to allow itself in any  violent 
or spasmodic passion2 the schools of    
literature which have  been in modern   
times called spasmodic1 being           
reactionary against it4  ,the word1     
though an ugly one1 is quite accurate1  
the most spasmodic  books in the world  
being ,solomon's ,song1 ,job1 and       
,isaiah4     #f4 ,the classical         
landscape1 properly so called1 is       
therefore the  representative of        
perfectly trained and civilized human   
life1 associated  with perfect natural  
scenery and with decorative spiritual   
powers4    ,i will expand this          
definition a little4    #a4 ,perfectly  

civilized human life2 that is1 life     
freed from the  necessity of humiliating
 labor1 from passions inducing bodily   
disease1  and from abusing misfortune4  
,the personages of the classical        
landscape1  therefore1 must be virtuous 
and amiable2 if employed in labor1      
endowed  with strength such as may make 
it not oppressive4 7,considered as a    
practicable ideal1 the classical life   
necessarily implies slavery1 and  the   
command1 therefore1 of a higher order of
 men over a lower1 occupied  in servile 
work47 ,pastoral occupation is allowable
 as a contrast with  city life4 ,war1 if
 undertaken by classical persons1 must  
be a contest  for honor1 more than for  
life1 not at all for wealth1#c and free 
from  all fearful or debasing passion4  
,classical persons must be trained in   
all the polite arts1 and1 because their 
health is to be perfect1 chiefly  in the
 open air4 ,hence1 the architecture     
around them must be of the most         
finished kind1 the rough country and    

ground being subdued by frequent  and   
happy humanity4     #g4 #b4 ,such       
personages and buildings must be        
associated with natural  scenery1       
uninjured by storms or inclemency of    
climate 7such injury  implying          
interruption of the open air life72 and 
it must be scenery  conducing to        
pleasure1 not to material service2 all  
cornfields1  orchards1 olive-yards1 and 
such like1 being under the management of
  slaves1#d and the superior beings     
having nothing to do with them2 but     
passing their lives under avenues of    
scented and otherwise delightful        
trees--under picturesque rocks1 and by  
clear fountains4     #h4 #c4 ,the       
spiritual powers in classical scenery   
must be decorative2  ornamental gods1   
not governing gods2 otherwise they could
 not be  subjected to the principles of 
taste1 but would demand reverence4 ,in  
order1 therefore1 as far as possible1   
without taking away their  supernatural 
power1 to destroy their dignity1 they   

are made more  criminal and capricious  
than men1 and1 for the most part1 those 
only are  introduced who are the lords  
of lascivious pleasures4 ,for the       
appearance  of any great god would at   
once destroy the whole theory of the    
classical  life2 therefore1 ,pan1       
,bacchus1 and the ,satyrs1 with ,venus  
and the  ,nymphs1 are the principal     
spiritual powers of the classical       
landscape4  ,apollo with the ,muses     
appear as the patrons of the liberal    
arts4 ,minerva  rarely presents herself 
7except to be insulted by judgment of   
,paris72  ,juno seldom1 except for some 
purpose of tyranny2 ,jupiter seldom1 but
 for  purpose of amour4     #i4 ,such   
being the general ideal of the classical
 landscape1 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 
mind4  ,it has1 however1 been often     
experimentally or playfully aimed at by 
great men2 but ,i shall only take note  

of its two leading masters4     #aj4 ,i4
 ,claude4 ,as ,i shall have no farther  
occasion to refer to this  painter1 ,i  
will resume1 shortly1 what has been said
 of him throughout  the work4 ,he had a 
fine feeling for beauty of form and     
considerable  tenderness of perception4 
,vol4 ,i41 p4 #gf2 vol4 ,,iii41 p4 #cah4
 ,his arial  effects are unequalled4    
,vol4 ,,iii41 p4 #cah4 ,their character 
appears to me  to arise rather from a   
delicacy of bodily constitution in      
,claude1 than  from any mental          
sensibility2 such as they are1 they give
 a kind of  feminine charm to his work1 
which partly accounts for its wide      
influence4 ,to whatever the character   
may be traced1 it reads him  incapable  
of enjoying or painting anything        
energetic or terrible4 ,hence  the      
weakness of his conceptions of rough    
sea4 ,vol4 ,i41 p4 #gg4    ,,ii4 ,he had
 sincerity of purpose4 ,vol4 ,,iii41 p4 
#cah4 ,but in common with  other        
landscape painters of his day1 neither  

earnestness1 humility1 nor  love1 such  
as would ever cause him to forget       
himself4 ,vol4 ,i41 p4 #gg4    ,that is 
to say1 so far as he felt the truth1 he 
tried to be true2 but he  never felt it 
enough to sacrifice supposed propriety1 
or habitual method  to it4 ,very few of 
his sketches1 and none of his pictures1 
show evidence  of interest in other     
natural phenomena than the quiet        
afternoon sunshine  which would fall    
methodically into a composition4 ,one   
would suppose he  had never seen scarlet
 in a morning cloud1 nor a storm burst  
on the  ,apennines4 ,but he enjoys a    
quiet misty afternoon in a ruminant sort
 of  way 7,vol4 ,,iii41 p4 #cbb71 yet   
truly2 and strives for the likeness of  
it1  therein differing from ,salvator1  
who never attempts to be truthful1 but  
only to be impressive4     #aa4 ,,iii4  
,his seas are the most beautiful in old 
art4 ,vol4 ,i41 p4 #cde4  ,for he       
studied tame waves1 as he did tame      
skies1 with great sincerity1  and some  

affection2 and modelled them with more  
care not only than any  other landscape 
painter of his day1 but even than any of
 the greater  men2 for they1 seeing the 
perfect painting of sea to be           
impossible1 gave  up the attempt1 and   
treated it conventionally4 ,but ,claude 
took so much  pains about this1 feeling 
it was one of his fortes1 that ,i       
suppose no  one can model a small wave  
better than he4    ,,iv4 ,he first set  
the pictorial sun in the pictorial      
heaven4 ,vol4 ,,iii41  p4 #cah4 ,we will
 give him the credit of this1 with no   
drawbacks4    ,v4 ,he had hardly any    
knowledge of physical science 7,vol4    
,i41 p4 #gf71 and  shows a peculiar     
incapacity of understanding the main    
point of a matter4  ,vol4 ,,iii41 p4    
#cba4 ,connected with which incapacity  
is his want of  harmony in expression4  
,vol4 ,,ii41 p4 #aea4 7,compare1 for    
illustration of  this1 the account of   
the picture of the ,mill in the preface 
to ,vol4 ,i47     #ab4 ,such were the   

principal qualities of the leading      
painter of  classical landscape1 his    
effeminate softness carrying him to     
dislike all  evidences of toil1 or      
distress1 or terror1 and to delight in  
the calm  formalities which mark the    
school4    ,although he often introduces
 romantic incidents and medival as well 
as  ,greek or ,roman personages1 his    
landscape is always in the true sense   
classic--everything being elegantly     
7selectingly or tastefully71 not        
passionately1 treated4 ,the absence of  
indications of rural labor1 of  hedges1 
ditches1 haystacks1 ploughed fields1 and
 the like2 the frequent  occurrence of  
ruins of temples1 or masses of unruined 
palaces2 and the  graceful wildness of  
growth in his trees1 are the principal  
sources of  the elevated character which
 so many persons feel in his scenery4   
,there is no other sentiment traceable  
in his work than this weak dislike  to  
entertain the conception of toil or     
suffering4 ,ideas of relation1 in  the  

true sense1 he has none2 nor ever makes 
an effort to conceive an  event in its  
probable circumstances1 but fills his   
foregrounds with  decorative figures1   
using commonest conventionalism to      
indicate the  subject he intends4 ,we   
may take two examples1 merely to show   
the general  character of such designs  
of his4     #ac4 #a4 ,st4 ,george and   
the ,dragon4    ,the scene is a         
beautiful opening in woods by a river   
side1 a pleasant  fountain springs on   
the right1 and the usual rich vegetation
 covers the  foreground4 ,the dragon is 
about the size of ten bramble leaves1   
and is  being killed by the remains of a
 lance1 barely the thickness of a       
walking-stick1 in his throat1 curling   
his tail in a highly offensive and      
threatening manner4 ,st4 ,george1       
notwithstanding1 on a prancing horse1   
brandishes his sword1 at about thirty   
yards' distance from the offensive      
animal4    ,a semicircular shelf of     
rocks encircles the foreground1 by which

 the  theatre of action is divided into 
pit and boxes4 ,some women and children 
having descended unadvisedly into the   
pit1 are helping each other out of  it  
again1 with marked precipitation4 ,a    
prudent person of rank has taken  a     
front seat in the boxes1--crosses his   
legs1 leans his head on his  hand1 and  
contemplates the proceedings with the   
air of a connoisseur4  ,two attendants  
stand in graceful attitudes behind him1 
and two more walk  away under the trees1
 conversing on general subjects4        
#ad4 #b4 ,worship of the ,golden ,calf4 
,the scene is nearly the same as that of
 the ,st4 ,george2 but1 in order  better
 to express the desert of ,sinai1 the   
river is much larger1 and the  trees and
 vegetation softer4 ,two people1        
uninterested in the idolatrous          
ceremonies1 are rowing in a pleasure    
boat on the river4 ,the calf is  about  
sixteen inches long 7perhaps1 we ought  
to give ,claude credit for  remembering 
that it was made of ear-rings1 though he

 might as well have  inquired how large 
,egyptian ear-rings were74 ,aaron has   
put it on a  handsome pillar1 under     
which five people are dancing1 and      
twenty-eight1  with several children1   
worshipping4 ,refreshments for the      
dancers are  provided in four large     
vases under a tree on the left1 presided
 over by  a dignified person holding a  
dog in a leash4 ,under the distant group
 of  trees appears ,moses1 conducted by 
some younger personage 7,nadab or       
,abihu74 ,this younger personage holds  
up his hands1 and ,moses1 in the  way   
usually expected of him1 breaks the     
tables of the law1 which are as  large  
as an ordinary octavo volume4     #ae4  
,i need not proceed farther1 for any    
reader of sense or ordinary  powers of  
thought can thus examine the subjects of
 ,claude1 one by one1  for himself4 ,we 
may quit him with these few final       
statements concerning  him4    ,the     
admiration of his works was legitimate1 
so far as it regarded their  sunlight   

effects and their graceful details4 ,it 
was base1 in so far as  it involved     
irreverence both for the deeper powers  
of nature1 and  carelessness as to      
conception of subject4 ,large admiration
 of ,claude is  wholly impossible in any
 period of national vigor in art4 ,he   
may by such  tenderness as he possesses1
 and by the very fact of his banishing  
painfulness1 exercise considerable      
influence over certain classes of       
minds2 but this influence is almost     
exclusively hurtful to them4     #af4   
,nevertheless1 on account of such small 
sterling qualities as they  possess1 and
 of their general pleasantness1 as well 
as their importance  in the history of  
art1 genuine ,claudes must always       
possess a  considerable value1 either as
 drawing-room ornaments or museum       
relics4  ,they may be ranked with fine  
pieces of ,china manufacture1 and other 
agreeable curiosities1 of which the     
price depends on the rarity rather  than
 the merit1 yet always on a merit of a  

certain low kind4     #ag4 ,the other   
characteristic master of classical      
landscape is ,nicolo  ,poussin4    ,i   
named ,claude first1 because the forms  
of scenery he has represented  are      
richer and more general than ,poussin's2
 but ,poussin has a far  greater power1 
and his landscapes1 though more limited 
in material1 are  incomparably nobler   
than ,claude's4 ,it would take          
considerable time to  enter into        
accurate analysis of ,poussin's strong  
but degraded mind2 and  bring us no     
reward1 because whatever he has done has
 been done better by  ,titian4 ,his     
peculiarities are1 without exception1   
weaknesses1 induced in  a highly        
intellectual and inventive mind by being
 fed on medals1 books1  and             
bassi-relievi instead of nature1 and by 
the want of any deep  sensibility4 ,his 
best works are his ,bacchanalian revels1
 always brightly  wanton and wild1 full 
of frisk and fire2 but they are coarser 
than  ,titian's1 and infinitely less    

beautiful4 ,in all minglings of the     
human  and brutal character he leans on 
the bestial1 yet with a sternly ,greek  
severity of treatment4 ,this restraint1 
peculiarly classical1 is much too       
manifest in him2 for1 owing to his habit
 of never letting himself be  free1 he  
does nothing as well as it ought to be  
done1 rarely even as  well as he can    
himself do it2 and his best beauty is   
poor1 incomplete1  and characterless1   
though refined4 ,the ,nymph pressing the
 honey in the  ,nursing of ,jupiter1 and
 the ,muse leaning against the tree1 in 
the  ,inspiration of ,poet 7both in the 
,dulwich ,gallery71 appear to me        
examples of about his highest reach in  
this sphere4     #ah4 ,his want of      
sensibility permits him to paint        
frightful subjects1  without feeling any
 true horror3 his pictures of the       
,plague1 the ,death  of ,polydectes1 c41
 are thus ghastly in incident1 sometimes
 disgusting1  but never impressive4 ,the
 prominence of the bleeding head in the 

,triumph  of ,david marks the same      
temper4 ,his battle pieces are cold and 
feeble2  his religious subjects wholly  
nugatory1 they do not excite him enough 
to  develop even his ordinary powers of 
invention4 ,neither does he put much    
power into his landscape when it becomes
 principal2 the best pieces of  it occur
 in fragments behind his figures4       
,beautiful vegetation1 more or  less    
ornamental in character1 occurs in      
nearly all his mythological  subjects1  
but his pure landscape is notable only  
for its dignified  reserve2 the great   
squareness and horizontality of its     
masses1 with  lowness of tone1 giving it
 a deeply meditative character4 ,his    
,deluge  might be much depreciated1     
under this head of ideas of relation1   
but it  is so uncharacteristic of him   
that ,i pass it by4 ,whatever power this
  lowness of tone1 light in the         
distance1 c41 give to his landscape1 or 
to ,gaspar's 7compare ,vol4 ,,ii41      
,chapter on ,infinity1  #ab71 is in both

  conventional and artificial4    ,i    
have nothing1 therefore1 to add farther1
 here1 to what was said of him  in ,vol4
 ,i4 7p4 #hi72 and1 as no other older   
masters of the classical  landscape are 
worth any special note1 we will pass on 
at once to a  school of humbler but more
 vital power4      ,,footnotes3      #a 
,the word classical is carelessly used  
in the preceding volumes1      to       
signify the characters of the ,greek or 
,roman nations4      ,henceforward1 it  
is used in a limited and accurate sense1
 as defined      in the text4      #b   
,cold-hearted1 ,i have called him4 ,he  
was so in writing the      ,pastorals1  
of which ,i then spoke2 but in          
after-life his errors were      those of
 his time1 his wisdom was his own2 it   
would be well if we      also made it   
ours4      #c ,because the pursuit of   
wealth is inconsistent at once with the 
peace and dignity of perfect life4      
#d ,it is curious1 as marking the       
peculiarity of the classical spirit     

in its resolute degradation of the lower
 orders1 that a      sailing-vessel is  
hardly admissible in a classical        
landscape1 because      its management  
implies too much elevation of the       
inferior life4 ,but a      galley1 with 
oars1 is admissible1 because the rowers 
may be conceived      as absolute       
slaves4          ,,chapter ,,vi4        
,,rubens ,,and ,,cuyp4       #a4 ,the   
examination of the causes which led to  
the final departure of  the religious   
spirit from the hearts of painters1     
would involve  discussion of the whole  
scope of the ,reformation on the minds  
of persons  unconcerned directly in its 
progress4 ,this is of course impossible4
    ,one or two broad facts only can be 
stated1 which the reader may verify1  if
 he pleases1 by his own labor4 ,i do not
 give them rashly4     #b4 ,the strength
 of the ,reformation lay entirely in its
 being a  movement towards purity of    
practice4    ,the ,catholic priesthood  
was hostile to it in proportion to the  

degree in  which they had been false to 
their own principles of moral action1   
and  had become corrupt or worldly in   
heart4    ,the ,reformers indeed cast   
out many absurdities1 and demonstrated  
many  fallacies1 in the teaching of the 
,roman ,catholic ,church4 ,but they     
themselves introduced errors1 which rent
 the ranks1 and finally arrested  the   
march of the ,reformation1 and which    
paralyze the ,protestant ,church  to    
this day4 ,errors of which the fatality 
was increased by the  controversial bent
 which lost accuracy of meaning in force
 of  declamation1 and turned            
expressions1 which ought to be used only
 in  retired depth of thought1 into     
phrases of custom1 or watchwords of     
attack4 ,owing to which habits of hot1  
ingenious1 and unguarded  controversy1  
the ,reformed churches themselves soon  
forgot the meaning of  the word which1  
of all words1 was oftenest in their     
mouths4 ,they forgot  that ,greek3      
pistis is a derivative of ,greek3       

peithomai1 not of  ,greek3 pisteu1 and  
that fides1 closely connected with fio  
on one  side1 and with confido on the   
other1 is but distantly related to      
credo4#a     #c4 ,by whatever means1    
however1 the reader may himself be      
disposed to  admit1 the ,reformation was
 arrested2 and got itself shut up into  
chancels of cathedrals in ,england 7even
 those1 generally too large for  it71   
and into conventicles everywhere else4  
,then rising between the  infancy of    
,reformation1 and the palsy of          
,catholicism2--between a new  shell of  
half-built religion on one side1 daubed 
with untempered mortar1  and a falling  
ruin of outworn religion on the other1  
lizard-crannied1  and ivy-grown2--rose1 
on its independent foundation1 the      
faithless and  materialized mind of     
modern ,europe--ending in the           
rationalism of  ,germany1 the polite    
formalism of ,england1 the careless     
blasphemy of  ,france1 and the helpless 
sensualities of ,italy2 in the midst of 

which1  steadily advancing science1 and 
the charities of more and more widely   
extended peace1 are preparing the way   
for a ,christian church1 which  shall   
depend neither on ignorance for its     
continuance1 nor on  controversy for its
 progress2 but shall reign at once in   
light1 and  love4     #d4 ,the whole    
body of painters 7such of them as were  
left7 necessarily  fell into the        
rationalistic chasm4 ,the ,evangelicals 
despised the arts1  while the ,roman    
,catholics were effete or insincere1 and
 could not retain  influence over men of
 strong reasoning power4    ,the        
painters could only associate frankly   
with men of the world1 and  themselves  
became men of the world4 ,men1 ,i mean1 
having no belief in  spiritual          
existences2 no interests or affections  
beyond the grave4     #e4 ,not but that 
they still painted scriptural subjects4 
,altar-pieces  were wanted occasionally1
 and pious patrons sometimes            
commissioned a  cabinet ,madonna4 ,but  

there is just this difference between   
the men of  this modern period1 and the 
,florentines or ,venetians--that whereas
 the  latter never exert themselves     
fully except on a sacred subject1 the   
,flemish and ,dutch masters are always  
languid unless they are profane4        
,leonardo is only to be seen in the     
,cena2 ,titian only in the ,assumption2 
but ,rubens only in the ,battle of the  
,amazons1 and ,vandyck only at court4   
#f4 ,altar-pieces1 when wanted1 of      
course either of them will supply as    
readily as anything else4 ,virgins in   
blue1#b or ,st4 ,johns in red1#c as     
many as you please4 ,martyrdoms also1 by
 all means3 ,rubens especially  delights
 in these4 ,st4 ,peter1 head            
downwards1#d is interesting             
anatomically2 writhings of impenitent   
thieves1 and bishops having their       
tongues pulled out1 display our powers  
to advantage1 also4#e  ,theological     
instruction1 if required3 ,christ armed 
with thunder1 to  destroy the world1    

spares it at the intercession of ,st4   
,francis4#f  ,last ,judgments even1     
quite ,michael-,angelesque1 rich in     
twistings of  limbs1 with spiteful      
biting1 and scratching2 and fine arial  
effects in  smoke of the pit4#g     #g4 
,in all this1 however1 there is not a   
vestige of religious feeling  or        
reverence4 ,we have even some visible   
difficulty in meeting our  patron's     
pious wishes4 ,daniel in the lion's den 
is indeed an available  subject1 but    
duller than a lion hunt2 and ,mary of   
,nazareth must be  painted1 if an order 
come for her2 but 7says polite ,sir     
,peter71 ,mary of  ,medicis1 or         
,catherine1 her bodice being fuller1 and
 better embroidered1  would1 if we might
 offer a suggestion1 probably give      
greater  satisfaction4     #h4 ,no      
phenomenon in human mind is more        
extraordinary than the junction  of this
 cold and worldly temper with great     
rectitude of principle1 and  tranquil   
kindness of heart4 ,rubens was an       

honorable and entirely  well-intentioned
 man1 earnestly industrious1 simple and 
temperate in  habits of life1 high-bred1
 learned1 and discreet4 ,his affection  
for his  mother was great2 his          
generosity to contemporary artists      
unfailing4 ,he  is a healthy1 worthy1   
kind-hearted1                           
courtly-phrased--,animal--without any   
clearly perceptible traces of a soul1   
except when he paints his  children4    
,few descriptions of pictures could be  
more ludicrous in their  pure animalism 
than those which he gives of his own4   
,it is a subject1  he writes to ,sir ,d4
 ,carleton1 neither sacred nor profane1 
although  taken from ,holy ,writ1       
namely1 ,sarah in the act of scolding   
,hagar1 who1  pregnant1 is leaving the  
house in a feminine and graceful manner1
  assisted by the patriarch ,abram4     
7,what a graceful apology1 by the way1  
instantly follows1 for not having       
finished the picture himself47 ,i have  
engaged1 as is my custom1 a very skilful

 man in his pursuit to finish  the      
landscapes solely to augment the        
enjoyment of ,y4 ,e46#h    ,again1 in   
priced catalogue1--    #ej florins      
each4--,the ,twelve ,apostles1 with a   
,christ4 ,done by my  scholars1 from    
originals by my own hand1 each having to
 be retouched by  my hand throughout4   
#fjj florins4--,a picture of ,achilles  
clothed as a woman2 done by the  best of
 my scholars1 and the whole retouched by
 my hand2 a most  brilliant picture1 and
 full of many beautiful young girls4    
#i4 ,observe1 however1 ,rubens is always
 entirely honorable in his  statements  
of what is done by himself and what not4
 ,he is religious1  too1 after his      
manner2 hears mass every morning1 and   
perpetually uses  the phrase by the     
grace of ,god1 or some other such1 in   
writing of any  business he takes in    
hand2 but the tone of his religion may  
be  determined by one fact4    ,we saw  
how ,veronese painted himself and his   
family1 as worshipping the  ,madonna4   

,rubens has also painted himself and his
 family in an equally elaborate  piece4 
,but they are not worshipping the       
,madonna4 ,they are performing  the     
,madonna1 and her saintly entourage4    
,his favorite wife ,en ,madone2  his    
youngest boy as ,christ2 his            
father-in-law 7or father1 it matters    
not which7 as ,simeon2 another elderly  
relation1 with a beard1 as ,st4         
,jerome2 and he himself as ,st4 ,george4
     #aj4 ,rembrandt has also painted   
7it is1 on the whole1 his greatest      
picture1 so far as ,i have seen7 himself
 and his wife in a state of ideal       
happiness4 ,he sits at supper with his  
wife on his knee1 flourishing a  glass  
of champagne1 with a roast peacock on   
the table4    ,the ,rubens is in the    
,church of ,st4 ,james at ,antwerp2 the 
,rembrandt at  ,dresden--marvellous     
pictures1 both4 ,no more precious works 
by either  painter exist4 ,their hearts1
 such as they have1 are entirely in     
them2  and the two pictures1 not        

inaptly1 represent the ,faith and ,hope 
of the  #agth century4 ,we have to stoop
 somewhat lower1 in order to comprehend 
the pastoral and rustic scenery of ,cuyp
 and ,teniers1 which must yet be  held  
as forming one group with the historical
 art of ,rubens1 being  connected with  
it by ,rubens' pastoral landscape4 ,to  
these1 ,i say1 we  must stoop lower2 for
 they are destitute1 not of spiritual   
character  only1 but of spiritual       
thought4    ,rubens often gives         
instructive and magnificent allegory2   
,rembrandt1  pathetic or powerful       
fancies1 founded on real scripture      
reading1 and on  his interest in the    
picturesque character of the ,jew4 ,and 
,vandyck1 a  graceful dramatic rendering
 of received scriptural legends4    ,but
 in the pastoral landscape we lose1 not 
only all faith in religion1  but all    
remembrance of it4 ,absolutely now at   
last we find ourselves  without sight of
 ,god in all the world4     #aa4 ,so far
 as ,i can hear or read1 this is an     

entirely new and  wonderful state of    
things achieved by the ,hollanders4 ,the
 human being  never got wholly quit of  
the terror of spiritual being before4   
,persian1  ,egyptian1 ,assyrian1        
,hindoo1 ,chinese1 all kept some dim1   
appalling record  of what they called   
gods4 ,farthest savages had--and still  
have--their  ,great ,spirit1 or1 in     
extremity1 their feather idols1         
large-eyed2 but  here in ,holland we    
have at last got utterly done with it   
all4 ,our only  idol glitters dimly1 in 
tangible shape of a pint pot1 and all   
the  incense offered thereto1 comes out 
of a small censer or bowl at the end  of
 a pipe4 ,of deities or virtues1 angels1
 principalities1 or powers1 in  the name
 of our ditches1 no more4 ,let us have  
cattle1 and market  vegetables4    ,this
 is the first and essential character of
 the ,holland landscape art4  ,its      
second is a worthier one2 respect for   
rural life4     #ab4 ,i should attach   
greater importance to this rural        

feeling1 if there  were any true        
humanity in it1 or any feeling for      
beauty4 ,but there is  neither4 ,no     
incidents of this lower life are painted
 for the sake of the  incidents1 but    
only for the effects of light4 ,you will
 find that the  best ,dutch painters do 
not care about the people1 but about the
 lustres  on them4 ,paul ,potter1 their 
best herd and cattle painter1 does not  
care  even for sheep1 but only for wool2
 regards not cows1 but cowhide4 ,he     
attains great dexterity in drawing tufts
 and locks1 lingers in the  little      
parallel ravines and furrows of fleece  
that open across sheep's  backs as they 
turn2 is unsurpassed in twisting a horn 
or pointing a  nose2 but he cannot paint
 eyes1 nor perceive any condition of an 
animal's mind1 except its desire of     
grazing4 ,cuyp can1 indeed1 paint       
sunlight1 the best that ,holland's sun  
can show2 he is a man of large  natural 
gift1 and sees broadly1 nay1 even       
seriously2 finds out--a  wonderful thing

 for men to find out in those days--that
 there are  reflections in water1 and   
that boats require often to be painted  
upside  down4 ,a brewer by trade1 he    
feels the quiet of a summer afternoon1  
and  his work will make you marvellously
 drowsy4 ,it is good for nothing else   
that ,i know of3 strong2 but unhelpful  
and unthoughtful4 ,nothing happens  in  
his pictures1 except some indifferent   
person's asking the way of  somebody    
else1 who1 by their cast of countenance1
 seems not likely to  know it4 ,for     
farther entertainment perhaps a red cow 
and a white one2 or  puppies at play1   
not playfully2 the man's heart not going
 even with the  puppies4 ,essentially he
 sees nothing but the shine on the flaps
 of their  ears4     #ac4 ,observe      
always1 the fault lies not in the       
thing's being little1 or  the incident  
being slight4 ,titian could have put    
issues of life and  death into the face 
of a man asking the way2 nay1 into the  
back of him1  if he had so chosen4 ,he  

has put a whole scheme of dogmatic      
theology into  a row of bishops' backs  
at the ,louvre4 ,and for dogs1          
,velasquez has made  some of them nearly
 as grand as his surly kings4    ,into  
the causes of which grandeur we must    
look a little1 with respect  not only to
 these puppies1 and gray horses1 and    
cattle of ,cuyp1 but to  the hunting    
pieces of ,rubens and ,snyders4 ,for    
closely connected with the  ,dutch      
rejection of motives of spiritual       
interest1 is the increasing  importance 
attached by them to animals1 seen either
 in the chase or in  agriculture2 and to
 judge justly of the value of this      
animal painting it  will be necessary   
for us to glance at that of earlier     
times4     #ad4 ,and first of the       
animals which have had more influence   
over the  human soul1 in its modern     
life1 than ever ,apis or the crocodile  
had  over ,egyptian--the dog and horse4 
,i stated1 in speaking of ,venetian     
religion1 that the ,venetians always    

introduced the dog as a contrast to  the
 high aspects of humanity4 ,they do     
this1 not because they consider  him the
 basest of animals1 but the highest--the
 connecting link between  men and       
animals2 in whom the lower forms of     
really human feeling may be  best       
exemplified1 such as conceit1 gluttony1 
indolence1 petulance4 ,but  they saw the
 noble qualities of the dog1 too2--all  
his patience1 love1  and faithfulness2  
therefore ,veronese1 hard as he is often
 on lap-dogs1  has painted one great    
heroic poem on the dog4     #ae4 ,two   
mighty brindled mastiffs1 and beyond    
them1 darkness4 ,you  scarcely see them 
at first1 against the gloomy green4 ,no 
other sky for  them--poor things4 ,they 
are gray themselves1 spotted with black 
all  over2 their multitudinous doggish  
vices may not be washed out of          
them1--are in grain of nature4 ,strong  
thewed and sinewed1 however1--no  blame 
on them as far as bodily strength may   
reach2 their heads  coal-black1 with    

drooping ears and fierce eyes1 bloodshot
 a little4  ,wildest of beasts perhaps  
they would have been1 by nature4 ,but   
between  them stands the spirit of their
 human ,love1 dove-winged and beautiful1
  the resistless ,greek boy1            
golden-quivered2 his glowing breast and 
limbs  the only light upon the          
sky1--purple and pure4 ,he has cast his 
chain  about the dogs' necks1 and holds 
it in his strong right hand1 leaning    
proudly a little back from them4 ,they  
will never break loose4     #af4 ,this  
is ,veronese's highest1 or spiritual    
view of the dog's nature4  ,he can only 
give this when looking at the creature  
alone4 ,when he sees  it in company with
 men1 he subdues it1 like an inferior   
light in  presence of the sky2 and      
generally then gives it a merely brutal 
nature1  not insisting even on its      
affection4 ,it is thus used in the      
,marriage in  ,cana to symbolize        
gluttony4 ,that great picture ,i have   
not yet had time  to examine in all its 

bearings of thought2 but the chief      
purpose of it  is1 ,i believe1 to       
express the pomp and pleasure of the    
world1 pursued  without thought of the  
presence of ,christ2 therefore the ,fool
 with the  bells is put in the centre1  
immediately underneath the ,christ2 and 
in  front are the couple of dogs in     
leash1 one gnawing a bone4 ,a cat lying 
on her back scratches at one of the     
vases which hold the wine of the        
miracle4     #ag4 ,in the picture of    
,susannah1 her little pet dog is merely 
doing his  duty1 barking at the ,elders4
 ,but in that of the ,magdalen 7at      
,turin7 a  noble piece of bye-meaning is
 brought out by a dog's help4 ,on one   
side  is the principal figure1 the ,mary
 washing ,christ's feet2 on the other1 a
  dog has just come out from beneath the
 table 7the dog under the table  eating 
of the crumbs71 and in doing so1 has    
touched the robe of one of  the         
,pharisees1 thus making it unclean4 ,the
 ,pharisee gathers up his robe  in a    

passion1 and shows the hem of it to a   
bystander1 pointing to the  dog at the  
same time4     #ah4 ,in the ,supper at  
,emmaus1 the dog's affection is1        
however1 fully  dwelt upon4 ,veronese's 
own two little daughters are playing1 on
 the  hither side of the table1 with a  
great wolf-hound1 larger than either of 
them4 ,one with her head down1 nearly   
touching his nose1 is talking to        
him1--asking him questions it seems1    
nearly pushing him over at the same     
time3--the other1 raising her eyes1 half
 archly1 half dreamily1--some  far-away 
thought coming over her1--leans against 
him on the other side1  propping him    
with her little hand1 laid slightly on  
his neck4 ,he1 all  passive1 and glad at
 heart1 yielding himself to the pushing 
or  sustaining hand1 looks earnestly    
into the face of the child close to     
his2 would answer her with the gravity  
of a senator1 if so it might  be3--can  
only look at her1 and love her4     #ai4
 ,to ,velasquez and ,titian dogs seem   

less interesting than to  ,veronese2    
they paint them simply as noble brown   
beasts1 but without any  special        
character2 perhaps ,velasquez's dogs are
 sterner and more  threatening than the 
,venetian's1 as are also his kings and  
admirals4  ,this fierceness in the      
animal increases1 as the spiritual power
 of the  artist declines2 and1 with the 
fierceness1 another character4 ,one     
great  and infallible sign of the       
absence of spiritual power is the       
presence of  the slightest taint of     
obscenity4 ,dante marked this strongly  
in all his  representations of demons1  
and as we pass from the ,venetians and  
,florentines to the ,dutch1 the passing 
away of the soul-power is  indicated by 
every animal becoming savage or foul4   
,the dog is used by  ,teniers1 and many 
other ,hollanders1 merely to obtain     
unclean jest2 while  by the more        
powerful men1 ,rubens1 ,snyders1        
,rembrandt1 it is painted only  in      
savage chase1 or butchered agony4 ,i    

know no pictures more shameful to       
humanity than the boar and lion hunts of
 ,rubens and ,snyders1 signs of         
disgrace all the deeper1 because the    
powers desecrated are so great4 ,the    
painter of the village ale-house sign   
may1 not dishonorably1 paint the        
fox-hunt for the village squire2 but the
 occupation of magnificent  art-power in
 giving semblance of perpetuity to those
 bodily pangs which  ,nature has        
mercifully ordained to be transient1 and
 in forcing us1 by  the fascination of  
its stormy skill1 to dwell on that from 
which eyes of  merciful men should      
instinctively turn away1 and eyes of    
high-minded men  scornfully1 is         
dishonorable1 alike in the power which  
it degrades1 and  the joy to which it   
betrays4     #bj4 ,in our modern        
treatment of the dog1 of which the      
prevailing  tendency is marked by       
,landseer1 the interest taken in him is 
disproportionate to that taken in man1  
and leads to a somewhat trivial         

mingling of sentiment1 or warping by    
caricature2 giving up the true  nature  
of the animal for the sake of a pretty  
thought or pleasant jest4  ,neither     
,titian nor ,velasquez ever jest2 and   
though ,veronese jests  gracefully and  
tenderly1 he never for an instant       
oversteps the absolute  facts of nature4
 ,but the ,english painter looks for    
sentiment or jest  primarily1 and       
reaches both by a feebly romantic taint 
of fallacy1  except in one or two simple
 and touching pictures1 such as the     
,shepherd's ,chief ,mourner4    ,i was  
pleased by a little unpretending modern 
,german picture at  ,dusseldorf1 by ,e4 
,bosch1 representing a boy carving a    
model of his  sheep-dog in wood2 the dog
 sitting on its haunches in front of    
him1  watches the progress of the       
sculpture with a grave interest and     
curiosity1 not in the least caricatured1
 but highly humorous4 ,another  small   
picture1 by the same artist1 of a       
forester's boy being taught to  shoot by

 his father1--the dog critically and    
eagerly watching the  raising of the    
gun1--shows equally true sympathy4      
#ba4 ,i wish ,i were able to trace any  
of the leading circumstances in  the    
ancient treatment of the horse1 but ,i  
have no sufficient data4 ,its  function 
in the art of the ,greeks is connected  
with all their beautiful  fable         
philosophy2 but ,i have not a tithe of  
the knowledge necessary to  pursue the  
subject in this direction4 ,it branches 
into questions  relating to sacred      
animals1 and ,egyptian and ,eastern     
mythology4 ,i  believe the ,greek       
interest in pure animal character       
corresponded  closely to our own1 except
 that it is less sentimental1 and either
  distinctly true or distinctly         
fabulous2 not hesitating between truth  
and  falsehood4 ,achilles' horses1 like 
,anacreon's dove1 and ,aristophanes'    
frogs and birds1 speak clearly out1 if  
at all4 ,they do not become feebly      
human1 by fallacies and exaggerations1  

but frankly and wholly4    ,zeuxis'     
picture of the ,centaur indicates1      
however1 a more distinctly  sentimental 
conception2 and ,i suppose the ,greek   
artists always to have  fully           
appreciated the horse's fineness of     
temper and nervous  constitution4#i     
,they seem1 by the way1 hardly to have  
done justice to  the dog4 ,my pleasure  
in the entire ,odyssey is diminished    
because ,ulysses  gives not a word of   
kindness or of regret to ,argus4        
#bb4 ,i am still less able to speak of  
,roman treatment of the horse4 ,it  is  
very strange that in the chivalric ages1
 he is despised2 their  greatest        
painters drawing him with ludicrous     
neglect4 ,the ,venetians1 as  was       
natural1 painted him little and ill2 but
 he becomes important in the  equestrian
 statues of the fifteenth and sixteenth 
century1 chiefly1 ,i  suppose1 under the
 influence of ,leonardo4    ,i am not   
qualified to judge of the merit of these
 equestrian statues2  but1 in painting1 

,i find that no real interest is taken  
in the horse  until ,vandyck's time1 he 
and ,rubens doing more for it than all  
previous  painters put together4 ,rubens
 was a good rider1 and rode nearly every
  day1 as1 ,i doubt not1 ,vandyck also4 
,some notice of an interesting          
equestrian picture of ,vandyck's will be
 found in the next chapter4 ,the  horse 
has never1 ,i think1 been painted       
worthily again1 since he  died4#aj ,of  
the influence of its unworthy painting1 
and unworthy use1 ,i  do not at present 
care to speak1 noticing only that it    
brought about in  ,england the last     
degradations of feeling and of art4 ,the
 ,dutch1 indeed1  banished all deity    
from the earth2 but ,i think only in    
,england has  death-bed consolation been
 sought in a fox's tail4#aa    ,i wish1 
however1 the reader distinctly to       
understand that the  expressions of     
reprobation of field-sports which he    
will find scattered  through these      
volumes1--and which1 in concluding them1

 ,i wish ,i had time  to collect and    
farther enforce--refer only to the chase
 and the turf2  that is to say1 to      
hunting1 shooting1 and horse-racing1 but
 not to  athletic exercises4 ,i have    
just as deep a respect for boxing1      
wrestling1  cricketing1 and rowing1 as  
contempt of all the various modes of    
wasting  wealth1 time1 land1 and energy 
of soul1 which have been invented by the
  pride and selfishness of men1 in order
 to enable them to be healthy in        
uselessness1 and get quit of the burdens
 of their own lives1 without            
condescending to make them serviceable  
to others4     #bc4 ,lastly1 of cattle4 
,the period when the interest of men    
began to be transferred from the        
ploughman to his oxen is very distinctly
 marked by ,bassano4 ,in him the        
descent is even greater1 being1         
accurately1 from the ,madonna to the    
,manger--one of perhaps his best        
pictures 7now1 ,i believe1 somewhere in 
the north of ,england71 representing an 

adoration of shepherds with  nothing to 
adore1 they and their herds forming the 
subject1 and the  ,christ being supposed
 at the side4 ,from that time           
cattle-pieces become  frequent1 and     
gradually form a staple art commodity4  
,cuyp's are the  best2 nevertheless1    
neither by him nor any one else have ,i 
ever seen an  entirely well-painted cow4
 ,all the men who have skill enough to  
paint  cattle nobly1 disdain them4 ,the 
real influence of these ,dutch          
cattle-pieces1 in subsequent art1 is    
difficult to trace1 and is not  worth   
tracing4 ,they contain a certain healthy
 appreciation of simple  pleasure which 
,i cannot look upon wholly without      
respect4 ,on the other  hand1 their     
cheap tricks of composition degraded the
 entire technical  system of landscape2 
and their clownish and blunt vulgarities
 too long  blinded us1 and continue1 so 
far as in them lies1 to blind us yet1 to
  all the true refinement and passion of
 rural life4 ,there have always  been   

truth and depth of pastoral feeling in  
the works of great poets and  novelists2
 but never1 ,i think1 in painting1 until
 lately4 ,the designs of  ,j4 ,c4 ,hook 
are1 perhaps1 the only works of the kind
 in existence which  deserve to be      
mentioned in connection with the        
pastorals of ,wordsworth  and ,tennyson4
    ,we must not1 however1 yet pass to  
the modern school1 having still to      
examine the last phase of ,dutch design1
 in which the vulgarities which  might  
be forgiven to the truth of ,cuyp1 and  
forgotten in the power of  ,rubens1     
became unpardonable and dominant in the 
works of men who were at  once affected 
and feeble4 ,but before doing this1 we  
must pause to settle  a preliminary     
question1 which is an important and     
difficult one1 and  will need a separate
 chapter2 namely1 ,what is vulgarity    
itself8      ,,footnotes3      #a ,none 
of our present forms of opinion are more
 curious than those      which have     
developed themselves from this verbal   

carelessness4 ,it      never seems to   
strike any of our religious teachers1   
that if a child      has a father       
living1 it either knows it has a father1
 or does not3      it does not believe  
it has a father4 ,we should be surprised
 to see      an intelligent child       
standing at its garden gate1 crying out 
to the      passers-by3 ,i believe in my
 father1 because he built this house2 as
      logical people proclaim that they 
believe in ,god1 because ,he must       
have made the world4      #b            
,dusseldorf4      #c ,antwerp4      #d  
,cologne4      #e ,brussels4      #f    
,brussels4      #g ,munich4      #h     
,original ,papers relating to ,rubens2  
edited by ,w4 ,sainsbury4      ,london1 
#ahei3 page #ci4 ,y4 ,e4 is the person  
who commissioned the      picture4      
#i ,a single harsh word will raise a    
nervous horse's pulse ten beats      a  
minute4--,mr4 ,rarey4      #aj ,john    
,lewis has made grand sketches of the   
horse1 but has never1      so far as ,i 

know1 completed any of them4 ,respecting
 his wonderful      engravings of wild  
animals1 see my pamphlet on             
,pre-,raphaelitism4      #aa ,see ,the  
,fox-hunter's ,death-bed1 a popular     
sporting print4          ,,chapter      
,,vii4    ,,of ,,vulgarity4       #a4   
,two great errors1 coloring1 or rather  
discoloring1 severally1 the  minds of   
the higher and lower classes1 have sown 
wide dissension1 and  wider misfortune1 
through the society of modern days4     
,these errors are  in our modes of      
interpreting the word gentleman4    ,its
 primal1 literal1 and perpetual meaning 
is a man of pure race2 well  bred1 in   
the sense that a horse or dog is well   
bred4    ,the so-called higher classes1 
being generally of purer race than the  
lower1 have retained the true idea1 and 
the convictions associated with  it2 but
 are afraid to speak it out1 and        
equivocate about it in public2  this    
equivocation mainly proceeding from     
their desire to connect another  meaning

 with it1 and a false one2--that of a   
man living in idleness on  other        
people's labor2--with which idea1 the   
term has nothing whatever  to do4       
,the lower classes1 denying vigorously1 
and with reason1 the notion that  a     
gentleman means an idler1 and rightly   
feeling that the more any one  works1   
the more of a gentleman he becomes1 and 
is likely to  become1--have nevertheless
 got little of the good they otherwise  
might1  from the truth1 because1 with   
it1 they wanted to hold a               
falsehood1--namely1 that race was of no 
consequence4 ,it being precisely  of as 
much consequence in man as it is in any 
other animal4     #b4 ,the nation cannot
 truly prosper till both these errors   
are finally  got quit of4 ,gentlemen    
have to learn that it is no part of     
their duty or  privilege to live on     
other people's toil4 ,they have to learn
 that there  is no degradation in the   
hardest manual1 or the humblest servile1
 labor1  when it is honest4 ,but that   

there is degradation1 and that deep1 in 
extravagance1 in bribery1 in indolence1 
in pride1 in taking places they  are not
 fit for1 or in coining places for which
 there is no need4 ,it  does not        
disgrace a gentleman to become an errand
 boy1 or a day  laborer2 but it         
disgraces him much to become a knave1 or
 a thief4 ,and  knavery is not the less 
knavery because it involves large       
interests1 nor  theft the less theft    
because it is countenanced by usage1 or 
accompanied  by failure in undertaken   
duty4 ,it is an incomparably less guilty
 form of  robbery to cut a purse out of 
a man's pocket1 than to take it out of  
his  hand on the understanding that you 
are to steer his ship up channel1  when 
you do not know the soundings4     #c4  
,on the other hand1 the lower orders1   
and all orders1 have to learn  that     
every vicious habit and chronic disease 
communicates itself by  descent2 and    
that by purity of birth the entire      
system of the human body  and soul may  

be gradually elevated1 or by            
recklessness of birth1  degraded2 until 
there shall be as much difference       
between the well-bred  and ill-bred     
human creature 7whatever pains be taken 
with their  education7 as between a     
wolf-hound and the vilest mongrel cur4  
,and the  knowledge of this great fact  
ought to regulate the education of our  
youth1 and the entire conduct of the    
nation4#a     #d4 ,gentlemanliness1     
however1 in ordinary parlance1 must be  
taken to  signify those qualities which 
are usually the evidence of high        
breeding1  and which1 so far as they can
 be acquired1 it should be every man's  
effort to acquire2 or1 if he has them by
 nature1 to preserve and exalt4         
,vulgarity1 on the other hand1 will     
signify qualities usually               
characteristic of ill-breeding1 which1  
according to his power1 it  becomes     
every person's duty to subdue4 ,we have 
briefly to note what  these are4     #e4
 ,a gentleman's first characteristic is 

that fineness of structure in  the body1
 which renders it capable of the most   
delicate sensation2 and  of structure in
 the mind which renders it capable of   
the most delicate  sympathies--one may  
say1 simply1 fineness of nature4 ,this  
is1 of  course1 compatible with heroic  
bodily strength and mental firmness2 in 
fact1 heroic strength is not conceivable
 without such delicacy4  ,elephantine   
strength may drive its way through a    
forest and feel no  touch of the boughs2
 but the white skin of ,homer's ,atrides
 would have  felt a bent rose-leaf1 yet 
subdue its feeling in glow of battle1   
and  behave itself like iron4 ,i do not 
mean to call an elephant a vulgar       
animal2 but if you think about him      
carefully1 you will find that his       
non-vulgarity consists in such          
gentleness as is possible to elephantine
  nature2 not in his insensitive hide1  
nor in his clumsy foot2 but in the  way 
he will lift his foot if a child lies in
 his way2 and in his  sensitive trunk1  

and still more sensitive mind1 and      
capability of pique  on points of honor4
     #f4 ,and1 though rightness of moral
 conduct is ultimately the great        
purifier of race1 the sign of nobleness 
is not in this rightness of  moral      
conduct1 but in sensitiveness4 ,when the
 make of the creature is  fine1 its     
temptations are strong1 as well as its  
perceptions2 it is  liable to all kinds 
of impressions from without in their    
most violent  form2 liable therefore to 
be abused and hurt by all kinds of rough
  things which would do a coarser       
creature little harm1 and thus to fall  
into frightful wrong if its fate will   
have it so4 ,thus ,david1 coming of     
gentlest as well as royalest race1 of   
,ruth as well as of ,judah1 is          
sensitiveness through all flesh and     
spirit2 not that his compassion will    
restrain him from murder when his terror
 urges him to it2 nay1 he is  driven to 
the murder all the more by his          
sensitiveness to the shame  which       

otherwise threatens him4 ,but when his  
own story is told him under  a disguise1
 though only a lamb is now concerned1   
his passion about it  leaves him no time
 for thought4 ,the man shall die--note  
the  reason--because he had no pity4 ,he
 is so eager and indignant that it      
never occurs to him as strange that     
,nathan hides the name4 ,this is true   
gentleman4 ,a vulgar man would assuredly
 have been cautious1 and asked  who it  
was8     #g4 ,hence it will follow that 
one of the probable signs of            
high-breeding in men generally1 will be 
their kindness and mercifulness2  these 
always indicating more or less fineness 
of make in the mind2 and  miserliness   
and cruelty the contrary2 hence that of 
,isaiah3 ,the vile  person shall no more
 be called liberal1 nor the churl said  
to be  bountiful4 ,but a thousand things
 may prevent this kindness from         
displaying or continuing itself2 the    
mind of the man may be warped so as  to 
bear mainly on his own interests1 and   

then all his sensibilities will  take   
the form of pride1 or fastidiousness1 or
 revengefulness2 and other  wicked1 but 
not ungentlemanly tempers2 or1 farther1 
they may run into  utter sensuality and 
covetousness1 if he is bent on pleasure1
  accompanied with quite infinite       
cruelty when the pride is wounded1 or   
the passions thwarted2--until your      
gentleman becomes ,ezzelin1 and your    
lady1 the deadly ,lucrece2 yet still    
gentleman and lady1 quite incapable  of 
making anything else of themselves1     
being so born4     #h4 ,a truer sign of 
breeding than mere kindness is therefore
 sympathy2  a vulgar man may often be   
kind in a hard way1 on principle1 and   
because  he thinks he ought to be2      
whereas1 a highly-bred man1 even when   
cruel1  will be cruel in a softer way1  
understanding and feeling what he       
inflicts1 and pitying his victim4 ,only 
we must carefully remember that  the    
quantity of sympathy a gentleman feels  
can never be judged of by its  outward  

expression1 for another of his chief    
characteristics is apparent  reserve4 ,i
 say apparent reserve2 for the sympathy 
is real1 but the  reserve not3 a perfect
 gentleman is never reserved1 but       
sweetly and  entirely open1 so far as it
 is good for others1 or possible1 that  
he  should be4 ,in a great many respects
 it is impossible that he should be     
open except to men of his own kind4 ,to 
them1 he can open himself1 by a  word1  
or syllable1 or a glance2 but to men not
 of his kind he cannot  open himself1   
though he tried it through an eternity  
of clear  grammatical speech4 ,by the   
very acuteness of his sympathy he knows 
how  much of himself he can give to     
anybody2 and he gives that much         
frankly2--would always be glad to give  
more if he could1 but is obliged1       
nevertheless1 in his general intercourse
 with the world1 to be a  somewhat      
silent person2 silence is to most       
people1 he finds1 less  reserved than   
speech4 ,whatever he said1 a vulgar man 

would misinterpret3  no words that he   
could use would bear the same sense to  
the vulgar man  that they do to him2 if 
he used any1 the vulgar man would go    
away  saying1 ,he had said so and so1   
and meant so and so 7something          
assuredly he never meant72 but he keeps 
silence1 and the vulgar man goes  away  
saying1 ,he didn't know what to make of 
him4 ,which is precisely  the fact1 and 
the only fact which he is anywise able  
to announce to the  vulgar man          
concerning himself4     #i4 ,there is   
yet another quite as efficient cause of 
the apparent  reserve of a gentleman4   
,his sensibility being constant and     
intelligent1  it will be seldom that a  
feeling touches him1 however acutely1   
but it  has touched him in the same way 
often before1 and in some sort is       
touching him always4 ,it is not that he 
feels little1 but that he feels         
habitually2 a vulgar man having some    
heart at the bottom of him1 if you  can 
by talk or by sight fairly force the    

pathos of anything down to his  heart1  
will be excited about it and            
demonstrative2 the sensation of pity    
being strange to him1 and wonderful4    
,but your gentleman has walked in  pity 
all day long2 the tears have never been 
out of his eyes3 you  thought the eyes  
were bright only2 but they were wet4    
,you tell him a  sorrowful story1 and   
his countenance does not change2 the    
eyes can but  be wet still2 he does not 
speak neither1 there being1 in fact1    
nothing  to be said1 only something to  
be done2 some vulgar person1 beside you 
both1 goes away saying1 ,how hard he is6
 ,next day he hears that the  hard      
person has put good end to the sorrow he
 said nothing about2--and  then he      
changes his wonder1 and exclaims1 ,how  
reserved he is6     #aj4 ,self-command  
is often thought a characteristic of    
high-breeding3  and to a certain extent 
it is so1 at least it is one of the     
means of  forming and strengthening     
character2 but it is rather a way of    

imitating  a gentleman than a           
characteristic of him2 a true gentleman 
has no need  of self-command2 he simply 
feels rightly on all occasions3 and     
desiring  to express only so much of his
 feeling as it is right to express1 does
  not need to command himself4 ,hence   
perfect ease is indeed characteristic   
of him2 but perfect ease is inconsistent
 with self-restraint4  ,nevertheless    
gentlemen1 so far as they fail of their 
own ideal1 need to  command themselves1 
and do so2 while1 on the contrary1 to   
feel unwisely1  and to be unable to     
restrain the expression of the unwise   
feeling1 is  vulgarity2 and yet even    
then1 the vulgarity1 at its root1 is not
 in the  mistimed expression1 but in the
 unseemly feeling2 and when we find     
fault  with a vulgar person for exposing
 himself1 it is not his openness1 but   
clumsiness2 and yet more the want of    
sensibility to his own failure1  which  
we blame2 so that still the vulgarity   
resolves itself into want of            

sensibility4 ,also1 it is to be noted   
that great powers of self-restraint  may
 be attained by very vulgar persons1    
when it suits their purposes4     #aa4  
,closely1 but strangely1 connected with 
this openness is that form  of          
truthfulness which is opposed to        
cunning1 yet not opposed to falsity     
absolute4 ,and herein is a distinction  
of great importance4    ,cunning        
signifies especially a habit or gift of 
over-reaching1  accompanied with        
enjoyment and a sense of superiority4   
,it is associated  with small and dull  
conceit1 and with an absolute want of   
sympathy or  affection4 ,its essential  
connection with vulgarity may be at once
  exemplified by the expression of the  
butcher's dog in ,landseer's ,low       
,life4 ,cruikshank's ,noah ,claypole1 in
 the illustrations to ,oliver  ,twist1  
in the interview with the ,jew1 is1     
however1 still more  characteristic4 ,it
 is the intensest rendering of vulgarity
 absolute and  utter with which ,i am   

acquainted4#b    ,the truthfulness which
 is opposed to cunning ought1 perhaps1  
rather to  be called the desire of      
truthfulness2 it consists more in       
unwillingness  to deceive than in not   
deceiving1--an unwillingness implying   
sympathy  with and respect for the      
person deceived2 and a fond observance  
of truth  up to the possible point1 as  
in a good soldier's mode of retaining   
his  honor through a ruse-de-guerre4 ,a 
cunning person seeks for  opportunities 
to deceive2 a gentleman shuns them4 ,a  
cunning person  triumphs in deceiving2 a
 gentleman is humiliated by his success1
 or at  least by so much of the success 
as is dependent merely on the falsehood1
  and not on his intellectual           
superiority4     #ab4 ,the absolute     
disdain of all lying belongs rather to  
,christian  chivalry than to mere high  
breeding2 as connected merely with this 
latter1 and with general refinement and 
courage1 the exact relations of         
truthfulness may be best studied in the 

well-trained ,greek mind4 ,the  ,greeks 
believed that mercy and truth were      
co-relative virtues--cruelty  and       
falsehood co-relative vices4 ,but they  
did not call necessary  severity1       
cruelty2 nor necessary deception1       
falsehood4 ,it was needful  sometimes to
 slay men1 and sometimes to deceive     
them4 ,when this had to  be done1 it    
should be done well and thoroughly2 so  
that to direct a  spear well to its     
mark1 or a lie well to its end1 was     
equally the  accomplishment of a perfect
 gentleman4 ,hence1 in the pretty       
diamond-cut-diamond scene between       
,pallas and ,ulysses1 when she receives 
him on the coast of ,ithaca1 the goddess
 laughs delightedly at her hero's  good 
lying1 and gives him her hand upon it2  
showing herself then in her  woman's    
form1 as just a little more than his    
match4 ,subtle would he be1  and        
stealthy1 who should go beyond thee in  
deceit1 even were he a god1  thou       
many-witted6 ,what6 here in thine own   

land1 too1 wilt thou not cease  from    
cheating8 ,knowest thou not me1 ,pallas 
,athena1 maid of ,jove1 who am  with    
thee in all thy labors1 and gave thee   
favor with the ,phacians1 and  keep     
thee1 and have come now to weave cunning
 with thee8 ,but how  completely this   
kind of cunning was looked upon as a    
part of a man's  power1 and not as a    
diminution of faithfulness1 is perhaps  
best shown by  the single line of praise
 in which the high qualities of his     
servant are  summed up by ,chremulus in 
the ,plutus--,of all my house servants1 
,i hold  you to be the faithfullest1 and
 the greatest cheat 7or thief74     #ac4
 ,thus1 the primal difference between   
honorable and base lying in  the ,greek 
mind lay in honorable purpose4 ,a man   
who used his strength  wantonly to hurt 
others was a monster2 so1 also1 a man   
who used his  cunning wantonly to hurt  
others4 ,strength and cunning were to be
 used  only in self-defence1 or to save 
the weak1 and then were alike           

admirable4 ,this was their first idea4  
,then the second1 and perhaps the  more 
essential1 difference between noble and 
ignoble lying in the ,greek  mind1 was  
that the honorable lie--or1 if we may   
use the strange1 yet  just1 expression1 
the true lie--knew and confessed itself 
for such--was  ready to take the full   
responsibility of what it did4 ,as the  
sword  answered for its blow1 so the lie
 for its snare4 ,but what the ,greeks   
hated with all their heart was the false
 lie2 the lie that did not know  itself1
 feared to confess itself1 which slunk  
to its aim under a cloak  of truth1 and 
sought to do liars' work1 and yet not   
take liars' pay1  excusing itself to the
 conscience by quibble and quirk4 ,hence
 the great  expression of ,jesuit       
principle by ,euripides1 ,the tongue has
 sworn1 but  not the heart1 was a       
subject of execration throughout        
,greece1 and the  satirists exhausted   
their arrows on it--no audience was ever
 tired  hearing 7,greek3 to ,euripideion

 ekeino7 that ,euripidean thing brought 
to shame4     #ad4 ,and this is         
especially to be insisted on in the     
early education of  young people4 ,it   
should be pointed out to them with      
continual  earnestness that the essence 
of lying is in deception1 not in words2 
a  lie may be told by silence1 by       
equivocation1 by the accent on a        
syllable1 by a glance of the eye        
attaching a peculiar significance to a  
sentence2 and all these kinds of lies   
are worse and baser by many  degrees    
than a lie plainly worded2 so that no   
form of blinded conscience  is so far   
sunk as that which comforts itself for  
having deceived1  because the deception 
was by gesture or silence1 instead of   
utterance2  and1 finally1 according to  
,tennyson's deep and trenchant line1 ,a 
lie  which is half a truth is ever the  
worst of lies4     #ae4 ,although1      
however1 ungenerous cunning is usually  
so distinct an  outward manifestation of
 vulgarity1 that ,i name it separately  

from  insensibility1 it is in truth only
 an effect of insensibility1 producing  
want of affection to others1 and        
blindness to the beauty of truth4 ,the  
degree in which political subtlety in   
men such as ,richelieu1 ,machiavel1  or 
,metternich1 will efface the gentleman1 
depends on the selfishness of  political
 purpose to which the cunning is        
directed1 and on the base  delight taken
 in its use4 ,the command1 ,be ye wise  
as serpents1 harmless  as doves1 is the 
ultimate expression of this principle1  
misunderstood  usually because the word 
wise is referred to the intellectual    
power  instead of the subtlety of the   
serpent4 ,the serpent has very little   
intellectual power1 but according to    
that which it has1 it is yet1 as of     
old1 the subtlest of the beasts of the  
field4     #af4 ,another great sign of  
vulgarity is also1 when traced to its   
root1  another phase of insensibility1  
namely1 the undue regard to appearances 
and manners1 as in the households of    

vulgar persons1 of all stations1  and   
the assumption of behavior1 language1 or
 dress unsuited to them1 by  persons in 
inferior stations of life4 ,i say undue 
regard to  appearances1 because in the  
undueness consists1 of course1 the      
vulgarity4 ,it is due and wise in some  
sort to care for appearances1 in        
another sort undue and unwise4 ,wherein 
lies the difference8    ,at first one is
 apt to answer quickly3 the vulgarity is
 simply in  pretending to be what you   
are not4 ,but that answer will not      
stand4 ,a  queen may dress like a       
waiting maid1--perhaps succeed1 if she  
chooses1  in passing for one2 but she   
will not1 therefore1 be vulgar2 nay1 a  
waiting maid may dress like a queen1 and
 pretend to be one1 and yet need  not be
 vulgar1 unless there is inherent       
vulgarity in her4 ,in ,scribe's  very   
absurd but very amusing ,reine d'un     
jour1 a milliner's girl  sustains the   
part of a queen for a day4 ,she several 
times amazes and  disgusts her courtiers

 by her straightforwardness2 and once or
 twice  very nearly betrays herself to  
her maids of honor by an unqueenly      
knowledge of sewing2 but she is not in  
the least vulgar1 for she is  sensitive1
 simple1 and generous1 and a queen could
 be no more4     #ag4 ,is the vulgarity1
 then1 only in trying to play a part you
 cannot  play1 so as to be continually  
detected8 ,no2 a bad amateur actor may  
be  continually detected in his part1   
but yet continually detected to be a    
gentleman3 a vulgar regard to           
appearances has nothing in it           
necessarily  of hypocrisy4 ,you shall   
know a man not to be a gentleman by the 
perfect  and neat pronunciation of his  
words3 but he does not pretend to       
pronounce accurately2 he does pronounce 
accurately1 the vulgarity is  in the    
real 7not assumed7 scrupulousness4      
#ah4 ,it will be found on farther       
thought1 that a vulgar regard for       
appearances is1 primarily1 a selfish    
one1 resulting1 not out of a wish1  to  

give pleasure 7as a wife's wish to make 
herself beautiful for her  husband71 but
 out of an endeavor to mortify others1  
or attract for  pride's sake2--the      
common keeping up appearances of        
society1 being a  mere selfish struggle 
of the vain with the vain4 ,but the     
deepest stain  of the vulgarity depends 
on this being done1 not selfishly only1 
but  stupidly1 without understanding the
 impression which is really produced1   
nor the relations of importance between 
oneself and others1 so as to  suppose   
that their attention is fixed upon us1  
when we are in reality  ciphers in their
 eyes--all which comes of insensibility4
 ,hence pride  simple is not vulgar 7the
 looking down on others because of their
 true  inferiority to us71 nor vanity   
simple 7the desire of praise71 but      
conceit simple 7the attribution to      
ourselves of qualities we have not71  is
 always so4 ,in cases of over-studied   
pronunciation1 c41 there is             
insensibility1 first1 in the person's   

thinking more of himself than of  what  
he is saying2 and1 secondly1 in his not 
having musical fineness of  ear enough  
to feel that his talking is uneasy and  
strained4     #ai4 ,finally1 vulgarity  
is indicated by coarseness of language  
or  manners1 only so far as this        
coarseness has been contracted under    
circumstances not necessarily producing 
it4 ,the illiterateness of a  ,spanish  
or ,calabrian peasant is not vulgar1    
because they had never an  opportunity  
of acquiring letters2 but the           
illiterateness of an ,english           
school-boy is4 ,so again1 provincial    
dialect is not vulgar2 but cockney      
dialect1 the corruption1 by blunted     
sense1 of a finer language  continually 
heard1 is so in a deep degree2 and      
again1 of this corrupted  dialect1 that 
is the worst which consists1 not in the 
direct or  expressive alteration of the 
form of a word1 but in an unmusical     
destruction of it by dead utterance and 
bad or swollen formation of lip4  ,there

 is no vulgarity in--      ,blythe1     
blythe1 blythe was she1       ,blythe   
was she1 but and ben1     ,and weel she 
liked a ,hawick gill1       ,and leugh  
to see a tappit hen2    but much in     
,mrs4 ,gamp's inarticulate bottle on the
 chumley-piece1 and  let me put my lips 
to it when ,i am so dispoged4     #bj4  
,so also of personal defects1 those only
 are vulgar which imply  insensibility  
or dissipation4    ,there is no         
vulgarity in the emaciation of ,don     
,quixote1 the deformity of  the ,black  
,dwarf1 or the corpulence of ,falstaff2 
but much in the same  personal          
characters1 as they are seen in ,uriah  
,heep1 ,quilp1 and  ,chadband4     #ba4 
,one of the most curious minor questions
 in this matter is  respecting the      
vulgarity of excessive neatness1        
complicating itself with  inquiries into
 the distinction between base neatness1 
and the  perfectness of good execution  
in the fine arts4 ,it will be found on  
final thought that precision and        

exquisiteness of arrangement are always 
noble2 but become vulgar only when they 
arise from an equality  7insensibility7 
of temperament1 which is incapable of   
fine passion1 and  is set ignobly1 and  
with a dullard mechanism1 on accuracy in
 vile  things4 ,in the finest ,greek    
coins1 the letters of the inscriptions  
are  purposely coarse and rude1 while   
the relievi are wrought with            
inestimable care4 ,but in an ,english   
coin1 the letters are the best done1    
and the whole is unredeemably vulgar4   
,in a picture of ,titian's1 an  inserted
 inscription will be complete in the    
lettering1 as all the rest  is2 because 
it costs ,titian very little more       
trouble to draw rightly  than wrongly1  
and in him1 therefore1 impatience with  
the letters would  be vulgar1 as in the 
,greek sculptor of the coin1 patience   
would have  been4 ,for the engraving of 
a letter accurately#c is difficult work1
  and his time must have been unworthily
 thrown away4     #bb4 ,all the         

different impressions connected with    
negligence or  foulness depend1 in like 
manner1 on the degree of insensibility  
implied4  ,disorder in a drawing-room is
 vulgar1 in an antiquary's study1 not2  
the  black battle-stain on a soldier's  
face is not vulgar1 but the dirty face  
of a housemaid is4    ,and lastly1      
courage1 so far as it is a sign of race1
 is peculiarly the  mark of a gentleman 
or a lady3 but it becomes vulgar if rude
 or  insensitive1 while timidity is not 
vulgar1 if it be a characteristic of    
race or fineness of make4 ,a fawn is not
 vulgar in being timid1 nor a  crocodile
 gentle because courageous4     #bc4    
,without following the inquiry into     
farther detail1#d we may  conclude that 
vulgarity consists in a deadness of the 
heart and body1  resulting from         
prolonged1 and especially from inherited
 conditions of  degeneracy1 or literally
 un-racing2--gentlemanliness1 being     
another  word for an intense humanity4  
,and vulgarity shows itself primarily in

  dulness of heart1 not in rage or      
cruelty1 but in inability to feel or    
conceive noble character or emotion4    
,this is its essential1 pure1 and  most 
fatal form4 ,dulness of bodily sense and
 general stupidity1 with  such forms of 
crime as peculiarly issue from          
stupidity1 are its material             
manifestation4     #bd4 ,two years ago1 
when ,i was first beginning to work out 
the subject1  and chatting with one of  
my keenest-minded friends 7,mr4 ,brett1 
the  painter of the ,val d',aosta in the
 ,exhibition of #ahei71 ,i casually     
asked  him1 ,what is vulgarity8 merely  
to see what he would say1 not supposing 
it possible to get a sudden answer4 ,he 
thought for about a minute1 then        
answered quietly1 ,it is merely one of  
the forms of ,death4 ,i did not  see the
 meaning of the reply at the time2 but  
on testing it1 found that  it met every 
phase of the difficulties connected with
 the inquiry1 and  summed the true      
conclusion4 ,yet1 in order to be        

complete1 it ought to be  made a        
distinctive as well as conclusive       
definition2 showing what  form of death 
vulgarity is2 for death itself is not   
vulgar1 but only  death mingled with    
life4 ,i cannot1 however1 construct a   
short-worded  definition which will     
include all the minor conditions of     
bodily  degeneracy2 but the term        
deathful selfishness will embrace all   
the  most fatal and essential forms of  
mental vulgarity4      ,,footnotes3     
#a ,we ought always in pure ,english to 
use the term good breeding              
literally2 and to say good nurture for  
what we usually mean by good            
breeding4 ,given the race and make of   
the animal1 you may turn it to      good
 or bad account2 you may spoil your good
 dog or colt1 and make      him as      
vicious as you choose1 or break his back
 at once by ill-usage2      and you may1
 on the other hand1 make something      
serviceable and      respectable out of 
your poor cur or colt if you educate    

them      carefully2 but ill bred they  
will both of them be to their lives'    
end2 and the best you will ever be able 
to say of them is1 that they      are   
useful1 and decently behaved ill-bred   
creatures4 ,an error1 which      is     
associated with the truth1 and which    
makes it always look weak and           
disputable1 is the confusion of race    
with name2 and the supposition      that
 the blood of a family must still be    
good1 if its genealogy be      unbroken 
and its name not lost1 though sire and  
son have been      indulging age after  
age in habits involving perpetual       
degeneracy of      race4 ,of course it  
is equally an error to suppose that1    
because a      man's name is common1 his
 blood must be base2 since his family   
may      have been ennobling it by      
pureness of moral habit for many        
generations1 and yet may not have got   
any title1 or other sign of             
nobleness attached to their names4      
,nevertheless1 the probability is       

always in favor of the race which has   
had acknowledged supremacy1 and      in 
which every motive leads to the endeavor
 to preserve their true      nobility4  
#b ,among the reckless losses of the    
right service of intellectual      power
 with which this century must be        
charged1 very few are1 to my      mind1 
more to be regretted than that which is 
involved in its having      turned to no
 higher purpose than the illustration of
 the career of      ,jack ,sheppard1 and
 of the ,irish ,rebellion1 the great1   
grave 7,i use      the words            
deliberately and with large meaning71   
and singular genius      of ,cruikshank4
      #c ,there is this farther reason  
also3 ,letters are always ugly          
things--7,seven ,lamps1 chap4 iv4 s4    
#i74 ,titian often wanted a certain     
quantity of ugliness to oppose his      
beauty with1 as a certain quantity      
of black to oppose his color4 ,he could 
regulate the size and quantity      of  
inscription as he liked2 and1 therefore1

 made it as neat--that is1      as      
effectively ugly--as possible4 ,but the 
,greek sculptor could not      regulate 
either size or quantity of inscription4 
,legible it must be1      to common     
eyes1 and contain an assigned group of  
words4 ,he had more      ugliness than  
he wanted1 or could endure4 ,there was  
nothing for it      but to make the     
letters themselves rugged and           
picturesque2 to give      them--that is1
 a certain quantity of organic variety4 
,i do not wonder at people sometimes    
thinking ,i contradict myself when      
they come suddenly on any of the        
scattered passages1 in which ,i am      
forced to insist on the opposite        
practical applications of subtle        
principles of this kind4 ,it may amuse  
the reader1 and be finally              
serviceable to him in showing him how   
necessary it is to the right            
handling of any subject1 that these     
contrary statements should be      made1
 if ,i assemble here the principal ones 

,i remember having brought      forward1
 bearing on this difficult point of     
precision in execution4        ,it would
 be well if you would first glance over 
the chapter on ,finish      in the third
 volume2 and if1 coming to the fourth   
paragraph1 about      gentlemen's       
carriages1 you have time to turn to     
,sydney ,smith's      ,memoirs and read 
his account of the construction of the  
,immortal1      it will furnish you with
 an interesting illustration4           
,the general conclusion reached in that 
chapter being that finish1 for      the 
sake of added truth1 or utility1 or     
beauty1 is noble2 but finish1      for  
the sake of workmanship1 neatness1 or   
polish1 ignoble1--turn to      the      
fourth chapter of the ,seven ,lamps1    
where you will find the      ,campanile 
of ,giotto given as the model and mirror
 of perfect      architecture1 just on  
account of its exquisite completion4    
,also1 in      the next chapter1 ,i     
expressly limit the delightfulness of   

rough and      imperfect work to        
developing and unformed schools 7pp4    
#adb-c1 #ast      edition72 then turn to
 the #agjth page of the ,stones of      
,venice1 ,vol4      ,,iii41 and you will
 find this directly contrary            
statement3--        ,no good work       
whatever can be perfect1 and the demand 
for perfection      is always a sign of 
the misunderstanding of the end of art4 
444 ,the      first cause of the fall of
 the arts in ,europe was a relentless   
requirement of perfection 7p4 #agb74 ,by
 reading the intermediate      text1 you
 will be put in possession of many good 
reasons for this      opinion2 and1     
comparing it with that just cited about 
the ,campanile      of ,giotto1 will be 
brought1 ,i hope1 into a wholesome state
 of not      knowing what to think4     
,then turn to p4 #afg1 where the great  
law of finish is again      maintained  
as strongly as ever3 ,perfect finish    
7finish1 that is to      say1 up to the 
point possible7 is always desirable from

 the greatest      masters1 and is      
always given by them4-- #ai4            
,and1 lastly1 if you look to  #ai of the
 chapter on the ,early                  
,renaissance1 you will find the         
profoundest respect paid to             
completion2 and1 at the close of that   
chapter1  #ch1 the principle is         
resumed very strongly4 ,as ideals of    
executive perfection1 these      palaces
 are most notable among the architecture
 of ,europe1 and the      ,rio faade of 
the ,ducal palace1 as an example of     
finished masonry in      a vast         
building1 is one of the finest things1  
not only in ,venice1 but      in the    
world4        ,now all these passages   
are perfectly true2 and1 as in much more
      serious matters1 the essential    
thing for the reader is to receive      
their truth1 however little he may be   
able to see their consistency4      ,if 
truths of apparent contrary character   
are candidly and rightly      received1 
they will fit themselves together in the

 mind without any      trouble4 ,but no 
truth maliciously received will nourish 
you1 or fit      with others4 ,the clue 
of connection may in this case1 however1
 be      given in a word4 ,absolute     
finish is always right2 finish1         
inconsistent with prudence and passion1 
wrong4 ,the imperative demand      for  
finish is ruinous1 because it refuses   
better things than finish4      ,the    
stopping short of the finish1 which is  
honorably possible to      human energy1
 is destructive on the other side1 and  
not in less      degree4 ,err1 of the   
two1 on the side of completion4         
#d ,in general illustration of the      
subject1 the following extract      from
 my private diary possesses some        
interest4 ,it refers to two             
portraits which happened to be placed   
opposite to each other in the           
arrangement of a gallery2 one1 modern1  
of a 7foreign7 general on      horseback
 at a review2 the other1 by ,vandyck1   
also an equestrian      portrait1 of an 

ancestor of his family1 whom ,i shall   
here simply call      the knight3       
,i have seldom seen so noble a ,vandyck1
 chiefly because it is painted      with
 less flightiness and flimsiness than   
usual1 with a grand      quietness and  
reserve--almost like ,titian4 ,the other
 is1 on the      contrary1 as vulgar and
 base a picture as ,i have ever seen1   
and it      becomes a matter of extreme 
interest to trace the cause of the      
difference4        ,in the first place1 
everything the general and his horse    
wear is      evidently just made4 ,it   
has not only been cleaned that morning1 
but      has been sent home from the    
tailor's in a hurry last night4 ,horse  
bridle1 saddle housings1 blue coat1     
stars and lace thereupon1 cocked        
hat1 and sword hilt--all look as if they
 had just been taken from a             
shopboard in ,pall ,mall2 the           
irresistible sense of the coat having   
been brushed to perfection is the first 
sentiment which the picture             

summons4 ,the horse has also been rubbed
 down all the morning1 and      shines  
from head to tail4        ,the knight   
rides in a suit of rusty armor4 ,it has 
evidently been      polished also       
carefully1 and gleams brightly here and 
there2 but all      the polishing in the
 world will never take the battle-dints 
and      battle-darkness out of it4 ,his
 horse is gray1 not lustrous1 but a     
dark1 lurid gray4 ,its mane is deep and 
soft3 part of it shaken in      front   
over its forehead--the rest1 in enormous
 masses of waving gold1      six feet   
long1 falls streaming on its neck1 and  
rises in currents of      softest light1
 rippled by the wind1 over the rider's  
armor4 ,the      saddle cloth is of a   
dim red1 fading into leathern brown1    
gleaming      with sparkles of obscure  
gold4 ,when1 after looking a little     
while at      the soft mane of the      
,vandyck horse1 we turn back to the     
general's1 we      are shocked by the   
evident coarseness of its hair1 which   

hangs1      indeed1 in long locks over  
the bridle1 but is stiff1 crude1 sharp  
pointed1 coarsely colored 7a kind of    
buff72 no fine drawing of      nostril  
or neck can give any look of nobleness  
to the animal which      carries such   
hair2 it looks like a hobby-horse with  
tow glued to it1      which riotous     
children have half pulled out or        
scratched out4 ,the      next point of  
difference is the isolation of          
,vandyck's figure1      compared with   
the modern painter's endeavor to ennoble
 his by      subduing others4 ,the      
knight seems to be just going out of his
 castle      gates2 his horse rears as  
he passes their pillars2 there is       
nothing      behind but the sky4 ,but   
the general is reviewing a regiment2 the
      ensign lowers its colors to him2  
he takes off his hat in return4 ,all    
which reviewing and bowing is in its    
very nature ignoble1 wholly      unfit  
to be painted3 a gentleman might as well
 be painted leaving his      card on    

somebody4 ,and1 in the next place1 the  
modern painter has      thought to      
enhance his officer by putting the      
regiment some distance      back1 and in
 the shade1 so that the men look only   
about five feet      high1 being besides
 very ill painted to keep them in better
      subordination4 ,one does not know 
whether most to despise the             
feebleness of the painter who must have 
recourse to such an artifice1      or   
his vulgarity in being satisfied with   
it4 ,i ought1 by the way1      before   
leaving the point of dress1 to have     
noted that the vulgarity      of the    
painter is considerably assisted by the 
vulgarity of the      costume itself4   
,not only is it base in being new1 but  
base in that it      cannot last to be  
old4 ,if one wanted a lesson on the     
ugliness of      modern costume1 it     
could not be more sharply received than 
by turning      from one to the other   
horseman4 ,the knight wears steel plate 
armor1      chased here and there with  

gold2 the delicate1 rich1 pointed lace  
collar falling on the embossed          
breastplate2 his dark hair flowing      
over his shoulders2 a crimson silk scarf
 fastened round his waist1      and     
floating behind him2 buff boots1 deep   
folded at the instep1 set      in silver
 stirrup4 ,the general wears his hair   
cropped short2 blue      coat1 padded   
and buttoned2 blue trowsers and red     
stripe2 black shiny      boots2 common  
saddler's stirrups2 cocked hat in hand1 
suggestive of      absurd completion1   
when assumed4        ,another thing     
noticeable as giving nobleness to the   
,vandyck is its      feminineness3 the  
rich1 light silken scarf1 the flowing   
hair1 the      delicate1 sharp1 though  
sunburnt features1 and the lace collar1 
do      not in the least diminish the   
manliness1 but add feminineness4 ,one   
sees that the knight is indeed a        
soldier1 but not a soldier only2        
that he is accomplished in all ways1 and
 tender in all thoughts3      while the 

general is represented as nothing but a 
soldier--and it is      very doubtful if
 he is even that--one is sure1 at a     
glance1 that if      he can do anything 
but put his hat off and on1 and give    
words of      command1 the anything     
must1 at all events1 have something to  
do with      the barracks2 that there is
 no grace1 nor music1 nor softness1 nor 
learnedness1 in the man's soul2 that he 
is made up of forms and                 
accoutrements4        ,lastly1 the      
modern picture is as bad painting as it 
is wretched      conceiving1 and one is 
struck1 in looking from it to           
,vandyck's1      peculiarly by the fact 
that good work is always enjoyed work4  
,there      is not a touch of ,vandyck's
 pencil but he seems to have revelled   
in--not grossly1 but delicately--tasting
 the color in every touch as      an    
epicure would wine4 ,while the other    
goes on daub1 daub1 daub1 like      a   
bricklayer spreading mortar--nay1 with  
far less lightness of hand      or      

lightness of spirit than a good         
bricklayer's--covering his canvas       
heavily and conceitedly at once1 caring 
only but to catch the public      eye   
with his coarse1 presumptuous1          
ponderous1 illiterate work4        ,thus
 far my diary4 ,in case it should be    
discovered by any one where      these  
pictures are1 it should be noted that   
the vulgarity of the      modern one is 
wholly the painter's fault4 ,it implies 
none in the      general 7except bad    
taste in pictures74 ,the same painter   
would have      made an equally vulgar  
portrait of ,bayard4 ,and as for taste  
in      pictures1 the general's was not 
singular4 ,i used to spend much time    
before the ,vandyck2 and among all the  
tourist visitors to the      gallery1   
who were numerous1 ,i never saw one look
 at it twice1 but all      paused in    
respectful admiration before the padded 
surtout4 ,the reader      will find1    
farther1 many interesting and most      
valuable notes on the      subject of   

nobleness and vulgarity in ,emerson's   
,essays1 and every      phase of        
nobleness illustrated in ,sir ,kenelm   
,digby's ,broad ,stone of      ,honor4  
,the best help ,i have ever had--so far 
as help depended on the      sympathy or
 praise of others in work which1 year   
after year1 it was      necessary to    
pursue through the abuse of the brutal  
and the base--was      given me1 when   
this author1 from whom ,i had first     
learned to love      nobleness1         
introduced frequent reference to my own 
writings in his      ,children's ,bower4
          ,,chapter ,,viii4             
,,wouvermans ,,and ,,angelico4       #a4
 ,having determined the general nature  
of vulgarity1 we are now able  to close 
our view of the character of the ,dutch 
school4    ,it is a strangely mingled   
one1 which ,i have the more difficulty  
in  investigating1 because ,i have no   
power of sympathy with it4 ,however     
inferior in capacity1 ,i can enter      
measuredly into the feelings of         

,correggio or of ,titian2 what they     
like1 ,i like2 what they disdain1 ,i    
disdain4 ,going lower down1 ,i can still
 follow ,salvator's passion1 or         
,albano's prettiness2 and lower still1  
,i can measure modern ,german  heroics1 
or ,french sensualities4 ,i see what the
 people mean1--know where  they are1 and
 what they are4 ,but no effort of fancy 
will enable me to  lay hold of the      
temper of ,teniers or ,wouvermans1 any  
more than ,i can  enter into the        
feelings of one of the lower animals4 ,i
 cannot see why  they painted1--what    
they are aiming at1--what they liked or 
disliked4  ,all their life and work is  
the same sort of mystery to me as the   
mind of  my dog when he rolls on        
carrion4 ,he is a well enough conducted 
dog in  other respects1 and many of     
these ,dutchmen were doubtless very     
well-conducted persons3 certainly they  
learned their business well2 both       
,teniers and ,wouvermans touch with a   
workmanly hand1 such as we cannot  see  

rivalled now2 and they seem never to    
have painted indolently1 but  gave the  
purchaser his thorough money's worth of 
mechanism1 while the  burgesses who     
bargained for their cattle and card     
parties were probably  more respectable 
men than the princes who gave orders to 
,titian for  nymphs1 and to ,raphael for
 nativities4 ,but whatever patient merit
 or  commercial value may be in ,dutch  
labor1 this at least is clear1 that it  
is wholly insensitive4    ,the very     
mastery these men have of their business
 proceeds from their  never really      
seeing the whole of anything1 but only  
that part of it  which they know how to 
do4 ,out of all nature they felt their  
function  was to extract the grayness   
and shininess4 ,give them a golden      
sunset1 a  rosy dawn1 a green waterfall1
 a scarlet autumn on the hills1 and they
  merely look curiously into it to see  
if there is anything gray and           
glittering which can be painted on their
 common principles4     #b4 ,if this1   

however1 were their only fault1 it would
 not prove  absolute insensibility1 any 
more than it could be declared of the   
makers  of ,florentine tables1 that they
 were blind or vulgar because they took 
out of nature only what could be        
represented in agate4 ,a ,dutch picture 
is1 in fact1 merely a ,florentine table 
more finely touched3 it has its  regular
 ground of slate1 and its               
mother-of-pearl and tinsel put in with  
equal precision2 and perhaps the fairest
 view one can take of a ,dutch  painter 
is1 that he is a respectable tradesman  
furnishing well-made  articles in oil   
paint3 but when we begin to examine the 
designs of these  articles1 we may see  
immediately that it is his inbred       
vulgarity1 and  not the chance of       
fortune1 which has made him a tradesman1
 and kept him  one2--which essential    
character of ,dutch work1 as            
distinguished from all  other1 may be   
best seen in that hybrid landscape1     
introduced by  ,wouvermans and ,berghem4

 ,of this landscape ,wouvermans' is the 
most  characteristic4 ,it will be       
remembered that ,i called it hybrid1    
because  it strove to unite the         
attractiveness of every other school4   
,we will  examine the motives of one of 
the most elaborate ,wouvermans          
existing--the landscape with a hunting  
party1 ,no4 #bjh in the ,pinacothek  of 
,munich4     #c4 ,a large lake in the   
distance narrows into a river in the    
foreground2 but the river has no        
current1 nor has the lake either        
reflections or waves4 ,it is a piece of 
gray slate-table1 painted with          
horizontal touches1 and only explained  
to be water by boats upon it4  ,some of 
the figures in these are fishing 7the   
corks of a net are drawn  in bad        
perspective72 others are bathing1 one   
man pulling his shirt over  his ears1   
others are swimming4 ,on the farther    
side of the river are some  curious     
buildings1 half villa1 half ruin2 or    
rather ruin dressed4 ,there  are gardens

 at the top of them1 with beautiful and 
graceful trellised  architecture and    
wandering tendrils of vine4 ,a gentleman
 is coming down  from a door in the     
ruins to get into his pleasure-boat4    
,his servant  catches his dog4     #d4  
,on the nearer side of the river1 a bank
 of broken ground rises from  the       
water's edge up to a group of very      
graceful and carefully studied  trees1  
with a ,french-antique statue on a      
pedestal in the midst of them1  at the  
foot of which are three musicians1 and a
 well-dressed couple  dancing2 their    
coach is in waiting behind4 ,in the     
foreground are  hunters4 ,a richly and  
highly-dressed woman1 with falcon on    
fist1 the  principal figure in the      
picture1 is wrought with ,wouvermans'   
best skill4  ,a stouter lady rides into 
the water after a stag and hind1 who    
gallop  across the middle of the river  
without sinking4 ,two horsemen attend   
the  two ,amazons1 of whom one pursues  
the game cautiously1 but the other is   

thrown headforemost into the river1 with
 a splash which shows it to be  deep at 
the edge1 though the hart and hind find 
bottom in the middle4  ,running footmen1
 with other dogs1 are coming up1 and    
children are  sailing a toy-boat in the 
immediate foreground4 ,the tone of the  
whole is  dark and gray1 throwing out   
the figures in spots of light1 on       
,wouvermans' usual system4 ,the sky is  
cloudy1 and very cold4     #e4 ,you     
observe that in this picture the painter
 has assembled all the  elements which  
he supposes pleasurable4 ,we have music1
 dancing1 hunting1  boating1 fishing1   
bathing1 and child-play1 all at once4   
,water1 wide and  narrow2 architecture1 
rustic and classical2 trees also of the 
finest2  clouds1 not ill-shaped4        
,nothing wanting to our ,paradise3 not  
even  practical jest2 for to keep us    
always laughing1 somebody shall be for  
ever falling with a splash into the     
,kishon4 ,things proceed1  nevertheless1
 with an oppressive quietude4 ,the      

dancers are uninterested  in the        
hunters1 the hunters in the dancers2 the
 hirer of the  pleasure-boat perceives  
neither hart nor hind2 the children are 
unconcerned at the hunter's fall2 the   
bathers regard not the draught of       
fishes2 the fishers fish among the      
bathers1 without apparently             
anticipating any diminution in their    
haul4     #f4 ,let the reader ask       
himself1 would it have been possible for
 the  painter in any clearer way to show
 an absolute1 clay-cold1 ice-cold       
incapacity of understanding what a      
pleasure meant8 ,had he had as much     
heart as a minnow1 he would have given  
some interest to the fishing2  with the 
soul of a grasshopper1 some spring to   
the dancing2 had he half  the will of a 
dog1 he would have made some one turn to
 look at the hunt1  or given a little   
fire to the dash down to the water's    
edge4 ,if he had  been capable of       
pensiveness1 he would not have put the  
pleasure-boat  under the ruin2--capable 

of cheerfulness1 he would not have put  
the ruin  above the pleasure-boat4      
,paralyzed in heart and brain1 he       
delivers his  inventoried articles of   
pleasure one by one to his ravenous     
customers2  palateless2 gluttonous4 ,we 
cannot taste it4 ,hunting is not enough2
 let  us have dancing4 ,that's dull2 now
 give us a jest1 or what is life6 ,the  
river is too narrow1 let us have a lake2
 and1 for mercy's sake1 a               
pleasure-boat1 or how can we spend      
another minute of this languid day6     
,but what pleasure can be in a boat8 let
 us swim2 we see people always  drest1  
let us see them naked4     #g4 ,such is 
the unredeemed1 carnal appetite for mere
 sensual pleasure4  ,i am aware of no   
other painter who consults it so        
exclusively1 without  one gleam of      
higher hope1 thought1 beauty1 or        
passion4    ,as the pleasure of         
,wouvermans1 so also is his war4 ,that1 
however1 is not  hybrid1 it is of one   
character only4    ,the best example ,i 

know is the great battle-piece with the 
bridge1 in  the gallery of ,turin4 ,it  
is said that when this picture1 which   
had been  taken to ,paris1 was sent     
back1 the ,french offered twelve        
thousand pounds  7#cjj1jjj francs7 for  
permission to keep it4 ,the report1 true
 or not1  shows the estimation in which 
the picture is held at ,turin4     #h4  
,there are some twenty figures in the   
mle whose faces can be seen  7about     
sixty in the picture altogether71 and of
 these twenty1 there is  not one whose  
face indicates courage or power2 or     
anything but animal  rage and cowardice2
 the latter prevailing always4 ,every   
one is fighting  for his life1 with the 
expression of a burglar defending       
himself at  extremity against a party of
 policemen4 ,there is the same terror1  
fury1  and pain which a low thief would 
show on receiving a pistol-shot through 
his arm4 ,most of them appear to be     
fighting only to get away2 the          
standard-bearer is retreating1 but      

whether with the enemies' flag or  his  
own ,i do not see2 he slinks away with  
it1 with reverted eye1 as if  he were   
stealing a pocket-handkerchief4 ,the    
swordsmen cut at each other  with       
clenched teeth and terrified eyes2 they 
are too busy to curse each  other2 but  
one sees that the feelings they have    
could be expressed no  otherwise than by
 low oaths4 ,far away1 to the smallest  
figures in the  smoke1 and to one       
drowning under the distant arch of the  
bridge1 all are  wrought with a         
consummate skill in vulgar touch2 there 
is no good  painting1 properly so       
called1 anywhere1 but of clever1 dotty1 
sparkling1  telling execution1 as much  
as the canvas will hold1 and much       
delicate  gray and blue color in the    
smoke and sky4     #i4 ,now1 in order   
fully to feel the difference between    
this view of  war1 and a gentleman's1   
go1 if possible1 into our ,national     
,gallery1 and  look at the young        
,malatesta riding into the battle of    

,sant' ,egidio 7as  he is painted by    
,paul ,ucello74 ,his uncle ,carlo1 the  
leader of the army1  a grave man of     
about sixty1 has just given orders for  
the knights to  close3 two have pushed  
forward with lowered lances1 and the mle
 has  begun only a few yards in front2  
but the young knight1 riding at his     
uncle's side1 has not yet put his helmet
 on1 nor intends doing so1 yet4  ,erect 
he sits1 and quiet1 waiting for his     
captain's orders to charge2  calm as if 
he were at a hawking party1 only more   
grave2 his golden hair  wreathed about  
his proud white brow1 as about a        
statue's4     #aj4 ,yes1 the thoughtful 
reader replies2 this may be pictorially 
very beautiful2 but those ,dutchmen were
 good fighters1 and generally won  the  
day2 whereas1 this very battle of ,sant'
 ,egidio1 so calmly and  bravely begun1 
was lost4    ,indeed1 it is very        
singular that unmitigated expressions of
 cowardice in  battle should be given by
 the painters of so brave a nation as   

the  ,dutch4 ,not but that it is        
possible enough for a coward to be      
stubborn1  and a brave man weak2 the one
 may win his battle by a blind          
persistence1  and the other lose it by a
 thoughtful vacillation4 ,nevertheless1 
the  want of all expression of          
resoluteness in ,dutch battle-pieces    
remains1  for the present1 a mystery to 
me4 ,in those of ,wouvermans1 it is only
 a  natural development of his perfect  
vulgarity in all respects4     #aa4 ,i  
do not think it necessary to trace      
farther the evidences of  insensitive   
conception in the ,dutch school4 ,i have
 associated the name  of ,teniers with  
that of ,wouvermans in the beginning of 
this chapter1  because ,teniers is      
essentially the painter of the pleasures
 of the  ale-house and card-table1 as   
,wouvermans of those of the chase2 and  
the  two are leading masters of the     
peculiar ,dutch trick of white touch on 
gray or brown ground2 but ,teniers is   
higher in reach1 and more honest in     

manner4 ,berghem is the real associate  
of ,wouvermans in the hybrid school  of 
landscape4 ,but all three are alike     
insensitive2 that is to say1            
unspiritual or deathful1 and that to the
 uttermost1 in every                    
thought1--producing1 therefore1 the     
lowest phase of possible art of a       
skilful kind4 ,there are deeper elements
 in ,de ,hooghe and ,gerard ,terburg2   
sometimes expressed with superb quiet   
painting by the former2 but the  whole  
school is inherently mortal to all its  
admirers2 having by its  influence in   
,england destroyed our perception of all
 purposes of  painting1 and throughout  
the north of the ,continent effaced the 
sense of  color among artists of every  
rank4    ,we have1 last1 to consider    
what recovery has taken place from the  
paralysis to which the influence of this
 ,dutch art had reduced us in  ,england 
seventy years ago4 ,but1 in closing my  
review of older art1 ,i  will endeavor  
to illustrate1 by four simple examples1 

the main  directions of its spiritual   
power1 and the cause of its decline4    
#ab4 ,the frontispiece of this volume is
 engraved from an old sketch of  mine1 a
 pencil outline of the little ,madonna  
by ,angelico1 in the  ,annunciation     
preserved in the sacristy of ,santa     
,maria ,novella4 ,this  ,madonna has    
not1 so far as ,i know1 been engraved   
before1 and it is one  of the most      
characteristic of the ,purist school4 ,i
 believe through all  my late work ,i   
have sufficiently guarded my readers    
from over-estimating  this school2 but  
it is well to turn back to it now1 from 
the wholly  carnal work of ,wouvermans1 
in order to feel its purity3 so that1 if
 we  err1 it may be on this side4 ,the  
opposition is the most accurate which ,i
  can set before the student1 for the   
technical disposition of ,wouvermans1   
in his search after delicate form and   
minute grace1 much resembles that  of   
,angelico4 ,but the thoughts of         
,wouvermans are wholly of this world4   

,for him there is no heroism1 awe1 or   
mercy1 hope1 or faith4 ,eating and      
drinking1 and slaying2 rage and lust2   
the pleasures and distresses of  the    
debased body--from these1 his thoughts1 
if so we may call them1  never for an   
instant rise or range4     #ac4 ,the    
soul of ,angelico is in all ways the    
precise reverse of this2  habitually as 
incognizant of any earthly pleasure as  
,wouvermans of any  heavenly one4 ,both 
are exclusive with absolute             
exclusiveness2--neither  desiring nor   
conceiving anything beyond their        
respective spheres4  ,wouvermans lives  
under gray clouds1 his lights come out  
as spots4  ,angelico lives in an        
unclouded light3 his shadows themselves 
are color2  his lights are not the      
spots1 but his darks4 ,wouvermans lives 
in  perpetual tumult--tramp of          
horse--clash of cup--ring of            
pistol-shot4  ,angelico in perpetual    
peace4 ,not seclusion from the world4   
,no shutting  out of the world is       

needful for him4 ,there is nothing to   
shut out4 ,envy1  lust1 contention1     
discourtesy1 are to him as though they  
were not2 and  the cloister walk of     
,fiesole no penitential solitude1 barred
 from the  stir and joy of life1 but a  
possessed land of tender blessing1      
guarded  from the entrance of all but   
holiest sorrow4 ,the little cell was as 
one  of the houses of heaven prepared   
for him by his master4 ,what need had   
it to be elsewhere8 ,was not the ,val   
d',arno1 with its olive woods in  white 
blossom1 paradise enough for a poor     
monk8 or could ,christ be  indeed in    
heaven more than here8 ,was he not      
always with him8 ,could he  breathe or  
see1 but that ,christ breathed beside   
him and looked into his  eyes8 ,under   
every cypress avenue the angels walked2 
he had seen their  white robes1 whiter  
than the dawn1 at his bedside1 as he    
awoke in early  summer4 ,they had sung  
with him1 one on each side1 when his    
voice failed  for joy at sweet vesper   

and matin time2 his eyes were blinded by
 their  wings in the sunset1 when it    
sank behind the hills of ,luni4         
,there may be weakness in this1 but     
there is no baseness2 and while ,i      
rejoice in all recovery from monasticism
 which leads to practical and  healthy  
action in the world1 ,i must1 in closing
 this work1 severely  guard my pupils   
from the thought that sacred rest may be
 honorably  exchanged for selfish and   
mindless activity4     #ad4 ,in order to
 mark the temper of ,angelico1 by a     
contrast of another  kind1 ,i give1 in  
,fig4 #ii1 a facsimile of one of the    
heads in ,salvator's  etching of the    
,academy of ,plato4 ,it is accurately   
characteristic of  ,salvator1 showing1  
by quite a central type1 his indignant1 
desolate1 and  degraded power4 ,i could 
have taken unspeakably baser examples   
from  others of his etchings1 but they  
would have polluted my book1 and been   
in some sort unjust1 representing only  
the worst part of his work4 ,this  head1

 which is as elevated a type as he ever 
reaches1 is assuredly  debased enough2  
and a sufficient image of the mind of   
the painter of  ,catiline and the ,witch
 of ,endor4    ,illustration3 ,,fig4    
#ii4     #ae4 ,then1 in ,fig4 #ajj1 you 
have also a central type of the mind of 
,durer4 ,complete1 yet quaint2 severely 
rational and practical1 yet  capable of 
the highest imaginative religious       
feeling1 and as gentle as a  child's1 it
 seemed to be well represented by this  
figure of the old  bishop1 with all the 
infirmities1 and all the victory1 of his
 life1  written on his calm1 kind1 and  
worldly face4 ,he has been no dreamer1  
nor  persecutor1 but a helpful and      
undeceivable man2 and by careful        
comparison of this conception with the  
common kinds of episcopal ideal  in     
modern religious art1 you will gradually
 feel how the force of ,durer  is joined
 with an unapproachable refinement1 so  
that he can give the  most practical    
view of whatever he treats1 without the 

slightest taint  or shadow of vulgarity4
 ,lastly1 the fresco of ,giorgione1     
,plate #gi1 which  is as fair a type as 
,i am able to give in any single figure1
 of the  central ,venetian art1 will    
complete for us a series1 sufficiently  
symbolical1 of the several ranks of art1
 from lowest to highest4#a ,in          
,wouvermans 7of whose work ,i suppose no
 example is needed1 it being so         
generally known71 we have the entirely  
carnal mind1--wholly versed in  the     
material world1 and incapable of        
conceiving any goodness or  greatness   
whatsoever4    ,illustration3 ,,fig4    
#ajj4 ,to face page #bhd4    ,in        
,angelico1 you have the entirely        
spiritual mind1 wholly versed in the    
heavenly world1 and incapable of        
conceiving any wickedness or vileness   
whatsoever4    ,in ,salvator1 you have  
an awakened conscience1 and some        
spiritual power1  contending with evil1 
but conquered by it1 and brought into   
captivity to  it4    ,in ,durer1 you    

have a far purer conscience and higher  
spiritual power1  yet1 with some defect 
still in intellect1 contending with     
evil1 and  nobly prevailing over it2 yet
 retaining the marks of the contest1 and
  never so entirely victorious as to    
conquer sadness4    ,in ,giorgione1 you 
have the same high spiritual power and  
practical  sense2 but now1 with entirely
 perfect intellect1 contending with     
evil2  conquering it utterly1 casting it
 away for ever1 and rising beyond it    
into magnificence of rest4              
,,footnote3      #a ,as ,i was          
correcting these pages1 there was put   
into my hand a      little work by a    
very dear friend--,travels and ,study in
 ,italy1 by      ,charles ,eliot        
,norton2--,i have not yet been able to  
do more than      glance at it2 but my  
impression is1 that by carefully reading
 it1      together with the essay by the
 same writer on the ,vita ,nuova of     
,dante1 a more just estimate may be     
formed of the religious art of          

,italy than by the study of any other   
books yet existing4 ,at least1 ,i       
have seen none in which the tone of     
thought was at once so tender and       
so just4        ,i had hoped1 before    
concluding this book1 to have given it  
higher      value by extracts from the  
works which have chiefly helped or      
guided      me1 especially from the     
writings of ,helps1 ,lowell1 and the    
,rev4 ,a4 ,j4      ,scott4 ,but if ,i   
were to begin making such extracts1 ,i  
find that ,i      should not know1      
either in justice or affection1 how to  
end4          ,,chapter ,,ix4    ,,the  
,,two ,,boyhoods4       #a4 ,born       
half-way between the mountains and the  
sea--that young ,george  of             
,castelfranco--of the ,brave            
,castle3--,stout ,george they called    
him1  ,george of ,georges1 so goodly a  
boy he was--,giorgione4    ,have you    
ever thought what a world his eyes      
opened on--fair1 searching  eyes of     
youth8 ,what a world of mighty life1    

from those mountain roots to  the       
shore2--of loveliest life1 when he went 
down1 yet so young1 to the  marble      
city--and became himself as a fiery     
heart to it8    ,a city of marble1 did  
,i say8 nay1 rather a golden city1 paved
 with  emerald4 ,for truly1 every       
pinnacle and turret glanced or glowed1  
overlaid with gold1 or bossed with      
jasper4 ,beneath1 the unsullied sea     
drew in deep breathing1 to and fro1 its 
eddies of green wave4  ,deep-hearted1   
majestic1 terrible as the sea1--the men 
of ,venice moved in  sway of power and  
war2 pure as her pillars of alabaster1  
stood her  mothers and maidens2 from    
foot to brow1 all noble1 walked her     
knights2  the low bronzed gleaming of   
sea-rusted armor shot angrily under     
their  blood-red mantle-folds4          
,fearless1 faithful1 patient1           
impenetrable1  implacable1--every word a
 fate--sate her senate4 ,in hope and    
honor1  lulled by flowing of wave around
 their isles of sacred sand1 each with  

his name written and the cross graved at
 his side1 lay her dead4 ,a  wonderful  
piece of world4 ,rather1 itself a world4
 ,it lay along the face  of the waters1 
no larger1 as its captains saw it from  
their masts at  evening1 than a bar of  
sunset that could not pass away2 but1   
for its  power1 it must have seemed to  
them as if they were sailing in the     
expanse of heaven1 and this a great     
planet1 whose orient edge widened       
through ether4 ,a world from which all  
ignoble care and petty thoughts  were   
banished1 with all the common and poor  
elements of life4 ,no  foulness1 nor    
tumult1 in those tremulous streets1 that
 filled1 or fell1  beneath the moon2 but
 rippled music of majestic change1 or   
thrilling  silence4 ,no weak walls could
 rise above them2 no low-roofed cottage1
 nor  straw-built shed4 ,only the       
strength as of rock1 and the finished   
setting  of stones most precious4 ,and  
around them1 far as the eye could reach1
  still the soft moving of stainless    

waters1 proudly pure2 as not the        
flower1 so neither the thorn nor the    
thistle1 could grow in the glancing     
fields4 ,ethereal strength of ,alps1    
dream-like1 vanishing in high           
procession beyond the ,torcellan shore2 
blue islands of ,paduan hills1  poised  
in the golden west4 ,above1 tree winds  
and fiery clouds ranging at  their      
will2--brightness out of the north1 and 
balm from the south1 and  the stars of  
the evening and morning clear in the    
limitless light of  arched heaven and   
circling sea4    ,such was ,giorgione's 
school--such ,titian's home4     #b4    
,near the south-west corner of ,covent  
,garden1 a square brick pit or  well is 
formed by a close-set block of houses1  
to the back windows of  which it admits 
a few rays of light4 ,access to the     
bottom of it is  obtained out of ,maiden
 ,lane1 through a low archway and an    
iron gate2 and  if you stand long enough
 under the archway to accustom your eyes
 to the  darkness1 you may see on the   

left hand a narrow door1 which formerly 
gave quiet access to a respectable      
barber's shop1 of which the front       
window1 looking into ,maiden ,lane1 is  
still extant1 filled in this year       
7#ahfj71 with a row of bottles1         
connected1 in some defunct manner1 with 
a  brewer's business4 ,a more           
fashionable neighborhood1 it is said1   
eighty  years ago than now--never       
certainly a cheerful one--wherein a boy 
being  born on ,st4 ,george's day1      
#agge1 began soon after to take interest
 in the  world of ,covent ,garden1 and  
put to service such spectacles of life  
as it  afforded4     #c4 ,no knights to 
be seen there1 nor1 ,i imagine1 many    
beautiful ladies2  their costume at     
least disadvantageous1 depending much on
 incumbency of  hat and feather1 and    
short waists2 the majesty of men founded
 similarly  on shoebuckles and          
wigs2--impressive enough when ,reynolds 
will do his  best for it2 but not       
suggestive of much ideal delight to a   

boy4    ,bello ovile dov' io dormii     
agnello3 of things beautiful1 besides   
men  and women1 dusty sunbeams up or    
down the street on summer mornings2     
deep furrowed cabbage leaves at the     
greengrocer's2 magnificence of  oranges 
in wheelbarrows round the corner2 and   
,thames' shore within three  minutes'   
race4     #d4 ,none of these things very
 glorious2 the best1 however1 that      
,england1 it seems1 was then able to    
provide for a boy of gift3 who1 such  as
 they are1 loves them--never1 indeed1   
forgets them4 ,the short waists  modify 
to the last his visions of ,greek ideal4
 ,his foregrounds had  always a         
succulent cluster or two of greengrocery
 at the corners4  ,enchanted oranges    
gleam in ,covent ,gardens of the        
,hesperides2 and great  ships go to     
pieces in order to scatter chests of    
them on the waves4 ,that  mist of early 
sunbeams in the ,london dawn crosses1   
many and many a time1  the clearness of 
,italian air2 and by ,thames' shore1    

with its stranded  barges and glidings  
of red sail1 dearer to us than ,lucerne 
lake or  ,venetian lagoon1--by ,thames' 
shore we will die4     #e4 ,with such   
circumstance round him in youth1 let us 
note what  necessary effects followed   
upon the boy4 ,i assume him to have had 
,giorgione's sensibility 7and more than 
,giorgione's1 if that be possible7  to  
color and form4 ,i tell you farther1 and
 this fact you may receive  trustfully1 
that his sensibility to human affection 
and distress was no  less keen than even
 his sense for natural                  
beauty--heart-sight deep as  eye-sight4 
,consequently1 he attaches himself with 
the faithfullest child-love to          
everything that bears an image of the   
place he was born in4 ,no matter  how   
ugly it is1--has it anything about it   
like ,maiden ,lane1 or like  ,thames'   
shore8 ,if so1 it shall be painted for  
their sake4 ,hence1 to the  very close  
of life1 ,turner could endure ugliness  
which no one else1 of  the same         

sensibility1 would have borne with for  
an instant4 ,dead brick  walls1 blank   
square windows1 old clothes1            
market-womanly types of                 
humanity--anything fishy and muddy1 like
 ,billingsgate or ,hungerford  ,market1 
had great attraction for him2 black     
barges1 patched sails1 and  every       
possible condition of fog4     #f4 ,you 
will find these tolerations and         
affections guiding or  sustaining him to
 the last hour of his life2 the         
notablest of all such  endurances being 
that of dirt4 ,no ,venetian ever draws  
anything foul2 but  ,turner devoted     
picture after picture to the            
illustration of effects of  dinginess1  
smoke1 soot1 dust1 and dusty texture2   
old sides of boats1  weedy roadside     
vegetation1 dung-hills1 straw-yards1 and
 all the  soilings and stains of every  
common labor4    ,and more than this1 he
 not only could endure1 but enjoyed and 
looked for  litter1 like ,covent ,garden
 wreck after the market4 ,his pictures  

are  often full of it1 from side to     
side2 their foregrounds differ from all 
others in the natural way that things   
have of lying about in them4 ,even  his 
richest vegetation1 in ideal work1 is   
confused2 and he delights in  shingle1  
dbris1 and heaps of fallen stones4 ,the 
last words he ever  spoke to me about a 
picture were in gentle exaltation about 
his ,st4  ,gothard3 that litter of      
stones which ,i endeavored to represent4
     #g4 ,the second great result of    
this ,covent ,garden training was1      
understanding of and regard for the     
poor1 whom the ,venetians1 we saw1      
despised2 whom1 contrarily1 ,turner     
loved1 and more than  loved--understood4
 ,he got no romantic sight of them1 but 
an infallible  one1 as he prowled about 
the end of his lane1 watching night     
effects in  the wintry streets2 nor     
sight of the poor alone1 but of the poor
 in  direct relations with the rich4 ,he
 knew1 in good and evil1 what both      
classes thought of1 and how they dwelt  

with1 each other4    ,reynolds and      
,gainsborough1 bred in country villages1
 learned there the  country boy's       
reverential theory of the squire1 and   
kept it4 ,they  painted the squire and  
the squire's lady as centres of the     
movements of  the universe1 to the end  
of their lives4 ,but ,turner perceived  
the  younger squire in other aspects    
about his lane1 occurring prominently in
  its night scenery1 as a dark figure1  
or one of two1 against the  moonlight4  
,he saw also the working of city        
commerce1 from endless  warehouse1      
towering over ,thames1 to the back shop 
in the lane1 with its  stale            
herrings--highly interesting these last2
 one of his fathers best  friends1 whom 
he often afterwards visited             
affectionately at ,bristol1  being a    
fish-monger and glueboiler2 which gives 
us a friendly turn of  mind towards     
herring-fishing1 whaling1 ,calais       
poissardes1 and many other  of our      
choicest subjects in after life2 all    

this being connected with  that         
mysterious forest below ,london ,bridge 
on one side2--and1 on the  other1 with  
these masses of human power and national
 wealth which weigh  upon us1 at ,covent
 ,garden here1 with strange compression1
 and crush us  into narrow ,hand ,court4
     #h4 ,that mysterious forest below  
,london ,bridge--better for the boy     
than wood of pine1 or grove of myrtle4  
,how he must have tormented the         
watermen1 beseeching them to let him    
crouch anywhere in the bows1 quiet  as a
 log1 so only that he might get floated 
down there among the ships1  and round  
and round the ships1 and with the ships1
 and by the ships1 and  under the ships1
 staring and clambering2--these the only
 quite beautiful  things he can see in  
all the world1 except the sky2 but      
these1 when the  sun is on their sails1 
filling or falling1 endlessly disordered
 by sway  of tide and stress of         
anchorage1 beautiful unspeakably2 which 
ships also  are inhabited by glorious   

creatures--redfaced sailors1 with pipes1
  appearing over the gunwales1 true     
knights1 over their castle              
parapets--the most angelic beings in the
 whole compass of ,london world4  ,and  
,trafalgar happening long before we can 
draw ships1 we1 nevertheless1  coax all 
current stories out of the wounded      
sailors1 do our best at  present to show
 ,nelson's funeral streaming up the     
,thames2 and vow that  ,trafalgar shall 
have its tribute of memory some day4    
,which1 accordingly1  is                
accomplished--once1 with all our might1 
for its death2 twice1 with  all our     
might1 for its victory2 thrice1 in      
pensive farewell to the old  ,temeraire1
 and1 with it1 to that order of things4 
#i4 ,now this fond companying with      
sailors must have divided his time1  it 
appears to me1 pretty equally between   
,covent ,garden and ,wapping  7allowing 
for incidental excursions to ,chelsea on
 one side1 and  ,greenwich on the       
other71 which time he would spend       

pleasantly1 but not  magnificently1     
being limited in pocket-money1 and      
leading a kind of  ,poor-,jack life on  
the river4    ,in some respects1 no life
 could be better for a lad4 ,but it was 
not  calculated to make his ear fine to 
the niceties of language1 nor form  his 
moralities on an entirely regular       
standard4 ,picking up his first  scraps 
of vigorous ,english chiefly at         
,deptford and in the markets1 and  his  
first ideas of female tenderness and    
beauty among nymphs of the  barge and   
the barrow1--another boy might1 perhaps1
 have become what  people usually term  
vulgar4 ,but the original make and frame
 of  ,turner's mind being not vulgar1   
but as nearly as possible a combination 
of the minds of ,keats and ,dante1      
joining capricious waywardness1 and     
intense openness to every fine pleasure 
of sense1 and hot defiance of  formal   
precedent1 with a quite infinite        
tenderness1 generosity1 and  desire of  
justice and truth--this kind of mind did

 not become vulgar1  but very tolerant  
of vulgarity1 even fond of it in some   
forms2 and1 on  the outside1 visibly    
infected by it1 deeply enough2 the      
curious result1  in its combination of  
elements1 being to most people wholly   
incomprehensible4 ,it was as if a cable 
had been woven of blood-crimson  silk1  
and then tarred on the outside4 ,people 
handled it1 and the tar  came off on    
their hands2 red gleams were seen       
through the black1  underneath1 at the  
places where it had been strained4 ,was 
it  ochre8--said the world--or red lead8
     #aj4 ,schooled thus in manners1    
literature1 and general moral principles
  at ,chelsea and ,wapping1 we have     
finally to inquire concerning the most  
important point of all4 ,we have seen   
the principal differences between  this 
boy and ,giorgione1 as respects sight of
 the beautiful1  understanding of       
poverty1 of commerce1 and of order of   
battle2 then  follows another cause of  
difference in our training--not         

slight1--the  aspect of religion1       
namely1 in the neighborhood of ,covent  
,garden4 ,i say  the aspect2 for that   
was all the lad could judge by4         
,disposed1 for the  most part1 to learn 
chiefly by his eyes1 in this special    
matter he finds  there is really no     
other way of learning4 ,his father      
taught him to lay  one penny upon       
another4 ,of mother's teaching1 we hear 
of none2 of  parish pastoral teaching1  
the reader may guess how much4     #aa4 
,i chose ,giorgione rather than         
,veronese to help me in carrying out    
this parallel2 because ,i do not find in
 ,giorgione's work any of the  early    
,venetian monarchist element4 ,he seems 
to me to have belonged more  to an      
abstract contemplative school4 ,i may be
 wrong in this2 it is no                
matter2--suppose it were so1 and that he
 came down to ,venice somewhat          
recusant1 or insentient1 concerning the 
usual priestly doctrines of his         
day1--how would the ,venetian religion1 

from an outer intellectual              
standing-point1 have looked to him8     
#ab4 ,he would have seen it to be a     
religion indisputably powerful in  human
 affairs2 often very harmfully so2      
sometimes devouring widows'  houses1 and
 consuming the strongest and fairest    
from among the young2  freezing into    
merciless bigotry the policy of the old3
 also1 on the  other hand1 animating    
national courage1 and raising souls1    
otherwise  sordid1 into heroism3 on the 
whole1 always a real and great power2   
served with daily sacrifice of gold1    
time1 and thought2 putting forth  its   
claims1 if hypocritically1 at least in  
bold hypocrisy1 not waiving  any atom of
 them in doubt or fear2 and1 assuredly1 
in large measure1  sincere1 believing in
 itself1 and believed3 a goodly system1 
moreover1  in aspect2 gorgeous1         
harmonious1 mysterious2--a thing which  
had either  to be obeyed or combated1   
but could not be scorned4 ,a religion   
towering  over all the city--many       

buttressed--luminous in marble          
stateliness1 as  the dome of our ,lady  
of ,safety shines over the sea2         
many-voiced also1  giving1 over all the 
eastern seas1 to the sentinel his       
watchword1 to the  soldier his war-cry2 
and1 on the lips of all who died for    
,venice1  shaping the whisper of death4 
#ac4 ,i suppose the boy ,turner to have 
regarded the religion of his city  also 
from an external intellectual           
standing-point4    ,what did he see in  
,maiden ,lane8    ,let not the reader be
 offended with me2 ,i am willing to let 
him  describe1 at his own pleasure1 what
 ,turner saw there2 but to me1 it  seems
 to have been this4 ,a religion         
maintained occasionally1 even the  whole
 length of the lane1 at point of        
constable's staff2 but1 at other  times1
 placed under the custody of the beadle1
 within certain black and  unstately    
iron railings of ,st4 ,paul's1 ,covent  
,garden4 ,among the  wheelbarrows and   
over the vegetables1 no perceptible     

dominance of  religion2 in the narrow1  
disquieted streets1 none2 in the        
tongues1  deeds1 daily ways of ,maiden  
,lane1 little4 ,some honesty1 indeed1   
and  ,english industry1 and kindness of 
heart1 and general idea of justice2  but
 faith1 of any national kind1 shut up   
from one ,sunday to the next1  not      
artistically beautiful even in those    
,sabbatical exhibitions2 its            
paraphernalia being chiefly of high     
pews1 heavy elocution1 and cold         
grimness of behavior4    ,what          
chiaroscuro belongs to it--7dependent   
mostly on candlelight71--we  will1      
however1 draw considerately2 no         
goodliness of escutcheon1 nor  other    
respectability being omitted1 and the   
best of their results  confessed1 a meek
 old woman and a child being let into a 
pew1 for whom  the reading by           
candlelight will be beneficial4#a       
#ad4 ,for the rest1 this religion seems 
to him  discreditable--discredited--not 
believing in itself1 putting forth its  

authority in a cowardly way1 watching   
how far it might be tolerated1          
continually shrinking1 disclaiming1     
fencing1 finessing2 divided against     
itself1 not by stormy rents1 but by thin
 fissures1 and splittings of  plaster   
from the walls4 ,not to be either       
obeyed1 or combated1 by an  ignorant1   
yet clear-sighted youth2 only to be     
scorned4 ,and scorned not  one whit the 
less1 though also the dome dedicated to 
it looms high  over distant winding of  
the ,thames2 as ,st4 ,mark's campanile  
rose1 for  goodly landmark1 over mirage 
of lagoon4 ,for ,st4 ,mark ruled over   
life2  the ,saint of ,london over death2
 ,st4 ,mark over ,st4 ,mark's ,place1   
but ,st4  ,paul over ,st4 ,paul's       
,churchyard4     #ae4 ,under these      
influences pass away the first          
reflective hours of  life1 with such    
conclusion as they can reach4 ,in       
consequence of a fit of  illness1 he was
 taken--,i cannot ascertain in what     
year--to live with an  aunt1 at         

,brentford2 and here1 ,i believe1       
received some schooling1 which  he seems
 to have snatched vigorously2 getting   
knowledge1 at least by  translation1 of 
the more picturesque classical authors1 
which he turned  presently to use1 as we
 shall see4 ,hence also1 walks about    
,putney and  ,twickenham in the summer  
time acquainted him with the look of    
,english  meadow-ground in its          
restricted states of paddock and park2  
and with  some round-headed appearances 
of trees1 and stately entrances to      
houses  of mark3 the avenue at ,bushy1  
and the iron gates and carved pillars of
  ,hampton1 impressing him apparently   
with great awe and admiration2 so  that 
in after life his little country house  
is1--of all places in the  world1--at   
,twickenham6 ,of swans and reedy shores 
he now learns the soft  motion and the  
green mystery1 in a way not to be       
forgotten4     #af4 ,and at last fortune
 wills that the lad's true life shall   
begin2  and one summer's evening1 after 

various wonderful stage-coach           
experiences on the north road1 which    
gave him a love of stage-coaches  ever  
after1 he finds himself sitting alone   
among the ,yorkshire hills4#b  ,for the 
first time1 the silence of ,nature round
 him1 her freedom sealed  to him1 her   
glory opened to him4 ,peace at last2 no 
roll of cart-wheel1  nor mutter of      
sullen voices in the back shop2 but     
curlew-cry in space of  heaven1 and     
welling of bell-toned streamlet by its  
shadowy rock4 ,freedom  at last4        
,dead-wall1 dark railing1 fenced field1 
gated garden1 all passed  away like the 
dream of a prisoner2 and behold1 far as 
foot or eye can  race or range1 the     
moor1 and cloud4 ,loveliness at last4   
,it is here then1  among these deserted 
vales6 ,not among men4 ,those pale1     
poverty-struck1  or cruel faces2--that  
multitudinous1 marred humanity--are not 
the only  things that ,god has made4    
,here is something ,he has made which no
 one has  marred4 ,pride of purple      

rocks1 and river pools of blue1 and     
tender  wilderness of glittering trees1 
and misty lights of evening on          
immeasurable hills4     #ag4 ,beauty1   
and freedom1 and peace2 and yet another 
teacher1 graver  than these4 ,sound     
preaching at last here1 in ,kirkstall   
crypt1 concerning  fate and life4 ,here1
 where the dark pool reflects the       
chancel pillars1  and the cattle lie in 
unhindered rest1 the soft sunshine on   
their  dappled bodies1 instead of       
priests' vestments2 their white furry   
hair  ruffled a little1 fitfully1 by the
 evening wind1 deep-scented from the    
meadow thyme4     #ah4 ,consider deeply 
the import to him of this1 his first    
sight of  ruin1 and compare it with the 
effect of the architecture that was     
around  ,giorgione4 ,there were indeed  
aged buildings1 at ,venice1 in his time1
 but  none in decay4 ,all ruin was      
removed1 and its place filled as quickly
 as  in our ,london2 but filled always  
by architecture loftier and more        

wonderful than that whose place it took1
 the boy himself happy to work  upon the
 walls of it2 so that the idea of the   
passing away of the  strength of men and
 beauty of their works never could occur
 to him  sternly4 ,brighter and brighter
 the cities of ,italy had been rising   
and  broadening on hill and plain1 for  
three hundred years4 ,he saw only       
strength and immortality1 could not but 
paint both2 conceived the form  of man  
as deathless1 calm with power1 and fiery
 with life4     #ai4 ,turner saw the    
exact reverse of this4 ,in the present  
work of men1  meanness1 aimlessness1    
unsightliness3 thin-walled1             
lath-divided1  narrow-garreted houses of
 clay2 booths of a darksome ,vanity     
,fair1 busily  base4    ,but on ,whitby 
,hill1 and by ,bolton ,brook1 remained  
traces of other  handiwork4 ,men who    
could build had been there2 and who also
 had wrought1  not merely for their own 
days4 ,but to what purpose8 ,strong     
faith1 and  steady hands1 and patient   

souls--can this1 then1 be all you have  
left6  this the sum of your doing on the
 earth6--a nest whence the night-owl    
may whimper to the brook1 and a ribbed  
skeleton of consumed arches1  looming   
above the bleak banks of mist1 from its 
cliff to the sea8    ,as the strength of
 men to ,giorgione1 to ,turner their    
weakness and  vileness1 were alone      
visible4 ,they themselves1 unworthy or  
ephemeral2  their work1 despicable1 or  
decayed4 ,in the ,venetian's eyes1 all  
beauty  depended on man's presence and  
pride2 in ,turner's1 on the solitude he 
had left1 and the humiliation he had    
suffered4     #bj4 ,and thus the fate   
and issue of all his work were          
determined at  once4 ,he must be a      
painter of the strength of nature1 there
 was no  beauty elsewhere than in that2 
he must paint also the labor and sorrow 
and passing away of men2 this was the   
great human truth visible to him4       
,their labor1 their sorrow1 and their   
death4 ,mark the three4 ,labor2 by  sea 

and land1 in field and city1 at forge   
and furnace1 helm and plough4  ,no      
pastoral indolence nor classic pride    
shall stand between him and the         
troubling of the world2 still less      
between him and the toil of his         
country1--blind1 tormented1 unwearied1  
marvellous ,england4     #ba4 ,also     
their ,sorrow2 ,ruin of all their       
glorious work1 passing away  of their   
thoughts and their honor1 mirage of     
pleasure1 ,,fallacy ,,of ,,hope2        
gathering of weed on temple step2       
gaining of wave on deserted strand2     
weeping of the mother for the children1 
desolate by her breathless  first-born  
in the streets of the city1#c desolate  
by her last sons  slain1 among the      
beasts of the field4#d     #bb4 ,and    
their ,death4 ,that old ,greek question 
again2--yet unanswered4  ,the           
unconquerable spectre still flitting    
among the forest trees at  twilight2    
rising ribbed out of the                
sea-sand2--white1 a strange             

,aphrodite1--out of the sea-foam2       
stretching its gray1 cloven wings among 
the clouds2 turning the light of their  
sunsets into blood4 ,this has to  be    
looked upon1 and in a more terrible     
shape than ever ,salvator or ,durer  saw
 it4 ,the wreck of one guilty country   
does not infer the ruin of all          
countries1 and need not cause general   
terror respecting the laws of the       
universe4 ,neither did the orderly and  
narrow succession of domestic joy  and  
sorrow in a small ,german community     
bring the question in its  breadth1 or  
in any unresolvable shape1 before the   
mind of ,durer4 ,but the  ,english      
death--the ,european death of the       
nineteenth century--was of  another     
range and power2 more terrible a        
thousand-fold in its merely  physical   
grasp and grief2 more terrible1         
incalculably1 in its mystery  and shame4
 ,what were the robber's casual pang1 or
 the rage of the flying  skirmish1      
compared to the work of the axe1 and the

 sword1 and the  famine1 which was done 
during this man's youth on all the hills
 and  plains of the ,christian earth1   
from ,moscow to ,gibraltar4 ,he was     
eighteen  years old when ,napoleon came 
down on ,arcola4 ,look on the map of    
,europe1  and count the blood-stains on 
it1 between ,arcola and ,waterloo4      
#bc4 ,not alone those blood-stains on   
the ,alpine snow1 and the blue of  the  
,lombard plain4 ,the ,english death was 
before his eyes also4 ,no  decent1      
calculable1 consoled dying2 no passing  
to rest like that of the  aged burghers 
of ,nuremberg town4 ,no gentle          
processions to churchyards  among the   
fields1 the bronze crests bossed deep on
 the memorial tablets1  and the skylark 
singing above them from among the corn4 
,but the life  trampled out in the slime
 of the street1 crushed to dust amidst  
the  roaring of the wheel1 tossed       
countlessly away into howling winter    
wind  along five hundred leagues of     
rock-fanged shore4 ,or1 worst of all1   

rotted down to forgotten graves through 
years of ignorant patience1 and  vain   
seeking for help from man1 for hope in  
,god--infirm1 imperfect  yearning1 as of
 motherless infants starving at the     
dawn2 oppressed  royalties of captive   
thought1 vague ague-fits of bleak1      
amazed despair4     #bd4 ,a goodly      
landscape this1 for the lad to paint1   
and under a goodly  light4 ,wide enough 
the light was1 and clear2 no more       
,salvator's lurid  chasm on jagged      
horizon1 nor ,durer's spotted rest of   
sunny gleam on  hedgerow and field2 but 
light over all the world4 ,full shone   
now its  awful globe1 one pallid        
charnel-house1--a ball strewn bright    
with human  ashes1 glaring in poised    
sway beneath the sun1 all blinding-white
 with  death from pole to pole1--death1 
not of myriads of poor bodies only1 but 
of will1 and mercy1 and conscience2     
death1 not once inflicted on the  flesh1
 but daily1 fastening on the spirit2    
death1 not silent or patient1  waiting  

his appointed hour1 but voiceful1       
venomous2 death with the  taunting word1
 and burning grasp1 and infixed sting4  
,put ye in the sickle1 for the harvest  
is ripe4 ,the word is spoken in  our    
ears continually to other reapers than  
the angels--to the busy  skeletons that 
never tire for stooping4 ,when the      
measure of iniquity is  full1 and it    
seems that another day might bring      
repentance and  redemption1--,put ye in 
the sickle4 ,when the young life has    
been wasted  all away1 and the eyes are 
just opening upon the tracks of ruin1   
and  faint resolution rising in the     
heart for nobler things1--,put ye in the
  sickle4 ,when the roughest blows of   
fortune have been borne long and        
bravely1 and the hand is just stretched 
to grasp its goal1--,put ye in  the     
sickle4 ,and when there are but a few in
 the midst of a nation1 to  save it1 or 
to teach1 or to cherish2 and all its    
life is bound up in  those few golden   
ears1--,put ye in the sickle1 pale      

reapers1 and pour  hemlock for your     
feast of harvest home4    ,this was the 
sight which opened on the young eyes1   
this the watchword  sounding within the 
heart of ,turner in his youth4    ,so   
taught1 and prepared for his life's     
labor1 sate the boy at last alone  among
 his fair ,english hills2 and began to  
paint1 with cautious toil1  the rocks1  
and fields1 and trickling brooks1 and   
soft1 white clouds of  heaven4          
,,footnotes3      #a ,liber ,studiorum4 
,interior of a church4 ,it is worthy of 
remark      that ,giorgione and ,titian 
are always delighted to have an         
opportunity      of drawing priests4    
,the ,english ,church may1 perhaps1     
accept it as      matter of             
congratulation that this is the only    
instance in which      ,turner drew a   
clergyman4      #b ,i do not mean that  
this is his first acquaintance with the 
country1 but the first impressive and   
touching one1 after his mind      was   
formed4 ,the earliest sketches ,i found 

in the ,national ,collection      are at
 ,clifton and ,bristol2 the next1 at    
,oxford4      #c ,the ,tenth ,plague of 
,egypt4      #d ,rizpah1 the ,daughter  
of ,aiah4          ,,chapter ,x4        
,,the ,,nereid',s ,,guard4       #a4    
,the work of ,turner1 in its first      
period1 is said in my account of  his   
drawings at the ,national ,gallery to be
 distinguished by boldness of  handling1
 generally gloomy tendency of mind1     
subdued color1 and  perpetual reference 
to precedent in composition4 ,i must    
refer the  reader to those two          
catalogues#a for a more special account 
of his  early modes of technical study4 
,here we are concerned only with the    
expression of that gloomy tendency of   
mind1 whose causes we are now  better   
able to understand4     #b4 ,it was     
prevented from overpowering him by his  
labor4 ,this1  continual1 and as        
tranquil in its course as a ploughman's 
in the field1  by demanding an admirable
 humility and patience1 averted the     

tragic  passion of youth4 ,full of stern
 sorrow and fixed purpose1 the boy set  
himself to his labor silently and       
meekly1 like a workman's child on its   
first day at the cotton-mill4 ,without  
haste1 but without                      
relaxation1--accepting all modes and    
means of progress1 however painful  or  
humiliating1 he took the burden on his  
shoulder and began his march4  ,there   
was nothing so little1 but that he      
noticed it2 nothing so great  but he    
began preparations to cope with it4 ,for
 some time his work is1  apparently1    
feelingless1 so patient and mechanical  
are the first essays4  ,it gains        
gradually in power and grasp2 there is  
no perceptible aim at  freedom1 or at   
fineness1 but the force insensibly      
becomes swifter1 and  the touch finer4  
,the color is always dark or subdued4   
,illustration3 #gh4 ,quivi ,trovammo4   
#c4 ,of the first forty subjects which  
he exhibited at the ,royal  ,academy1   
thirty-one are architectural1 and of    

these twenty-one are of  elaborate      
,gothic architecture 7,peterborough     
cathedral1 ,lincoln  cathedral1         
,malmesbury abbey1 ,tintern abbey1 c474 
,i look upon the  discipline given to   
his hand by these formal drawings as of 
the highest  importance4 ,his mind was  
also gradually led by them into a calmer
  pensiveness4#b ,education amidst      
country possessing architectural        
remains of some noble kind1 ,i believe  
to be wholly essential to the  progress 
of a landscape artist4 ,the first verses
 he ever attached to a  picture were in 
#agih4 ,they are from ,paradise ,lost1  
and refer to a  picture of ,morning1 on 
the ,coniston ,fells3--      ,ye mists  
and exhalations1 that now rise     ,from
 hill or streaming lake1 dusky or gray1 
,till the sun paints your fleecy skirts 
with gold1     ,in honor to the world's 
great ,author rise4    ,by glancing over
 the verses1 which in following years#c 
he quotes from  ,milton1 ,thompson1 and 
,mallet1 it may be seen at once how his 

mind was  set1 so far as natural scenes 
were concerned1 on rendering atmospheric
  effect2--and so far as emotion was to 
be expressed1 how consistently it  was  
melancholy4    ,he paints1 first of     
heroic or meditative subjects1 the      
,fifth ,plague of  ,egypt2 next1 the    
,tenth ,plague of ,egypt4 ,his first    
tribute to the memory  of ,nelson is the
 ,battle of the ,nile1 #agii4 ,i presume
 an unimportant  picture1 as his power  
was not then availably developed4 ,his  
first  classical subject is ,narcissus  
and ,echo1 in #ahje3--      ,so melts   
the youth and languishes away1     ,his 
beauty withers1 and his limbs decay4    
,the year following he summons his whole
 strength1 and paints what we  might    
suppose would be a happier subject1 the 
,garden of the ,hesperides4  ,this being
 the most important picture of the first
 period1 ,i will  analyze it completely4
     #d4 ,the fable of the ,hesperides  
had1 it seems to me1 in the ,greek mind 
two distinct meanings2 the first        

referring to natural phenomena1 and the 
second to moral4 ,the natural meaning of
 it ,i believe to have been  this3--    
,the ,garden of the ,hesperides was     
supposed to exist in the westernmost    
part of the ,cyrenaica2 it was generally
 the expression for the beauty  and     
luxuriant vegetation of the coast of    
,africa in that district4 ,the  centre  
of the ,cyrenaica is occupied by a      
moderately elevated  table-land1 whose  
edge runs parallel to the coast1 to     
which it sinks  down in a succession of 
terraces1 clothed with verdure1         
intersected by  mountain streams running
 through ravines filled with the richest
  vegetation2 well watered by frequent  
rains1 exposed to the cool sea  breeze  
from the north1 and sheltered by the    
mass of the mountain from  the sands and
 hot winds of the ,sahara4#d    ,the    
,greek colony of ,cyrene itself was     
founded ten miles from the  sea-shore1  
in a spot backed by the mountains on the
 south1 and thus  sheltered from the    

fiery blasts of the desert2 while at the
 height of  about #ahjj feet an         
inexhaustible spring bursts forth amidst
 luxuriant  vegetation1 and pours its   
waters down to the ,mediterranean       
through a  most beautiful ravine4       
,the nymphs of the west1 or ,hesperides1
 are therefore1 ,i believe1 as  natural 
types1 the representatives of the soft  
western winds and  sunshine1 which were 
in this district most favorable to      
vegetation4 ,in  this sense they are    
called daughters of ,atlas and          
,hesperis1 the western  winds being     
cooled by the snow of ,atlas4 ,the      
dragon1 on the contrary1 is  the        
representative of the ,sahara wind1 or  
,simoom1 which blew over the  garden    
from among the hills on the south1 and  
forbade all advance of  cultivation     
beyond their ridge4 ,whether this was   
the physical meaning of  the tradition  
in the ,greek mind or not1 there can be 
no doubt of its  being ,turner's first  
interpretation of it4 ,a glance at the  

picture may  determine this3 a clear    
fountain being made the principal object
 in the  foreground1--a bright and      
strong torrent in the distance1--while  
the  dragon1 wrapped in flame and       
whirlwind1 watches from the top of the  
cliff4     #e4 ,but1 both in the ,greek 
mind and ,turner's1 this natural meaning
 of  the legend was a completely        
subordinate one4 ,the moral significance
 of  it lay far deeper4 ,in the second1 
but principal sense1 the ,hesperides    
were not daughters of ,atlas1 nor       
connected with the winds of the west1   
but with its splendor4 ,they are        
properly the nymphs of the sunset1 and  
are the daughters of night1 having many 
brothers and sisters1 of whom ,i  shall 
take ,hesiod's account4     #f4 ,and the
 ,night begat ,doom1 and short-withering
 ,fate1 and ,death4    ,and begat       
,sleep1 and the company of ,dreams1 and 
,censure1 and ,sorrow4    ,and the      
,hesperides1 who keep the golden fruit  
beyond the mighty ,sea4    ,and the     

,destinies1 and the ,spirits of         
merciless punishment4    ,and ,jealousy1
 and ,deceit1 and ,wanton ,love2 and    
,old ,age1 that fades  away2 and        
,strife1 whose will endures4     #g4 ,we
 have not1 ,i think1 hitherto quite     
understood the ,greek feeling  about    
those nymphs and their golden apples1   
coming as a light in the  midst of      
cloud2 between ,censure1 and            
,sorrow1--and the ,destinies4 ,we must  
look to the precise meaning of ,hesiod's
 words1 in order to get the force  of   
the passage4    ,the ,night begat ,doom2
 that is to say1 the doom of unforeseen 
accident--doom essentially of darkness4 
,and short-withering ,fate4 ,ill        
translated4 ,i cannot do it better4 ,it 
means especially the sudden fate which  
brings untimely end to all  purpose1 and
 cuts off youth and its promise2 called1
 therefore 7the  epithet hardly ever    
leaving it71 black ,fate4    ,and       
,death4 ,this is the universal1         
inevitable death1 opposed to the        

interfering1 untimely death4 ,these     
three are named as the elder  children4 
,hesiod pauses1 and repeats the word    
begat before going on to  number the    
others4    ,and begat ,sleep1 and the   
company of ,dreams4    ,and ,censure4   
,momus1 the ,spirit of ,blame--the      
spirit which desires  to blame rather   
than to praise2 false1 base1 unhelpful1 
unholy  judgment2--ignorant and blind1  
child of the ,night4    ,and ,sorrow4   
,accurately1 sorrow of mourning2 the    
sorrow of the night1  when no man can   
work2 of the night that falls when what 
was the light of  the eyes is taken from
 us2 lamenting1 sightless sorrow1       
without  hope1--child of ,night4    ,and
 the ,hesperides4 ,we will come back to 
these4    ,and the ,destinies1 and the  
,spirits of ,merciless ,punishment4     
,these are  the great ,fates which have 
rule over conduct2 the first fate spoken
 of  7short-withering7 is that which has
 rule over occurrence4 ,these great     
,fates are ,clotho1 ,lachesis1 ,atropos4

 ,their three powers are--,clotho's     
over the clue1 the thread1 or connecting
 energy1--that is1 the conduct  of life2
 ,lachesis' over the lot--that is to    
say1 the chance which warps1  entangles1
 or bends the course of life4 ,atropos1 
inflexible1 cuts the  thread for ever4  
,and ,jealousy1 especially the jealousy 
of ,fortune1 in balancing all  good by  
evil4 ,the ,greeks had a peculiar dread 
of this form of fate4    ,and ,deceit1  
and sensual ,love4 ,and ,old ,age that  
fades1 and ,strife that  endures2 that  
is to say1 old age1 which1 growing not  
in wisdom1 is  marked only by its       
failing power--by the gradual gaining of
 darkness on  the faculties1 and        
helplessness on the frame1 such age is  
the forerunner  of true death--the child
 of ,night4 ,and ,strife1 the last and  
the  mightiest1 the nearest to man of   
the ,night-children--blind leader of the
  blind4     #h4 ,understanding thus    
whose sisters they are1 let us consider 
of the  ,hesperides themselves--spoken  

of commonly as the ,singing ,nymphs4    
,they  are four4    ,their names are    
gl1--,brightness2 ,erytheia1--,blushing2
 ,hestia1--the  7spirit of the7 ,hearth2
 ,arethusa1--the ,ministering4    ,o    
,english reader6 hast thou ever heard of
 these fair and true daughters  of      
,sunset1 beyond the mighty sea8    ,and 
was it not well to trust to such keepers
 the guarding of the golden  fruit which
 the earth gave to ,juno at her         
marriage8 ,not fruit only3  fruit on the
 tree1 given by the earth1 the great    
mother1 to ,juno 7female  power71 at her
 marriage with ,jupiter1 or ruling manly
 power  7distinguished from the tried   
and agonizing strength of ,hercules74 ,i
  call ,juno1 briefly1 female power4    
,she is1 especially1 the goddess        
presiding over marriage1 regarding the  
woman as the mistress of a  household4  
,vesta 7the goddess of the hearth#e71   
with ,ceres1 and ,venus1  are variously 
dominant over marriage1 as the          
fulfilment of love2 but  ,juno is       

pre-eminently the housewives' goddess4  
,she1 therefore1  represents1 in her    
character1 whatever good or evil may    
result from  female ambition1 or desire 
of power3 and1 as to a housewife1 the   
earth  presents its golden fruit to her1
 which she gives to two kinds of        
guardians4 ,the wealth of the earth1 as 
the source of household peace and       
plenty1 is watched by the singing       
nymphs--the ,hesperides4 ,but1 as the   
source of household sorrow and          
desolation1 it is watched by the        
,dragon4    ,we must1 therefore1 see who
 the ,dragon was1 and what kind of      
dragon4     #i4 ,the reader will1       
perhaps1 remember that we traced1 in an 
earlier  chapter1 the birth of the      
,gorgons1 through ,phorcys and ,ceto1   
from  ,nereus4 ,the youngest child of   
,phorcys and ,ceto is the ,dragon of the
  ,hesperides2 but this latest descent  
is not1 as in ,northern traditions1 a   
sign of fortunateness3 on the contrary1 
the children of ,nereus receive         

gradually more and more terror and      
power1 as they are later born1 till     
this last of the ,nereids unites horror 
and power at their utmost4  ,observe the
 gradual change4 ,nereus himself is said
 to have been  perfectly true and       
gentle4    ,this is ,hesiod's account of
 him3--    ,and ,pontus begat ,nereus1  
simple and true1 the oldest of children2
 but  they call him the aged man1 in    
that he is errorless and kind2 neither  
forgets he what is right2 but knows all 
just and gentle counsel4     #aj4 ,now  
the children of ,nereus1 like the       
,hesperides themselves1 bear a  twofold 
typical character2 one physical1 the    
other moral4 ,in his  physical          
symbolism1 ,nereus himself is the calm  
and gentle sea1 from  which rise1 in    
gradual increase of terror1 the clouds  
and storms4 ,in his  moral character1   
,nereus is the type of the deep1 pure1  
rightly-tempered  human mind1 from      
which1 in gradual degeneracy1 spring the
 troubling  passions4    ,keeping this  

double meaning in view1 observe the     
whole line of descent  to the           
,hesperides' ,dragon4 ,nereus1 by the   
earth1 begets 7#a7 ,thaumas 7the        
wonderful71 physically1 the father of   
the ,rainbow2 morally1 the type of  the 
enchantments and dangers of imagination4
 ,his grandchildren1 besides  the       
,rainbow1 are the ,harpies4 #b4 ,phorcys
 7,orcus871 physically1 the  treachery  
or devouring spirit of the sea2 morally1
 covetousness or  malignity of heart4   
#c4 ,ceto1 physically1 the deep places  
of the sea2  morally1 secretness of     
heart1 called fair-cheeked1 because     
tranquil in  outward aspect4 #d4        
,eurybia 7wide strength71 physically1   
the flowing1  especially the tidal power
 of the sea 7she1 by one of the sons of 
,heaven1 becomes the mother of three    
great ,titans1 one of whom1 ,astrus1    
and the ,dawn1 are the parents of the   
four ,winds72 morally1 the healthy      
passion of the heart4 ,thus far the     
children of ,nereus4     #aa4 ,next1    

,phorcys and ,ceto1 in their physical   
characters 7the grasping  or devouring  
of the sea1 reaching out over the land  
and its depth71  beget the ,clouds and  
,storms--namely1 first1 the ,grai1 or   
soft  rain-clouds2 then the ,gorgons1 or
 storm-clouds2 and youngest and last1   
the ,hesperides' ,dragon--,volcanic or  
earth-storm1 associated1 in  conception1
 with the ,simoom and fiery ,african    
winds4    ,but1 in its moral            
significance1 the descent is this4      
,covetousness1 or  malignity 7,phorcys71
 and ,secretness 7,ceto71 beget1 first1 
the darkening  passions1 whose hair is  
always gray2 then the stormy and        
merciless  passions1 brazen-winged 7the 
,gorgons71 of whom the dominant1        
,medusa1 is  ice-cold1 turning all who  
look on her to stone4 ,and1 lastly1 the 
consuming 7poisonous and volcanic7      
passions--the flame-backed dragon1      
uniting the powers of poison1 and       
instant destruction4 ,now1 the reader   
may have heard1 perhaps1 in other books 

of ,genesis than ,hesiod's1 of a  dragon
 being busy about a tree which bore     
apples1 and of crushing the  head of    
that dragon2 but seeing how1 in the     
,greek mind1 this serpent was  descended
 from the sea1 he may1 perhaps1 be      
surprised to remember  another verse1   
bearing also on the matter3--,thou      
brakest the heads of  the dragons in the
 waters2 and yet more surprised1 going  
on with the  ,septuagint version1 to    
find where he is being led3 ,thou       
brakest the  head of the dragon1 and    
gavest him to be meat to the ,ethiopian 
people4  ,thou didst tear asunder the   
strong fountains and the storm-torrents2
  thou didst dry up the rivers of       
,etham1 ,greek3 pgas kai cheimarrhous1  
the ,pegasus fountains--,etham on the   
edge of the wilderness4     #ab4        
,returning then to ,hesiod1 we find he  
tells us of the ,dragon  himself3--,he1 
in the secret places of the desert land1
 kept the  all-golden apples in his     
great knots 7coils of rope1 or          

extremities of  anything74 ,with which  
compare ,euripides' report of him3--,and
 ,hercules  came to the ,hesperian dome1
 to the singing maidens1 plucking the   
apple  fruit from the golden petals2    
slaying the flame-backed dragon1 who    
twined round and round1 kept guard in   
unapproachable spires 7spirals or       
whirls1 as of a whirlwind-vortex74      
,farther1 we hear from other scattered  
syllables of tradition1 that this       
dragon was sleepless1 and that he was   
able to take various tones of  human    
voice4    ,and we find a later tradition
 than ,hesiod's calling him a child of  
,typhon and ,echidna4 ,now ,typhon is   
volcanic storm1 generally the evil      
spirit of tumult4    ,echidna 7the      
adder7 is a descendant of ,medusa4 ,she 
is a daughter of  ,chrysaor 7the        
lightning71 by ,callire 7the fair       
flowing71 a daughter of  ,ocean2--that  
is to say1 she joins the intense        
fatality of the lightning  with perfect 
gentleness4 ,in form she is half-maiden1

 half-serpent2  therefore she is the    
spirit of all the fatalest evil1 veiled 
in  gentleness3 or1 in one word1        
treachery2--having dominion over many   
gentle things2--and chiefly over a kiss1
 given1 indeed1 in another  garden than 
that of the ,hesperides1 yet in relation
 to keeping of  treasure also4     #ac4 
,having got this farther clue1 let us   
look who it is whom ,dante  makes the   
typical ,spirit of ,treachery4 ,the     
eighth or lowest pit of hell  is given  
to its keeping2 at the edge of which    
pit1 ,virgil casts a rope  down for a   
signal2 instantly there rises1 as from  
the sea1 as one  returns who hath been  
down to loose some anchor1 the fell     
monster with  the deadly sting1 who     
passes mountains1 breaks through fenced 
walls1 and  firm embattled spears2 and  
with his filth taints all the world4    
,think for an instant of another        
place3--,sharp stones are under him1 he 
laugheth at the shaking of a spear4 ,we 
must yet keep to ,dante1  however4      

,echidna1 remember1 is half-maiden1     
half-serpent2--hear what  ,dante's      
,fraud is like3--      ,forthwith that  
image vile of ,fraud appear'd1     ,his 
head and upper part exposed on land1    
,but laid not on the shore his bestial  
train4     ,his face the semblance of a 
just man's wore1     ,so kind and       
gracious was its outward cheer2     ,the
 rest was serpent all3 two shaggy claws 
,reach'd to the armpits2 and the back   
and breast1     ,and either side1 were  
painted o'er with nodes     ,and orbits4
 ,colors variegated more     ,nor ,turks
 nor ,tartars e'er on cloth of state    
,with interchangeable embroidery wove1  
,nor spread ,arachne o'er her curious   
loom4     ,as oft-times a light skiff   
moor'd to the shore1     ,stands part in
 water1 part upon the land2     ,or1 as 
where dwells the greedy ,german boor1   
,the beaver settles1 watching for his   
prey2     ,so on the rim1 that fenced   
the sand with rock1     ,sat perch'd the
 fiend of evil4 ,in the void            

,glancing1 his tail upturn'd1 its       
venomous fork     ,with sting like      
scorpion's arm'd4     #ad4 ,you observe 
throughout this description the leaning 
on the  character of the ,sea ,dragon2 a
 little farther on1 his way of flying is
  told us3--      ,as a small vessel    
backing out from land1     ,her station 
quits2 so thence the monster loos'd1    
,and1 when he felt himself at large1    
turn'd round     ,there1 where the      
breast had been1 his fork'd tail4       
,thus1 like an eel1 outstretch'd at     
length he steer'd1     ,gathering the   
air up with retractile claws4    ,and   
lastly1 his name is told us3 ,geryon4   
,whereupon1 looking back at  ,hesiod1 we
 find that ,geryon is ,echidna's        
brother4 ,man-serpent1  therefore1 in   
,dante1 as ,echidna is woman-serpent4   
,we find next that ,geryon lived in the 
island of ,erytheia1 7blushing71  only  
another kind of blushing than that of   
the ,hesperid ,erytheia4 ,but it  is on1
 also1 a western island1 and ,geryon    

kept red oxen on it 7said to  be near   
the red setting sun72 and ,hercules     
kills him1 as he does the  ,hesperian   
dragon3 but in order to be able to reach
 him1 a golden boat is  given to        
,hercules by the ,sun1 to cross the sea 
in4     #ae4 ,we will return to this    
part of the legend presently1 having    
enough  of it now collected to get at   
the complete idea of the ,hesperian     
dragon1  who is1 in fine1 the ,pluto il 
gran nemico of ,dante2 the demon of all 
evil passions connected with            
covetousness2 that is to say1           
essentially  of fraud1 rage1 and gloom4 
,regarded as the demon of ,fraud1 he is 
said to  be descended from the viper    
,echidna1 full of deadly cunning1 in    
whirl on  whirl2 as the demon of        
consuming ,rage1 from ,phorcys2 as the  
demon of  ,gloom1 from ,ceto2--in his   
watching and melancholy1 he is sleepless
  7compare the ,micyllus dialogue of    
,lucian72 breathing whirlwind and fire1 
he is the destroyer1 descended from     

,typhon as well as ,phorcys2 having1    
moreover1 with all these1 the           
irresistible strength of his ancestral  
sea4     #af4 ,now1 look at him1 as     
,turner has drawn him 7p4 #bih74 ,i     
cannot  reduce the creature to this     
scale without losing half his power2 his
  length1 especially1 seems to diminish 
more than it should in proportion  to   
his bulk4 ,in the picture he is far in  
the distance1 cresting the  mountain2   
and may be1 perhaps1 three-quarters of a
 mile long4 ,the actual  length on the  
canvas is a foot and eight inches2 so   
that it may be  judged how much he loses
 by the reduction1 not to speak of my   
imperfect  etching1#f and of the loss   
which1 however well he might have been  
engraved1 he would still have sustained1
 in the impossibility of  expressing the
 lurid color of his armor1 alternate    
bronze and blue4     #ag4 ,still1 the   
main points of him are discernible      
enough2 and among  all the wonderful    
things that ,turner did in his day1 ,i  

think this nearly  the most wonderful4  
,how far he had really found out for    
himself the  collateral bearings of the 
,hesperid tradition ,i know not2 but    
that he  had got the main clue of it1   
and knew who the ,dragon was1 there can 
be  no doubt2 the strange thing is1 that
 his conception of it throughout1  down 
to the minutest detail1 fits every one  
of the circumstances of the  ,greek     
traditions4 ,there is1 first1 the       
,dragon's descent from ,medusa and      
,typhon1 indicated in the serpent-clouds
 floating from his head 7compare  my    
sketch of the ,medusa-cloud1 ,plate     
#ga72 then note the grovelling and      
ponderous body1 ending in a serpent1 of 
which we do not see the end4 ,he  drags 
the weight of it forward by his claws1  
not being able to lift  himself from the
 ground 7,mammon1 the least erected     
spirit that fell72  then the grip of the
 claws themselves as if they would      
clutch 7rather  than tear7 the rock     
itself into pieces2 but chiefly1 the    

designing of  the body4 ,remember1 one  
of the essential characters of the      
creature1 as  descended from ,medusa1 is
 its coldness and petrifying power2     
this1 in  the demon of covetousness1    
must exist to the utmost2 breathing     
fire1 he  is yet himself of ice4 ,now1  
if ,i were merely to draw this dragon as
  white1 instead of dark1 and take his  
claws away1 his body would become a     
representation of a greater glacier1 so 
nearly perfect1 that ,i know no         
published engraving of glacier breaking 
over a rocky brow so like the  truth as 
this dragon's shoulders would be1 if    
they were thrown out in  light2 there   
being only this difference1 that they   
have the form1 but  not the fragility of
 the ice2 they are at once ice and iron4
 ,his bones  are like solid pieces of   
brass2 his bones are like bars of iron2 
by his  neesings a light doth shine4    
#ah4 ,the strange unity of vertebrated  
action1 and of a true bony  contour1    
infinitely varied in every vertebra1    

with this glacial  outline2--together   
with the adoption of the head of the    
,ganges  crocodile1 the fish-eater1 to  
show his sea descent 7and this in the   
year  #ahjf1 when hardly a single fossil
 saurian skeleton existed within        
,turner's reach71 renders the whole     
conception one of the most curious      
exertions of the imaginative intellect  
with which ,i am acquainted in the      
arts4     #ai4 ,thus far1 then1 of the  
dragon2 next1 we have to examine the    
conception of the ,goddess of ,discord4 
,we must return for a moment to the     
tradition about ,geryon4 ,i cannot yet  
decipher the meaning of his oxen1  said 
to be fed together with those of ,hades2
 nor of the journey of  ,hercules1 in   
which1 after slaying ,geryon1 he returns
 through ,europe like  a border forager1
 driving these herds1 and led into      
farther battle in  protection or        
recovery of them4 ,but it seems to me   
the main drift of the  legend cannot be 
mistaken2 viz41 that ,geryon is the evil

 spirit of  wealth1 as arising from     
commerce2 hence1 placed as a guardian of
 isles  in the most distant sea1 and    
reached in a golden boat2 while the     
,hesperian dragon is the evil spirit of 
wealth1 as possessed in  households2 and
 associated1 therefore1 with the true   
household  guardians1 or singing nymphs4
 ,hercules 7manly labor71 slaying both  
,geryon and ,ladon1 presents oxen and   
apples to ,juno1 who is their proper    
mistress2 but the ,goddess of ,discord1 
contriving that one portion of  this    
household wealth shall be ill bestowed  
by ,paris1 he1 according to             
,coleridge's interpretation1 choosing   
pleasure instead of wisdom or           
power2--there issue from this evil      
choice the catastrophe of the ,trojan   
war1 and the wanderings of ,ulysses1    
which are essentially1 both in the      
,iliad and ,odyssey1 the troubling of   
household peace2 terminating with  the  
restoration of this peace by repentance 
and patience2 ,helen and  ,penelope seen

 at last sitting upon their household   
thrones1 in the  ,hesperian light of    
age4     #bj4 ,we have1 therefore1 to   
regard ,discord1 in the ,hesperides     
garden1  eminently as the disturber of  
households1 assuming a different aspect 
from ,homer's wild and fierce discord of
 war4 ,they are1 nevertheless1 one  and 
the same power2 for she changes her     
aspect at will4 ,i cannot get at  the   
root of her name1 ,eris4 ,it seems to me
 as if it ought to have one in  common  
with ,erinnys 7,fury72 but it means     
always contention1 emulation1  or       
competition1 either in mind or in       
words2--the final work of ,eris is      
essentially division1 and she is herself
 always double-minded2 shouts  two ways 
at once 7in ,iliad1 xi4 #f71 and wears a
 mantle rent in half  7neid1 viii4      
#gjb74 ,homer makes her loud-voiced1 and
 insatiably  covetous4 ,this last       
attribute is1 with him1 the source of   
her usual  title4 ,she is little when   
she first is seen1 then rises till her  

head  touches heaven4 ,by ,virgil she is
 called mad2 and her hair is of         
serpents1 bound with bloody garlands4   
#ba4 ,this is the conception first      
adopted by ,turner1 but combined with   
another which he found in ,spenser2 only
 note that there is some  confusion in  
the minds of ,english poets between     
,eris 7,discord7 and ,at  7,error71 who 
is a daughter of ,discord1 according to 
,hesiod4 ,she is  properly--mischievous 
error1 tender-footed2 for she does not  
walk on the  earth1 but on heads of men 
7,iliad1 xix4 #ib72 i4e4 not on the     
solid  ground1 but on human vain        
thoughts2 therefore1 her hair is        
glittering  7,iliad1 xix4 #abf74 ,i     
think she is mainly the confusion of    
mind coming of  pride1 as ,eris comes of
 covetousness2 therefore1 ,homer makes  
her a  daughter of ,jove4 ,spenser1     
under the name of ,at1 describes ,eris4 
,i have  referred to his account of her 
in my notice of the ,discord on the     
,ducal  palace of ,venice 7remember the 

inscription there1 ,discordia sum1      
discordans74 ,but the stanzas from which
 ,turner derived his conception  of her 
are these--      ,als1 as she double    
spake1 so heard she double1     ,with   
matchlesse eares deformed and distort1  
,fild with false rumors and seditious   
trouble1     ,bred in assemblies of the 
vulgar sort1     ,that still are led    
with every light report3     ,and as her
 eares1 so eke her feet were odde1      
,and much unlike2 th' one long1 the     
other short1     ,and both misplast2    
that1 when th' one forward yode1        
,the other backe retired and contrrie   
trode4      ,likewise unequall were her 
hands twaine2     ,that one did reach1  
the other pusht away2     ,that one did 
make the other mard againe1     ,and    
sought to bring all things unto decay2  
,whereby great riches1 gathered manie a 
day1     ,she in short space did often  
bring to nought1     ,an their          
possessours often did dismay3     ,for  
all her studie was1 and all her thought 

,how she might overthrow the thing that 
,concord wrought4      ,so much her     
malice did her might surpas1     ,that  
even th' ,almightie selfe she did       
maligne1     ,because to man so         
mercifull ,he was1     ,and unto all    
,his creatures so benigne1     ,sith she
 herself was of his grace indigne3      
,for all this worlds faire workmanship  
she tride     ,unto his last confusion  
to bring1     ,and that great golden    
chaine quite to divide1     ,with which 
it blessed ,concord hath together tide4 
,all these circumstances of decrepitude 
and distortion ,turner has  followed1   
through hand and limb1 with patient     
care3 he has added one  final touch of  
his own4 ,the nymph who brings the      
apples to the goddess1  offers her one  
in each hand2 and ,eris1 of the divided 
mind1 cannot  choose4     #bb4 ,one     
farther circumstance must be noted1 in  
order to complete our  understanding of 
the picture1--the gloom extending1 not  
to the dragon  only1 but also to the    

fountain and the tree of golden fruit4  
,the reason  of this gloom may be found 
in two other passages of the authors    
from  which ,turner had taken his       
conception of ,eris--,virgil and        
,spenser4 ,for  though the ,hesperides  
in their own character1 as the nymphs of
 domestic  joy1 are entirely bright 7and
 the garden always bright around them71 
yet  seen or remembered in sorrow1 or in
 the presence of discord1 they deepen   
distress4 ,their entirely happy         
character is given by ,euripides3--,the 
fruit-planted shore of the              
,hesperides1--songstresses1--where the  
ruler  of the purple lake allows not any
 more to the sailor his way1 assigning  
the boundary of ,heaven1 which ,atlas   
holds2 where the ambrosial fountains    
flow1 and the fruitful and divine land  
increases the happiness of the  gods4   
,but to the thoughts of ,dido1 in her   
despair1 they recur under another       
aspect2 she remembers their priestess as
 a great enchantress2 who feeds  the    

dragon and preserves the boughs of the  
tree2 sprinkling moist honey  and drowsy
 poppy2 who also has power over ghosts2 
and the earth shakes  and the forests   
stoop from the hills at her bidding4    
#bc4 ,this passage ,turner must have    
known well1 from his continual  interest
 in ,carthage3 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 garden of          
,mammon3--      ,there mournfull        
cypresse grew in greatest store2        
,and trees of bitter gall2 and heben    
sad2     ,dead sleeping poppy2 and black
 hellebore2     ,cold coloquintida2 and 
tetra mad     ,mortal samnitis2 and     
cicuta bad1     ,with which th' uniust  
,atheniens made to dy     ,wise         
,socrates1 who1 thereof quaffing glad1  
,pourd out his life and last philosophy4
           99     99     99     99      
99      ,the gardin of ,prosrpina this  
hight3     ,and in the midst thereof a  

silver seat1     ,with a thick arber    
goodly over dight1     ,in which she    
often usd from open heat     ,herselfe  
to shroud1 and pleasures to entreat3    
,next thereunto did grow a goodly tree1 
,with braunches broad dispredd and body 
great1     ,clothed with leaves1 that   
none the wood mote see1     ,and loaden 
all with fruit as thick as it might bee4
      ,their fruit were golden apples   
glistring bright1     ,that goodly was  
their glory to behold2     ,on earth    
like never grew1 ne living wight        
,like ever saw1 but they from hence were
 sold2     ,for those1 which ,hercules  
with conquest bold     ,got from great  
,atlas daughters1 hence began4          
99     99     99     99     99          
,here eke that famous golden apple grew1
     ,the which emongst the gods false  
,at threw4    ,there are two collateral 
evidences in the picture of ,turner's   
mind  having been partly influenced by  
this passage4 ,the excessive darkness of
  the stream1--though one of the ,cyrene

 fountains--to remind us of  ,cocytus2  
and the breaking of the bough of the    
tree by the weight of its  apples--not  
healthily1 but as a diseased tree would 
break4     #bd4 ,such then is our       
,english painter's first great religious
 picture2  and exponent of our ,english 
faith4 ,a sad-colored work1 not executed
 in  ,angelico's white and gold2 nor in 
,perugino's crimson and azure2 but in a 
sulphurous hue1 as relating to a        
paradise of smoke4 ,that power1 it      
appears1 on the hill-top1 is our        
,british ,madonna2 whom1 reverently1 the
  ,english devotional painter must      
paint1 thus enthroned1 with nimbus about
  the gracious head4 ,our ,madonna1--or 
our ,jupiter on ,olympus1--or1 perhaps  
more accurately still1 our unknown god1 
sea-born1 with the cliffs1 not  of      
,cyrene1 but of ,england1 for his altar2
 and no chance of any ,mars'  ,hill     
proclamation concerning him1 whom       
therefore ye ignorantly  worship4       
#be4 ,this is no irony4 ,the fact is    

verily so4 ,the greatest man of our     
,england1 in the first half of the      
nineteenth century1 in the strength  and
 hope of his youth1 perceives this to be
 the thing he has to tell us  of utmost 
moment1 connected with the spiritual    
world4 ,in each city and  country of    
past time1 the master-minds had to      
declare the chief worship  which lay at 
the nation's heart2 to define it2 adorn 
it2 show the range  and authority of it4
 ,thus in ,athens1 we have the triumph  
of ,pallas2 and  in ,venice the         
assumption of the ,virgin2 here1 in     
,england1 is our great  spiritual fact  
for ever interpreted to us--the         
,assumption of the ,dragon4  ,no ,st4   
,george any more to be heard of2 no more
 dragon-slaying possible3  this child1  
born on ,st4 ,george's ,day1 can only   
make manifest the ,dragon1  not slay    
him1 sea-serpent as he is2 whom the     
,english ,andromeda1 not  fearing1 takes
 for her lord4 ,the fairy ,english      
,queen once thought to  command the     

waves1 but it is the sea-dragon now who 
commands her  valleys2 of old the ,angel
 of the ,sea ministered to them1 but now
 the  ,serpent of the ,sea2 where once  
flowed their clear springs now spreads  
the black ,cocytus pool2 and the fair   
blooming of the ,hesperid meadows  fades
 into ashes beneath the ,nereid's       
,guard4    ,yes1 ,albert of ,nuremberg2 
the time has at last come4 ,another     
nation has  arisen in the strength of   
its ,black anger2 and another hand has  
portrayed the spirit of its toil4       
,crowned with fire1 and with the wings  
of the bat4      ,,footnote3      #a    
,notes on the ,turner ,collection at    
,marlborough ,house4 #aheg4             
,catalogue of the ,sketches of ,j4 ,m4  
,v4 ,turner exhibited at ,marlborough   
,house4 #aheh4      #b ,the regret ,i   
expressed in the third volume at        
,turner's not having      been educated 
under the influence of ,gothic art was1 
therefore1      mistaken2 ,i had not    
then had access to his earlier studies4 

,he was      educated under the         
influence of ,gothic architecture2 but1 
in more      advanced life1 his mind was
 warped and weakened by classical       
architecture4 ,why he left the one for  
the other1 or how far good              
influences were mingled with evil in the
 result of the change1 ,i have      not 
yet been able to determine4      #c     
,they may be referred to with ease in   
,boone's ,catalogue of      ,turner's   
,pictures1 #aheg4      #d ,smith's      
,dictionary of ,greek and ,roman        
,geography4 ,art4      ,cyrenaica4      
#e ,her name is also that of the        
,hesperid nymph2 but ,i give the        
,hesperid her ,greek form of name1 to   
distinguish her from the goddess4       
,the ,hesperid ,arethusa has the same   
subordinate relation to ,ceres2 and     
,erytheia1 to ,venus4 gl signifies      
especially the spirit of      brightness
 or cheerfulness including even the     
subordinate idea of      household      
neatness or cleanliness4      #f ,it is 

merely a sketch on the steel1 like the  
illustrations before      given of      
composition2 but it marks the points    
needing note4 ,perhaps      some day ,i 
may be able to engrave it of the full   
size4          ,,chapter ,,xi4    ,,the 
,,hesperid ,,gl4       #a4 ,five years  
after the ,hesperides were painted1     
another great  mythological subject     
appeared by ,turner's hand4 ,another    
dragon--this  time not triumphant1 but  
in death-pang2 the ,python1 slain by    
,apollo4    ,not in a garden1 this      
slaying1 but in a hollow1 among wildest 
rocks1  beside a stagnant pool4 ,yet1   
instead of the sombre coloring of the   
,hesperid hills1 strange gleams of blue 
and gold flit around the mountain       
peaks1 and color the clouds above them4 
,the picture is at once the type1 and   
the first expression of a great  change 
which was passing in ,turner's mind4 ,a 
change1 which was not  clearly          
manifested in all its results until much
 later in his life2 but  in the coloring

 of this picture are the first signs of 
it2 and in the  subject of this picture1
 its symbol4     #b4 ,had ,turner died  
early1 the reputation he would have     
left1 though  great and enduring1 would 
have been strangely different from that 
which  ultimately must now attach to his
 name4 ,he would have been remembered as
  one of the severest of painters2 his  
iron touch and positive form would  have
 been continually opposed to the        
delicacy of ,claude and richness of     
,titian2 he would have been spoken of1  
popularly1 as a man who had no eye  for 
color4 ,perhaps here and there a        
watchful critic might have shown  this  
popular idea to be false2 but no        
conception could have been formed  by   
any one of the man's real disposition or
 capacity4    ,it was only after the    
year #ahbj that these were determinable1
 and his  peculiar work discerned4      
#c4 ,he had begun by faithful           
declaration of the sorrow there was in  
the  world4 ,it is now permitted him to 

see also its beauty4 ,he becomes1       
separately and without rival1 the       
painter of the loveliness and light of  
the creation4    ,illustration3 #gi4    
,the ,hesperid gl4    ,of its           
loveliness3 that which may be beloved in
 it1 the tenderest1  kindest1 most      
feminine of its aspects4 ,of its light3 
light not merely  diffused1 but         
interpreted2 light seen pre-eminently in
 color4    ,claude and ,cuyp had painted
 the sunshine1 ,turner alone the sun    
color4    ,observe this accurately4     
,those easily understood effects of     
afternoon  light1 gracious and sweet so 
far as they reach1 are produced by the  
softly warm or yellow rays of the sun   
falling through mist4 ,they are low  in 
tone1 even in nature1 and disguise the  
colors of objects4 ,they are  imitable  
even by persons who have little or no   
gift of color1 if the  tones of the     
picture are kept low and in true        
harmony1 and the reflected  lights warm4
 ,but they never could be painted by    

great colorists4 ,the  fact of blue and 
crimson being effaced by yellow and     
gray1 puts such  effect at once out of  
the notice or thought of a colorist1    
unless he has  some special interest in 
the motive of it4 ,you might as well ask
 a  musician to compose with only three 
notes1 as ,titian to paint without      
crimson and blue4 ,accordingly the      
colorists in general1 feeling that no   
other than this yellow sunshine was     
imitable1 refused it1 and painted in    
twilight1 when the color was full4      
,therefore1 from the imperfect          
colorists1--from ,cuyp1 ,claude1 ,both1 
,wilson1 we get deceptive effect of     
sunshine2 never from the ,venetians1    
from ,rubens1 ,reynolds or ,velasquez4  
,from these we get only conventional    
substitutions for it1 ,rubens being     
especially daring#a in frankness of     
symbol4     #d4 ,turner1 however1 as a  
landscape painter1 had to represent     
sunshine  of one kind or another4 ,he   
went steadily through the subdued golden

  chord1 and painted ,cuyp's favorite   
effect1 sun rising through vapor1  for  
many a weary year4 ,but this was not    
enough for him4 ,he must paint  the sun 
in his strength1 the sun rising not     
through vapor4 ,if you  glance at that  
,apollo slaying the ,python1 you will   
see there is rose  color and blue on the
 clouds1 as well as gold2 and if then   
you turn to  the ,apollo in the ,ulysses
 and ,polyphemus--his horses are rising 
beyond  the horizon1--you see he is not 
rising through vapor1 but above it2     
gaining somewhat of a victory over      
vapor1 it appears4    ,the old ,dutch   
brewer1 with his yellow mist1 was a     
great man and a good  guide1 but he was 
not ,apollo4 ,he and his dray-horses led
 the way through  the flats1 cheerily1  
for a little time2 we have other horses 
now flaming  out beyond the mighty sea4 
,a victory over vapor of many kinds2    
,python-slaying in general4 ,look how   
the ,python's jaws smoke as he falls    
back between the rocks3--a vaporous     

serpent6 ,we will see who he was1       
presently4    ,the public remonstrated  
loudly in the cause of ,python3 ,he had 
been so  yellow1 quiet1 and pleasant a  
creature2 what meant these azure-shafted
  arrows1 this sudden glare into        
darkness1 this ,iris message2           
,thaumantian2--miracle-working2         
scattering our slumber down in ,cocytus8
  ,it meant much1 but that was not what 
they should have first asked about  it4 
,they should have asked simply1 was it a
 true message8 ,were these  ,thaumantian
 things so1 in the real universe8    ,it
 might have been known easily they were4
 ,one fair dawn or sunset1  obediently  
beheld1 would have set them right2 and  
shown that ,turner was  indeed the only 
true speaker concerning such things that
 ever yet had  appeared in the world4   
,they would neither look nor hear2--only
 shouted  continuously1 ,perish ,apollo4
 ,bring us back ,python4     #e4 ,we    
must understand the real meaning of this
 cry1 for herein rests  not merely the  

question of the great right or wrong in 
,turner's life1  but the question of the
 right or wrong of all painting4 ,nay1  
on this  issue hangs the nobleness of   
painting as an art altogether1 for it is
  distinctively the art of coloring1 not
 of shaping or relating4 ,sculptors  and
 poets can do these1 the painter's own  
work is color4    ,thus1 then1 for the  
last time1 rises the question1 what is  
the true  dignity of color8 ,we left    
that doubt a little while ago among the 
clouds1 wondering what they had been    
made so scarlet for4 ,now ,turner       
brings the doubt back to us1 unescapable
 any more4 ,no man1 hitherto1 had       
painted the clouds scarlet4 ,hesperid   
gl1 and ,erytheia1 throned there  in the
 west1 fade into the twilights of four  
thousand years1  unconfessed4 ,here is  
at last one who confesses them1 but is  
it well8 ,men  say these ,hesperids are 
sensual goddesses1--traitresses1--that  
the  ,grai are the only true ones4      
,nature made the western and the eastern

  clouds splendid in fallacy4 ,crimson  
is impure and vile2 let us paint in     
black if we would be virtuous4     #f4  
,note1 with respect to this matter1 that
 the peculiar innovation of  ,turner was
 the perfection of the color chord by   
means of scarlet4  ,other painters had  
rendered the golden tones1 and the blue 
tones1 of  sky2 ,titian especially the  
last1 in perfectness4 ,but none had     
dared to  paint1 none seem to have seen1
 the scarlet and purple4    ,nor was it 
only in seeing this color in vividness  
when it occurred in  full light1 that   
,turner differed from preceding         
painters4 ,his most  distinctive        
innovation as a colorist was his        
discovery of the scarlet  shadow4 ,true1
 there is a sunshine whose light is     
golden1 and its  shadow gray2 but there 
is another sunshine1 and that the       
purest1 whose  light is white1 and its  
shadow scarlet4 ,this was the           
essentially  offensive1 inconceivable   
thing1 which he could not be believed   

in4 ,there  was some ground for the     
incredulity1 because no color is vivid  
enough to  express the pitch of light of
 pure white sunshine1 so that the color 
given without the true intensity of     
light looks false4 ,nevertheless1       
,turner could not but report of the     
color truly4 ,i must indeed be lower  in
 the key1 but that is no reason why ,i  
should be false in the note4  ,here is  
sunshine which glows even when subdued2 
it has not cool shade1  but fiery       
shade4#b ,this is the glory of sunshine4
     #g4 ,now1 this scarlet color1--or  
pure red1 intensified by expression of  
light1--is1 of all the three primitive  
colors1 that which is most  distinctive4
 ,yellow is of the nature of simple     
light2 blue1 connected  with simple     
shade2 but red is an entirely abstract  
color4 ,it is red to  which the         
color-blind are blind1 as if to show us 
that it was not  necessary merely for   
the service or comfort of man1 but that 
there was a  special gift or teaching in

 this color4 ,observe1 farther1 that it 
is  this color which the sunbeams take  
in passing through the earth's          
atmosphere4 ,the rose of dawn and sunset
 is the hue of the rays passing  close  
over the earth4 ,it is also concentrated
 in the blood of man4    ,illustration3 
#hj4 ,rocks at ,rest4     #h4           
,unforeseen requirements have compelled 
me to disperse through  various works1  
undertaken between the first and last   
portions of this  essay1 the examination
 of many points respecting color1 which 
,i had  intended to reserve for this    
place4 ,i can now only refer the reader 
to  these several passages1#c and sum   
their import3 which is briefly1  that   
color generally1 but chiefly the        
scarlet1 used with the hyssop1 in  the  
,levitical law1 is the great sanctifying
 element of visible beauty  inseparably 
connected with purity and life4         
,illustration3 #ha4 ,rocks in ,unrest4  
,i must not enter here into the solemn  
and far-reaching fields of thought      

which it would be necessary to traverse1
 in order to detect the mystical        
connection between life and love1 set   
forth in that ,hebrew system of         
sacrificial religion to which we may    
trace most of the received ideas        
respecting sanctity1 consecration1 and  
purification4 ,this only ,i must  hint  
to the reader--for his own following    
out--that if he earnestly  examines the 
original sources from which our heedless
 popular language  respecting the       
washing away of sins has been borrowed1 
he will find that  the fountain in which
 sins are indeed to be washed away1 is  
that of  love1 not of agony4     #i4    
,but1 without approaching the presence  
of this deeper meaning of the  sign1 the
 reader may rest satisfied with the     
connection given him  directly in       
written words1 between the cloud and its
 bow4 ,the cloud1 or  firmament1 as we  
have seen1 signifies the ministration of
 the heavens to  man4 ,that ministration
 may be in judgment or mercy--in the    

lightning1 or  the dew4 ,but the bow1 or
 color1 of the cloud1 signifies always  
mercy1  the sparing of life2 such       
ministry of the heaven1 as shall feed   
and  prolong life4 ,and as the sunlight1
 undivided1 is the type of the wisdom   
and righteousness of ,god1 so divided1  
and softened into color by means  of the
 fundamental ministry1 fitted to every  
need of man1 as to every  delight1 and  
becoming one chief source of human      
beauty1 by being made  part of the flesh
 of man2--thus divided1 the sunlight is 
the type of the  wisdom of ,god1        
becoming sanctification and redemption4 
,various in  work--various in           
beauty--various in power4    ,color is1 
therefore1 in brief terms1 the type of  
love4 ,hence it is  especially connected
 with the blossoming of the earth2 and  
again1 with  its fruits2 also1 with the 
spring and fall of the leaf1 and with   
the  morning and evening of the day1 in 
order to show the waiting of love  about
 the birth and death of man4     #aj4   

,and now1 ,i think1 we may understand1  
even far away in the ,greek  mind1 the  
meaning of that contest of ,apollo with 
the ,python4 ,it was a  far greater     
contest than that of ,hercules with     
,ladon4 ,fraud and avarice  might be    
overcome by frankness and force2 but    
this ,python was a darker  enemy1 and   
could not be subdued but by a greater   
god4 ,nor was the  conquest slightly    
esteemed by the victor deity4 ,he took  
his great name  from it thenceforth--his
 prophetic and sacred name--the         
,pythian4    ,it could1 therefore1 be no
 merely devouring dragon--no mere wild  
beast  with scales and claws4 ,it must  
possess some more terrible character to 
make conquest over it so glorious4      
,consider the meaning of its name1      
,,the ,,corrupter4 ,that ,hesperid      
dragon was a treasure-guardian4 ,this is
  the treasure-destroyer1--where moth   
and rust doth corrupt--the worm of      
eternal decay4    ,apollo's contest with
 him is the strife of purity with       

pollution2 of  life1 with forgetfulness2
 of love1 with the grave4     #aa4 ,i   
believe this great battle stood1 in the 
,greek mind1 for the type  of the       
struggle of youth and manhood with      
deadly sin--venomous1  infectious1      
irrecoverable sin4 ,in virtue of his    
victory over this  corruption1 ,apollo  
becomes thenceforward the guide2 the    
witness2 the  purifying and helpful     
,god4 ,the other gods help waywardly1   
whom they  choose4 ,but ,apollo helps   
always3 he is by name1 not only         
,pythian1 the  conqueror of death2 but  
,pan--the healer of the people4    ,well
 did ,turner know the meaning of that   
battle3 he has told its tale  with      
fearful distinctness4 ,the ,mammon      
dragon was armed with adamant2 but  this
 dragon of decay is a mere colossal     
worm3 wounded1 he bursts asunder  in the
 midst1#d and melts to pieces1 rather   
than dies1 vomiting  smoke--a smaller   
serpent-worm rising out of his blood4   
#ab4 ,alas1 for ,turner6 ,this smaller  

serpent-worm1 it seemed1 he could  not  
conceive to be slain4 ,in the midst of  
all the power and beauty of  nature1 he 
still saw this death-worm writhing among
 the weeds4 ,a little  thing now1 yet   
enough2 you may see it in the foreground
 of the ,bay of  ,bai1 which has also in
 it the story of ,apollo and the ,sibyl2
 ,apollo  giving love2 but not youth1   
nor immortality3 you may see it again in
 the  foreground of the ,lake           
,avernus--the ,hades lake--which ,turner
 surrounds  with delicatest beauty1 the 
,fates dancing in circle2 but in front1 
is  the serpent beneath the thistle and 
the wild thorn4 ,the same ,sibyl1       
,deiphobe1 holding the golden bough4 ,i 
cannot get at the meaning of this       
legend of the bough2 but it was1        
assuredly1 still connected1 in          
,turner's mind1 with that help from     
,apollo4 ,he indicated the strength of  
his feeling at the time when he painted 
the ,python contest1 by the  drawing    
exhibited the same year1 of the ,prayer 

of ,chryses4 ,there the  priest is on   
the beach alone1 the sun setting4 ,he   
prays to it as it  descends2--flakes of 
its sheeted light are borne to him by   
the  melancholy waves1 and cast away    
with sighs upon the sand4    ,how this  
sadness came to be persistent over      
,turner1 and to conquer him1  we shall  
see in a little while4 ,it is enough for
 us to know at present  that our most   
wise and ,christian ,england1 with all  
her appurtenances of  school-porch and  
church-spire1 had so disposed her       
teaching as to leave  this somewhat     
notable child of hers without even cruel
 ,pandora's gift4    ,he was without    
hope4    ,true daughter of ,night1      
,hesperid gl was to him2 coming between 
,censure1 and ,sorrow1--and the         
,destinies4     #ac4 ,what1 for us1 his 
work yet may be1 ,i know not4 ,but let  
not the  real nature of it be           
misunderstood any more4    ,he is       
distinctively1 as he rises into his own 
peculiar strength1  separating himself  

from all men who had painted forms of   
the physical  world before1--the painter
 of the loveliness of nature1 with the  
worm at  its root3 ,rose and            
cankerworm1--both with his utmost       
strength2 the one  never separate from  
the other4    ,in which his work was the
 true image of his own mind4    ,i would
 fain have looked last at the rose2 but 
that is not the way  ,atropos will have 
it1 and there is no pleading with her4  
,so1 therefore1 first of the rose4      
#ad4 ,that is to say1 of this vision of 
the loveliness and kindness of  ,nature1
 as distinguished from all visions of   
her ever received by other  men4 ,by the
 ,greek1 she had been distrusted4 ,she  
was to him ,calypso1 the  ,concealer1   
,circe1 the ,sorceress4 ,by the         
,venetian1 she had been dreaded4  ,her  
wildernesses were desolate2 her shadows 
stern4 ,by the ,fleming1 she  had been  
despised2 what mattered the heavenly    
colors to him8 ,but at  last1 the time  
comes for her loveliness and kindness to

 be declared to  men4 ,had they helped  
,turner1 listened to him1 believed in   
him1 he had  done it wholly for them4   
,but they cried out for ,python1 and    
,python  came2--came literally as well  
as spiritually2--all the perfectest     
beauty  and conquest which ,turner      
wrought is already withered4 ,the       
cankerworm  stood at his right hand1 and
 of all his richest1 most precious work1
  there remains only the shadow4 ,yet   
that shadow is more than other men's    
sunlight2 it is the scarlet shade1 shade
 of the ,rose4 ,wrecked1 and  faded1 and
 defiled1 his work still1 in what       
remains of it1 or may  remain1 is the   
loveliest ever yet done by man1 in      
imagery of the  physical world4         
,whatsoever is there of fairest1 you    
will find recorded  by ,turner1 and by  
him alone4     #ae4 ,i say you will     
find1 not knowing to how few ,i speak2  
for in  order to find what is fairest1  
you must delight in what is fair2 and ,i
  know not how few or how many there may

 be who take such delight4 ,once ,i     
could speak joyfully about beautiful    
things1 thinking to be  understood2--now
 ,i cannot any more2 for it seems to me 
that no one  regards them4 ,wherever ,i 
look or travel in ,england or abroad1 ,i
 see that  men1 wherever they can reach1
 destroy all beauty4 ,they seem to have 
no  other desire or hope but to have    
large houses and to be able to move     
fast4 ,every perfect and lovely spot    
which they can touch1 they  defile4#e   
#af4 ,nevertheless1 though not joyfully1
 or with any hope of being at  present  
heard1 ,i would have tried to enter here
 into some examination of  the right and
 worthy effect of beauty in ,art upon   
human mind1 if ,i had  been myself able 
to come to demonstrable conclusions4    
,but the question  is so complicated    
with that of the enervating influence of
 all luxury1  that ,i cannot get it put 
into any tractable compass4 ,nay1 ,i    
have many  inquiries to make1 many      
difficult passages of history to        

examine1 before  ,i can determine the   
just limits of the hope in which ,i may 
permit myself  to continue to labor in  
any cause of ,art4    ,nor is the       
subject connected with the purpose of   
this book4 ,i have  written it to show  
that ,turner is the greatest landscape  
painter who  ever lived2 and this it has
 sufficiently accomplished4 ,what the   
final  use may be to men1 of landscape  
painting1 or of any painting1 or of     
natural beauty1 ,i do not yet know4     
,thus far1 however1 ,i do know4     #ag4
 ,three principal forms of asceticism   
have existed in this weak  world4       
,religious asceticism1 being the refusal
 of pleasure and knowledge  for the sake
 7as supposed7 of religion2 seen chiefly
 in the middle ages4  ,military         
asceticism1 being the refusal of        
pleasure and knowledge for the  sake of 
power2 seen chiefly in the early days of
 ,sparta and ,rome4 ,and  monetary      
asceticism1 consisting in the refusal of
 pleasure and knowledge  for the sake of

 money2 seen in the present days of     
,london and  ,manchester4    ,we do not 
come here to look at the mountains1 said
 the ,carthusian to  me at the ,grande  
,chartreuse4 ,we do not come here to    
look at the  mountains1 the ,austrian   
generals would say1 encamping by the    
shores of  ,garda4 ,we do not come here 
to look at the mountains1 so the        
thriving  manufacturers tell me1 between
 ,rochdale and ,halifax4     #ah4 ,all  
these asceticisms have their bright1 and
 their dark sides4 ,i  myself like the  
military asceticism best1 because it is 
not so  necessarily a refusal of general
 knowledge as the two others1 but leads 
to acute and marvellous use of mind1 and
 perfect use of body4  ,nevertheless1   
none of the three are a healthy or      
central state of man4  ,there is much to
 be respected in each1 but they are not 
what we should  wish large numbers of   
men to become4 ,a monk of ,la ,trappe1 a
 ,french  soldier of the ,imperial      
,guard1 and a thriving mill-owner1      

supposing each  a type1 and no more than
 a type1 of his class1 are all          
interesting  specimens of humanity1 but 
narrow ones1--so narrow that even all   
the  three together would not make a    
perfect man4 ,nor does it appear in any 
way desirable that either of the three  
classes should extend itself so  as to  
include a majority of the persons in the
 world1 and turn large  cities into mere
 groups of monastery1 barracks1 or      
factory4 ,i do not say  that it may not 
be desirable that one city1 or one      
country1 sacrificed  for the good of the
 rest1 should become a mass of barracks 
or factories4  ,perhaps1 it may be well 
that this ,england should become the    
furnace of  the world2 so that the smoke
 of the island1 rising out of the sea1  
should be seen from a hundred leagues   
away1 as if it were a field of  fierce  
volcanoes2 and every kind of sordid1    
foul1 or venomous work which  in other  
countries men dreaded or disdained1 it  
should become ,england's  duty to       

do1--becoming thus the off-scourer of   
the earth1 and taking the  hyena instead
 of the lion upon her shield4 ,i do not1
 for a moment1 deny  this2 but1 looking 
broadly1 not at the destiny of ,england1
 nor of any  country in particular1 but 
of the world1 this is certain--that men 
exclusively occupied either in spiritual
 reverie1 mechanical  destruction1 or   
mechanical productiveness1 fall below   
the proper  standard of their race1 and 
enter into a lower form of being2 and   
that  the true perfection of the race1  
and1 therefore1 its power and           
happiness1 are only to be attained by a 
life which is neither  speculative nor  
productive2 but essentially             
contemplative and  protective1 which    
7,a7 does not lose itself in the monk's 
vision or hope1  but delights in seeing 
present and real things as they truly   
are2 which  7,b7 does not mortify itself
 for the sake of obtaining powers of    
destruction1 but seeks the more easily  
attainable powers of affection1         

observance1 and protection2 which 7,c71 
finally1 does not mortify itself  with a
 view to productive accumulation1 but   
delights itself in peace1  with its     
appointed portion4 ,so that the things  
to be desired for man in  a healthy     
state1 are that he should not see       
dreams1 but realities2 that  he should  
not destroy life1 but save it2 and that 
he should be not rich1  but content4    
#ai4 ,towards which last state of       
contentment1 ,i do not see that the     
world is at present approximating4      
,there are1 indeed1 two forms of        
discontent3 one laborious1 the other    
indolent and complaining4 ,we  respect  
the man of laborious desire1 but let us 
not suppose that his  restlessness is   
peace1 or his ambition meekness4 ,it is 
because of the  special connection of   
meekness with contentment that it is    
promised that  the meek shall inherit   
the earth4 ,neither covetous men1 nor   
the ,grave1  can inherit anything2#f    
they can but consume4 ,only contentment 

can  possess4     #bj4 ,the most helpful
 and sacred work1 therefore1 which can  
at present  be done for humanity1 is to 
teach people 7chiefly by example1 as all
  best teaching must be done7 not how to
 better themselves1 but how to  satisfy 
themselves4 ,it is the curse of every   
evil nation and evil  creature to eat1  
and not be satisfied4 ,the words of     
blessing are1 that  they shall eat and  
be satisfied4 ,and as there is only one 
kind of water  which quenches all       
thirst1 so there is only one kind of    
bread which  satisfies all hunger1 the  
bread of justice or righteousness2 which
  hungering after1 men shall always be  
filled1 that being the bread of         
,heaven2 but hungering after the bread1 
or wages1 of unrighteousness1  shall not
 be filled1 that being the bread of     
,sodom4     #ba4 ,and1 in order to teach
 men how to be satisfied1 it is         
necessary  fully to understand the art  
and joy of humble life1--this1 at       
present1  of all arts or sciences being 

the one most needing study4 ,humble     
life--that is to say1 proposing to      
itself no future exaltation1 but only  a
 sweet continuance2 not excluding the   
idea of foresight1 but wholly of        
fore-sorrow1 and taking no troublous    
thought for coming days3 so1 also1  not 
excluding the idea of providence1 or    
provision1#g but wholly of              
accumulation2--the life of domestic     
affection and domestic peace1 full  of  
sensitiveness to all elements of        
costless and kind  pleasure2--therefore1
 chiefly to the loveliness of the       
natural world4     #bb4 ,what length and
 severity of labor may be ultimately    
found  necessary for the procuring of   
the due comforts of life1 ,i do not     
know2  neither what degree of refinement
 it is possible to unite with the       
so-called servile occupations of life3  
but this ,i know1 that right  economy of
 labor will1 as it is understood1 assign
 to each man as much  as will be healthy
 for him1 and no more2 and that no      

refinements are  desirable which cannot 
be connected with toil4    ,i say1      
first1 that due economy of labor will   
assign to each man the  share which is  
right4 ,let no technical labor be wasted
 on things useless  or unpleasurable2#h 
and let all physical exertion1 so far as
 possible1  be utilized1 and it will be 
found no man need ever work more than is
  good for him4 ,i believe an immense   
gain in the bodily health and  happiness
 of the upper classes would follow on   
their steadily  endeavoring1 however    
clumsily1 to make the physical exertion 
they now  necessarily take in           
amusements1 definitely serviceable4 ,it 
would be far  better1 for instance1 that
 a gentleman should mow his own fields1 
than  ride over other people's4     #bc4
 ,again1 respecting degrees of possible 
refinement1 ,i cannot yet  speak        
positively1 because no effort has yet   
been made to teach refined  habits to   
persons of simple life4    ,the idea of 
such refinement has been made to appear 

absurd1 partly by  the foolish ambition 
of vulgar persons in low life1 but more 
by the  worse than foolish assumption1  
acted on so often by modern advocates of
  improvement1 that education means     
teaching ,latin1 or algebra1 or  music1 
or drawing1 instead of developing or    
drawing out the human  soul4    ,it may 
not be the least necessary that a       
peasant should know algebra1 or  ,greek1
 or drawing4 ,but it may1 perhaps1 be   
both possible and expedient  that he    
should be able to arrange his thoughts  
clearly1 to speak his own  language     
intelligibly1 to discern between right  
and wrong1 to govern his  passions1 and 
to receive such pleasures of ear or     
sight as his life may  render accessible
 to him4 ,i would not have him taught   
the science of  music2 but most         
assuredly ,i would have him taught to   
sing4 ,i would not  teach him the       
science of drawing2 but certainly ,i    
would teach him to  see2 without        
learning a single term of botany1 he    

should know accurately  the habits and  
uses of every leaf and flower in his    
fields2 and  unencumbered by any        
theories of moral or political          
philosophy1 he should  help his         
neighbor1 and disdain a bribe4     #bd4 
,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  7,jeremias       
,gotthelf71 which contain a record of   
,swiss character not less  valuable in  
its fine truth than that which ,scott   
has left of the  ,scottish4 ,i know no  
ideal characters of women1 whatever     
their station1  more majestic than that 
of ,freneli 7in ,ulric le ,valet de     
,ferme1 and  ,ulric le ,fermier72 or of 
,elise1 in the ,tour de ,jacob2 nor any 
more  exquisitely tender and refined    
than that of ,aenneli in the ,fromagerie
  and ,aenneli in the ,miroir des       
,paysans4#i     #be4 ,how far this      

simple and useful pride1 this delicate  
innocence1  might be adorned1 or how far
 destroyed1 by higher intellectual      
education  in letters or the arts1      
cannot be known without other experience
 than  the charity of men has hitherto  
enabled us to acquire4    ,all effort in
 social improvement is paralyzed1       
because no one has been  bold or        
clear-sighted enough to put and press   
home this radical  question3 ,what is   
indeed the noblest tone and reach of    
life for men2  and how can the          
possibility of it be extended to the    
greatest numbers8  ,it is answered1     
broadly and rashly1 that wealth is good2
 that knowledge  is good2 that art is   
good2 that luxury is good4 ,whereas none
 of them are  good in the abstract1 but 
good only if rightly received4 ,nor have
 any  steps whatever been yet securely  
taken1--nor1 otherwise than in the      
resultless rhapsody of moralists1--to   
ascertain what luxuries and what        
learning it is either kind to bestow1 or

 wise to desire4 ,this1 however1  at    
least we know1 shown clearly by the     
history of all time1 that the  arts and 
sciences1 ministering to the pride of   
nations1 have invariably  hastened their
 ruin2 and this1 also1 without venturing
 to say that ,i  know1 ,i nevertheless  
firmly believe1 that the same arts and  
sciences  will tend as distinctly to    
exalt the strength and quicken the soul 
of  every nation which employs them to  
increase the comfort of lowly life1  and
 grace with happy intelligence the      
unambitious courses of honorable  toil4 
,thus far1 then1 of the ,rose4     #bf4 
,last1 of the ,worm4    ,i said that    
,turner painted the labor of men1 their 
sorrow1 and their  death4 ,this he did  
nearly in the same tones of mind which  
prompted  ,byron's poem of ,childe      
,harold1 and the loveliest result of his
 art1 in  the central period of it1 was 
an effort to express on a single canvas 
the meaning of that poem4 ,it may be now
 seen1 by strange coincidence1          

associated with two others--,caligula's 
,bridge and the ,apollo and ,sibyl2  the
 one illustrative of the vanity of human
 labor1 the other of the  vanity of     
human life4#aj ,he painted these1 as ,i 
said1 in the same tone  of mind which   
formed the ,childe ,harold poem1 but    
with different  capacity3 ,turner's     
sense of beauty was perfect2 deeper1    
therefore1 far  than ,byron's2 only that
 of ,keats and ,tennyson being          
comparable with it4  ,and ,turner's love
 of truth was as stern and patient as   
,dante's2 so that  when over these great
 capacities come the shadows of despair1
 the wreck  is infinitely sterner and   
more sorrowful4 ,with no sweet home for 
his  childhood1--friendless in          
youth1--loveless in manhood1--and       
hopeless in  death1 ,turner was what    
,dante might have been1 without the     
bello ovile1  without ,casella1 without 
,beatrice1 and without ,him who gave    
them all1  and took them all away4      
#bg4 ,i will trace this state of his    

mind farther1 in a little while4        
,meantime1 ,i want you to note only the 
result upon his work2--how1  through all
 the remainder of his life1 wherever he 
looked1 he saw ruin4    ,ruin1 and      
twilight4 ,what was the distinctive     
effect of light which he  introduced1   
such as no man had painted before8      
,brightness1 indeed1 he  gave1 as we    
have seen1 because it was true and      
right2 but in this he  only perfected   
what others had attempted4 ,his own     
favorite light is not  gl1 but ,hesperid
 gl4 ,fading of the last rays of sunset4
 ,faint  breathing of the sorrow of     
night4     #bh4 ,and fading of sunset1  
note also1 on ruin4 ,i cannot but wonder
 that  this difference between ,turner's
 work and previous art-conception has   
not been more observed4 ,none of the    
great early painters draw ruins1  except
 compulsorily4 ,the shattered buildings 
introduced by them are  shattered       
artificially1 like models4 ,there is no 
real sense of decay2  whereas ,turner   

only momentarily dwells on anything else
 than ruin4 ,take  up the ,liber        
,studiorum1 and observe how this feeling
 of decay and  humiliation gives        
solemnity to all its simplest subjects2 
even to his  view of daily labor4 ,i    
have marked its tendency in examining   
the design  of the ,mill and ,lock1 but 
observe its continuance through the     
book4  ,there is no exultation in       
thriving city1 or mart1 or in happy     
rural  toil1 or harvest gathering4 ,only
 the grinding at the mill1 and patient  
striving with hard conditions of life4  
,observe the two disordered and  poor   
farm-yards1 cart1 and ploughshare1 and  
harrow rotting away2 note  the pastoral 
by the brook side1 with its neglected   
stream1 and haggard  trees1 and bridge  
with the broken rail1 and decrepit      
children--fever-struck--one sitting     
stupidly by the stagnant stream2 the    
other in rags1 and with an old man's hat
 on1 and lame1 leaning on a  stick4     
,then the ,hedging and ditching1 with   

its bleak sky and blighted              
trees--hacked1 and bitten1 and starved  
by the clay soil into something  between
 trees and firewood2 its meanly-faced1  
sickly laborers--pollard  laborers1 like
 the willow trunk they hew2 and the     
slatternly  peasant-woman1 with worn    
cloak and battered bonnet--an ,english  
,dryad4  ,then the ,water-mill1 beyond  
the fallen steps overgrown with the     
thistle3  itself a ruin1 mud-built at   
first1 now propped on both sides2--the  
planks torn from its cattle-shed2 a     
feeble beam1 splintered at the end1  set
 against the dwelling-house from the    
ruined pier of the watercourse2  the old
 millstone--useless for many a day--half
 buried in slime1 at the  bottom of the 
wall2 the listless children1 listless   
dog1 and the poor  gleaner bringing her 
single sheaf to be ground4 ,then the    
,peat bog1  with its cold1 dark rain1   
and dangerous labor4 ,and last and      
chief1 the  mill in the valley of the   
,chartreuse4 ,another than ,turner would

 have  painted the convent2 but he had  
no sympathy with the hope1 no mercy for 
the indolence of the monk4 ,he painted  
the mill in the valley4 ,precipice      
overhanging it1 and wildness of dark    
forest round2 blind rage and  strength  
of mountain torrent rolled beneath      
it1--calm sunset above1 but  fading from
 the glen1 leaving it to its roar of    
passionate waters and  sighing of       
pine-branches in the night4     #bi4    
,such is his view of human labor4 ,of   
human pride1 see what records4  ,morpeth
 tower1 roofless and black2 gate of old 
,winchelsea wall1 the  flock of sheep   
driven round it1 not through it2 and    
,rievaulx choir1  and ,kirkstall crypt2 
and ,dunstanborough1 wan above the sea2 
and  ,chepstow1 with arrowy light       
through traceried windows2 and          
,lindisfarne1  with failing height of   
wasted shaft and wall2 and last and     
sweetest1  ,raglan1 in utter solitude1  
amidst the wild wood of its own         
pleasance2  the towers rounded with ivy1

 and the forest roots choked with       
undergrowth1 and the brook languid      
amidst lilies and sedges4 ,legends of   
gray knights and enchanted ladies       
keeping the woodman's children away at  
the sunset4    ,these are his types of  
human pride4 ,of human love3 ,procris1  
dying by the  arrow2 ,hesperie1 by the  
viper's fang2 and ,rizpah1 more than    
dead1 beside  her children4     #cj4    
,such are the lessons of the ,liber     
,studiorum4 ,silent always with a       
bitter silence1 disdaining to tell his  
meaning1 when he saw there was no  ear  
to receive it1 ,turner only indicated   
this purpose by slight words of         
contemptuous anger1 when he heard of any
 one's trying to obtain this or  the    
other separate subject as more beautiful
 than the rest4 ,what is the  use of    
them1 he said1 but together8#aa ,the    
meaning of the entire  book was         
symbolized in the frontispiece1 which he
 engraved with his own  hand3 ,tyre at  
sunset1 with the ,rape of ,europa1      

indicating the symbolism  of the decay  
of ,europe by that of ,tyre1 its beauty 
passing away into  terror and judgment  
7,europa being the mother of ,minos and 
,rhadamanthus74#ab    ,illustration3 ,j4
 ,m4 ,w4 ,turner   ,j4 ,h4 ,le ,keux    
#hb4 ,the ,nets in the ,rapids4         
,illustration3 #hc4 ,the ,bridge of     
,rheinfelden4     #ca4 ,i need not trace
 the dark clue farther1 the reader may  
follow it  unbroken through all his work
 and life1 this thread of ,atropos4#ac  
,i  will only point1 in conclusion1 to  
the intensity with which his            
imagination dwelt always on the three   
great cities of ,carthage1  ,rome1 and  
,venice--,carthage in connection        
especially with the thoughts  and study 
which led to the painting of the        
,hesperides' ,garden1 showing  the death
 which attends the vain pursuit of      
wealth2 ,rome1 showing the  death which 
attends the vain pursuit of power2      
,venice1 the death which  attends the   
vain pursuit of beauty4    ,how         

strangely significative1 thus           
understood1 those last ,venetian dreams 
of his become1 themselves so beautiful  
and so frail2 wrecks of all that  they  
were once--twilights of twilight6       
#cb4 ,vain beauty2 yet not all in vain4 
,unlike in birth1 how like in  their    
labor1 and their power over the future1 
these masters of ,england  and          
,venice--,turner and ,giorgione4 ,but   
ten years ago1 ,i saw the last  traces  
of the greatest works of ,giorgione yet 
glowing1 like a scarlet  cloud1 on the  
,fondaco de ,tedeschi4#ad ,and though   
that scarlet cloud  7sanguigna e        
fiammeggiante1 per cui le pitture       
cominciarono con dolce  violenza a      
rapire il cuore delle genti7 may1       
indeed1 melt away into  paleness of     
night1 and ,venice herself waste from   
her islands as a wreath  of wind-driven 
foam fades from their weedy beach2--that
 which she won of  faithful light and   
truth shall never pass away4 ,deiphobe  
of the  sea1--the ,sun ,god measures her

 immortality to her by its sand4        
,flushed1  above the ,avernus of the    
,adrian lake1 her spirit is still seen  
holding  the golden bough2 from the lips
 of the ,sea ,sibyl men shall learn for 
ages yet to come what is most noble and 
most fair2 and1 far away1 as the        
whisper in the coils of the shell1      
withdrawn through the deep hearts of    
nations1 shall sound for ever the       
enchanted voice of ,venice4             
,illustration3 #hd4 ,peace4             
,illustration3 #fh4 ,monte ,rosa4       
,sunset4      ,,footnotes3      #a      
,there is a very wonderful1 and almost  
deceptive1 imitation of      sunlight by
 ,rubens at ,berlin4 ,it falls through  
broken clouds upon      angels1 the     
flesh being chequered with sunlight and 
shade4      #b ,not1 accurately         
speaking1 shadow1 but dark side4 ,all   
shadow      proper is negative in color1
 but1 generally1 reflected light is     
warmer than direct light2 and when the  
direct light is warm1 pure1      and of 

the highest intensity1 its reflection is
 scarlet4 ,turner      habitually1 in   
his later sketches1 used vermilion for  
his pen outline      in effects of sun4 
#c ,the following collected system of   
the various statements made             
respecting color in different parts of  
my works may be useful to the           
student3--        #ast4 ,abstract color 
is of far less importance than abstract 
form      7vol4 i4 chap4 v472 that is to
 say1 if it could rest in our choice    
whether we would carve like ,phidias    
7supposing ,phidias had never used      
color71 or arrange the colors of a shawl
 like ,indians1 there is no             
question as to which power we ought to  
choose4 ,the difference of rank      is 
vast2 there is no way of estimating or  
measuring it4        ,so1 again1 if it  
rest in our choice whether we will be   
great in      invention of form1 to be  
expressed only by light and shade1 as   
,durer1      or great in invention and  
application of color1 caring only for   

ungainly form1 as ,bassano1 there is    
still no question4 ,try to be           
,durer1 of the two4 ,so again1 if we    
have to give an account or              
description of anything--if it be an    
object of high interest--its      form  
will be always what we should first     
tell4 ,neither leopard spots      nor   
partridge's signify primarily in        
describing either beast or bird4        
,but teeth and feathers do4        #b4  
,secondly4 ,though color is of less     
importance than form1 if you            
introduce it at all1 it must be right4  
,people often speak of the ,roman school
 as if it were greater than the         
,venetian1 because its color is         
subordinate4        ,its color is not   
subordinate4 ,it is ,,bad4        ,if   
you paint colored objects1 you must     
either paint them rightly or            
wrongly4 ,there is no other choice4 ,you
 may introduce as little color      as  
you choose--a mere tint of rose in a    
chalk drawing1 for instance2      or    

pale hues generally--as ,michael ,angelo
 in the ,sistine ,chapel4 ,all      such
 work implies feebleness or             
imperfection1 but not necessarily       
error4 ,but if you paint with full      
color1 as ,raphael and ,leonardo1 you   
must either be true or false4 ,if true1 
you will paint like a      ,venetian4   
,if false1 your form1 supremely         
beautiful1 may draw the      attention  
of the spectator from the false color1  
or induce him to      pardon it--and1 if
 ill-taught1 even to like it2 but your  
picture is      none the greater for    
that4 ,had ,leonardo and ,raphael       
colored like      ,giorgione1 their work
 would have been greater1 not less1 than
 it is      now4        #c4 ,to color   
perfectly is the rarest and most        
precious 7technical7      power an      
artist can possess4 ,there have been    
only seven supreme      colorists among 
the true painters whose works exist     
7namely1      ,giorgione1 ,titian1      
,veronese1 ,tintoret1 ,correggio1       

,reynolds1 and      ,turner72 but the   
names of great designers1 including     
sculptors1      architects1 and         
metal-workers1 are multitudinous4 ,also1
 if you can      color perfectly1 you   
are sure to be able to do everything    
else if you      like4 ,there never yet 
was colorist who could not draw2 but    
faculty of      perceiving form may     
exist alone4 ,i believe1 however1 it    
will be found      ultimately that the  
perfect gifts of color and form always  
go      together4 ,titian's form is     
nobler than ,durer's1 and more subtle2  
nor      have ,i any doubt but that     
,phidias could have painted as nobly as 
he      carved4 ,but when the powers are
 not supreme1 the wisest men usually    
neglect the color-gift1 and develope    
that of form4        ,i have not thought
 it worth while at present to enter into
 any      examination of the            
construction of ,turner's color system1 
because the      public is at present so
 unconscious of the meaning and nature  

of      color that they would not know  
what ,i was talking of4 ,the more than  
ludicrous folly of the system of modern 
water-color painting1 in      which it  
is assumed that every hue in the drawing
 may be beneficially      washed into   
every other1 must prevent1 as long as it
 influences the      popular mind1 even 
incipient inquiry respecting color-art4 
,but for      help of any solitary and  
painstaking student1 it may be noted    
that      ,turner's color is founded    
more on ,correggio and ,bassano than on 
the      central ,venetians2 it involves
 a more tender and constant reference   
to light and shade than that of         
,veronese2 and a more sparkling and     
gem-like lustre than that of ,titian4 ,i
 dislike using a technical word         
which has been disgraced by affectation1
 but there is no other word      to     
signify what ,i mean in saying that     
,turner's color has1 to the      full1  
,correggio's morbidezza1 including also1
 in due place1      conditions of mosaic

 effect1 like that of the colors in an  
,indian      design1 unaccomplished by  
any previous master in painting2 and a  
fantasy of inventive arrangement        
corresponding to that of ,beethoven     
in music4 ,in its concurrence with and  
expression of texture or                
construction of surfaces 7as their      
bloom1 lustre1 or intricacy7 it         
stands unrivalled--no still-life        
painting by any other master can        
stand for an instant beside ,turner's1  
when his work is of life-size1      as  
in his numerous studies of birds and    
their plumage4 ,this      morbidezza of 
color is associated1 precisely as it was
 in      ,correggio1 with an exquisite  
sensibility to fineness and intricacy of
      curvature3 curvature1 as already  
noticed in the second volume1 being     
to lines what gradation is to colors4   
,this subject1 also1 is too             
difficult and too little regarded by the
 public1 to be entered upon      here1  
but it must be observed that this       

quality of ,turner's design1      the   
one which of all is best expressible by 
engraving1 has of all      been least   
expressed1 owing to the constant        
reduction or change of      proportion  
in the plates4 ,publishers1 of course1  
require generally      their plates to  
be of one size 7the plates in this book 
form an      appalling exception to     
received practice in this respect72     
,turner      always made his drawings   
longer or shorter by half an inch1 or   
more1      according to the subject2 the
 engravers contracted or expanded them  
to fit the books1 with utter destruction
 of the nature of every curve      in   
the design4 ,mere reduction necessarily 
involves such loss to some      extent2 
but the degree in which it probably     
involves it has been      curiously     
exemplified by the #fast ,plate in this 
volume1 reduced from      a pen-drawing 
of mine1 #ah inches long4 ,fig4 #aja is 
a facsimile of the      hook and piece  
of drapery1 in the foreground1 in my    

drawing1 which is      very nearly true 
to the ,turner curves3 compare them with
 the curves      either in ,plate #fa1  
or in the published engraving in the    
,england      series4 ,the ,plate       
opposite 7#hj7 is a portion of the      
foreground of the      drawing of the   
,llanberis 7,england ,series71 also of  
its real size2 and      interesting as  
showing the grace of ,turner's curvature
 even when he      was drawing fastest4 
,it is a hasty drawing throughout1 and  
after      finishing the rocks and      
water1 being apparently a little tired1 
he      has struck out the broken fence 
of the watering-place for the cattle    
with a few impetuous dashes of the hand4
 ,yet the curvature and      grouping of
 line are still perfectly tender4 ,how  
far the passage      loses by reduction1
 may be seen by a glance at the         
published      engraving4               
,illustration3 ,,fig4 #aja4        #d4  
,color1 as stated in the text1 is the   
purifying or sanctifying      element of

 material beauty4        ,if so1 how    
less important than form8 ,because1 on  
form depends      existence2 on color1  
only purity4 ,under the ,levitical law1 
neither      scarlet nor hyssop could   
purify the deformed4 ,so1 under all     
natural      law1 there must be rightly 
shaped members first2 then sanctifying  
color and fire in them4                 
,nevertheless1 there are several great  
difficulties and oppositions of         
aspect in this matter1 which ,i must try
 to reconcile now clearly and           
finally4 ,as color is the type of ,love1
 it resembles it in all its      modes  
of operation2 and in practical work of  
human hands1 it sustains      changes of
 worthiness precisely like those of     
human sexual love4 ,that      love1 when
 true1 faithful1 well-fixed1 is         
eminently the sanctifying      element  
of human life3 without it1 the soul     
cannot reach its fullest      height of 
holiness4 ,but if shallow1 faithless1   
misdirected1 it is      also one of the 

strongest corrupting and degrading      
elements of life4        ,between these 
base and lofty states of ,love are the  
loveless states2      some cold and     
horrible2 others chaste1 childish1 or   
ascetic1 bearing      to careless       
thinkers the semblance of purity higher 
than that of      ,love4        ,so it  
is with the type of ,love--color4       
,followed rashly1 coarsely1             
untruly1 for the mere pleasure of it1   
with no reverence1 it becomes a         
temptation1 and leads to corruption4    
,followed faithfully1 with      intense 
but reverent passion1 it is the holiest 
of all aspects of      material things4 
,between these two modes of pursuing it1
 come two modes of refusing             
it--one1 dark and sensual2 the other1   
statuesque and grave1 having      great 
aspect of nobleness4        ,thus we    
have1 first1 the coarse love of color1  
as a vulgar person's      choice of     
gaudy hues in dress4        ,then1      
again1 we have the base disdain of      

color1 of which ,i have      spoken at  
length elsewhere4 ,thus we have the     
lofty disdain of color1      as in      
,durer's and ,raphael's drawing3        
finally1 the severest and               
passionate following of it1 in          
,giorgione and ,titian4        #e4      
,color is1 more than all elements of    
art1 the reward of veracity of          
purpose4 ,this point respecting it ,i   
have not noticed before1 and it      is 
highly curious4 ,we have just seen that 
in giving an account of      anything   
for its own sake1 the most important    
points are those of      form4          
,nevertheless1 the form of the object is
 its own attribute2      special1 not   
shared with other things4 ,an error in  
giving an account      of it does not   
necessarily involve wider error4        
,but its color is partly its own1 partly
 shared with other things      round it4
 ,the hue and power of all broad        
sunlight is involved in the      color  
it has cast upon this single thing2 to  

falsify that color1 is      to          
misrepresent and break the harmony of   
the day3 also1 by what color      it    
bears1 this single object is altering   
hues all round it2      reflecting its  
own into them1 displaying them by       
opposition1      softening them by      
repetition2 one falsehood in color in   
one place1      implies a thousand in   
the neighborhood4 ,hence1 there are     
peculiar      penalties attached to     
falsehood in color1 and peculiar rewards
      granted to veracity in it4 ,form  
may be attained in perfectness by       
painters who1 in their course of study1 
are continually altering or             
idealizing it2 but only the sternest    
fidelity will reach coloring4           
,idealize or alter in that1 and you are 
lost4 ,whether you alter by             
abasing1 or exaggerating1--by glare or  
by decline1 one fate is for             
you--ruin4 ,violate truth wilfully in   
the slightest particular1 or1 at        
least1 get into the habit of violating  

it1 and all kinds of failure      and   
error will surround and haunt you to    
your fall4        ,therefore1 also1 as  
long as you are working with form only1 
you may      amuse yourself with        
fancies2 but color is sacred--in that   
you must      keep to facts4 ,hence the 
apparent anomaly that the only schools  
of      color are the schools of        
,realism4 ,the men who care for form    
only1 may      drift about in dreams of 
,spiritualism2 but a colorist must keep 
to      substance4 ,the greater his     
power in color enchantment1 the more    
stern      and constant will be his     
common sense4 ,fuseli may wander wildly 
among      gray spectra1 but ,reynolds  
and ,gainsborough must stay in broad    
daylight1 with pure humanity4           
,velasquez1 the greatest colorist1 is   
the most accurate portrait painter of   
,spain2 ,holbein1 the most      accurate
 portrait painter1 is the only colorist 
of ,germany2 and even      ,tintoret had
 to sacrifice some of the highest       

qualities of his color      before he   
could give way to the flights of wayward
 though mighty      imagination1 in     
which his mind rises or declines from   
the royal calm      of ,titian4      #d 
,compare the deaths of ,jehoram1 ,herod1
 and ,judas4      #e ,thus1 the railroad
 bridge over the ,fall of ,schaffhausen1
 and that      round the ,clarens shore 
of the lake of ,geneva1 have destroyed  
the      power of two pieces of scenery 
of which nothing can ever supply the    
place1 in appeal to the higher ranks of 
,european mind4      #f ,there are three
 things that are never satisfied1 yea1  
four      things say not1 it is enough3 
the grave2 and the barren womb2 the     
earth that is not filled with water2 and
 the fire1 that saith not1 ,it      is  
enough6      #g ,a bad word1 being only 
foresight again in ,latin2 but we have  
no      other good ,english word for the
 sense into which it has been warped4   
#h ,i cannot repeat too often 7for it   
seems almost impossible to      arouse  

the public mind in the least to a sense 
of the fact7 that the      root of all  
benevolent and helpful action towards   
the lower classes      consists in the  
wise direction of purchase2 that is to  
say1 in      spending money1 as far as  
possible1 only for products of healthful
      and natural labor4 ,all work with 
fire is more or less harmful and        
degrading2 so also mine1 or machine     
labor4 ,they at present develope        
more intelligence than rural labor1 but 
this is only because no      education1 
properly so called1 being given to the  
lower classes1      those occupations   
are best for them which compel them to  
attain some      accurate knowledge1    
discipline them in presence of mind1 and
 bring      them within spheres in which
 they may raise themselves to positions 
of command4 ,properly taught1 a         
ploughman ought to be more              
intelligent1 as well as more healthy1   
than a miner4        ,every nation which
 desires to ennoble itself should       

endeavor to      maintain as large a    
number of persons as possible by rural  
and      maritime labor 7including      
fishing74 ,i cannot in this place enter 
into      consideration of the relative 
advantages of different channels of     
industry4 ,any one who sincerely desires
 to act upon such knowledge      will   
find no difficulty in obtaining it4     
,i have also several series of          
experiments and inquiries to undertake  
before ,i shall be able to speak with   
security on certain points              
connected with education2 but ,i have no
 doubt that every child in a            
civilized country should be taught the  
first principles of natural             
history1 physiology1 and medicine2 also 
to sing perfectly1 so far as      it has
 capacity1 and to draw any definite form
 accurately to any      scale4          
,these things it should be taught by    
requiring its attendance at      school 
not more than three hours a day1 and    
less if possible 7the      best part of 

children's education being in helping   
their parents and      families74 ,the  
other elements of its instruction ought 
to have      respect to the trade by    
which it is to live4        ,modern     
systems of improvement are too apt to   
confuse the recreation      of the      
workman with his education4 ,he should  
be educated for his work      before he 
is allowed to undertake it2 and         
refreshed and relieved      while he    
practises it4        ,every effort      
should be made to induce the adoption of
 a national      costume4 ,cleanliness  
and neatness in dress ought always to be
      rewarded by some gratification of 
personal pride2 and it is the           
peculiar virtue of a national costume   
that it fosters and gratifies      the  
wish to look well1 without inducing the 
desire to look better      than one's   
neighbors--or the hope1 peculiarly      
,english1 of being      mistaken for a  
person in a higher position of life4 ,a 
costume may      indeed become          

coquettish1 but rarely indecent or      
vulgar2 and though a      ,french bonne 
or ,swiss farm-girl may dress so as     
sufficiently to      mortify her equals1
 neither of them ever desires or expects
 to be      mistaken for her mistress4  
#i ,this last book should be read       
carefully by all persons interested     
in social questions4 ,it is sufficiently
 dull as a tale1 but is                 
characterized throughout by a restrained
 tragic power of the highest      order2
 and it would be worth reading1 were it 
only for the story of      ,aenneli1 and
 for the last half page of its close4   
#aj ,the ,cuman ,sibyl1 ,deiphobe1 was1 
in her youth1 beloved by      ,apollo2  
who1 promising to grant her whatever she
 would ask1 she took      up a handful  
of earth1 and asked that she might live 
as many years as      there were grains 
of dust in her hand4 ,she obtained her  
petition4      ,apollo would have       
granted her perpetual youth in return   
for her love1      but she denied him1  

and wasted into the long ages--known1 at
 last1      only by her voice4--7,see my
 notes on the ,turner ,gallery47        
#aa ,turner appears never to have       
desired1 from any one1 care in          
favor of his separate works4 ,the only  
thing he would say sometimes      was1  
,keep them together4 ,he seemed not to  
mind how much they were      injured1 if
 only the record of the thought were    
left in them1 and      they were kept in
 the series which would give the key to 
their      meaning4 ,i never saw him1 at
 my father's house1 look for an instant 
at any of his own drawings3 ,i have     
watched him sitting at dinner           
nearly opposite one of his chief        
pictures--his eyes never turned to      
it4        ,but the want of             
appreciation1 nevertheless1 touched him 
sorely2      chiefly the not            
understanding his meaning4 ,he tried    
hard one day for      a quarter of an   
hour to make me guess what he was doing 
in the      picture of ,napoleon1 before

 it had been exhibited1 giving me hint  
after hint in a rough way2 but ,i could 
not guess1 and he would not      tell   
me4      #ab ,i limit myself in this    
book to mere indication of the tones of 
his mind1 illustration of them at any   
length being as yet impossible4      ,it
 will be found on examining the series  
of drawings made by ,turner      during 
the late years of his life1 in          
possession of the nation1 that      they
 are nearly all made for the sake of    
some record of human power1      partly 
victorious1 partly conquered4 ,there is 
hardly a single example      of         
landscape painted for its own abstract  
beauty4 ,power and      desolation1 or  
soft pensiveness1 are the elements      
sought chiefly in      landscape2 hence 
the later sketches are nearly all among 
mountain      scenery1 and chiefly of   
fortresses1 villages or bridges and     
roads      among the wildest ,alps4 ,the
 pass of the ,st4 ,gothard1 especially1 
from      his earliest days1 had kept   

possession of his mind1 not as a piece  
of      mountain scenery1 but as a      
marvellous road2 and the great drawing  
which ,i have tried to illustrate with  
some care in this book1 the      last he
 made of the ,alps with unfailing       
energy1 was wholly made to      show the
 surviving of this tormented path       
through avalanche and      storm1 from  
the day when he first drew its two      
bridges1 in the ,liber      ,studiorum4 
,plate #ha1 which is the piece of the   
torrent bed on the      left1 of the    
real size1 where the stones of it appear
 just on the      point of being swept  
away1 and the ground we stand upon with 
them1      completes the series of      
illustrations of this subject1 for the  
present1 sufficiently2 and1 if compared 
with ,plate #hj1 will be                
serviceable1 also1 in showing how       
various in its grasp and its            
delight was this strange human mind1    
capable of all patience and all         
energy1 and perfect in its sympathy1    

whether with wrath or quietness4        
,though lingering always with chief     
affection about the ,st4 ,gothard       
pass1 he seems to have gleaned the whole
 of ,switzerland for every      record  
he could find of grand human effort of  
any kind2 ,i do not      believe there  
is one baronial tower1 one shattered    
arch of ,alpine      bridge1 one        
gleaming tower of decayed village or    
deserted monastery1      which he has   
not drawn2 in many cases1 round and     
round1 again and      again1 on every   
side4 ,now that ,i have done this work1 
,i purpose1 if      life and strength   
are spared to me1 to trace him through  
these last      journeys1 and take such 
record of his best-beloved places as may
      fully interpret the designs he    
left4 ,i have given in the three        
following plates an example of the kind 
of work which needs doing1      and     
which1 as stated in the preface1 ,i have
 partly already begun4      ,plate #hb  
represents roughly two of ,turner's     

memoranda of a bridge      over the     
,rhine4 ,they are quite imperfectly     
represented1 because ,i do      not     
choose to take any trouble about them on
 this scale4 ,if ,i can      engrave    
them at all1 it must be of their own    
size2 but they are      enough to give  
an idea of the way he used to walk round
 a place1      taking sketch after      
sketch of its aspects1 from every point 
or      half-point of the compass4      
,there are three other sketches of this 
bridge1 far more detailed than these1 in
 the ,national ,gallery4        ,a      
scratched word on the back of one of    
them1 ,rheinfels1 which ,i      knew    
could not apply to the ,rheinfels near  
,bingen1 gave me the clue      to the   
place2--an old ,swiss town1 seventeen   
miles above ,basle1      celebrated in  
,swiss history as the main fortress     
defending the      frontier toward the  
,black ,forest4 ,i went there the moment
 ,i had got      ,turner's sketches     
arranged in #aheh1 and drew it with the 

pen 7or      point of brush1 more       
difficult to manage1 but a better       
instrument7 on      every side on which 
,turner had drawn it1 giving every      
detail with      servile accuracy1 so as
 to show the exact modifications he made
 as he      composed his subjects4 ,mr4 
,le ,keux has beautifully copied two of 
these studies1 ,plates #hc and #hd2 the 
first of these is the bridge      drawn 
from the spot whence ,turner made his   
upper memorandum2      afterwards1 he   
went down close to the fishing house1   
and took the      second2 in which he   
unhesitatingly divides the ,rhine by a  
strong      pyramidal rock1 in order to 
get a group of firm lines pointing to   
his      main subject1 the tower        
7compare  #ab1 p4 #agj1 above72 and     
throws a      foaming mass of water away
 to the left1 in order to give a better 
idea of the river's force2 the          
modifications of form in the tower      
itself are all skilful and majestic in  
the highest degree4 ,the      throwing  

the whole of it higher than the bridge1 
taking off the peak      from its gable 
on the left1 and adding the little      
roof-window in the      centre1 make it 
a perfectly noble mass1 instead of a    
broken and      common one4 ,i have     
added the other subject1 ,plate         
#hd1--though ,i could      not give the 
,turner drawing which it                
illustrates1--merely to show the        
kind of scene which modern ambition and 
folly are destroying      throughout    
,switzerland4 ,in ,plate #hc1 a small   
dark tower is seen in      the distance1
 just on the left of the tower of the   
bridge4 ,getting      round nearly to   
the foot of it1 on the outside of the   
town1 and then      turning back so as  
to put the town walls on your right1 you
 may1 ,i      hope1 still see the       
subject of the third plate2 the old     
bridge over      the moat1 and older    
wall and towers2 the stork's nest on the
 top of      the nearest one2 the moat  
itself1 now nearly filled with softest  

grass and flowers2 a little mountain    
brook rippling down through the         
midst of them1 and the first wooded     
promontory of the ,jura beyond4         
,had ,rheinfelden been a place of the   
least mark1 instead of a nearly         
ruinous village1 it is just this spot of
 ground which1 costing little      or   
nothing1 would have been made its       
railroad station1 and its               
refreshment-room would have been built  
out of the stones of the      towers4   
#ac ,i have not followed out1 as ,i     
ought to have done1 had the task        
been less painful1 my assertion that    
,turner had to paint not only the       
labor and the sorrow of men1 but their  
death4 ,there is no form of      violent
 death which he has not painted4        
,pre-eminent in many things1      he is 
pre-eminent also1 bitterly1 in this4    
,durer and ,holbein drew the            
skeleton in its questioning2 but        
,turner1 like ,salvator1 as under some  
strange fascination or captivity1 drew  

it at its work4 ,flood1 and      fire1  
and wreck1 and battle1 and pestilence2  
and solitary death1 more      fearful   
still4 ,the noblest of all the plates of
 the ,liber ,studiorum1      except the 
,via ,mala1 is one engraved with his own
 hand1 of a single      sailor1 yet     
living1 dashed in the night against a   
granite coast1--his      body and       
outstretched hands just seen in the     
trough of a mountain      wave1 between 
it and the overhanging wall of rock1    
hollow1 polished1      and pale with    
dreadful cloud and grasping foam4       
,and remember1 also1 that the very sign 
in heaven itself which1 truly           
understood1 is the type of love1 was to 
,turner the type of death4 ,the         
scarlet of the clouds was his symbol of 
destruction4 ,in his mind it      was   
the color of blood4 ,so he used it in   
the ,fall of ,carthage4 ,note      his  
own written words--          ,while o'er
 the western wave the ensanguined sun1  
,in gathering huge a stormy signal      

spread1         ,and set portentous4    
,so he used it in the ,slaver1 in the   
,ulysses1 in the ,napoleon1 in the      
,goldau2 again and again in slighter    
hints and momentary dreams1 of          
which one of the saddest and most tender
 is a little sketch of dawn1      made  
in his last years4 ,it is a small space 
of level sea shore2      beyond it a    
fair1 soft light in the east2 the last  
storm-clouds      melting away1 oblique 
into the morning air2 some little       
vessel--a      collier1 probably--has   
gone down in the night1 all hands lost2 
a      single dog has come ashore4      
,utterly exhausted1 its limbs failing   
under it1 and1 sinking into the sand1 it
 stands howling and      shivering4 ,the
 dawn-clouds have the first scarlet upon
 them1 a feeble      tinge only1        
reflected with the same feeble          
blood-stain on the sand4        ,the    
morning light is used with a loftier    
significance in a drawing      made as a
 companion to the ,goldau1 engraved in  

the fourth volume4 ,the      ,lake of   
,zug1 which ripples beneath the sunset  
in the ,goldau1 is      lulled in the   
level azure of early cloud2 and the     
spire of ,aart1      which is there a   
dark point at the edge of the golden    
lake1 is1 in      the opening light1    
seen pale against purple mountains4 ,the
 sketches      for these two subjects   
were1 ,i doubt not1 made from the actual
      effects of a stormy evening1 and  
the next following daybreak2 but        
both with earnest meaning4 ,the crimson 
sunset lights the valley of      rock   
tombs1 cast upon it by the fallen       
,rossberg2 but the sunrise      gilds   
with its level rays the two peaks which 
protect the village      that gives name
 to ,switzerland2 and the orb itself    
breaks first      through the darkness  
on the very point of the pass to the    
high lake      of ,egeri1 where the     
liberties of the cantons were won by the
      battle-charge of ,morgarten4      
#ad ,i have engraved1 at the beginning  

of this chapter1 one of the             
fragments of these frescos1 preserved1  
all imperfectly indeed1 yet      with   
some feeling of their nobleness1 by     
,zanetti1 whose words      respecting   
them ,i have quoted in the text4 ,the   
one ,i saw was the      first figure    
given in his book2 the one engraved in  
my ,plate1 the      third1 had wholly   
perished2 but even this record of it by 
,zanetti is      precious4 ,what        
imperfections of form exist in it1 too  
visibly1 are      certainly less        
,giorgione's than the translator's2     
nevertheless1 for      these very       
faults1 as well as for its beauty1 ,i   
have chosen it1 as      the best type ,i
 could give of the strength of ,venetian
 art2 which was      derived1 be it     
remembered always1 from the acceptance  
of natural      truth1 by men who loved 
beauty too well to think she was to be  
won by      falsehood4        ,the words
 of ,zanetti himself respecting         
,giorgione's figure of      ,diligence  

are of great value1 as they mark this   
first article of      ,venetian faith3  
,giorgione per tale1 o per altra che vi 
fosse1      contrassegnolla con quella  
spezie di mannaja che tiene in mano2 per
      altro tanto ci cercava le sole    
bellezze della natura1 che poco         
pensando al costume1 ritrasse qui una di
 quelle donne ,friulane1 che            
vengono per servire in ,venezia2 non    
alterandone nemmeno l'abito1            
facendola alquanto attempata1 quale     
forse ci la vedea2 senza voler          
sapere che per rappresentare le ,virt1  
si suole da pittori belle       fresche 
giovani immaginare4        ,compare with
 this what ,i have said of ,titian's    
,magdalen4 ,i ought in      that place  
to have dwelt also upon the firm        
endurance of all      terribleness which
 is marked in ,titian's ,notomie and in 
,veronese's      ,marsyas4 ,in order to 
understand the ,venetian mind entirely1 
the      student should place a plate   
from that series of the ,notomie always 

beside the best engraving he can obtain 
of ,titian's ,flora4        ,my         
impression is that the ground of the    
flesh in these ,giorgione      frescos  
had been pure vermilion2 little else was
 left in the figure ,i      saw4        
,therefore1 not knowing what power the  
painter intended to      personify by   
the figure at the commencement of this  
chapter1 ,i have      called her1 from  
her glowing color1 ,hesperid gl4        
,,chapter ,,xii4    ,,peace4       #a4  
,looking back over what ,i have written1
 ,i find that ,i have only now  the     
power of ending this work2 it being time
 that it should end1 but not  of        
concluding it2 for it has led me into   
fields of infinite inquiry1  where it is
 only possible to break off with such   
imperfect result as  may1 at any given  
moment1 have been attained4    ,full of 
far deeper reverence for ,turner's art  
than ,i felt when this task  of his     
defence was undertaken 7which may1      
perhaps1 be evidenced by my  having     

associated no other names with his--but 
of the dead1--in my  speaking of him    
throughout this volume71#a ,i am more in
 doubt  respecting the real use to      
mankind of that1 or any other           
transcendent  art2 incomprehensible as  
it must always be to the mass of men4   
,full of  far deeper love for what ,i   
remember of ,turner himself1 as ,i      
become  better capable of understanding 
it1 ,i find myself more and more        
helpless  to explain his errors and his 
sins4     #b4 ,his errors1 ,i might say1
 simply4 ,perhaps1 some day1 people will
  again begin to remember the force of  
the old ,greek word for sin2 and to     
learn that all sin is in                
essence--,missing the mark2 losing sight
 or  consciousness of heaven2 and that  
this loss may be various in its guilt3  
it cannot be judged by us4 ,it is this  
of which the words are spoken so        
sternly1 ,judge not2 which words people 
always quote1 ,i observe1 when  they are
 called upon to do judgment and justice4

 ,for it is truly a  pleasant thing to  
condemn men for their wanderings2 but it
 is a bitter  thing to acknowledge a    
truth1 or to take any bold share in     
working out  an equity4 ,so that the    
habitual modern practical application of
 the  precept1 ,judge not1 is to avoid  
the trouble of pronouncing verdict1 by  
taking1 of any matter1 the pleasantest  
malicious view which first comes  to    
hand2 and to obtain licence for our own 
convenient iniquities1 by  being        
indulgent to those of others4    ,these 
two methods of obedience being just the 
two which are most  directly opposite to
 the law of mercy and truth4     #c4    
,bind them about thy neck4 ,i said1 but 
now1 that of an evil tree  men never    
gathered good fruit4 ,and the lesson we 
have finally to learn  from ,turner's   
life is broadly this1 that all the power
 of it came of its  mercy and sincerity2
 all the failure of it1 from its want of
 faith4 ,it  has been asked of me1 by   
several of his friends1 that ,i should  

endeavor  to do some justice to his     
character1 mistaken wholly by the world4
 ,if my  life is spared1 ,i will4 ,but  
that character is still1 in many        
respects1  inexplicable to me2 the      
materials within my reach are imperfect2
 and my  experience in the world not yet
 large enough to enable me to use them  
justly4 ,his life is to be written by a 
biographer1 who will1 ,i believe1  spare
 no pains in collecting the few         
scattered records which exist of a      
career so uneventful and secluded4 ,i   
will not anticipate the conclusions  of 
this writer2 but if they appear to me   
just1 will endeavor afterwards1  so far 
as may be in my power1 to confirm and   
illustrate them2 and1 if  unjust1 to    
show in what degree4     #d4 ,which1    
lest death or illness should forbid me1 
this only ,i declare  now of what ,i    
know respecting ,turner's character4    
,much of his mind and  heart ,i do not  
know2--perhaps1 never shall know4 ,but  
this much ,i do2 and  if there is       

anything in the previous course of this 
work to warrant  trust in me of any     
kind1 let me be trusted when ,i tell    
you1 that ,turner  had a heart as       
intensely kind1 and as nobly true1 as   
ever ,god gave to  one of his creatures4
 ,i offer1 as yet1 no evidence in this  
matter4 ,when  ,i do give it1 it shall  
be sifted and clear4 ,only this one fact
 ,i now  record joyfully and solemnly1  
that1 having known ,turner for ten      
years1  and that during the period of   
his life when the brightest qualities of
  his mind were1 in many respects1      
diminished1 and when he was suffering   
most from the evil-speaking of the      
world1 ,i never heard him say one       
depreciating word of living man1 or     
man's work2 ,i never saw him look an    
unkind or blameful look2 ,i never knew  
him let pass1 without some  sorrowful   
remonstrance1 or endeavor at mitigation1
 a blameful word  spoken by another4    
,of no man but ,turner1 whom ,i have    
ever known1 could ,i say this4 ,and of  

this kindness and truth#b came1 ,i      
repeat1 all his highest power4 ,and  all
 his failure and error1 deep and        
strange1 came of his faithlessness4     
,faithlessness1 or despair1 the despair 
which has been shown already  7,vol4    
,,iii41 chap4 xvi47 to be characteristic
 of this present century1  and most     
sorrowfully manifested in its greatest  
men2 but existing in an  infinitely more
 fatal form in the lower and general    
mind1 reacting upon  those who ought to 
be its teachers4     #e4 ,the form which
 the infidelity of ,england1 especially1
 has taken1  is one hitherto unheard of 
in human history4 ,no nation ever before
  declared boldly1 by print and word of 
mouth1 that its religion was good  for  
show1 but would not work4 ,over and over
 again it has happened that  nations    
have denied their gods1 but they denied 
them bravely4 ,the ,greeks  in their    
decline jested at their religion1 and   
frittered it away in  flatteries and    
fine arts2 the ,french refused theirs   

fiercely1 tore down  their altars and   
brake their carven images4 ,the question
 about ,god with  both these nations was
 still1 even in their decline1 fairly   
put1 though  falsely answered4 ,either  
there is or is not a ,supreme ,ruler2 we
  consider of it1 declare there is not1 
and proceed accordingly4 ,but we        
,english have put the matter in an      
entirely new light3 ,there is a         
,supreme ,ruler1 no question of it1 only
 ,he cannot rule4 ,his orders won't     
work4 ,he will be quite satisfied with  
euphonious and respectful  repetition of
 them4 ,execution would be too dangerous
 under existing  circumstances1 which   
,he certainly never contemplated4    ,i 
had no conception of the absolute       
darkness which has covered the  national
 mind in this respect1 until ,i began to
 come into collision with  persons      
engaged in the study of economical and  
political questions4 ,the  entire navet 
and undisturbed imbecility with which ,i
 found them  declare that the laws of   

the ,devil were the only practicable    
ones1 and  that the laws of ,god were   
merely a form of poetical language1     
passed all  that ,i had ever before     
heard or read of mortal infidelity4 ,i  
knew the  fool had often said in his    
heart1 there was no ,god2 but to hear   
him  say clearly out with his lips1     
,there is a foolish ,god1 was something 
which my art studies had not prepared me
 for4 ,the ,french had indeed1 for  a   
considerable time1 hinted much of the   
meaning in the delicate and             
compassionate blasphemy of their phrase 
le bon ,dieu1 but had never  ventured to
 put it into more precise terms4    #f4 
,now this form of unbelief in ,god is   
connected with1 and necessarily         
productive of1 a precisely equal        
unbelief in man4    ,co-relative with   
the assertion1 ,there is a foolish ,god1
 is the  assertion1 ,there is a brutish 
man4 ,as no laws but those of the ,devil
  are practicable in the world1 so no   
impulses but those of the brute  7says  

the modern political economist7 are     
appealable to in the world4  ,faith1    
generosity1 honesty1 zeal1 and          
self-sacrifice are poetical  phrases4   
,none of these things can1 in reality1  
be counted upon2 there is  no truth in  
man which can be used as a moving or    
productive power4 ,all  motive force in 
him is essentially brutish1 covetous1 or
 contentious4  ,his power is only power 
of prey3 otherwise than the spider1 he  
cannot  design2 otherwise than the      
tiger1 he cannot feed4 ,this is the     
modern  interpretation of that          
embarrassing article of the ,creed1 the 
communion  of saints4    #g4 ,it has    
always seemed very strange to me1 not   
indeed that this creed  should have been
 adopted1 it being the entirely         
necessary consequence of  the previous  
fundamental article2--but that no one   
should ever seem to  have any misgivings
 about it2--that1 practically1 no one   
had seen how  strong work was done by   
man2 how either for hire1 or for hatred1

 it  never had been done2 and that no   
amount of pay had ever made a good      
soldier1 a good teacher1 a good artist1 
or a good workman4 ,you pay your        
soldiers and sailors so many pence a    
day1 at which rated sum one will do     
good fighting for you2 another1 bad     
fighting4 ,pay as you will1 the  entire 
goodness of the fighting depends1       
always1 on its being done for  nothing2 
or rather1 less than nothing1 in the    
expectation of no pay but  death4       
,examine the work of your spiritual     
teachers1 and you will find  the        
statistical law respecting them is1 ,the
 less pay1 the better work4  ,examine   
also your writers and artists3 for ten  
pounds you shall have a  ,paradise      
,lost1 and for a plate of figs1 a ,durer
 drawing2 but for a  million of money   
sterling1 neither4 ,examine your men of 
science3 paid by  starvation1 ,kepler   
will discover the laws of the orbs of   
heaven for  you2--and1 driven out to die
 in the street1 ,swammerdam shall       

discover  the laws of life for you--such
 hard terms do they make with you1 these
  brutish men1 who can only be had for  
hire4     #h4 ,neither is good work ever
 done for hatred1 any more than         
hire--but  for love only4 ,for love of  
their country1 or their leader1 or their
  duty1 men fight steadily2 but for     
massacre and plunder1 feebly4 ,your     
signal1 ,england expects every man to do
 his duty1 they will answer2  your      
signal of black flag and death's head1  
they will not answer4 ,and  verily they 
will answer it no more in commerce than 
in battle4 ,the cross  bones will not   
make a good shop-sign1 you will find    
ultimately1 any more  than a good       
battle-standard4 ,not the cross bones1  
but the cross4     #i4 ,now the         
practical result of this infidelity in  
man1 is the utter  ignorance of all the 
ways of getting his right work out of   
him4 ,from a  given quantity of human   
power and intellect1 to produce the     
least  possible result1 is a problem    

solved1 nearly with mathematical        
precision1 by the present methods of the
 nation's economical procedure4  ,the   
power and intellect are enormous4 ,with 
the best soldiers1 at present  existing1
 we survive in battle1 and but survive1 
because1 by help of  ,providence1 a man 
whom we have kept all his life in       
command of a company  forces his way at 
the age of seventy so far up as to      
obtain permission  to save us1 and die1 
unthanked4 ,with the shrewdest thinkers 
in the  world1 we have not yet succeeded
 in arriving at any national conviction 
respecting the uses of life4 ,and with  
the best artistical material in  the    
world1 we spend millions of money in    
raising a building for our  ,houses of  
,talk1 of the delightfulness and utility
 of which 7perhaps  roughly classing the
 ,talk and its tabernacle together71    
posterity will1  ,i believe1 form no    
very grateful estimate2--while for sheer
 want of  bread1 we brought the question
 to the balance of a hair1 whether the  

most earnest of our young painters      
should give up his art altogether1  and 
go to ,australia1--or fight his way     
through all neglect and obloquy  to the 
painting of the ,christ in the ,temple4 
#aj4 ,the marketing was indeed done in  
this case1 as in all others1 on  the    
usual terms4 ,for the millions of money1
 we got a mouldering toy3 for  the      
starvation1 five years'work of the prime
 of a noble life4 ,yet  neither that    
picture1 great as it is1 nor any other  
of ,hunt's1 are the  best he could have 
done4 ,they are the least he could have 
done4 ,by no  expedient could we have   
repressed him more than he has been     
repressed2  by no abnegation received   
from him less than we have received4    
,my dear friend and teacher1 ,lowell1   
right as he is in almost everything1  is
 for once wrong in these lines1 though  
with a noble wrongness3--               
,disappointment's dry and bitter root1  
,envy's harsh berries1 and the choking  
pool     ,of the world's scorn1 are the 

right mother-milk     ,to the tough     
hearts that pioneer their kind4    ,they
 are not so2 love and trust are the only
 mother-milk of any man's  soul4 ,so far
 as he is hated and mistrusted1 his     
powers are destroyed4 ,do  not think    
that with impunity you can follow the   
eyeless fool1 and shout  with the       
shouting charlatan2 and that the men you
 thrust aside with gibe  and blow1 are  
thus sneered and crushed into the best  
service they can do  you4 ,i have told  
you they will not serve you for pay4    
,they cannot  serve you for scorn4 ,even
 from ,balaam1 money-lover though he be1
 no  useful prophecy is to be had for   
silver or gold4 ,from ,elisha1 savior of
  life though he be1 no saving of       
life--even of children's1 who knew no   
better1--is to be got by the cry1 ,go   
up1 thou bald-head4 ,no man can  serve  
you either for purse or curse2 neither  
kind of pay will answer4 ,no  pay is1   
indeed1 receivable by any true man2 but 
power is receivable by  him1 in the love

 and faith you give him4 ,so far only as
 you give him  these can he serve you2  
that is the meaning of the question     
which his  ,master asks always1         
,believest thou that ,i am able8 ,and   
from every one  of ,his servants--to the
 end of time--if you give them the      
,capernaum  measure of faith1 you shall 
have from them ,capernaum measure of    
works1  and no more4    ,do not think   
that ,i am irreverently comparing great 
and small things4  ,the system of the   
world is entirely one2 small things and 
great are  alike part of one mighty     
whole4 ,as the flower is gnawed by      
frost1 so  every human heart is gnawed  
by faithlessness4 ,and as surely1--as   
irrevocably1--as the fruit-bud falls    
before the east wind1 so fails the      
power of the kindest human heart1 if you
 meet it with poison4     #aa4 ,now the 
condition of mind in which ,turner did  
all his great work  was simply this3    
,what ,i do must be done rightly2 but ,i
 know also that  no man now living in   

,europe cares to understand it2 and the 
better ,i do  it1 the less he will see  
the meaning of it4 ,there never was yet1
 so far  as ,i can hear or read1        
isolation of a great spirit so utterly  
desolate4  ,columbus had succeeded in   
making other hearts share his hope1     
before he  was put to hardest trial2 and
 knew that1 by help of ,heaven1 he could
  finally show that he was right4       
,kepler and ,galileo could demonstrate  
their conclusions up to a certain point2
 so far as they felt they were  right1  
they were sure that after death their   
work would be acknowledged4  ,but       
,turner could demonstrate nothing of    
what he had done--saw no  security that 
after death he would be understood more 
than he had been  in life4 ,only another
 ,turner could apprehend ,turner4 ,such 
praise as he  received was poor and     
superficial2 he regarded it far less    
than censure4  ,my own admiration of him
 was wild in enthusiasm1 but it gave him
 no ray  of pleasure2 he could not make 

me at that time understand his main     
meanings2 he loved me1 but cared nothing
 for what ,i said1 and was always       
trying to hinder me from writing1       
because it gave pain to his fellow      
artists4 ,to the praise of other persons
 he gave not even the  acknowledgment of
 this sad affection2 it passed by him as
 murmur of the  wind2 and most justly1  
for not one of his own special powers   
was ever  perceived by the world4 ,i    
have said in another place that all     
great  modern artists will own their    
obligation to him as a guide4 ,they     
will2  but they are in error in this    
gratitude1 as ,i was1 when ,i quoted it 
as  a sign of their respect4 ,close     
analysis of the portions of modern art  
founded on ,turner has since shown me   
that in every case his imitators        
misunderstood him3--that they caught    
merely at superficial brilliancies1  and
 never saw the real character of his    
mind or his work4    ,and at this day1  
while ,i write1 the catalogue allowed to

 be sold at the  gates of the ,national 
,gallery for the instruction of the     
common people1  describes ,calcott and  
,claude as the greater artists4     #ab4
 ,to censure1 on the other hand1 ,turner
 was acutely sensitive1 owing  to his   
own natural kindness2 he felt it1 for   
himself1 or for others1 not  as         
criticism1 but as cruelty4 ,he knew that
 however little his higher  powers could
 be seen1 he had at least done as much  
as ought to have  saved him from wanton 
insult2 and the attacks upon him in his 
later  years were to him not merely     
contemptible in their ignorance1 but    
amazing in their ingratitude4 ,a man may
 be weak in his age1 he said to  me     
once1 at the time when he felt he was   
dying2 but you should not tell  him so4 
#ac4 ,what ,turner might have done for  
us1 had he received help and love1      
instead of disdain1 ,i can hardly trust 
myself to imagine4 ,increasing  calmly  
in power and loveliness1 his work would 
have formed one mighty  series of poems1

 each great as that which ,i have       
interpreted1--the  ,hesperides2 but     
becoming brighter and kinder as he      
advanced to happy  age4 ,soft as        
,correggio's1 solemn as ,titian's1 the  
enchanted color would  have glowed1     
imperishable and pure2 and the subtle   
thoughts risen into  loftiest teaching1 
helpful for centuries to come4    ,what 
we have asked from him1 instead of this1
 and what received1 we  know4 ,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 soul4     #ad4 ,not
 unresisted1 nor touching the heart's   
core1 nor any of the old  kindness and  
truth3 yet festering work of the        
worm--inexplicable and  terrible1 such  
as ,england1 by her goodly gardening1   
leaves to infect her  earth-flowers4    
,so far as in it lay1 this century has  
caused every one of its great men1      
whose hearts were kindest1 and whose    
spirits most perceptive of the work  of 

,god1 to die without hope3--,scott1     
,keats1 ,byron1 ,shelley1 ,turner4      
,great ,england1 of the ,iron-heart now1
 not of the ,lion-heart2 for these      
souls of her children an account may    
perhaps be one day required of her4     
#ae4 ,she has not yet read often enough 
that old story of the  ,samaritan's     
mercy4 ,he whom he saved was going down 
from ,jerusalem to  ,jericho--to the    
accursed city 7so the old ,church used  
to understand it74  ,he should not have 
left ,jerusalem2 it was his own fault   
that he went out  into the desert1 and  
fell among the thieves1 and was left for
 dead4  ,every one of these ,english    
children1 in their day1 took the desert 
bypath as he did1 and fell among        
fiends--took to making bread out of     
stones at their bidding1 and then died1 
torn and famished2 careful  ,england1 in
 her pure1 priestly dress1 passing by on
 the other side4 ,so  far as we are     
concerned1 that is the account we have  
to give of  them4#c     #af4 ,so far as 

they are concerned1 ,i do not fear for  
them2--there  being one ,priest who     
never passes by4 ,the longer ,i live1   
the more  clearly ,i see how all souls  
are in ,his hand--the mean and the      
great4  ,fallen on the earth in their   
baseness1 or fading as the mist of      
morning  in their goodness2 still in the
 hand of the potter as the clay1 and in 
the temple of their master as the cloud4
 ,it was not the mere bodily  death that
 ,he conquered--that death had no sting4
 ,it was this spiritual  death which ,he
 conquered1 so that at last it should be
 swallowed  up--mark the word--not in   
life2 but in victory4 ,as the dead body 
shall  be raised to life1 so also the   
defeated soul to victory1 if only it has
  been fighting on its ,master's side1  
has made no covenant with death2 nor    
itself bowed its forehead for his seal4 
,blind from the prison-house1  maimed   
from the battle1 or mad from the tombs1 
their souls shall surely  yet sit1      
astonished1 at ,his feet who giveth     

peace4     #ag4 ,who giveth peace8 ,many
 a peace we have made and named for     
ourselves1 but the falsest is in that   
marvellous thought that we1 of all      
generations of the earth1 only know the 
right2 and that to us1 at  last1--and us
 alone1--all the scheme of ,god1 about  
the salvation of men1  has been shown4  
,this is the light in which we are      
walking1 ,those vain  ,greeks are gone  
down to their ,persephone for           
ever--,egypt and ,assyria1  ,elam and   
her multitude1--uncircumcised1 their    
graves are round about  them--,pathros  
and careless ,ethiopia--filled with the 
slain4 ,rome1 with  her thirsty sword1  
and poison wine1 how did she walk in her
 darkness6 ,we  only have no            
idolatries--ours are the seeing eyes2 in
 our pure hands at  last1 the           
seven-sealed book is laid2 to our true  
tongues entrusted the  preaching of a   
perfect gospel4 ,who shall come after   
us8 ,is it not peace8  ,the poor ,jew1  
,zimri1 who slew his master1 there is no

 peace for him3  but1 for us8 tiara on  
head1 may we not look out of the windows
 of  heaven8     #ah4 ,another kind of  
peace ,i look for than this1 though ,i  
hear it said  of me that ,i am hopeless4
    ,i am not hopeless1 though my hope  
may be as ,veronese's1 the dark-veiled4 
,veiled1 not because sorrowful1 but     
because blind4 ,i do not know what my   
,england desires1 or how long she will  
choose to do as she is doing  now2--with
 her right hand casting away the souls  
of men1 and with her  left the gifts of 
,god4    ,in the prayers which she      
dictates to her children1 she tells them
 to  fight against the world1 the flesh1
 and the devil4 ,some day1 perhaps1 it  
may also occur to her as desirable to   
tell those children what she means  by  
this4 ,what is the world which they are 
to fight with1 and how does  it differ  
from the world which they are to get on 
in8 ,the explanation  seems to me the   
more needful1 because ,i do not1 in the 
book we profess  to live by1 find       

anything very distinct about fighting   
with the world4 ,i  find something about
 fighting with the rulers of its        
darkness1 and  something also about     
overcoming it2 but it does not follow   
that this  conquest is to be by         
hostility1 since evil may be overcome   
with good4  ,but ,i find it written very
 distinctly that ,god loved the world1  
and that  ,christ is the light of it4   
#ai4 ,what the much-used words1         
therefore1 mean1 ,i cannot tell4 ,but   
this1 ,i believe1 they should mean4     
,that there is1 indeed1 one world  which
 is full of care1 and desire1 and       
hatred3 a world of war1 of which        
,christ is not the light1 which indeed  
is without light1 and has never  heard  
the great ,let there be4 ,which is1     
therefore1 in truth1 as yet no  world2  
but chaos1 on the face of which1 moving1
 the ,spirit of ,god yet  causes men to 
hope that a world will come4 ,the better
 one1 they call it3  perhaps they might1
 more wisely1 call it the real one4     

,also1 ,i hear them  speak continually  
of going to it1 rather than of its      
coming to them2  which1 again1 is       
strange1 for in that prayer which they  
had straight  from the lips of the      
,light of the world1 and which ,he      
apparently thought  sufficient prayer   
for them1 there is not anything about   
going to another  world2 only something 
of another government coming into this2 
or rather1  not another1 but the only   
government1--that government which will 
constitute it a world indeed4 ,new      
heavens and new earth4 ,earth1 no more  
without form and void1 but sown with    
fruit of righteousness4 ,firmament1  no 
more of passing cloud1 but of cloud     
risen out of the crystal  sea--cloud in 
which1 as ,he was once received up1 so  
,he shall again come  with power1 and   
every eye shall see ,him1 and all       
kindreds of the earth  shall wail       
because of ,him4    ,kindreds of the    
earth1 or tribes of it6#d--the          
earth-begotten1 the  ,chaos             

children--children of this present      
world1 with its desolate seas  and its  
,medusa clouds3 the ,dragon children1   
merciless3 they who dealt as  clouds    
without water3 serpent clouds1 by whose 
sight men were turned  into stone2--the 
time must surely come for their wailing4
    #bj4 ,thy kingdom come1 we are bid  
to ask then6 ,but how shall it come8    
,with power and great glory1 it is      
written2 and yet not with observation1  
it is also written4 ,strange kingdom6   
,yet its strangeness is renewed to  us  
with every dawn4    ,when the time comes
 for us to wake out of the world's      
sleep1 why should  it be otherwise than 
out of the dreams of the night8 ,singing
 of birds1  first1 broken and low1 as1  
not to dying eyes1 but eyes that wake to
  life1 the casement slowly grows a     
glimmering square2 and then the  gray1  
and then the rose of dawn2 and last the 
light1 whose going forth  is to the ends
 of heaven4    ,this kingdom it is not  
in our power to bring2 but it is1 to    

receive4  ,nay1 it has come already1 in 
part2 but not received1 because men love
  chaos best2 and the ,night1 with her  
daughters4 ,that is still the only      
question for us1 as in the old ,elias   
days1 ,if ye will receive it4 ,with     
pains it may be shut out still from many
 a dark place of cruelty2 by  sloth it  
may be still unseen for many a glorious 
hour4 ,but the pain of  shutting it out 
must grow greater and greater3--harder1 
every day1 that  struggle of man with   
man in the abyss1 and shorter wages for 
the fiend's  work4 ,but it is still at  
our choice2 the simoom-dragon may still 
be  served if we will1 in the fiery     
desert1 or else ,god walking in the     
garden1 at cool of day4 ,coolness now1  
not of ,hesperus over ,atlas1  stooped  
endurer of toil2 but of ,heosphorus over
 ,sion1 the joy of the  earth4#e ,the   
choice is no vague or doubtful one4     
,high on the desert  mountain1 full     
descried1 sits throned the tempter1 with
 his old  promise--the kingdoms of this 

world1 and the glory of them4 ,he still 
calls you to your labor1 as ,christ to  
your rest2--labor and sorrow1 base      
desire1 and cruel hope4 ,so far as you  
desire to possess1 rather than to  give2
 so far as you look for power to        
command1 instead of to bless2 so  far as
 your own prosperity seems to you to    
issue out of contest or  rivalry1 of any
 kind1 with other men1 or other nations2
 so long as the  hope before you is for 
supremacy instead of love2 and your     
desire is to  be greatest1 instead of   
least2--first1 instead of last2--so long
 you are  serving the ,lord of all that 
is last1 and least2--the last enemy that
  shall be destroyed--,death2 and you   
shall have death's crown1 with the  worm
 coiled in it2 and death's wages with   
the worm feeding on them2  kindred of   
the earth shall you yourself become2    
saying to the grave1  ,thou art my      
father2 and to the worm1 ,thou art my   
mother1 and my  sister4    ,i leave you 
to judge1 and to choose1 between this   

labor1 and the  bequeathed peace2 this  
wages1 and the gift of the ,morning     
,star2 this  obedience1 and the doing of
 the will which shall enable you to     
claim  another kindred than of the      
earth1 and to hear another voice than   
that  of the grave1 saying1 ,my brother1
 and sister1 and mother4                
,,footnotes3      #a ,it is proper1     
however1 for the reader to know1 that   
the title      which ,i myself          
originally intended for this book was   
,turner and the      ,ancients2 nor did 
,i purpose to refer in it to any other  
modern      painters than ,turner4 ,the 
title was changed2 and the notes on     
other      living painters inserted in  
the first volume1 in deference to the   
advice of friends1 probably wise2 for   
unless the change had been      made1   
the book might never have been read at  
all4 ,but1 as far as ,i am              
concerned1 ,i regretted the change then1
 and regret it still4      #b ,it may   
perhaps be necessary to explain one or  

two singular points      of ,turner's   
character1 not in defence of this       
statement1 but to show      its meaning4
 ,in speaking of his truth1 ,i use the  
word in a double      sense2--truth to  
himself1 and to others4        ,truth to
 himself2 that is to say1 the resolution
 to do his duty by      his art1 and    
carry all work out as well as it could  
be done4 ,other      painters1 for the  
most part1 modify their work by some    
reference to      public taste1 or      
measure out a certain quantity of it for
 a certain      price1 or alter facts to
 show their power4 ,turner never did any
 of      these things4 ,the thing the   
public asked of him he would do1 but    
whatever it was1 only as he thought it  
ought to be done4 ,people did      not  
buy his large pictures2 he1 with avowed 
discontent1 painted small      ones2 but
 instead of taking advantage of the     
smaller size to give1                   
proportionally1 less labor1 he instantly
 changed his execution so as      to be 

able to put nearly as much work into his
 small drawings as into      his large  
ones1 though he gave them for half the  
price4 ,but his aim      was always to  
make the drawing as good as he could1 or
 as the subject      deserved1          
irrespective of price4 ,if he disliked  
his theme1 he painted      it slightly1 
utterly disdainful of the purchaser's   
complaint4 ,the      purchaser must take
 his chance4 ,if he liked his theme1 he 
would give      three hundred guineas'  
worth of work for a hundred1 and ask no 
thanks4 ,it is true1 exceptionally1 that
 he altered the engravings      from his
 designs1 so as to meet the popular     
taste1 but this was      because he knew
 the public could not be got otherwise  
to look at his      art at all4 ,his own
 drawings the entire body of the nation 
repudiated      and despised3 the       
engravers could make something of them1 
they      said4 ,turner scornfully took 
them at their word4 ,if that is what you
      like1 take it4 ,i will not alter  

my own noble work one jot for you1      
but these things you shall have to your 
minds2--try to use them1 and      get   
beyond them4 ,sometimes1 when an        
engraver came with a plate to be        
touched1 he would take a piece of white 
chalk in his right hand and      of     
black in his left3 ,which will you have 
it done with8 ,the      engraver chose  
black or white1 as he thought his plate 
weak or heavy4      ,turner threw the   
other piece of chalk away1 and would    
reconstruct the      plate1 with the    
added lights or darks1 in ten minutes4  
,nevertheless1      even this concession
 to false principles1 so far as it had  
influence1      was injurious to him3 he
 had better not have scorned the        
engravings1      but either done nothing
 with them1 or done his best4 ,his best1
 in a      certain way1 he did1 never   
sparing pains1 if he thought the plate  
worth it3 some of his touched proofs are
 elaborate drawings4        ,of his     
earnestness in his main work1 enough1 ,i

 should think1 has been      already    
related in this book2 but the following 
anecdote1 which ,i      repeat here from
 my notes on the ,turner ,gallery1 that 
there may be      less chance of its    
being lost1 gives1 in a few words1 and  
those his      own1 the spirit of his   
labor1 as it possessed him throughout   
his      life4 ,the anecdote was        
communicated to me in a letter by ,mr4  
,kingsley1 late of ,sidney ,college1    
,cambridge2 whose words ,i give3--,i    
had taken my mother and a cousin to see 
,turner's pictures2 and1 as my          
mother knows nothing about art1 ,i was  
taking her down the gallery to      look
 at the large ,richmond ,park1 but as we
 were passing the      ,sea-storm1 she  
stopped before it1 and ,i could hardly  
get her to look      at any other       
picture3 and she told me a great deal   
more about it than      ,i had any      
notion of1 though ,i had seen many      
sea-storms4 ,she had been      in such a
 scene on the coast of ,holland during  

the war4 ,when1 some      time          
afterwards1 ,i thanked ,turner for his  
permission for her to see      the      
pictures1 ,i told him that he would not 
guess which had caught my      mother's 
fancy1 and then named the picture2 and  
he then said1 ',i did      not paint it 
to be understood1 but ,i wished to show 
what such a scene      was like3 ,i got 
the sailors to lash me to the mast to   
observe it2 ,i      was lashed for four 
hours1 and ,i did not expect to escape1 
but ,i felt      bound to record it if  
,i did4 ,but no one had any business to 
like the      picture4' ',but1' said ,i1
 'my mother once went through just such 
a      scene1 and it brought it all back
 to her4' ',is your mother a            
painter8' ',no4' ',then she ought to    
have been thinking of something         
else4' ,these were nearly his words2 ,i 
observed at the time1 he used           
'record' and 'painting1' as the title   
'author' had struck me before4          
,he was true to others4 ,no accusation  

had ever been brought forward           
against ,turner by his most envious     
enemies1 of his breaking a      promise1
 or failing in an undertaken trust4 ,his
 sense of justice was      strangely    
acute2 it was like his sense of balance 
in color1 and shone      continually in 
little crotchets of arrangement of      
price1 or other      advantages1 among  
the buyers of his pictures4 ,for        
instance1 one of my      friends had    
long desired to possess a picture which 
,turner would not      sell4 ,it had    
been painted with a companion2 which was
 sold1 but this      reserved4 ,after a 
considerable number of years had passed1
 ,turner      consented to part with it4
 ,the price of canvases of its size     
having1      in the meantime1 doubled1  
question arose as to what was then to be
      its price4 ,well1 said ,turner1   
,mr4 ---- had the companion for so      
much4 ,you must be on the same footing4 
,this was in no desire to do      my    
friend a favor2 but in mere instinct of 

equity4 ,had the price of      his      
pictures fallen1 instead of risen in the
 meantime1 ,turner would      have said1
 ,mr4 ---- paid so much1 and so must    
you4        ,but the best proof to which
 ,i can refer in this character of his  
mind      is in the wonderful series of 
diagrams executed by him for his        
lectures on perspective at the ,royal   
,academy4 ,i had heard it said      that
 these lectures were inefficient4       
,barely intelligible in      expression 
they might be2 but the zealous care with
 which ,turner      endeavored to do his
 duty1 is proved by a series of large   
drawings1      exquisitely tinted1 and  
often completely colored1 all by his own
      hand1 of the most difficult       
perspective subjects2 illustrating not  
only directions of line1 but effects of 
light1 with a care and      completion  
which would put the work of any ordinary
 teacher to utter      shame4 ,in       
teaching generally1 he would neither    
waste his time nor      spare it2 he    

would look over a student's drawing1 at 
the      academy1--point to a defective 
part1 make a scratch on the paper at    
the side1 saying nothing2 if the student
 saw what was wanted1 and did      it1  
,turner was delighted1 and would go on  
with him1 giving hint after      hint2  
but if the student could not follow1    
,turner left him4 ,such      experience 
as ,i have had in teaching1 leads me    
more and more to      perceive that he  
was right4 ,explanations are wasted     
time4 ,a man who      can see1          
understands a touch2 a man who cannot1  
misunderstands an      oration4         
,one of the points in ,turner which     
increased the general falseness of      
impression respecting him was a curious 
dislike he had to appear      kind4     
,drawing1 with one of his best friends1 
at the bridge of ,st4      ,martin's1   
the friend got into great difficulty    
over a colored sketch4      ,turner     
looked over him a little while1 then    
said1 in a grumbling      way--,i       

haven't got any paper ,i like2 let me   
try yours4 ,receiving a      block book1
 he disappeared for an hour and a half4 
,returning1 he      threw the book down1
 with a growl1 saying--,i can't make    
anything of      your paper4 ,there were
 three sketches on it1 in three distinct
      states of progress1 showing the   
process of coloring from beginning to   
end1 and clearing up every difficulty   
which his friend had got into4          
,when he gave advice1 also1 it was apt  
to come in the form of a keen           
question1 or a quotation of some one    
else's opinion1 rarely a      statement 
of his own4 ,to the same person         
producing a sketch1 which      had no   
special character3 ,what are you in     
search of8 ,note this      expression4  
,turner knew that passionate seeking    
only leads to      passionate finding4  
,sometimes1 however1 the advice would   
come with a      startling distinctness4
 ,a church spire having been left out in
 a      sketch of a town--,why did you  

not put that in8 ,i hadn't time4        
,then you should take a subject more    
suited to your capacity4        ,many   
people would have gone away considering 
this an insult1 whereas      it was only
 a sudden flash from ,turner's earnest  
requirement of      wholeness or        
perfectness of conception4 ,whatever you
 do1 large or      small1 do it wholly2 
take a slight subject if you will1 but  
don't      leave things out4 ,but the   
principal reason for ,turner's having   
got      the reputation of always       
refusing advice was1 that artists came  
to      him in a state of mind in which 
he knew they could not receive it4      
,virtually1 the entire conviction of the
 artists of his time      respecting him
 was1 that he had got a secret1 which he
 could tell1 if      he liked1 that     
would make them all ,turners4 ,they came
 to him with      this general formula  
of request clearly in their hearts1 if  
not      definitely on their lips3 ,you 
know1 ,mr4 ,turner1 we are all of us    

quite as clever as you are1 and could do
 all that very well1 and we      should 
really like to do a little of it        
occasionally1 only we haven't      quite
 your trick2 there's something in it1 of
 course1 which you only      found out  
by accident1 and it is very ill-natured 
and unkind of you      not to tell us   
how the thing is done2 what do you rub  
your colors      over with1 and where   
ought we to put in the black patches8   
,this was      the practical meaning of 
the artistical questioning of his day1  
to      which ,turner very resolvedly   
made no answer4 ,on the contrary1 he    
took      great care that any tricks of 
execution he actually did use should    
not be known4        ,his practical     
answer to their questioning being as    
follows3--,you      are indeed1 many of 
you1 as clever as ,i am2 but this1 which
 you think      a secret1 is only the   
result of sincerity and toil4 ,if you   
have not      sense enough to see this  
without asking me1 you have not sense   

enough      to believe me1 if ,i tell   
you4 ,true1 ,i know some odd methods of 
coloring4 ,i have found them out for    
myself1 and they suit me4 ,they         
would not suit you4 ,they would do you  
no real good2 and it would do      me   
much harm to have you mimicking my ways 
of work1 without knowledge      of their
 meaning4 ,if you want methods fit for  
you1 find them out for      yourselves4 
,if you cannot discover them1 neither   
could you use them4      #c ,it is      
strange that the last words ,turner ever
 attached to a      picture should have 
been these3--        ,the priest held   
the poisoned cup4        ,compare the   
words of #agih with those of #ahej4     
#d ,compare ,matt4 xxiv4 #cj4      #e   
,ps4 xlviii4 #b4--,this joy it is to    
receive and to give1 because      its   
officers 7governors of its acts7 are to 
be ,peace1 and its      exactors        
7governors of its dealings71            
,righteousness4--,is4 lx4 #ag4          
,,the ,,end4          ,,local ,,index   

,,to    ,,modern ,,painters4            
,aiguille ,blaitire1 iv4 #ahf1 #ahh1    
#cii2      ,bouchard1 iv4 #ci1 #ahf1    
#bjj1 #bji-baa2      de ,chamouni1 iv4  
#afc1 #ahc2      des ,charmoz1 iv4 #agg1
 #aij1 #aia1aib1 #bjf2      du ,gout1   
iv4 #bjf2      du,moine1 iv4 #ahi       
7note72      du ,plan1 iv4 #ahg2        
,pourri 7,chamouni71 iv4 #aif1 #bad2    
de ,varens 7,chamouni71 iv4 #afa4       
,aletsch glacier1 ravine of1 iv4 #beh4  
,alps1 angle buttress of the chain of   
,jungfrau and ,gemmi1 iv4 #bhf4         
,amiens1 poplar groves of1 iii4 #aha1   
iv4 #cdh2      banks of the ,somme at1  
iv4 #aj 7note74      ,annecy1 lake of1  
cliffs round1 iv4 #bdg4      ,apennine1 
the ,lombard1 iii4 plate #ad4           
,ardon 7,valais71 gorge of1 iv4 #aeb4   
,beauvais1 destruction of old houses at1
 ii4 #f 7note74      ,berne1 scenery of 
lowland districts of1 v4 #hc1 iv4 #acb4 
,bietschhorn1 peak of1 iv4 #agh4        
,bolton ,abbey 7,yorkshire71 iv4 #bdi4  
,breven 7,chamouni71 precipices of1 iv4 

#bbi4        ,calais1 tower of1 iv4 #bf4
      ,carrara mountains1 peaks of1 iv4 
#ceg2      quarries of1 iv4 #bii4       
,chamounix1 beauty of pine-glades1 v4   
#hb4 ,see ,valley4      ,chartres1      
cathedral1 sculpture on1 v4 #ce4        
,cluse1 valley of1 iv4 #add4      ,col  
d',anterne1 iv4 #abd4      ,col de      
,ferret1 iv4 #abd4      ,cormayeur1     
valley of1 iv4 #agf4      ,cumberland1  
hills of1 iv4 #ia4      ,cyrene1 scenery
 of1 v4 #cjj4        ,dart1 banks of1   
iv4 #big4      ,dent de ,morcles        
7,valais71 peaks of1 iv4 #afj4          
,dent du ,midi de ,bex1 structure of1   
iv4 #bda4      ,derbyshire1 limestone   
hills of1 iv4 #ajj4      ,derwent1 banks
 of1 iv4 #big4        ,eiger            
7,grindelwald71 position of1 iv4 #aff4  
,engelberg1 ,hill of ,angels1 v4 #hf4   
,fado1 pass of 7,st4 ,gothard71 iv4 #ba4
      ,finster-,aarhorn 7,bernese       
,alps71 peak of1 iv4 #afd1 #agh4        
,florence1 destruction of old streets   
and frescoes in1 ii4 #g 7note74         

,france1 scenery and valleys of1 i4     
#abi1 #bej2 iv4 #big1 #cdd4             
,fribourg1 district surrounding1 iv4    
#acb2      towers of1 iv4 #cb4          
,geneva1 restorations in1 ii4 #f 7note74
      ,goldau1 valley of1 iv4 #cab4     
,grande ,jorasse 7,col de ,ferret71     
position of1 iv4 #aff4      ,grindelwald
 valley1 iv4 #afd4        ,highland     
valley1 described1 v4 #bjf4        ,il  
,resegone 7,comasque chain of ,alps71   
structure1 iv4 #aec4        ,jedburgh1  
rocks near1 iv4 #aca4      ,jura1 crags 
of1 iv4 #aeb1 #aeg4        ,lago        
,maggiore1 effect of1 destroyed by      
quarries1 iv4 #abj4      ,langholme1    
rocks near1 iv4 #aca4                   
,lauterbrunnen ,cliffs1 structure of1   
iv4 #adi4      ,loire1 description of   
its course1 v4 #afd4      ,lucca1 ,san  
,michele1 mosaics on1 i4 #aje2      tomb
 in ,cathedral of1 ii4 #gj4             
,lucerne1 wooden bridges at1 iv4 #cbe1  
#cge2      lake1 shores of1 the         
mountain-temple1 v4 #he1 #hg4           

,matlock1 via ,gellia1 v4 #bjg4         
,matterhorn 7,mont ,cervin71 structure  
of1 iv4 #afj1 #aha1 #bcg1 #bfj2         
from ,zermatt1 iv4 #bcb1 #bch2      from
 ,riffelhorn1 iv4 #bce4      ,milan1    
sculpture in cathedral1 ii4 #bjf4       
,montanvert1 view from1 iv4 #agh4       
,montagne de la ,cte1 crests of1 iv4    
#bjf1 #bjh1 #bab1 #bhb2 v4 #aba4        
,montagne de ,taconay1 iv4 #bjf1 #bjh1  
#bac1 #bhb2 v4 #aca4      ,montagne de  
,tacondy 7,chamouni71 ridges of1 i4     
#bih4      ,montagne de ,vergi1 iv4     
#bdg4      ,mont ,blanc1 arrangement of 
beds in chain of1 iv4 #agd 7note71 #cid4
      ,monte ,rosa1 iv4 #afe4      ,mont
 ,pilate1 v4 #abd2 iv4 #bbg4      ,monte
 ,viso1 peak of1 iv4 #agh4              
,niagara1 channel of1 iv4 #ie4          
,normandy1 hills of1 iv4 #cec4          
,nuremberg1 description of1 v4 #bcb-bce4
        ,oxford1 ,queen's ,college1     
front of1 i4 #ajd4        ,plerins      
,cascade 7,valley of ,chamouni71 iv4    
#bhb4      ,pisa1 destruction of works  

of art in1 ii4 #f 7note72      mountain 
scenery round1 iv4 #ceg4      ,petit    
,salve1 iv4 #afa4        ,rhone1 valley 
of1 iv4 #ie4      ,rheinfelden          
7,switzerland71 description of1 v4 #cce 
7note74      ,riffelhorn1 precipices of1
 iv4 #bcd4      ,rochers des ,fys 7,col 
d',anterne71 cliff of1 iv4 #bda4        
,rome1 pursuit of art in1 i4 #d2        
,temple of ,antoninus and ,faustus1     
griffin on1 iii4 #ajj4      ,rouen1     
destruction of medival architecture in1 
ii4 #f 7note74        ,saddleback       
7,cumberland71 i4 #bih4      ,sallenche1
 plain of the ,arve at1 i4 #bgc2        
walk near1 iii4 #acf4      ,savoy1      
valleys of1 iv4 #abe4      ,salisbury   
,crags 7,edinburgh71 structure of1 iv4  
#adi4      ,schauffhausen1 fall of1 i4  
#cdi2 v4 #cbe4      ,schreckhorn        
7,bernese ,alps71 iv4 #afd4             
,scotland1 hills of1 iv4 #ia1 #abe4     
,sion 7,valais71 description of         
7mountain gloom71 iv4 #cch-cda4         
,switzerland1 character of1 how         

destroyed by foreigners1 iv4 #cgd2      
railways1  v4 #cbe4        ,taconay1    
,tacondy4 ,see ,montagne4      ,tees1   
banks of1 iv4 #big4      ,thames1       
description of1 v4 #bhh4      ,tours1   
destruction of medival buildings in1 ii4
 #f 7note74      ,trient1 valley of     
7mountain gloom71 iv4 #bei1 #cah4       
,twickenham1 meadows of1 v4 #bic4       
,underwalden1 pine hills of1 v4 #hg4    
,valais1 canton1 iv4 #afe2      fairies'
 hollow in1 v4 #hb4      ,valley of     
,chamouni1 iv4 #agg1 #cge2              
formation of1 iv4 #afe2      how spoiled
 by quarries1 iv4 #aba2      of ,cluse1 
iv4 #add2      of ,cormayer1 iv4 #agf2  
of ,grindewald1 iv4 #aff2      of       
,frtigen 7,canton of ,berne71 v4 #hf4   
,venice1 in the eighteenth century1 i4  
#aaj2      modern restorations in1 ii4  
#h  7note72      ,quay of the ,rialto1  
market scene on1 i4 #cdc2      ,st4     
,mark's1 mosaics on1 i4 #cdc2           
described1 v4 #bhf4 ,see ,topical       
,index4      ,verona1 griffin on        

cathedral of1 iii4 #ajj2      ,san      
,zeno1 sculpture on arch in1 v4 #df4    
,villeneuve1 mountains of1 iv4 #bdf1    
#bhg4      ,vosges1 crags of1 iv4 #aeb4 
,wales1 hills of1 iv4 #abe4             
,weisshorn1 peak of1 #agh4              
,wetterhorn 7,grindelwald71 iv4 #aff1   
#agh4      ,wharfe 7,yorkshire71 shores 
of1 iv4 #bej1 #big4        ,yorkshire1  
limestone hills of1 iv4 #ajj1 #bdf2 v4  
#bic4        ,zermatt1 valley of1 chapel
 in1 iv4 #cbe4      ,zmutt ,glacier1 iv4
 #bcf4          ,,index ,,to ,,painters 
,,and ,,pictures    ,,referred ,,to ,,in
 ,,modern ,,painters4        ,angelico  
da ,fiesole1 angel choirs of1  ii4 #bbd2
      attained the highest beauty1 ii4  
#acf2      cramped by traditional       
treatment1 ii4 #agh2      decoration of1
 ii4 #bai2      distances of1 iv4 #cee2 
finish of1 ii4 #hb1 iii4 #abb2      his 
hatred of fog1 iv4 #ee2      influence  
of hills upon1 iv4 #cee2                
introduction of portraiture in pictures 
by1 ii4 #abj1 iii4 #cc2      his purity 

of life1 iii4 #gb2      spiritual beauty
 of1 iii4 #cc2      treatment of        
,passion subjects by1 ii4 #abi2         
unison of expressional with pictorial   
power in1 iii4 #bi2      contrast       
between1 and ,wouvermans1 v4 #bhc2      
contrast between1 and ,salvator1 v4     
#bhc2      ,pictures referred to--      
,annunciation1 ii4 #agd2                
,crucifixion1 i4 #hb1 ii4 #bbj2         
,infant ,christ1 ii4 #bbb2        ,last 
,judgment1 i4 #he2        ,last         
,judgment and ,paradise1 ii4 #bbd1 iii4 
#eg2        ,spirits in ,prison at the  
,feet of ,christ1 fresco in ,st4        
,mark's1 ii4          #ef 7note72       
,st4 ,dominic of ,fiesole1 ii4 #ef2     
,vita di ,christo1 ii4 #bai4            
,art-,union1 ,christian ,vanquishing    
,apollyon 7ideal stones71 iv4 #cjg4     
,bandinelli1 ,cacus1 ii4 #ahd2          
,hercules1 ii4 #ahd4      ,bartolomeo1  
introduction of portraiture by1 ii4     
#abj4      ,bartolomeo1 ,fra4 ,pictures 
referred to--      ,last ,judgment1 ii4 

#ahb2      ,st4 ,stephen1 ii4 #bbd4     
,basaiti1 ,marco1 open skies of1 i4 #hd4
 ,picture--,st4 ,stephen1 ii4 #bbd4     
,bellini1 ,gentile1 architecture of the 
,renaissance style1 i4 #ajc1 #ajg2      
introduction of portraiture in pictures1
 ii4 #abj4      ,bellini1 ,giovanni1    
finish of1 ii4 #hc2      hatred of fog1 
iv4 #ef2      introduction of           
portraiture in pictures1 ii4 #abi2      
landscape of1 i4 #he1 iv4 #ch2          
luminous skies of1 ii4 #dd2      unison 
of expressional and pictorial power in1 
iii4 #bi2      use of mountain          
distances1 iv4 #cee2      refinement and
 gradation1 i4 #he4      ,pictures      
referred to--        ,madonna at ,milan1
 i4 #he2        ,san ,francesco della   
,vigna at ,venice1 i4 #he2        ,st4  
,christopher1 ii4 #abj2        ,st4     
,jerome1 ii4 #baf2        ,st4 ,jerome  
in the ,church of ,san4 ,chrysostome1 i4
 #he4      ,berghem1 landscape1 ,dulwich
 ,gallery1 i4 #cg1 iii4 #abf1 v4 #bhb4  
,blacklock1 drawing of the inferior     

hills1 i4 #cjg4      ,blake1            
,illustrations of the ,book of ,job1    
iii4 #ih4      ,bonifazio1 ,camp of     
,israel1 iii4 #cah2      what subjects  
treated by1 v4 #bba4      ,both1        
failures of1 i4 #aig1 v4 #cae4          
,bronzino1 base grotesque1 iii4 #ih4    
,pictures referred to--        ,christ  
,visiting the ,spirits in ,prison1 ii4  
#ef4      ,buonarotti1 ,michael ,angelo1
 anatomy interfering with the divinity  
of        figures1 ii4 #bba2            
conception of human form1 ii4 #abd1     
#abf2      completion of detail1 iii4   
#abb2      finish of1 ii4 #hc2          
influence of mountains upon1 iv4 #ceh2  
use of symbol1 ii4 #bae2      repose in1
 ii4 #fi 7note72      impetuous         
execution of1 ii4 #ahg 7note72          
expression of inspiration by1 ii4 #bad4 
,pictures referred to--        ,bacchus1
 ii4 #ahf 7note72        ,daniel1 i4    
#fb2        ,jonah1 ii4 #bjd2           
,last ,judgment1 ii4 #aha1 #ahc2        
,night and ,day1 ii4 #bjc1 iii4 #if2    

,piet of ,florence1 ii4 #ahe2           
,piet of ,genoa1 ii4 #hc2        ,plague
 of the ,fiery ,serpents1 ii4 #fi       
7note72        ,st4 ,matthew1 ii4 #ahe2 
,twilight i4 #cc2        ,vaults of     
,sistine ,chapel1 i4 #cj-cc4            
,callcott1 ,trent1 i4 #ahi4             
,canaletto1 false treatment of water1 i4
 #cda2      mannerism of1 i4 #aaa2      
painting in the ,palazzo ,manfrini1 i4  
#bjj2      ,venice1 as seen by1 i4 #aaa2
      works of1 v4 #aie4      ,canova1  
unimaginative work of1 ii4 #ahd2        
,perseus1 i4 #fb4      ,caracci1 ,the1  
landscape of1 iii4 #cag1 iv4 #ge2       
use of base models of portraiture by1   
ii4 #abj4      ,caravaggio1 vulgarity   
of1 iii4 #beg2      perpetual seeking   
for horror and ugliness1 ii4 #acg2      
a worshipper of the depraved1 iii4 #cc4 
,carpaccio1 ,vittor1 delineation of     
architecture by1 i4 #ajg2      luminous 
skies of1 ii #dd2      painting of ,st4 
,mark's ,church1 i4 #ajh4               
,castagno1 ,andrea del1 rocks of1 iii4  

#bci4      ,cattermole1 ,g41 foliage of1
 i4 #djf2      ,fall of the ,clyde1 i4  
#aaf2      ,glendearg1 i4 #aaf4         
,claude1 summary of his qualities1 v4   
#bdd2      painting of sunlight by1 iii4
 #cah1 v4 #cae2      feeling of the     
beauty of form1 i4 #gf1 iii4 #cah1 v4   
#bdd2      narrowness of1 contrasted    
with vastness of nature1 i4 #gg2        
arial effects of1 iii4 #cah1 v4 #bdd2   
sincerity of purpose of1 iii4 #cag1 v4  
#bdd2      never forgot himself1 i4 #gg1
 v4 #bdd2      true painting of         
afternoon sunshine1 iii4 #cba1 v4 #bde1 
#cae2      effeminate softness of1 v4   
#bdd2      landscape of1 iii4 #cah1 i4  
xxxviii4 preface1 v4 #bdd2      seas of1
 i4 #gg1 #cde1 v4 #bdd1 #bde2      skies
 of1 i4 #bjh1 #bbg2      tenderness of  
perception in1 iii4 #cah2               
transition from ,ghirlandajo to1 iv4 #a2
      absence of imagination in1 ii4    
#aeh2      waterfalls of1 i4 #cjj2      
treatment of rocks by1 iv4 #bec1 #cjh1  
iii4 #cbb2      tree drawing of1 iii4   

#aah1 #ccc2      absurdities of         
conception1 iii4 #cba2      deficiency  
in foreground1 i4 #agi1 #cii2           
distances of1 i4 #bgh2      perspective 
of1 i4 #dji4      ,pictures referred    
to--        ,morning1 in ,national      
,gallery 7,cephalus and ,procris71 i4   
#cag2        ,enchanted ,castle1 i4     
#bjh2        ,campagna at ,rome1 i4 xl4 
preface2        ,il ,mulino1 i4 xxxix4  
preface1 v4 #bde1 ii4 #adi2             
,landscape1 ,no4 #bda1 ,dulwich         
,gallery1 i4 #bjh2        ,landscape1   
,no4 #bdd1 ,dulwich ,gallery1 i4 #bhd2  
,landscape in ,uffizii ,gallery1 i4     
#cci2        ,seaport1 ,st4 ,ursula1    
,no4 #cj1 ,national ,gallery1 i4 #bjh2  
,queen of ,sheba1 ,no4 #ad1 ,national   
,gallery1 i4 #dji2        ,italian      
,seaport1 ,no4 #e1 ,national ,gallery1  
i4 #bcj2        ,seaport1 ,no4 #ad1     
,national ,gallery1 i4 #bb2             
,marriage of ,isaac and ,rebecca1 i4    
#agf1 #aid1 #bjh1 #bgh1 #chh2           
,moses at the ,burning ,bush1 iii4 #cbj2

        ,narcissus1 i4 #chh2            
,pisa1 iv4 #a2        ,st4 ,george and  
the ,dragon1 v4 #bdf2        ,worship of
 the ,golden ,calf1 v4 #bdf2            
,sinon before ,priam1 i4 #afi1 #bgi2    
,liber ,veritatis1 ,no4 #e1 iv4 #cjh2   
,liber ,v41 ,no4 #hf1 iv4 #bbj2         
,l4 ,v41 ,no4 #ia1 iv4 #bec1 #bed2      
,l4 ,v41 ,no4 #adj1 iii4 #aag2          
,l4 ,v41 ,no4 #ade1 iii4 #cba2          
,l4 ,v41 ,no4 #ahj1 iii4 #cba4          
,conegilano1 ,cima da1 entire           
realization of foreground painting1 iii4
 #abh2      painting in church of the   
,madonna dell' ,orto1 i4 #hb4           
,constable1 landscape of1 iii4 #abf2    
simplicity and earnestness of1 i4 #id2  
aspen drawing of1 iv4 #gh2              
,helmingham ,park1 ,suffolk1 iii4 #aai2 
,lock on the ,stour1 iii4 #aah2         
foliage of1 i4 #djf1 iii4 #aai2         
landscape of1 iv4 #ch4      ,correggio1 
choice of background1 iii4 #caf2        
painting of flesh by1 iii4 #ig2         
leaf drawing of1 v4 #ce2      power of1 

to paint rain-clouds1 v4 #acf 7note72   
love of physical beauty1 iii4 #cc2      
morbid gradation1 ii4 #dg2      morbid  
sentimentalism1 ii4 #agd2      mystery  
of1 iv4 #fb2      sensuality of1 ii4    
#abe1 #acf2      sidelong grace of1 iii4
 #bh2      tenderness of1 iii4 #db4     
,pictures referred to--        ,antiope1
 iii4 #fc1 v4 #cf1 #ij1 #acf2           
,charioted ,diana1 ii4 #abf2            
,madonna of the ,incoronazione1 ii4     
#abe2        ,st4 ,catherine of the     
,giorno1 ii4 #abf4      ,cox1 ,david1   
drawings of1 i4 xliii4 preface1 i4 #if2 
foliage of1 i4 #djf2      rain-clouds   
of1 i4 #bdh2      skies of1 in          
water-color1 i4 #beg2      sunset on    
distant hills1 i4 #if4      ,creswick1  
tree-painting of1 i4 #cig4              
,pictures referred to--                 
,nut-brown ,maid1 i4 #cig2        ,weald
 of ,kent1 i4 #djg4      ,cruikshank1   
,g41 iv41 #chg2 ,noah ,claypole 7,oliver
 ,twist71 v4 #bff4      ,cuyp1 principal
 master of pastoral landscape1 v4 #aid2 

tone of1 i4 #aej2      no sense of      
beauty1 i4 #gf2      sky of1 i4 #bae1   
#bbe1 #bji2      cattle painting of1 v4 
#bei2      sunlight of1 v4 #bed1 #cae2  
water of1 i4 #cdf2      foliage of1 v4  
#ce1 #cg2      and ,rubens1 v1 #bdi1    
#bfj4      ,pictures referred to--      
,hilly ,landscape1 in ,dulwich ,gallery1
 ,no4 #afi1 i4 #aej1 #bji2              
,landscape1 in ,national ,gallery1 ,no4 
#ec1 i4 #aej1 v4 #cg2        ,waterloo  
etchings1 i4 #ib2        ,landscape1    
,dulwich ,gallery1 ,no1 #hc1 i4 #cdj1   
,no4 #afc1 v4 #cg4        ,dannaeker1   
,ariadne1 iii4 #fe4      ,dighton1 ,w4  
,e41 ,hayfield in a ,shower1 ii4 #bbi2  
,haymeadow ,corner1 ii4 #bbi4           
,dolci1 ,carlo1 finish for finish's     
sake1 iii4 #aac2      softness and      
smoothness1 iii4 #aac2      ,st4 ,peter1
 ii4 #bjd4      ,domenichino1 angels of1
 ii4 #bbb2      landscape of1 iii4 #cag2
      ,madonna del ,rosario1 and        
,martyrdom of ,st4 ,agnes1 both utterly 
hateful1 i4 #hh1 ii4 #bbb4              

,drummond1 ,banditti on the ,watch1 ii4 
#bcj4      ,durer1 ,albert1 and         
,salvator1 v4 #bcj1 #bdj2               
deficiency in perception of the         
beautiful1 iv4 #ccb2      education of1 
v4 #bca-bcb2      mind of1 how shown1 v4
 #bhd2      decision of1 iv4 #gi1 ii4   
#bbg2      tree-drawing1 v4 #fg2        
finish of1 iii4 #db1 #abb2      gloomily
 minute1 i4 #ij2      hatred of fog1 iv4
 #ef2      drawing of crests1 iv4 #bja2 
love of sea1 v4 #bcd4      ,pictures    
referred to--        ,dragon of the     
,apocalypse1 iv4 #bag2        ,fall of  
,lucifer1 iv4 #bja2        ,the ,cannon1
 v4 #bcd2        ,knight and ,death1    
iii4 #ic1 v4 #bce1 #bcg2                
,melancholia1 iv4 #dh1 iii4 #if1 v4     
#bce1 #bch2        ,root of ,apple-tree 
in ,adam and ,eve1 iii4 #aaf1 v4 #fe2   
,st4 ,hubert1 v4 #ig1 #bcd2        ,st4 
,jerome1 v4 #bcd4        ,etty1 richness
 and play of color of1 ii4 #bjc2        
,morning ,prayer1 ii4 #bbi2      ,still 
,life1 ii4 #bbi2      ,st4 ,john1 ii4   

#bbi4      ,eyck1 ,van1 deficiency in   
perception of the beautiful1 iv4 #ccc4  
,fielding1 ,copley1 faithful rendering  
of nature1 i4 #ig2      feeling in the  
drawing of inferior mountains1 i4 #cjg2 
foliage of1 i4 #djf2      water of1 i4  
#cdh2      moorland foreground1 i4 #ahh2
      use of crude color1 i4 #ih2       
love of mist1 iv4 #ge2      rain-clouds 
of1 i4 #bdh2      sea of1 i4 #cea2      
truth of1 i4 #bdh4 ,picture referred    
to--,bolton ,abbey1 i4 #ajj4            
,flaxman1 ,alpine stones1 iv4 #cjh2     
,pool of ,envy 7in his ,dante71 iv4     
#cjh4      ,francia1 architecture of the
 ,renaissance style1 i4 #ajc2           
finish of1 iii4 #abb2      treatment of 
the open sky1 ii4 #dc2      ,madonnas   
of1 ii4 #bbd2      ,nativity1 iii4 #dh4 
,gaddi1 ,taddeo1 treatment of the open  
sky1 ii4 #dc4      ,gainsborough1 color 
of1 i4 #ic2      execution of i4 xxii4  
preface2      arial distances of1 i4    
#ic2      imperfect treatment of        
details1 i4 #hb4      ,ghiberti1        

,lorenzo1 leaf-moulding and bas-reliefs 
of1 v4 #ce4      ,ghirlandajo1          
architecture of the ,renaissance style1 
i4 #ajc2      introduction of           
portraiture in pictures1 ii4 #abj2      
reality of conception1 iii4 #ei2        
rocks of1 iii4 #bci1 #cad2              
symmetrical arrangement of pictures1 ii4
 #gd2      treatment of the open sky1   
ii4 #dd2      quaintness of landscape1  
iii4 #cbb2      garlanded backgrounds   
of1 v4 #ij4      ,pictures referred to--
        ,adoration of the ,magi1 iii4   
#cab2        ,baptism of ,christ1 iii4  
#cac2        ,pisa1 iv4 #a4             
,giorgione1 boyhood of1 v4 #bhg-big2    
perfect intellect of1 v4 #bhe2          
landscape of1 i4 #hf2      luminous sky 
of1 ii1 #dd2      modesty of1 ii4 #abc1 
#abd2      one of the few who has       
painted leaves1 v4 #ce2      frescoes   
of1 v4 #bhd1 #ccg2      sacrifice of    
form to color by1 ii4 #bjb2      two    
figures1 or the ,fondaco de',tedeschi1  
i4 #aaj2      one of the seven supreme  

colorists1 v4 #cah 7note74      ,giotto1
 cramped by traditional treatment1 ii4  
#agh2      decoration of1 ii4 #bbj2     
influence of hills upon1 iv4 #ceg2      
introduction of portraiture in pictures1
 ii4 #abj2      landscape of1 ii4 #bag2 
power in detail1 iii4 #eg2      reality 
of conception1 iii4 #eg2                
symmetrical arrangement in pictures1 ii4
 #gc2      treatment of the open sky1   
ii4 #dd2      unison of expressional and
 pictorial power in detail1 iii4 #bi2   
use of mountain distances1 iv4 #ced4    
,pictures referred to--        ,baptism 
of ,christ1 ii4 #agf2        ,charity1  
iii4 #ig2        ,crucifixion and ,arena
 frescoes1 ii4 #abi2        ,sacrifice  
for the ,friedes1 i4 #hh4      ,gozzoli 
,benozzo1 landscape of1 ii4 #bag2       
love of simple domestic incident1 iii4  
#bh2      reality of conception1 iii4   
#eg2      treatment of the open sky1 ii4
 #dd4      ,guercino1 ,hagar1 ii4 #abi4 
,guido1 sensuality1 ii4 #abe1 #acf2     
use of base models for portraiture1 ii4 

#abj4      ,picture--        ,susannah  
and the ,elders1 ii4 #abf4              
,harding1 ,j4 ,d41 aspen drawing of1 iv4
 #gh2      execution of1 i4 #agi1 #djc1 
iv4 #gh2      chiaroscuro of1 i4 #agi1  
#dje2      distance of1 i4 #ahi2        
foliage1 i4 #chg1 #dja2      trees of1  
v4 #fa 7note71 i4 #chg2      rocks of1  
i4 #cac2      water of1 i4 #cej4        
,pictures referred to--                 
,chamouni1 i4 #bhg2        ,sunrise on  
the ,swiss ,alps1 i4 #ajb4              
,hemling1 finish of1 iii4 #abb4         
,hobbima1 niggling of1 v4 #cf1 #cg2     
distances of1 i4 #bjb2      failures of1
 i4 #bjb1 #cih2      landscape in       
,dulwich ,gallery1 v4 #cf4              
,holbein1 best northern art represented 
by1 v4 #bji-bca2      the most accurate 
portrait painter1 v4 #cbb2      ,dance  
of ,death1 iii4 #ic2      glorious      
severity of1 ii4 #abc2      cared not   
for flowers1 v4 #ij4      ,hooghe1 ,de1 
quiet painting of1 v4 #bhb4      ,hunt1 
,holman1 finish of1 i4 #daf 7note74     

,pictures referred to--        ,awakened
 ,conscience1 iii4 #ij2        ,claudio 
and ,isabella1 iii4 #bg2        ,light  
of the ,world1 iii4 #bi1 #dj1 #eg1 #gf1 
#cdj1 iv4 #fa 7note72        ,christ in 
the ,temple1 v4 #cdg4      ,hunt1       
,william1 anecdote of1 iii4 #hf2        
,farmer's ,girl1 iii4 #hb2      foliage 
of1 i4 #djg2      great ideality in     
treatment of still-life1 ii4 #bjc4      
,landseer1 ,e41 more a natural historian
 than a painter1 ii4 #bjc 7note72       
animal painting of1 v4 #beg2      ,dog  
of1 ii4 #bjb2      ,old ,cover ,hack1   
deficiency of color1 ii4 #bbf2          
,random ,shot1 ii4 #bbf2                
,shepherd's ,chief ,mourner1 i4 #i1 #cj2
      ,ladies' ,pets1 imperfect grass   
drawing1 v4 #ih2      ,low ,life1 v4    
#bff4      ,laurati1 treatment of the   
open sky1 ii4 #dd4      ,lawrence1 ,sir 
,thomas1 ,satan of1 ii4 #bji4           
,lewis1 ,john1 climax of water-color    
drawing1 i4 #he2      success in seizing
 ,spanish character1 i1 #abd4           

,linnell1 cumuli of1 i4 #bdd 7note74    
,picture referred to--        ,eve of   
the ,deluge1 ii4 #bbe4      ,lippi1     
,filippino1 heads of1 ii4 #bbj2         
,tribute ,money1 iii4 #cad4             
,mantegna1 ,andrea1 painting of stones  
by1 iv4 #cjb2      decoration of1 ii4   
#bbj4      ,masaccio1 painting of vital 
truth from vital present1 iii4 #ij2     
introduction of portraiture into        
pictures1 ii4 #abj2      mountain       
scenery of1 i4 #ie1 iv4 #bii2           
,deliverance of ,peter1 ii4 #bbb2       
,tribute ,money1 i4 #he1 #ie1 iii4 #cad4
      ,memmi1 ,simone1 abstract of the  
,duomo at ,florence1 at ,santa ,maria   
,novella1 i4 #ajc2      introduction of 
portraiture in pictures1 ii4 #abj4      
,millais1 ,huguenot1 iii4 #ij4          
,mino da ,fiesole1 truth and tenderness 
of1 ii4 #ahd2      two statues by1 ii4  
#bja4      ,mulready1 ,pictures by--    
the ,butt1 perfect color1 ii4 #bbg2     
,burchell and ,sophia1 ii4 #bbg2        
,choosing of the ,wedding ,gown1 ii4    

#bbg2      ,gravel ,pit1 ii4 #bbh4      
,murillo1 painting of1 ii4 #hc4         
,nesfield1 treatment of water by1 i4    
#cdi4        ,orcagna1 influence of     
hills upon1 iv4 #ceh2      intense      
solemnity and energy of1 iii4 #bh2      
unison of expressional and pictorial    
power in detail of1 iii4 #bh2           
,inferno1 ii4 #abh2      ,last          
,judgment1 ii4 #aha1 iii4 #eg2          
,madonna1 ii4 #bja2      ,triumph of    
,death1 iii4 #eg1 #ie4        ,perugino1
 decoration of1 ii4 #bbj2      finish   
of1 ii4 #hc2      formalities of1 iii4  
#abb1 #cae2      hatred of fog1 iv4 #ef2
      landscape of1 ii4 #bah2           
mountain distances of1 iv4 #cee2        
right use of gold by1 i4 #aji2          
rationalism of1 how affecting his works1
 v4 #bje2      sea of1 i4 #cdf2         
expression of1 inspiration by1 ii4 #bbc4
      ,pictures referred to--           
,annunciation1 ii4 #dd2                 
,assumption of the ,virgin1 ii4 #dd2    
,michael the ,archangel1 ii4 #bbc2      

,nativity1 iii4 #dh2        ,portrait of
 ,himself1 ii4 #acf2                    
,queen-,virgin1 iii4 #eb2        ,st4   
,maddelena at ,florence1 i4 #cdf4       
,pickersgill1 ,contest of ,beauty1 ii4  
#bbi4      ,pinturicchio1 finish of1 ii4
 #hc2      ,madonnas of1 ii4 #bbd4      
,pisellino1 ,filippo1 rocks of1 iii4    
#bci4      ,potter1 ,paul1 ,landscape1  
in ,grosvenor ,gallery1 ii4 #bbf2       
,landscape1 ,no4 #agf1 ,dulwich         
,gallery1 i4 #cdj2      foliage of1     
compared with ,hobbima's and            
,ruysdael's1 v4 #ce2      best ,dutch   
painter of cattle1 v4 #bed4             
,poussin1 ,gaspar1 foliage of1 i4       
#chf-cie2      distance of1 i4 #bjb2    
narrowness of1 contrasted with vastness 
of nature1 i4 #agi2      mannerism of1  
i4 #ij1 ii4 #de1 iv4 #ch2               
perception of moral truth1 i4 #gf2      
skies of1 i4 #bbg1 #bca2      want of   
imagination1 ii4 #aeh2      false       
sublimity1 iv4 #bde4      ,pictures     
referred to--        ,chimborazo1 i4    

#bjh2        ,destruction of ,niobe's   
,children1 in ,dulwich ,gallery1 i4     
#bid2        ,dido and neas1 i4 #beg1   
#cia1 ii4 #aei2        ,la ,riccia1 i4  
#chf1 #aee1 ii4 #aei2        ,mont      
,blanc1 i4 #bjh2        ,sacrifice of   
,isaac1 i4 #aie1 #bjh1 #bcj1 ii4 #aei4  
,poussin1 ,nicolas1 and ,claude1 v4     
#bda-bdh2      principal master of      
classical landscape1 v4 #aid1 #bdg2     
peculiarities of1 v4 #bdg2      compared
 with ,claude and ,titian1 v4 #bdg2     
characteristics of works by1 v4 #bdg2   
want of sensibility in1 v4 #bdg2        
landscape of1 v4 #bdg2 trees of1 i4     
#dja2      landscape of1 composed on    
right principles1 i4 #ij1 iii4 #cbc1 ii4
 #aei4      ,pictures referred to--     
,the ,plague1 v4 #bdh2        ,death of 
,polydectes1 v4 #bdh2        ,triumph of
 ,david1 v4 #bdh2        ,the ,deluge1  
v4 #bdh2        ,apollo1 ii4 #bjg2      
,deluge 7,louvre71 i4 #cde1 iv4 #bdd2   
,landscape1 ,no4 #bfj1 ,dulwich         
,gallery1 i4 #add2        ,landscape1   

,no4 #bab1 ,dulwich ,gallery1 i4 #bca2  
,phocion1 i4 #add1 #aei1 #agh1 #beh2    
,triumph of ,flora1 iii4 #cbc4          
,procaccini1 ,camillo4      ,picture    
referred to--        ,martyrdom         
7,milan71 ii4 #abi4      ,prout1        
,samuel1 master of noble picturesque1   
iv4 #ac2      influence on modern art by
 works of1 i4 #ajc2      excellent      
composition and color of1 i4 #aab1 #aad2
      expression of the crumbling       
character of stone1 i4 #if1 #aab1 #aad4 
,pictures referred to--                 
,brussels1 i4 #aac2        ,cologne1 i4 
#aac2        ,flemish ,hotel de ,ville1 
i4 #aae2        ,gothic ,well at        
,ratisbon1 i4 #aad2        ,italy and   
,switzerland1 i4 #aac2        ,louvain1 
i4 #aac2        ,nuremberg1 i4 #aac2    
,sion1 i4 #aac2        ,sketches in     
,flanders and ,germany1 i4 #aac2        
,spire of ,calais1 iv4 #ac2             
,tours1 i4 #aac4      ,punch1 instance  
of modern grotesque from1 iv4 #chh4     
,pyne1 ,j4 ,b4 drawing of1 i4 #cad4     

,raffaelle1 chiaroscuro of1 iv4 #dg2    
completion of detail by1 i4 #hb1 iii4   
#abb2      finish of1 ii4 #hc2          
instances of leaf drawing by1 v4 #ce2   
conventionalism of branches by1 v4 #ch2 
his hatred of fog1 iii4 #abf1 iv4 #ef2  
influence of hills upon1 iv4 #ceg2      
influenced by ,masaccio1 iii4 #cae2     
introduction of portraiture in pictures 
by1 ii4 #abj2      composition of1 v4   
#ahb2      lofty disdain of color in    
drawings of1 v4 #cbj 7note72            
landscape of1 ii4 #bag2      mountain   
distance of1 iv4 #cee2      subtle      
gradation of sky1 ii4 #dg1 #dh2         
symbolism of1 iii4 #if4      ,pictures  
referred to--        ,baldacchino1 ii4  
#dd2        ,charge to ,peter1 iii4 #ec1
 #cae2        ,draught of ,fishes1 i4   
preface1 xxx41 ii4 #bjd2        ,holy   
,family--,tribune of the ,uffizii1 iii4 
#cac2        ,madonna della ,sediola1   
ii4 #dd1 iii4 #ea2        ,madonna dell'
 ,impannata1 ii4 #dd2        ,madonna   
del ,cardellino1 ii4 #dd2               

,madonna di ,san ,sisto1 iii4 #ef2      
,massacre of the ,innocents1 ii4 #acj1  
#agi2        ,michael the ,archangel1   
ii4 #bbc2        ,moses at the ,burning 
,bush1 iii4 #aae2        ,nativity1 iii4
 #cda2        ,st4 ,catherine1 i4       
preface1 xxxi41 i4 #cd1 #aci1 ii4 #ih1  
#bbd2        ,st4 ,cecilia1 ii4 #acf1   
#bah1 iii4 #ae1 #ed2        ,st4 ,john  
of the ,tribune1 ii4 #dd2        ,school
 of ,athens1 iii4 #bf2                  
,transfiguration1 iii4 #ed 7note74      
,rembrandt1 landscape of1 i4 #aib2      
chiaroscuro of1 iii4 #ce1 iv4 #db-dg2   
etchings of1 i4 #dje 7note72            
vulgarity of1 iii4 #beg4      ,pictures 
referred to--        ,presentation of   
,christ in the ,temple1 ii4 #db2        
,spotted ,shell1 ii4 #bjc2              
,painting of himself and his wife1 v4   
#beb4      ,rethel1 ,a4      ,pictures  
referred to--        ,death the         
,avenger1 iii4 #ih2        ,death the   
,friend1 iii4 #ih4      ,retsch4        
,pictures referred to--                 

,illustrations to ,schiller's ,fight of 
the ,dragon1 ii4 #aga4      ,reynolds1  
,sir ,joshua1 swiftest of painters1 v4  
#aia2      influence of early life of1  
on painting of1 v4 #bhi2      lectures  
quoted1 i4 #g1 #dd1 iii4 #d2            
tenderness of1 iv4 #fg 7note74          
,picture referred to--        ,charity1 
iii4 #ig4      ,roberts1 ,david1        
architectural drawing of1 i4 #aah2      
drawings of the ,holy ,land1 i4 #aah2   
hieroglyphics of the ,egyptian temples1 
i4 #aai2      ,roslin ,chapel1 i4 #abj4 
,robson ,g41 mountain scenery of1 i4    
#ie1 iii4 #cbe4      ,rosa1 ,salvator1  
and ,albert ,durer1 v4 #bcj-bdj2        
landscape of1 i4 #cij2                  
characteristics of1 v4 #bcg1 #bhe2      
how influenced by ,calabrian scenery1 v4
 #bcf2      of what capable1 v4 #bcf2   
death1 how regarded by1 v4 #bcg2        
contrast between1 and ,angelico1 v4     
#bhe2      leaf branches of1 compared   
with ,durer's1 v4 #fg1 #fh2      example
 of tree bough of1 v4 #de2              

education of1 v4 #bce1 #bcf2            
fallacies of contrast with early        
artists1 v4 #df2      narrowness of1    
contrasted with freedom and vastness of 
nature1 i4 #gg2      perpetual seeking  
for horror and ugliness1 ii4 #abh1 #acg1
 v4 #df-fg2      skies of1 i4 #bbg1     
#bcj2      vicious execution  of1 i4    
#ci1 ii4 #hc2      vigorous imagination 
of1 ii4 #aei2      vulgarity of1 iii4   
#cc1 iii4 #cag1 #beg4      ,pictures    
referred to--        ,apollo and ,sibyl1
 v4 #gi2        ,umana ,fragilita1 v4   
#bcg2        ,baptism of ,christ1 ii4   
#agf 7note72        ,battles by1 ii4    
#abg2        ,diogenes1 ii4 #aei2       
finding of ,oedipus1 iii4 #aae1 v4 #fe2 
,landscape1 ,no4 #bbj1 ,dulwich         
,gallery1 i4 #bca1 #bdj1 #bid1 #cab2    
,landscape1 ,no4 #aei1 ,dulwich         
,gallery1 i4 #bed2        ,sea-piece    
7,pitti ,palace71 i4 #cde2        ,peace
 burning the arms of ,war1 i4 #cij2     
,st4 ,jerome1 ii4 #aei2                 
,temptation of ,st4 ,anthony1 ii4 #de1  

7note72        ,mercury and the ,woodman
 7,national ,gallery71 i1 #aeg4         
,rubens and ,cuyp1 v4 #bdi-bfj2         
color of1 i4 #afi2      landscape of1 i4
 #ia1 #bbj1 iii4 #ahb1 #cah2      leaf  
drawing of1 v4 #ce2      flowers of1 v4 
#ij2      realistic temper of1 iii4 #ig2
      symbolism of1 iii4 #if2           
treatment of light1 ii4 #da1 i4 #afe2   
want of feeling for grace and mystery1  
iv4 #ad2      characteristics of1 v4    
#bea2      religion of1 v4 #beb2        
delight in martyrdoms1 v4 #bea2         
painting of dogs and horses by1 v4 #beg1
 #beh2      descriptions of his own     
pictures by1 v4 #beb2      imitation of 
sunlight by1 v4 #cae 7note72      hunts 
by1 v4 #beh4      ,pictures referred    
to--        ,adoration of the ,magi1 i4 
#cg2        ,battle of the ,amazons1 v4 
#bea2        ,landscape1 ,no4 #age1     
,dulwich ,gallery1 iv4 #ae2        ,his 
,family1 v4 #beb2        ,waggoner1 iii4
 #aad2        ,landscapes in ,pitti     
,palace1 i4 #ia2        ,sunset behind a

 ,tournament1 iii4 #cah4      ,ruysdael4
      ,pictures referred to--           
,running and ,falling ,water1 i4 #cbe1  
#cdd2        ,sea-piece1 i4 #cdd4       
,schngauer1 ,martin1 joy in ugliness1   
iv4 #cbi2      missal drawing of1 iv4   
#cbi4      ,snyders1 painting of dogs   
by1 v4 #beg4      ,spagnoletto1 vicious 
execution of1 ii4  #hc4      ,stanfield1
 ,clarkson1 architectural drawing of1 i4
 #aba2      boats of1 i4 #abb2          
chiaroscuro of1 i4 #bha2      clouds of1
 i4 #bbd1 #bdc2      a realistic        
painter1 i4 #aba1 iv4 #eg 7note72       
knowledge and power of1 i4 #cec4        
,pictures referred to--        ,amalfi1 
ii4 #bbh2        ,borromean ,islands1   
with ,st4 ,gothard in the distance1 i4  
#bhb2        ,botallack ,mine 7coast    
scenery71 i4 #cac2        ,brittany1    
near ,dol1 iv4 #g2        ,castle of    
,ischia1 i4 #abb2        ,doge's ,palace
 at ,venice1 i4 #abb2        ,east      
,cliff1 ,hastings1 i4 #cac2             
,magra1 ii4 #bbh2        ,rocks of      

,suli1 i4 #cjg2        ,wreck on the    
,coast of ,holland1 i4 #aba4            
,taylor1 ,frederick1 drawings of1 power 
of swift execution1 i4 #ce1 #beg4       
,teniers1 scenery of1 v4 #bec2          
painter of low subjects1 v4 #bef4       
,pictures referred to--,landscape1 ,no4 
#aci1       ,dulwich ,gallery1 i4 #cae4 
,tintoret1 coloring of1 iii4 #db2       
delicacy of1 iii4 #ch2      painting of 
vital truth from the vital present1 iii4
 #ij2      use of concentrically-grouped
 leaves by1 ii4 #gc2      imagination1  
ii4 #aeh1 #aei1 #agc1 #ahj2             
inadequacy of landscapes by1 i4 #gh2    
influence of hills upon1 iv4 #ceh2      
intensity of imagination of1 ii4 #agc1  
iv4 #ff2      introduction of           
portraiture in pictures1 ii4 #abj2      
luminous sky of1 ii4 #dd2      modesty  
of1 ii4 #abc2      neglectful of        
flower-beauty1 v4 #ij2      mystery     
about the pencilling of1 ii4 #fd2       
no sympathy with the humor of the world1
 iv4 #ac2      painter of space1 i4 #hg2

      realistic temper of1 iii4 #ig2    
sacrifice of form to color by1 ii4 #bja2
      slightness and earnest haste of1  
ii4 #hb 7note71 #ahg 7note72            
symbolism of1 iii4 #if4      ,pictures  
referred to--        ,agony in the      
,garden1 ii4 #aei2        ,adoration of 
the ,magi1 iii4 #gh1 #abb1 iv4 #ff2     
,annunciation1 ii4 #agd2                
,baptism1 ii4 #agf2        ,cain and    
,abel1 i4 #cii7note72                   
,crucifixion1 ii4 #agh1 #ahc1 iii4 #gb1 
v4 #aig1 #bba2        ,doge ,loredano   
before the ,madonna1 ii4 #bjd2          
,entombment1 ii4 #agd1 iii4 #caf2       
,fall of ,adam1 i4 #hj 7note72          
,flight into ,egypt1 ii4 #aei1 #bjb2    
,golden ,calf1 ii4 #bjg2        ,last   
,judgment1 ii4 #aha2          picture in
 ,church of ,madonna dell' ,orto1 i4    
#aji2        ,massacre of the           
,innocents1 ii4 #acj1 #agi1 #ahc2       
,murder of ,abel1 i4 #cia2              
,paradise1 i4 #cch1 iv4 #ff1 v4 #bba1   
#bbi2        ,plague of ,fiery          

,serpents1 ii4 #ahc2        ,st4        
,francis1 ii4 #bjg2        ,temptation1 
ii4 #aei1 #ahi4      ,titian1 tone of1  
i4 #adh2      tree drawing of1 i4 #cib2 
want of foreshortening1 v4 #ga2         
bough drawing of1 i4 #cib2      good    
leaf drawing1 v4 #ce2      distant      
branches of1 v4 #ch2      drawing of    
crests by1 iv4 #bah2      color in the  
shadows of1 iv4 #dg2      mind of1 v4   
#bbf1 #bbg2      imagination of1 ii4    
#aei2      master of heroic landscape1  
v4 #aid2      landscape of1 i4 #gh1 iii4
 #caf2      influence of hills upon1 iv4
 #ceh2      introduction of portraiture 
in pictures1 ii4 #abj2      home of1 v4 
#bhg1 #bhh2      modesty of1 ii4 #abc2  
mystery about the pencilling of1 iv4    
#fb2      partial want of sense of      
beauty1 ii4 #acf2      prefers jewels   
and fans to flowers1 v4 #ij2      right 
conception of the human form1 ii4 #abc1 
v4 #bbh2      sacrifice of form to color
 by1 ii4 #bjb2      color of1 v4 #cag1  
#cah2      stones of1 iv4 #cjd1 #cje2   

trees of1 i4 #cib1 ii4 #gc4             
,pictures referred to--                 
,assumption1 iv4 #bjb 7note71 v4 #bba1  
#bbi1 #bea1 #cab2        ,bacchus and   
,ariadne1 i4 #hc1 #adh1 iii4 #abb1 v4   
#hi2        ,death of ,abel1 i4 #hj     
7note72        ,entombment1 iii4 #abb2  
,europa 7,dulwich ,gallery71 i4 #adh2   
,faith1 i4 #aji2        ,holy ,family1  
v4 #acc 7note72        ,madonna and     
,child1 v4 #agj2        ,madonna with   
,st4 ,peter and ,st4 ,george1 v4 #agj2  
,flagellation1 ii4 #dd2        ,magdalen
 7,pitti ,palace71 ii4 #abe1 v4 #bbf1   
#cch 7note72        ,marriage of ,st4   
,catherine1 i4 #ia2        ,portrait of 
,lavinia1 v4 #ij1 preface1 viii42       
,older ,lavinia1 preface1 viii42        
,st4 ,francis receiving the ,stigmata1  
i4 #bad 7note72        ,st4 ,jerome1 i4 
#hf1 ii4 #aei2        ,st4 ,john1 ii4   
#abj2        ,san ,pietro ,martire1 ii4 
#aei1 #bjg2        ,supper at ,emmaus1  
iii4 #ai1 #abb2        ,venus1 iii4 #fc2
        ,notomie1 v4 #cch4      ,turner1

 ,william1 of ,oxford1 mountain         
drawings1 i4 #cje4      ,turner1 ,joseph
 ,mallord ,william1 character of1 v4    
#cdj1 #cdb1 #cdh2      affection of1 for
 humble scenery1 iv4 #bdh1 #bdi2        
architectural drawing of1 i4 #aji1 #aii2
      his notion of ,eris or ,discord1  
v4 #cjh1 #cji2      admiration of1 for  
,vandevelde1 i4 #cbh2      boyhood of1  
v4 #bhh1 #big2      chiaroscuro of1 i4  
#acd1 #adc1 #adh1 #bha1 #cff1 iv4       
#dj-ee2      only painter of sun-color1 
v4 #cae2      painter of the ,rose and  
the ,cankerworm1 v4 #cbd2      his      
subjection of color to chiaroscuro1 i4  
#aga2      color of1 i4 #acd1 #aea1     
#aeg1 #afj1 #aff1 #afi1 #aga1 ii4 #bjb1 
iii4 #bcf        7note71 iv4 #dj1 v4    
#cai 7note72      composition of1 iv4   
#bg1 #cjc2      curvature of1 i4 #abe1  
iii4 #aah1 iv4 #aib1 #bic2      tree    
drawing of1 i4 #cid1 v4 #ch1 #fe1 #fi1  
#gb2      drawing of banks by1 iv4 #bic1
 #big2      discovery of scarlet shadow 
by1 v4 #caf1 #cag1 #cai2      drawing of

 cliffs by1 iv4 #bdf2      drawing of   
crests by1 iv4 #bbj1 #bbb1 #bbe2        
drawing of figures by1 i4 #ahi2         
drawing of reflections by1 i4 #aea1     
#cei1 #cfa1 #cgi2      drawing of leaves
 by1 v4 #ch1 #ii2      drawing of water 
by1 i4 #cee1 #chb2      exceeding       
refinement of truth in1 i4 #daa2        
education of1 iii4 #cji1 v4 #bii 7note72
      execution of1 v4 #ch2      ruin of
 his pictures by decay of pigments1 i4  
#acf 7note72      gradation of1 i4 #bei2
      superiority of intellect in1 i4   
#bi2      expression of weight in water 
by1 i4 #cfg1 #cgf2      expression of   
infinite redundance by1 iv4 #bia2       
aspects1 iii4 #bgi1 #cjg2      first    
great landscape painter1 iii4 #bgi1 v4  
#cbe2      form sacrificed to color1 ii4
 #bja2      head of ,pre-,raphaelitism1 
iv4 #fa2      master of contemplative   
landscape1 v4 #aid2      work of1 in    
first period1 v4 #big2      infinity of1
 i4 #bci1 #bhb1 iv4 #bhg2      influence
 of ,yorkshire scenery upon1 i4 #abe1   

iv4 #bdf1 #bif1 #cjj1 #cji2      his    
love of stones and rocks1 iii4 #cad1 iv4
 #bd2      love of rounded hills1 iv4   
#bdf2      master of the science of     
aspects1 #cje2      mystery of1 i4      
#aih1beg1 #dac1 iv4 #cd1 #fa1 v4 #cc2   
painting of ,french and ,swiss landscape
 by1 i4 #abi2      spirit of pines not  
entered into by1 v4 #hj1 #ha2           
flowers not often painted by1 v4 #ib2   
painting of distant expanses of water   
by1 i4 #cfe2      rendering of ,italian 
character by1 i4 #acj2      skies of1 i4
 #ach1 #bja1 #bcf1 #bcg2                
storm-clouds1 how regarded by1 v4 #adb2 
study of clouds1 by1 i4 #bba1 #bcf1     
#bdb1 #bej1 #bfa1 v4 #aah2      study of
 old masters by1 iii4 #cbb2             
sketches of1 v4 #ahc1 #ahd1 #ccc1 #ccd1 
7note71 v4 preface1 v4 vi42      system 
of tone of1 i4 #adc1 #aeb1 #cfc2        
treatment of foregrounds by1 i4 #cai1 v4
 #ih2      treatment of picturesque by1 
iv4 #g-ae2      treatment of snow       
mountains by1 iv4 #bdj2      memoranda  

of1 v4 #ahe1 #ahg1 #cce 7note72         
topography of1 iv4 #af-cc2      unity   
of1 i4 #cbj2      views of ,italy by1 i4
 #acb2      memory of1 iv4 #bg1 #cj2    
ideal conception of1 i4 #chh2           
endurance of ugliness by1 v4 #bhc1 #bhi2
      inventive imagination of1         
dependent on mental vision and truth of 
impression1 iv4 #ba-bd1 #cjh2           
lessons to be learnt from ,liber        
,studiorum1 v4 #ccb1 #ccc2      life of1
 v4 #cda2      death of1 v4 #cdi4       
,pictures referred to--        sacus and
 ,hesparie1 i4 #cid2                    
,acro-,corinth1 i4 #bba2                
,alnwick1 i4 #abg1 #bfi2        ,ancient
 ,italy1 i4 #aca2        ,apollo and    
,sibyl1 v4 #cca2        ,arona with ,st4
 ,gothard1 i4 #bfb2        ,assos1 i4   
#bja 7note72        ,avenue of ,brienne1
 i4 #agh2        ,babylon1 i4 #bcf2     
,bamborough1 i4 #cge2        ,bay of    
,bai1 i4 #acb1 #cbd1 iii4 #caa1 v4 #ih1 
#cbc2        ,bedford1 i4 #abg2         
,ben ,lomond1 i4 #beh2                  

,bethlehem1 i4 #bdb2        ,bingen1 i4 
#bfh2        ,blenheim1 i4 #bfh2        
,bolton ,abbey1 i4 #cid1 iii4 #aah1 iv4 
#bdi2        ,bonneville in ,savoy1 i4  
#acc2        ,boy of ,egremont1 i4 #cgb2
        ,buckfastleigh1 i4 #bfg1 iv4    
#ad2        ,building of ,carthage1 i4  
#bi1 #acf1 #adg1 #afb1 #aga1 iii4 #caa2 
,burning of ,parliament ,house1 i4 #bfi2
        ,crlaverock1 i4 #bjb 7note71    
#bfd2        ,calais1 i4 #bfi2          
,calder ,bridge1 i4 #ahc2               
,caldron ,snout ,fall1 i4 #bfh2         
,caliglula's ,bridge1 i4 #aca1 v4 #cca2 
,canale della ,guidecco1 i4 #cfb2       
,carew ,castle1 i4 #bfh2                
,carthages1 the two1 i4 #aca1 v4 #ccg2  
,castle ,upnor1 i4 #bfg1 #cei2          
,chain ,bridge over the ,tees1 i4 #cfh1 
#cid2        ,chteau de la ,belle       
,gabrielle1 i4 #cid1 v4 #fa2            
,chteau of ,prince ,albert1 i4 #ceg2    
,cicero's ,villa1 i4 #aca1 #acf1 #adf1  
#adg2        ,cliff from ,bolton ,abbey1
 iii4 #cba2        ,constance1 i4 #cfg2 

,corinth1 i4 #bfg2        ,coventry1 i4 
#bed1 #bfh2        ,cowes1 i4 #bfh1     
#cfc1 #cfe2        ,crossing the ,brook1
 i4 #aca1 #agj1 #cid2        ,daphne and
 ,leucippus1 i4 #bjj1 #bja 7note71 #bic1
 #cjj1 iv4 #bia1 v4 #ih2                
,dartmouth 7river scenery71 i4 #bab2    
,dartmouth ,cove 7,southern ,coast71 i4 
#cid2        ,dazio ,grande1 i4 #cgb2   
,departure of ,regulus1 i4 #aca2        
,devenport1 with the ,dockyards1 i4 #aei
 7note71 #cff2        ,dragon of the    
,hesperides1 iii4 #ig1 v4 #cjf1 #caa2   
,drawing of the spot where ,harold fell1
 ii4 #bjj2        ,drawings of the      
rivers of ,france1 i4 #abi2             
,drawings of ,swiss ,scenery1 i4 #abi2  
,drawing of the ,chain of the ,alps of  
the ,superga above ,turin1 iii4         
#abe2        ,drawing of ,mount ,pilate1
 iv4 #bbg1 #bih2        ,dudley1 i4 #agc
 7note71 #bfi2        ,durham1 i4 #bfg1 
#cid2        ,dunbar1 i4 #cgf2          
,dunstaffnage1 i4 #bca1 #bhe2           
,ely1 i4 #daj2        ,eton ,college1 i4

 #abg2        ,fado1 ,pass of1 iv4 #ba1 
#bbb2        ,fall of ,carthage1 i4     
#adf1 #aga2        ,fall of             
,schaffhausen1 v4 #afg1 #cbe 7note72    
,flight into ,egypt1 i4 #bdb2           
,fire at ,sea1 v4 #ahi 7note72          
,folkestone1 i4 #bdb1 #bfh2        ,fort
 ,augustus1 i4 #cje2        ,fountain of
 ,fallacy1 i4 #aca2        ,fowey       
,harbor1 i4 #bfg1 #cgf1 v4 #adb 7note72 
,florence1 i4 #acb2        ,glencoe1 i4 
#bhe2        ,goldau 7a recent drawing7 
i4 #bfd 7note72        ,goldau1 i4 #cfg1
 iv4 #cab1 v4 #ccg 7note72              
,golden ,bough1 iv4 #bia2               
,gosport1 i4 #beg2        ,great        
,yarmouth1 i4 #chc 7note72              
,hannibal passing the ,alps1 i4 #acj2   
,hampton ,court1 i4 #agh2        ,hero  
and ,leander1 i4 #aca1 #agg1 #bdb1 #cge1
 #dji1 v4 #ahh 7note72        ,holy     
,isle1 iii4 #caj2        ,illustration  
to the ,antiquary1 i4 #bfd2             
,inverary1 v4 #fe2        ,isola ,bella1
 iii4 #abe2        ,ivy ,bridge1 i4     

#acc1 iii4 #aba2        ,jason1 ii4     
#aga2        ,juliet and her ,nurse1 i4 
#ace1 #acg 7note71 #bfi2                
,junction of the ,greta and ,tees1 i4   
#cgb1 iv4 #cji2        ,kenilworth1 i4  
#bfh2        ,killie-,crankie1 i4 #cga2 
,kilgarren1 i4 #abg2        ,kirby      
,lonsdale ,churchyard1 i4 #bfg1 #cid1   
iv4 #ad1 #cae2        ,lancaster ,sands1
 i4 #cdj2        ,land's ,end1 i4 #bea  
7note71 #bec1 #ceb1 #cgf1 #cgg2         
,laugharne1 i4 #cgf2        ,llanberis1 
i4 #ic1 #bfh1 v4 #cbj 7note7 7,english  
series72        ,llanthony ,abbey1 i4   
#abg1 #agc 7note71 #bea1 #cba1 #cga2    
,long ,ship's ,lighthouse1 i4 #bec2     
,lowestoft1 i4 #bfg1 #ceb1 #chc 7note72 
,lucerne1 iv4 #bbg2        ,male        
,bolge7of the ,splugen and ,st4         
,gothard71 iv4 #cae2        ,malvern1 i4
 #bfh2        ,marly1 i4 #hj1 #cii2     
,mercury and ,argus1 i4 #ade1 #afg1 #agb
 7note71 #aih1 #bba1 #cah1 #cbd1        
#cgb1 v4 #fb2        ,modern ,italy1 i4 
#acb1 #agb 7note71 iv4 #bia2            

,morecambe ,bay1 i4 #beh2        ,mount 
,lebanon1 i4 #bic2        ,murano1 view 
of1 i4 #ach2        ,napoleon1 i4 #aea1 
#afb1 #afc1 #agj1 #bba1 #bfh1 #caj1 v4  
#aah1 #ccj 7note72        ,napoleon at  
,st4 ,helena1 iv4 #cad2                 
,narcissus and ,echo1 v4 #bii2          
,nemi1 i4 #bfh2        ,nottingham1 i4  
#bfh1 #cei1 iv4 #bi2        ,oakhampton1
 i4 #abg1 #beh1 #bfg1 #djj2             
,oberwesel1 i4 #bfh1 #cje2              
,orford1 ,suffolk1 i4 #bfg2             
,ostend1 i4 #chj2        ,palestrina1 i4
 #acb2        ,pas de ,calais1 i4 #cci1 
#chj2        ,penmaen ,mawr1 i4 #cbc2   
,picture of the ,deluge1 i4 #cdf2       
,pools of ,solomon1 i4 #bcg1 #bfh1 v4   
#aaf2        ,port ,ruysdael1 i4 #chj2  
,pyramid of ,caius ,cestius1 i4 #bfi2   
,python1 v4 #cae1 #caf2        ,rape of 
,proserpine1 i4 #aca2        ,rheinfels1
 v4 #cce 7note72        ,rhymer's ,glen1
 i4 #cga2        ,richmond 7,middlesex71
 i4 #bfh2        ,richmond 7,yorkshire71
 i4 #bfa1 iv4 #ad1 v4 #ic2        ,rome 

from the ,forum1 i4 #acf1 v4 #cei2      
,salisbury1 v4 #add2        ,saltash1 i4
 #bfh1 #cei2        ,san ,benedetto1    
looking toward ,fusina1 i4 #cfb1 #ach1  
v4 #aah2        ,scarborough1 iii4 #aba2
        ,shores of ,wharfe1 iv4 #bdh2   
,shylock1 i4 #bba1 #bfh2                
,sketches in ,national ,gallery1 v4     
#ahb1 #ahc2        ,sketches in         
,switzerland1 i4 #ach2        ,slave    
,ship1 i4 #ace1 #acg 7note71 #adf1 #aea1
 #agj1 #bfa1 #bfh1 ii4 #bji1            
iv4 #cad1 v4 #adb1 #ccf2                
,snowstorm1 i4 #acj1 #agj1 #ceb1 v4 #cdb
 7note72        ,st4 ,gothard1 iv4 #bg1 
#bib1 #cjj2        ,st4 ,herbert's      
,isle1 i4 #bfi2        ,st4 ,michael's  
,mount1 i4 #bfa1 #bfc2                  
,stonehenge1 i4 #bfj1 #bfh1 v4 #adc     
7,english series72        ,study 7,block
 of ,gniess at ,chamouni71 iii4 #abe2   
,study 7,pstum7 v4 #ade2        ,sun of 
,venice going to ,sea1 i4 #ach1 #cfa2   
,swiss ,fribourg1 iii4 #abe2            
,tantallon ,castle1 i4 #cgg2            

,tees 7,upper ,fall of71 i4 #cai1 #cbc1 
#cfg1 iv4 #cji2        ,tees 7,lower    
,fall of71 i4 #cbb1 #cga2               
,temptation on the ,mountain            
7,illustration to ,milton71 ii4 #baj2   
,temple of ,jupiter1 i4 #aca1 iii4 #caj2
        ,temple of ,minerva1 v4 #ade2   
,tenth ,plague of ,egypt1 i4 #acj1 v4   
#bie 7note71 #bii2        ,the ,old     
,tmraire1 i4 #ace1 iv4 #cad1 v4 #aah1   
#bij2        ,tivoli1 i4 #acb2          
,towers of ,hve1 i4 #bfi2               
,trafalgar1 v4 #bij2        ,trematon   
,castle1 i4 #bfh2        ,ulleswater1 i4
 #cbb1 #beh1 iv4 #cjj2        ,ulysses  
and ,polypheme1 iv4 #cad1 v4 #ccf       
7note72        various vignettes1 i4    
#bfg2        ,venices1 i4 #aji1 #bfh1 v4
 #ccg1 #cch2        ,walhalla1 i4 #acf  
7note72        ,wall ,tower of a ,swiss 
,town1 iv4 #ga2        ,warwick1 i4     
#bfh1 #cid2        ,waterloo1 i4 #bfa1  
#bfi2        ,whitby1 iii4 #caj2        
,wilderness of ,engedi1 i4 #bja 7note71 
#bfi2        ,winchelsea 7,english      

series71 i4 #agb 7note71 #bfh2          
,windsor1 from ,eton1 i4 #abg2          
,wycliffe1 near ,rokeby1 iv4 #cji4      
,finden's ,bible ,series3--             
,babylon1 i4 #bcf2        ,bethlehem1 i4
 #bdb2        ,mount ,lebanon1 i4 #bic1 
v4 #ade2        ,sinai1 v4 #ade2        
,pyramids of ,egypt1 i4 #bdb2           
,pool of ,solomon1 i4 #bcg1 v4 #aaf2    
,fifth ,plague of ,egypt1 i4 #acj1 v4   
#bii4      ,illustrations to            
,campbell3--        ,hohenlinden1 i4    
#bfg2        ,second ,vignette1 i4 #beh2
        ,the ,andes1 i4 #bgg2           
,vignette to the ,beech-tree's          
,petition1 i4 #agg2        ,vignette to 
,last ,man1 i4 #bfd4      ,illustrations
 to ,rogers' ,italy3--        ,amalfi1  
i4 #bci2        ,aosta1 i4 #bgg2        
,battle of ,marengo1 i4 #bgc1 #bhe2     
,farewell1 i4 #bhe2        ,lake of     
,albano1 i4 #bfh2        ,lake of ,como1
 i4 #bch2        ,lake of ,geneva1 i4   
#bch1 #bfg2        ,lake of ,lucerne1 i4
 #bfc1 #cfg2        ,perugia1 i4 #agd2  

,piacenza1 i4 #bfh1 #bif2        ,pstum1
 i4 #bfj1 #bfh2        ,second          
,vignette1 i4 #bfd1 #cgb2        ,the   
,great ,st4 ,bernard1 i4 #bfc2          
,vignette to ,st4 ,maurice1 i4 #bfc1    
#bfc 7note71 v4 #abg4                   
,illustrations to ,rogers' ,poems3      
,bridge of ,sighs1 i4 #bfi2             
,datur ,hora ,quieti1 i4 #ade1 #bfh1 v4 
#afg2        ,garden opposite           
title-page1 i4 #agg2        ,jacqueline1
 i4 #bgg1 ii4 #baj2        ,loch        
,lomond1 i4 #cfe2        ,rialto1 i4    
#bdb1 #bfi2        ,sunset behind       
,willows1 i4 #adg2        ,sunrise1 i4  
#bab2        ,sunrise on the ,sea1 i4   
#bbb1 #bfc2        the ,alps at         
,daybreak1 i4 #bbc1 #bfd1 #bfg1 #bgf2   
,vignette to ,human ,life1 i4 #bfg2     
,vignette to ,slowly along the ,evening 
,sky1 i4 #bag2        ,vignette to the  
,second ,part of ,jacqueline1 ii4 #baj2 
,villa of ,galileo1 i4 #acb2            
,voyage of ,columbus1 i4 #bdb1 #bfg1 ii4
 #bja4      ,illustrations to ,scott3-- 

,armstrong's ,tower1 i4 #agh2           
,chiefswood ,cottage1 i4 #cid2          
,derwentwater1 i4 #cfe2                 
,dryburgh1 i4 #cff2                     
,dunstaffnage1 i4 #bfa1 #bhe2           
,glencoe1 i4 #bhe1 #bic2        ,loch   
,archray1 i4 #bhe2        ,loch         
,coriskin1 i4 #beb1 #bib1 iv4 #bbj2     
,loch ,katrine1 i4 #bih1 #cfe2          
,melrose1 i4 #ccf2        ,skiddaw1 i4  
#bfg1 #cje4      ,liber ,studiorum3--   
sacus and ,hesperie1 i4 #acj1 #djj      
7note71 ii4 #afb2        ,ben ,arthur1  
i4 #abf1 iv4 #cjh1 #cji2        ,blair  
,athol1 i4 #cid2        ,cephalus and   
,procris1 i4 #cid1 #djj 7note71 ii4     
#afj1 #bjg1 iii4 #cag1          v4 #ccd2
        ,chartreuse1 i4 #abg1 #cid1 iii4
 #cag2        ,chepstow1 v4 #ccc2       
,domestic subjects of ,l4 ,s41 i4 #abg2 
,dunstan borough1 v4 #ccc2              
,foliage of ,l4 ,s41 i4 #abh2           
,garden of ,hesperides1 iii4 #caj1 v4   
#caj2        ,gate of ,winchelsea ,wall1
 v4 #ccj2        ,raglan1 v4 #ccc2      

,rape of ,europa1 v4 #ccd2        ,via  
,mala1 v4 #ccf 7note71 iv4 #bei2        
,isis1 v4 #aga1 #agb2        ,hedging   
and ,ditching1 i4 #abg1 #cid1 v4 #ccc2  
,jason1 i4 #acj1 ii4 #aga1 #aii1 iii4   
#cag2        ,juvenile ,tricks1 i4 #cid2
        ,lauffenbourg1 i4 #abh1 iii4    
#cbg1 v4 #agj2        ,little ,devil's  
,bridge1 i4 #abg1 iv4 #bg2              
,lianberis1 i4 #beh2        ,mer de     
,glace1 i4 #abf1 #bhg1 iv4 #aia2        
,mill near ,grande ,chartreuse1 iv4     
#bei1 v4 #ccc2        ,morpeth ,tower1  
v4 #ccc2        ,mont ,st4 ,gothard1 i4 
#abg1 #caa 7note72        ,peat ,bog1   
iii4 #cag1 v4 #ccc2        ,rivaulx     
choir1 v4 #ccc2        ,rizpah1 i4 #acj1
 iii4 #cag1 iv4 #ad1 v4 #bie1 #ccd2     
,solway ,moss1 iii4 #cag2        ,source
 of ,avernon1 iv4 #cjh1 v4 #hj2         
,study of the ,lock1 iv4 #g1 v4 #ccb2   
,young ,anglers1 v4 #ccc2        ,water 
,mill1 v4 #ccc4      ,rivers of ,france1
 i4 #abi2        ,amboise1 i4 #ahd1     
#bfi2        ,amboise 7the ,chteau71 i4 

#ahd2        ,beaugency1 i4 #ahd2       
,blois1 i4 #ahc2        ,blois 7,chteau 
de71 i4 #ahc1 #bjb1 #bfi2               
,caudebec1 i4 #bfi1 #cjb1 #cff2         
,chteau ,gaillard1 i4 #ahc2             
,clairmont1 i4 #bfi1 #cjc2              
,confluence of the ,seine and ,marne1 i4
 #cfd2        ,drawings of1 i4 #acj2    
,havre1 i4 #bbd2        ,honfleur1 i4   
#cjd2        ,jumiges1 i4 #bej1 #cfd2   
,la ,chaise de ,gargantua1 i4 #cfd2     
,loire1 i4 #cfc2        ,mantes1 i4     
#bfi2        ,mauves1 i4 #cjc2          
,montjan1 i4 #bfi2        ,orleans1 i4  
#ahc2        ,quilleboeuf1 i4 #cgg1     
#agj2        ,reitz1 near ,saumur1 v4   
#afd1 #afe2        ,rouen1 i4 #daj1 v4  
#aah2        ,rouen1 from ,st4          
,catherine's ,hill1 i4 #bdj1 #cff2      
,st4 ,denis1 i4 #bfd1 #bfi2        ,st4 
,julien1 i4 #ahd1 #bfi2        ,the     
,lantern of ,st4 ,cloud1 i4 #bfh2       
,troyes1 i4 #bfi2        ,tours1 i4     
#ahd1 #bfi2        ,vernon1 i4 #cfd4    
,yorkshire ,series3--        ,aske      

,hall1 i4 #cid1 v4 #gj2        ,brignall
 ,church1 i4 #cid2        ,hardraw      
,fall1 iv4 #cji2        ,ingleborough1  
iv4 #bdi2        ,greta1 iv4 #ad1 #bdh2 
,junction of the ,greta and ,tees1 i4   
#cbb1 #cgb1 iv4 #cji2        ,kirkby    
,lonsdale1 i4 #bfg1 #cid1 iv4 #ad1 #cac2
        ,richmond1 i4 #bfa1 iv4 #ad1 v4 
#ch2        ,richmond ,castle1 iii4     
#bcj2        ,tees 7,upper ,fall of71 i4
 #cai1 #cbc1 #cfg1 iv4 #cji2            
,zurich1 i4 #cfg4        ,uccello1      
,paul1 ,battle of ,sant' ,egidio1       
,national ,gallery1 v4 #e1 #bha4        
,uwin's ,vineyard ,scene in the ,south  
of ,france1 ii4 #bbi4                   
,vandevelde1 reflection of1 i4 #cei2    
waves of1 iii4 #cbd2      ,vessels      
,becalmed1 ,no4 #aac1 ,dulwich ,gallery1
 i4 #cdj4      ,vandyke1 flowers of1 v4 
#ij2      delicacy of1 v4 #bge 7note74  
,pictures--        ,portrait of ,king   
,charles' ,children1 v4 #ij2        the 
,knight1 v4 #bgc 7note74      ,veronese1
 ,paul1 chiaroscuro of1 iii4 #ce1 iv4   

#da1 #dg2      color in the shadows of1 
iv4 #dg2      delicacy of1 iii4 #ch2    
influence of hills upon1 iv4 #cej2      
love of physical beauty1 iii4 #cc2      
mystery about the pencilling of1 iv4    
#fa2      no sympathy with the tragedy  
and horror of the world1 iv4 #ad2       
sincerity of manner1 iii4 #da2          
symbolism of1 iii4 #if2      treatment  
of the open sky1 ii4 #dd2      tree     
drawing of1 v4 #fg2      foreground of1 
v4 #ij2      religion of1 7love casting 
out fear71 v4 #bbb2      animal         
painting1 compared with ,landseer's1 ii4
 #bjb2      ,pictures--                 
,entombment1 ii4 #dd2        ,magdalen  
washing the feet of ,christ1 iii4 #ai1  
#cj2        ,marriage in ,cana1 iii4    
#abb1 iv4 #ff1 v4 #aif1 #bbj1 #bba2     
two fresco figures at ,venice1 i4 #aaj2 
,supper at ,emmaus1 iii4 #cj1 #fj2      
,queen of ,sheba1 v4 preface1 vii4 #bbd2
        ,family of ,veronese1 v4 #bbb1  
#bbd2        ,holy ,family v4 #bbe2     
,veronica1 v4 #bbf2        ,europa1 v4  

#ij1 #agj2        ,triumph of ,venice1  
v4 #agj2        ,family of ,darius1     
,national ,gallery1 v4 #ahi4            
,vinci1 ,leonardo da1 chiaroscuro of1   
iv4 #dg 7and note72      completion of  
detail by1 iii4 #abb2      drapery of1  
iv4 #dh2      finish of1 ii4 #hd1 iii4  
#bfa2      hatred of fog1 iv4 #ef2      
introduction of portraiture in pictures1
 ii4 #abj2      influence of hills upon1
 iv4 #cef2      landscape of1 i4 #hh2   
love of beauty1 iii4 #da2      rocks of1
 iii4 #bci2      system of contrast of  
masses1 iv4 #db4      ,pictures--       
,angel1 ii4 #agf2        ,cenacolo1 ii4 
#bae2        ,holy ,family 7,louvre71 i4
 #hh2        ,last ,supper1 iii4 #bf1   
#cda2        ,st4 ,anne1 iv4 #cjb1 iii4 
#abb4        ,wallis1 snow scenes of1 i4
 #bhf 7note74      ,wouvermans1 leaves  
of1 v4 #cc2      landscape of1 v4 #aie2 
vulgarity of1 v4 #bgh1 #bha2            
contrast between1 and ,angelico1 v4     
#bhc4      ,pictures referred to--      
,landscape1 with hunting party1 v4 #bgh2

        ,battle piece1 with bridge1 v4  
#bhj4        ,zeuxis1 picture of        
,centaur1 v4 #beh4          ,,topical   
,,index4        ,abstraction necessary1 
when realization is impossible1 ii4     
#bjf4      sthetic faculty1 defined1 ii4
 #ab1 #af4      ,age1 the present1      
mechanical impulse of1 iii4 #cja1 #cjb2 
spirit of1 iii4 #cjb1 #cjc2      our    
greatest men nearly all unbelievers1    
iii4 #bec1 #bfd2      levity of1 ii4    
#agj4      ,see ,modern4                
,aiguilles1 structure of1 iv4 #agd2     
contours of1 iv4 #agh1 #aij2      curved
 cleavage of1 iv4 #ahf1 #aib1 #aic1     
#baj-bad2      angular forms of1 iv4    
#agi1 #aia2      how influencing the    
earth1 iv4 #aic2      ,dez ,charmoz1    
sharp horn of1 iv4 #agg2      ,blaitire1
 curves of1 iv4 #ahe-ahh2      of       
,chamouni1 sculpture of1 #afj1 #ahb4    
,see ,local ,index4      ,alps1         
,tyrolese1 v4 #baf2      arialness of1  
at great distances1 i4 #bgg2            
gentians on1 v4 #hi2      roses on1 v4  

#ii2      pines on1 iv4 #bij1 v4 #hf2   
ancient glaciers of1 iv4 #afi2          
color of1 iii4 #bcc2      influence of1 
on ,swiss character1 iv4 #cef1 v4 #hc2  
general structure of1 iv4 #afd2         
higher1 impossible to paint snow        
mountains1 iv4 #bdj2      precipices of1
 iv4 #bfj1 #bfa2      suggestive of     
,paradise1 iv4 #cdf2      sunrise in1 i4
 #bfd4      ,see ,mountains4            
,anatomy1 development of1 admissible    
only in subordination to laws of        
beauty1 ii4 #bba2      not to be        
substituted for apparent aspect1 iv4    
#ahg4      ,animals1 proportion in1 ii4 
#eh 7note71 #fd2      moral functions   
of1 ii4 #id1 #ie1 #ig2      lower ideal 
form of1 ii4 #ajd2      noble qualities 
of1 v4 #bjc4      ,animal ,painting1 of 
the ,dutch school1 v4 #bed1 #beh2       
of the ,venetian1 #bee1 #beh2      of   
the moderns1 v4 #beg1 #bgc4             
,architecture1 influence of bad1 on     
artists1 iii4 #caa2      value of signs 
of age in1 i4 #ajd1 #ajf2               

importance of chiaroscuro in rendering  
of1 i4 #ajf1 #ajg2      early painting  
of1 how deficient1 i4 #ajc2      how    
regarded by the author1 v4 #aig2        
,renaissance chiefly expressive of      
pride1 iii4 #fc2      lower than        
sculpture or painting1 the idea of      
utility being dominant1        ii4 #aj  
7note72      and trees1 coincidences    
between1 v4 #ai2      of ,nuremberg1 v4 
#bcb2      ,venetian1 v4 #bie4          
,art1 definition of greatness in1 i4 #h1
 #aa1 iii4 #c-aj1 #ci2      imitative1  
noble or ignoble according to its       
purpose1 iii4 #bj1 #bjb2      practical1
 ii4 #h2      theoretic1 ii4 #h2        
profane1 iii4 #fa2      ideality of1 ii4
 #aaj2      in what sense useful1 ii4   
#c1 #d2      perfection of1 in what     
consisting1 i4 #ceg2      first aim of1 
the representation of facts1 i4 #de1    
#df2      highest aim of1 the expression
 of thought1 i4 #de1 #df2      truth1 a 
just criterion of1 i4 #dh2      doubt as
 to the use of1 iii4 #ai2      laws of1 

how regarded by imaginative and         
unimaginative painters1 ii4        #aee2
      neglect of works of1 ii4 #f1 #h   
7note72      nobleness of1 in what      
consisting1 iii4 #ba1 #bb2      noble1  
right minuteness of1 v4 #age2           
meaning of style1 different selection of
 particular truths to be                
indicated1 i4 #ie2      bad1 evil       
effects of the habitual use of1 iv4     
#ccd2      love of1 the only effective  
patronage1 ii4 #c2      sacred1 general 
influence of1 iii4 #ee2      misuse of1 
in religious services1 iii4 #ei1 #fj2   
religious1 of ,italy1 abstract1 iii4    
#dh1 #eh1 v4 #bai2      religious1 of   
,venice1 ,naturalistic1 iii4 #gh1 v4    
#bad1 #bbf2      ,christian1 divisible  
into two great masses1 symbolic and     
imitative1        iii4 #bjc2            
,christian1 opposed to pagan1 ii4 #bbb1 
#bbc2      ,christian1 denied1 the      
flesh1 v4 #bjc2      high1 consists in  
the truthful presentation of the maximum
 of beauty1        iii4 #cd2      high1 

modern ideal of1 iii4 #fe2      highest1
 purely imaginative1 iii4 #ci2          
highest1 dependent on sympathy1 iv4 #i2 
highest1 chiaroscuro necessary in1 i4   
#gi2      modern1 fatal influence of the
 sensuality of1 iii4 #fe2               
allegorical1 iii4 #ie2      essays on1  
by the author1 distinctive character of1
 v4 preface1 x4 v4        #aif2         
influence of climate on1 v4 #acc2       
influence of scenery on1 v4 #bad1 #bcb1 
#bce1 #bhg2      ,venetian1 v4 #ahh1    
#bad1 #bbf2      classical defined1 v4  
#bdb2      ,angelican1 iii4 #ej-eg1 v4  
#bhb2      ,greek1 v4 #bji2      ,dutch1
 v4 #bgg4      ,see ,painting1          
,painters4      ,art1 ,great1 definition
 of1 i4 #h-aa1 iii4 #c1 #aj1 #da2       
characteristics of1 i4 #cje1 iii4       
#bf-da1 #hh1 v4 #aeh1 #age1 #agh1 #bjb2 
not to be taught1 iii4 #dc1 #ada2       
the expression of the spirits of great  
men1 iii4 #dc1 v4 #agi2      represents 
something seen and believed1 iii4 #hj2  
sets forth the true nature and authority

 of freedom1 v4 #bjc2      relation of1 
to man1 v4 #bjc4      ,see ,style4      
,artists1 danger of spirit of choice to1
 ii4 #bf2      right aim of1 i4 #dbe1   
#dbf1 iii4 #ai2      their duty in      
youth1 to begin as patient realists1 i4 
#dbc2      choice of subject by1 ii4    
#ahh1 iii4 #bg1 #bh1 iii4 #ce1 iv4 #bij1
 iv4 #ah        7note72      should     
paint what they love1 ii4 #bag2         
mainly divided into two classes1 i4 #gd1
 #cae2      necessity of singleness of  
aim in1 i4 #dbc1 #dbd1 v4 #agi4         
,see ,painters4      ,artists1 ,great1  
characteristics of1 i4 #h1 #abc1 #cbg1  
ii4 #db1 iii4 #bf-da2      forgetfulness
 of self in1 i4 #hd2      proof of real 
imagination in1 i4 #cjf2      calmness  
of1 v4 #aia2      delight in symbolism1 
iii4 #ic2      qualities of1 v4 #aia2   
keenness of sight in1 iv4 #ahh2         
sympathy of1 with nature1 ii4 #ij1 iii4 
#agg1 iv4 #ac1 #gj1 ii4 #ib2      with  
humanity1 iv4 #i1 #aa1 #ac1 iii4 #fc1   
ii4 #afi1 v4 #aih1 #bjc2      live      

wholly in their own age1 iii4 #ij4      
,artists1 ,religious1 ii4 #agd1 #agf1   
#ahj1 #baf1 iii4 #dh-fj1 iv4 #cee2      
imaginative and unimaginative1          
distinction between1 ii4 #aed1 #aef2    
history of the ,bible has yet to be     
painted1 iii4 #eh4      ,asceticism1 ii4
 #aad1 three forms of1 v4 #cbe4         
,association1 of two kinds1 accidental  
and rational1 ii4 #cc1 #cd2             
unconscious influence of1 ii4 #cd2      
power of1 iii4 #ag1 ii4 #de1 v4 #baf2   
charm of1 by whom felt1 iii4 #bib1 #cji2
      influence of1 on enjoyment of     
landscape1 iii4 #bhi4        ,bacon1    
master of the science of essence1 iii4  
#cjg2      compared with ,pascal1 iv4   
#cfa4      ,banks1 formation of1 iv4    
#bfb2      curvature of1 iv4 #bfb1 #bgh1
 #bhb2      luxuriant vegetation of1 iv4
 #abe4      ,beauty1 definition of the  
term 7pleasure-giving7 i4 #bf1 #bg2     
sensations of1 instinctive1 i4 #bg1 ii4 
#ba1 #df1 #ace2      vital1 ii4 #hh1    
#ajj1 #aaj2      typical1 ii4 #bh1 #ch1 

#he1 #aae1 #ace2      error of          
confounding truth with1 iii4 #ca 7note72
      of truths of species1 i4 #fj2     
of curvature1 ii4 #df1 iv4 #aib1 #aig1  
#bjj1 #bfb1 #bfc1 #bfd2      love of1 in
 great artists1 iii4 #cc1 v4 #bji2      
moderation essential to1 ii4 #hd2       
ideas of1 essentially moral1 ii4 #ab1   
#ah2      repose1 an unfailing test of1 
ii4 #fh1 #ajh2      truth the basis of1 
i4 #dg1 ii4 #acf2      how far          
demonstrable by reason1 ii4 #bg2        
ideas of1 exalt and purify the human    
mind1 i4 #bf1 #bg2      not dependent on
 the association of ideas1 ii4 #cc1 #cd2
      the substitution of1 for truth1   
erroneous1 iii4 #fa1 #bed2      sense   
of1 how degraded and how exalted1 ii4   
#ag1 #ah1 v4 #bji2      of the sea1 v4  
#bae2      influence of moral expression
 on1 ii4 #if1 #ig2      lovers of1 how  
classed1 iii4 #cc2      consequences of 
the reckless pursuit of1 iii4 #bc2      
modern destruction of1 v4 #cbe2         
,renaissance1 principles of1 to what    

tending1 iii4 #bed2      false opinions 
respecting1 ii4 #bh1 #bi1 #cj1 #acf2    
arising out of sacrifice1 v4 #ec2       
sense of1 often wanting in good men1 ii4
 #ace1 #ach2      false use of the word1
 ii4 #bh2      not necessary to our     
being1 ii4 #af2      unselfish sympathy 
necessary to sensations of1 ii4 #ag1    
#ic2      degrees of love for1 in       
various authors1 iii4 #bhe1 #bhh2       
and sublimity1 connection between1 i4   
#db2      custom not destructive to1 ii4
 #cb2      natural1 ,scott's love of1   
iii4 #bga1 #bgb2      natural1 lessons  
to be learnt from investigation of1 v4  
#adg2      natural1 when terrible1 v4   
#aig2      of animal form1 depends on   
moral expression1 ii4 #ig1 #ih2         
,alison's false theory of association1  
ii4 #bh1 #cc2      sense of1 how exalted
 by affection1 ii4 #ah2      abstract of
 form1 how dependent on curvature1 iv4  
#bfb1 #bfc2      ideal1 definition of1  
i4 #bh2      physical1 iii4 #fg2        
physical1 ,venetian love of1 v4 #bie2   

vulgar pursuit of1 iii4 #fg4            
,beauty1 human1 ancient1 and medival    
admiration of1 iii4 #aig1 #aih2         
,venetian painting of1 v4 #bbg2         
consummation not found on earth1 ii4    
#acd2      ,greek love of1 iii4 #agg1   
#ahi1 #aig2      culture of1 in the     
middle ages1 iii4 #aig4      ,beauty of 
nature1 character of minds destitute of 
the love of1 iii4 #bif4                 
,benevolence1 wise purchase the truest1 
v4 #cbh 7note74      ,browning1         
quotation on ,renaissance spirit1 iv4   
#cfi4      ,buds1 typical of youth1 iii4
 #bjf2      difference in growth of1 v4 
#h2      formation and position of1 v4  
#aa1 #ad1 #ag1 #bg2      of             
horse-chestnut1 v4 #ai2                 
accommodating spirit of1 v4 #ec2        
true beauty of1 from what arising1 v4   
#ec2      sections and drawings of1 v4  
#ac1 #gc1 #gd4      ,business1 proper1  
of man in the world1 iii4 #dd1 #ccf4    
,byron1 use of details by1 iii4 #h2     
character of works of1 iii4 #bce1 #bfc1 

#bff1 #bgj1 #bif1 i4 #c 7note72         
love of nature1 iii4 #bhe1 #bhh1 #bie1  
#big2      use of color by1 iii4 #bce2  
death1 without hope1 v4 #cej4           
,carlyle1 iii4 #bec2      on clouds1 v4 
#ajg4      ,cattle1 painting of1 v4     
#bei1 #bfj4      ,change1 influence of1 
on our senses1 ii4 #ed2      love of1 an
 imperfection of our nature1 ii4 #ed1   
#ee4      ,charity1 the perfection of   
the theoretic faculty1 ii4 #ij2         
exercise of1 its influence on human     
features1 ii4 #aae4      ,chasteness1   
meaning of the term1 ii4 #ha4           
,chiaroscuro1 truth of1 i4 #agc-ahd2    
contrasts of systems of1 iv4 #da2       
great principles of1 i4 #agc1 #ahj2     
necessity of1 in high art1 i4 #aha2     
necessity of1 in expressing form1 i4    
#fi1 #gj2      nature's contrasted with 
man's1 i4 #ada2      natural value of1  
i4 #ahb2      rank of deceptive effects 
in1 i4 #gc2      fatal effects of1 on   
art1 iii4 #adj 7note72      treatment   
of1 by ,venetian colorists1 iv4 #de1    

#df4      ,chiaroscurists1 advantages   
of1 over colorists1 iv4 #dh4            
,choice1 spirit of1 dangerous1 ii4 #bf1 
iv4 #ah 7note72      of love1 in rightly
 tempered men1 ii4 #acg2      importance
 of sincerity of1 iii4 #bg1 #ce2        
effect of1 on painters1 iii4 #bh2       
of subject1 when sincere1 a criterion of
 the rank of painters1 iii4 #bg2        
difference of1 between great and        
inferior artists1 iii4 #ce2      of     
subject1 painters should paint what they
 love1 ii4 #bai2      error of          
,pre-,raphaelites1 iv4 #ai4      ,city  
and country life1 influence of1 v4 #d1  
#e4      ,classical landscape1 iii4     
#afh1 #aij2      its features described1
 v4 #bdb2      spirit1 its resolute     
degradation of the lower orders1 v4 #bdc
 7note74      ,clay1 consummation of1 v4
 #aeg4      ,cliffs1 formation of1 iv4  
#adf1 #adi1 #aeh1 #bda2                 
precipitousness of1 iv4 #bcj1 #beg2     
,alpine1 stability of1 iv4 #bfa2        
,alpine1 sublimity of1 iv4 #bde1 #bfa1  

v4 #ha2      common mistake respecting  
structure of1 iv4 #big4      ,see       
,mountains4      ,clouds1 questions     
respecting1 v4 #aja-ajg1 #aaj-aac2      
truth of1 i4 #baf1 #bff2      light and 
shade in1 iv4 #cf2      scriptural      
account of their creation1 iv4 #hb-hh2  
modern love of1 iii4 #bdd1 #bdh2        
classical love of1 iii4 #bde2           
connected with1 not distinct from the   
sky1 i4 #bjg2      balancings1 v4       
#aja-ajg2      high1 at sunset1 i4 #afa2
      massive and striated1 v4 #ajh2    
method of drawing1 v4 #aaa 7note72      
perspective of1 v4 #aad-aba2            
effects of moisture1 heat1 and cold1 on 
formation of1 v4 #aca2      cap-cloud1  
v4 #abd2      lee-side cloud1 v4 #abd1  
#abe2      mountain drift1 v4 #abg1     
#abh2      variety of1 at different     
elevations1 i4 #baf2      brighter than 
whitest paper1 iv4 #cf2      never      
absent from a landscape1 iv4 #fi2       
supremacy of1 in mountain scenery1 iv4  
#cdi2      level1 early painters' love  

of1 iii4 #bdd2      love of1 by ,greek  
poets1 iii4 #bdd2      as represented by
 ,aristophanes1 iii4 #bdi1 v4 #aci2     
,dante's dislike of1 iii4 #bdd2         
wave-band1 sign of1 in thirteenth       
century art1 iii4 #bji2      ,cirrus1 or
 ,upper ,region1 extent of1 i4 #bag1 v4 
#aji2      color of1 i4 #bbd1 v4 #aai1  
#abj1 #adi2      purity of color of1 i4 
#bai2      sharpness of edge of1 i4     
#bah2      symmetrical arrangement of1  
i4 #bag2      multitude of1 i4 #bah1 v4 
#aji1 #aaj2      ,stratus1 or ,central  
,region1 extent of1 i4 #bbf2            
connection of with mountains1 v4 #abc2  
majesty of1 v4 #abb2      arrangement   
of1 i4 #bbh2      curved outlines of1 i4
 #fd1 #bbi2      perfection and variety 
of1 i4 #bbi1 v4 #aaa1 #aab2      ,rain1 
regions of1 definite forms in1 i4 #bde1 
v4 #abb-ach2      difference in colors  
of1 i4 #bdd1 v4 #acf2      pure blue    
sky1 only seen through the1 i4 #bef2    
heights of1 v4 #acg 7note72             
functions of1 v4 #ace1 #acg2            

condition of1 on ,yorkshire hills1 v4   
#ada2      influence of1 on high        
imagination1 v4 #ada4      ,color1 truth
 of1 i4 #fg-ga1 #aee1 #agc2      purity 
of1 means purity of colored substance1  
ii4 #ge1 #gi2      purity of in early   
,italian masters1 ii4 #bbj2      the    
purifier of material beauty1 v4 #cbj    
7note72      associated with purity1    
life1 and light1 iv4 #ec1 #abc1 v4 #cbj2
      contrasts of1 iv4 #dj2            
gradation of1 ii4 #dg1 #dh2      dulness
 of1 a sign of dissolution1 iv4 #abd2   
effect of distance on1 iv4 #fd1 #fe2    
effect of gradation in1 iv4 #ga2        
noble1 found in things innocent and     
precious1 iv4 #dh2      pale1 are       
deepest and fullest in shade1 iv4 #db2  
sanctity of1 iv4 #eb1 v4 #cbj 7note71   
#adi1 #cai2      true dignity of1 v4    
#cah1 #cbj 7note71 effect of falsifying1
 v4 #cba        7note72      ,venetian  
love of1 v4 #bab2      rewards of       
veracity in1 v4 #cba 7note72      of    
sunshine1 contrasted with sun color1 v4 

#cag1 #cah2      perfect1 the rarest art
 power1 v4 #cbj 7note72      pleasure   
derived from1 on what depending1 i4 #aj2
      chord of perfect1 iii4 #ii1 v4    
#cag1 #cah1 iii4 #bge1 iv4 #eb2         
anything described by words as visible1 
may be rendered by1 iii4 #ig2           
variety of1 in nature1 i4 #gj1 #afh2    
no brown in nature1 iii4 #bce2          
without texture1 ,veronese and          
,landseer1 ii4 #bjb2      without form1 
ii4 #bjb2      faithful study of1 gives 
power over form1 iv4 #ed1 v4 #cbj       
7note72      perception of form not     
dependent on1 ii4 #gg1 v4 #cbj 7note72  
effect of atmosphere on distant1 i4 #ig1
 iv4 #ahh2      less important than     
light1 shade1 and form1 i4 #fh1 #agb1 v4
 #cba 7note72      sombreness of modern1
 iii4 #bea1 #beg2      sentimental      
falsification of1 iii4 #ca2             
arrangement of1 by the false idealist   
and naturalist1 iii4 #gg2      done best
 by instinct 7,hindoos and ,chinese71   
iii4 #hg2      use of full1 in shadow1  

very lovely1 iv4 #df1 v4 #cag2          
ground1 use of1 by great painters1 v4   
#ahh1 #aij2      nobleness of painting  
dependent on1 v4 #caf2      a type of   
love1 v4 #cai1 #cbj 7note72      use of1
 shadowless in representing the         
supernatural1 ii4 #bai2      right      
splendor of in flesh painting1 ii4 #abd2
      delicate1 of the idealists1 ii4   
#bba2      local1 how far expressible in
 black and white1 i4 #djd2      natural1
 compared with artificial1 i4 #aeg2     
destroyed by general purple tone1 i4    
#afi2      manifestation of1 in sunsets1
 i4 #afa1 #baj2      quality of1 owes   
part of its brightness to light1 i4     
#adj1 #adh2      natural1 impossibility 
of imitating 7too intense71 i4 #aeg1    
#afd2      imitative1 how much truth    
necessary to1 i4 #bb2      effect of    
association upon1 i4 #fi2      delight  
of great men in1 iii4 #beg2      cause  
of practical failures1 three centuries' 
want of practice1 iii4        #beg2     
medival love of1 iii4 #bca2      ,greek 

sense of1 iii4 #bai2      brightness of1
 when wet1 iv4 #bdd2      difference of1
 in mountain and lowland scenery1 iv4   
#cdf1 #cdg2      great power in1 sign of
 art intellect1 iv4 #ee2      why       
apparently unnatural when true1 iv4 #dj1
 v4 #cag2      of near objects1 may be  
represented exactly1 iv4 #ci2      of   
the earth1 iv4 #ch2      in stones1 iv4 
#abi1 #cje2      in crystalline rocks   
and marbles1 iv4 #ajd1 #ajf1 #ajg1 #abi1
 #ace2      of mosses1 iv4 #acj1 v4 #ii2
      solemn moderation in1 ii4 #hd1    
#he2      of mountains1 i4 #aeg1 #aeh1  
#afh1 iv4 #cea2      on buildings1      
improved by age1 i4 #aje2      of the   
open sky1 i4 #bjf2      of clouds1 v4   
#abj1 #aba1 #acf1 #adi2      reflected1 
on water1 i4 #ccj1 #ccb2      of form1  
i4 #cdi2      of old masters1 i4 #aei2  
of the ,apennines1 contrasted with the  
,alps1 iii4 #bcc2      of water1 i4     
#cdi2      the painter's own proper     
work1 v4 #caf4      ,colorists1         
contrasts of1 iv4 #dj2      advantages  

of1 over chiaroscurists1 iv4 #dg-ea2    
great1 use of green by1 i4 #aei 7note72 
seven supreme1 v4 #cah 7note72          
great1 painting of sun color1 v4 #cag1  
#cah4      ,completion1 in art1 when    
professed1 should be rigorously exacted1
 ii4 #hb2      of portraiture1 iii4 #ij2
      on what depending1 v4 #aha2       
meaning of1 by a good painter1 v4 #aha1 
#aia2      right1 v4 #bgb 7note72       
abused1 v4 #bgc4      ,composers1 great1
 habit of regarding relations of things1
 v4 #agh1 #agi2      determinate        
sketches of1 v4 #ahb4      ,composition1
 definition of1 v4 #aee2      use of    
simple conception in1 ii4 #adh2         
harmony of1 with true rules1 ii4 #aej1  
iii4 #hf2      transgression of laws    
allowable in1 iv4 #bgd2      true not   
produced by rules1 v4 #aed2             
necessity of every part in1 v4 #aeh2    
true1 the noblest condition of art1 v4  
#aeh2      law of help in1 v4 #aeh1     
#afc2      great1 has always a leading  
purpose1 v4 #afc2      law of           

perfectness1 v4 #ahj4      ,conception1 
simple1 nature of1 ii4 #adg2            
concentrates on one idea the pleasure of
 many1 ii4 #aic2      how connected with
 verbal knowledge1 ii4 #adh2      of    
more than creature1 impossible to       
creature1 ii4 #acc1 #acd1 #bab1 #bae2   
of superhuman form1 ii4 #bae2      use  
of1 in composition1 ii4 #adh2           
ambiguity of things beautiful changes by
 its indistinctness1 ii4 #ib2           
partial1 is none1 v4 #aij4              
,conscience1 power of association upon1 
ii4 #ce4      ,consistence1 is life1 v4 
#aef2      example of its power1 jewels 
out of mud1 v4 #aef4      ,crests1      
mountain1 formation of1 i4 #bie1 iv4    
#aig1 #aih2      forms of1 i4 #bie1 iv4 
#aie-bji2      beauty of1 depends on    
radiant curvature1 iv4 #bja1 #bjd2      
sometimes like flakes of fire1 i4 #bgh4 
,crimean ,war1 iii4 #cbf-ccb4           
,criticism1 importance of truth in1 i4  
#dh2      qualifications necessary to   
good1 i4 #dah1 iii4 #bc2      technical 

knowledge necessary to1 i4 #d2      how 
it may be made useful1 iii4 #bb2        
judicious1 i4 #aa1 #dbj2      modern1   
general incapability and inconsistency  
of1 i4 #dai2      general1 iii4 #af2    
when to be contemned1 i4 #cch2          
true1 iii4 #bb4      ,curvature1 a law  
of nature1 ii4 #df1 iv4 #aib2      two  
sorts of1 finite and infinite1 iv4 #bfc2
      infinity of1 in nature1 ii4 #df1  
iv4 #bgb2      curves arranged to set   
off each other1 iv4  #bgb2      beauty  
of1 ii4 #df1 iv4 #bfc1 #bfd1 #bhg2      
beauty of moderation in1 ii4 #hd2       
value of apparent proportion in1 ii4    
#ei1 #fj2      laws of1 in trees1 i4    
#djj2      in running streams and       
torrents1 i4 #cgj2      approximation   
of1 to right lines1 adds beauty1 iv4    
#bfc #bfd1 #bfh2      in mountains1     
produced by rough fracture1 iv4 #aic2   
beauty of catenary1 iv4 #bgi2           
radiating1 the most beautiful1 iv4 #bjc 
7note72      measurement of1 iv4 #bfi   
7note72      of beds of slaty           

crystallines1 wavy1 iv4 #aej2      of   
mountains1 iv4 #bhb1 #bhe1 #bhg2      of
 aiguilles1 iv4 #ahd1 #aia2      in     
stems1 v4 #ba1 #ef2      in branches1 v4
 #ci1 #fc2      loss of1 in engraving1  
v4 #cbj 7note74      ,custom1 power of1 
ii4 #bd1 #cd1 #ee2      twofold         
operation1 deadens sensation1 confirms  
affection1 ii4 #bd1 #cd1        #ce2    
,wordsworth on1 iii4 #bic4              
,dante1 one of the creative order of    
poets1 iii4 #aef2      and ,shakspere1  
difference between1 iv4 #cgb 7note72    
compared with ,scott1 iii4 #bff2        
demons of1 v4 #bef2      statement of   
doctrine by 7damnation of heathen71 v4  
#bcj4      ,dante's self-command1 iii4  
#afj2      clear perception1 iii4 #aef2 
keen perception of color1 iii4 #bah1    
#bbj1 #bbb1 #bbc1 #bcd2                 
definiteness of his ,inferno1 compared  
with indefiniteness of        ,milton's1
 iii4 #bji2      ideal landscape1 iii4  
#bac2      poem1 formality of landscape 
in1 iii4 #bji1 #baa2      description of

 flame1 ii4 #afc2      description of a 
wood1 iii4 #bad2      makes mountains   
abodes of misery1 iii4 #bca1      and is
 insensible to their broad forms1 iii4  
#bdj2      conception of rocks1 iii4    
#bcb1 #bch2      declaration of medival 
faith1 iii4 #bag2      delight in white 
clearness of sky1 iii4 #bdb2      idea  
of the highest art1 reproduction of the 
aspects of things past        and       
present1 iii4 #ah2      idea of         
happiness1 iii4 #bag2                   
representation of love1 iii4 #aig2      
hatred of rocks1 iii4 #bch1 #bge2       
repugnance to mountains1 iii4 #bdj2     
symbolic use of color in hewn rock1 iv4 
#aji 7note72      carefulness in        
defining color1 iii4 #bbb2      ,vision 
of ,leah and ,rachel1 iii4 #baf2        
use of the rush1 as emblem of humility1 
iii4 #bbg2      love of the definite1   
iii4 #bji1 #bab1 #bbc2      love of     
light1 iii4 #bdc1 #bdd2      ,spirit of 
,treachery1 v4 #cje2      ,geryon1      
,spirit of ,fraud1 v4 #cje2             

universality1 ,straw street and highest 
heavens1 iv4 #hd4      ,david1 ,king1   
true gentleman1 v4 #bfc4      ,dead1    
the1 can receive our honor1 not our     
gratitude1 i4 #f4      ,death1 fear of1 
v4 #bca1 #bcf2      conquest over1 v4   
#bcg2      vulgarity1 a form of1 v4     
#bge2      ,english and ,european1 v4   
#bif2      following the vain pursuit of
 wealth1 power1 and beauty 7,venice71 v4
        #ccg2      mingled with beauty1 
iv4 #cbg2      of ,moses and ,aaron1 iv4
 #cgh-chc2      contrasted with life1   
ii4 #gi4      ,dbris1 curvature of1 iv4 
#bgi1 #bhd1 #bhe2      lines of         
projection produced by1 iv4 #bgi2       
various angles of1 iv4 #cji2      effect
 of gentle streams on1 iv4 #bha2        
torrents1 how destructive to1 iv4 #bha4 
,deception of the senses1 not the end of
 art1 i4 #bb1 #gd1 #gf4      ,decision1 
love of1 leads to vicious speed1 i4 #ci4
      ,decoration1 architectural effects
 of light on1 i4 #ajf2      use of1 in  
representing the supernatural1 ii4 #bai4

      ,deity1 revelation of1 iv4 #hd2   
presence of1 manifested in the clouds1  
iv4 #hd1 #he2      modes of             
manifestation of1 in the ,bible1 iv4    
#ha2      his mountain building1 iv4    
#cg2      warning of1 in the mountains1 
iv4 #cda2      art representations of1  
meant only as symbolic1 iii4 #bjc2      
purity1 expressive of the presence and  
energy of1 ii4 #gh1 #gi2      finish of 
the works of1 ii4 #hb1 #hg2             
communication of truth to men1 ii4 #acg2
      ,greek idea of1 iii4 #agj1 #agg2  
modern idea of1 as separated from the   
life of nature1 iii4 #agf2      presence
 of1 in nature1 i4 #eg1 iii4 #cje1 #cjf1
 v4 #he1 #acg2      manifestation of    
the1 in nature1 i4 #cbd1 iii4 #aif2     
love of nature develops a sense of the  
presence and power of1 iii4        #cjj1
 #cja2      directest manifestation of  
the1 v4 #aih4      ,deflection1 law of1 
in trees1 v4 #be1 #bf4      ,delavigne1 
,casimir1 ,la toilette de ,constance1   
iii4 #afb4      ,details1 use of        

variable and invariable1 not the        
criterion of poetry1        iii4 #g-aj2 
,byron's use of1 iii4 #h2      careful  
drawing of1 by great men1 iii4 #abb2    
use of light in understanding           
architectural1 i4 #ajf2      swift      
execution secures perfection of1 i4     
#bjb2      false and vicious treatment  
of1 by old masters1 i4 #gd4      ,devil1
 the1 held by some to be the world's    
lawgiver1 v4 #cde4      ,discord1 in    
,homer1 ,spenser1 and ,turner1 v4       
#cji-caa4      ,distance1 effect of1 on 
our perception of objects1 i4 #ahf1     
#aia1 #aib2      must sometimes be      
sacrificed to foreground1 i4 #ahg2      
effect of1 on pictorial color1 iv4 #fd2 
expression of infinity in1 ii4 #da2     
extreme1 characterized by sharp         
outlines1 i4 #bhc2      effect of1 on   
mountains1 i4 #bgg1 #bhj2      early    
masters put details into1 i4 #ahg4      
,dog1 as painted by various masters1 v4 
#bbd1 #bee4      ,dragon1 of ,scripture1
 v4 #cje2      of the ,greeks1 v4 #cjj1 

#cje2      of ,dante1 v4 #cjf2      of  
,turner1 v4 #cjj1 #cjg-cab1 #cad1 #caf1 
#cbc4      ,drawing1 noble1 mystery and 
characteristic of1 iv4 #ef1 #ei1 #fc1   
#bad2      real power of1 never confined
 to one subject1 i4 #daf2      of       
mountain forms1 i4 #bhf1 #cje1 iv4      
#ahh-aia1 #bdb2      of clouds1 v4 #aaa 
7note71 #aah2      necessary to         
education1 v4 #ccj 7note72      figure1 
of ,turner1 i4 #ahi2      questions     
concerning1 v4 #cf2      landscape of   
old and modern painters1 iii4 #bdi2     
of artists and architects1 difference   
between1 i4 #aah2      distinctness of1 
iii4 #cf2      of ,swiss pines1 iv4     
#bij2      modern1 of snowy mountains1  
unintelligible1 i4 #bhf2      as taught 
in ,encyclopdia ,britannica1 iv4 #bie2  
inviolable canon of1 draw only what you 
see1 iv4 #af2      should be taught     
every child1 iii4 #bii4        ,earth1  
general structure of1 i4 #bga2      laws
 of organization of1 important in art1  
i4 #bgj2      past and present condition

 of1 iv4 #adj1 #ada2      colors of1 iv4
 #ch2      the whole not habitable1 iv4 
#ie1 #if2      noblest scenes of1 seen  
by few1 i4 #bjd2      man's appointed   
work on1 v4 #a2      preparation of1 for
 man1 v4 #c2      sculpturing of the dry
 land1 iv4 #hi4      ,economy of labor1 
v4 #cbh4      ,education1 value of1 iii4
 #db2      its good and bad effect on   
enjoyment of beauty1 iii4 #fd2      of  
,turner1 iii4 #cai1 v4 #bhg-big2      of
 ,scott1 iii4 #cjh2      of ,giorgione1 
v4 #bhf1 #bhg1 #bia2      of ,durer1 v4 
#bcj1 #bca2      of ,salvator1 v4 #bce1 
#bcf2      generally unfavorable to love
 of nature1 iii4 #bih2      modern1     
corrupts taste1 iii4 #fe2      logical1 
a great want of the time1 iv4 #chd2     
love of picturesque1 a means of1 iv4    
#ab2      what to be taught in1 v4 #cbh 
7note72      what it can do1 iii4 #db2  
can improve race1 v4 #bfb2      of      
persons of simple life1 v4 #cbh 7note74 
,emotions1 noble and ignoble1 iii4 #aj2 
true1 generally imaginative1 ii4 #aij4  

,enamel1 various uses of the word1 iii4 
#bba-bbc4      ,energy1 necessary to    
repose1 ii4 #ff2      purity a type of1 
ii4 #gf2      how expressed by purity of
 matter1 ii4 #gi2      expression of1 in
 plants1 a source of pleasure1 ii4 #ib4 
,english art culminated in the #acth    
century1 iv4 #cej4      ,engraving1     
influence of1 i4 #aja2      system of   
landscape1 i4 #bfj1 v4 #ch1 #ih1 #cbh4  
,evil1 the indisputable fact1 iv4 #cdb2 
captivity to1 v4 #bag1 #bhe2            
contest with1 v4 #bhe2      conquered1  
v4 #bhe2      recognition and conquest  
of1 essential to highest art1 v4        
#bje-bji1 #bag2      war with1 v4 #bca4 
,exaggeration1 laws and limits of1 ii4  
#bjh-baj2      necessary on a diminished
 scale1 ii4 #bjh4      ,excellence1     
meaning of the term1 i4 #ad1 #ae 7note72
      in language1 what necessary to1 i4
 #i2      the highest1 cannot exist     
without obscurity1 iv4 #fa2      passing
 public opinion no criterion of1 i4 #a1 
#b2      technical1 superseding         

expression1 iii4 #bi4      ,execution1  
meaning of the term1 i4 #cf2      three 
vices of1 ii4 #ahh 7note72              
qualities of1 i4 #cf1 #cg1 #ci 7note72  
dependent upon knowledge of truth1 i4   
#cf2      essential to drawing of water1
 i4 #cej2      swift1 details best given
 by1 i4 #bjb2      legitimate sources of
 pleasures in1 i4 #cf1 #ch2      mystery
 of1 necessary in rendering space of    
nature1 i4 #bjc2      rude1 when the    
source of noble pleasure1 ii4 #hb       
7note72      determinate1 v4 #cg1 #ch4  
,expression1 three distinct schools     
of--,great1 ,pseudo1 and                
,grotesque-,expressional1 iv4 #che2     
subtle1 how reached1 iv4 #ee2           
influence of moral in animal form1 ii4  
#ig1 #ih2      perfect1 never got       
without color1 iv4 #ed 7note72          
unison of expressional1 with technical  
power1 where found1 iii4 #bi2           
superseded by technical excellence1 iii4
 #bi2      of inspiration1 ii4 #bad2    
of superhuman character1 how attained1  

ii4 #bac4      ,eye1 focus of1 truth of 
space dependent on1 i4 #ahf-aij2        
what seen by the cultivated1 iv4 #ga2   
what seen by the uncultivated1 iv4 #ga2 
when necessary to change focus of1 i4   
#ahf1 #cee2      keenness of an         
artist's1 how tested1 iv4 #ahh4         
,faculty ,theoretic1 definition of1 ii4 
#ab1 #ah4      ,faculty sthetic1        
definition of1 ii4 #ab1 #ah4            
,faith1 derivation of the word1 v4 #afa2
      developed by love of nature1 iii4 
#bii2      want of1 iii4 #beb-bed2      
our ideas of ,greek1 iii4 #afi2      of 
the ,scotch farmer1 iii4 #ahi2          
source and substance of all human deed1 
v4 #afa2      want of1 in classical art1
 v4 #bdb2      right1 looks to present  
work1 v4 #bje2      brave and hopeful1  
accompanies intellectual power1 v4 #bje2
      tranquillity of1 before the       
,reformation1 v4 #bcj2      want of1 in 
,dutch artists1 v4 #bea2      of        
,venetians1 v4 #bah2      how shown in  
early ,christian art1 iii4 #di-ea1 v4   

#bje2      in ,god1 in nature1 nearly   
extinct1 iii4 #bea4      ,fallacy1      
,pathetic defined1 iii4 #aee2      not  
admitted by greatest poets1 iii4 #aef2  
,pope's1 iii4 #aeh2      emotional      
temperament liable to1 iii4 #aeh2       
instances illustrating the1 iii4 #afj1  
#afg2      characteristic of modern     
painting1 iii4 #afh4      ,fancy1       
functions of1 ii4 #aej2      never      
serious1 ii4 #afi2      distinction     
between imagination and1 ii4 #aff-agj2  
restlessness of1 ii4 #agj2      morbid  
or nervous1 ii4 #bjj4      ,fear1       
destructive of ideal character1 ii4     
#abf2      distinguished from awe1 ii4  
#abf2      expressions of1 only sought  
by impious painters1 ii4 #abh2          
holy1 distinct from human terror1 ii4   
#abg4      ,ferocity1 always joined with
 fear1 ii4 #abg2      destructive of    
ideal character1 ii4 #abf4      ,field  
,sports1 v4 #bei4      ,fields4         
,see ,grass4      ,finish1 two kinds    
of--fallacious and faithful1 iii4 #aji2 

difference between ,english and         
continental1 iii4 #aji1 #aaa2      human
 often destroys nature's1 iii4 #aab2    
nature's1 of rock1 iii4 #aab2      of   
outline1 iii4 #aad2      vain1 useless  
conveying additional facts1 iii4 #aaf1  
#abc1 v4 #bga1 #bgb        7note72      
in landscape foregrounds1 i4 #bjj2      
mysteriousness of1 i4 #aic2             
esteemed essential by great masters1 ii4
 #hc1 v4 #bga1 #bgb 7note72             
infinite in ,god's work1 ii4 #hb2       
how right and how wrong1 i4 #hb-hd1 iii4
 #aad2      of tree stems1 iii4 #aae    
7plate74      ,firmament1 definition of1
 iv4 #hc1 v4 #adh4      ,flowers1       
medival love of1 iii4 #aic2             
mountain variety of1 iv4 #cdg2          
typical of the passing and the          
excellence of human life1 iii4 #bbg2    
sympathy with1 ii4 #ia1 v4 #hh2      no 
sublimity in1 v4 #ia2      alpine1 v4   
#ic2      neglected by the great        
painters1 v4  #hi2      two chief       
peculiarities1 v4 #ib1 #ic2      beauty 

of1 on what depending1 v4 #ig 7note74   
,foam1 two conditions of1 i4 #cgc2      
difficulty of representing1 i1 #cgc2    
appearance of1 at ,schaffhausen1 i4     
#cdi2      sea1 how different from the  
yeast of a tempest1 i4 #chj 7note74     
,foliage1 an element of mountain glory1 
iv4 #cdh2      unity1 variety1 and      
regularity of1 #cid1 #cih2      as      
painted on the ,continent1 i4 #dja2     
and by ,pre-,raphaelites1 i4 #cig2      
study of1 by old masters1 i4 #chd4      
,forbes1 ,professor1 description of     
mountains1 quoted1 iv4 #ahb1 #bce4      
,foreground1 finer truths of1 the       
peculiar business of a master1 i4 #cae2 
lesson to be received from all1 i4 #cbc2
      mountain attractiveness of1 i4    
#ii2      of ancient masters1 i4 #cjh1  
#cac2      increased loveliness of1 when
 wet1 iv4 #bde2      ,turner's1 i4 #cbc1
 #cbd2      must sometimes be sacrificed
 to distance1 i4 #ahg4      ,form1      
chiaroscuro necessary to the perception 
of1 i4 #fi1 #gj2      more important    

than color1 i4 #fh-ga1 ii4 #gg1 iv4 #ed1
 v4 #cah 7note72      multiplicity of1  
in mountains1 i4 #bhj2      animal1     
typical representation of1 ii4 #bjc1    
#bjd2      without color1 ii4 #bja2     
without texture1 ,veronese and          
,landseer1 ii4 #bjb2      natural       
curvature of1 ii4 #fj1 #fa2      animal 
beauty of1 depends on moral expression1 
ii4 #ih2      what necessary to the     
sense of beauty in organic1 ii4 #id1    
#ie2      ideal1 ii4 #ajd1 iii4 #gh2    
animal and vegetable1 ii4 #aje2         
ideal1 destroyed by pride1 sensuality1  
etc41 ii4 #abb1 #abc2      rendering of1
 by photography1 iv4 #fc2      mountain1
 iv4 #ace1 #aci1 #aei-bfb2      natural1
 variety of1 inconceivable1 iv4 #ahi2   
of aiguilles1 how produced1 iv4 #ahi2   
beauty of1 dependent upon curvature1 ii4
 #df4      ,french art culminated in    
#acth century1 iv4 #ceh4      ,fuseli1  
quotations from1 i4 #af1 ii4 #aec1 #aga4
        ,genius1 unrecognized at the    
time1 i4 #f2      not the result of     

education1 iii4 #db2      power of1 to  
teach1 i4 #dad4      ,gentility1 an     
,english idea1 iv4 #d4      ,gentleman1 
the characteristics of a1 sensibility1  
sympathy1 courage1 v4        #bfc-bgb4  
,german religious art1 piety of1 iii4   
#bec4      ,glacier1 description1 iv4   
#acg2 action of1 iv4 #afa2      gradual 
softener of mountain form1 iv4 #afi2    
non-rigidity of1 v4 #hf4      ,gloom1 of
 ,savoyard peasant1 iv4 #cbj2           
appearance of1 in southern slope of     
,alps1 iv4 #cbf4      ,see ,mountain4   
,gneiss1 nature of1 iv4 #bjf1 #bji2     
color of1 iv4 #acf2      ,matterhorn    
composed of1 iv4 #afj4      ,god4       
,see ,deity4      ,gotthelf1 works of1  
iv4 #ace1 v4 #ccj4      ,gracefulness1  
of poplar grove1 iii4 #aha2      of     
willow1 v4 #fg2      of ,venetian art1  
#bbi4      ,gradation1 suggestive of    
infinity1 ii4 #dg2      constant in     
nature1 ii4 #dg2      necessary to give 
facts of form and distance1 i4 #adi2    
progress of the eye shown in sensibility

 to effects 7,turner's ,swiss           
towers71 iv4 #ga2      of light1        
,turnerian mystery1 iv4 #gc2      in a  
rose1 iv4 #df4      ,granite1 qualities 
of1 iv4 #aji1 #aaj2      color of1 iv4  
#acf4      ,grass1 uses of1 iii4 #bbg2  
type of humility and cheerfulness1 and  
of the passing away of human            
life1 iii4 #bbg1 #bbh1 v4 #if2          
,greek mode of regarding as opposed to  
medival1 iii4 #bbc1 #bbd2               
enamelled1 ,dante's green enamel        
description of1 iii4 #bbb1 #bbf2        
damp1 ,greek love of1 iii4 #bbb2        
careful drawing of1 by ,venetians1 iii4 
#cag2      mystery in1 i4 #cae1 iii4    
#bba2      man's love of1 iii4 #bbd2    
first element of lovely landscape1 iii4 
#bbd4      ,gratitude1 from what        
arising1 ii4 #ae2      a duty to the    
living can't be paid to the dead1 i4 #f4
      ,greatness1 tests of1 i4 #cbc1    
iii4 #bfj1 #bfa1 v4 #age4      ,see     
,art1 ,artists4      ,greek1 conception 
of ,godhead1 iii4 #agj1 #age2      art1 

spirit of1 v4 #bji1 #bac2      poetry1  
purpose of1 the victory over fate1 sin1 
and death1 v4 #bji1 #baj2      religion1
 the manful struggle with evil1 v4      
#baa-bac2      ideas of truthfulness1 v4
 #bfg1 #bfh2      mythology1 v4 #cjj1   
#cjg1 #cjh1 #cbb2      distrust of      
nature1 v4 #cbd2      culture of human  
beauty1 iii4 #agi1 #ahj1 #aih1 #bjd2    
landscape1 composed of a fountain1      
meadow1 and grove1 iii4 #aha2           
belief in the presence of ,deity in     
nature1 iii4 #afi-agg2      absence of  
feeling for the picturesque1 iii4 #ahg2 
belief in particular gods ruling the    
elements1 iii4 #aga-agg2      and       
,medival feeling1 difference between1   
iii4 #bah2      ideal of ,god1 ii4 #bbc2
      faith1 compared with that of an   
old ,scotch farmer1 iii4 #ahh2          
feeling about waves1 iii4 #afi2         
indifference to color1 iii4 #bai1 #bbj2 
life1 healthy1 iii4 #age2      formalism
 of ornament1 iii4 #bjh2      not       
visionary1 iii4 #ahh2      delight in   

trees1 meadows1 gardens1 caves1 poplars1
 flat country1 and        damp grass1   
iii4 #ahb-ahf1 #bba2      preference of 
utility to beauty1 iii4 #aha1 #ahe2     
love of order1 iii4 #aha1 #ahi2         
coins1 v4 #cf2      description of      
clouds1 v4 #acg-add2      design1 v4    
#aif4      ,grief1 a noble emotion1 ii4 
#abi1 iii4 #aj4      ,grotesque1 third  
form of the ,ideal1 iii4 #ib-ajg2       
three kinds of1 iii4 #ib2      noble1   
iii4 #ic1 #ajb2      true and false     
7medival and classical7 griffins1 iii4  
#aja-ajg2      ,spenser's description of
 ,envy1 iii4 #id2      how fitted for   
illumination1 iii4 #aja2      modern1   
iv4 #che-djc4      ,grotesque           
,expressional1 iv4 #che2      modern    
example of1 ,gen4 ,fvrier turned        
traitor1 iv4 #chh4        ,habit1 errors
 induced by2 embarrasses the judgment1  
ii4 #bd2      modifying effects of1 ii4 
#cb2      power of1 how typified1 iv4   
#bae4      ,see ,custom4      ,heavens1 
fitfulness and infinity of1 i4 #ace2    

means in ,scripture1 clouds1 iv4 #hf2   
relation of1 to our globe1 iv4 #hh1 v4  
#adh2      presence of ,god in1 iv4 #hh2
      ,hebrew1 ,greek1 and ,latin names 
for1 v4 #adg-aej2      meaning of1 in   
#aith ,psalm1 v4 #adh4      ,help1 habit
 of1 the best part of education1 v4 #cbh
 7note74      ,helpfulness1 law of1 v4  
#aee-aeh2      of inventive power1 v4   
#aib4      ,see ,consistence4           
,homer1 a type of the ,greek mind1 iii4 
#ahh2      poetical truth of1 iii4 #afb2
      idea of the ,sea-power1 iii4 #afi2
      intense realism1 iii4 #ahe2       
conception of rocks1 iii4 #bcb1         
#bci-bda2      pleasure in              
woody-scenery1 iii4 #ahd1 #bab2         
love of aspens1 iii4 #ahb1 #ahe2        
love of symmetry1 iii4 #ahj2            
pleasure in utility1 iii4 #aha1 #ahd1   
#ahe2      ideal of landscape1 iii4     
#agi-ahb2      feelings traceable in his
 allusion to flowers1 iii4 #bbf2        
,michael ,angelo compared to1 by        
,reynolds1 iii4 #ac2      poetry of1 v4 

#bji2      ,iliad and ,odyssey of1 v4   
#baj1 #baa1 #cji2      his ,discord1 v4 
#cjh2      the victory over fate1 sin1  
and death1 v4 #bji2      heroic spirit  
of1 v4 #baa1 #bab2      pride of1 v4    
#bag2      faith of1 v4 #bag4           
,hooker1 his definition of a law1 ii4   
#hd2      referred to1 ii4 #i1 #ad1 #bd2
      quotation from1 on ,divine ,unity1
 ii4 #ej2      quotation on exactness of
 nature1 ii4 #hb4      ,horse1 ,greek   
and ,roman treatment of1 v4 #beg2       
,vandyke1 first painter of1 v4 #beh4    
,humility1 means a right estimate of    
one's own powers1 iii4 #bfj2      how   
symbolized by ,dante1 iii4 #bbg2      a 
test of greatness1 iii4 #bfj2           
inculcated by science1 iii4 #bef2       
necessity of1 to enjoyment of nature1   
iii4 #bfi1 iv4 #fi2      grass1 a type  
of1 iii4 #bbf1 #bbh1 v4 #if2      of    
inventive power1 v4 #aib2               
distinguishing mark between the         
,christian and ,pagan spirit1 iii4 #bbf4
        ,ideal1 definition of the word1 

i4 #bh2      its two senses referring to
 imagination or to perfection of type1  
ii4        #ajb1 #ajc2      how to be   
attained1 i4 #dd2      form in lower    
animals1 ii4 #ajd2      form in plants1 
ii4 #aje2      of form to be preserved  
in art by exhibition of individuality1  
ii4        #aji1 #baj2      the bodily1 
effect of intellect and moral feelings  
on1 ii4 #aac-aae2      form1 of what    
variety susceptible1 ii4 #bba2      of  
human form1 destroyed by expression of  
corrupt passions1 ii4 #abb1        #abi2
      of humanity1 how to be restored1  
ii4 #aab1 #aah1 #aba2      form to be   
obtained only by portraiture1 ii4 #aai1 
iii4 #gh2      form1 necessity of love  
to the perception of1 ii4 #aba1 #acj2   
pictures1 interpreters of nature1 iii4  
#ada2      general1 of classical        
landscape1 v4 #bdd2      modern pursuit 
of the1 iii4 #dd1 #fe1 #fi2             
,angelican1 iii4 #di1 #eg1 v4 #bhc1 i4  
#hb2      false ,raphaelesque1 iii4     
#ec-eg4      ,ideal1 the true1 faithful 

pursuit of1 in the business of life1    
iii4 #dd2      relation of modern       
sculpturesque to the1 iii4 #fc2         
operation of1 iii4 #gg2      three kinds
 of--,purist1 ,naturalist1 and          
,grotesque 7see below71 iii4 #ga4       
,ideal1 true grotesque1 iii4 #ib-ajg2   
limited expression of1 iii4 #ii1 #ajj4  
,ideal1 true naturalist1 character of1  
iii4 #gg-ia2      high1 necessity of    
reality in1 iii4 #hj1 #ha1 #ia2      its
 operation on historical art1 iii4      
#hi-ia2      in landscape produces the  
heroic1 v4 #bjf4      ,ideal1 true      
purist1 iii4 #ga-gf4      ,ideal1 false1
 various forms of1 iii4 #fi1 iv4 #cjh1  
#caj 7plates72      results of pursuit  
of the1 iii4 #fa1 #fc2      religious1  
iii4 #dd1 #fj2      well-executed1 dulls
 perception of truth1 iii4 #dh-eb2      
profane1 iii4 #fa-fi2      of the modern
 drama1 iv4 #cba4      ,ideal1          
superhuman1 ii4 #bab1 #bbd2             
expression of1 by utmost degree of human
 beauty1 ii4 #bad4      ,ideality1 not  

confined to one age or condition1 ii4   
#aji-aag2      expressible in art1 by   
abstraction of form1 color1 or texture1 
ii4        #bja4      ,illumination1    
distinguished from painting by absence  
of shadow1 iii4        #ii2             
pigments used in1 iii4 #bbc2            
decline of the art of1 to what          
traceable1 iv4 #cei2      of ,,mss4 in  
thirteenth century1 illustrating        
treatment of natural        form1 iii4  
#bjg1 #bjh1 iv4 #gf2      of ,,mss4 in  
fifteenth century1 illustrating         
treatment of landscape        art1 iii4 
#bja2      of ,,mss4 in sixteenth       
century1 illustrating idea of rocks1    
iii4 #bci2      of missals1 illustrating
 later ideas of rocks and precipices1   
iv4        #bec2      of missal in      
,british ,museum1 illustrating ,german  
love of horror1 iv4        #cbh2      of
 ,,mss4 in fifteenth century1 ,german   
coarseness contrasted with grace        
and tenderness of thirteenth century1   
iv4 #cce2      representation of sun in1

 iii4 #cah4      ,imagination1 threefold
 operation of1 ii4 #adf2      why so    
called1 iii4 #acb2      defined1 ii4    
#aea2      functions of1 ii4 #aj1 #adc1 
#ahh1 iii4 #de1 iv4 #ca2      how       
strengthened by feeding on truth and    
external nature1 i4 #dbg1 ii4           
#aia2      tests of presence of1 ii4    
#aee1 #afi1 #bjg2      implies          
self-forgetfulness1 i4 #cjf2            
importance of in art1 iii4 #ch2         
,dugald ,stewart's definition of1 ii4   
#adc1 #ade2      conscious of no rules1 
ii4 #aee2      makes use of accurate    
knowledge1 ii4 #aji1 iii4 #dj2          
noble only when truthful1 ii4 #afa1 iii4
 #abc1 iv4 #cj2      entirety of its    
grasp1 ii4 #aef1 #agi1 v4 #ahg1 #aij2   
its delight in the character of repose1 
ii4 #ff2      verity of1 ii4 #afa1 #ahh1
 #baa1 iii4 #cj1 #ajg1 #acc2      power 
of1 ii4 #aeh1 #bjf1 iii4 #aj1 #aa1 #aca1
 #bhg1 iv4 #ai1 #cj2      calmness      
essential to1 v4 #aia2      always the  
seeing and asserting faculty1 iii4 #baa2

      charm of expectant1 iv4 #aca2     
pleasure derived from1 how enhanced1    
iii4 #bha2      highest form of1 ii4    
#adf2      always right when left to    
itself1 iii4 #ajf2      how excited by  
mountain scenery1 iv4 #bc1 #bbb1 v4     
#baf1 #bce2      influence of clouds on1
 v4 #ada2      searching apprehension   
of1 ii4 #afd1 #afe1 #afi1 #ahc1 #ahh1   
#aie1 iii4 #ajg2      distinguished from
 fancy1 ii4 #aff-agj1 #aid1 #bja2       
signs of1 in language1 ii4 #afe2        
how shown in sculpture1 ii4 #ahd-ahg2   
work of1 distinguished from composition1
 ii4 #aed-aeh2      what necessary to   
formation of1 v4 #ahi-aia4              
,imagination1 penetrative1 ii4 #afc-aia2
      associative1 ii4 #adg-afb2        
contemplative1 ii4 #aib-baa4            
,imitation1 power of deceiving the      
senses1 i4 #ag2      why reprehensible1 
i4 #ah1 #ai1 #ba1 #cd1 #gc1 #daf1 iv4   
#acf2      no picture good which        
deceives by1 i4 #be2      when right1 in
 architectural ornament1 ii4 #bje2      

of flowers1 v4 #ib2      was least      
valued in the thirteenth century1 iii4  
#ah1 #aii1 #bji2      general pleasure  
in deceptive effects of1 iii4 #af2      
when made an end of art1 i4 #gd1 #adc2  
began1 as a feature of art1 about #acjj1
 iii4 #bjc2      of what impossible1 i4 
#gg1 #aeg1 #afd1 #cga1 #cgb1 ii4 #bjc1  
iii4 #bj1 #abi1        v4 #ia2          
definition of ideas of1 i4 #ac1 #bj4    
,infinity1 typical of redeemed life1 iv4
 #hj2      expressed in nature by       
curvature and gradation1 ii4 #de-dh2    
of gradation1 i4 #baj1 #bbd1 ii4 #dg2   
of variety in nature's coloring1 i4     
#afh1 #agb1 #cbe1 iv4 #abg2      of     
nature's fulness1 i4 #aie1 v4 #ii2      
of clouds1 i4 #bah1 #bce1 v4 #aaj1 #aac2
      of detail in mountains1 i4 #bij1  
#big2      of curvature1 i4 #cae1 ii4   
#fj1 iv4 #bfb-bfi1 v4 #ci2              
expressed by distance1 ii4 #da2      not
 implied by vastness1 ii4 #di2      the 
cause of mystery1 iv4 #eh2      of      
mountain vegetation1 iv4 #bhh2          

absence of1 in ,dutch work1 v4 #cg2     
general delight in1 ii4 #db-dd4         
,inspiration1 the expression of the mind
 of a ,god-made great man1 iii4         
#ada2      expression of1 on human form1
 ii4 #bad2      as manifested in impious
 men1 ii4 #acg1 #ach2      revelations  
made by1 how communicable1 ii4 #acc2    
condition of prophetic1 iii4 #aei4      
,intellect1 how affected by novelty1 ii4
 #ed2      how connected with pleasure  
derived from art1 i4 #aj1 #bh2      its 
operation upon the features1 ii4        
#aac-aae2      connection of beauty     
with1 i4 #bg2      how influenced by    
state of heart1 ii4 #ag1 #aad2          
affected by climatic influences1 v4     
#acd2      how rendered weak1 v4 #bje1  
#bdg2      abuse of1 v4 #bff 7note72    
culture of1 in mechanical arts1 v4 #cbh 
7note72      comparison between         
,angelico's1 ,salvator's1 ,durer's1 and 
,giorgione's1        v4 #bhd1 #bhe2     
beauty of animal form increased by      
expression of1 ii4 #ih2      decay of1  

shown by love of the horrible1 iv4 #cbh2
      popular appreciation of1 i4 #dah2 
influence of mountain scenery on1 iv4   
#bgd1 #cea-cfc2      condition of1 in   
,english and ,french nations1 from      
thirteenth to        sixteenth century1 
iv4 #ceh2      great humility of1 iii4  
#bfj2      seriousness of1 iii4 #beh2   
sensibility of1 iii4 #aei1 #bhf2        
power of1 in controlling emotions1 iii4 
#afj2      sees the whole truth1 v4     
#bje2      greater1 not found in minds  
of purest religious temper1 v4 #bjd4    
,intemperance1 nature and application of
 the word1 ii4 #ac1 #ad4                
,invention1 characteristic of great art1
 i4 #cje1 iii4 #ch1 #hh2      greatest  
of art-qualities1 v4 #aeh2              
instinctive character of1 ii4 #aee1 iii4
 #hd1 #hg1 v4 #aed1 #aeh2      evil of  
misapplied1 i4 #aag2      liberty of1   
with regard to proportion1 ii4 #fa2     
operation of 7,turnerian ,topography71  
iv4 #ah1 #bc1 #bd2      never loses an  
accident1 v4 #agc2      not the duty of 

young artists1 i4 #dbb2      verity of1 
v4 #aia2      absence of1 how tested1 v4
 #aeg2      grandeur of1 v4 #ahg2       
material1 v4 #aec-afc2      spiritual1  
v4 #aic-bag2      sacred1 a passionate  
finding1 v4 #aib2      of form1 superior
 to invention of color1 v4 #cbj 7note74 
,joy1 a noble emotion1 ii4 #af1 iii4    
#aj2      necessity of1 to ideas of     
beauty1 ii4 #ag1 #bi2      of youth1 how
 typified in bud-structure and flowers1 
iii4 #bjf1 #bbg2      of humble life1 v4
 #cbh4      ,judgment1 culture and      
regulation of1 i4 #di-ef1 ii4 #bb-be2   
distinguished from taste1 i4 #be1 ii4   
#cd2      right moral1 necessary to     
sense of beauty1 ii4 #if1 #ii2          
right technical knowledge necessary to  
formation of1 ii4 #d2      equity of1   
illustrated by ,shakspere1 iv4 #ccb2    
substitution of1 for admiration1 the    
result of unbelief1 v4 #bdd4            
,keats1 subdued by the feeling under    
which he writes1 iii4 #afj2             
description of waves by1 iii4 #afh2     

description of pine1 v4 #hb2            
coloring of1 iii4 #beg2      no real    
sympathy with1 but a dreamy love of     
nature1 iii4 #bgj1 #bhe2      death of1 
v4 #cdi2      his sense of beauty1 v4   
#ccb4      ,knowledge1 connection of1   
with sight1 i4 #ed2      connection of1 
with thought1 i4 #dg2      pleasure in1 
iv4 #fi2      communication of1 railways
 and telegraphs1 iii4 #cjb2      what   
worth teaching1 iii4 #bih1 v4 #ccj2     
influence of1 on art1 i4 #de1 #dg1 #bch2
      necessary to right judgment of    
art1 i4 #aba1 #daa1 #dah2      feeling  
necessary to fulness of1 v4 #ajg2       
highest form of1 is ,trust1 v4 #afa2    
coldness of1 v4 #adj2      how to be    
employed1 v4 #ccj2      refusal of1 a   
form of asceticism1 v4 #cbf4            
,labor1 healthful and harmful1 v4 #cbi1 
#cca4      ,lands1 classed by their     
produce and corresponding kinds of art1 
v4        #acc-ace4      ,landscape1    
,greek1 iii4 #agh-ahg1 v4 #baa-bac2     
effect of on ,greek mind1 iv4 #cea2     

of fifteenth century1 iii4 #bja2        
medival1 iii4 #bja1 #bji1 #bai1 iv4     
#gg-gi2      choice of1 influenced by   
national feeling1 i4 #abe2      novelty 
of1 iii4 #adc-aea2      love of1 iii4   
#bhj1 #bid2      ,scott's view of1 iii4 
#beg2      of ,switzerland1 iv4 #acb1   
#bij 7see ,mountains1 ,alps1 c472       
of ,southern ,italy1 v4 #bce2           
,swiss moral influences of1 contrasted  
with those of ,italy1 iv4               
#ace-acf2      colors of1 iv4 #dj1 #cde2
      lowland and mountain1 iv4 #cfc2   
gradation in1 i4 #ahb2      natural1 how
 modified by choice of inventive        
artists1 iv4 #bd1 #bf        7note72    
dependent for interest on relation to   
man1 v4 #aic1 #aif2      how to         
manufacture one1 iv4 #bia4              
,landscape ,painters1 aims of great1 i4 
#dd1 iv4 #bc2      choice of truths by1 
i4 #gd-gf2      in seventeenth century1 
their vicious and false style1 i4 #e1   
#ahe1        #cbh1 #chg2      ,german   
and ,flemish1 i4 #ij2                   

characteristics of ,dutch1 v4 #bec1     
#bei2      vulgarity of ,dutch1 v4 #bgg2
      ,english1 i4 #hc1 #ib-ie4         
,landscape ,painting1 modern1 i4 #dbd2  
four true and two spurious forms of1 v4 
#aid1 #aie2      true1 dependent for its
 interest on sympathy with humanity 7the
        dark mirror71 v4 #aie-bja1 iii4 
#bdh1 #bej1 #bei1 #cbe1 iv4 #ef2        
early ,italian school of1 i4 #ha-he1    
#afe1 ii4 #bag2      emancipation of1   
from formalism1 iii4 #cab2              
,venetian school of1 expired #aeid1 iii4
 #cag1 v4 #bad1 #bai2      supernatural1
 ii4 #bai-bbb2      ,purist ideal of1   
iii4 #gj-gf2      delight in quaint1    
iii4 #cac2      preservation of symmetry
 in1 by greatest men1 ii4 #gd2          
northern school of1 iii4 #cbc2          
doubt as to the usefulness of1 iii4     
#add1 v4 #aic2      symbolic1 iii4 #bjc2
      topographical1 iv4 #af2           
,dutch school of1 i4 #ib2      modern   
love of darkness and dark color1 the    
service of clouds1 iii4        #bdh-bea4

      ,landscape ,painting1 ,classical1 
v4 #bdb-bdh2      absence of faith in1  
v4 #bdb2      taste and restraint of1 v4
 #bdb2      ideal of1 v4 #bdd4          
,landscape ,painting1 ,dutch1 v4        
#bgg-bha4      ,landscape ,painting1    
,heroic1 v4 #aid-aih4      ,landscape   
,painting1 ,pastoral1 v4 #bec-bfj4      
,language of early ,italian ,pictures1  
i4 #aj2      of ,dutch pictures1 i4 #aj2
      distinction between ornamental and
 expressive1 i4 #aj2      painting a1 i4
 #h2      accuracy of1 liable to        
misinterpretation1 iii4 #e4      ,law1  
,david's delight in the1 v4 #adf2       
helpfulness or consistence the highest1 
v4 #aef4      ,laws of leaf-grouping1 v4
 #be1 #bf1 #cb2      of ramification1 v4
 #di-fb2      of vegetation1 how        
expressed in early ,italian sculpture1  
v4 #df4      ,leaf1 ,leaves1 how treated
 by medival ornamental artists1 iii4    
#bjd2      of ,american plane1 iii4     
#bje2      of ,alisma plantago1 iii4    
#bje2      of horse-chestnut1 iii4 #bje2

      growth of1 iv4 #aic1 v4 #ca2      
laws of ,deflection1 ,radiation1 and    
,succession1 v4 #be1 #bf2      ribs of1 
law of subordination in1 iii4 #bjf1 v4  
#bd2      lessons from1 v4 #cb1 #gd1    
#ge2      of the pine1 v4 #gh2      of  
earth-plants1 shapes of1 v4 #ib-ie2     
life of1 v4 #ca1 #cb1 #dj1 #da1 #fc2    
structure of1 #ba-be2      variety and  
symmetry of1 i4 #cid1 ii4 #gb1 #ib2     
drawing of1 by ,venetians1 iii4 #caf2   
drawing of1 by ,dutch and by ,durer1 v4 
#cg1 #ij2      curvature in1 iv4        
#bga-bgc2      mystery in1 i4 #aia1     
#cif2      strength and hope received   
from1 ii4 #adj4      ,leaflets1 v4 #cc4 
,liberty1 self-restrained1 ii4 #hd2     
love of1 in modern landscapes1 iii4     
#bej2      ,scott's love of1 iii4 #bga2 
religious1 of ,venetians1 v4 #bae2      
individual helplessness 7,j4 ,s4 ,mill71
 v4 #agd4      ,lichens4      ,see      
,moss4      ,life1 intensity of1        
proportionate to intensity of           
helpfulness1 v4 #aee2      connection of

 color with1 iv4 #ec1 #abc1 v4 #cbb2    
man's1 see ,man1 ,medival4      ,light1 
power1 gradation1 and preciousness of1  
iv4 #cd1 #cg1 #ec1 #fi1 #ga-gc2         
medival love of1 iii4 #bjj2      value  
of1 on what dependent1 ii4 #dh2      how
 affected by color1 i4 #fh1 #gj2        
influence of1 in architecture1 i4 #ajf2 
table of gradation of different         
painters1 iv4 #db2      law of          
evanescence 7,turner71 iv4 #gj2         
expression of1 by color1 i4 #ih1 #aga2  
with reference to tone1 i4 #adg1 #adi2  
a characteristic of the thirteenth      
century1 iv4 #di2      love of1 ii4 #ge1
 #gf1 iii4 #bdd2      a type of ,god1   
ii4 #gh2      purity of1 i4 #adg1 ii4   
#ge2      how related to shadows1 i4    
#adj1 #agc2      hues of1 i4 #adi1 #aeg1
 #afa2      high1 how obtained1 i4 #agc1
 #ahb1 ii4 #dh2      high1 use of gold  
in1 i4 #ajf2      white of idealists to 
be distinguished from golden of         
,titian's        school1 ii4 #bba2      
,dutch1 love of1 v4 #bed1 #bgh2         

effects of1 as given by ,turner1 iv1    
#ga4      ,limestone1 of what composed1 
i4 #cji2      color of1 iii4 #bca-bcc2  
tables1 iv4 #abg-abi4      ,lines of    
fall1 iv4 #bgf2      of projection1 iv4 
#bgi2      of escape1 iv4 #bgi2      of 
rest1 iv4 #cji2      nature of          
governing1 iv4 #ahg2      in faces1 ii4 
#aad2      undulating1 expressive of    
action1 horizontal1 of rest and         
strength1        v4 #afd2               
horizontal and angular1 v4 #afd2        
grandeur of1 consists in simplicity with
 variation1 iv4 #bdg2      curved1 iv4  
#bfc2      apparent proportion in1 ii4  
#fa2      all doubtful1 rejected in     
armorial bearings1 iii4 #bjj4           
,literature1 greatest not produced by   
religious temper1 v4 #bje2              
classical1 the school of taste or       
restraint1 v4 #bdb2      spasmodic1 v4  
#bdb2      world of1 divided into       
thinkers and seers1 iii4 #bfb2          
modern temper of1 iii4 #beb1 #bfa-bfc2  
reputation of1 on what dependent 7error 

transitory7 i4 #a1 #b4      ,locke1     
quoted 7hard to see well71 i4 #ea1 #fg4 
,love1 a noble emotion1 iii4 #aj2       
color a type of1 v4 #cbj 7note72        
source of unity1 ii4 #ej2      as       
connected with vital beauty1 ii4 #hi2   
perception quickened by1 i4 #eb2        
want of1 in some of the old landscape   
painters1 i4 #gg2      finish proceeding
 from1 i4 #hd2      nothing drawn       
rightly with out1 iv4 #cc2      of      
brightness in ,english cottages1 iv4    
#cbj2      of horror1 iv4 #cbh2         
characteristic of all great men1 ii4    
#ij2      higher than reason1 ii4 #aad2 
ideal form1 only to be reached by1 ii4  
#aba2      loveliest things wrought     
through1 ii4 #aca1 v4 #cdh2      good   
work only done for1 v4 #cdf-cdh2        
and trust the nourishment of man's soul1
 v4 #cdh4      ,lowell1 quotation from1 
v4 #cdg4      ,lowlander1 proud of his  
lowlands 7farmer in ,alton ,locke71 iii4
 #ahb4        ,magnitude1 relation of1  
to minuteness1 v4 #age-agg2      love of

 mere size1 v4 #agf2      influence of1 
on different minds1 v4 #agg4      ,man1 
his use and function1 ii4 #d2      his  
business in the world1 iii4 #dd1 v4 #a2 
three orders of1 iii4 #bhf2             
characteristics of a great1 iii4 #bfj2  
perfection of threefold1 v4 #cbf2       
vital beauty in1 ii4 #aaa-aca2          
present and former character of1 iii4   
#adi-aea2      intelligibility necessary
 to a great1 iv4 #gd2      adaptation of
 plants to needs of1 v4 #b1 #c2         
influence of scenery on1 v4 #acc-ace2   
lessons learnt by1 from natural beauty1 
v4 #adf2      result of unbelief in1 v4 
#cde2      how to get noblest work out  
of1 v4 #cdf-cdh2      love and trust    
necessary to development of1 v4 #cdg2   
divided into five classes1 v4 #aei-afb2 
how to perceive a noble spirit in1 iv4  
#ah2      when intemperate1 ii4 #ac2    
pursuits of1 how divided1 ii4 #h1 v4    
#aei-afb2      life of1 the rose and    
cankerworm1 v4 #cbd1 #ccb2      not     
intended to be satisfied by earthly     

beauty1 i4 #bjd1 iv4 #aca2      his     
happiness1 how constituted1 iii4 #cjc1  
v4 #cbg-ccj2      his idea of finish1   
iii4 #aac2      society necessary to the
 development of1 ii4 #aaf2      noblest 
tone and reach of life of1 v4 #cca4     
,marble1 domestic use of1 iv4 #cgj2     
fitted for sculpture1 iv4 #abg2         
colors of1 iv4 #adj4      ,medival1 ages
 compared with modern1 iii4 #bej2       
not dark1 iii4 #beb2      mind1 how     
opposed to ,greek1 iii4 #aic2           
faith1 life the expression of man's     
delight in ,god's work1 iii4 #bag2      
admiration of human beauty1 iii4 #aig2  
knights1 iii4 #aib-aie2      feeling    
respecting mountains1 iii4 #aib1 #aif1  
#bbi1 iv4 #cgg2      want of gratitude1 
iii4 #aic2      sentimental enjoyment of
 nature1 iii4 #aib2      dread of thick 
foliage1 iii4 #bac2      love for color1
 iii4 #bai1 #bbj2      dislike of rugged
 stone1 iv4 #cja2      love of cities1  
v4 #d2      love of gardens1 iii4 #aia2 
love of symmetry1 iii4 #aii2            

neglect of earth's beauty1 v4 #e1 iii4  
#adf2      love of definition1 iii4     
#bji2      idea of education1 v4 #e2    
landscape1 the fields1 iii4 #aia-bbh2   
the rocks1 iii4 #bbi-bdg4      ,mica1   
characteristics of1 iv4 #aje2           
connected with chlorite1 iv4 #aac2      
use of the word1 iv4 #aad2      flake   
of1 typical of strength in weakness1 iv4
 #bci4      ,michelet1 ,l',insecte1     
quoted on magnitude1 v4 #agf4           
,middle ,ages1 spirit of the1 iii4 #aea2
      deficiency in ,shakspere's        
conception of1 iv4 #cfd-cfh2            
baronial life in the1 iii4 #aib1 #aie2  
neglect of agriculture in1 iii4 #aib2   
made earth a great battlefield1 v4 #e4  
,see ,medival4      ,mill1 ,j4 ,s41 ,on 
,liberty1 v4 #agd4      ,milton1        
characteristics of1 ii4 #add1 iii4 #bhe1
 #bif2      his use of the term expanse1
 iv4 #hc2      and ,dante's             
descriptions1 comparison between1 ii4   
#afc1 iii4 #bji2      misuse of the term
 enamelled by1 iii4 #bbc2      instances

 of imagination1 ii4 #add4      ,mind1  
independence of1 ii4 #aia2              
visibleoperation of1 on the body1 ii4   
#aac4      ,minuteness1 value of1 v4    
#age-agg2      influence of1 on         
different minds1 v4 #agg4      ,see     
,magnitude4      ,mist1 of what typical1
 iv4 #gj2      ,copley ,fielding's love 
of1 iv4 #ge4      ,mistakes1 great1     
chiefly due to pride1 iv4 #ej4          
,moderation1 value of1 ii4 #hd4         
,modern age1 characteristics of1 iii4   
#bea1 #bed1 #bfd1 #bgf2      costume1   
ugliness of1 iii4 #bee1 v4 #bgc 7note72 
romance of the past1 iii4 #bee2         
criticism1 iv4 #chi2      landscape1 i4 
#dbd1 ii4 #aei1 iii4 #bdh2      mind1   
pathetic fallacy characteristic of1 iii4
 #afh4      ,moisture1 expressed by     
fulness of color1 iv4 #bde4      ,moss1 
colors of1 iv4 #acj1 v4 #ii2      beauty
 and endurance of1 v4 #ajj4             
,mountaineer1 false theatrical idea of1 
iv4 #cba2     regarded as a term of     
reproach by ,dante1 iii4 #bda2      same

 by ,shakspere1 iv4 #cga2      his      
dislike of his country1 iii4 #ahb2      
hardship of1 iv4 #cce2      his life of1
 gloom1 iv4 #cbj4      ,mountains 7see  
also ,banks1 ,crests1 ,dbris1 c471 uses 
and functions of1        iv4 #ia2       
influences of1 on artistic power1 iv4   
#cef2      influence on purity of       
religion1 doctrine1 and practice1 iv4   
#cea2      monkish view of1 iv4 #cgg1   
iii4 #aif2      structure of1 i4 #cjj1  
iv4 #aeg2      materials of1 i4 #bga1   
iv4 #ij2      principal laws of1 i4     
#bgj1 #cjb2      spirit of1 i4 #bga2    
false color of 7,salvator and ,titian71 
i4 #aeh2      multiplicity of feature1  
i4 #bii2      fulness of vegetation1 iv4
 #bia2      contours of1 i4 #bih1 iv4   
#ada1 #aeg1 #ahb1 #bgf1 #cji2           
curvature of1 i4 #bif1 iv4 #ahf1 #aib1  
#bhb1 #bhg2      appearances of1 i4     
#bha1 #bhc2      foreground1 beauty of1 
i4 #ii1 iv4 #ii2      two regions in1   
iv4 #agb2      superior beauty of1 iv4  
#ia1 #cdf1 #cdh2      false ideal of    

life in1 iv4 #cai2      decomposition1  
iv4 #ajc1 #acg1 #afi1 #cji2             
sanctity of1 iii4 #aif2      lessons    
from decay of1 iv4 #cae2      regularity
 and parallelism of beds in1 iv4 #bjg2  
exaggeration in drawing of1 ii4 #bjh1   
iv4 #age1 #aij2      love of1 iii4 #bej1
 #bei1 #bhh1 iv4 #cgf2      mentions of1
 in ,scripture1 iii4 #aif1 iv4 #cgg2    
,moses on ,sinai1 iv4 #cgh2             
,transfiguration1 iv4 #cha2             
construction of ,northern ,alpine1 iv4  
#bhf1 iv4 #cbd2      glory1 iv4 #cdd1   
#cde2      lift the lowlands on their   
sides1 iv4 #ib2      mystery of1        
unfathomable1 iv4 #aee1 #agd2           
material of ,alpine1 a type of strength 
in weakness1 iv4 #bci2      ,dante's    
conception of1 iii4 #bbi1 #bcj1 #bci2   
,dante's repugnance to1 iii4 #bdj2      
influence of the ,apennines on ,dante1  
iii4 #bca2      medival feeling         
respecting1 iii4 #aia1 #bbi2            
symbolism of1 in ,dante1 iii4 #bdj2     
not represented by the ,greeks1 iii4    

#ade2      scenery not attempted by old 
masters1 i4 #bgh2      influence of1 iv4
 #cdd1 #cef2      the beginning and end 
of natural scenery1 iv4 #cdd4           
,mountains1 central1 their formation and
 aspect1 i4 #bge-bhg4      ,mountain    
gloom1 iv4 #cag-cdc2      life in       
,alpine valleys1 iv4 #cbj2      love of 
horror1 iv4 #cbh-ccb2      ,romanism1   
iv4 #ccc2      disease1 iv4 #cce2       
instance1 ,sion in the ,valais1 iv4     
#cci4      ,mountains1 inferior1 how    
distinguished from central1 i4 #bij2    
individual truth in drawing of1 i4 #cjd4
      ,mystery1 of nature1 i4 #cg1 iv4  
#fg1 #hj2      never absent in nature1  
iv4 #eh2      noble and ignoble1 iv4    
#gj1 #gc1 #gd2      of execution1       
necessary to the highest excellence1 i4 
#cg1 iv4 #fb2      in                   
,pre-,raphaelitism1 iv4 #fa2      sense 
of delight in1 iv4 #fi2      ,turnerian1
 essential1 iv4 #ef-fg2      wilful1 iv4
 #fh-ha4      ,mythology1 ,renaissance  
paintings of1 iii4 #fb2      ,apollo and

 the ,python1 v4 #cbb2      ,calypso1   
the concealer1 v4 #baa2      ,ceto1 deep
 places of the sea1 v4 #ach1 #cjd2      
,chrysaor1 angel of lightning1 v4 #adj2 
,danae's golden rain1 v4 #adj2          
,danades1 sieves of1 v4 #adj2           
,dragon of ,hesperides1 v4 #cjb1 #cjh1  
#cji2      ,eurybia1 tidal force of the 
sea1 v4 #ach1 #cjd2      ,fates1 v4     
#cja2      ,garden of ,hesperides1 v4   
#cjj-caf2      ,goddess of ,discord1    
,eris1 v4 #cje-caj2      ,gorgons1      
storm-clouds1 v4 #ach1 #cjd2      ,grai1
 soft rain-clouds1 #ach1 #cjd2          
,hesperides1 v4 #cjc1 #caj2             
,nereus1 god of the sea1 v4 #ach1 #cjc2 
,minerva's shield1 ,gorgon's head on1 v4
 #adj2      ,muses1 v4 #afc2            
,pegasus1 lower rain-clouds1 v4 #adj2   
,phorcys1 malignant angel of the sea1 v4
 #ach1 #cjc2      ,thaumas1 beneficent  
angel of the sea1 v4 #ach1 #cjd4        
,nature1 infinity of1 i4 #fd1 #ff1      
#afd-afh1 #aih1 #bai1 #bbd1 iii4 #aba   
7drawing of leafage71 iv4 #bi1 #bfg1    

#cjc1 i4 #gg2      variety of1 i4 #ee1  
#afi1 #bia1 v4 #b-e2      gradation in1 
ii4 #dg1 iv4 #abb1 #bhg2      curvature 
in1 ii4 #df1 #fj1 iv4 #bga1 #bgb2       
colors of1 i4 #gj1 #afi1 #ceb1 iii4 #ce2
      finish of1 iii4 #aab1 #aba1 #abb2 
fineness of1 iv4 #cjd2      redundancy  
of1 iii4 #abb1 v4 #ii2      balance of1 
v4 #fd2      inequality of1 v4 #bb2     
pathetic treatment of1 v4 #agg2         
always imaginative1 ii4 #aeh2      never
 distinct1 never vacant1 i4 #aic2       
love of1 intense or subordinate1        
classification of writers1 iii4 #bhe2   
love of1 an indication of sensibility1  
iii4 #bhe2      love of 7moral of       
landscape71 iii4 #bhe-cjg2      want of 
love of in old masters1 i4 #gg1 iii4    
#cbe2      lights and shadows in1 i4    
#ahj1 #caa1 iv4 #cd2      organic and   
inorganic beauty of1 i4 #bhf1 ii4 #if2  
highest beauty rare in1 i4 #fe1 iv4     
#aca2      sympathy with1 iii4 #aid1    
#cjf1 ii4 #ia1 #ic1 iv4 #af-fg2      not
 to be painted1 i4 #fd2      imagination

 dependent on1 ii4 #aia2      how       
modified by inventive painters1 v4 #aha2
      as represented by old masters1 i4 
#gg1 #agf2      treatment of1 by old    
landscape painters1 i4 #ge2      feeling
 respecting1 of medival and ,greek      
knight1 iii4 #agg1 #aib1 #aic1          
#aig1 v4 #e2      drawing from          
7,encyclopdia ,britannica71 iv4 #bie4   
,see ,beauty1 ,deity1 ,greek1 ,medival1 
,mystery1 also ,clouds1 ,mountains1     
etc4      ,neatness1 modern love of1    
iii4 #aji1 iv4 #c-f2      vulgarity of  
excessive1 v4 #bga4      ,nereid's      
guard1 the1 v4 #bih-cac4      ,niggling1
 ugly misused term1 v4 #cf2      means  
disorganized and mechanical work1 v4    
#cg4        ,obedience1 equivalent of1  
faith1 and root of all human deed1 v4   
#afa2      highest form of1 v4 #afa1    
#afc2      law of1 v4 #afa4             
,obscurity1 law of1 iv4 #fa2      of    
intelligible and unintelligible         
painters1 iv4 #gd4      ,see ,mystery4  
,ornament1 abstract1 as used by         

,angelico1 ii4 #bbj2      realized1 as  
used by ,filippino ,lippi1 etc41 ii4    
#bbj2      language of1 distinct from   
language of expression1 i4 #aj2      use
 of animal form in1 ii4 #bjd2           
architectural1 i4 #aje1 #ajg1 ii4 #bje2 
symbolic1 ii4 #bjd-bje2      vulgar1 iv4
 #bgc2      in dress1 iv4 #cfd2         
curvature in1 iv4 #bgc1 #bgd2           
typical1 iii4 #bjf2      symmetrical1   
iii4 #bjg2      in backgrounds1 iii4    
#bjc2      floral1 iii4 #bjg-bjh4       
,outline exists only conventionally in  
nature1 iii4 #aad4        ,painters1    
classed by their objects1 #ast1         
exhibition of truth1 #bnd1              
deception of senses1 i4 #gd2            
classed as colorists and chiaroscurists1
 iv4 #dg2      functions of1 iii4 #be2  
great1 characteristics of1 i4 #h1 #abd1 
#cbf1 ii4 #db1 iii4 #bf-dc1 iv4         
#ch1 v4 #ahi1 #aij1 #ccb2      great1   
treatment of pictures by1 v4 #ahi2      
valgar1 characteristics of1 i4 #cbg1 ii4
 #hb1 #abh1 #acg1 iii4 #cb1 #fc1        

#age1 #beg1 #cah2      religious1 ii4   
#agd1 #age1 #aha1 #bag1 iii4 #dh1 #ei1  
iv4 #cee2      complete use of space by1
 i4 #bce2      duty of1 with regard to  
choice of subject1 ii4 #bai1 iv4 #ah    
7note72      interpreters of nature1    
iii4 #aci2      modern philosophical1   
error respecting color of1 iii4 #cj2    
imaginative and unimaginative1 ii4      
#aed-aeg2      should be guides of the  
imagination1 iii4 #acb2      sketches   
of1 v4 #ahj2      early ,italian1 i4    
#bdg1 iii4 #bdd2      ,dutch1 i4 xxxii4 
preface1 iii4 #ahb2 v4 #ce1 #cg1 #bgh2  
,venetian1 i4 #hj1 #cdf1 v4 #bad1 #bbi1 
#beh2      value of personification to1 
iii4 #if2      contrast between northern
 and ,italian1 in drawing of clouds1 v4 
#acc2      effect of the ,reformation   
on1 v4 #bej4      ,see ,art1 ,artists4  
,painting1 a language1 i4 #h2           
opposed to speaking and writing1 not to 
poetry1 iii4 #ac2      classification   
of1 iii4 #ab2      sacred1 iii4 #df2    
historical1 iii4 #ci1 #ij2              

allegorical1 delight of greatest men1   
iii4 #ie2      of stone1 iv4 #cja2      
kind of conception necessary to1 v4     
#ahg2      success1 how found in1 v4    
#agi2      of the body1 v4 #bbh2        
differs from illumination in            
representing shadow1 iii4 #bi2      mode
 of1 subordinate to purpose1 v4 #ahg2   
distinctively the art of coloring1 v4   
#caf2      perfect1 indistinctness      
necessary to1 iv4 #fd2      great1      
expressive of nobleness of mind1 v4     
#agh1 #aia4      ,see ,landscape        
,painting1 ,animal ,painting1 ,art1     
,artist1 ,truth1        ,medival1       
,renaissance4      ,past and present1   
sadly sundered1 iv4 #d4      ,peace1 v4 
#cci-cec2      of monasticism1 v4 #bhb2 
choice between the labor of death and   
the peace of obedience1 v4 #cec4        
,perfectness1 law of1 v4 #ahj-aib4      
,perspective1 arial1 iii4 #bdh2         
arial1 and tone1 difference between1 i4 
#ada2      despised in thirteenth       
century art1 iii4 #ah2      of clouds1  

v4 #aad1 #aah2      of ,turner's        
diagrams1 v4 #cda 7note74               
,pharisaism1 artistic1 iii4 #fj4        
,photographs give ,turnerian form1 and  
,rembrandtesque chiaroscuro1 iv4        
#fc4      ,pictures1 use of1 to give a  
precious1 non-deceptive resemblance of  
,nature1 iii4 #abf-adj2      noblest1   
characteristic of1 iii4 #ada2      value
 of estimate by their completeness1 i4  
#aa1 #dba2      ,venetian1 choice of    
religious subjects in1 v4 #bba2         
,dutch1 description of1 v4 #bgg1        
advantages of unreality in1 iii4 #aci1  
#adj2      as treated by uninventive    
artists1 iii4 #bj2      finish of1 iii4 
#aac2      of ,venice at early morn1 i4 
#cdc2      of mountaineer life1 iv4     
#cbj-cbb4      ,see ,realization1       
,finish4      ,picturesque1 nobleness   
of1 dependent on sympathy1 iv4 #ac2     
,turnerian1 iv4 #a-ae2      dependent on
 absence of trimness1 iv4 #e2      and  
on actual variety of form and color1 iv4
 #f2      lower1 heartless delight in   

decay1 iv4 #aa2      treatment of       
stones1 iv4 #cjb2      ,calais spire an 
instance of noble1 iv4 #g4              
,plagiarism1 greatest men oftenest      
borrowers1 iii4 #cci4      ,plains1     
structure of1 i4 #bgb2      scenery of  
compared with mountains1 iv4 #cdd1 #cde2
      spirit of repose in1 i4 #bga2     
effect of distance on1 i4 #bgc4         
,see ,lowlander4      ,plants1 ideal of1
 ii4 #aje-ajg2      sense of beauty in1 
ii4 #ib1 #ii2      typical of virtues1  
iii4 #bbg2      influence of            
constructive proportion on1 ii4 #fc2    
sympathy with1 ii4 #ia2      uses of1 v4
 #b1 #c2      tented and building1      
earth-plants and pillar-plants1 v4 #h2  
law of succession in1 v4 #bf2      seed 
of1 v4 #if2      roots of1 v4 #da2      
life of1 law of help1 v4 #aee2          
strawberry1 v4 #if2      ,sisymbrium    
,irio1 v4 #ie2      ,oxalis acetosella1 
i4 #hb 7note72      ,soldanella and     
ranunculus1 ii4 #hi1 #ajh2      black   
hollyhock1 v4 #bcd4      ,pleasure of   

overcoming difficulties1 i4 #af2        
sources of1 in execution1 i4 #cf2       
in landscape and architecture1 iv4 #cde4
 ,see ,pictures4      ,pleasures1 higher
 and lower1 ii4 #ae-ah2      of sense1  
ii4 #ab2      of taste1 how to be       
cultivated1 ii4 #bc4      ,poetry1 the  
suggestion by the imagination of noble  
ground for noble        emotion1 iii4   
#aj1 v4 #afc2      use of details in1   
iii4 #h2      contrasted with history1  
iii4 #g-i2      modern1 pathetic fallacy
 characteristic of1 iii4 #afh4          
,poets1 too many second-rate1 iii4 #aef2
      described1 v4 #afc2      two      
orders of 7creative and reflective71    
iii4 #aef 7note71 #afj2      great1 have
 acuteness of1 and command of1 feeling1 
iii4 #afc2      love of flowers by1 v4  
#ia2      why not good judges of        
painting1 iii4 #acc4      ,poplar grove1
  gracefulness of1 ,homer's love of1    
iii4 #ia1 #ahb1 #ahe4      ,popularity1 
i4 #b4      ,porphyry1 characteristics  
of1 iv4 #ajh-aab4      ,portraits1      

recognition1 no proof of real           
resemblance1 i4 #ee4      ,portraiture1 
use of1 by painters1 ii4 #aai1 iii4 #gh1
 #hi1 #ia1 iv4 #ceh2      necessary to  
ideal art1 ii4 #aai2      modern        
foolishness1 and insolence of1 ii4 #abb2
      modern1 compared with ,vandyke's1 
v4 #bgc 7note72      ,venetians painted 
praying1 v4 #bbj4      ,power1 ideas of1
 i4 #ac1 #ad2      ideas of1 how        
received1 i4 #cb2      imaginative1 iii4
 #ci2      never wasted1 i4 #ac2        
sensations of1 not to be sought in      
imperfect art1 i4 #cc2      importance  
technical1 its relation to expressional1
 iii4 #bi4      ,precipices1 how        
ordinarily produced1 i4 #bij1 iv4 #adh2 
general form of1 iv4 #bdf2              
overhanging1 in ,inferior ,alps1 iv4    
#bda2      steepness of1 iv4 #bcj2      
their awfulness and beauty1 iv4 #bda1   
#bfj2      action of years upon1 iv4    
#adg2      rarity of high1 among        
secondary hills1 i4 #cja4               
,pre-,raphaelites1 aim of1 i4 #dbe2     

unwise in choice of subject1 iv4 #ah2   
studies of1 iii4 #eh1 #ga 7note72       
rank of1 in art1 iii4 #ada1 iv4 #eg2    
mystery of1 iv4 #fa1 iii4 #bi1 #abg-abi2
      apparent variance between ,turner 
and1 iii4 #abi2      love of flowers1 v4
 #ia2      flower and leaf-painting of1 
i4 #cig1 v4 #ce4      ,pride1 cause of  
mistakes1 iv4 #ej2      destructive of  
ideal character1 ii4 #abb2      in      
idleness1 of medival knights1 iii4 #aib2
      in ,venetian landscape1 v4 #bah4  
,proportion1 apparent and constructive1 
ii4 #eg-fc2      of curvature1 ii4 #fj1 
iv4 #bff1 #bfg2      how differing from 
symmetry1 ii4 #gc2      of architecture1
 ii4 #ei2      ,burke's error1 ii4      
#fj-fb4      ,prosperity1 evil          
consequences of long-continued1 ii4     
#d-e4      ,psalm #aith1 meaning of1 v4 
#adg-adi4      ,purchase1 wise1 the root
 of all benevolence1 v4 #cbh 7note74    
,puritans and ,romanists1 iii4 #beb4    
,purity1 the expression of divine       
energy1 ii4 #ge2      type of           

sinlessness1 ii4 #gh2      how connected
 with ideas of life1 ii4 #gi2      of   
color1 ii4 #gi2      conquest of1 over  
pollution1 typified in ,apollo's        
contest1 v4 #cbc2      of flesh         
painting1 on what dependent1 ii4 #abd2  
,venetian painting of the nude1 v4 #bbg4
 ,see ,sensuality4      ,python1 the    
corrupter1 v4 #cbc4        ,rays1 no    
perception of1 by old masters1 i4 #bac2 
how far to be represented1 i4 #bac4     
,realization1 in art1 iii4 #af2         
gradually hardened feeling1 iv4 #dg-ea2 
not the deception of the senses1 iii4   
#af2      ,dante's1 iii4 #ah4 ,see      
,pictures4      ,refinement1 meaning of 
term1 ii4 #ha2      of spiritual and    
practical minds1 v4 #bhb-bhd2           
unconnected with toil undesirable1 v4   
#cbh4      ,reflection1 on distant      
water1 i4 #cee et seq42      effect of  
water upon1 i4 #cbi-cca2      to what   
extent visible from above1 i4 #ccf4     
,reformation1 strength of1 v4 #bdi2     
arrest of1 v4 #bej2      effect of1 on  

art1 iii4 #ee1 v4 #bea4      ,relation1 
ideas of1 i4 #ac1 #bi1 #ca4             
,religion1 of the ,greeks1 v4 #bjh-bac2 
of ,venetian painters1 v4 #bbj2      of 
,london and ,venice1 v4 #bia2           
,english1 v4 #cdc4      ,renaissance1   
painting of mythology1 iii4 #fb2        
art1 its sin and its ,nemesis1 iii4     
#bed2      sensuality1 iii4 #fc2        
builders1 v4 #agf2      spirit of1      
quotation from ,browning1 iv4 #cfh4     
,repose1 a test of greatness in art1 ii4
 #fe-fh1 #ajh1 #bbb2      characteristic
 of the eternal mind1 ii4 #fe2      want
 of1 in the ,laocoon1 ii4 #fi2      in  
scenery1 i4 #bgb2      ,turner's ,rietz 
7plate71 v4 #afd1 #afh2      instance   
of1 in ,michael ,angelo's ,plague of    
,serpents1 ii4 #fi 7note72      how     
consistent with ideal organic form1 ii4 
#ajh4      ,reserve1 of a gentleman     
7sensibility habitual71 v4 #bfi4        
,resilience1 law of1 v4 #cj1 #ga4       
,rest1 lines of1 in mountains1 iv4 #bgf1
 #caj1 #cab4      ,revelation1 v4 #aii4 

,reverence1 for fair scenery1 iii4 #beh2
      false ideas of 7,sunday religion71
 iii4 #adb2      for mountains1 iii4    
#bcj2      inculcated by science1 iii4  
#bef2      ,venetian1 the ,madonna in   
the house1 v4 #bbd4      ,reynolds1 on  
the grand style of painting1 iii4 #bc2  
on the influence of beauty1 iii4 #bc4   
,rocks1 iv4 #ii-acd2 formation of1 iv4  
#aac2      division of1 iv4 #ii1 #ajb1  
#aeg2      curvature of1 iv4 #aej1 #aed1
 #bac1 i4 #bie2      color of1 iv4 #ajg1
 #aba1 #acf1 #abc1 #abe1 #abi1 i4 #afi2 
cleavages of1 iv4 #cia2      great      
truths taught by1 iv4 #ajb2      aspect 
of1 i4 #bie1 #cji1 iv4 #aja1 #ajh1 #abj1
 #abh2      compound crystalline1 iv4   
#aja1 #aje2      compact crystalline1   
characteristics of1 iv4 #ajg1 #ajb1     
#aad1 #aei1 #bje2      slaty coherent1  
characteristics of1 iv4 #abb1 #bje1     
#bea2      compact coherent1 iv4 #abh1  
#aei2      junction of slaty and compact
 crystalline1 iv4 #aad1 #agc1 #bjb2     
undulation of1 iv4 #aaf1 #aah1 #aej2    

material uses of1 iv4 #aai1 #abg2       
effect of weather upon1 iv4 #ajd2       
effect of water on1 iv4 #bac2      power
 of1 in supporting vegetation1 iv4 #abe1
 #acj2      varied vegetation and color 
of1 i4 #afi2      contortion of1 iv4    
#aaf1 #aej1 #aeb1 #aeg2      dbris of1  
iv4 #aai2      lamination of1 iv4 #aac1 
#abg1 i4 #bia2      limestone1 iv4 #acj1
 #add1 #bji1 #bej1 #beh2      sandstone1
 iv4 #acb2      light and shade of1 i4  
#caa2      overhanging of1 iv4 #abj1    
#bed1 #beg2      medival landscape1 iii4
 #bbi-bdg2      early painters' drawing 
of1 iii4 #bci2      ,dante's dislike of1
 iii4 #bcj2      ,dante's description   
of1 iii4 #bca1 #bcf2      ,homer's      
description of1 iii4 #bcb1 #bci2        
classical ideal of1 iii4 #ahf2          
,scott's love of1 iii4 #bdb1 #bge4 ,see 
,stones4      ,romanism1 modern1 effect 
of on national temper1 iv4 #ccc1 and    
,puritanism1 iii4 #beb1 #bec4           
,saussure1 ,de1 description of curved   
cleavage by1 iv4 #cie2      quotation   

from1 iv4 #bid2      on structure of    
mountain ranges1 iv4 #agb2      love of 
,alps1 iv4 #cic4      ,scenery1 interest
 of1 rooted in human emotion1 v4 #aid2  
associations connected with1 iii4 #bij1 
#bib2      classical1 ,claude and       
,poussin1 v4 #bdd2      ,highland1 v4   
#bjf2      two aspects of1 bright and   
dark1 v4 #bjf2      of ,venice1 effects 
of1 v4 #baf2      of ,nuremberg1 effect 
of1 v4 #bcc2      of ,yorkshire hills1  
effect of1 i4 #abf1 v4 #bic2      ,swiss
 influence of1 iv4 #ccg-cgf1 v4 #hd-hg2 
of the ,loire1 v4 #afe2      effect of  
mountains on1 iv4 #cdc-cdf4 ,see        
,nature1 ,pictures4      ,scent1        
artificial1 opposed to natural1 ii4 #ae2
      different in the same flower1 i4  
#fg-fh4      ,science1 subservient to   
life1 ii4 #h2      natural1 relation to 
painting1 iii4 #cje2      interest in1  
iii4 #bef2      inculcates reverence1   
iii4 #bef2      every step in1 adds to  
its practical applicabilities1 ii4 #i2  
use and danger of in relation to        

enjoyment of nature1 iii4 #cjf2         
gives the essence1 art the aspects1 of  
things1 iii4 #cjf2      may mislead as  
to aspects1 iv4 #cia4      ,scott1      
representative of the mind of the age in
 literature1 iii4 #bei1        #bfc1    
#bgg2      quotations from1 showing his 
habit of looking at nature1 iii4 #bfh1  
#bfi2      ,scott's love of color1 iii4 
#bgc-bgf2      enjoyment of nature      
associated with his weakness1 iii4      
#bfi-bhg2      love of liberty1 iii4    
#bga2      habit of drawing slight      
morals from every scene1 iii4 #bgf1     
#bgg2      love of natural history1 iii4
 #bgf2      education of1 compared with 
,turner's1 iii4 #cjh1 #cji2             
description of ,edinburgh1 iii4 #bgc2   
death without hope1 v4 #cdi4            
,scripture1 sanctity of color stated in1
 iv4 #eb1 v4 #cai2      reference to    
mountains in1 iv4 #ih1 #aai1 #cgg2      
,sermon on the ,mount1 iii4 #cje1 #cch2 
reference to firmament1 iv4 #hj1 #hf    
7note71 #hg2      attention to meaning  

of words necessary to the understanding 
of1 v4        #adg-aea2      ,psalms1 v4
 #ade1 #adg4      ,sculpture1           
imagination1 how manifested in1 ii4     
#ahd1 #ahe2      suitability of rocks   
for1 iv4 #aaa1 #aab1 #aai2              
instances of gilding and coloring of    
7middle ages71 ii4 #bja2      statues in
 ,medici ,chapel referred to1 ii4 #bjh2 
at the close of #afth century devoted to
 luxury and indolence1 iii4        #fc2 
of #acth century1 fidelity to nature in1
 iii4 #bjc-bjh1 v4 #df-dh4      ,sea1   
painting of1 i4 #cgc-chb2      has never
 been painted1 i4 #cbh2                 
,stanfield's truthful rendering of1 i4  
#cec2      ,turner's heavy rolling1 i4  
#cgf2      seldom painted by the        
,venetians1 i4 #cdf2      misrepresented
 by the old masters1 i4 #cdd2      after
 a storm1 effect of1 i4 #chj1 #cha2     
,dutch painting of1 i4 #cdc2      shore 
breakers inexpressible1 i4 #cgd2        
,homer's feeling about the1 iii4 #afi2  
,angel of the1 v4 #acc-aea4 ,see ,foam1 

,water4      ,seer1 greater than        
thinker1 iii4 #acd1 #bfb4               
,sensibility1 knowledge of the beautiful
 dependent on1 i4 #eb2      an attribute
 of all noble minds1 i4 #eb2      the   
essence of a gentleman1 v4 #bfc2        
want of1 is vulgarity1 v4 #bgc2         
necessary to the perception of facts1 i4
 #eb2      to color and to form1        
difference between1 i4 #daf2      want  
of1 in undue regard to appearance1 v4   
#bfi2      want of1 in ,dutch painters1 
v4 #bgg4      ,sensitiveness1 criterion 
of the gentleman1 v4 #bfb1 #bff2        
absence of1 sign of vulgarity1 v4 #bgc2 
want of1 in ,dutch painters1 v4 #bgg1   
#bgh4      ,sensuality1 destructive of  
ideal character1 ii4 #abc2      how     
connected with impurity of color1 ii4   
#abd2      various degrees of1 in modern
 art1 ii4 #abf1 iii4 #ff2               
impressions of beauty1 not connected    
with1 ii4 #ab4 ,see ,purity4            
,seriousness of men of mental power1    
iii4 #beh2      want of1 in the present 

age1 ii4 #afi4      ,shade1 gradation   
of1 necessary1 ii4 #dg2      want of1 in
 early works of nations and men1 i4 #ed2
      more important than color in      
expressing character of bodies1 i4 #gj2 
distinctness of1 in nature's rocks1 i4  
#caa2      and color1 sketch of a great 
master conceived in1 i4 #dje2           
beautiful only when showing beautiful   
form1 ii4 #hb 7note74      ,shadow1     
cast1 importance of1 i4 #cca-ccc2       
strangeness of cast1 iv4 #gg2           
importance of1 in bright light1 i4      
#agd-age2      variety of1 in nature1 i4
 #afh2      none on clear water1 i4     
#cca2      on water1 falls clear and    
dark1 in proportion to the quantity of  
surface-matter1 i4 #ccb2      as given  
by various masters1 iv4 #dg2      of    
colorists right1 of chiaroscurists      
untrue1 iv4 #di2      exaggeration of1  
in photography1 iv4 #fc2      rejection 
of1 by medivals1 iii4 #bjj4             
,shakspere1 creative order of poets1    
iii4 #aef 7note72      his entire       

sympathy with all creatures1 iv4        
#cfb-cfc2      tragedy of1 compared with
 ,greek1 v4 #baj2      universality of1 
iii4 #ij1 #ia2      painted human nature
 of the sixteenth century1 iii4 #ij1 iv4
 #cfg2      repose of1 ii4 #fh2      his
 religion occult behind his equity1 v4  
#bbf2      complete portraiture in1 iii4
 #gh1 #ia1 iv4 #cfd2      penetrative   
imagination of1 ii4 #afe2      love of  
pine trees1 iv4 #cga1 v4 #hb2      no   
reverence for mountains1 iv4 #cfc1 #cgj2
      corrupted by the ,renaissance1 iv4
 #cfg2      power of1 shown by his      
self-annihilation1 i4 xxv4 7preface74   
,shelley1 contemplative imagination a   
characteristic of1 ii4 #aii2      death 
without hope1 v4 #cdi4      ,sight1     
greater than thought1 iii4 #bhb2        
better than scientific knowledge1 i4    
#ed2      impressions of1 dependent on  
mental observations1 i4 #ej1 #ec2       
elevated pleasure of1 duty of           
cultivating1 ii4 #bf2      of the whole 
truth1 v4 #bjf2      partial1 of ,dutch 

painters1 v4 #bgh2      not valued in   
the present age1 ii4 #d2      keenness  
of1 how to be tested1 ii4 #cg2          
importance of1 in education1 iv4 #dja1  
v4 #ccj4      ,simplicity1 second       
quality of execution1 i4 #cf2      of   
great men1 iii4 #hg4      ,sin1 ,greek  
view of1 v4 #baj2      ,venetian view   
of1 v4 #bag2      missing the mark1 v4  
#cci2      washing away of 7the fountain
 of love71 v4 #cba4      ,sincerity1 a  
characteristic of great style1 iii4 #ce4
      ,singing1 should be taught to     
everybody1 v4 #cbi 7note71 #ccj4        
,size4 ,see ,magnitude4      ,sketches1 
experimental1 v4 #aha2      determinant1
 v4 #ahb2      commemorative1 v4 #ahb4  
,sky1 truth of1 i4 #bjd1 #bfd2          
three regions of1 i4 #bag1 cannot be    
painted i4 #afa1 iv4 #ch2      pure     
blue1 when visible1 i4 #bef2      ideas 
of1 often conventional1 i4 #bjf2        
gradation of color in1 i4 #baj2         
treated of by the old masters as        
distinct from clouds1 i4 #bjh2          

prominence of1 in modern landscape1 iii4
 #bej2      open1 of modern masters1 i4 
#bad2      lessons to be taught by1 i4  
#bjd1 #bje2      pure and clear noble   
painting of1 by earlier ,italian and    
,dutch        school1 very valuable1 ii4
 #dc1 i4 #hd1 #baj2      appearance of1 
during sunset1 i4 #afa2      effect of  
vapor upon1 i4 #baa2      variety of    
color in1 i4 #bbe2      reflection of1  
in water1 i4 #cbg2      supreme         
brightness of1 iv4 #ch2                 
transparency of1 i4 #bjg2               
perspective of1 v4 #aad2      engraving 
of1 v4 #ajh1 #aab 7note74      ,snow1   
form of1 on ,alps1 i4 #bhf1 #bhg2       
waves of1 unexpressible1 when forming   
the principal element in        mountain
 form1 iv4 #bdj2      wreaths of1 never 
properly drawn1 i4 #bhf4      ,space1   
truth of1 i4 #aia-bjc2      deficiency  
of1 in ancient landscape1 i4 #bef2      
child-instinct respecting1 ii4 #ci2     
mystery throughout all1 iv4 #eh4        
,spiritual beings1 their introduction   

into the several forms of               
landscape art1 v4 #aid2      rejected by
 modern art1 v4 #bcf4      ,spenser1    
example of the grotesque from           
description of envy1 iii4 #id1          
#ie2      description of ,eris1 v4 #cji2
      description of ,hesperides fruit1 
v4 #caa4      ,spring1 our time for     
staying in town1 v4 #hi4      ,stones1  
how treated by medival artists1 iv4     
#cjb2      carefully realized in ancient
 art1 iv4 #cja2      false modern ideal1
 iv4 #cjh2      true drawing of1 iv4    
#cjh4 ,see ,rock4      ,style1 greatness
 of1 iii4 #bc-dc2      choice of noble  
subject1 iii4 #bf2      love of beauty1 
iii4 #ca2      sincerity1 iii4 #ce2     
invention1 iii4 #ch2      quotation from
 ,reynolds on1 iii4 #ac2      false use 
of the term1 i4 #ie2      the grand1    
received opinions touching1 iii4 #a-ae4 
,sublimity1 the effect on the mind of   
anything above it1 i4 #da2      ,burke's
 treatise on1 quoted1 i4 #ag2      when 
accidental and outward1 picturesque1 iv4

 #b1 #f1 #g4      ,sun1 first painted by
 ,claude1 iii4 #cbj2      early         
conventional symbol for1 iii4 #cbj2     
color of1 painted by ,turner only1 v4   
#cae4      ,sunbeams1 nature and cause  
of1 i4 #baa2      representation of1 by 
old masters1 i4 #baa4      ,sunsets1    
splendor of1 unapproachable by art1 i4  
#afa2      painted faithfully by ,turner
 only1 i4 #afb2      why1 when painted1 
seem unreal1 i4 #afb4      ,superhuman1 
the1 four modes of manifestation1 always
 in the form of a        creature1 ii4  
#bab1 #bac4      ,superiority1          
distinction between kind and degrees of1
 i4 #dag4      ,surface1 examples of    
greatest beauty of1 ii4 #gg2      of    
water1 imperfectly reflective1 i4 #cbi2 
of water1 impossible to paint1 i4 #cee4 
,swiss1 character1 iv4 #ace1 #cch1 #cgd2
      the forest cantons 7,under the    
,woods71 v4 #hf1 #hg4      ,symbolism1  
passionate expression of1 in ,lombardic 
griffin1 iii4 #bjf2      delight of     
great artists in1 iii4 #ig2      in     

,calais ,tower1 iv4 #c4      ,symmetry1 
type of divine justice1 ii4 #gb-gd2     
value of1 ii4 #bbb2      use of1 in     
religious art1 ii4 #gc1 iv4 #ge2        
love of1 in medival art1 iii4 #aii2     
appearance of1 in mountain form1 i4     
#big2      of curvature in trees1 i4    
#djj1 v4 #cd2      of tree-stems1 v4    
#eh1 #fj2      of clouds1 i4 #bai4      
,sympathy1 characteristics of1 ii4 #ic1 
#afi2      condition of noble           
picturesque1 iv4 #aj1 #ab1 #ad2      the
 foundation of true criticism1 iii1 #bb2
      cunning associated with absence   
of1 v4 #bff2      necessary to detect   
passing expression1 iii4 #fg2      with 
nature1 ii4 #ia1 #ic1 iii4 #agi1 #aic1  
iv4 #ad1 #ae2      with humanity1 ii4   
#afi1 iv4 #aa2      absence of1 is      
vulgarity1 iii4 #hc1 v4 #bfd2      mark 
of a gentleman1 v4 #bfc1 #bfd4          
,system1 establishment of1 often        
useless1 iii4 #b2      of chiaroscuro1  
of various artists1 iv4 #db4            
,taste1 definition of1 i4 #bf2          

right1 characteristics of1 ii4 #be2     
a low term1 indicating a base feeling   
for art1 iii4 #fd1 #fe2      how        
developed1 ii4 #ba2      injustice and  
changefulness of public1 i4 #dah2       
purity of1 how tested1 ii4 #be2         
classical1 its essence1 v4 #bdc2        
present fondness for unfinished works1  
i4 #dbj1 ii4 #hb4      ,temperate1 right
 use of the word1 ii4 #ac4              
,tennyson1 rich coloring of1 iii4 #beg2 
subdued by the feelings under which he  
writes1 iii4 #afj2      instances of the
 pathetic fallacy in1 iii4 #afg1 #bfg2  
sense of beauty in1 v4 #ccb2      his   
faith doubtful1 iii4 #bec4              
,theoretic ,faculty1 first perfection   
of1 is ,charity1 ii4 #ij2      second   
perfection of1 is justice of moral      
judgment1 ii4 #if2      three operations
 of1 ii4 #aja2      how connected with  
vital beauty1 ii4 #ia2      how related 
to the imagination1 ii4 #aeg2           
should not be called sthetic1 ii4 #ab2  
as concerned with moral functions of    

animals1 ii4 #ig1 #ih4      ,theoria1   
meaning of1 ii4 #ab1 #ah2               
derivation of1 ii4 #bc2      the service
 of ,heaven1 ii4 #adj2      what sought 
by ,christian1 ii4 #ah4      ,thought1  
definition of1 i4 #bi2      value of1 in
 pictures1 i4 #aj2      representation  
of the second end of art1 i4 #de-dg2    
how connected with knowledge1 i4 #dg2   
art1 in expression of individual1 i4    
#dd2      choice of incident1 expressive
 of1 i4 #bi2      appreciation of1 in   
art1 not universal1 i4 #df4             
,thoughts1 highest1 depend least on     
language1 i4 #i2      various1 suggested
 in different minds by same object1 iii4
 #bhc1 #bhd4      ,tone1 meaning of1    
right relation of shadows to principal  
light1 i4 #adj2      truth of1 i4       
#adj-aed2      a secondary truth1 i4    
#gb2      attention paid to1 by old     
masters1 i4 #ge1 #ada2      gradation   
more important than1 i4 #adi2      cause
 of want of1 in pictures1 i4 #ada4      
,topography1 ,turnerian1 iv4 #af-cc2    

pure1 preciousness of1 iv4 #aj1 #ag2    
slight exaggeration sometimes allowed   
in1 iv4 #cb2      sketch of ,lausanne1  
v4 #ahe4      ,torrents1 beneficent     
power of1 iv4 #bhe2      power of1 in   
forcing their way1 iv4 #beh1 #bei1 #cah2
      sculpture of earth by1 iv4 #bfb2  
mountains furrowed by descent of1 i4    
#big1 iv4 #cab2      curved lines of1 i4
 #cgj1 iv4 #cab4      ,transparency1    
incompatible with highest beauty1 ii4   
#gg2      appearance of1 in mountain    
chains1 i4 #bha2      wanting in ancient
 landscape1 not in modern1 i4 #bae1     
#bcd2      of the sky1 i4 #bjg2      of 
bodies1 why admired1 ii4 #gg2           
ravelling1 best kind of1 iii4 #bic4     
,tree1 aspen1 iv4 #gg1 #gh2 willow1 v4  
#fh2      black spruce1 v4 #gh4         
,tree boughs1 falsely drawn by ,claude  
and ,poussin1 i4 #chi1 #cia1 v4 #fe2    
rightly drawn by ,veronese and ,durer1  
v4 #ff1 #fg2      complexity of1 i4     
#chi2      angles of1 i4 #cib2      not 
easily distinguished1 i4 #gj2           

diminution and multiplication of1 i4    
#chh-chi2      appearance of tapering   
in1 how caused1 i4 #che2      loveliness
 of1 how produced1 v4 #fd2      subtlety
 of balance in1 v4 #fd2      growth of1 
v4 #fa2      nourishment of1 by leaves1 
v4 #da2      three conditions of        
branch-aspect--spring1 caprice1 and     
fellowship1        v4 #fc-ga4           
,trees1 outlines of1 iii4 #aad2         
ramifications of1 i4 #chf1 v4 #eh1 #fj1 
#fb2      the most important truth      
respecting 7symmetrical terminal curve71
 i4        #djj2      laws common to    
forest1 i4 #che2      poplar1 an element
 in lovely landscape1 i4 #abi1 iii4     
#ahf2      superiority of1 on mountain  
sides1 iv4 #cdh1 v4 #gh-gi2             
multiplicity of1 in ,swiss scenery1 iv4 
#bhi1 #bij2      change of color in     
leafage of1 iv4 #bfa2      classical    
delight in1 iv4 #gf1 iii4 #ahd2         
examples of good and bad finish in      
7plates71 iii4 #aaf1 #aag2      examples
 of ,turner's drawing of1 i4 #cid2      

classed as builders with the shield and 
with the sword1 v4 #h2      laws of     
growth of1 v4 #ag1 #di1 #gb2            
mechanical aspect of1 v4 #dj2           
classed by leaf-structure--trefoil1     
quatrefoil1 and cinqfoil1 v4 #ai2       
trunks of1 v4 #dj1 #ef2      questions  
concerning1 v4 #ea2      how            
strengthened1 v4 #da2      history of1  
v4 #eb2      love of1 v4 #d2      ,dutch
 drawing of1 bad1 v4 #fh1 #ga2      as  
drawn by ,titian and ,turner1 i4 #cib1  
#cid2      as rendered by ,italian      
school1 i4 #chd4      ,trees1 pine1 v4  
#h-cj1 #gi1 #ib2      ,shakspere's      
feeling respecting1 iv4 #cga1 v4 #hc2   
error of painters in representing1 iv4  
#cdf 7note72      perfection of1 v4     
#hj-hc2      influence on ,swiss and    
northern nations1 v4 #hd4      ,truth1  
in art1 i4 #ba1 #df1 #dg1 #gd1 iii4 #ce2
      ,greek idea of1 v4 #bfg2          
blindness to beauty of1 in vulgar minds1
 v4 #bfh2      half1 the worst          
falsehood1 v4 #bfh2      standard of all

 excellence1 i4 #dag2      not easily   
discerned1 i4 #ej1 #ea1 #ec2      first 
quality of execution1 i4 #cg2           
many-sided1 the author's seeming        
contradiction of himself1 v4 #bga       
7note72      essential to real          
imagination1 ii4 #afa1 #ahh2            
essential to invention1 v4 #aia2        
highest difficulty of illustrating the1 
i4 #daj2      laws of1 in painting1 iii4
 vii4 7preface72      ideas of1 i4 #bc1 
#bd2      infinity essential to1 i4     
#bci2      sometimes spoken through evil
 men1 ii4 #acg2      imaginative        
preciousness of1 iv4 #cj2               
individual1 in mountain drawing1 i4     
#cje2      wisely conveyed by grotesque 
idealism1 iii4 #if2      no vulgarity   
in1 iii4 #hb2      dominion of1         
universal1 iii4 #afg2      error of     
confounding beauty with1 ii4 #cj1 iii4  
#cb 7note72      pictures should present
 the greatest possible amount of1 iii4  
#aci2      sacrifice of1 to decision and
 velocity1 i4 #ci2      difference      

between imitation and1 i4 #ba1 #bb2     
absolute1 generally attained by         
colorists1 never by                     
chiaroscurists1 iv4 #db1 #dh2           
instance of imaginative 7the ,two       
,griffins71 iii4 #ajj4      ,truths1 two
 classes of1 of deception and of inner  
resemblance1 iii4        #abf2      most
 precious1 how attained1 iv4 #ch2       
importance of characteristic1 i4 #ei1   
#fb2      of specific form most         
important1 i4 #gb2      relative        
importance of1 i4 #eh2      nature's    
always varying1 i4 #ee2      value of   
rare1 i4 #fd2      particular1 more     
important than general1 i4 #eh2         
historical1 the most valuable1 i4 #ga2  
the finer1 importance of rendering1 i4  
#caf2      accurate1 not necessary to   
imitation1 i4 #ba1 #bb2      geological1
 use of considering1 i4 #cjc2           
simplest1 generally last believed1 iii4 
#cjj2      certain sacred1 how conveyed1
 iii4 #bhi1 #cjj2      choice of1 by    
artists1 the essence of style1 iii4 #cc1

 iv4 #df2      as given by old masters1 
i4 #ge2      selected by modern artists1
 i4 #gf4      ,types--light1 ii4 #ge2   
purity1 ii4 #ge-gi1 v4 #aef2            
impurity1 v4 #aef2      clouds1 v4 #aaj1
 #aad2      sky1 ii4 #dj-db2            
mountain decay1 iv4 #cae2      crags and
 ravines1 iv4 #bae2      rocks1 ii4 #gi1
 iv4 #ajb1 #aag2      mountains1 iv4    
#cdc2      sunlight1 v4 #ccb2           
color1 v4 #cca 7note71 #ccb2      mica  
flake1 iv4 #bci2      rainbow1 v4 #ccb2 
stones1 weeds1 logs1 thorns1 and spines1
 v4 #afa2      ,dante's vision of       
,rachel and ,leah1 iii4 #baf2           
mythological1 v4 #adj1 #cjj1 #cja2      
beauty1 ii4 #cj1 #hf1 v4 #ade2          
symmetry1 ,divine justice1 ii4 #gb1 #gd2
      moderation1 ii4 #ha-he2           
infinity1 ii4 #da1 iv4 #gi2      grass1 
humility and cheerfulness1 iii4 #bbf1   
#bbh2      rush1 humility1 iii4 #bbh2   
buds1 iii4 #bjf1 v4 #bj1 #ec1 #gd2      
laws of leaf growth1 v4 #ca1 #cb1 #cc1  
#ec1 #gd2      leaf death1 v4 #gd1 #ie2 

trees1 v4 #eb1 #gh1 #hj2                
crystallization1 v4 #cc4                
,ugliness1 sometimes permitted in       
nature1 i4 #fd2      is a positive      
thing1 iii4 #bd2      delight in1       
,martin ,schngauer1 iv4 #cbi1 #ccc2     
of modern costume1 v4 #bgc 7note71 iii4 
#bed1 #bee2      of modern architecture1
 iii4 #bec1 v4 #cdg4      ,unbelief1    
characteristic of all our most powerful 
men1 iii4 #bec2      modern ,english1   
,god is1 but cannot rule1 v4 #cdg4      
,unity1 type of ,divine                 
comprehensiveness1 ii4 #ej1 #eb1 #ef1   
#aeb1 #aec2      in nature1 i4 #cih2    
apparent proportion1 a cause of1 ii4    
#eg1 #fd2      instinct of1 a faculty of
 the associative imagination1 ii4 #aea4 
,utility1 definition of1 ii4 #d2      of
 art1 ii4 #c2      of details in poetry1
 iii4 #h2      of pictures1 iii4 #abe1  
#adb2      of mountains1 iv4 #ia4       
,valleys1 ,alpine beauty of1 iv4 #caa1  
#caf2      gloom in1 iv4 #cbf2          
,english1 iv4 #big2      ,french1 i4    

#abi1 iv4 #big4      ,variety1 necessity
 of1 arises out of that of unity1 ii4   
#ec-ee2      love of1 ii4 #ee2      when
 most conspicuous1 i4 #bac2      in     
nature1 i4 #ee1 #fe1 #afi1 #aih1 #bai1  
#bbd1 #bia4      ,vapor1 v4 #aji1 #abj1 
#abg1 #abi4      ,vegetables1 ideal form
 in1 ii4 #ajg4      ,vegetation1 truth  
of1 i4 #chd1 #djh2      process of form 
in1 v4 #gh2      in forest-lands1 v4    
#acc2      appointed service of1 v4 #b2 
in sculpture1 v4 #ce4      ,velocity in 
execution1 i4 #cg1 ii4 #ahg 7note72     
sacrifice of truth to1 i4 #ch4          
,venetian art 7,the ,wings of the       
,lion71 v4 #bji1 #bad2      conquest of 
evil1 v4 #bad1 seq41 #bag1 #bbi2        
scenery1 v4 #bad1 #bag2      idea of    
beauty1 v4 #bid2      faith1 v4 #bai2   
religious liberty1 v4 #bad2      mind1  
perfection of1 v4 #bbg2      contempt of
 poverty1 v4 #bhi2      unworthy        
purposes of1 v4 #bbg2      reverence1   
the ,madonna in the house1 v4 #bbc-bbh4 
,virtue1 effect of1 on features1 ii4    

#aag2      set forth by plants1 iii4    
#bbh2      of the ,swiss1 v4 #hd1 #he4  
,vulgarity of mind1 v4 #bfa-bgf2        
consists in insensibility1 v4 #bgd-bge2 
examples of1 v4 #bfi1 #bgj2      seen in
 love of mere physical beauty1 iii4 #fg2
      in concealment of truth and       
affectation1 iii4 #hb1 #hc2             
inconceivable by the greatest minds1    
iii4 #hb2      of ,renaissance builders1
 v4 #agf2      deathful selfishness1 v4 
#bgg2      among ,dutch painters1 v4    
#bgg-bhe2      how produced by vicious  
habits1 v4 #bfb4 ,see ,gentlemen4       
,war1 a consequence of injustice1 iii4  
#cbh2      lessons to be gathered from  
the ,crimean1 iii4 #cbi2      at the    
present day of what productive1 iii4    
#cbf2      modern fear of1 iii4 #bef4   
,water1 influence of1 on soil1 i4 #bgc2 
faithful representation of1 impossible1 
i4 #cbe-cbf2      effect produced by    
mountains on1 iv4 #ic2      functions   
of1 i4 #cbe2      laws of reflection in1
 i4 #cbi1 #ccf2      clear1 takes no    

shadow1 i4 #cca2      most wonderful of 
inorganic substances1 i4 #cbe2          
difference in the action of continuous  
and interrupted1 i4 #cfi2      in shade 
most reflective1 i4 #ccj2      painting 
of1 optical laws necessary to1 i4 #ccf2 
smooth1 difficulty of giving service to1
 i4 #cee1 #cef2      distant1 effect of 
ripple on1 i4 #cce2      swift execution
 necessary to drawing of1 i4 #cej2      
reflections in1 i4 #cbf2      motion in1
 elongates reflections1 i4 #cce-ccf2    
execrable painting of1 by elder         
landscape masters1 i4 #cbh2      as     
painted by the modern1 i4 #cdh-ced2     
as painted by ,turner1 i4 #cee-chc2     
as represented by medival art1 iii4     
#bji2      truth of1 i4 #cbe-chc4 ,see  
,sea1 ,torrents1 ,foam4      ,waves1 as 
described by ,homer and ,keats1 iii4    
#afh2      exaggeration of size in1 ii4 
#bji2      grander than any torrent1 iv4
 #cdg2      breakers in1 i4 #cgg2       
curves of1 i4 #cge4      ,wordsworth1   
his insight into nature 7illustration of

 ,turner71 i4 #agg2      love of plants1
 ii4 #ia2      good foreground described
 by1 i4 #hc-hd2      skies of1 i1 #bjg2 
description of a cloud by1 ii #fg2      
on effect of custom1 iii #bic2          
fancy and imagination of1 ii4 #aif-bjj2 
description of the rays of the sun1 i4  
#bbj4      ,work1 the noblest done only 
for love1 v4 #cdf4