than in Poussin's case.
But this dark relief is used in its full force only with the nearest
_leaves_ of the nearest group of foliage overhanging the foreground
from the left; and between these and the more distant members of the
same group, though only three or four yards separate, distinct aerial
perspective and intervening mist and light are shown; while the large
tree in the centre, though very dark, as being very near, compared with
all the distance, is much diminished in intensity of shade from this
nearest group of leaves, and is faint compared with all the foreground.
It is true that this tree has not, in consequence, the actual pitch of
shade against the sky which it would have in nature; but it has
precisely as much as it possibly can have, to leave it the same
proportionate relation to the objects near at hand. And it cannot but be
evident to the thoughtful reader, that whatever trickery or deception
may be the result of a contrary mode of treatment, this is the only
scientific or essentially truthful system, and that what it loses in
tone it gains in aerial perspective.

Sec. 10. And with the "Datur Hora Quieti."

Compare again the last vignette in Rogers's Poems, the "Datur Hora
Quieti," where everything, even the darkest parts of the trees, is kept
pale and full of graduation; even the bridge where it crosses the
descending stream of sunshine, rather lost in the light than relieved
against it, until we come up to the foreground, and then the vigorous
local black of the plough throws the whole picture into distance and
sunshine. I do not know anything in art which can for a moment be set
beside this drawing for united intensity of light and repose.

Observe, I am not at present speaking of the beauty or desirableness of
the system of the old masters; it may be sublime, and affecting, and
ideal, and intellectual, and a great deal more; but all I am concerned
with at present is, that it is not _true_; while Turner's is the
closest and most studied approach to truth of which the materials of art
admit.

Sec. 11. The second sense of the word "tone."

Sec. 12. Remarkable difference in this respect between the paintings and
drawings of Turner.

Sec. 13. Not owing to want of power over the material.

It was not, therefore, with reference to this division of the subject
that I admitted inferiority in our great modern master to Claude or
Poussin, but with reference to the second and more usual me