ght was little above his own; her 40 being then
truly representable by his 40, his picture became nearly an absolute
truth. But his system is only right when applied to such subjects:
clearly, when we have the full scale of natural light to deal with,
Turner's and Veronese's convey the greatest sum of truth. But not the
most complete deception, for people are so much more easily and
instinctively impressed by force of light than truth of color, that they
instantly miss the relative power of the sky, and the upper tones; and
all the true local coloring looks strange to them, separated from its
adjuncts of high light; whereas, give them the true contrast of light,
and they will not observe the false local color. Thus all Gaspar
Poussin's and Salvator's pictures, and all effects obtained by leaving
high lights in the midst of exaggerated darkness, catch the eye, and are
received for true, while the pure truth of Veronese and Turner is
rejected as unnatural; only not so much in Veronese's case as in
Turner's, because Veronese confines himself to more imitable things, as
draperies, figures, and architecture, in which his exquisite truth at
the bottom of the scale tells on the eye at once; but Turner works a
good deal also (see the table) at the _top_ of the natural scale,
dealing with effects of sunlight and other phases of the upper colors,
more or less inimitable, and betraying therefore, more or less, the
artifices used to express them. It will be observed, also, that in order
to reserve some force for the top of his scale, Turner is obliged to
miss his gradations chiefly in middle tints (see the table), where the
feebleness is sure to be felt. His principal point for missing the
midmost gradations is almost always between the earth and sky; he draws
the earth truly as far as he can, to the horizon; then the sky as far as
he can, with his 30 to 40 part of the scale. They run together at the
horizon; and the spectator complains that there is no distinction
between earth and sky, or that the earth does not _look solid enough_.

Sec. 13. In the upper portions of the three pillars 5, 6, 7, Plate +25+,
are typically represented these three conditions of light and shade,
characteristic, 5, of Rembrandt, 6, of Turner, and 7, of Veronese. The
pillar to be drawn is supposed, in all the three cases, white; Rembrandt
represents it as white on its highest light; and, getting the true
gradations between this highest light and extreme d