t study, and to color perfectly is the
rarest and most precious power an artist can possess. Every other gift
may be erroneously cultivated, but this will guide to all healthy,
natural, and forcible truth; the student may be led into folly by
philosophers, and into falsehood by purists; but he is always safe if he
holds the hand of a colorist.

FOOTNOTES

[13] Part II. Sec. II. Chap I.

[14] Part III. Sec. I. Chap. V.

[15] Light from above is the same thing with reference to our
present inquiry.

[16] For which reason, I said in the Appendix to the third volume,
that the expression "finite realization of infinity" was a
considerably less rational one than "black realization of white."

[17] The _color_, but not the form. I wanted the contour of the top
of the Breven for reference in another place, and have therefore
given it instead of that of the Bouchard, but in the proper depth of
tint.

[18] Even here we shall be defeated by Nature, her utmost darkness
being deeper than ours. See Part II. Sec. II. Chap. I. Sec. 4-7. etc.

[19] When the clouds are brilliantly lighted, it may rather be, as
stated in Sec. 4. above, in the proportion of 160 to 40. I take the
number 100 as more calculable.

[20] It is often extremely difficult to distinguish properly between
the Leonardesque manner, in which local color is denied altogether,
and the Turneresque, in which local color at its highest point in
the picture is merged in whiteness. Thus, Albert Durer's noble
"Melancholia" is entirely Leonardesque; the leaves on her head, her
flesh, her wings, her dress, the wolf, the wooden ball, and the
rainbow, being all equally white on the high lights. But my drawing
of leaves, facing page 120, Vol. III., is Turneresque; because,
though I leave pure white to represent the pale green of leaves and
grass in high light, I give definite increase of darkness to four of
the bramble leaves, which, in reality, were purple, and leave a dark
withered stalk nearly black, though it is in light, where it crosses
the leaf in the centre. These distinctions could only be properly
explained by a lengthy series of examples; which I hope to give some
day or other, but have not space for here.

[21] It is notable, however, that nearly all the poisonous agarics
are scarlet or speckled, and wholesome ones brown or gray, as if to
s