how us that things rising out of darkness and decay are always most
deadly when they are well drest.

[22] Hence the intense absurdity of endeavoring to "restore" the
color of ancient buildings by the hands of ignorant colorists, as at
the Crystal Palace.

[23] The redeemed Rahab bound for a sign a _scarlet_ thread in the
window. Compare Canticles iv. 3.

[24] The inconsistency between perfections of color and form, which
I have had to insist upon in other places, is exactly like that
between articulation and harmony. We cannot have the richest harmony
with the sharpest and most audible articulation of words: yet good
singers will articulate clearly: and the perfect study of the
science of music will conduct to a fine articulation; but the study
of pronunciation will not conduct to, nor involve, that of harmony.
So, also, though, as said farther on, _subtle_ expression can be got
without color, perfect expression never can; for the color of the
face is a part of its expression. How often has that scene between
Francesca di Rimini and her lover been vainly attempted by
sculptors, simply because they did not observe that the main note of
expression in it was in the fair sheet-lightning--fading and flaming
through the cloud of passion!

Per piu flate gli occhi ci sospinse
Quella lettura, _e scolorocci il viso_.

And, of course, in landscape, color is the principal source of
expression. Take one melancholy chord from the close of Crabbe's
Patron:

"Cold grew the foggy morn; the day was brief,
Loose on the cherry hung the crimson leaf.
The dew dwelt ever on the herb; the woods
Roared with strong blasts; with mighty showers, the floods
All green was vanished, save of pine and yew
That still displayed their melancholy hue;
Save the green holly, with its berries red
And the green moss that o'er the gravel spread."

[25] See Appendix 1. Modern Grotesque.

CHAPTER IV.

OF TURNERIAN MYSTERY:--FIRST, AS ESSENTIAL.

Sec. 1. In the preceding chapters we have shown the nature of Turner's art;
first, as respected sympathy with his subject; next, as respected
fidelity in local detail; and thirdly, as respected principles of color.
We have now finally to confirm what in various places has been said
respecting his principles of _delineation_, or that mysterious and