o obtained; schools usually
in some measure childish, or restricted in intellect, and similarly
childish or restricted in their philosophies or faiths: but contented in
the restriction; and in the more powerful races, capable of advance to
nobler development than the Greek schools, though the consummate art of
Europe has only been accomplished by the union of both. How that union
was effected, I will endeavour to show you in my next lecture; to-day I
shall take note only of the points bearing on our immediate practice.

159. A certain number of you, by faculty and natural disposition,--and
all, so far as you are interested in modern art,--will necessarily have
to put yourselves under the discipline of the Greek or chiaroscuro
school, which is directed primarily to the attainment of the power of
representing form by pure contrast of light and shade. I say, the
"discipline" of the Greek school, both because, followed faithfully, it
is indeed a severe one, and because to follow it at all is, for persons
fond of colour, often a course of painful self-denial, from which young
students are eager to escape. And yet, when the laws of both schools are
rightly obeyed, the most perfect discipline is that of the colourists;
for they see and draw _everything_, while the chiaroscurists must leave
much indeterminate in mystery, or invisible in gloom: and there are
therefore many licentious and vulgar forms of art connected with the
chiaroscuro school, both in painting and etching, which have no parallel
among the colourists. But both schools, rightly followed, require first
of all absolute accuracy of delineation. _This_ you need not hope to
escape. Whether you fill your spaces with colours, or with shadows, they
must equally be of the true outline and in true gradations. I have been
thirty years telling modern students of art this in vain. I mean to say
it to you only once, for the statement is too important to be weakened
by repetition.

WITHOUT PERFECT DELINEATION OF FORM AND PERFECT GRADATION OF SPACE,
NEITHER NOBLE COLOUR IS POSSIBLE, NOR NOBLE LIGHT.

160. It may make this more believable to you if I put beside each other
a piece of detail from each school. I gave you the St. John of Cima da
Conegliano for a type of the colour school. Here is my own study of the
sprays of oak which rise against the sky of it in the distance, enlarged
to about its real size (Edu. 12). I hope to draw it better for you at
Venice; but this wil