greater
Sun; and how it may show us that, even when the opening through which
the earth receives light is too small to let us see the Sun himself, the
ray of light that enters, if it comes straight from Him, will still bear
with it His image.

[255] In the smaller figure (32.), it will be seen that this
interruption is caused by a cart coming down to the water's edge; and
this object is serviceable as beginning another system of curves leading
out of the picture on the right, but so obscurely drawn as not to be
easily represented in outline. As it is unnecessary to the explanation
of our point here, it has been omitted in the larger diagram, the
direction of the curve it begins being indicated by the dashes only.

[256] Both in the Sketches in Flanders and Germany.

[257] If you happen to meet with the plate of Durer's representing a
coat of arms with a skull in the shield, note the value given to the
concave curves and sharp point of the helmet by the convex leafage
carried round it in front; and the use of the blank white part of the
shield in opposing the rich folds of the dress.

[258] Turner hardly ever, as far as I remember, allows a strong light to
oppose a full dark, without some intervening tint. His suns never set
behind dark mountains without a film of cloud above the mountain's edge.

[259]

"A prudent chief not always must display
His powers in equal ranks and fair array,
But with the occasion and the place comply,
Conceal his force; nay, seem sometimes to fly.
Those oft are stratagems which errors seem,
Nor is it Homer nods, but we that dream."

_Essay on Criticism._

[260] I am describing from a MS., _circa_ 1300, of Gregory's
"Decretalia" in my own possession.

[261] One of the most wonderful compositions of Tintoret in Venice, is
little more than a field of subdued crimson, spotted with flakes of
scattered gold. The upper clouds in the most beautiful skies owe great
part of their power to infinitude of division; order being marked
through this division.

[262] I fully believe that the strange grey gloom, accompanied by
considerable power of effect, which prevails in modern French art must
be owing to the use of this mischievous instrument; the French landscape
always gives me the idea of Nature seen carelessly in the dark mirror,
and painted coarsely, but scientifically, through the veil of its
perversion.

[263] Various other parts of this subject are entered int