rule obtains only from its being a
fact of nature, that the extremes of high light and pure color, can
exist only in points. The common rules respecting sixths and eighths,
held concerning light and shade, are entirely absurd and conventional;
according to the subject and the effect of light, the greater part of
the picture will be or ought to be light or dark; but that principle
which is not conventional, is that of all light, however high, there is
some part that is higher than the rest, and that of all color, however
pure, there is some part that is purer than the rest, and that generally
of all shade, however deep, there is some part deeper than the rest,
though this last fact is frequently sacrificed in art, owing to the
narrowness of its means. But on the right gradation or focussing of
light and color depends in great measure, the value of both. Of this, I
have spoken sufficiently in pointing out the singular constancy of it in
the works of Turner. Part II. Sect. II. Chap. II. Sec. 17. And it is
generally to be observed that even raw and valueless color, if rightly
and subtilely gradated will in some measure stand for light, and that
the most transparent and perfect hue will be in some measure
unsatisfactory, if entirely unvaried. I believe the early skies of
Raffaelle owe their luminousness more to their untraceable and subtile
gradation than to inherent quality of hue.

Sec. 19. Infinity not rightly implied by vastness.

Such are the expressions of infinity which we find in creation, of which
the importance is to be estimated, rather by their frequency than their
distinctness. Let, however, the reader bear constantly in mind that I
insist not on his accepting any interpretation of mine, but only on his
dwelling so long on those objects, which he perceives to be beautiful,
as to determine whether the qualities to which I trace their beauty, be
necessarily there or no. Farther expressions of infinity there are in
the mystery of nature, and in some measure in her vastness, but these
are dependent on our own imperfections, and therefore, though they
produce sublimity, they are unconnected with beauty. For that which we
foolishly call vastness is, rightly considered, not more wonderful, not
more impressive, than that which we insolently call littleness, and the
infinity of God is not mysterious, it is only unfathomable, not
concealed, but incomprehensible: it is a clear infinity, the darkness of
the pure unsearc