[18] Even here we shall be defeated by Nature, her utmost darkness being deeper than ours. See Part II. Sec. II. Chap. I. § 4-7. etc.
[19] When the clouds are brilliantly lighted, it may rather be, as stated in § 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 show 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 più 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."