l law.

[72] Compare Part III. Sect. II. Chap. IV. Sec. 6, 7.

[73] This group I have before noticed as singularly (but, I doubt
not, accidentally, and in consequence of the love of the two great
painters for the same grand forms) resembling that introduced by
Tintoret in the background of his Cain and Abel.

[74] The above paragraphs I have left as originally written, because
they are quite true as far as they reach; but like many other
portions of this essay, they take in a very small portion of the
truth. I shall not add to them at present, because I can explain my
meaning better in our consideration of the laws of beauty; but the
reader must bear in mind that what is above stated refers,
throughout, to large masses of foliage seen under broad
sunshine,--and it has especial reference to Turner's enormous scale
of scene, and intense desire of light. In twilight, when tree-forms
are seen against sky, other laws come into operation, as well as in
subject of narrow limits and near foreground. It is, I think, to be
regretted that Turner does not in his Academy pictures sometimes
take more confined and gloomy subjects, like that grand one, near
the Chartreuse, of the Liber Studiorum, wherein his magnificent
power of elaborating close foliage might be developed; but, for the
present, let the reader, with respect to what has been here said of
close foliage, note the drawing of the leaves in that plate, in the
Aesacus and Hesperie, and the Cephalus, and the elaboration of the
foregrounds in the Yorkshire drawings; let him compare what is said
of Turner's foliage painting above in Part II. Sect. I. Chap. VII. Sec.
40, Sec. 41, and of Titian's previously, as well as Part III. Sect. I.
Chap. VIII., and Sect. II. Chap. IV. Sec. 21. I shall hereafter
endeavor to arrange the subject in a more systematic manner; but
what additional observations I may have to make will none of them be
in any wise more favorable to Gaspar, Salvator, or Hobbima, than the
above paragraphs.

[75] Perhaps in some instances, this may be the case with the trees
of Nicholas Poussin; but even with him the boughs only touch the
line of limit with their central _points_ of extremity, and are not
_sectors_ of the great curve--forming a part of it with expanded
extremities, as in nature. Draw a few straight lines, from the