everything is seen, and where in consequence the eye goes
to rest. But yet the high lights do not exhibit anything in themselves,
they are too bright and dazzle the eye; and having no shadows in them,
cannot exhibit form, for form can only be seen by shadow of some kind or
another. Hence the highest lights and deepest darks agree in this, that
nothing is seen in either of them; that both are in exceedingly small
quantity, and both are marked and distinct from the middle tones of the
landscape--the one by their brilliancy, the other by their sharp edges,
even though many of the more energetic middle tints may approach their
intensity very closely.

Sec. 13. The truth of Turner.

I need scarcely do more than tell you to glance at any one of the works
of Turner, and you will perceive in a moment the exquisite observation
of all these principles; the sharpness, decision, conspicuousness, and
excessively small quantity, both of extreme light and extreme shade, all
the mass of the picture being graduated and delicate middle tint. Take
up the Rivers of France, for instance, and turn over a few of the plates
in succession.

1. Chateau Gaillard (vignette.)--Black figures and boats, points of
shade; sun-touches on castle, and wake of boat, of light. See how the
eye rests on both, and observe how sharp and separate all the lights
are, falling in spots, edged by shadow, but not melting off into it.

2. Orleans.--The crowded figures supply both points of shade and light.
Observe the delicate middle tint of both in the whole mass of buildings,
and compare this with the blackness of Canaletto's shadows, against
which neither figures nor anything else can ever tell, as points of
shade.

3. Blois.--White figures in boats, buttresses of bridge, dome of church
on the right, for light; woman on horseback, heads of boats, for shadow.
Note especially the isolation of the light on the church dome.

4. Chateau de Blois.--Torches and white figures for light, roof of
chapel and monks' dresses for shade.

5. Beaugency.--Sails and spire opposed to buoy and boats. An exquisite
instance of brilliant, sparkling, isolated touches of morning light.

6. Amboise.--White sail and clouds; cypresses under castle.

7. Chateau of Amboise.--The boat in the centre, with its reflections,
needs no comment. Note the glancing lights under the bridge. This is a
very glorious and perfect instance.

8. St. Julien, Tours.--Especially remark