able for its preservation of
deep points of gloom, because the whole picture is one of extended
shade.

I need scarcely go on. The above instances are taken as they happen to
come, without selection. The reader can proceed for himself. I may,
however, name a few cases of chiaroscuro more especially deserving of
his study. Scene between Quilleboeuf and Villequier,--Honfleur,--Light
Towers of the Heve,--On the Seine between Mantes and Vernon,--The
Lantern at St. Cloud,--Confluence of Seine and Marne,--Troyes,--the
first and last vignette, and those at pages 36, 63, 95, 184, 192, 203,
of Rogers's poems; the first and second in Campbell, St. Maurice in the
Italy, where note the black stork; Brienne, Skiddaw, Mayburgh, Melrose,
Jedburgh, in the illustrations to Scott, and the vignettes to Milton,
not because these are one whit superior to others of his works, but
because the laws of which we have been speaking are more strikingly
developed in them, and because they have been well engraved. It is
impossible to reason from the larger plates, in which half the
chiaroscuro is totally destroyed by the haggling, blackening, and
"making out" of the engravers.

FOOTNOTES

[22] Compare Sect. II. Chap. II. Sec. 6.

CHAPTER IV.

OF TRUTH OF SPACE:--FIRST AS DEPENDENT ON THE FOCUS OF THE EYE.[23]

Sec. 1. Space is more clearly indicated by the drawing of objects than by
their hue.

In the first chapter of this section I noticed the distinction between
real aerial perspective, and that overcharged contrast of light and
shade by which the old masters obtained their deceptive effect; and I
showed that, though inferior to them in the precise quality or tone of
aerial color, our great modern master is altogether more truthful in the
expression of the proportionate relation of all his distances to one
another. I am now about to examine those modes of expressing space, both
in nature and art by far the most important, which are dependent, not on
the relative hues of objects, but on the _drawing_ of them: by far the
most important, I say, because the most constant and certain; for nature
herself is not always aerial. Local effects are frequent which interrupt
and violate the laws of aerial tone, and induce strange deception in our
ideas of distance. I have often seen the summit of a snowy mountain look
nearer than its base, owing to the perfect clearness of the upper air.
But the _