n put
zero for her zero, 20 for her 20, and 40 for her 40; everything above 40
being lost in _white_ness. This is, with certain modifications, Paul
Veronese's system. Or, finally, we can put our zero for her zero, and
our 40 for her 100; our 20 for her 50, our 30 for her 75, and our ten
for her 25, proportioning the intermediate contrasts accordingly. This
is, with certain modifications, Turner's system;[19] the modifications,
in each case, being the adoption, to a certain extent, of either of the
other systems. Thus, Turner inclines to Paul Veronese; liking, as far as
possible, to get his hues perfectly true up to a certain point,--that is
to say, to let his zero stand for Nature's zero, and his 10 for her 10,
and his 20 for her 20, and then to expand towards the light by quick but
cunning steps, putting 27 for 50, 30 for 70, and reserving some force
still for the last 90 to 100. So Rembrandt modifies his system on the
other side, putting his 40 for 100, his 30 for 90, his 20 for 80; then
going subtly downwards, 10 for 50, 5 for 30; nearly everything between
30 and zero being lost in gloom, yet so as still to reserve his zero for
zero. The systems expressed in tabular form will stand thus:--

NATURE. REMBRANDT. TURNER. VERONESE.

0 0 0 0
10 1 10 10
20 3 20 20
30 5 24 30
40 7 26 32
50 10 27 34
60 13 28 36
70 17 30 37
80 20 32 38
90 30 36 39
100 40 40 40

Sec. 12. Now it is evident that in Rembrandt's system, while the
_contrasts_ are not more right than with Veronese, the _colors_ are all
wrong, from beginning to end. With Turner and Veronese, Nature's 10 is
their 10, and Nature's 20 their 20; enabling them to give pure truth up
to a certain point. But with Rembrandt _not one color_ is absolutely
true, from one side of the scale to the other; only the contrasts are
true at the top of the scale. Of course, this supposes Rembrandt's
system applied to a subject which shall try it to the utmost, such as
landscape. Rembrandt generally chose subjects in which the real colors
were very nearly imitable,--as single heads with dark backgrounds, in
which Nature's highest li