even though they may not be
represented. A great artist is just like a wise and hospitable man with
a small house: the large companies of truths, like guests, are waiting
his invitation; he wisely chooses from among this crowd the guests who
will be happiest with each other, making those whom he receives
thoroughly comfortable, and kindly remembering even those whom he
excludes; while the foolish host, trying to receive all, leaves a large
part of his company on the staircase, without even knowing who is there,
and destroys, by inconsistent fellowship, the pleasure of those who gain
entrance.

Sec. 18. But even those hosts who choose well will be farther distinguished
from each other by their choice of nobler or inferior companies; and we
find the greatest artists mainly divided into two groups,--those who
paint principally with respect to local color, headed by Paul Veronese,
Titian, and Turner; and those who paint principally with reference to
light and shade irrespective of color, headed by Leonardo da Vinci,
Rembrandt, and Raphael. The noblest members of each of these classes
introduce the element proper to the other class, in a subordinate way.
Paul Veronese introduces a subordinate light and shade, and Leonardo
introduces a subordinate local color. The main difference is, that with
Leonardo, Rembrandt, and Raphael, vast masses of the picture are lost in
comparatively colorless (dark, grey, or brown) shadow; these painters
_beginning_ with the _lights_, and going _down_ to blackness; but with
Veronese, Titian, and Turner, the whole picture is like the
rose,--glowing with color in the shadows, and rising into paler and more
delicate hues, or masses of whiteness, in the lights; they having
_begun_ with the _shadows_, and gone up _to_ whiteness.

Sec. 19. The colorists have in this respect one disadvantage, and three
advantages. The disadvantage is, that between their less violent hues,
it is not possible to draw all the forms which can be represented by the
exaggerated shadow of the chiaroscurists, and therefore a slight
tendency to flatness is always characteristic of the greater colorists,
as opposed to Leonardo or Rembrandt. When the form of some single object
is to be given, and its subtleties are to be rendered to the utmost, the
Leonardesque manner of drawing is often very noble. It is generally
adopted by Albert Durer in his engravings, and is very useful, when
employed by a thorough master, in many kinds of