o the reflections in this. One cow
is white, another white and red, evidently as clean as morning dew
can wash their sides. They could not have been so in a country where
there was the least coal smoke; so Turner has put a wreath of
perfectly white smoke through the trees; and lest that should not be
enough to show you they burnt wood, he has made his foreground of a
piece of copse just lopped, with the new fagots standing up against
it; and this still not being enough to give you the idea of perfect
cleanliness, he has covered the stones of the river-bed with white
clothes laid out to dry; and that not being enough yet, for the
river-bed might be clean though nothing else was, he has put a
quantity more hanging over the abbey walls.

9. _Only natural phenomena in their direct relation to
humanity_--these are to be your subjects in landscape. Rocks and water
and air may no more be painted for their own sakes, than the armor
carved without the warrior.

But, secondly. I said landscape is to be a _passionate representation_
of these things. It must be done, that is to say, with strength and
depth of soul. This is indeed to some extent merely the particular
application of a principle that has no exception. If you are without
strong passions, you cannot be a painter at all. The laying of paint
by an insensitive person, whatever it endeavors to represent, is not
painting, but daubing or plastering; and that, observe, irrespective
of the boldness or minuteness of the work. An insensitive person will
daub with a camel's hair-brush and ultramarine; and a passionate one
will paint with mortar and a trowel.

10. But far more than common passion is necessary to paint landscape.
The physical conditions there are so numerous, and the spiritual ones
so occult, that you are sure to be overpowered by the materialism,
unless your sentiment is strong. No man is naturally likely to think
first of anatomy in painting a pretty woman; but he is very apt to do
so in painting a mountain. No man of ordinary sense will take pleasure
in features that have no meaning, but he may easily take it in heath,
woods or waterfalls, that have no expression. So that it needs much
greater strength of heart and intellect to paint landscape than
figure: many commonplace persons, bred in good schools, have painted
the figure pleasantly or even well; but none but the strongest--John
Bellini, Titian, Velasquez, Tintoret, Mantegna, Sandro Botticelli,
Carpaccio