rly perfect by adopted color; Titian and Tintoret
are essentially Gothic colorists, quite perfect by adopted
chiaroscuro.

66. I used the word "prismatic" just now of the schools of Crystal, as
being iridescent. By being studious of color they are studious of
division; and while the chiaroscurist devotes himself to the
representation of degrees of force in one thing--unseparated light,
the colorists have for their function the attainment of beauty by
arrangement of the divisions of light. And therefore, primarily, they
must be able to divide; so that elementary exercises in color must be
directed, like first exercises in music, to the clear separation of
notes; and the final perfections of color are those in which, of
innumerable notes or hues, every one has a distinct office, and can be
fastened on by the eye, and approved, as fulfilling it.

67. I do not doubt that it has often been matter of wonder among any
of you who had faith in my judgment, why I gave to the University, as
characteristic of Turner's work, the simple and at first unattractive
drawings of the Loire series. My first and principal reason was that
they enforced beyond all resistance, on any student who might attempt
to copy them, this method of laying portions of distinct hue side by
side. Some of the touches, indeed, when the tint has been mixed with
much water, have been laid in little drops or ponds, so that the
pigment might crystallize hard at the edge. And one of the chief
delights which any one who really enjoys painting finds in that art as
distinct from sculpture is in this exquisite inlaying or joiner's work
of it, the fitting of edge to edge with a manual skill precisely
correspondent to the close application of crowded notes without the
least slur, in fine harp or piano playing.

68. In many of the finest works of color on a large scale there is
even some admission of the quality given to a painted window by the
dark lead bars between the pieces of glass. Both Tintoret and
Veronese, when they paint on dark grounds, continually stop short with
their tints just before they touch others, leaving the dark ground
showing between in a narrow bar. In the Paul Veronese in the National
Gallery, you will every here and there find pieces of outline, like
this of Holbein's; which you would suppose were drawn, as that is,
with a brown pencil. But no! Look close, and you will find they are
the dark ground, _left_ between two tints brought close to ea