lo's work here or
elsewhere, at his total carelessness of anatomical character except
only in the human body. It is very easy to round a dragon's neck, if
the only idea you have of it is that it is virtually no more than a
coiled sausage; and, besides, anybody can round anything if you have
full scale from white high light to black shadow.

88. But look here at Carpaccio, even in my copy. The colorist says,
"First of all, as my delicious paroquet was ruby, so this nasty viper
shall be black"; and then is the question, "Can I round him off, even
though he is black, and make him slimy, and yet springy, and close
down--clotted like a pool of black blood on the earth--all the same?"
Look at him beside Michael Angelo's, and then tell me the Venetians
can't draw! And also, Carpaccio does it with a touch, with one sweep
of his brush; three minutes at the most allowed for all the beast;
while Michael Angelo has been haggling at this dragon's neck for an
hour.

89. Then note also in Turner's that clinging to the earth--the
specialty of him--_il gran nemico_, "the great enemy," Plutus. His
claws are like the Clefts of the Rock; his shoulders like its
pinnacles; his belly deep into its every fissure--glued down--loaded
down; his bat's wings cannot lift him, they are rudimentary wings
only.

90. Before I tell you what he means himself, you must know what all
this smoke about him means.

Nothing will be more precious to you, I think, in the practical study
of art, than the conviction, which will force itself on you more and
more every hour, of the way all things are bound together, little and
great, in spirit and in matter. So that if you get once the right clue
to any group of them, it will grasp the simplest, yet reach to the
highest truths. You know I have just been telling you how this school
of materialism and clay involved itself at last in cloud and fire.
Now, down to the least detail of method and subject, that will hold.

91. Here is a perfect type, though not a complex one, of Gothic
landscape; the background gold, the trees drawn leaf by leaf, and full
green in color--no effect of light. Here is an equally typical
Greek-school landscape, by Wilson--lost wholly in golden mist; the
trees so slightly drawn that you don't know if they are trees or
towers, and no care for color whatever; perfectly deceptive and
marvelous effect of sunshine through the mist--"Apollo and the
Python." Now here is Raphael, exactly between t