"

saith Dyer, in his landscape of "Grongar Hill." The "glare-seekers" is
curious enough, when we remember the graduate's description of
landscapes, (of course Turner's,) and his excursions; but we think we
have seen many purples in Turner, and that opposed to his flaming red
in sunsets. He prefers warmth where most people feel cold--this is not
surprising; but as to picture "is it true?" "My own feelings would
guide me rather to the warm greys of such pictures as the
'Snow-Storm,' or the glowing scarlet and gold of the 'Napoleon' and
the 'Slave Ship.'" The two latter must be well remembered by all
Exhibition visitors; they were the strangest things imaginable in
colour as in every particle that should be art or nature. There is a
whimsical quotation from Wordsworth, the "keenest-eyed," page 145. His
object is to show the strength of shadow--how "the shadows on the
trunk of the tree become darker and more conspicuous than any part of
the boughs or limbs;" so, for this strength and blackness, we have--

"At the root
Of that tall pine, the shadow of whose bare
And slender stem, while here I sit at eve,
Oft stretches tow'rds me, like a long straight path,
Traced _faintly_ in the greensward."

"Of the truth of space," he says that "in a real landscape, we can see
the whole of what would be called the middle distance and distance
together, with facility and clearness; but while we do so, we can see
nothing in the foreground beyond a vague and indistinct arrangement of
lines and colours; and that if, on the contrary, we look at any
foreground object, so as to receive a distinct impression of it, the
distance and middle distance become all disorder and mystery. And
therefore, if in a painting our foreground is any thing, our distance
must be nothing, and _vice versa_." "Now, to this fact and principle,
no landscape painter of the old school, as far as I remember, ever
paid the slightest attention. Finishing their foregrounds clearly and
sharply, and with vigorous impression on the eye, giving even the
leaves of their bushes and grass with perfect edge and shape, they
proceeded into the distance with equal attention to what they could
see of its details," &c. But he had blamed Claude for not having given
the exactness and distinct shape and colour of leaves in foreground.
The fact is, the picture should be as a piece of nature framed in.
Within that frame, we should not see distinctly t