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fol. 52v	 'Of Truth of  Chiaroscuro'  (Pt II, Sn II, Ch III)       (3.316n)
      
      
      
      
      
      
      
      
      
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20   #57#a cows head .   No <sur[?]wonder that Mithra is inimical to Taurus, if
     his business i<*.*><n>s to be taken out of his hands in this way  -  If cows heads
     are to be thus {gloriously} phosphorescent - the sun had much better <shut up shop>
     {give up the} -
      
fol. 53r  	'Of Truth of Tone' (Pt II, Sn II, Ch  I)    (3.271?)
      
      
												30
     nature of   These two necessary truths  .
     When a stream of <warm> light ^ {of a certain colour} falls on a group of figures -
     <a spot> ^ {or over a part <of> {or} the whole} of alandscape [sic]
     or^[?]   its colour more or less affects every local colour existing in the objects it
     enlightens.
     If it be warm .  white becomes yellow .  blue becomes grey - crimson becomes scarlet.
 5   and so on .  so that there is always a certain - definable . and asolute relation .
     between the change<s>d <of> {local} colour{s} ^ {& shades} expressive of the
     quality of light .   and under
     certain lights - certain colours are necessary - & certain colours impossible .
     Thus it is impossible that a pure cool blue should exist under a warm
     light .  because the purest blue that nature or art could produce . would
10   be turned in some degree grey green by it.     Where then, the change
     of the local colours is so exactly proportional & true  , that we feel - both
     what they are in themselves - and what is the colour of the light upon
     them . and that there is the same light on all of them , there is
     Truth of Tone .     Whether the light be warm or cool, or intense or feeble -
15   does not matter - if the relation of local colours & shades be properly
     observed in it . the tone of the picture is perfect.   It is a warm tone -
     or a cool tone - or a rich tone - as the case may be.  but still perfect .
     Thus the cool tone of Claudes mill, in the National Gallery . is as perfect
     as tone . as the glowing obscurity of Poussins sacrifice of <Abraham> {Isaac} in
20   the same room . 		
     Now it is not necessary , in landscape - that the same tone should pervade
     the whole picture - because the space <included> embraced is so large as to
      

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MW