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fol. 55v 	 'Of Truth of Chiaroscuro'  (Pt II, Sn II, Ch III)    (3.313-15)
      
      
     small & exactly equal quantity of extreme light & extreme shade  all the mass
     of the picture being graduated & delicate middle tint .   Yet if you will take
     the rivers of France in your hand I will run over a few of the plates
     <with you> .
 5   Title page to the <Seine> {Loire} .  Chateau Gaillard . Vignette .    Black figures ^
     							 	{and boats stern} points
     of shade . sun & touches on castle . ^ {& wake of boat} of high light.    See how the
     	                           eye rests
     on both - letting all the middle tint go for nothing  .  and observe how
     sharp and separate all the lights are - <the> falling in spots ^ {&} edged by shadow
     not melting off into it .  even the sun {being} edged in the same way
10   Orleans .      The crowded figures give both the points of shade & light.
     <W>  Blois .   White figures in boats - buttresses of bridge - dome of church
     on right - points of light.  woman on horseback -  heads of boats
     of shadow .     Note especially the isolation of the light on the church dome .
     Chateau de Blois -    Torches & white figures .    for light .   roof of chapel
15   	on right & monks dresses for shade
     Beaugency .  Sails & spire for light - buoy & boats for shade .  <&>  An exquisite
     instance of isolation of sparkling lights .
     Amboise -   White sail & clouds -          Cypresses under castle  .
     Chateau of Amboise -    The boat in the centre with its reflections, needs
20   	no comment .    Note the <specklin> glancing high lights under
     the bridge .     This a very glorious & perfect instance
     St Julien .     Tours.  {<M[?]>}  Especially remarkable for the preservation of distinct
     points of gloom - because it is altogether in very deep shade .
      
fol. 56r	'Of Truth of Tone' (Pt II, Sn II, Ch  I)    (3.271?)
      
      
     										   33
     of its effect on different days.  independently of merely brilliancy , is <almost>
     as inconceivable <&>as inexplicable -   On some days - ^ {even} of bright sunshine .
     it is useless to show a picture depending much on its colours .  they
     	w<on't> {ill not} come out - and look <stale> & flat & cold - on other days - less
 5   bright perhaps - they come out with <a> ^ {the greatest} vigour & intensity <of
     which
     no conception could possible have been formed by their previous
     appearance .>	        Every one knows how {capriciously} the colours of an opal vary
     in intensity from day to day - & how rare the lights are which
     bring them fully out .       Now the expression of the strange - penetrating,
10   deep <felt> - neutral light - which , while it alters no colour , brings every
     colour up to a ^ {strange} pitch & key of pure - harmonious  . intensity -  is the
     <second> {chief} attribute of fine toned pictures ^ {by the great colourists}.  <and>
     							the best instances of it
     I remember are The Salutation  , of Rubens . in the Cathedral of Antwerp .
     & the Bacchus & Ariadne . of Titian . in our own gallery  .
15   Now . be it observed . I have nothing to do {at present} with the beauty - or
     								              desirableness
     or excellence . of any representation of these qualities of light .  I have
     only to do with their truth;  and their truth can only be violated .
     by representing <colours>* impossible ^ {<colours>} under the influence of the
     									                 coloured
     light chosen .  or colours pitched below . or above . the key of colour .
20   under the neutral light chosen .   In order to show what is false
     therefore .  I must determine what is impossible  .      6
      

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