The reference to leaf colour of Rosa's trees does not altogether square with Ruskin 's reply to the criticism in The Weekly Chronicle of the passage in MP I:154 about the colour of the sky and the mountains. In answering the criticism of inaccuracy, he argues that all the colours in Salvator Rosa 's painting of Mercury and the Dishonest Woodman being 'sobered and brought down' by time. However what Ruskin says about the leaf colour can be justified not only from Mercury and the Woodman, but also from La Selva dei Filosofi, in the Pitti Palace in Florence. Ruskin uses La Selva dei Filosofi (which he calls Diogenes) in Modern Painters II ( Works, 4.243) as an example of Salvator Rosa 's 'habitual non-reference to nature'. Cook and Wedderburn point out, however, ( Works, 4.244n) that in his 1845 Notebook Ruskin refers to this painting having 'colour glowing and trees well studied'.