LITMIR.BIZ

      He does not want to paint blue mist in order to teach you the nature of evaporation; nor this lava stream, to explain to you the operation of gravity on ponderous and viscous materials. He paints the blue mist, because it brings life and joy to men, and the lava stream because it is death to them.

      5. Again here are two sea-pieces by Turner of the same period—photographs from them at least. One is a calm on the shore at Scarborough; the other the wreck of an Indiaman.

      These also are each painted with exquisitely artistic purpose: the first in opposition of local black to diffused sunshine; the second in the decorative grouping of white spots on a dark ground. That decorative purpose of dappling, or ποικιλια, is as studiously and deliciously carried out by Turner with the Dædalus side of him, in the inlaying of these white spots on the Indiaman's deck, as if he were working a precious toy in ebony and ivory. But Turner did not paint either of the sea-pieces for the sake of these decorous arrangements; neither did he paint the Scarborough as a professor of physical science, to show you the level of low tide on the Yorkshire coast; nor the Indiaman to show you the force of impact in a liquid mass of sea-water of given momentum. He painted this to show you the daily course of quiet human work and happiness, and that, to enable you to conceive something of uttermost human misery—both ordered by the power of the great deep.

      6. You may easily—you must, perhaps, for a little time—suspect me of exaggeration in this statement. It is so natural to suppose that the main interest of landscape is essentially in rocks and water and sky; and that figures are to be put, like the salt and mustard to a dish, only to give it a flavor.

      Put all that out of your heads at once. The interest of a landscape consists wholly in its relation either to figures present—or to figures past—or to human powers conceived. The most splendid drawing of the chain of the Alps, irrespective of their relation to humanity, is no more a true landscape than a painting of this bit of stone. For, as natural philosophers, there is no bigness or littleness to you. This stone is just as interesting to you, or ought to be—as if it was a million times as big. There is no more sublimity—per se—in ground sloped at an angle of forty-five, than in ground level; nor in a perpendicular fracture of a rock, than in a horizontal one. The only thing that makes the one more interesting to you in a landscape than the other, is that you could tumble over the perpendicular fracture—and couldn't tumble over the other. A cloud, looked at as a cloud only, is no more a subject for painting than so much feculence in dirty water. It is merely dirty air, or at best a chemical solution ill made. That it is worthy of being painted at all depends upon its being the means of nourishment and chastisement to men, or the dwelling place of imaginary gods. There's a bit of blue sky and cloud by Turner—one of the loveliest ever painted by human hand. But, as a mere pattern of blue and white, he had better have painted a jay's wing: this was only painted by him—and is, in reality, only pleasant to you—because it signifies the coming of a gleam of sweet sunshine in windy weather; and the wind is worth thinking of only because it fills the sails of ships, and the sun because it warms the sailors.

      7. Now, it is most important that you should convince yourselves of and fully enter into this truth, because all the difficulty in choosing subject arises from mistakes about it. I daresay some of you who are fond of sketching have gone out often in the most beautiful country, and yet with the feeling that there was no good subject to be found in it. That always arises from your not having sympathy enough with its vital character, and looking for physical picturesqueness instead. On the contrary, there are crude efforts at landscape-painting, made continually upon the most splendid physical phenomena, in America, and other countries without any history. It is not of the slightest use. Niagara, or the North Pole and the Aurora Borealis, won't make a landscape; but a ditch at Iffley will, if you have humanity in you—enough in you to interpret the feelings of hedgers and ditchers, and frogs.

      8. Next, here is one of the most beautiful landscapes ever painted, the best I have next to the Greta and Tees.

      The subject physically is a mere bank of grass above a stream with some wych-elms and willows. A level-topped bank; the water has cut its way down through the soft alluvion of an

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