57. But farther: you see how intensely Turner felt precisely what the Fleming did not feel--the bend of the neck. Now this is not because Turner is a colorist, as opposed to the Fleming; but because he is a pure and highly trained Greek, as opposed to the Fleming's low Greek. Both, so far as they are aiming at form, are now working in the Greek school of Phidias; but Turner is true Greek, for he is thinking only of the truth about the swan; and De Wit is pseudo-Greek, for he is thinking not of the swan at all, but of his own Dutch self. And so he has ended in making, with his essentially piggish nature, this sleeping swan's neck as nearly as possible like a leg of pork. That is the result of academical work, in the hands of a vulgar person. 58. And now I will ask you to look carefully at three more pictures in the London Exhibition. The first, "The Nativity," by Sandro Botticelli.[10] It is an early work by him; but a quite perfect example of what the masters of the pure Greek school did in Florence. [Footnote 10: Now in the National Gallery, No. 1034.] One of the Greek main characters, you know, is to be [Greek: aprosopos], faceless. If you look first at the faces in this picture you will find them ugly--often without expression, always ill or carelessly drawn. The entire purpose of the picture is a mystic symbolism by motion and chiaroscuro. By motion, first. There is a dome of burning clouds in the upper heaven. Twelve angels half float, half dance, in a circle, round the lower vault of it. All their drapery is drifted so as to make you feel the whirlwind of their motion. They are seen by gleams of silvery or fiery light, relieved against an equally lighted blue of inimitable depth and loveliness. It is impossible for you ever to see a more noble work of passionate Greek chiaroscuro--rejoicing in light. From this I should like you to go instantly to Rembrandt's "Portrait of a Burgomaster" (No. 77 in the Exhibition of Old Masters). 59. That is ignobly passionate chiaroscuro, rejoicing in darkness rather than light. You cannot see a finer work by Rembrandt. It has all his power of rendering character, and the portrait is celebrated through the world. But it is entirely second-rate work. The character in the face is only striking to persons who like candle-light effects better than sunshine; any head by Titian has twice the character, and seen by daylight instead of gas. The rest of the picture is as false in light and shade as it is pretentious, made up chiefly of gleaming buttons in places where no light could possibly reach them; and of an embossed belt on the shoulder, which people think finely painted because it is all over lumps of color, not one of which was necessary. That embossed execution of Rembrandt's is just as much ignorant work as the embossed projecting jewels of Carlo Crivelli; a real painter never loads (see the Velasquez, No. 415 in the same exhibition).