dealing with effects of sunlight and other phases of the upper colors, more or less inimitable, and betraying therefore, more or less, the artifices used to express them. It will be observed, also, that in order to reserve some force for the top of his scale, Turner is obliged to miss his gradations chiefly in middle tints (see the table), where the feebleness is sure to be felt. His principal point for missing the midmost gradations is almost always between the earth and sky; he draws the earth truly as far as he can, to the horizon; then the sky as far as he can, with his 30 to 40 part of the scale. They run together at the horizon; and the spectator complains that there is no distinction between earth and sky, or that the earth does not _look solid enough_. Sec. 13. In the upper portions of the three pillars 5, 6, 7, Plate +25+, are typically represented these three conditions of light and shade, characteristic, 5, of Rembrandt, 6, of Turner, and 7, of Veronese. The pillar to be drawn is supposed, in all the three cases, white; Rembrandt represents it as white on its highest light; and, getting the true gradations between this highest light and extreme dark, is reduced to his zero, or black, for the dark side of the white object. This first pillar also represents the system of Leonardo da Vinci. In the room of the Louvre appropriated to Italian drawings is a study of a piece of drapery by Leonardo. Its lights are touched with the finest white chalk, and its shadows wrought, through exquisite gradations, to utter blackness. The pillar 6 is drawn on the system of Turner; the high point of light is still distinct: but even the darkest part of the shaft is kept pale, and the gradations which give the roundness are wrought out with the utmost possible delicacy. The third shaft is drawn on Veronese's system. The light, though still focused, is more diffused than with Turner; and a slight flatness results from the determination that the fact of the shaft's being _white_ shall be discerned more clearly even than that it is round; and that its darkest part shall still be capable of brilliant relief, as a white mass, from other objects round it. Sec. 14. This resolution, on Veronese's part, is owing to the profound respect for the _colors_ of objects which necessarily influenced him, as the colorist at once the most brilliant and the most tender of all painters of the elder schools; and it is necessary for us briefly to note the way in which this greater or less respect for local color influences the system of the three painters in light and shade. Take the whitest piece of note-paper you can find, put a blot of ink upon it, carry it into the sunshine, and hold it fully fronting the sunshine, so as to make the paper look as dazzling as possible, but not to let the wet blot of ink _shine_. You will then find the ink look _intensely_ black,--blacker, in fact, than any where else, owing to its vigorous contrast with the dazzling paper.