The second shaft, 6, in which the local color is paler towards the light, and reinforced in the shadow, will therefore represent the Venetian system with respect to paler colors, and the system, for the most part, even with respect to darker colors, of painters who attempt to render effects of strong sunlight. Generally, therefore, it represents the practice of Turner. The first shaft, 5, exhibits the disadvantage of the practice of Rembrandt and Leonardo, in that they cannot show the local color on the dark side, since, however energetic, it must at last sink into their exaggerated darkness. Sec. 17. Now, from all the preceding inquiry, the reader must perceive more and more distinctly the great truth, that all forms of right art consist in a certain _choice_ made between various classes of truths, a few only being represented, and others necessarily excluded; and that the excellence of each style depends first on its consistency with itself,--the perfect fidelity, as far as possible, to the truths it has chosen; and secondly, on the breadth of its harmony, or number of truths it has been able to reconcile, and the consciousness with which the truths refused are acknowledged, even though they may not be represented. A great artist is just like a wise and hospitable man with a small house: the large companies of truths, like guests, are waiting his invitation; he wisely chooses from among this crowd the guests who will be happiest with each other, making those whom he receives thoroughly comfortable, and kindly remembering even those whom he excludes; while the foolish host, trying to receive all, leaves a large part of his company on the staircase, without even knowing who is there, and destroys, by inconsistent fellowship, the pleasure of those who gain entrance. Sec. 18. But even those hosts who choose well will be farther distinguished from each other by their choice of nobler or inferior companies; and we find the greatest artists mainly divided into two groups,--those who paint principally with respect to local color, headed by Paul Veronese, Titian, and Turner; and those who paint principally with reference to light and shade irrespective of color, headed by Leonardo da Vinci, Rembrandt, and Raphael. The noblest members of each of these classes introduce the element proper to the other class, in a subordinate way. Paul Veronese introduces a subordinate light and shade, and Leonardo introduces a subordinate local color. The main difference is, that with Leonardo, Rembrandt, and Raphael, vast masses of the picture are lost in comparatively colorless (dark, grey, or brown) shadow; these painters _beginning_ with the _lights_, and going _down_ to blackness; but with Veronese, Titian, and Turner, the whole picture is like the rose,--glowing with color in the shadows, and rising into paler and more delicate hues, or masses of whiteness, in the lights; they having _begun_ with the _shadows_, and gone up _to_ whiteness.