Sec. 19. The colorists have in this respect one disadvantage, and three advantages. The disadvantage is, that between their less violent hues, it is not possible to draw all the forms which can be represented by the exaggerated shadow of the chiaroscurists, and therefore a slight tendency to flatness is always characteristic of the greater colorists, as opposed to Leonardo or Rembrandt. When the form of some single object is to be given, and its subtleties are to be rendered to the utmost, the Leonardesque manner of drawing is often very noble. It is generally adopted by Albert Durer in his engravings, and is very useful, when employed by a thorough master, in many kinds of engraving;[20] but it is an utterly false method of _study_, as we shall see presently. Sec. 20. Of the three advantages possessed by the colorists over the chiaroscurists, the first is, that they have in the greater portions of their pictures _absolute_ truth, as shown above, Sec. 12, while the chiaroscurists have no absolute truth anywhere. With the colorists the shadows are right; the lights untrue: but with the chiaroscurists lights and shadows are both untrue. The second advantage is, that also the _relations_ of color are broader and vaster with the colorists than the chiaroscurists. Take, for example, that piece of drapery studied by Leonardo, in the Louvre, with white lights and black shadows. Ask yourself, first, whether the real drapery was black or white. If white, then its high lights are rightly white; but its folds being black, it could not _as a mass_ be distinguished from the black or dark objects in its neighborhood. But the fact is, that a white cloth or handkerchief always is distinguished in daylight, as a _whole white thing_, from all that is colored about it: we see at once that there is a white piece of stuff, and a red, or green, or grey one near it, as the case may be: and this relation of the white object to other objects _not_ white, Leonardo has wholly deprived himself of the power of expressing; while, if the cloth were black or dark, much more has he erred by making its lights white. In either case, he has missed the large relation of mass to mass, for the sake of the small one of fold to fold. And this is more or less the case with all chiaroscurists; with all painters, that is to say, who endeavor in their studies of objects to get rid of the idea of color, and give the abstract shade. They invariably exaggerate the shadows, not with respect to the thing itself, but with respect to all around it; and they exaggerate the lights also, by leaving pure white for the high light of what in reality is grey, rose-colored, or, in some way, not white.