Precisely as the stream
of blood coming from under the throne of judgment in the Byzantine
mosaic of Torcello is a sign of condemnation, his scarlet clouds are
used by Turner as a sign of death; and just as on an Egyptian tomb the
genius of death lays the sun down behind the horizon, so in his
Cephalus and Procris, the last rays of the sun withdraw from the forest
as the nymph expires.
And yet, observe, both the classic and romantic teaching may be equally
earnest, only different in manner. But from classic art, unless you
understand it, you may get nothing; from romantic art, even if you
don't understand it, you get at least delight.
212. I cannot show the difference more completely or fortunately than
by comparing Sir Walter Scott's type of libertas, with the franchise of
Chartres Cathedral, or Debonnairete of the Painted Chamber.
At Chartres, and Westminster, the high birth is shown by the crown; the
strong bright life by the flowing hair; the fortitude by the
conqueror's shield; and the truth by the bright openness of the face:
"She was not brown, nor dull of hue,
But white as snowe, fallen newe."
All these are symbols, which, if you cannot read, the image is to you
only an uninteresting stiff figure.
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