The different selection of facts consequent on the several aims at imitation or at truth.

We have seen, in the preceding chapters, some proof of what was before asserted, that the truths necessary for deceptive imitation are not only few, but of the very lowest order. We thus find painters ranging themselves into two great classes: one aiming at the development of the exquisite truths of specific form, refined color, and ethereal space, and content with the clear and impressive suggestion of any of these, by whatsoever means obtained; and the other casting all these aside, to attain those particular truths of tone and chiaroscuro, which may trick the spectator into a belief of reality. The first class, if they have to paint a tree, are intent upon giving the exquisite designs of intersecting undulation in its boughs, the grace of its leafage, the intricacy of its organization, and all those qualities which make it lovely or affecting of its kind. The second endeavour only to make you believe that you are looking at wood. They are totally regardless of truths or beauties of form; a stump is as good as a trunk for all their purposes, so that they can only deceive the eye into the supposition that it is a stump and not canvas.