Steadying influences in all this flux of tone are introduced by the vertical accent of the tree-stem and statue in the dark mass on the right, by the horizontal line of the distance on the left, the outline of the ground in the front, and the straight staffs held by some of the figures.

In the charcoal scribble illustrating this composition I have tried carefully to avoid any drawing in the figures or trees to show how the tone-music depends not so much on truth to natural appearances as on the abstract arrangement of tone values and their rhythmic play.

[Illustration:  Diagram XXV.

SHOWING THE PRINCIPLE ON WHICH THE MASS OR TONE RHYTHM IS ARRANGED IN TURNER’S PICTURE IN THE NATIONAL GALLERY OF BRITISH ART, “ULYSSES DERIDING POLYPHEMUS”]

Of course nature contains every conceivable variety of tone-music, but it is not to be found by unintelligent copying except in rare accidents.  Emerson says, “Although you search the whole world for the beautiful you’ll not find it unless you take it with you,” and this is true to a greater extent of rhythmic tone arrangements.

Turner:  “Ulysses deriding Polyphemus.”

Turner was very fond of these gradated tone compositions, and carried them to a lyrical height to which they had never before attained.  His “Ulysses deriding Polyphemus,” in the National Gallery of British Art, is a splendid example of his use of this principle.  A great unity of expression is given by bringing the greatest dark and light together in sharp contrast, as is done in this picture by the dark rocks and ships’ prows coming against the rising sun.  From this point the dark and light masses gradate in different directions until they merge above the ships’ sails.  These sails cut sharply into the dark mass as the rocks and ship on the extreme right cut sharply into the light mass.  Note also the edges where they are accented and come sharply against the neighbouring mass, and where they are lost, and the pleasing quality this play of edges gives.

Stability is given by the line of the horizon and waves in front, and the masts of the ships, the oars, and, in the original picture, a feeling of radiating lines from the rising sun.  Without these steadying influences these compositions of gradated masses would be sickly and weak.

Corot:  2470 Collection Chauchard, Louvre.

This is a typical example of Corot’s tone scheme, and little need be added to the description already given.  Infinite play is got with the simplest means.  A dark silhouetted mass is seen against a light sky, the perfect balance of the shapes and the infinite play of lost-and-foundness in the edges giving to this simple structure a richness and beauty effect that is very satisfying.  Note how Corot, like Turner, brings his greatest light and dark together in sharp contrast where the rock on the right cuts the sky.

[Illustration:  Diagram XXVI.

TYPICAL EXAMPLE OF COROT’S SYSTEM OF MASS RHYTHM, AFTER THE PICTURE IN
THE LOUVRE, PARIS]