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477. The Goddess of Discord in the Gardens of the Hesperides* (1806).

John Ruskin

* 展示（する）d at the British 会・原則 in 1806, under the 肩書を与える, " The Goddess of Discord choosing the Apple of 論争 in the Gardens," etc.

This wonderful picture of the Hesperides is, however, the first composition  in which Turner introduced the mountain knowledge he had 伸び（る）d in his スイスの 旅行: and it is a combination of these スイスの experiences, under the 指導／手引 of Nicolas Poussin, whose type of landscape has been followed throughout. Nearly all the faults of the picture are 借りがあるing to Poussin; and all its virtues to the アルプス山脈. I say nearly  all the faults of the picture, because it would not be fair to 告発（する），告訴（する）／料金 Poussin wholly with its sombre colour, inasmuch as many of his landscapes are beautifully golden and 深い blue. かもしれない the Goddess of Discord may have had something to do with the 事柄; and the 影をつくる／尾行する of her presence may have been cast on laurel bough and golden fruit; but I am not 性質の／したい気がして to せいにする such a piece of far-fetched fancy to Turner at this period; and I suppose it to be partly 借りがあるing to the course of his 静かな practice, partly to his knowledge of the more sombre pictures of Poussin rather than of the splendid ones, and partly to the continued 影響（力） of Wilson and Morland, that the garden of the Hesperides is so 特に dull a place. But it is a sorrowful fault in the conception that it should be so.
Indeed, unless we were expressly 保証するd of the fact, I question whether we should have 設立する out that these were gardens at all, as they have the 外見 rather of wild mountain ground, broken and rocky; with a pool of 暗い／優うつな water; some 激しい groups of trees, of the 種類 grown on Clapham ありふれた; and some bushes 耐えるing very unripe and pale pippins approaching in no wise the beauty of a Devonshire or Normandy orchard, much いっそう少なく that of an orange grove, and, least of all, of such fruit as goddesses would be likely to quarrel for.
But there are much worse errors in the picture than these. We may 認める the grey colour to Turner's system; we may 受託する the wild ground as the only 肉親，親類d of garden which would be probable under Atlas; though the places which Discord 捜し出すs, and the dragons guard, are usually of a nature at once brighter and baser. But we cannot 受託する the impossibilities of mountain form into which the wretched system of Poussin's idealism moulded Turner's memory of the アルプス山脈. It is not possible  that hill 集まりs on this 規模, should be divided into these simple, 法外な, and 石／投石する-like forms. 広大な／多数の／重要な mountains, however bold, are always 十分な of endless fracture and 詳細（に述べる）, and 示す on the brows and 辛勝する／優位s of their cliffs, both the multitudinousness, and the 深く，強烈に wearing continuance, of the 軍隊 of time, and stream, and tempest. This 証拠 of subdivision and 長引かせるd endurance is always more and more 際立った as the 規模 増加するs; the simple curves which are true for a thousand feet are 誤った at three thousand, and falser at ten thousand; and the forms here 可決する・採択するd by Turner are not mountain forms at all, but those of small fragments of 石灰岩, with a few loose 石／投石するs at the 最高の，を越す of them, magnified by もや into mountains. All this was the result of Idealism. Nature's mountains were not grand, nor 幅の広い, nor bold, nor 法外な enough. Poussin only knew what they should be, and the アルプス山脈 must be rough-hewn to his mind.
さらに先に, 公式文書，認める the enormous 激流 which roars 負かす／撃墜する behind the dragon, above the main group of trees. In nature, that 激流 would have worn for itself a 深遠な bed, 十分な of roundings and wrinkled lateral gulphs. Here, it 単に dashes の中で the squared 石／投石するs as if it had just been turned on by a New River company. And it has not only had no 影響 on its bed, but appears やめる unable to find its way to the 底（に届く）, for we see nothing more of it after it has got 負かす／撃墜する behind the tree 最高の，を越すs. In reality, the whole valley beneath would have been filled by a 集まり of 一連の会議、交渉／完成するd 石／投石するs and 破片 by such a 激流 as that.
But さらに先に. When the streams are so lively in the distance, one might at least 推定する／予想する them not to be 沈滞した in the foreground, and if we may have no 整然とした gravel walks, nor gay beds of flowers in our garden, but only large 石／投石するs and bushes, we might surely have had the pleasantness of a （疑いを）晴らす mountain stream. But Poussin never 許すd mountain streams; nothing but dead water was proper in a classical foreground; so we have the brown pool with a water-lily or two, and a 従来の fountain, 落ちるing, not into a rocky 気圧の谷, or a grassy hollow, but into a large glass bowl or tureen. This 予期 of the beauties of the Soulages collection, given in 告発（する），告訴（する）／料金 to the dragon together with his apples, "Glass, with care," is certainly not Poussin's fault, but a caprice of Turner's own.
In the published 目録 the reader will find it 明言する／公表するd that the "colour  and texture of this picture are as rich and sound as the ideas are noble, and universally intelligible." The ideas are  noble indeed; for the most part: noble in spite of Poussin, and intelligible in spite of Marlborough House 不明瞭; but the 声明 that the colour is rich only shows what curious ideas people in general have about colour. I do not call it a work in colour at all. It is a simple 熟考する／考慮する in grey and brown, 高くする，増すd with a red drapery, and 冷静な／正味のd with a blue 開始 in the sky. But colour, 適切に so called, there is as yet 非，不，無; nothing but the usual brown trees 近づく, grey trees far off, brown stonework, and 黒人／ボイコット 影をつくる／尾行する. And it is another 著名な proof of the terrible 力／強力にする of precedent on the strongest human mind, that just as Vandevelde kept Turner for twenty years from seeing that the sea was wet, so Poussin kept Turner for twenty years from seeing that the アルプス山脈 were rosy, and that grass was green. It would be a wonderful lesson for us all if we could for a moment 始める，決める a true piece of スイスの foreground and mountain beside that brown shore and those barren crags. The moss arabesques of violet and silver; the delicate springing of the myrtille leaves along the clefts of shade, and blue bloom of their half seen fruit; the rosy flashes of rhododendron-炎上 from の中で the pine roots, and their crests of crimson, sharp against the 深い Alpine 空気／公表する, from the 山の尾根s of grey 激しく揺する; the gentian's peace of pale, ineffable azure, as if strange 星／主役にするs had been made for earth out of the blue light of heaven; the soft spaces of mountain grass, for ever young, over which the morning dew is dashed so 深い that it looks, under the first long sun-rays, like a white 隠す 落ちるing 倍のd upon the hills; 花冠ing itself soon away into silvery tresses of cloud, braided in and out の中で the pines, and leaving all the fair glades and hillocks warm with the pale green glow of grassy life, and whispering with lapse of everlasting springs. Infinite tenderness mingled with this infinite 力／強力にする, and the far away 首脳会議s, 補欠／交替の／交替する pearl and purple, 判決，裁定 it from their stainless 残り／休憩（する）. A time （機の）カム when the human heart, whose 開始s we are watching, could feel these things, but we must not talk too much of its 業績／成就s yet.
There is, however, one image in the landscape which, in its 肉親，親類d, is as noble as may be the dragon that guards and darkens it; a goodly watch-tower he has; and a goodly pharos he will make of it at midnight, when the 解雇する／砲火／射撃 glares hottest from the 注目する，もくろむs of the 恐ろしい sentinel. There is something very wonderful, it seems to me, in this 予期, by Turner, of the grandest reaches of 最近の 調査 into the form of the dragons of the old earth. I do not know at what period the first hints were given of the 存在 of their remains; but certainly no 限定された 声明s of their probable forms were given either by Buckland, Owell, or Conybeare before 1815; yet this saurian of Turner's is very nearly an exact 相当するもの of the model of the Iguanodon, now the 後見人 of the Hesperian Gardens of the 水晶 Palace, wings only excepted, which are, here, almost 正確に, those of a pterodactyle. The 直感的に しっかり掴む which the healthy imagination takes of possible  truth, even in its wildest flights, was never more marvellously 論証するd.*

* Compare Modern Painters,  vol. iii. ch. viii. §§ 12, etc.

I am very anxious to get this picture hung in better light, in order that the 表現 of the dragon's 長，率いる may be 井戸／弁護士席 seen, and all the mighty articulations of his 団体／死体, rolling in 広大な／多数の／重要な アイロンをかける waves, a cataract of coiling strength and 衝突，墜落ing armour, 負かす／撃墜する の中で the mountain rents. Fancy him moving, and the roaring of the ground under his （犯罪の）一味s; the grinding 負かす／撃墜する of the 激しく揺するs by his toothed whorls; the 骸骨／概要 glacier of him in thunderous march, and the ashes of the hills rising 一連の会議、交渉／完成する him like smoke, and encompassing him like a curtain!
I have already alluded to the love of the terrible grotesque which mingled in no small 手段 with the love of the beautiful in Turner's mind, as it did in Tintoret's. The reader will find さらに先に 調査s into this 支配する in the eighth 一時期／支部 of the third 容積／容量 of Modern Painters,  and I need only notice here the peculiar naturalness  which there is in Turner's grotesque, and the かわき for largeness which characterizes his conception of animals 同様に as landscapes. No serpent or dragon was ever conceived before, either so 広大な, or so probable,  as these of the Jason and Hesperides, or the Python of No. 488 (see 公式文書，認める on the picture), while the "Rizpah, the Daughter of Aiah" (464) shows the same しっかり掴む of terror 発揮するd in another direction, and connecting the English landscape painter, bred as he was in the 冷淡な and 厳しい classical school, with the German interpreters of fantastic or pathetic superstition.