“In all this, I wish the reader to observe two things: first, the general carefulness of the poet in defining color, distinguishing it precisely as a painter would (opposed to the Greek carelessness about it); and, secondly, his regarding the grass for its greenness and variegation, rather than, as a Greek would have done, for its depth and freshness. This greenness or brightness, and variegation, are taken up by later and modern poets, as the things intended to be chiefly expressed by the word ‘enamelled’; and, gradually, the term is taken to indicate any kind of bright and interchangeable coloring; there being always this much of propriety about it, when used of greensward, that such sward is indeed, like enamel, a coat of bright color on a comparatively dark ground; and is thus a sort of natural jewelry and painter’s work, different from loose and large vegetation.