)--the power, majesty, and deathfulness of the open, deep,
illimitable Sea.

FOOTNOTES

[66] Not altogether. I believe here, as in a former case, I have
attributed far too much influence to this change of focus. In
Turner's earlier works the principle is not found. In the rivers of
the Yorkshire drawings, every reflection is given clearly, even to
the farthest depth, and yet the surface is not lost, and it would
deprive the painter of much power if he were not sometimes so to
represent them, especially when his object is repose; it being, of
course, as lawful for him to choose one adaptation of the sight as
another. I have, however, left the above paragraphs as first
written, because they are true, although I think they make too much
of an unimportant matter. The reader may attribute to them such
weight as he thinks fit. He is referred to Sec. 11 of this chapter, and
to Sec. 4 of the first chapter of this section.

[67] On a large scale it is so, but the same lines are to be seen
for the moment whenever water becomes exceedingly rapid, and yet
feels the bottom as it passes, being not thrown up or cast clear of
it. In general, the drawing of water fails from being too
interrupted, the forms flung hither and thither, and broken up and
covered with bright touches, instead of being wrought out in their
real unities of curvature. It is difficult enough to draw a curved
surface, even when it is rough and has texture; but to indicate the
varied and sweeping forms of a crystalline and polished substance,
requires far more skill and patience than most artists possess. In
some respects, it is impossible. I do not suppose any means of art
are capable of rightly expressing the smooth, multitudinous rippling
of a rapid rivulet of shallow water, giving its transparency lustre
and fully-developed forms; and the greater number of the lines and
actions of torrent-waves are equally inexpressible. The effort
should, nevertheless, always be made, and whatever is sacrificed in
color, freedom, or brightness, the real contours ought always in
some measure to be drawn, as a careful draughtsman secures those of
flesh, or any other finely-modelled surface. It is better, in many
respects, the drawing should miss of being _like_ water, than that
it should miss in this one respect the grandeur of water. Many
t