near the Grand Chartreuse and
Blair Athol, Juvenile Tricks, and Hedging and Ditching, may be
particularized; in the England series, the Bolton Abbey is perhaps a
more characteristic and thoroughly Turneresque example than any.

Of the arrangement of the upper boughs, the Aesacus and Hesperie is
perhaps the most consummate example, the absolute truth and simplicity
and freedom from anything like fantasticism or animal form being as
marked on the one hand, as the exquisite imaginativeness of the lines on
the other: among the Yorkshire subjects the Aske Hall, Kirby Lonsdale
Churchyard, and Brignall Church are most characteristic: among the
England subjects the Warwick, Dartmouth Cove, Durham, and Chain Bridge
over the Tees, where the piece of thicket on the right has been well
rendered by the engraver, and is peculiarly expressive of the aerial
relations and play of light among complex boughs. The vignette at the
opening of Rogers's Pleasures of Memory, that of Chiefswood Cottage in
the Illustrations to Scott's Works, and the Chateau de la belle
Gabrielle, engraved for the Keepsake, are among the most graceful
examples accessible to every one; the Crossing the Brook will occur at
once to those acquainted with the artist's gallery. The drawing of the
stems in all these instances, and indeed in all the various and frequent
minor occurrences of such subject throughout the painter's works is
entirely unique, there is nothing of the same kind in art.

Sec. 16. Leafage. Its variety and symmetry.

Sec. 17. Perfect regularity of Poussin.

Let us, however, pass to the leafage of the elder landscape painters,
and see if it atones for the deficiencies of the stems. One of the most
remarkable characters of natural leafage is the constancy with which,
while the leaves are arranged on the spray with exquisite regularity,
that regularity is modified in their actual effect. For as in every
group of leaves some are seen sideways, forming merely long lines, some
foreshortened, some crossing each other, every one differently turned
and placed from all the others, the forms of the leaves, though in
themselves similar, give rise to a thousand strange and differing forms
in the group; and the shadows of some, passing over the others, still
farther disguise and confuse the mass, until the eye can distinguish
nothing but a graceful and flexible disorder of innumerable forms, with
here and there a perfect leaf on the extremity, or a symmetri