passes through, which from
the centre is reflected to the eye. The sharp, cutting edge of a wave,
if not broken into foam, frequently appears for an instant almost black;
and the outlines of these massy clouds, where their projecting forms
rise in relief against the light of their bodies, are almost always
marked clearly and firmly by very dark edges. Hence we have frequently,
if not constantly, multitudinous forms indicated only by outline, giving
character and solidity to the great masses of light, without taking away
from their breadth. And Turner avails himself of these boldly and
constantly,--outlining forms with the brush of which no other indication
is given. All the grace and solidity of the white cloud on the
right-hand side of the vignette before us, depends upon such outlines.

Sec. 22. Reasons for insisting on the _infinity_ of Turner's works.
Infinity is almost an unerring test of _all_ truth.

As I before observed of mere execution, that one of the best tests of
its excellence was the expression of _infinity_; so it may be noticed
with respect to the painting of details generally, that more difference
lies between one artist and another, in the attainment of this quality,
than in any other of the efforts of art; and that if we wish, without
reference to beauty of composition, or any other interfering
circumstances, to form a judgment of the truth of painting, perhaps the
very first thing we should look for, whether in one thing or
another--foliage, or clouds, or waves--should be the expression of
_infinity_ always and everywhere, in all parts and divisions of parts.
For we may be quite sure that what is not infinite, cannot be true; it
does not, indeed, follow that what is infinite, always is true, but it
cannot be altogether false, for this simple reason; that it is
impossible for mortal mind to compose an infinity of any kind for
itself, or to form an idea of perpetual variation, and to avoid all
repetition, merely by its own combining resources. The moment that we
trust to ourselves, we repeat ourselves, and therefore the moment we see
in a work of any kind whatsoever, the expression of infinity, we may be
certain that the workman has gone to nature for it; while, on the other
hand, the moment we see repetition, or want of infinity, we may be
certain that the workman has _not_ gone to nature for it.

Sec. 23. Instances of the total want of it in the works of Salvator.

Sec. 24. And of th