inctly gathered from their larger works) are the following: 1. Where
the drawing is gray, make the paper black. 2. Where the drawing is
white, cover the page with zigzag lines. 3. Where the drawing has
particularly tender tones, cross-hatch them. 4. Where any outline is
particularly angular, make it round. 5. Where there are vertical
reflections in water, express them with very distinct horizontal lines.
6. Where there is a passage of particular simplicity, treat it in
sections. 7. Where there is anything intentionally concealed, make it
out. Yet, in spite of the necessity which all engravers impose upon
themselves, of rigidly observing this code of general laws, it is
difficult to conceive how such pieces of work, as the plates of
Stonehenge and Winchelsea, can ever have been presented to the public,
as in any way resembling, or possessing even the most fanciful relation
to the Turner drawings of the same subjects. The original of the
Stonehenge is perhaps the standard of storm-drawing, both for the
overwhelming power and gigantic proportions and spaces of its
cloud-forms, and for the tremendous qualities of lurid and sulphurous
colors which are gained in them. All its forms are marked with violent
angles, as if the whole muscular energy--so to speak--of the cloud, were
writhing in every fold, and their fantastic and fiery volumes have a
peculiar horror--an awful life--shadowed out in their strange, swift,
fearful outlines, which oppress the mind more than even the threatening
of their gigantic gloom. The white lightning, not as it is drawn by less
observant or less capable painters, in zigzag fortifications, but in its
own dreadful irregularity of streaming fire, is brought down, not merely
over the dark clouds, but through the full light of an illumined opening
to the blue, which yet cannot abate the brilliancy of its white line;
and the track of the last flash along the ground is fearfully marked by
the dog howling over the fallen shepherd, and the ewe pressing her head
upon the body of her dead lamb.

Sec. 33. General character of such effects given by Turner. His expression
of falling rain.

I have not space, however, to enter into examination of Turner's
storm-drawing; I can only warn the public against supposing that its
effect is ever rendered by engravers. The great principles of Turner are
angular outline, vastness and energy of form, infinity of gradation, and
depth without blackness. The great pr