ture are distinctly darkest at the edge. This
plate, though coarsely executed, is yet one of the noblest illustrations
of mountain character and magnitude existing.

Sec. 19. Effects of snow, how imperfectly studied.

Such, then, are the chief characteristics of the highest peaks and
extreme distances of all hills, as far as the forms of the rocks
themselves, and the aerial appearances especially belonging to them, are
alone concerned. There is, however, yet another point to be
considered--the modification of their form caused by incumbent snow.

Pictures of winter scenery are nearly as common as moonlights, and are
usually executed by the same order of artists, that is to say, the most
incapable; it being remarkably easy to represent the moon as a white
wafer on a black ground, or to scratch out white branches on a cloudy
sky. Nevertheless, among Flemish paintings several valuable
representations of winter are to be found, and some clever pieces of
effect among the moderns, as Hunt's, for instance, and De Wint's. But
all such efforts end in effect alone, nor have I ever in any single
instance seen a snow _wreath_, I do not say thoroughly, but even
decently, drawn.

In the range of inorganic nature, I doubt if any object can be found
more perfectly beautiful than a fresh, deep snow-drift, seen under warm
light.[54] Its curves are of inconceivable perfection and changefulness,
its surface and transparency alike exquisite, its light and shade of
inexhaustible variety and inimitable finish, the shadows sharp, pale,
and of heavenly color, the reflected lights intense and multitudinous,
and mingled with the sweet occurrences of transmitted light. No mortal
hand can approach the majesty or loveliness of it, yet it is possible by
care and skill at least to suggest the preciousness of its forms and
intimate the nature of its light and shade; but this has never been
attempted; it could not be done except by artists of a rank exceedingly
high, and there is something about the feeling of snow in ordinary
scenery which such men do not like. But when the same qualities are
exhibited on a magnificent Alpine scale and in a position where they
interfere with no feeling of life, I see not why they should be
neglected, as they have hitherto been, unless that the difficulty of
reconciling the brilliancy of snow with a picturesque light and shade,
is so great that most good artists disguise or avoid the greater part of
upper Alpine s