oe, in the same series (the Illustrations to Scott). We
have in the mass of mountain on the left, the most beautiful indication
of vertical beds of a finely laminated rock, terminated by even joints
towards the precipice; while the whole sweep of the landscape, as far as
the most distant peaks, is evidently governed by one great and simple
tendency upwards to the left, those most distant peaks themselves lying
over one another in the same direction. In the Daphne hunting with
Leucippus, the mountains on the left descend in two precipices to the
plain, each of which is formed by a vast escarpment of the beds whose
upper surfaces are shown between the two cliffs, sinking with an even
slope from the summit of the lowest to the base of the highest, under
which they evidently descend, being exposed in this manner for a length
of five or six miles. The same structure is shown, though with more
complicated development, on the left of the Loch Katrine. But perhaps
the finest instance, or at least the most marked of all, will be found
in the exquisite Mount Lebanon, with the convent of St. Antonio,
engraved in Finden's Bible. There is not one shade nor touch on the rock
which is not indicative of the lines of stratification; and every
fracture is marked with a straightforward simplicity which makes you
feel that the artist has nothing in his heart but a keen love of the
pure unmodified truth; there is no effort to disguise the repetition of
forms, no apparent aim at artificial arrangement or scientific grouping;
the rocks are laid one above another with unhesitating decision; every
shade is understood in a moment, felt as a dark side, or a shadow, or a
fissure, and you may step from one block or bed to another until you
reach the mountain summit. And yet, though there seems no effort to
disguise the repetition of forms, see how it _is_ disguised, just as
nature would have done it, by the perpetual play and changefulness of
the very lines which appear so parallel; now bending a little up, or
down, or losing themselves, or running into each other, the old story
over and over again,--infinity. For here is still the great distinction
between Turner's work and that of a common artist. Hundreds could have
given the parallelism of blocks, but none but himself could have done so
without the actual repetition of a single line or feature.

Sec. 8. Compared with the work of Salvator;

Now compare with this the second mountain from the le