lves. Precipices rising vertically more than 100
feet are very rare among the secondary hills of which we are speaking. I
am not aware of any cliff in England or Wales where a plumb-line can
swing clear for 200 feet; and even although sometimes, with intervals,
breaks, and steps, we get perhaps 800 feet of a slope of 60 deg. or 70 deg., yet
not only are these cases very rare, but even these have little influence
on the great contours of a mountain 4000 or 5000 feet in elevation,
being commonly balanced by intervals of ascent not exceeding 6 deg. or 8 deg..
The result of which is, first, that the peaks and precipices of a
mountain appear as little more than jags or steps emerging from its
great curves; and, secondly, that the bases of all hills are enormously
extensive as compared with their elevation, so that there must be always
a horizontal distance between the observer and the summit five or six
times exceeding the perpendicular one.

Sec. 19. And consequent expression of horizontal distance in their ascent.

Now it is evident, that whatever the actual angle of elevation of the
mountain may be, every exhibition of this horizontal distance between us
and the summit is an addition to its height, and of course to its
impressiveness; while every endeavor to exhibit its slope as steep and
sudden, is diminution at once of its distance and elevation. In
consequence nature is constantly endeavoring to impress upon us this
horizontal distance, which, even in spite of all her means of
manifesting it, we are apt to forget or underestimate; and all her
noblest effects depend on the full measurement and feeling of it. And it
is to the abundant and marvellous expression of it by Turner, that I
would direct especial attention, as being that which is in itself
demonstrative of the highest knowledge and power--knowledge, in the
constant use of lines of subdued slope in preference to steep or violent
ascents, and in the perfect subjection of all such features, when they
necessarily occur, to the larger masses; and power, in the inimitable
statements of retiring space by mere painting of surface details,
without the aid of crossing shadows, divided forms, or any other
artifice.

Sec. 20. Full statement of all these facts in various works of Turner,
Caudebec, etc.

The Caudebec, in the Rivers of France, is a fine instance of almost
every fact which we have been pointing out. We have in it, first, the
clear expression of