ble over the edges of
them. The East Cliff, Hastings, is another very fine example, from the
exquisite irregularity with which its squareness of general structure is
varied and disguised. Observe how totally contrary every one of its
lines is to the absurdities of Salvator. Stanfield's are all angular and
straight, every apparent curve made up of right lines, while Salvator's
are all sweeping and flourishing like so much penmanship. Stanfield's
lines pass away into delicate splintery fissures. Salvator's are broad
daubs throughout. Not one of Stanfield's lines is like another. Every
one of Salvator's mocks all the rest. All Stanfield's curves, where his
universal angular character is massed, as on the left-hand side, into
large sweeping forms, are convex. Salvator's are every one concave.

Sec. 10. The rocks of J. D. Harding.

The foregrounds of J. D. Harding and rocks of his middle distances are
also thoroughly admirable. He is not quite so various and undulating in
his line as Stanfield, and sometimes, in his middle distances, is
wanting in solidity, owing to a little confusion of the dark side and
shadow with each other, or with the local color. But his work, in near
passages of fresh-broken, sharp-edged rock, is absolute perfection,
excelling Stanfield in the perfect freedom and facility with which his
fragments are splintered and scattered; true in every line without the
least apparent effort. Stanfield's best works are laborious, but
Harding's rocks fall from under his hand as if they had just crashed
down the hill-side, flying on the instant into lovely form. In color
also he incomparably surpasses Stanfield, who is apt to verge upon mud,
or be cold in his gray. The rich, lichenous, and changeful warmth, and
delicate weathered grays of Harding's rock, illustrated as they are by
the most fearless, firm, and unerring drawing, render his wild pieces of
torrent shore the finest things, next to the work of Turner, in English
foreground art.

J. B. Pyne has very accurate knowledge of limestone rock, and expresses
it clearly and forcibly; but it is much to be regretted that this clever
artist appears to be losing all sense of color and is getting more and
more mannered in execution, evidently never studying from nature except
with the previous determination to Pynize everything.[59]

Sec. 11. Characters of loose earth and soil.

Sec. 12. Its exceeding grace and fulness of feature.

Before passing to Turner, le