going back for more than a quarter of a mile,
is made completely _one_--no part of it is separated from the rest for
an instant--it is all united, and its modulations are _members_, not
_divisions_ of its mass. But those modulations are countless--heaving
here, sinking there--now swelling, now mouldering, now blending, now
breaking--giving, in fact, to the foreground of this universal master,
precisely the same qualities which we have before seen in his hills, as
Claude gave to his foreground precisely the same qualities which we had
before found in _his_ hills,--infinite unity in the one case, finite
division in the other.

Sec. 20. General features of Turner's foreground.

Let us, then, having now obtained some insight into the principles of
the old masters in foreground drawing, contrast them throughout with
those of our great modern master. The investigation of the excellence of
Turner's drawing becomes shorter and easier as we proceed, because the
great distinctions between his work and that of other painters are the
same, whatever the object or subject may be; and after once showing the
general characters of the particular specific forms under consideration,
we have only to point, in the works of Turner, to the same principles of
infinity and variety in carrying them out, which we have before insisted
upon with reference to other subjects.

Sec. 21. Geological structure of his rocks in the Fall of the Tees.

Sec. 22. Their convex surfaces and fractured edges.

Sec. 23. And perfect unity.

Sec. 24. Various parts whose history is told us by the details of the
drawing.

The Upper Fall of the Tees, Yorkshire, engraved in the England series,
may be given as a standard example of rock-drawing to be opposed to the
work of Salvator. We have, in the great face of rock which divides the
two streams, horizontal lines which indicate the real direction of the
strata, and these same lines are given in ascending perspective all
along the precipice on the right. But we see also on the central
precipice fissures absolutely vertical, which inform us of one series of
joints dividing these horizontal strata; and the exceeding smoothness
and evenness of the precipice itself inform us that it has been caused
by a great separation of substance in the direction of another more
important line of joints, running in a direction across the river.
Accordingly, we see on the left that the whole summit of the precipice
is d