ivided again and again by this great series of joints into vertical
beds, which lie against each other with their sides towards us, and are
traversed downwards by the same vertical lines traceable on the face of
the central cliff. Now, let me direct especial attention to the way in
which Turner has marked over this general and grand unity of structure,
the modifying effects of the weather and the torrent. Observe how the
whole surface of the hill above the precipice on the left[60] is
brought into one smooth, unbroken curvature of gentle convexity, until
it comes to the edge of the precipice, and then, just on the angle,
(compare Sec. 2,) breaks into the multiplicity of fissure which marks its
geological structure. Observe how every one of the separate blocks, into
which it divides, is rounded and convex in its salient edges turned to
the weather, and how every one of their inward angles is marked clear
and sharp by the determined shadow and transparent reflex. Observe how
exquisitely graceful are all the curves of the convex surfaces,
indicating that every one of them has been modelled by the winding and
undulating of running water; and how gradually they become steeper as
they descend, until they are torn down into the face of the precipice.
Finally, observe the exquisite variety of all the touches which express
fissure or shade; every one in varying directions and with new forms,
and yet throughout indicating that perfect parallelism which at once
explained to us the geology of the rock, and falling into one grand
mass, treated with the same simplicity of light and shade which a great
portrait painter adopts in treating the features of the human face;
which, though each has its own separate chiaroscuro, never disturb the
wholeness and grandeur of the head, considered as one ball or mass. So
here, one deep and marked piece of shadow indicates the greatest
proximity of the rounded mass; and from this every shade becomes fainter
and fainter, until all are lost in the obscurity and dimness of the
hanging precipice and the shattering fall. Again, see how the same
fractures just upon the edge take place with the central cliff above the
right-hand fall, and how the force of the water is told us by the
confusion of debris accumulated in its channel. In fact, the great
quality about Turner's drawings which more especially proves their
transcendent truth, is the capability they afford us of reasoning on
past and future phenomena