er, less definite.

[Illustration: FIG. 65.]

Note, also (in passing), the entire equality of the lines in all these
examples, whether turned to dark or light. All good outline drawing, as
noticed in the chapter on finish, agrees in this character.

Sec. 27. The next figure (66) is interesting because it furnishes one of
the few instances in which Titian definitely took a suggestion from the
Alps, as he saw them from his house at Venice. It is from an old print
of a shepherd with a flock of sheep by the sea-side, in which he has
introduced a sea distance, with the Venetian church of St. Helena, some
subordinate buildings resembling those of Murano, and this piece of
cloud and mountain. The peak represented is one of the greater Tyrolese
Alps, which shows itself from Venice behind an opening in the chain,
and is their culminating point. In reality the mass is of the shape
given in Fig. 67. Titian has modified it into an energetic crest,
showing his feeling for the form, but I have no doubt that the woodcut
reverses Titian's original work (whatever it was), and that he gave the
crest the true inclination to the right, or east, which it has in
nature.

[Illustration: FIG. 66.]

Sec. 28. Now, it not unfrequently happens that in Claude's distances he
introduces actual outlines of Capri, Ischia, Monte St. Angelo, the Alban
Mount, and other chains about Rome and Naples, more or less faithfully
copied from nature. When he does so, confining himself to mere outline,
the grey contours seen against the distance are often satisfactory
enough; but as soon as he brings one of them nearer, so as to require
any drawing within its mass, it is quite curious to see the state of
paralysis into which he is thrown for want of any perception of the
mountain anatomy. Fig. 68 is one of the largest hills I can find in the
Liber Veritatis (No. 86), and it will be seen that there are only a few
lines inserted towards the edges, drawn in the direction of the sides of
the heap, or cone, wholly without consciousness of any interior
structure.

[Illustration: FIG. 67.]

[Illustration: FIG. 68.]

Sec. 29. I put below it, outlined also in the rudest way (for as I take the
shade away from the Liber Veritatis, I am bound also to take it away
from Turner), Fig. 69, a bit of the crags in the drawing of Loch
Coriskin, partly described already in Sec. 5 of the chapter on the Inferior
Mountains in Vol. I. The crest form is, indeed, here accidentally