prominent, and developed to a degree rare even with Turner; but note,
besides this, the way in which Turner leans on the _centre_ and body of
the hill, not on its edge; marking its strata stone by stone, just as a
good figure painter, drawing a limb, marks the fall and rise of the
joint, letting the outline sink back softened; and compare the exactly
opposite method of Claude, holding for life to his outline, as a Greek
navigator holds to the shore.[76]

[Illustration: FIG. 69.]

Sec. 30. Lest, however, it should be thought that I have unfairly chosen
my examples, let me take an instance at once less singular and more
elaborate.

We saw in our account of Turnerian topography, Chap. II., Sec. 14, that it
had been necessary for the painter, in his modification of the view in
the ravine of Faido, to introduce a passage from among the higher peaks;
which, being thus intended expressly to convey the general impression of
their character, must sufficiently illustrate what Turner felt that
character to be. Observe: it could not be taken from the great central
aiguilles, for none such exist at all near Faido; it could only be an
expression of what Turner considered the noblest attributes of the hills
next to these in elevation,--that is to say, those which we are now
examining.

I have etched the portion of the picture which includes this passage, on
page 221, on its own scale, including the whole couloir above the
gallery, and the gallery itself, with the rocks beside it.[77] And now,
if the reader will look back to Plate +20+, which is the outline of the
_real_ scene, he will have a perfect example, in comparing the two, of
the operation of invention of the highest order on a given subject. I
should recommend him to put a piece of tracing paper over the etching,
Plate +37+, and with his pen to follow some of the lines of it as
carefully as he can, until he feels their complexity, and the redundance
of the imaginative power which amplified the simple theme, furnished by
the natural scene, with such detail; and then let him observe what great
mountain laws Turner has been striving to express in all these
additions.

Sec. 31. The cleavages which govern the whole are precisely the same as
those of the Aiguille Bouchard, only wrought into grander combinations.
That the reader may the better distinguish them, I give the leading
lines coarsely for reference in Fig. 70, opposite. The cleavages and
lines of force are the follow