usieurs endroits des _zigzags
redoubles_, precisement comme ces anciennes tapisseries, connues sous le
nom de points d'Hongrie; et la, on ne peut pas prononcer, si les veines
de la pierre, sont ou ne sont pas paralleles a ses couches. Cependant
ces veines reprennent aussi dans quelques places, une direction
constante, et cette direction est bien la meme que celle des couches. Il
paroit meme qu'en divers endroits, ou ces veines ont la forme d'un
_sigma_ ou d'une M couchee M, ce sont les grandes jambes du _sigma_, qui
ont la direction des couches. Enfin, j'observai plusieurs couches, qui
dans le milieu de leur epaisseur paroissoient remplies de ces veines en
zigzag, tandis qu'aupres de leurs bords, on les voyoit toutes en lignes
droites."

Sec. 46. If the reader will now examine Turner's work at the point _x_ in
the reference figure, and again on the stones in the foreground,
comparing it finally with the fragment of the rocks which happened
fortunately to come into my foreground in Plate +20+, rising towards the
left, and of which I have etched the structure with some care, though at
the time I had quite forgotten Saussure's notice of the peculiar
M-shaped zigzags of the gneiss at the spot, I believe he will have
enough evidence before him, taken all in all, to convince him of
Turner's inevitable perception, and of the entire supremacy of his
mountain drawing over all that had previously existed. And if he is able
to refer, even to the engravings (though I desire always that what I
state should be _tested_ by the drawings only) of any others of his
elaborate hill-subjects, and will examine their details with careful
reference to the laws explained in this chapter, he will find that the
Turnerian promontories and banks are always simply _right_, and that in
all respects; that their gradated curvatures, and nodding cliffs, and
redundant sequence of folded glen and feathery glade, are, in all their
seemingly fanciful beauty, literally the most downright plain speaking
that has as yet been uttered about hills; and differ from all antecedent
work, not in being ideal, but in being, so to speak, pictorial _casts_
of the ground. Such a drawing as that of the Yorkshire Richmond, looking
down the river, in the England Series, is even better than a model of
the ground, because it gives the aerial perspective, and is better than
a photograph of the ground, because it exaggerates no shadows, while it
unites the veracities both of mod