dge; which favorable opportunity Turner seized to make what he called
a "memorandum" of the place, composed of a few pencil scratches on a bit
of thin paper, that would roll up with others of the sort and go into
his pocket afterwards. These pencil scratches he put a few blots of
color upon (I suppose at Bellinzona the same evening, certainly _not_
upon the spot), and showed me this blotted sketch when he came home. I
asked him to make me a drawing of it, which he did, and casually told me
afterwards (a rare thing for him to do) that he liked the drawing he had
made. Of this drawing I have etched a reduced outline in Plate +21+.

Sec. 14. In which, primarily, observe that the whole place is altered in
scale, and brought up to the general majesty of the higher forms of the
Alps. It will be seen that, in my topographical sketch, there are a few
trees rooted in the rock on this side of the gallery, showing by
comparison, that it is not above four or five hundred feet high. These
trees Turner cuts away, and gives the rock a height of about a thousand
feet, so as to imply more power and danger in the avalanche coming down
the couloir.

Next, he raises, in a still greater degree, all the mountains beyond,
putting three or four ranges instead of one, but uniting them into a
single massy bank at their base, which he makes overhang the valley, and
thus reduces it nearly to such a chasm as that which he had just passed
through above, so as to unite the expression of this ravine with that
of the stony valley. A few trees, in the hollow of the glen, he feels to
be contrary in spirit to the stones, and fells them, as he did the
others; so also he feels the bridge in the foreground, by its
slenderness, to contradict the aspect of violence in the torrent; he
thinks the torrent and avalanches should have it all their own way
hereabouts; so he strikes down the nearer bridge, and restores the one
farther off, where the force of the stream may be supposed less. Next,
the bit of road on the right, above the bank, is not built on a wall,
nor on arches high enough to give the idea of an Alpine road in general;
so he makes the arches taller, and the bank steeper, introducing, as we
shall see presently, a reminiscence from the upper part of the pass.

[Illustration: 21. Pass of Faido. (2d. Turnerian Topography.)]

Sec. 15. I say he "_thinks_" this, and "introduces" that. But, strictly
speaking, he does not think at all. If he thought, he wou