holly without weight. If he examine their several
treatment, he will find that Turner has perfect imaginative conception
of every recess and projection over the whole surface, and _feels_ the
stone as he works over it; every touch, moreover, being full of tender
gradation. But Claude, as he is obliged to hold to his outline in hills,
so also clings to it in the stones,--cannot round them in the least,
leaves their light surfaces wholly blank, and puts a few patches of dark
here and there about their edges, as chance will have it.

[Illustration: 49. Truth and Untruth of Stones.]

Sec. 12. Turner's way of wedging the stones of the glacier moraine together
in strength of disorder, in the upper subject, and his indication of the
springing of the wild stems and leafage out of the rents in the boulders
of the lower one, will hardly be appreciated unless the reader is
_fondly_ acquainted with the kind of scenery in question; and I cannot
calculate on this being often the case, for few persons ever look at any
near detail closely, and perhaps least of all at the heaps of debris
which so often seem to encumber and disfigure mountain ground. But for
the various reasons just stated (Sec. 7), Turner found more material for
his power, and more excitement to his invention, among the fallen stones
than in the highest summits of mountains; and his early designs, among
their thousand excellences and singularities, as opposed to all that had
preceded them, count for not one of the least the elaborate care given
to the drawing of torrent beds, shaly slopes, and other conditions of
stony ground which all canons of art at the period pronounced
inconsistent with dignity of composition; a convenient principle, since,
of all foregrounds, one of loose stones is beyond comparison the most
difficult to draw with any approach to realization. The Turnerian
subjects, "Junction of the Greta and Tees" (Yorkshire Series, and
illustrations to Scott); "Wycliffe, near Rokeby" (Yorkshire); "Hardraw
Fall" (Yorkshire); "Ben Arthur" (Liber Studiorum); "Ulleswater" and the
magnificent drawing of the "Upper Fall of the Tees" (England Series),
are sufficiently illustrative of what I mean.

Sec. 13. It is not, however, only, in their separate condition, as
materials of foreground, that we have to examine the effect of stones;
they form a curiously important element of distant landscape in their
aggregation on a large scale.

It will be remembered that in the