h was precisely equivalent to that of supplying the place of healthy
and heart-whole cheerfulness by dram-drinking.

[Q] See the farther explanation of this practice in the notice of
the subject of "Portsmouth."

The two sea-gulls in the front of the picture were additions of this
kind, and are very injurious, confusing the organization and concealing
the power of the sea. The merits of the drawing are, however, still
great as a piece of composition. The left-hand side is most interesting,
and characteristic of Turner: no other artist would have put the round
pier so exactly under the round cliff. It is under it so accurately,
that if the nearly vertical falling line of that cliff be continued, it
strikes the sea-base of the pier to a hair's breadth. But Turner knew
better than any man the value of echo, as well as of contrast,--of
repetition, as well as of opposition. The round pier repeats the line of
the main cliff, and then the sail repeats the diagonal shadow which
crosses it, and emerges above it just as the embankment does above the
cliff brow. Lower, come the opposing curves in the two boats, the whole
forming one group of sequent lines up the whole side of the picture. The
rest of the composition is more commonplace than is usual with the great
master; but there are beautiful transitions of light and shade between
the sails of the little fishing-boat, the brig behind her, and the
cliffs. Note how dexterously the two front sails[R] of the brig are
brought on the top of the white sail of the fishing-boat to help to
detach it from the white cliffs.

[R] I think I shall be generally more intelligible by explaining
what I mean in this way, and run less chance of making myself
ridiculous in the eyes of sensible people, than by displaying the
very small nautical knowledge I possess. My sailor friends will
perhaps be gracious enough to believe that I _could_ call these
sails by their right names if I liked.

II.--RAMSGATE.

[Illustration: RAMSGATE.]

This, though less attractive, at first sight, than the former plate, is
a better example of the master, and far truer and nobler as a piece of
thought. The lifting of the brig on the wave is very daring; just one of
the things which is seen in every gale, but which no other painter than
Turner ever represented; and the lurid transparency of the dark sky, and
wild expression of wind in the fluttering of the falling sails of the