n a depth of
uncertain blue, in which a suggestion of emerald flashes, and from
which they dance on in less frantic mood over the brown and water-worn
boulders to follow their further whims; everything that is most charming
and _spirituelle_ in the water-fall is given, and with a delicacy of
color and subtilty of execution fitting the subject. These are not the
only good drawings, but there is in them a simplicity and singleness
of purpose, a total subordination of all minor matters to the great
impression, which makes them points of poetic value in the collection.
There are some drawings by Finch, scarcely less noticeable for their
rendering of solemn twilight, tender and touching as the memory of a
loved one long dead. The water-color representation is, indeed, complete
and interesting; but we have only present use with five of these
drawings, by Turner, and from different stages of his progress.

Ruskin, in his pamphlet on Pre-Raphaelitism, has drawn such a comparison
between Turner and the Pre-Raphaelites as to make them only different
manifestations of the same spirit in Art. Nothing, it seems to us, could
be more mistaken than this; for, in all that concerns either the end of
Art or its paths of approach, its purposes or its methods, Turner and
the Pre-Raphaelites are diametrically opposed. Turner was intensely
subjective,--the Pre-Raphaelites are as intensely objective. There is
no evidence whatever in Turner's works that he ever made the slightest
attempt to reproduce Nature in such guise as the Pre-Raphaelites paint
her in; on the contrary, the early drawings of Turner are as inattentive
to absolute truth of detail as they could well be. His course of study
was one of memory. He commenced by expressing in his drawing such
palpable facts and truths as were most strongly retained, and in which
he conveyed the great impression of the scene, with the most complete
indifference to all facts not essential to the telling of his story.
From this, as his memory grew stronger and his perception more minute
and comprehensive, he widened his circle of ideas and facts, always
working from feeling rather than from what Nature set before him. His
mind thus sifting his perceptions, retaining always only those which
constituted the essential features of the impression, and with
a distinctness proportioned to their relative importance, there
necessarily resulted a subjective unity like that of an absolute
creation. The Pre-Rapha