Modern Painters Volume IV Part 20

-- 31. I found it a matter of the greatest difficulty to investigate the picturesque characters of these lines of projection and escape, because, as presented to the eye, they are always modified by perspective; and it is almost a physical impossibility to get a true profile of any of the slopes, they round and melt so constantly into one another. Many of them, roughly measured, are nearly circular in tendency;[92] but I believe they are all portions of infinite curves either modified by the concealment or destruction of the lower lips of debris, or by their junction with straight lines of slope above, throwing the longest limb of the curve upwards. Fig. 1, in Plate +45+ opposite, is a simple but complete example from Chamouni; the various overlapping and concave lines at the bottom being the limits of the ma.s.s at various periods, more or less broken afterwards by the peasants, either by removing stones for building, or throwing them back at the edges here and there, out of the way of the plough; but even with all these breaks, their natural unity is so sweet and perfect, that, if the reader will turn the plate upside down, he will see I have no difficulty (merely adding a quill or two) in turning them into a bird's wing (Fig. 2), a little ruffled indeed, but still graceful, and not of such a form as one would have supposed likely to be designed and drawn, as indeed it was, by the rage of a torrent.

But we saw in Chap. VII. -- 10 that this very rage was, in fact, a beneficent power,--creative, not destructive; and as all its apparent cruelty is overruled by the law of love, so all its apparent disorder is overruled by the law of loveliness: the hand of G.o.d, leading the wrath of the torrent to minister to the life of mankind, guides also its grim surges by the laws of their delight; and bridles the bounding rocks, and appeases the flying foam, till they lie down in the same lines that lead forth the fibres of the down on a cygnet's breast.

-- 32. The straight slopes with which these curves unite themselves below, in Plate +33+ (_f g_ in reference figure), are those spoken of in the outset as lines of rest. But I defer to the next chapter the examination of these, which are a separate family of lines (not curves at all), in order to rea.s.semble the conclusions we have now obtained respecting _curvature_ in mountains, and apply them to questions of art.

And, first, it is of course not to be supposed that these symmetrical laws are so manifest in their operation as to force themselves on the observance of men in general. They are interrupted, necessarily, by every fantastic accident in the original conformation of the hills, which, according to the hardness of their rocks, more or less accept or refuse the authority of general law. Still, the farther we extend our observance of hills, the more we shall be struck by the continual roundness and softness which it seems the object of nature to give to every form; so that, when crags look sharp and distorted, it is not so much that they are unrounded, as that the various curves are more subtly accommodated to the angles, and that, instead of being worn into one sweeping and smooth descent, like the surface of a knoll or down, the rock is wrought into innumerable minor undulations, its own fine anatomy showing through all.

[Ill.u.s.tration: J. Ruskin. J. H. Le Keux.

46. The b.u.t.tresses of an Alp.]

-- 33. Perhaps the mountain which I have drawn on the opposite page (Plate +46+[93]) is, in its original sternness of ma.s.s, and in the complexity of lines into which it has been chiselled, as characteristic an instance as could be given by way of general type. It is one of no name or popular interest, but of singular importance in the geography of Switzerland, being the angle b.u.t.tress of the great northern chain of the Alps (the chain of the Jungfrau and Gemmi), and forming the promontory round which the Rhone turns to the north-west, at Martigny. It is composed of an intensely hard gneiss (slaty crystalline), in which the plates of mica are set for the most part against the angle, running nearly north and south, as in Fig. 105, and giving the point, therefore, the utmost possible strength, which, however, cannot prevent it from being rent gradually by enormous curved fissures, and separated into huge vertical flakes and chasms, just at the lower promontory, as seen in Plate +46+, and (in plan) in Fig. 105. The whole of the upper surface of the promontory is wrought by the old glaciers into furrows and striae more notable than any I ever saw in the Alps.

-- 34. Now observe, we have here a piece of Nature's work which she has a.s.suredly been long in executing, and which is in peculiarly firm and stable material. It is in her best rock (slaty crystalline), at a point important for all her geographical purposes, and at the degree of mountain elevation especially adapted to the observation of mankind. We shall therefore probably ascertain as much of Nature's mind about these things in this piece of work as she usually allows us to see all at once.

[Ill.u.s.tration: FIG. 105.]

-- 35. If the reader will take a pencil, and, laying tracing paper over the plate, follow a few of its lines, he will (unless before accustomed to accurate mountain-drawing) be soon amazed by the complexity, endlessness, and harmony of the curvatures. He will find that there is not one line in all that rock which is not an infinite curve, and united in some intricate way with others, and suggesting others unseen; and if it were the reality, instead of my drawing, which he had to deal with, he would find the infinity, in a little while, altogether overwhelm him.

But even in this imperfect sketch, as he traces the mult.i.tudinous involution of flowing line, pa.s.sing from swift to slight curvature, or slight to swift, at every instant, he will, I think, find enough to convince him of the truth of what has been advanced respecting the natural appointment of curvature as the first element of all loveliness in form.

-- 36. "Nay, but there are hard and straight lines mingled with those curves continually." True, as we have said so often, just as shade is mixed with light. Angles and undulations may rise and flow continually, one through or over the other; but the opposition is in quant.i.ty nearly always the same, if the ma.s.s is to be pleasant to the eye. In the example previously given (Plate +40+), the limestone bank above Villeneuve, it is managed in a different way, but is equal in degree; the lower portion of the hill is of soft rock in thin laminae; the upper ma.s.s is a solid and firm bed, yet not so hard as to stand all weathers.

The lower portion, therefore, is rounded into almost unbroken softness of bank; the upper surmounts it as a rugged wall, and the opposition of the curve and angle is just as complete as in the first example, in which one was continually mingled with the other.

-- 37. Next, note the _quant.i.ty_ in these hills. It is an element on which I shall have to insist more in speaking of vegetation; but I must not pa.s.s it by, here, since, in fact, it const.i.tutes one of the essential differences between hills of first-rate magnificence, and inferior ones. Not that there is want of quant.i.ty even in the lower ranges, but it is a quant.i.ty of inferior things, and therefore more easily represented or suggested. On a Highland hill side are mult.i.tudinous cl.u.s.ters of fern and heather; on an Alpine one, mult.i.tudinous groves of chestnut and pine. The number of the things may be the same, but the sense of infinity is in the latter case far greater, because the number is of n.o.bler things. Indeed, so far as mere magnitude of s.p.a.ce occupied on the field of the horizon is the measure of objects, a bank of earth ten feet high may, if we stoop to the foot of it, be made to occupy just as much of the sky as that bank of mountain at Villeneuve; nay, in many respects its little ravines and escarpments, watched with some help of imagination, may become very sufficiently representative to us of those of the great mountain; and in cla.s.sing all water-worn mountain-ground under the general and humble term of Banks, I mean to imply this relations.h.i.+p of structure between the smallest eminences and the highest. But in this matter of superimposed _quant.i.ty_ the distinctions of rank are at once fixed. The heap of earth bears its few tufts of moss or knots of gra.s.s; the Highland or c.u.mberland mountain its honeyed heathers or scented ferns; but the ma.s.s of the bank at Martigny or Villeneuve has a vineyard in every cranny of its rocks, and a chestnut grove on every crest of them.

-- 38. This is no poetical exaggeration. Look close into that plate (+46+). Every little circular stroke in it among the rocks means, not a clump of copse nor wreath of fern, but a walnut tree, or a Spanish chestnut, fifty or sixty feet high. Nor are the little curves, thus significative of trees, laid on at random. They are not indeed counted, tree by tree, but they are most carefully distributed in the true proportion and quant.i.ty; or if I have erred at all, it was, from mere fatigue, on the side of sparingness. The minute mounds and furrows scattered up the side of that great promontory, when they are actually approached, after three or four hours' climbing, turn into independent hills with true _parks_ of lovely pasture land enclosed among them, and avenue after avenue of chestnuts, walnuts, and pines bending round their bases; while in the deeper dingles, unseen in the drawing, nestle populous villages, literally bound down to the rock by enormous trunks of vine, which, first trained lightly over the loose stone roofs, have in process of years cast their fruitful net over the whole village, and fastened it to the ground under their purple weight and wayward coils, as securely as ever human heart was fastened to earth by the net of the Flatterer.

-- 39. And it is this very richness of incident and detail which renders Switzerland so little attractive in its subjects to the ordinary artist.

Observe, this study of mine in Plate +46+ does not profess to be a _picture_ at all. It is a mere sketch or catalogue of all that there is on the mountain side, faithfully written out, but no more than should be put down by any conscientious painter for mere guidance, before he begins his work, properly so called; and in finis.h.i.+ng such a subject no trickery nor shorthand is of any avail whatsoever; there are a certain number of trees to be drawn; and drawn they must be, or the place will not bear its proper character. They are not misty wreaths of soft wood suggestible by a sweep or two of the brush; but arranged and lovely cl.u.s.ters of trees, clear in the mountain sunlight, each specially grouped and as little admitting any carelessness of treatment, though five miles distant, as if they were within a few yards of us; the whole meaning and power of the scene being involved in that one fact of quant.i.ty. It is not large merely by mult.i.tudes of tons of rock,--the number of tons is not measurable; it is not large by elevation of angle on the horizon,--a house-roof near us rises higher; it is not large by faintness of aerial perspective,--in a clear day it often looks as if we could touch the summit with the hand. But it is large by this one unescapable fact that, from the summit to the base of it, there are of timber trees so many countable thousands. The scene differs from subjects not Swiss by including hundreds of other scenes within itself, and is mighty, not by scale, but by aggregation.

-- 40. And this is more especially and humiliatingly true of pine forest.

Nearly all other kinds of wood may be reduced, over large s.p.a.ces, to undetailed ma.s.ses; but there is nothing but patience for pines; and this has been one of the princ.i.p.al reasons why artists call Switzerland "unpicturesque." There may perhaps be, in the s.p.a.ce of a Swiss valley which comes into a picture, from five to ten millions of well grown pines.[94] Every one of these pines must be drawn before the scene can be. And a pine cannot be represented by a round stroke, nor by an upright one, nor even by an angular one; no conventionalism will express a pine; it must be legitimately drawn, with a light side and a dark side, and a soft gradation from the top downwards, or it does not look like a pine at all. Most artists think it not desirable to choose a subject which involves the drawing of ten millions of trees; because, supposing they could even do four or five in a minute, and worked for ten hours a day, their picture would still take them ten years before they had finished its pine forests. For this, and other similar reasons, it is declared usually that Switzerland is ugly and unpicturesque; but that is not so; it is only that _we_ cannot paint it. If we could, it would be as interesting on the canvas as it is in reality; and a painter of fruit and flowers might just as well call a human figure unpicturesque, because it was to him unmanageable, as the ordinary landscape-effect painter speak in depreciation of the Alps.

-- 41. It is not probable that any subjects such as we have just been describing, involving a necessity of ten years' labor, will be executed by the modern landscape school,--at least, until its Pre-Raphaelitic tendencies become much more developed than they are yet; nor was it desirable that they should have been by Turner, whose fruitful invention would have been unwisely arrested for a length of time on any single subject, however beautiful. But with his usual certainty of perception, he fastened at once on this character of "quant.i.ty," as the thing to be expressed, in one way or another, in all grand mountain-drawing; and the subjects of his on which I have chiefly dwelt in the First Volume (chapter on the Inferior Mountains, -- 16, &c.) are distinguished from the work of other painters in nothing so much as in this redundance.

Beautiful as they are in color, graceful in fancy, powerful in execution,--in none of these things do they stand so much alone as in plain, calculable quant.i.ty; he having always on the average twenty trees or rocks where other people have only one, and winning his victories not more by skill of generals.h.i.+p than by overwhelming numerical superiority.

-- 42. I say his works are distinguished in this more than in anything else, not because this is their highest quality, but because it is peculiar to them. Invention, color, grace of arrangement, we may find in Tintoret and Veronese in various manifestation; but the expression of the infinite redundance of natural landscape had never been attempted until Turner's time; and the treatment of the ma.s.ses of mountain in the Daphne and Leucippus, Golden Bough, and Modern Italy, is wholly without precursors.h.i.+p in art.

Nor, observe, do I insist upon this quant.i.ty _merely_ as arithmetical, or as if it were producible by repet.i.tion of similar things. It would be easy to be redundant, if multiplication of the same idea const.i.tuted fulness; and since Turner first introduced these types of landscape, myriads of vulgar imitations of them have been produced, whose perpetrators have supposed themselves disciples or rivals of Turner, in covering their hills with white dots for forest, and their foregrounds with yellow sparklings for herbage. But the Turnerian redundance is never monotonous. Of the thousands of groups of touches which, with him, are necessary to const.i.tute a single bank of hill, not one but has some special character, and is as much a separate invention as the whole plan of the picture. Perhaps this may be sufficiently understood by an attentive examination of the detail introduced by him in his St. Gothard subject, as shown in Plate +37+.

-- 43. I do not, indeed, know if the examples I have given from natural scenes, though they are as characteristic as I could well choose, are enough to accustom the reader to the character of true mountain lines, and to enable him to recognize such lines in other instances; but if not, at all events they may serve to elucidate the main points, and guide to more complete examination of the subject, if it interests him, among the hills themselves. And if, after he has pursued the inquiry long enough to feel the cert.i.tude of the laws which I have been endeavoring to ill.u.s.trate, he turns back again to art, I am well a.s.sured it will be with a strange recognition of unconceived excellence, and a newly quickened pleasure in the unforeseen fidelity, that he will trace the pencilling of Turner upon his hill drawings. I do not choose to spend, in this work, the labor and time which would be necessary to a.n.a.lyze, as I have done the drawing of the St. Gothard, any other of Turner's important mountain designs; for the reader must feel the disadvantage they are under in being either reduced in scale, or divided into fragments: and therefore these chapters are always to be considered merely as memoranda for reference before the pictures which the reader may have it in his power to examine. But this one drawing of the St.

Gothard, as it has already elucidated for us Turner's knowledge of crest structure, will be found no less wonderful in the fulness with which it ill.u.s.trates his perception of the lower aqueous and other curvatures. If the reader will look back to the etching of the entire subject, Plate +21+, he will now discern, I believe, without the necessity of my lettering them for him, the lines of fall, rounded down from the crests until they plunge into the overhanging precipices; the lines of projection, where the fallen stones extend the long concave sweep from the couloir, pus.h.i.+ng the torrent against the bank on the other side; in the opening of the ravine he will perceive the oblique and parallel inclination of its sides, following the cleavage of the beds in the diagonal line A B of the reference figure; and, finally, in the great slope and precipice on the right of it, he will recognize one of the grandest types of the peculiar mountain ma.s.s which Turner always chose by preference to ill.u.s.trate, the "slope above wall" of _d_ in Fig. 13, p. 148; compare also the last chapter, ---- 26, 27. It will be seen, by reference to my sketch of the spot, Plate +20+, that this conformation does actually exist there with great definiteness: Turner has only enlarged and thrown it into more numerous alternations of light and shade. As these could not be shown in the etching, I have given, in the frontispiece, this pa.s.sage nearly of its real size: the exquisite greys and blues by which Turner has rounded and thrown it back are necessarily lost in the plate; but the grandeur of his simple cliff and soft curves of sloping bank above is in some degree rendered.

We must yet dwell for a moment on the detail of the rocks on the left in Plate +37+, as they approach nearer the eye, turning at the same time from the light. It cost me trouble to etch this pa.s.sage, and yet half its refinements are still missed; for Turner has put his whole strength into it, and wrought out the curving of the gneiss beds with a subtlety which could not be at all approached in the time I had to spare for this plate. Enough, however, is expressed to ill.u.s.trate the points in question.

-- 44. We have first, observe, a rounded bank, broken, at its edges, into cleavages by inclined beds. I thought it would be well, lest the reader should think I dwelt too much on this particular scene, to give an instance of similar structure from another spot; and therefore I daguerreotyped the cleavages of a slope of gneiss just above the Cascade des Pelerins, Chamouni, corresponding in position to this bank of Turner's. Plate +48+ (facing p. 303), copied by Mr. Armytage from the daguerreotype, represents, necessarily in a quite unprejudiced and impartial way, the structure at present in question; and the reader may form a sufficient idea, from this plate, of the complexity of descending curve and foliated rent, in even a small piece of mountain foreground,[95] where the gneiss beds are tolerably continuous. But Turner had to add to such general complexity the expression of a more than ordinary undulation in the beds of the St. Gothard gneiss.

-- 45. If the reader will look back to Chapter II. -- 13, he will find it stated that this scene is approached out of the defile of Dazio Grande, of which the impression was still strong on Turner's mind, and where only he could see, close at hand, the nature of the rocks in a good section. It most luckily happens that De Saussure was interested by the rocks at the same spot, and has given the following account of them, Voyages, ---- 1801, 1802:--

"a une lieue de Fado, l'on pa.s.se le Tesin pour le repa.s.ser bientot apres [see the old bridge in Turner's view, carried away in mine], et l'on trouve sur sa rive droite des couches d'une roche feuilletee, qui montent du Cote du Nord.

"On voit clairement que depuis que les granits veines ont ete remplaces par des pierres moins solides, tantot les rochers se sont eboules et ont ete recouverts par la terre vegetale, tantot leur situation primitive a subi des changements irreguliers.

"-- 1802. Mais bientot apres, _on monte par un chemin en corniche au dessus du Tesin, qui se precipite entre des rochers avec la plus grande violence_. Ces rochers sont la si serres, qu'il n'y a de place que pour la riviere et pour le chemin, et meme en quelques endroits, celui-ci est entierement pris sur le roc. Je fis a pied cette montee, pour examiner avec soin ces beaux rochers, _dignes de toute l'attention d'un amateur_.

"Les veines de ce granit forment en plusieurs endroits des _zigzags redoubles_, precis.e.m.e.nt comme ces anciennes tap.i.s.series, connues sous le nom de points d'Hongrie; et la, on ne peut pas p.r.o.noncer, 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."

-- 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 Yorks.h.i.+re 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 model and photograph.

-- 47. Nor let it be thought that it was an easy or creditable thing to treat mountain ground with this faithfulness in the days when Turner executed those drawings. In the Encyclopaedia Britannica (Edinburgh, 1797), under article "Drawing," the following are the directions given for the production of a landscape:--

"If he is to draw a landscape from nature, let him take his station on a rising ground, where he will have a large horizon, and mark his tablet into three divisions, downwards from top to the bottom; and divide in his own mind the landscape he is to take into three divisions also. Then let him turn his face directly opposite to the midst of the horizon, keeping his body fixed, and draw what is directly before his eyes upon the middle division of the tablet: then _turn his head, but not his body_,[96] to the left hand and delineate what he views there, joining it properly to what he had done before; and, lastly, do the same by what is to be seen upon his right hand, laying down everything exactly, both with respect to distance and proportion. One example is given in plate clxviii.

"The best artists of late, in drawing their landscapes, make them shoot away, one part lower than another. Those who make their landscapes mount up higher and higher, as if they stood at the bottom of a hill to take the prospect, commit a great error; the best way is to get upon a rising ground, make the nearest objects in the piece the highest, and those that are farther off to shoot away lower and lower till they come almost level with the line of the horizon, lessening everything proportionably to its distance, and observing also to make the objects fainter and less distinct the farther they are removed from the eye. He must make all his lights and shades fall one way, and let every thing have its proper motion: as trees shaken by the wind, the small boughs bending more and the large ones less; water agitated by the wind, and das.h.i.+ng against s.h.i.+ps or boats, or falling from a precipice upon rocks and stones, and spirting up again into the air, and sprinkling all about; clouds also in the air now gathered with the winds; now violently condensed into hail, rain, and the like,--always remembering, that whatever motions are caused by the wind must be made all to move the same way, because the wind can blow but one way at once."

Such was the state of the public mind, and of public instruction, at the time when Claude, Poussin, and Salvator were in the zenith of their reputation; such were the precepts which, even to the close of the century, it was necessary for a young painter to comply with during the best part of the years he gave to study. Take up one of Turner's views of our Yorks.h.i.+re dells, seen from about a hawk's height of pause above the sweep of its river, and with it in your hand, side by side with the old Encyclopaedia paragraph, consider what must have been the man's strength, who, on a sudden, pa.s.sed from such precept to such practice.

-- 48. On a sudden it was; for, even yet a youth, and retaining profound respect for all older artist's ways of _work_, he followed his own will fearlessly in choice of _scene_; and already in the earliest of his coast drawings there are as daring and strange decisions touching the site of the spectator as in his latest works; lookings down and up into coves and clouds, as defiant of all former theories touching possible perspective, or graceful componence of subject, as, a few years later, his system of color was of the theory of the brown tree. Nor was the step remarkable merely for its magnitude,--for the amount of progress made in a few years. It was much more notable by its direction. The discovery of the true structure of hill banks had to be made by Turner, not merely in _advance_ of the men of his day, but in _contradiction_ to them. Examine the works of contemporary and preceding landscapists, and it will be found that the universal practice is to make the tops of all cliffs broken and rugged, their bases smooth and soft, or concealed with wood. No one had ever observed the contrary structure, the bank rounded at the top, and broken on the flank. And yet all the hills of any importance which are met with throughout Lowland Europe are, properly speaking, high banks, for the most part following the courses of rivers, and forming a step from the high ground, of which the country generally consists, to the river level. Thus almost the whole of France, though, on the face of it, flat, is raised from 300 to 500 feet above the level of the sea, and is traversed by valleys either formed by, or directing, the course of its great rivers. In these valleys lie all its princ.i.p.al towns, surrounded, almost without exception, by ranges of hills covered with wood or vineyard. Ascending these hills, we find ourselves at once in an elevated plain, covered with corn and lines of apple trees, extending to the next river side, where we come to the brow of another hill, and descend to the city and valley beneath it. Our own valleys in Northumberland, Yorks.h.i.+re, Derbys.h.i.+re, and Devons.h.i.+re, are cut in the same manner through vast extents of elevated land; the scenery which interests the traveller chiefly, as he pa.s.ses through even the most broken parts of those counties, being simply that of the high _banks_ which rise from the sh.o.r.es of the Dart or the Derwent, the Wharfe or the Tees. In all cases, when these banks are surmounted, the sensation is one of disappointment, as the adventurer finds himself, the moment he has left the edge of the ravine, in a waste of softly undulating moor or arable land, hardly deserving the t.i.tle of hill country. As we advance into the upper districts the fact remains still the same, although the banks to be climbed are higher, the ravines grander, and the intermediate land more broken. The majesty of an isolated peak is still comparatively rare, and nearly all the most interesting pieces of scenery are glens or pa.s.ses, which, if seen from a height great enough to command them in all their relations, would be found in reality little more than trenches excavated through broad ma.s.ses of elevated land, and expanding at intervals into the wide basins which are occupied by the glittering lake or smiling plain.

[Ill.u.s.tration: FIG. 106.]

[Ill.u.s.tration: J. Ruskin. J. H. Le Keux.

47. The Quarries of Carrara.]

-- 49. All these facts had been entirely ignored by artists; nay, almost by geologists, before Turner's time. He saw them at once; fathomed them to the uttermost, and, partly owing to early a.s.sociation, partly, perhaps, to the natural pleasure of working a new mine discovered by himself, devoted his best powers to their ill.u.s.tration, pa.s.sing by with somewhat less attention the conditions of broken-summited rock, which had previously been the only ones known. And if we now look back to his treatment of the crest of Mont Pilate, in the figure given at the close of the last chapter, we shall understand better the nature and strength of the instinct which compelled him to sacrifice the peaked summit, and to bring the whole mountain within a lower enclosing line. In that figure, however, the dotted peak interferes with the perception of the form finally determined upon, which therefore I repeat here (Fig. 106), as Turner gave it in color. The eye may not at first detect the law of ascent in the peaks, but if the height of any one of them were altered, the general form would instantly be perceived to be less agreeable. Fig.

107 shows that they are disposed within an infinite curve, A _c_, from which the last crag falls a little to conceal the law, while the terminal line at the other extremity, A _b_, is a minor echo of the whole contour.

[Ill.u.s.tration: FIG. 107.]

-- 50. I must pause to make one exception to my general statement that this structure had been entirely ignored. The reader was, perhaps, surprised by the importance I attached to the fragment of mountain background by Masaccio, given in Plate +13+ of the third volume. If he looks back to it now, his surprise will be less. It was a complete recognition of the laws of the lines of aqueous sculpture, a.s.serted as Turner's was, in the boldest opposition to the principles of rock drawing of the time. It presents even smoother and broader ma.s.ses than any which I have shown as types of hill form; but it must be remembered that Masaccio had seen only the softer contours of the Apennine limestone. I have no memorandum by me of the hill lines near Florence; but Plate +47+ shows the development of limestone structure, at a spot which has, I think, the best right to be given as an example of the Italian hills, the head of the valley of Carrara. The white scar on the hill side is the princ.i.p.al quarry; and the peaks above deserve observation, not so much for anything in their forms, as for the singular barrenness which was noted in the fifteenth chapter of the last volume (-- 8) as too often occurring in the Apennines. Compare this plate with the previous one. The peak drawn in Plate +46+ rises at least 7500 feet above the sea,--yet is wooded to its top; this Carrara crag not above 5000,[97]--yet it is wholly barren.

-- 51. Masaccio, however, as we saw, was taken away by death before he could give any one of his thoughts complete expression. Turner was spared to do _his_ work, in this respect at least, completely. It might be thought that, having had such adverse influence to struggle with, he would prevail against it but in part; and, though showing the way to much that was new, retain of necessity some old prejudices, and leave his successors to pursue in purer liberty, and with happier power, the path he had pointed out. But it was not so: he did the work so completely on the ground which he chose to ill.u.s.trate, that nothing is left for future artists to accomplish in that kind. Some cla.s.ses of scenery, as often pointed out in the preceding pages, he was unfamiliar with, or held in little affection, and out of that scenery, untouched by him, new motives may be obtained; but of such landscape as his favorite Yorks.h.i.+re Wolds, and banks of Rhenish and French hill, and rocky mountains of Switzerland, like the St. Gothard, already so long dwelt upon, he has expressed the power in what I believe to be for ever a central and unmatchable way. I do not say this with positiveness, because it is not demonstrable. Turner may be beaten on his own ground--so may Tintoret, so may Shakespeare, Dante, or Homer: but my _belief_ is that all these first-rate men are lonely men; that the particular work they did was by them done for ever in the best way; and that this work done by Turner among the hills, joining the most intense appreciation of all tenderness with delight in all magnitude, and memory for all detail, is never to be rivalled, or looked upon in similitude again.

FOOTNOTES

[88] _Quant.i.ty_ of curvature is as measurable as quant.i.ty of anything else; only observe that it depends on the nature of the line, not on its magnitude; thus, in simple circular curvature, _a b_, Fig. 96, being the fourth of a large circle, and _b c_ the half of a smaller one, the quant.i.ty of the element of circular curvature in the entire line _a c_ is three fourths of that in _any_ circle,--the the same as the quant.i.ty in the line _e f_.

[Ill.u.s.tration: FIG 96.]

[89] The catenary is not properly a curve capable of infinity, if its direction does not alter with its length; but it is capable of infinity, implying such alteration by the infinite removal of the points of suspension. It entirely corresponds in its effect on the eye and mind to the infinite curves. I do not know the exact nature of the apparent curves of suspension formed by a high and weighty waterfall; they are dependent on the gain in rapidity of descent by the central current, where its greater body is less arrested by the air; and I apprehend, are catenary in character, though not in cause.

[90] I am afraid of becoming tiresome by going too far into the intricacies of this most difficult subject; but I say "_towards_ the bottom of the hill," because, when a certain degree of verticality is reached, a counter protective influence begins to establish itself, the stones and waterfalls bounding away from the brow of the precipice into the air, and wearing it at the top only. Also it is evident that when the curvature falls into a vertical cliff, as often happens, the maximum of curvature must be somewhere _above_ the brow of the cliff, as in the cliff itself it has again died into a straight line.

[91] The following extract from my private diary, giving an account of the destruction of the beauty of this waterfall in the year 1849, which I happened to witness, may be interesting to those travellers who remember it before that period. The house spoken of as "Joseph's," is that of the guide Joseph Coutet, in a village about a mile below the cascade, between it and the Arve: that noticed as of the "old avalanche" is a hollow in the forest, cleft by a great avalanche which fell from the Aiguille du Midi in the spring of 1844. It struck down about a thousand full-grown pines, and left an open track in the midst of the wood, from the cascade nearly down to the village.

"Evening, Thursday, June 28th. I set out for the Cascade des Pelerins as usual; when we reached Joseph's house, we heard a sound from the torrent like low thunder, or like that of a more distant and heavier fall. A peasant said something to Joseph, who stopped to listen, then nodded, and said to me, 'La cascade vient de se deborder.' Thinking there would be time enough afterwards to ask for explanations, I pushed up the hill almost without asking a question.

When we reached the place of the old avalanche, Joseph called to me to stop and see the torrent increase. There was at this time a dark cloud on the Aiguille du Midi, down to its base; the upper part of the torrent was brown, the lower white, not larger than usual. The brown part came down, I thought, with exceeding slowness, reaching the cascade gradually; as it did so, the fall rose to about once and a half its usual height, and in the five minutes' time that I paused (it could not be more) turned to the color of slate. I then pushed on as hard as I could. When I reached the last ascent I was obliged to stop for breath, but got up before the fall could sensibly have diminished in body of water. It was then nearly twice as far cast out from the rock as last night, and the water nearly black in color; and it had the appearance, as it broke and separated at the outer part of the fall, of a shower of fragments of flat slate. The reason of this appearance I could not comprehend, unless the water was so mixed with mud that it drew out flat and unctuously when it broke; but so it was: instead of spray it looked like a shower of dirty flat bits of slate--only with a l.u.s.tre, as if they had been wet first. This, however, was the least of it, for the torrent carried with it nearly as much weight of stone as water; the stones varying in size, the average being, I suppose, about that of a hen's egg; but I do not suppose that at any instant the arch of water was without four or five as large as a man's fist, and often came larger ones,--all vomited forth with the explosive power of a small volcano, and falling in a continual shower as thick, constant, and, had it not been mixed with the crash of the fall, as loud as a heavy fire of infantry; they bounded and leaped in the basin of the fall like hailstones in a thunder-shower. As we watched the fall it seemed convulsively to diminish, and suddenly showed, as it shortened, the rock underneath it, which I could hardly see yesterday: as I cried out to Joseph it rose again, higher than ever, and continued to rise, till it all but reached the snow on the rock opposite. It then became very fantastic and variable, increasing and diminis.h.i.+ng in the s.p.a.ce of two or three seconds, and partially changing its direction. After watching it for half an hour or so, I determined to try and make some memoranda. Coutet brought me up a jug of water: I stooped to dip my brush, when Coutet caught my arm, saying, 'Tenez;' at the same instant I heard a blow, like the going off of a heavy gun, two or three miles away; I looked up, and as I did, the cascade sank before my eyes, and fell back to the rock.

Neither of us spoke for an instant or two; then Coutet said, 'C'est une pierre, qui est logee dans le creux,' or words to that effect: in fact, he had seen the stone come down as he called to me. I thought also that nothing more had happened, and watched the destroyed fall only with interest, until, as suddenly as it had fallen, it rose again, though not to its former height; and Coutet, stooping down, exclaimed, 'Ce n'est pas ca, le roc est perce;' in effect, a hole was now distinctly visible in the cup which turned the stream, through which the water whizzed as from a burst pipe.

The cascade, however, continued to increase, until this new channel was concealed, and I was maintaining to Coutet that he must have been mistaken (and that the water only _struck_ on the outer rock, having changed its mode of fall above), when again it fell; and the two girls, who had come up from the chalet, expressed their opinion at once, that the 'cascade est finie.' This time all was plain; the water gushed in a violent jet d'eau through the new aperture, hardly any of it escaping above. It rose again gradually, as the hole was choked with stones, and again fell; but presently sprang out almost to its first elevation (the water being by this time in much less body), and retained very nearly the form it had yesterday, until I got tired of looking at it, and went down to the little chalet, and sat down before its door. I had not been there five minutes before the cascade fell, and rose no more."