ough the
dark parts of the water are the reflections of the clouds, not the
shadows of them; and the bright parts are the reflections of the sun,
and not the light of it. This little vignette, then, will entirely
complete the system of Turner's universal truth in quiet water. We have
seen every phenomenon given by him,--the clear reflection, the prolonged
reflection, the reflection broken by ripple, and finally the ripple
broken by light and shade; and it is especially to be observed how
careful he is, in this last case, when he uses the apparent light and
shade, to account for it by showing us in the whiteness of the lake
beyond, its universal subjection to ripple.

Sec. 18. His drawing of distant rivers.

Sec. 19. And of surface associated with mist.

We have not spoken of Turner's magnificent drawing of distant rivers,
which, however, is dependent only on more complicated application of the
same laws, with exquisite perspective. The sweeps of river in the
Dryburgh, (Illustrations to Scott,) and Melrose, are bold and
characteristic examples, as well as the Rouen from St. Catherine's Hill,
and the Caudebec, in the Rivers of France. The only thing which in these
works requires particular attention, is the care with which the height
of the observer above the river is indicated by the loss of the
reflections of its banks. This is, perhaps, shown most clearly in the
Caudebec. If we had been on a level with the river, its whole surface
would have been darkened by the reflection of the steep and high banks;
but being far above it, we can see no more of the image than we could of
the hill itself, if it were actually reversed under the water; and
therefore we see that Turner gives us only a narrow line of dark water,
immediately under the precipice, the broad surface reflecting only the
sky. This is also finely shown on the left-hand side of the Dryburgh.

But all these early works of the artist have been eclipsed by some
recent drawings of Switzerland. These latter are not to be described by
any words, but they must be noted here not only as presenting records of
lake effect on grander scale, and of more imaginative character than any
other of his works, but as combining effects of the surface of mist with
the surface of water. Two or three of the Lake of Lucerne, seen from
above, give the melting of the mountain promontories beneath into the
clear depth, and above into the clouds; one of Constance shows the vast
lake a