n regarded. Every incident of motion and of energy is seized
upon with indescribable delight, and every line of the composition
animated with a force and fury which are now no longer the mere
expression of a contemplated external truth, but have origin in some
inherent feeling in the painter's mind.

The second, that although the subject is one in itself almost incapable
of color, and although, in order to increase the wildness of the
impression, all brilliant local color has been refused even where it
might easily have been introduced, as in the figures; yet in the low
minor key which has been chosen, the melodies of _color_ have been
elaborated to the utmost possible pitch, so as to become a leading,
instead of a subordinate, element in the composition; the subdued warm
hues of the granite promontories, the dull stone color of the walls of
the buildings, clearly opposed, even in shade, to the gray of the snow
wreaths heaped against them, and the faint greens and ghastly blues of
the glacier ice, being all expressed with delicacies of transition
utterly unexampled in any previous drawings.

205. These, accordingly, are the chief characteristics of the works of
Turner's second period, as distinguished from the first,--a new energy
inherent in the mind of the painter, diminishing the repose and exalting
the force and fire of his conceptions, and the presence of Color, as at
least an essential, and often a principal, element of design.

Not that it is impossible, or even unusual, to find drawings of serene
subject, and perfectly quiet feeling, among the compositions of this
period; but the repose is in them, just as the energy and tumult were in
the earlier period, an external quality, which the painter images by an
effort of the will: it is no longer a character inherent in himself. The
"Ulleswater," in the England series, is one of those which are in most
perfect peace; in the "Cowes," the silence is only broken by the dash of
the boat's oars, and in the "Alnwick" by a stag drinking; but in at
least nine drawings out of ten, either sky, water, or figures are in
rapid motion, and the grandest drawings are almost always those which
have even violent action in one or other, or in all; _e.g._ high force
of Tees, Coventry, Llanthony, Salisbury, Llanberis, and such others.

206. The color is, however, a more absolute distinction; and we must
return to Mr. Fawkes's collection in order to see how the change in it
was effecte