They could not have done so at their ease had the river not been humanized. Only a little bit of its stony bed is left; a mill weir, thrown across, stays the water in a perfectly clear and delicious pool; to show how clear it is, Turner has put the only piece of playing color in all the picture into the reflections in this. One cow is white, another white and red, evidently as clean as morning dew can wash their sides. They could not have been so in a country where there was the least coal smoke; so Turner has put a wreath of perfectly white smoke through the trees; and lest that should not be enough to show you they burnt wood, he has made his foreground of a piece of copse just lopped, with the new fagots standing up against it; and this still not being enough to give you the idea of perfect cleanliness, he has covered the stones of the river-bed with white clothes laid out to dry; and that not being enough yet, for the river-bed might be clean though nothing else was, he has put a quantity more hanging over the abbey walls. 9. _Only natural phenomena in their direct relation to humanity_--these are to be your subjects in landscape. Rocks and water and air may no more be painted for their own sakes, than the armor carved without the warrior. But, secondly. I said landscape is to be a _passionate representation_ of these things. It must be done, that is to say, with strength and depth of soul. This is indeed to some extent merely the particular application of a principle that has no exception. If you are without strong passions, you cannot be a painter at all. The laying of paint by an insensitive person, whatever it endeavors to represent, is not painting, but daubing or plastering; and that, observe, irrespective of the boldness or minuteness of the work. An insensitive person will daub with a camel's hair-brush and ultramarine; and a passionate one will paint with mortar and a trowel.