Sec. 11. The chief incapacity in the modern work is not, however, so much in its outline, though that is wrong enough, as in the total absence of any effort to mark the surface roundings. It is not the _outline_ of a stone, however true, that will make it solid or heavy; it is the interior markings, and thoroughly understood perspectives of its sides. In the opposite plate the upper two subjects are by Turner, foregrounds out of the Liber Studiorum (Source of Arveron, and Ben Arthur); the lower by Claude, Liber Veritatis, No. 5. I think the reader cannot but feel that the blocks in the upper two subjects are massy and ponderous; in the lower, wholly without weight. If he examine their several treatment, he will find that Turner has perfect imaginative conception of every recess and projection over the whole surface, and _feels_ the stone as he works over it; every touch, moreover, being full of tender gradation. But Claude, as he is obliged to hold to his outline in hills, so also clings to it in the stones,--cannot round them in the least, leaves their light surfaces wholly blank, and puts a few patches of dark here and there about their edges, as chance will have it. [Illustration: 49. Truth and Untruth of Stones.] Sec. 12. Turner's way of wedging the stones of the glacier moraine together in strength of disorder, in the upper subject, and his indication of the springing of the wild stems and leafage out of the rents in the boulders of the lower one, will hardly be appreciated unless the reader is _fondly_ acquainted with the kind of scenery in question; and I cannot calculate on this being often the case, for few persons ever look at any near detail closely, and perhaps least of all at the heaps of debris which so often seem to encumber and disfigure mountain ground. But for the various reasons just stated (Sec. 7), Turner found more material for his power, and more excitement to his invention, among the fallen stones than in the highest summits of mountains; and his early designs, among their thousand excellences and singularities, as opposed to all that had preceded them, count for not one of the least the elaborate care given to the drawing of torrent beds, shaly slopes, and other conditions of stony ground which all canons of art at the period pronounced inconsistent with dignity of composition; a convenient principle, since, of all foregrounds, one of loose stones is beyond comparison the most difficult to draw with any approach to realization. The Turnerian subjects, "Junction of the Greta and Tees" (Yorkshire Series, and illustrations to Scott); "Wycliffe, near Rokeby" (Yorkshire); "Hardraw Fall" (Yorkshire); "Ben Arthur" (Liber Studiorum); "Ulleswater" and the magnificent drawing of the "Upper Fall of the Tees" (England Series), are sufficiently illustrative of what I mean.