§ 9. One of the gens-d'armes is flirting with a young lady in a round cap and full sleeves, under pretence of wanting her to show him what she has in her bandbox. The motive of which flirtation is, so far as Turner is concerned in it, primarily the bandbox: this and the millstones below, give him a series of concave lines, which, concentrated by the recumbent soldiers, intensify the hollow sweep of the fall, precisely as the ring on the stone does the Loire eddies. These curves are carried out on the right by the small plate of eggs, laid to be washed at the spring; and, all these concave lines being a little too quiet and recumbent, the staggering casks are set on the left, and the ill-balanced milk-pail on the right, to give a general feeling of things being rolled over and over. The things which are to give this sense of rolling are dark, in order to hint at the way in which the cataract rolls boulders of rock; while the forms which are to give the sense of its sweeping force are white. The little spring, splashing out of its pine-trough, is to give contrast with the power of the fall,--while it carries out the general sense of splashing water. [Illustration: 74. The Mill-stream.] [Illustration: Painted by J. N. W. Turner. Drawn by J. Ruskin. Engraved by R. P. Cuff. 75. The Castle of Lauffen.] § 10. This spring exists on the spot, and so does everything else in the picture; but the combinations are wholly arbitrary; it being Turner's fixed principle to collect out of any scene whatever was characteristic, and put it together just as he liked. The changes made in this instance are highly curious. The mills have no resemblance whatever to the real group as seen from this spot; for there is a vulgar and formal dwelling-house in front of them. But if you climb the rock behind them, you find they form on that side a towering cluster, which Turner has put with little modification into the drawing. What he has done to the mills, he has done with still greater audacity to the central rock. Seen from this spot, it shows, in reality, its greatest breadth, and is heavy and uninteresting; but on the Lauffen side, exposes its consumed base, worn away by the rush of water, which Turner resolving to show, serenely draws the rock as it appears from the other side of the Rhine, and brings that view of it over to this side. I have etched the bit with the rock a little larger below; and if the reader knows the spot, he will see that this piece of the drawing, reversed in the etching, is almost a bonâ fide unreversed study of the fall from the Lauffen side.[3] Finally, the castle of Lauffen itself, being, when seen from this spot, too much foreshortened to show its extent, Turner walks a quarter of a mile lower down the river, draws the castle accurately there, brings it back with him, and puts it in all its extent, where he chooses to have it, beyond the rocks.