I tried to copy and engrave this piece of the drawing of its real size, merely to show the forms of the trees, drifted back by the breeze from the fall, and wet with its spray; but in the endeavor to facsimile the touches, great part of their grace and ease has been lost; still, Plate 75 may, if compared with the same piece in the Keepsake engraving, at least show that the original drawing has not yet been rendered with completeness. § 11. These two examples may sufficiently serve to show the mode in which minor details, both in form and spirit, are used by Turner to aid his main motives; of course I cannot, in the space of this volume, go on examining subjects at this length, even if I had time to etch them; but every design of Turner's would be equally instructive, examined in a similar manner. Thus far, however, we have only seen the help of the parts to the whole: we must give yet a little attention to the mode of combining the smallest details. I am always led away, in spite of myself, from my proper subject here, invention formal, or the merely pleasant placing of lines and masses, into the emotional results of such arrangement. The chief reason of this is that the emotional power can be explained; but the perfection of formative arrangement, as I said, cannot be explained, any more than that of melody in music. An instance or two of it, however, may be given. § 12. Much fine formative arrangement depends on a more or less elliptical or pear-shaped balance of the group, obtained by arranging the principal members of it on two opposite curves, and either centralizing it by some powerful feature at the base, centre, or summit; or else clasping it together by some conspicuous point or knot. A very small object will often do this satisfactorily.