By diligently copying the etchings of the Liber Studiorum, the reader may, however, easily attain the perception of the existence of these relations, and be prepared to understand Turner's more elaborate composition. It would take many figures to disentangle and explain the arrangements merely of the leaf cluster, Fig. 78, facing page 97; but that there _is_ a system, and that every leaf has a fixed value and place in it, can hardly but be felt at a glance. It is curious that, in spite of all the constant talkings of "composition" which goes on among art students, true composition is just the last thing which appears to be perceived. One would have thought that in this group, at least, the value of the central black leaf would have been seen, of which the principal function is to point towards, and continue, the line of bank above. See Plate 62. But a glance at the published Plate in the England series will show that no idea of the composition had occurred to the engraver's mind. He thought any leaves would do, and supplied them from his own repertory of hack vegetation. § 15. I would willingly enlarge farther on this subject--it is a favorite one with me; but the figures required for any exhaustive treatment of it would form a separate volume. All that I can do is to indicate, as these examples do sufficiently, the vast field open to the student's analysis if he cares to pursue the subject; and to mark for the general reader these two strong conclusions:--that nothing in great work is ever either fortuitous or contentious. It is not fortuitous; that is to say, not left to fortune. The "must do it by a kind of felicity" of Bacon is true; it is true also that an accident is often suggestive to an inventor. Turner himself said, "I never lose an accident." But it is this not _losing_ it, this taking things out of the hands of Fortune, and putting them into those of force and foresight, which attest the master. Chance may sometimes help, and sometimes provoke, a success; but must never rule, and rarely allure. And, lastly, nothing must be contentious. Art has many uses and many pleasantnesses; but of all its services, none are higher than its setting forth, by a visible and enduring image, the nature of all true authority and freedom; Authority which defines and directs the action of benevolent law; and Freedom which consists in deep and soft consent of individual[4] helpfulness. FOOTNOTES: [1] The sails in the engraving were put in to catch the public eye. There are none in the drawing.