§ 9. This sketch has been made in the afternoon. He had been impressed as he walked up the hill, by the vanishing of the lake in the golden horizon, without end of waters, and by the opposition of the pinnacled castle and cathedral to its level breadth. That must be drawn! and from this spot, where all the buildings are set well together. But it lucklessly happens that, though the buildings come just where he wants them in situation, they don't in height. For the castle (the square mass on the right) is in reality higher than the cathedral, and would block out the end of the lake. Down it goes instantly a hundred feet, that we may see the lake over it; without the smallest regard for the military position of Lausanne. § 10. Next: The last low spire on the left is in truth concealed behind the nearer bank, the town running far down the hill (and climbing another hill) in that direction. But the group oi spires, without it, would not be rich enough to give a proper impression of Lausanne, as a spiry place. Turner quietly sends to fetch the church from round the corner, places it where he likes, and indicates its distance only by aërial perspective (much greater in the pencil drawing than in the woodcut). § 11. But again: Not only the spire of the lower church, but the peak of the Rochers d'Enfer (that highest in the distance) would in reality be out of sight; it is much farther round to the left. This would never do either; for without it, we should have no idea that Lausanne was opposite the mountains, nor should we have a nice sloping line to lead us into the distance. With the same unblushing tranquillity of mind in which he had ordered up the church, Turner sends also to fetch the Rochers d'Enfer; and puts _them_ also where he chooses, to crown the slope of distant hill, which, as every traveller knows, in its decline to the west, is one of the most notable features of the view from Lausanne. § 12. These modifications, easily traceable in the large features of the design, are carried out with equal audacity and precision in every part of it. Every one of those confused lines on the right indicates something that is really there, only everything is shifted and sorted into the exact places that Turner chose. The group of dark objects near us at the foot of the bank is a cluster of mills, which, when the picture was completed, were to be the blackest things in it, and to throw back the castle, and the golden horizon; while the rounded touches at the bottom, under the castle, indicate a row of trees, which follow a brook coming out of the ravine behind us; and were going to be made very round indeed in the picture (to oppose the spiky and angular masses of castle) and very consecutive, in order to form another conducting line into the distance.