hook and piece of drapery, in the foreground, in my drawing, which is very nearly true to the Turner curves: compare them with the curves either in Plate 61, or in the published engraving in the England series. The Plate opposite (80) is a portion of the foreground of the drawing of the Llanberis (England Series), also of its real size; and interesting as showing the grace of Turner's curvature even when he was drawing fastest. It is a hasty drawing throughout, and after finishing the rocks and water, being apparently a little tired, he has struck out the broken fence of the watering-place for the cattle with a few impetuous dashes of the hand. Yet the curvature and grouping of line are still perfectly tender. How far the passage loses by reduction, may be seen by a glance at the published engraving. [Illustration: FIG. 101.] 4. Color, as stated in the text, is the purifying or sanctifying element of material beauty. If so, how less important than form? Because, on form depends existence; on color, only purity. Under the Levitical law, neither scarlet nor hyssop could purify the deformed. So, under all natural law, there must be rightly shaped members first; then sanctifying color and fire in them. Nevertheless, there are several great difficulties and oppositions of aspect in this matter, which I must try to reconcile now clearly and finally. As color is the type of Love, it resembles it in all its modes of operation; and in practical work of human hands, it sustains changes of worthiness precisely like those of human sexual love. That love, when true, faithful, well-fixed, is eminently the sanctifying element of human life: without it, the soul cannot reach its fullest height of holiness. But if shallow, faithless, misdirected, it is also one of the strongest corrupting and degrading elements of life. Between these base and lofty states of Love are the loveless states; some cold and horrible; others chaste, childish, or ascetic, bearing to careless thinkers the semblance of purity higher than that of Love. So it is with the type of Love--color. Followed rashly, coarsely, untruly, for the mere pleasure of it, with no reverence, it becomes a temptation, and leads to corruption. Followed faithfully, with intense but reverent passion, it is the holiest of all aspects of material things. Between these two modes of pursuing it, come two modes of refusing it--one, dark and sensual; the other, statuesque and grave, having great aspect of nobleness. Thus we have, first, the coarse love of color, as a vulgar person's choice of gaudy hues in dress.