To take another illustration. There are photographs and engravings in plenty of the picturesque Dover Harbour, with its cliffs and castle. Many who have seen the place in its various moods have wished for some reminder, and may have found the traditional sketches of commerce accurate enough, but insufficient to restore the old charm. As the traveller returning from France approaches, he notes the pyramidal character, the junction and blending of the castle with the clouds behind it, the contrast of the glaring white cliffs with the grey of the sea; there is, besides, the grand air of large security and shelter afforded for centuries back. Now, there is a picture by Turner--in which all these complex ideas are abundantly suggested; he has caught the whole tone of the place, dealing with the skies above and the waters below, quite as elaborately as with the town and harbour; indeed, these are subsidiary. In this way it is true a great artist becomes an interpreter, as well as a painter, of Nature. It is difficult not to feel a sort of enthusiasm and deep admiration when standing before these grand works of Constable. There is a breadth and solidity, a massiveness, about his style and treatment. The secret might be the sense of dignity, the imparting of a _grand personality_ to the trees, the grass, the water, and everything represented. As we look, the details seem to grow and be enriched. It is not surprising to learn that the introduction of one of his pieces into France was the foundation of the school for landscape in that country. The Gallery is well furnished with other masterpieces of his, and the visitor will study them with delight. If we look at the “Flatford,” or the “Haywain,” we shall see and recognize the power, the mixture of emotions suggested, the grand tranquillity of the country, the variety, the sense of distance, and, as we said, the air of _state_; as for the colour, its depth and richness are not even approached in our day.